DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18734#0144
136 T O U
dens, in walks, or palifades, he. being lefs expenfive
than ftatues.
Marine terms, are thofe whofe lower parts end in
fifties tails, he.
Double terms, and even quadruple terms, are fome •
times compofed.
TIMES, vide manners firfly feeond, and third.
TIMID is nearly the fame as constraint; it is
the abfence of liberty and freedom, and ufually marks a
copy.
TINTS of colours, may be conceived as a regular
fcale of colour, defcending from light to dark: thus,
red may be very light, then fomewhat lower, then
middling, then darkifh, then very deep; according to
its participation of, or diftance from white, or the
neareft approach of rednefs to it. And the fame may be
faid of its relation to any other colour: as a reddifli-
brown tint, a reddim-yellow, &c.
TONE of Colour, though partly explained by
tint, yet differs from it, as it relates to the compa-
rative efFecl; of colours ; for the actual tint of a part
is not varied by the introduction of another colour near
it, but its apparent tone is a!moil: totally changed, by
the fympathy or antipathy of fuch a neighbour. A good
tone of colours is when the whole is well adjufted as a
compofition of colours.
TOUCH, is that manner which every mafter ac-
quires in applying his colours on the canvas ; in this
fenfe, we fay, a touch is light, delicate, fpirited, firm,
bold, large, &c.
Every
dens, in walks, or palifades, he. being lefs expenfive
than ftatues.
Marine terms, are thofe whofe lower parts end in
fifties tails, he.
Double terms, and even quadruple terms, are fome •
times compofed.
TIMES, vide manners firfly feeond, and third.
TIMID is nearly the fame as constraint; it is
the abfence of liberty and freedom, and ufually marks a
copy.
TINTS of colours, may be conceived as a regular
fcale of colour, defcending from light to dark: thus,
red may be very light, then fomewhat lower, then
middling, then darkifh, then very deep; according to
its participation of, or diftance from white, or the
neareft approach of rednefs to it. And the fame may be
faid of its relation to any other colour: as a reddifli-
brown tint, a reddim-yellow, &c.
TONE of Colour, though partly explained by
tint, yet differs from it, as it relates to the compa-
rative efFecl; of colours ; for the actual tint of a part
is not varied by the introduction of another colour near
it, but its apparent tone is a!moil: totally changed, by
the fympathy or antipathy of fuch a neighbour. A good
tone of colours is when the whole is well adjufted as a
compofition of colours.
TOUCH, is that manner which every mafter ac-
quires in applying his colours on the canvas ; in this
fenfe, we fay, a touch is light, delicate, fpirited, firm,
bold, large, &c.
Every