The artists repository and drawing magazine: exhibiting the principles of the polite arts in their various branches — 4.1790

Page: 136
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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
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