DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0248
<234
PORTRAIT,
Of the First Lai/.
Here the learner is to begin from the shadowed side of the head, painting first the lights;
thence go to the shadows and gradations, which should be done with a large tool of middling
stiffness, in a sparing way, with the dark-shades and white, a little tinged with those colours
requisite to give it somewhat of the proper hue, but nearly of the proper tone and strength.
The warm dark shadows ought to be laid before the colours that are to connect with them,
by means of the dark-shade and umbre, with drying oil; for if those colours were first laid they
would injure the transparency, in which the greatest beauty consists. The more the first lay is
driven, the easier it will be to change it with the finishing tints, which may then be laid with the
greater body.
The second part of the first lay ought to follow immediately, whilst the colours of the first part
are wet and flowing, beginning with the lights, and heightening and finishing with warmer colours,
accompanied with fine tender cold tints. The lightest part of the ground is nearest to the shadowed
side of the head, and generally governs the rest of the ground. It should be done with a variety
of light warm clear colours, vanishing and losing their strength imperceptibly in the gradations.
These ought to be laid with a sort of cloudy touch, and not appear in distinct spots; observing
never to conceal too much of the first lay, which is to be regarded as the principal colour.
From the lights the next step is to the gradations and shadows; for when the lights are
properly adapted to bring forward and support the head, it is not difficult to fall from these into
any sort of shadows that may be best suited to the work. The whole must then be blended and
softened with a long large tool which, together with the body of the drying oil, will mingle and
sweeten the whole in such a manner as to give it a finished appearance. It is to be noticed
however that, in drying, the tints will sink and lose a little of their strength and beauty.
The grounds, whether walls, &e. ought if possible, to be finished at one painting; but if any
alterations should be necessary they may be glazed with a little of the dark-shade, well driven
with drying oil; on which the proper improvements may be made, by some light touches of the
requisite colours. The dark shadows may likewise be strengthened and improved by glazings
after the figures are nearly finished, lest they should appear too strong.-Fresnoy says,
" By mellowing skill thy ground at distance cast,
" Free as the air, and transient as its blast;
" There all thy liquid colours sweetly blend, *
" There all the treasures of thy pallet spend,
" And every form retiring to that ground,
" Of hue congenial to itself compound."
On which Depiles observes, that variety of tints very nearly of the same tone, employed in the
same figure, and often upon the same part, with moderation, contribute much to harmony.
When the back-ground is composed partly of a curtain, it ought to be dead-coloured when
the ground itself is painted, being executed with clear colours, approaching in hue to that of
the curtain, and such as will support the finishing colours. This must be done with a delicate
kind of keeping, near the proper tone in the lights, but softer in the shadows; to be all well mixed
and
PORTRAIT,
Of the First Lai/.
Here the learner is to begin from the shadowed side of the head, painting first the lights;
thence go to the shadows and gradations, which should be done with a large tool of middling
stiffness, in a sparing way, with the dark-shades and white, a little tinged with those colours
requisite to give it somewhat of the proper hue, but nearly of the proper tone and strength.
The warm dark shadows ought to be laid before the colours that are to connect with them,
by means of the dark-shade and umbre, with drying oil; for if those colours were first laid they
would injure the transparency, in which the greatest beauty consists. The more the first lay is
driven, the easier it will be to change it with the finishing tints, which may then be laid with the
greater body.
The second part of the first lay ought to follow immediately, whilst the colours of the first part
are wet and flowing, beginning with the lights, and heightening and finishing with warmer colours,
accompanied with fine tender cold tints. The lightest part of the ground is nearest to the shadowed
side of the head, and generally governs the rest of the ground. It should be done with a variety
of light warm clear colours, vanishing and losing their strength imperceptibly in the gradations.
These ought to be laid with a sort of cloudy touch, and not appear in distinct spots; observing
never to conceal too much of the first lay, which is to be regarded as the principal colour.
From the lights the next step is to the gradations and shadows; for when the lights are
properly adapted to bring forward and support the head, it is not difficult to fall from these into
any sort of shadows that may be best suited to the work. The whole must then be blended and
softened with a long large tool which, together with the body of the drying oil, will mingle and
sweeten the whole in such a manner as to give it a finished appearance. It is to be noticed
however that, in drying, the tints will sink and lose a little of their strength and beauty.
The grounds, whether walls, &e. ought if possible, to be finished at one painting; but if any
alterations should be necessary they may be glazed with a little of the dark-shade, well driven
with drying oil; on which the proper improvements may be made, by some light touches of the
requisite colours. The dark shadows may likewise be strengthened and improved by glazings
after the figures are nearly finished, lest they should appear too strong.-Fresnoy says,
" By mellowing skill thy ground at distance cast,
" Free as the air, and transient as its blast;
" There all thy liquid colours sweetly blend, *
" There all the treasures of thy pallet spend,
" And every form retiring to that ground,
" Of hue congenial to itself compound."
On which Depiles observes, that variety of tints very nearly of the same tone, employed in the
same figure, and often upon the same part, with moderation, contribute much to harmony.
When the back-ground is composed partly of a curtain, it ought to be dead-coloured when
the ground itself is painted, being executed with clear colours, approaching in hue to that of
the curtain, and such as will support the finishing colours. This must be done with a delicate
kind of keeping, near the proper tone in the lights, but softer in the shadows; to be all well mixed
and