DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0286
MINIATURE,
seem to be of a different colour from the shades; such as the draperies of angels, of the young
and gay of both sexes, light and airy attire, which is bent into an infinite number and variety of
folds, and seems to float lighter than the air itself. These draperies are generally painted violet,
but their lights are sometimes represented blue, at others yellow. For thefirstsort the lay is made
with ultramarine, and very pale white on the lights; and the shadowing is done with carminet
ultramarine and white, as if the cloth were all violet, by which the great lights alone will appear
blue. These are to be dotted with violet mixed with white. For the second sort of lights masticot
is used alone, the dotting and other parts of the work being similar to the preceding, observing
that these must be done with a little gamboge.
Other sorts of draperies may be represented at the pleasure of the artist, provided he is careful
to preserve the due union and harmony of the colours, not only in the same drapery, but in those
of the several figures in a group ; never bringing near one another such tints as cut and disjoin,
or whose union is harsh and unkindly.
Linen is commonly painted in this way : when the folds or plaits are drawn, as for any other
drapery, a lay of white is done over all, then the dead-colouring is finished with a mixture of
ultramarine, black and white, tempered to the proper degree required. In the deepest shades
bistre and white may be used, but in a delicate way.
There is a manner of touching draperies which distinguishes silk from woollen, or other stuffs.
These last are solid and heavy, while the first are light and fading. This effect however depends
in part on the nature of the stuff, and in part on its colour. No colour partakes more of light
than white, which well exhibits the fleeting nature of light and air. Blue is also a very airy var-
nishing colour, and therefore the sky and the most distant parts of a landscape are done with it;
and a gentle addition of white renders the blue still lighter and fleeting. Black is the heaviest
of all tints, and brings all other colours near to the eye, in proportion as it is united with them.
The effects of black and white are very useful but opposite: for black renders white more
conspicuous, but white frequently makes black entirely disappear. These effects are evident in
the reflection of globes or other figures to be represented as round, in which certain parts always
retire from the eye, agreeably to the skilful combination of the black and white. What is here
said of white is applicable to all light colours; as what is remarked of black applies to all other
dark colours: thus ultramarine is soft and light; ochre is the same but in a lower degree;
masticot and verditer are very light; vermilion and carmine nearly of the same quality; orpiment
and gamboge are heavier; lake is a medium colour rather soft than rough; Dutch pink readily
assumes the quality of other neighbouring colours, or of those with which it is combined. Brown
red, umbre, bistre, dark greens are, next to black, the heaviest colours of all.
In consequence of these properties of the various classes of colours objects seen in perspective,
with dark massy hues, are placed in the foregrounds of pictures; whilst those of a more airy
fleeting cast occupy the distances and back grounds.
When you wish to represent lace, French point, or other substances of this .nature, a lay is
made of black, blue and white, as for linen ; the flowered work is done with white, and the
shades and finishing are performed with the colours of the first lay. If the lace appears on the
face, neck or hands, where the skin is to be discovered through it, this skin, or other part of the
picture, is to be finished as if nothing was to come over it, and then, when this part is dry,
paint
seem to be of a different colour from the shades; such as the draperies of angels, of the young
and gay of both sexes, light and airy attire, which is bent into an infinite number and variety of
folds, and seems to float lighter than the air itself. These draperies are generally painted violet,
but their lights are sometimes represented blue, at others yellow. For thefirstsort the lay is made
with ultramarine, and very pale white on the lights; and the shadowing is done with carminet
ultramarine and white, as if the cloth were all violet, by which the great lights alone will appear
blue. These are to be dotted with violet mixed with white. For the second sort of lights masticot
is used alone, the dotting and other parts of the work being similar to the preceding, observing
that these must be done with a little gamboge.
Other sorts of draperies may be represented at the pleasure of the artist, provided he is careful
to preserve the due union and harmony of the colours, not only in the same drapery, but in those
of the several figures in a group ; never bringing near one another such tints as cut and disjoin,
or whose union is harsh and unkindly.
Linen is commonly painted in this way : when the folds or plaits are drawn, as for any other
drapery, a lay of white is done over all, then the dead-colouring is finished with a mixture of
ultramarine, black and white, tempered to the proper degree required. In the deepest shades
bistre and white may be used, but in a delicate way.
There is a manner of touching draperies which distinguishes silk from woollen, or other stuffs.
These last are solid and heavy, while the first are light and fading. This effect however depends
in part on the nature of the stuff, and in part on its colour. No colour partakes more of light
than white, which well exhibits the fleeting nature of light and air. Blue is also a very airy var-
nishing colour, and therefore the sky and the most distant parts of a landscape are done with it;
and a gentle addition of white renders the blue still lighter and fleeting. Black is the heaviest
of all tints, and brings all other colours near to the eye, in proportion as it is united with them.
The effects of black and white are very useful but opposite: for black renders white more
conspicuous, but white frequently makes black entirely disappear. These effects are evident in
the reflection of globes or other figures to be represented as round, in which certain parts always
retire from the eye, agreeably to the skilful combination of the black and white. What is here
said of white is applicable to all light colours; as what is remarked of black applies to all other
dark colours: thus ultramarine is soft and light; ochre is the same but in a lower degree;
masticot and verditer are very light; vermilion and carmine nearly of the same quality; orpiment
and gamboge are heavier; lake is a medium colour rather soft than rough; Dutch pink readily
assumes the quality of other neighbouring colours, or of those with which it is combined. Brown
red, umbre, bistre, dark greens are, next to black, the heaviest colours of all.
In consequence of these properties of the various classes of colours objects seen in perspective,
with dark massy hues, are placed in the foregrounds of pictures; whilst those of a more airy
fleeting cast occupy the distances and back grounds.
When you wish to represent lace, French point, or other substances of this .nature, a lay is
made of black, blue and white, as for linen ; the flowered work is done with white, and the
shades and finishing are performed with the colours of the first lay. If the lace appears on the
face, neck or hands, where the skin is to be discovered through it, this skin, or other part of the
picture, is to be finished as if nothing was to come over it, and then, when this part is dry,
paint