DOI Page / Citation link:
https://doi.org/10.11588/diglit.42129#0155
THE KEY TO THE COLOURS.
PLATE 46.
In order to secure to the plain copies of this work that degree of
usefulness which has been throughout considered a principal object by
the Publisher, a key to the colouring of all the plates has been here
given, by which the Student may ascertain the harmony of tints, (which
constitutes an important part of the beauty of these works of Art,)
without incurring the expense incident to the actual representation
of the colour in each plate.
It would, however, have added too much to the detail had the
different shades of each colour been included in the table. Slight
inaccuracies too could hardly have been avoided in such an attempt, and
these, together with such differences as arise from variety of climate
and distinctions of colours, called in different places by the same name,
might have caused a confusion which would have destroyed the
practicable value of the Key.
It lias therefore been thought best to reduce as much as possible the
number of the colours, and to leave it to each artist to deepen or
lighten the tints, as his taste or the nature of his work may require.
Attention to the principles of harmony will in this respect prove the
safest guide.
In the copies containing the fully coloured Key no difficulty will
present itself in applying to each plate the details of colouring which
belong to it, and therefore no marks of reference are necessary. In
PLATE 46.
In order to secure to the plain copies of this work that degree of
usefulness which has been throughout considered a principal object by
the Publisher, a key to the colouring of all the plates has been here
given, by which the Student may ascertain the harmony of tints, (which
constitutes an important part of the beauty of these works of Art,)
without incurring the expense incident to the actual representation
of the colour in each plate.
It would, however, have added too much to the detail had the
different shades of each colour been included in the table. Slight
inaccuracies too could hardly have been avoided in such an attempt, and
these, together with such differences as arise from variety of climate
and distinctions of colours, called in different places by the same name,
might have caused a confusion which would have destroyed the
practicable value of the Key.
It lias therefore been thought best to reduce as much as possible the
number of the colours, and to leave it to each artist to deepen or
lighten the tints, as his taste or the nature of his work may require.
Attention to the principles of harmony will in this respect prove the
safest guide.
In the copies containing the fully coloured Key no difficulty will
present itself in applying to each plate the details of colouring which
belong to it, and therefore no marks of reference are necessary. In