DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.73712#0278
18$ THE WORKS OF
cannot deny that it is a great thing, and a proof
of much merit, to know how to make in an art
sb difficult, things which produce effects more
pleating than Nature itseis; since that shows all
theobje&s individually, and dispofcd by means
of the infinite degrees of clare obscure and co-
louring, which things cannot be imitated exacts
ly by painting. Because if Nature, for example,
diseovers any little spot or fold in the shade, we
see the same thing still more distinct in the
light, by reason that here the shade is true /hade,
and in painting it is only an obscure colour;
and it is necessary that ^ painting be illuminated
in order to be seen, Natural light has spendor
in itself, and in painting it is nothing more
than a clear colour. To view a painting it
ought to be placed in a manner not resplen-
dant, that it may not have the same effect
of light; otherwise one should not be able to
distinguilh any thing. For this reason it is
necessary that in the execution, the painter
should avail of certain rules, and certain ra-
tiocinations, which are merely ideal, making the
things which are in the shade, more obscure
than those which are in the light, but not by
that has he to pretend to make it equal to
Truth; that is jmpossible; because art not hav-
ing such degrees of variety as nature, it ought to
work only by comparison; that is to say, feign-
ing a light of whatfoever degree: it ought to
make the second tint of a degree more obscure
than in nature, and thus the painting will ap-
pear true. If then one were to place the half-
cannot deny that it is a great thing, and a proof
of much merit, to know how to make in an art
sb difficult, things which produce effects more
pleating than Nature itseis; since that shows all
theobje&s individually, and dispofcd by means
of the infinite degrees of clare obscure and co-
louring, which things cannot be imitated exacts
ly by painting. Because if Nature, for example,
diseovers any little spot or fold in the shade, we
see the same thing still more distinct in the
light, by reason that here the shade is true /hade,
and in painting it is only an obscure colour;
and it is necessary that ^ painting be illuminated
in order to be seen, Natural light has spendor
in itself, and in painting it is nothing more
than a clear colour. To view a painting it
ought to be placed in a manner not resplen-
dant, that it may not have the same effect
of light; otherwise one should not be able to
distinguilh any thing. For this reason it is
necessary that in the execution, the painter
should avail of certain rules, and certain ra-
tiocinations, which are merely ideal, making the
things which are in the shade, more obscure
than those which are in the light, but not by
that has he to pretend to make it equal to
Truth; that is jmpossible; because art not hav-
ing such degrees of variety as nature, it ought to
work only by comparison; that is to say, feign-
ing a light of whatfoever degree: it ought to
make the second tint of a degree more obscure
than in nature, and thus the painting will ap-
pear true. If then one were to place the half-