DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.75271#0080
music; he must not only see well, but have a particular delicacy with
relation to the beauty of colours, and the infinite variety of tints.
The Venetian, Lombard, and Flemish schools have excelled in
colouring; the Florentine, and Roman in design; the Bolognese
masters in both; but not to the degree generally as either of the
other. Correggio, Titian, Paolo Veronese, Rubens, and Van Dyck,
have been admirable colourists ; the latter in his best things has
followed common nature extremely close.
Rafaelle's colouring, especially in his shadows, is blackish : this
was occasioned by the use of a sort of printer's black, and which has
changed its tint, though it was warm, and glowing at first', upon
which account he was fond of it, though he was advised what
would be the consequence. However by the vast progress he made
in colouring after he applyed himself to it, it is judged he would
in this part of Painting also have excelled, as in the others: her^
would have been a double prodigy ! since no one man has ever
possessed even colouring, and designing to that, or any very con-
siderable degree.
Though the cartons are some of the last of his works, it must be
confessed the colouring of them is not equal to the drawing; but at
the same time neither can it be denied but that he that painted
those could colour well, and would have coloured better. It must
be considered they were made for patterns for tapestry, and painted,
not in oil, but in distemper, and besides are very near two hundred
years old: if therefore one sees not the warmth, and mellowness,
and delicacy of colouring which is to be found in Correggio, Titian,
or Rubens, it may fairly be imputed in a great measure to these
causes. A judicious painter has other considerations relating to the
colouring when he makes patterns for tapestry to. be heightened
with gold, and silver, than when he paints a picture without any
such view; nor can a sort of dryness, and harshness be avoided in
distemper, upon paper: time moreover has apparently changed
some
relation to the beauty of colours, and the infinite variety of tints.
The Venetian, Lombard, and Flemish schools have excelled in
colouring; the Florentine, and Roman in design; the Bolognese
masters in both; but not to the degree generally as either of the
other. Correggio, Titian, Paolo Veronese, Rubens, and Van Dyck,
have been admirable colourists ; the latter in his best things has
followed common nature extremely close.
Rafaelle's colouring, especially in his shadows, is blackish : this
was occasioned by the use of a sort of printer's black, and which has
changed its tint, though it was warm, and glowing at first', upon
which account he was fond of it, though he was advised what
would be the consequence. However by the vast progress he made
in colouring after he applyed himself to it, it is judged he would
in this part of Painting also have excelled, as in the others: her^
would have been a double prodigy ! since no one man has ever
possessed even colouring, and designing to that, or any very con-
siderable degree.
Though the cartons are some of the last of his works, it must be
confessed the colouring of them is not equal to the drawing; but at
the same time neither can it be denied but that he that painted
those could colour well, and would have coloured better. It must
be considered they were made for patterns for tapestry, and painted,
not in oil, but in distemper, and besides are very near two hundred
years old: if therefore one sees not the warmth, and mellowness,
and delicacy of colouring which is to be found in Correggio, Titian,
or Rubens, it may fairly be imputed in a great measure to these
causes. A judicious painter has other considerations relating to the
colouring when he makes patterns for tapestry to. be heightened
with gold, and silver, than when he paints a picture without any
such view; nor can a sort of dryness, and harshness be avoided in
distemper, upon paper: time moreover has apparently changed
some