DOI Page / Citation link:
https://doi.org/10.11588/diglit.75271#0084
( 7° )
the picture: and then to say a picture has such, and such good
properties, and is also well handled (in that sense) is as to say a
man is wise, virtuous, and the like, and is also handsome, and
perfectly well-bred.
Generally, is the character of the picture is greatness, terrible,
or savage, as battles, robberies, witchcrafts, apparitions, or even
the portraits of men of such characters there ought to be employed
a rough, bold pencil; and contrarily, if the character is grace,
beauty, love, innocence, &c. a softer pencil, and more finishing
is proper.
It is no objection against a sketch if it be left unfinished, and
with bold rough touches, though it be little, and to be seen near,
and whatsoever its character be; for thus it answers its end, and
the painter would after that be imprudent to spend more time upon
it. But generally small pictures should be well wrought.
Jewels, gold, silver, and whatsoever has smart brightness require
bold, rough touches of the pencil in the heightenings.
The pencil should be left pretty much in linen, silks, and what-
soever has a glossiness.
All large pictures, and whatsoever is seen at a great distance
should be rough; for besides that it would be loss of time to a
painter to finish such things highly, since distance would hide all that
pains; those bold roughnesses give the work a greater force, and
keep the tints distinCt.
The more remote any thing is suposed to be, the less finishing it
ought to have. I have seen a fringe to a curtain in the back-ground
of a picture, which, perhaps, was half a day in painting, but might
have been better done in a minute.
There is often a spirit, and beauty in a quick, or perhaps an ac-
cidental management of the chalk, pen, pencil, or brush in a drawing,
or painting, which it is impossible to preserve if it be more finished;
at lead it is great odds but it will be lost: it is better therefore to
incur
the picture: and then to say a picture has such, and such good
properties, and is also well handled (in that sense) is as to say a
man is wise, virtuous, and the like, and is also handsome, and
perfectly well-bred.
Generally, is the character of the picture is greatness, terrible,
or savage, as battles, robberies, witchcrafts, apparitions, or even
the portraits of men of such characters there ought to be employed
a rough, bold pencil; and contrarily, if the character is grace,
beauty, love, innocence, &c. a softer pencil, and more finishing
is proper.
It is no objection against a sketch if it be left unfinished, and
with bold rough touches, though it be little, and to be seen near,
and whatsoever its character be; for thus it answers its end, and
the painter would after that be imprudent to spend more time upon
it. But generally small pictures should be well wrought.
Jewels, gold, silver, and whatsoever has smart brightness require
bold, rough touches of the pencil in the heightenings.
The pencil should be left pretty much in linen, silks, and what-
soever has a glossiness.
All large pictures, and whatsoever is seen at a great distance
should be rough; for besides that it would be loss of time to a
painter to finish such things highly, since distance would hide all that
pains; those bold roughnesses give the work a greater force, and
keep the tints distinCt.
The more remote any thing is suposed to be, the less finishing it
ought to have. I have seen a fringe to a curtain in the back-ground
of a picture, which, perhaps, was half a day in painting, but might
have been better done in a minute.
There is often a spirit, and beauty in a quick, or perhaps an ac-
cidental management of the chalk, pen, pencil, or brush in a drawing,
or painting, which it is impossible to preserve if it be more finished;
at lead it is great odds but it will be lost: it is better therefore to
incur