DOI Page / Citation link:
https://doi.org/10.11588/diglit.19928#0290
Chap. The Perfection os Painting. 257
being known to make a thing seem hollow, as a ditch,
cave, ciltern, well, &c. it is coloured with black or
brown i and so much the blacker, so much the deeper
jt secmsi extream black representing a bottomless
depth i but to make it rise, as the brearts of a maid, a
slretched out hand, &c. there is laid round or on each
side so much black or brown, as may make the parts
seem to stick out by reason of the adjacent hollownessJi
brightness is sometimes used for neeessity, but generally
for ornament, ( as in the pictures os Angels, Gemsy
Armour^Fhme-^lowers^Gold^and the like) the which is
made always with a mixture of light > which mixtion
Painters call Harmoge, but is nothing else save an ui>
discernible piece of Art, by which the Artisan steal-
jngly paiTeth from one colour into another,with an in-
sensible dilnndioni this Harmoge is moil perfect in
the Ramb&rvi which containing evident variety of Co-
lours, yet leaves them so indisHnguishable, as that ws
can neither see where they begin, nor yet where they
end, as Boetbius observes in libri quinti de arte musicz
capte quarto. The Iast and chief perfection of colour-.
jng lieth in the out-lines, or extremities of the work,
being cut orfwithsuch a wonderful subtility andsweet-
pess, as to present unto us things we do not see, but
that we fliould believe that behind the pictures, there
\s something more to beseen,than can easily be discern-
ed j thereby setting forth,as it were,those things which
are really concealed > this was ftarrhaftiu his chief glory >
but herein Apelles exceeded all others whatsoever, as
Fetraniusin Satyrico seems to affirm.
IX. AUion and Pajjton ii next to be considercdjn which
fonsjis lise and mstion,
There is noc any thing that can add a more lively
grace to the work, than the extream likenessof roo-
uon, proceeding from j^e inward A&ion or Passion
being known to make a thing seem hollow, as a ditch,
cave, ciltern, well, &c. it is coloured with black or
brown i and so much the blacker, so much the deeper
jt secmsi extream black representing a bottomless
depth i but to make it rise, as the brearts of a maid, a
slretched out hand, &c. there is laid round or on each
side so much black or brown, as may make the parts
seem to stick out by reason of the adjacent hollownessJi
brightness is sometimes used for neeessity, but generally
for ornament, ( as in the pictures os Angels, Gemsy
Armour^Fhme-^lowers^Gold^and the like) the which is
made always with a mixture of light > which mixtion
Painters call Harmoge, but is nothing else save an ui>
discernible piece of Art, by which the Artisan steal-
jngly paiTeth from one colour into another,with an in-
sensible dilnndioni this Harmoge is moil perfect in
the Ramb&rvi which containing evident variety of Co-
lours, yet leaves them so indisHnguishable, as that ws
can neither see where they begin, nor yet where they
end, as Boetbius observes in libri quinti de arte musicz
capte quarto. The Iast and chief perfection of colour-.
jng lieth in the out-lines, or extremities of the work,
being cut orfwithsuch a wonderful subtility andsweet-
pess, as to present unto us things we do not see, but
that we fliould believe that behind the pictures, there
\s something more to beseen,than can easily be discern-
ed j thereby setting forth,as it were,those things which
are really concealed > this was ftarrhaftiu his chief glory >
but herein Apelles exceeded all others whatsoever, as
Fetraniusin Satyrico seems to affirm.
IX. AUion and Pajjton ii next to be considercdjn which
fonsjis lise and mstion,
There is noc any thing that can add a more lively
grace to the work, than the extream likenessof roo-
uon, proceeding from j^e inward A&ion or Passion