I. HISTORY PAINTING: which reprefents the principal events in hiftory, facred and profane, real or fabulous; and to this class belongs allegorical expreffion. Thefe are the most fublime productions of the art; and in which Raphael, Guido, Rubens, Le Brun, &c. have excelled. II. RURAL HISTORY; or the representation of a country life, of villages and hamlets, and their inhabitants. This is an inferior clafs; and in which Teniers, Breughel, Watteau, &c. have great reputation, by rendering it at once pleafing and graceful. III. PORTRAIT-PAINTING; which is an admirable branch of this art, and has engaged the attention of the greatest masters in all ages, as Apelles, Guido, Vandyke, Rembrandt, Regauds, Pefne, Kneller, La Tour, &c. IV. GROTESQUE HISTORIES; as the nocturnal meetings of witches; forceries and incantations; the operations of mountebanks, &c. a fort of paint ing in which the younger Breughel, Teniers, and others, have exercifed their talents with fuccefs. V. BATTLE-PIECES; by which Huchtemberg, Wouwerman, &c. have rendered themselves fa mous. VI. LANDSCAPES; a charming species of painting, that has been treated by mafters of the greateft genius in every nation. VII. LANDSCAPES DIVERSIFIED WITH WATERS, as rivers, lakes, cataracts, &c.; which require a peculiar talent, to express the water fometimes fmooth and transparent, and at others foaming and rufhing furiously along. VIII. SEA-PIECES: in which are reprefented the ocean, harbours, and great rivers; and the veffels, boats, barges, &c. with which they are covered; fometimes in a calm, sometimes with a fresh breeze, and at others in a ftorm. In this clafs Backhuyfen, Vandervelde, Blome, and many others, have acquired great reputation. IX. NIGHT-PIECES; which represent all forts of objects, either as illuminated by torches, by the flames of a conflagration, or by the light of the moon. Schalek, Vanderneer, Vanderpool, &c. have here excelled. X. LIVING ANIMALS: A more difficult branch of painting than is commonly imagined; and in which Rofa, Carré, Vandervelde, and many others, have fucceeded marvellously well. XI. BIRDS of all kinds; a very laborious clafs, and which requires extreme patience minutely to exprefs the infinite variety and delicacy of their plumage. XII. CULINARY PIECES; which reprefent all forts of provifions, and animals without life, &c; a clafs much inferior to the reft, in which nature never appears to advantage, and which requires only a fervile imitation of objects that are but little pleafing. The painting of fishes is referred to this clafs. XIII. FRUIT-PIECES, of every kind, imitated from nature. XIV. FLOWER-PIECES; a charming clafs of painting, where Art in the hands of Huyzum, P. Segerts, Merian, &c. becomes the rival of Nature. Plants and infects are ufually referred to the painters of flowers, who with them ornament their works. XV. PIECES OF ARCHITECTURE; a kind of 5 painting in which the Italians excel all others. Under this clafs may be comprehended the reprefentations of ruins, fea ports, ftreets, and public places; fuch as are feen in the works of Caneletti, and other able masters. XVI. INSTRUMENTS OF MUSIC, pieces of furni ture, and other inanimate objects; a trifling fpecies, and in which able painters only accidentally employ their talents. XVII. IMITATIONS OF BAS-RELIEFS; a very pleafing kind of painting, and which may be carried by an able hand to a high degree of excellence. XVIII. HUNTING PIECES: thefe a'fo require a peculiar talent, as they unite the painting of men, horfes, dogs, and game, to that of landscapes. It will not be expected that we should here give the rules that the painter is to obferve in banding each particular subject. What has been said on hiftorical painting (Part I. Sed. IX, and X.) may throw fome light on the reft, and the particular rules must be learned from the study of the art itfelf. Good mafters, academies of reputation, and a rational practice, are the fources whence the young painter muft derive the detail of his art.. We fhall however infert fome rules and obfervations relative to Landscape and Portrait; these, with History painting, formed the principal branches of the art. SECT. II. Of LANDSCAPES. LANDSCAPE painting includes every object that the country prefents; and is diftinguished into the heroic, and the paftoral or rural; of which indeed all other ftyles are but mixtures. The HEROIC STYLE is a compofition of objects, which in their kinds draw, both from art and nature, every thing that is great and extraordinary in either. The fituations are perfectly agreeable and furprising. The only buildings are temples, pyramids, ancient places of burial, altars confecrated to the divinities, pleasure-houses of regular architecture; and if nature appear not there as we every day cafually fee her, fhe is at leaft represented as we think the ought to be. This style is an agree able illufion, and a fort of enchantment, when handled by a man of fine genius and a good underftanding, as Pouffin was, who had fo happily expreffed it But if, in the courfe of this ftyle, the painter has not talent enough to maintain the fublime, he is often in danger of falling into the childish manner. The RURAL STYLE is a reprefentation of countries, rather abandoned to the caprice of nature, than cultivated: we there fee nature fimple, without ornament, and without artifice; but with all those graces wherewith the adorns herself much more when left to herself than when constrained by art. In this ftyle, fituations bear all forts of varieties: fometimes they are very extenfive and open, to contain the flocks of the fhepherds; at others very wild, for the retreat of folitary perfons, and a covert for wild beafts. There are numberlefs pieces wherein both thefe ftyles happily meet; and which has the afcendant, will appear from their respective properties. The chief parts of landscapes are, their fites or openings, accidents, skies and clouds, offskips and mountains, verdure verdure or turfing, rocks, grounds or lands, terraces, fabrics, waters, fore grounds, plants, figures, and trees. The word fite, or fituation, fignifies the view, profped, or opening of a country. Situations ought to be well put together; and difengaged in their make, that the conjunction of grounds may not seem to be obstructed though we should see but a part of them. I. SITUATIONS are various, and reprefented according to the plan of the painter, as either open or clofe, mountainous or watery, tilled and inhabited, or wild and lonely; or, in fine, variegated by a prudent mixture of fome of thefe. But if the painter be obliged to imitate nature in a flat and regular country, he muft make it agreeable by a good difpofition of the claro-obfcuro, and fuch pleafing colouring as may make one foil unite with another. Extraordinary fituations are very pleafing, and cheer the imagination by their novelty and beauty, even when the local colouring is but moderately performed: because, at worft, fuch pic tures are only looked on as unfinished, and wanting to be completed by some skilful hand in colouring; whereas common fituations and objects require good colouring and abfolute finishing, in order to please. It was only by these properties that Claud Lorrain has made amends for his infipid choice in most of his fituations. But in what ever manner that part be executed, one of the beft ways to make it valuable, and even to multiply and vary it without altering its form, is properly to imagine fome ingenious accident in it. 2. An ACCIDENT in painting is an obstruction of the fun's light by the interpofition of clouds, in fuch manner, that fome parts of the earth fhall be in light and others in thade, which, according to the motion of the clouds, fucceed each other, and produce fuch wonderful effects and changes of the claro-obfcuro, as seem to create so many new fituatións. 3. The SKY, in painter's language, is the ethereal part over our heads; but more particularly the air in which we breathe, and that where CLOUDS and ftorms are engendered. Its colour is blue, growing clearer as it approaches the earth, because of the interpofition of vapours arifing between the eye and the horizon; which, being penetrated by the light, communicates it to objects in a greater or leffer degree, as they are more or lefs remote. But this light, being either yellow or reddish, at funfet these objects partake not only of the light, but of the colour: thus the yellow light mixing with the blue colour of the fky, alters it, and gives it a tint more or lefs greenish, as the yellowness of the light is more or lets deep. This obfervation is general and infallible; but there is an infinity of particular once, which the painter must make upon the natural, with his pen cil in his hand, when occafion offers; for there are very fine and fingular effects appearing in the sky, which it is difficult to defcribe or account for by physical or optical reasons; for the various colours and furprising appearances of the sky and clouds at funfet feem to have no relation to the rainbow, a phenomenon for which the philofopher can give folid reafons. See OPTICS, Index. The property of clouds is to be thin and airy, both in fhape and colour their fhapes, though infinite, must be ftudied after nature, at fuch times as they appear fine. To make them look thin, we ought to make their grounds unite thinly with them, efpecially near their extremities, as if they were tranfparent: And if we would have them thick, their reflections must be so managed, as, without deftroying their thinnefs, they may seem to wind and unite, if neceffary, with the clouds that are next to them. Little clouds feidom have a good effect, unless when, being near each other, they feem altogether to make but one object. In short, the character of the sky is to be luminous; and, as it is a fource of light, every thing that is upon the earth muft yield to it in brightnefs: If, however, there is any thing that comes near it in light, it must be waters, and polifhed bodies which are fufceptible of luminous reflections. But while the painter makes the fky luminous, he must not represent it always fhining throughout. On the contrary, he must contrive his light fo that the greatest part of it may fall only upon one place: and to make it more apparent, he must take as much care as poffible to put it in oppofition to fome terreftrial object, that may render it more lively by its dark colour; as a tree, tower, or fome other building that is fomewhat high. This principal light may also be heightened, by a certain difpofition of clouds having a supposed light, or a light ingeniously inclofed between clouds, whofe fweet obfcurity fpreads itself by little and little on all hands. 4. OFFSKIPS have a near affinity with the sky; it is the sky which determines either the force or faintnefs of them. They are darkeft when the sky is moft loaded, and brightest when it is moft clear. They fometimes intermix their shapes and lights; and there are times and countries where the clouds pass between the mountains, whose tops rife and appear above them. Mountains that are high, and covered with fnow, are very proper to produce extraordinary effects in the offskip, which are advantageous to the painter, and pleafing to the fpectator. The difpofition of offskips its arbitrary; let them only agree with the whole together of the picture, and the nature of the country we would reprefent. They are ufually blue, because of the interpofition of air between them and the eye: but they lofe this colour by degrees, as they come nearer the eye, and fo take that which is natural to the objects. In diftancing MOUNTAINS, we muft obferve to join them infenfibly by the roundings off, which the reflections make probable; and avoid a certain edginess in their extremities, which makes them appear in flices, as if cut with fciffars, and stuck upon the cloth. The air at the feet of mountains, being charged with vapours, is more fufceptible of light than at their tops. In this cafe, we fuppofe the main light to be set reasonably high, and to enlighten the mountains equally, or that the clouds deprive them of the light of the fun. But if we suppose the main light to be very low, and to frike the mountains, then their tops will be ftrongly enlightened, as well as every thing elfe in the fame degree of light. Though the forms of things diminish in bignefs, and colours lofe their ftrength, in proportion as they recede from the L1112 first plan of the picture, to the moft remote off-placed with judgment, give a terrace a greater air fkip, as we obferve in nature and common prac- of probability. tice; yet this does not exclude the ufe of the accidents. These contribute greatly to the wonderful in landscape, when they are properly introduced, and when the artist has a juft idea of their good effects. 5. By VERDURE or TURFING is meant the greennefs with which the herbs colour the ground: This is done feveral ways; and the diverfity, proceeds, not only from the nature of plants, which, for the most part, have their particular verdures, but also from the change of feafons, and the colour of the earth, when the herbs are but thin fown. By this wariety, a painter may choofe or unite, in the fame tract of land, feveral forts of greens, intermixed and blended together, which are often of great fervice to those who know how to use them; because this diverfity of greens, as it is often found in nature, gives a character of truth to thofe parts where it is properly ufed. There is a wonderful example of this part of landfcape, in the view of Mechlin, by Rubens. 6. Though Rocks have all forts of fhapes, and participate of all colours, yet there are, in their diverfity, certain characters which cannot be well exprefled without having recourfe to nature. Some are in banks, and fet off with beds of fhrubs; others in huge blocks, either projecting or falling back; others confitt of large broken parts, contiguous to each other; and others, in fhort, of an enormous fizé, all in one ftone, either naturally, as free-ftone, or elfe through the injuries of time, which in the courfe of many ages has worn away their marks of feparation. But whatever their form be, they are ufually fet out with clefts, breaks, hollows, bulhes, mofs, and the ftains of time; and thefe particulars, well managed, create a certain idea of truth. Rocks are of themselves gloomy, and only proper for folitudes: but where accompanied with bushes, they infpire a fresh air; and, when they have waters, either proceeding from, or washing them, they give an infinite pleasure. 7. A GROUND or LAND, in the painter's ftyle, is a certain diftinct piece of land, which is neither too woody nor hilly. Grounds contribute, more than any thing to the gradation and distancing of landscape; because they follow one another, either in fhape, or in the claro-objcuro, or in their variety of colouring, or by fome infenfible conjunction of one with another. Multiplicity of grounds, though it be often contrary to grand manner, does not deftroy it; for, befides the extent of country which it exhibits, it is fufceptible of the accidents we have mentioned, and which, with good management, have a fine effect. There is one nicety to be obferved in grounds, viz. that in order to cha. facterize them well, care must be taken, that the trees in them have a different verdure and different colours from thofe grounds though this difference must not be too apparent.. &A TERRACE, in painting, is a piece of ground, either quite, naked or having very little herbage, like great roads and places often frequented. They are of ufe chiefly in the fore grounds of a picture, where they ought to be very pacious and open, and accompanied with fome accidental verdure, and fome ones, which, if 9. Painters mean by BUILDINGS any structures they generally reprefent, but chiefly fuch as are of a regular architecture, and are molt confpicuous. Building is not fo proper a name for the houfes of country people, or the cottages of thepherds, which are introduced into the rural taste, as for regular and fhowy edifices, which are always brought into the beroic, Buildings in general are a great ornament in landscapes, even when they are Gothic, or appear partly inhabited and partly ruinous: they raise the imagination by the ufe they are thought to be defigned for; as appears from ancient towers, which give a venerable appearance to a landscape. 10. Much of the fpirit of landscape is owing to the WATERS which are introduced in it. They appear fometimes impetuous, as when a ftorm makes them overflow their banks; at other times rebounding, as by the fall of a rock; at other times, through unusual preffure, gushing out and dividing into numberleis ftreams, whofe motion and murmuring agreeably deceive both the eye and ear; at other times calm and purling in a fandy bed; at other times fo ftill and standing, as to become a faithful looking-glafs, which doubles ail the objects that are oppofite to it; and in this ftate they have more life than in the most violent agitation, Confult BOURDON's works, or his prints, on this fubject: he has treated of waters with the greateft propriety. Waters are not proper for every fituation; but, to express them well, the artift ought to be mafter of the exactness of watery reflections; because they only make painted water appear as real: for practice alone, without exactnefs, deftroys the effect. II. As it is the part of the FORE GROUND to ufher the eye into the piece, great care must be taken that the eye meet with good reception; fometimes by the opening of a fine terrace, whofe defign and workmanship may be equally curious; fcmetimes by a variety of well diftinguished plants, and these sometimes flowered; and at other times, by figures in a lively tafte, or other objects, either admirable for their novelty or introduced as by chance. In a word, the artist cannot too much ftudy his fore-ground objects, fince they attract the eye, imprefs the first character of truth, and greatly contribute to make the artifice of a picture fuccefsful, and to anticipitate our esteem for the whole work. 12. PLANTS are not always necessary in fore grounds, because there are feveral ways of making thofe grounds agreeable. But if we refolve to draw plants there, we ought to paint them exactly after the life; or at leaft, among such as we paint practally, there ought to be fome more finifhed than the reft, and whofe kinds may be dif tinguished by the difference of defign and colouring, that, by a probable fuppofition, they may give the others a character of truth. The fame may be applied to the branches and barks of trees, 13. In compofing landscape, the artist may have intended to give it a character agreeable to the fubject he has chofen, and which his FIGURES ought to reprefent. He may alfo, as often happens, have only thought of his figures, after fiuith ing his landscape. The truth is, the figures in moft landscapes are made rather to accompany than to fuit them. There are landscapes fo difpofed and fituated, as to require only pafling figures; which feveral good mafters, each in his ftyle, hase introduced, as Pouffin in the heroic, and Fouquier in the rural, with all probability and grace. Refting figures have been also made to appear inwardly active. And these two different ways of treating figures act equally, though in a different manner. It is rather inaction that ought to be blamed in figures; for in this condition, which robs them of all connection with the landscape, they appear to be pafted on. But without reftricting the painter's liberty in this respect, the best way to make figures valuable is, to make them fo to agree with the character of the landfcape, that it may seem to have been made purely for the figures. We would not have them either infipid or indifferent, but to reprefent fome little fubject to awaken the spectator's attention, or elfe to give the picture a name of distinction among the curious. Great care must be taken to proportion the fize of the figures to the bignefs of the trees, and other objects of the landfeape. And as they chiefly give life to a landscape, they must be difperfed as conveniently as poffible. 14. The beauty of TREES is perhaps one of the greatest ornaments of landscape; on account of the variety of their kinds, and their freshness, but chiefly their lightness, which makes them feem, as being expofed to the air, to be always in motion. Though diverfity be pleasing in all the objects of landscape, it is chiefly in trees that it fhows its greatest beauty. Landscape confiders both their kinds and their forms. Their kinds require the painter's particular study, to distinguish them from each other; for we must be able at firft fight to difcover which are oaks, elm, firs, fycamores, poplars, willows, pines, &c. which, by a specific colour, or touching, are diftinguishable from all other kinds. Befides the variety which is found in each kind of tree, there is in all trees a general variety. This is obferved in the different manners in which their branches are difpofed, fome being very vigorous and thick, others more dry and thin; fome more green, others more red or yellow. But, whatever their nature or manner of branching be, let the handling be lively and thin, to preferve the fpirit of their characters. The obfervation of the different barks merits particular attention; for in hard woods, age or accident chaps them, and thereby gives them a fort of embroidery. Beginners will find, in practice, that the chief trouble of landscapes lies in handling trees; and, both in practice and fpeculation, trees are the moft difficult part of landscape, as they are its greatest ornament. After having studied and copied, with the pen or crayon, first the prints, and then the defigns of Titian and Caracci, the ftudent fhould imitate with the pencil thofe touches which they have moft diftinctly specified, if their paintings can be procured: but fince they are scarce, others fhould be got which have a good character for their touching: as thofe of Fouquier, who is a moft excellent model: Paul Brill, Breugel, and Bourdon, are also very good; their touching is neat, lively, and thin.-Painters ufually comprife, under the word STUDY, any thing whatever, which they either design or paint feparately after the life, whether figures, heads, feet, hands, draperies, animals, mountains, trees, plants, flowers, fruits, or whatever may confirm them in the just imitation of nature: the drawing of these things is what they call fudy; whether they be for inftruction in defign, or to perfect their work. To improve themselves in these ftudies painters have taken feveral methods. Some have defigned after nature, in the open fields; and quite finished thofe parts which they had chofen, but without adding any colour. Others have drawn in oil colours, in a middle tint, on ftrong paper; and found this method convenient, because, the colours finking, they could put colour on colour, though different from each other. For this purpose they took with them a flat box, which commodiously held their pallet, pencils, oil, and colours. This method which indeed requires feveral implements, is doubtless the best for drawing nature more particularly, and with greater exactnefs, efpecially if, after the work be dry and varnished, the artift return to the place where he drew, and retouch the principal things after nature. Others have only drawn the outlines of objects, and flightly washed them in colours near the life, for the ease of their memory. Others have attentively observed fuch parts as they had a mind to retain, and contented themselves with committing them to memory, which upon occafion gave them a faithful account of them. Others have made drawings in pastil and wash together. Others, with more curiofity and patience, had gone feveral times to the places which were to their tafte: the first time they only made choice of the parts, and drew them correctly; and the other times were spent in obfervsing the variety of colouring, and its alterations through change of light. Now these several methods may each be practifed as beft fuits the ftudent. Nature, however, at certain times, presents extraordinary but tranfient beauties, and fuch as can be of no fervice to the artist who has not as much time as is neceffary to imitate what he admires. The best way to take advantage of such momentary beauties is this: The painter being provided with paper, and a black-lead pencil, let him quickly, but slightly, defign what he fees extraordinary, and, to remember the colouring, let him mark the principal part with characters, which he may explain at the bottom of the paper. A cloud, for inftance, may be marked A, another cloud B, a light C, a mountain D, a terrace E, and fo on. And having repeated thefe letters at the bottom of the paper, let him write against each the colour; blue, red, violet, grey, &c. or the initials. After this, he muft go to painting as foon as poffible; otherwise most of what he has obferved will flip out of his memory. This method is the more useful, as it not only prevents our lofing an infinity of fudden and tranfitory beauties, but also helps, by the aforefaid marks and characters, to perfect the other methods above mentioned. The propereft time for thefe ftudies is autumn; the mildness of that feafon, the beauty of the sky, the richness of the earth, and the variety of ob. jects jects, are powerful objects, for the painter to improve his genius and perfect his art. As the general rules of drawing landfcapes are laid down under the article DRAWING, Sea. XIV. we must refer the landscape painter to them. We fhall here only make fome general remarks on this kind of painting. I. Landscape fuppofes the knowledge and practice of the principal rules in perspective, to maintain probability. See Part I. Sec. II. and PER SPECTIVE. II. The nigher the leaves of trees are to the earth, the larger they are, and the greener; as being apteft to receive, in abundance, the fap which nourishes them: and the upper branches begin first to take the redness or yellownefs which colours them, in autumn. But it is otherwife in plants; for their ftocks renew all the year round, and their leaves fucceed one another, at a confiderable distance of time, infomuch that nature, employed in producing new leaves to adorn the ftock as it rifes, does by degrees defert the under ones; which, having firft performed their office, are the firft that die: but this effect is more vifible in fome than in others. III. The under parts of all leaves are of a brighter green than the upper, and almost always incline to the filverish; and those which are wind-fhaken are known from others by that colour: but if we view them from beneath, when penetrated by the fun's rays, they difcover a fine and lively green. IV. There are five principal things which give fpirit to landscape, viz. figures, animals, waters, wind-fhaken trees, and thinnefs of pencilling; to which add fmoke, when there is occafion to introduce it. V. When one colour predominates throughout a landscape, as green in fpring, or red in autumn, the piece will look either as of one colour, or elfe as unfinished. The ingenious painter muft endeavour to correct the harsh unfightly colouring of winter and spring, by means of figures, waters, and buildings; for fummer and autumn fubjects are of themselves capable of great variety. SECT. III. Of PORTRAITURE, Before we proceed to particulars in this branch of painting, it is necessary to attend to fome general propofitions. I. There is not a fingle perfon in the world who has not a peculiar character both in body and face. II. Simple and genuine nature is more proper for imitation than nature embellished too artificially. III. Painters easily accuftom themselves to their own tints, and the manner of their mafters; and after this habit is rooted, they view nature, not as fhe really is, but as they are used to paint her. IV. It is very difficult to make a picture the figures of which are as big as the life, to have the fame effect near as at a distance. V. It is proper, before we begin a portrait, to make a sketch of it. There are four things neceffary to make a portrait perfect; viz. air, colouring, dress, and attitude. 1. The AIR refpects the lines of the face, the head attire, and the fize. The lines of the face depend upon exactness of draught, and agreement of the parts; which altogether muft reprefent the phyfiognomy of the perfon painted, in such a manner that the picture of his face may feem to be also that of his mind. It is not exactness of defign in portraits that gives spirit and true air, fo much as the agreement of the parts at the very moment when the difpofition and temperament of the fitter are to be hit off. We fee feveral portraits, which, though correctly defigned, have a cold, languishing, and ftupid air; whilft others, lefs correct in defign, ftrike us, however, at firft fight, with the sitters resemblance. Few painters are careful enough to put the parts well together: Sometimes the mouth is smiling, and the eyes are fad; at other times, the eyes are cheerful, and the cheeks lank; by which means their work has a falfe air, and looks unnatural. Of all the parts of the face, that which contributes most to likeness is the nose; it is therefore of great moment to fet and draw it well. Though the hair of the head feems to be part of the dress which is capable of various forms without altering the air of the face; yet the head attire which one has been moft accustomed to creates fuch a! likeness, that we scarce know a familiar acquaintance on his putting on a periwig somewhat diffe. rent from that which he used to wear. It is neceffary therefore, as far as possible, to take the air of the head ornament, and make it accompany and set off that of the face, if there be no reason to the contrary. As to the ftature, it contributes fo much to like. nefs, that we very often know people without seeing their face: It is therefore extremely proper to draw the fize after the fitter himself, and in such an attitude as he usually appears in. In fitting, the perfon appears to be of a lefs free make, through the heaving of his shoulders: wherefore, to adjuft bis fize, it is proper to make him ftand for a fhort time in the pofture we would give him, and then make our observations. All deformities, when the air and temper may be discovered without them, ought to be either corrected or omitted in portraits. But in the faces of great men we cannot be too exact, whether the parts be beautiful or not: for portraits of fuch perfons are to be ftanding monuments to pofterity; in which cafe, every thing in a picture is precious that is faithful. But after whatever manner the painter acquits himself in this point, let him never forget good air nor grace; and that there are, in the natural, advantageous moments for hitting them off. 2. COLOURING, in portraiture, is an effufion of nature, difcovering the true tempers of perfons; and the temper being effential to likeness, it ought to be handled as exactly as the defign. This part is the more valuable, as it is rare and difficult to hit. Many painters have come to a likeness by ftrokes and outlines; but few have shown in colours the tempers of perfons. Two points are neceffary in colouring; exactness of tints, and the art of fetting them off. The former is acquired by practice, in examining and compar ing the colours we fee in life with thofe by which we would imitate it; and the art of thofe tints confifts in knowing what one colour will produce when fet by another, and in making good |