divested, as much as might well be, of the technicalities which keep these arts asunder. Should the artist, as he may, find herein matters of his previous knowledge and observation, he will reflect that every reader has not the skill and experience of an artist; and if he meet with things erroneous, the author courts correction and improvement; while in return he tenders his own experience to the inquirer in any way connected with the art. With respect to the application of colours in painting, recourse must be had to practice under the direction of an able master, several of whom have published valuable works of instruction in the various branches of the art*- for of this the student may be assured, that, however * Such are Dagley's Compendium of the Theory and Practice of Painting, in which the elements of the art are treated with classical simplicity and method; Harding's ingenious and admirable Treatise on the Use of the Black Lead Pencil, &c.; Burnett's elegant performances On Composition, Chiaroscuro, and Colouring; and various others on different departments of the art. Those who delight in these and similar inquiries may find gratification in perusing the following recent publications: - Burnet's, On the Education of the Eye; Fielding's two elegant works On the Practice of Painting; Lady Callcott's History of the Art; Hay's Laws of Harmonious Colouring; and Phillips' Theory and Practice of Painting in Water Colours. useful recipes may be in cookery and pharmacy, the skill of colouring is not to be acquired by any such off-hand processes; and that perfect success therein will require - what no literary work can supply the constant and united efforts of an able hand, a good eye, and a cultivated judgment— directed in the first instance to the works of good colourists, and perfected by an assiduous application to nature and science. But though the records of literature and science cannot alone produce a colourist, nor form the practical painter in other respects, they may become most important auxiliaries, not merely by recreating his faculties, instructing his hand, and extending the sphere of his art, by endless analogies throughout the field of history and philosophy, and the vast regions of poetic fancy; but also by exciting a just enthusiasm, and stimulating his invention, while they enlarge his judgment and refine his taste; supporting at the same time that connexion with learning which gives dignity to fine art, and raises it above mere manipulation. Indeed, there never was a truly great artist who did not unite with his ability somewhat of literary talent, inclination, or acquirement; nor is there a surer mark of a low and grovelling genius than a contempt of theory or science, and an over-devotion to the mechanical and practical in art; for the connexion of art with science, theory, and practice, and of these with literature, is most intimate and indissoluble; nor is it likely the artist should paint the worse for being acquainted with the philosophy of his art. The author derives hence an excuse for having, even in this lowly performance, attempted to draw philosophy on the one hand, and poetry and harmonics on the other, into intimate connexion with colours and colouring, by a variety of natural analogies and poetical instances, and thereby aiming at associating colour with sentiment and a moral purpose. There remains only to be remarked, that the original plan of the work has been preserved in the present edition with no other alteration than the correction and augmentation of the practical parts and the omission of the optical and chromatic experiments appended to the quarto edition, in which respects it is hoped the work may be found improved in its practical utility. CONTENTS. CHAPTER Dedication Preface ... I.-ON COLOURING-of the Antients and Moderns...... III.-On the Relations and Harmony of Colours PAGE iii V 1 20 36 IV. On the Physical Causes of Colours, &c. 65 V. On the Durability and Fugacity of Colours VI.—On the General Qualities of Pigments 85 102 112 VIII. On the Neutral, WHITE, and White Pigments IX.-OF THE PRIMARY COLOURS. Of YELLOW, and XII. OF THE SECONDARY COLOURS. Of ORANGE, and XV. OF THE TERTIARY COLOURS. Of CITRINE, and Citrine Pigments.... 250 XVI. Of RUSSET, and Russet Pigments... 257 CHAPTER XVII.-Of OLIVE, and Olive Pigments. XVIII. OF THE SEMINEUTRAL COLOURS. Of BROWN, and Brown Pigments XIX.- Of MARRONE, and Marrone Pigments... XX. Of GRAY, and Gray Pigments.... PAGE 263 270 287 292 301 Of the Neutral, BLACK, and Black Pigments....... XXII. TABLES OF PIGMENTS, indicating their Powers, 321 XXIII.-ON VEHICLES AND VARNISHES, &c...... 341 XXIV. On Grounds, &c..... 383 390 XXV.-On Picture-Cleaning and Restoring, &c..... NOTES.-On Styles of Painting, 400.- Colouring, 402.- New- Index.. 415 |