Part 12 (1/2)

Skilful as he was in these arts, he executed nothing which he had not modelled

_Pasiteles_

CxxxIX

Don't _invent_ arrange out what you consider to be unis don't be influenced in the arrangements you select by any pictures you may see, except perhaps the japanese

_C W Furse_

CxxxIXa

He alone can conceive and compose who sees the whole at once before him

_Fuseli_

COLOUR

CXL

He who desires to be a painter must learn to rule the black, and red, and white

_titian_

CXLI

There is the black which is old and the black which is fresh, lustrous black and dull black, black in sunlight and black in shadow For the old black, one must use an admixture of red; for the fresh black, an admixture of blue; for the dull black, an adurey reflections

_Hokusai_

CXLII

When you are painting put a piece of black velvet between your eye and nature; by this means you will easily convince yourself that in nature everything is blond, even the dark trunks of trees relieved against the sky Black, when it is in shadow, is strong in tone, but ceases to be black

_Dutilleux_

CXLIII

The Variation of Colour in uneven Superficies, is what confounds an unskilful Painter; but if he takes Care to hts, he will find the true Colouring no such difficult matter: For first he will alter the Superficies properly as far as the Line of Separation, either with White or Black sparingly as only with gentle Dew; then he will in the same Manner bedew the other Side of the Line, if I ain and so on by turns, till the light Side is brightened with more transparent Colour, and the same Colour on the other Side dies away like Smoak into an easy Shade But you should always remember, that no Superficie should ever be hter: Even in Painting the whitest Cloaths you should abstain froest of that Colour; because the Painter has nothing but White ith to i Superficie whatsoever, as I know of none but Black hich he can represent the utht For this Reason, when he paints a white Habit, he should take one of the four Kinds of Colours that are clear and open; and so again in painting any black Habit, let him use another Extream, but not absolute Black, as for Instance, the Colour of the Sea where it is very deep, which is extreamly dark In a Word, this Composition of Black and White has so much Power, that when practised with Art and Method, it is capable of representing in Painting the Superficie either of Gold or of Silver, and even of the clearest Glass Those Painters, therefore, are greatly to be condemned, who ment; for which reason I could wish that the Painters were obliged to buy their White at a greater Price than the most costly Gems, and that both White and Black were to be ar; that they ht be more chary of it