CXXVII
Charcoal.You can't draw, you paint with it.
Pencil.It is always touch and go whether I can manage it even now. Sometimes knots will come in it, and I never can get them out—I mean little black specks. If I have once india-rubbered it, it doesn't make a good drawing. I look on a perfectly successful drawing as one built upon a groundwork of clear lines till it is finished. It's the same kind of thing with red chalk—it mustn't be taken out: rubbing with the finger is all right. In fact you don't succeed with any process until you find out how you may knock it about and in what way you must be careful. Slowly built-up texture in oil-painting gives you the best chance of changing without damage when it is necessary.
Burne-Jones.
CXXVIII
The simpler your lines and forms are the stronger and more beautiful they will be. Whenever you break up forms you weaken them. It is as with everything else that is split and divided.
Ingres.
CXXIX
The draperies with which you dress figures ought to have their folds so accommodated as to surround the parts they are intended to cover; that in the mass of light there be not any dark fold, and in the mass of shadows none receiving too great a light. They must go gently over, describing the parts; but not with lines across, cutting the members with hard notches, deeper than the part can possibly be; at the same time, it must fit the body, and not appear like an empty bundle of cloth; a fault of many painters, who, enamoured of the quantity and variety of folds, haveencumbered their figures, forgetting the intention of clothes, which is to dress and surround the parts gracefully wherever they touch; and not to be filled with wind, like bladders puffed up where the parts project. I do not deny that we ought not to neglect introducing some handsome folds among these draperies, but it must be done with great judgment, and suited to the parts, where, by the actions of the limbs and position of the whole body, they gather together. Above all, be careful to vary the quality and quantity of your folds in compositions of many figures; so that, if some have large folds, produced by thick woollen cloth, others being dressed in thinner stuff, may have them narrower; some sharp and straight, others soft and undulating.
Leonardo.
CXXX
Do not spare yourself in drawing from the living model, draped as well as undraped; in fact, draw drapery continually, for remember that the beauty of your design must largely depend on the design of the drapery. What you should aim at is to get so familiar with all this that you can at last make your design with ease and something like certainty, without drawing from models in the first draught, though you should make studies from nature afterwards.
William Morris.
CXXXI
A woman's shape is best in repose, but the fine thing about a man is that he is such a splendid machine, so you can put him in motion, and make as many knobs and joints and muscles about him as you please.
Burne-Jones.
CXXXII
I want to draw from the nude this summer as much as I possibly can; I am sure that it is the only way to keep oneself up to the standard of draughtsmanship that is so absolutely necessary to any one who wishes to become a craftsman in preference to a glorified amateur.
C. W. Furse.
CXXXIII
Always when you draw make up your mind definitely as to what are the salient characteristics of the object, and express those as personally as you can, not minding whether your view is or is not shared by your relatives and friends. Now this is notcarte blancheto be capricious, nor does it intend to make you seek for novelty; but if you are true to your own vision, as heretofore you have been, you will always be original and personal in your work. In stating your opinion on the structural character of man, bird, or beast, always wilfully caricature; it gives you something to prune, which is everso much more satisfactory than having constantly to fill gaps which an unincisive vision has caused, and which will invariably make work dull and mediocre and wooden.
C. W. Furse.
CXXXIV
In Japanese painting form and colour are represented without any attempt at relief, but in European methods relief and illusion are sought for.
Hokusai.
CXXXV
It is indeed ridiculous that most of our people are disposed to regard Western paintings as a kind of Uki-ye. As I have repeatedly remarked, a painting which is not a faithful copy of nature has neither beauty nor is worthy of the name. What I mean to say is this: be the subject what it may, a landscape, a bird, a bullock, a tree, a stone, or an insect, it should be treated in a way so lifelike that it is instinct with life and motion. Now this is beyond the possibility of any other art save that of the West. Judged from this point of view, Japanese and Chinese paintings look very puerile, hardly deserving the name of art. Because people have been accustomed to such daub-like productions, whenever they see a master painting of the West, they merely pass it by as a mere curiosity, or dub it a Uki-ye, a misconception which betrays sheer ignorance.
Shiba Kokan(Japanese, eighteenth century).
CXXXVI
These accents are to painting what melody is to the harmonic base, and more than anything else they decide victory or defeat. A method is of little account at those moments when the final effect is at hand; one uses any means, even diabolical invocations, and when the need comes, when I have exhausted the resources of pigment, I use a scraper, pumice-stone, and if nothing else serves, the handle of my brush.
Rousseau.
CXXXVII
The noblest relievo in painting is that which is resultant from the treatment of the masses, not from the vulgar swelling and rounding of the bodies; and the noble Venetian massing is excellent in this quality. Those parts in which there is necessity for salient quality of relief must be expressed with a certain quadrature, a certain varied grace of accent like that which the bony ridge develops in beautiful wrists and ankles, also in some of the tunic-folds that fall behind the arm of the recumbent Fate over the middle of the figure of the Newlands Titian; and again in some of the happiest passages in the graceful women of Lodovico Caracci, and in their vesture folds,e.g.the bosom and waist of the St. Catherine.
Doubtless there is a choice, or design were vain. There must be courage torejectno less than togather. A man is at liberty to neglect things that are repugnant to his disposition. He may, if he please, have nothingto do with thistle or thorn, with bramble or brier.... Nevertheless sharp and severe things are yet dear to some souls. Nor should I understand the taste that would reject the wildness of the thorn and holly, or the child-loving labyrinths of the bramble, or wholesome ranges of the downs and warrens fragrant with gorse.
No one requires of the painter that he even attempt to render the multitude and infinitude of Nature; but that herepresentit through the chastened elements of his proper instrument, with a performance rendered distinctive and facile by study and genial impulse.
Edward Calvert.
CXXXVIII
Modelling is parent of the art of chasing, as of the art of sculpturing. Skilful as he was in these arts, he executed nothing which he had not modelled.
Pasiteles.
CXXXIX
Don'tinventarrangements, select them, leaving out what you consider to be unimportant, and above all things 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.
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 admixture of white; for lustrous black, gum must be added; black in sunlight must have grey 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 mark the Outlines of his Superficie, and the Seat of his Lights, 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 may be allowed the expression, then this again 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 made so white that you cannot make it still brighter: Even in Painting the whitest Cloaths you should abstain from coming near the strongest of that Colour; because the Painter has nothing but White wherewith to imitate the Polish of the most shining Superficie whatsoever, as I know of none but Black with which he can represent the utmost Shade and Obscurity of Night. 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 make use of White immoderately and of Black without Judgment; for which reason I could wish that the Painters were obliged to buy their White at a greaterPrice than the most costly Gems, and that both White and Black were to be made of those Pearls which Cleopatra dissolved in Vinegar; that they might be more chary of it.
Leon Battista Alberti.
Signorelli THE MUSIC OF PAN Hanfstaengl
CXLIV
A word as to colour. One can only give warnings against possible faults; it is clearly impossible to teach colour by words, even ever so little of it, though it can be taught in a workshop, at least partially. Well, I should say, be rather restrained than over-luxurious in colour, or you weary the eye. Do not attempt over-refinements in colour, but be frank and simple. If you look at the pieces of colouring that most delight you in ornamental work, as,e.g.a Persian carpet, or an illuminated book of the Middle Ages, and analyse its elements, you will, if you are not used to the work, be surprised at the simplicity of it, the few tints used, the modesty of the tints, and therewithal the clearness and precision of all boundary lines. In all fine flat colouring there are regular systems of dividing colour from colour. Above all, don't attempt iridescent blendings of colour, which look like decomposition. They are about as much as possible the reverse of useful.
William Morris.
CXLV
After seeing all the fine pictures in France, Italy, and Germany, one must come to this conclusion—thatcolour, if not the first, is at least an essential quality in painting. No master has as yet maintained his ground beyond his own time without it. But in oil painting it is richness and depth alone that can do justice to the material. Upon this subject every prejudice with which I left home is, if anything, not only confirmed but increased. What Sir Joshua wrote, and what our friend Sir George so often supported,was right; and after seeing what I have seen, I am not now to betalkedout of it.
With us, as you know, every young exhibitor with pink, white, and blue, thinks himself a colourist like Titian; than whom perhaps no painter is more misrepresented or misunderstood. I saw myself at Florence his famous Venus upon an easel, with Kirkup and Wallis by me. This picture, so often copied, and every copy a fresh mistake, is, what I expected it to be, deep yet brilliant; indescribable in its hues, yet simple beyond example in its execution and its colouring. Its flesh (O how our friends at home would stare!) is a simple, sober, mixed-up tint, and apparently, like your skies, completed while wet. No scratchings, no hatchings, no scumbling nor multiplicity of repetitions—no ultramarine lakes nor vermilions—not even a mark of the brush visible; all seemed melted in the fat and glowing mass, solid yet transparent, giving the nearest approach to life that the painter's art has ever yet reached.
Wilkie.
CXLVI
In painting, get the main tones first. Do not forget that white by itself should be used very sparingly; to make anything of a beautiful colour, accentuate the tones clearly, lay them fresh and in facets; no compromise with ambiguous and false tones; colour in nature is a mixture of single tones adapted to one another.
Chassériau.
CXLVII
A thing to remember always: avoid greenish tones.
Chassériau.
CXLVIII
One is a colourist by values, by colour and light; there are colourists who are luminarists as there are colourists pure and simple. Titian is a colourist but not a luminarist, while Correggio is a colourist and a luminarist.
The simple colourists are those who content themselves with representing the tones in their value and colour without troubling about the magic of light; they also give to tones all their intensity.
The luminarists, as the word indicates, make light the most important thing. Three names will make you understand; Rembrandt, Correggio, and Claude Lorraine.
Claude, taking the light of the sun for a starting-point, justifies his method by nature: you know that he starts from a luminous point, and that point is the sun.To make this brilliant you must make great sacrifices, for you have no doubt remarked that we painters always begin with a half-tint; as our paintings are not brightened by the light of the sun, and start with a half-tint, it is necessary by the magic of tones to make this half-tint shine like a luminous thing. You see that it is a difficult problem to solve; how does Claude do it? He does not copy the exact tones of nature, since beginning with a dull one, he is obliged to make it luminous. He transposes as in music; he observes all things constituting light, remarks that the rays prevent us from seizing the outline of a bright object, that then the flame is enveloped by a bright halo; then by a second one less vivid, and so on until the tones become dull and sombre. In short, to make myself understood, his picture seen from distance represents a flame.
Correggio also works in this way. Take for example his picture of Antiope.
The woman, enveloped in a panther skin, is as bright as a flame. The soft red tone forms the first halo, then the light blue draperies with a slight greenish tint form the second halo. The Satyr has a value a few degrees below that of the draperies, making it the third halo. When the bouquet is thus formed, Correggio surrounds it with beautiful dark leaves, shading towards the extremities of the canvas. These gradations are so well observed, that if you put the picture at so great a distance that you cannot see the figures, you will still have the representation of light.
Couture.
CXLIX
Painters who are not colourists make illuminations and not paintings. Painting, properly speaking—unless one wants to produce a monochrome—implies the idea of colour as one of its fundamental elements, together with chiaroscuro, proportion, and perspective. Proportion applies to sculpture as to painting. Perspective determines the outline; chiaroscuro produces relief by the arrangement of shadow and light in relation to the background; colour gives the appearance of life, &c.
The sculptor does not begin his work with an outline; he builds up with his material a likeness of the object which, rough at first, establishes from the beginning the essential conditions of relief and solidity.
Colourists, being those who unite all the qualities of painting, must, in a single process and at first setting to work, secure the conditions peculiar and essential to their art.
They have to mass with colour, as the sculptor with clay, marble, or stone; their sketch, like the sculptor's, must show proportion, perspective, effect, and colour.
Outline is as ideal and conventional in painting as in sculpture; it should result naturally from the good arrangement of the essential parts. The combined preparation of effect which implies perspective and colour will approach more or less the actual aspect of things, according to the degree of the painter's skill; but this foundation will contain potentially everything included in the final result.
Delacroix.
CL
I believe colour to be a quite indispensable quality in thehighestart, and that no picture ever belonged to the highest order without it; while many, by possessing it—as the works of Titian—are raised certainly into the highestclass, though not to the very highest grade of that class, in spite of the limited degree of their other great qualities. Perhaps theonlyexception which I should be inclined to admit exists in the works of Hogarth, to which I should never dare to assign any but the very highest place, though their colour is certainly not a prominent feature in them. I must add, however, that Hogarth's colour is seldom other than pleasing to myself, and that for my own part I should almost call him a colourist, though not aiming at colour. On the other hand, there are men who, merely on account of bad colour, prevent me from thoroughly enjoying their works, though full of other qualities. For instance, Wilkie or Delaroche (in nearly all his works, though the Hémicycle is fine in colour). From Wilkie I would at any time prefer a thoroughly fine engraving—though of course he is in no respect even within hail of Hogarth. Colour is the physiognomy of a picture; and, like the shape of the human forehead, it cannot be perfectly beautiful without proving goodness and greatness. Other qualities are in its life exercised; but this is the body of its life, by which we know and love it at first sight.
Rossetti.
CLI
In regard to the different modes of painting the flesh, I belief it is of little consequence which is pursued, if you only keep the colours distinct; too much mixing makes them muddy and destroys their brilliancy, you know. Sir Joshua was of opinion that the grey tints in the flesh of Titian's pictures were obtained by scumbling cool tints over warm ones; and others prefer commencing in a cool grey manner, and leaving the greys for the middle tints, whilst they paint upon the lights with warmer colours, also enriching the shadows with warmer and deeper colours too. But for my own part, I have always thought it a good way to consider the flesh as composed of different coloured network laid over each other, as is really the case in nature, and may be seen by those who will take the pains to look carefully into it.
Northcote.
CLII
The utmost beauty of colouring depends on the great principle of varying by all the means of varying, and on the proper and artful union of that variety.
I am apt to believe that the not knowing nature's artful and intricate method of uniting colours for the production of the variegated composition, or prime tint of flesh, hath made colouring, in the art of painting, a kind of mystery in all ages; insomuch, that it may fairly be said, out of the many thousands who havelabour'd to attain it, not above ten or twelve painters have happily succeeded therein; Correggio (who lived in a country village, and had nothing but the life to study after) is said almost to have stood alone for this particular excellence. Guido, who made beauty his chief aim, was always at a loss about it. Poussin scarce ever obtained a glimpse of it, as is manifest by his many different attempts: indeed France hath not produced one remarkable good colourist.
Rubens boldly, and in a masterly manner, kept his bloom tints bright, separate, and distinct, but sometimes too much so for easel or cabinet pictures; however, his manner was admirably well calculated for great works, to be seen at a considerable distance, such as his celebrated ceiling at Whitehall Chapel: which upon a nearer view will illustrate what I have advanc'd with regard to the separate brightness of the tints; and shew, what indeed is known to every painter, that had the colours there seen so bright and separate been all smooth'd and absolutely blended together, they would have produced a dirty grey instead of flesh-colour. The difficulty then lies in bringingblue, the third original colour, into flesh, on account of the vast variety introduced thereby; and this omitted, all the difficulty ceases; and a common sign-painter that lays his colours smooth, instantly becomes, in point of colouring, a Rubens, a Titian, or a Correggio.
Hogarth.
CLIII
COPY ON CANVAS IN OIL OF THE DORIA CORREGGIO IN THE PALAZZO PASQUA
It seems painted in (their) juicy, fat colour, the parts completed one after another upon the bare pannel, the same as frescoes upon the flattened wall. Simplicity of tint and of colour prevails; no staining or mottled varieties: the flesh, both in light and shadow, is produced by one mixed up tint so melted that no mark of the brush is seen. There is here no scratching or scumbling—no repetitions; all seems prepared at once for the glaze, which, simple as the painting is, gives to it with fearless hand the richness and glow of Correggio. All imitations of this master are complicated compared to this, and how complicated and abstruse does it make all attempts of the present day to give similar effects in colouring! Here is one figure in outline upon the prepared board, with even the finger-marks in colour of the painter himself. Here is the preparation of the figures painted up at once, and, strange to say, with solid and even sunny colours. Here are the heads of a woman and of a naked child, completed with the full zest and tone of Correggio, in texture fine, and in expression rich and luxurious, and as fine an example of his powers as any part to be found in his most celebrated work.
Wilkie.
CLIV
In a modern exhibition pictures lose by tone at first glance, but in the Louvre pictures gained, and Titian, Correggio, Rubens, Cuyp, and Rembrandt combated everything by the depth of their tones; and one still hopes that, when toning is successfully done, it will prevail.
You have now got your exhibition open in Edinburgh: do you find tone and depth an advantage there or not? Painting bright and raw, if one can find in his heart to lower and glaze it afterwards, is always satisfactory; but unless strength can be combined with this, it will never be the fashion in our days.
Wilkie.
CLV
I went into the National Gallery and refreshed myself with a look at the pictures. One impression I had was of how much more importance the tone of them is than the actual tint of any part of them. I looked close into the separate colours and they were all very lovely in their quality—but the whole colour-effect of a picture then is not very great. It is the entire result of the picture that is so wonderful. I peered into the whites to see how they were made, and it is astonishing how little white there would be in a white dress—none at all, in fact—and yet it looks white. I went again and looked at the Van Eyck, and saw how clearly the like of it is not to be done by me. But he had manyadvantages. For one thing, he had all his objects in front of him to paint from. A nice, clean, neat floor of fair boards well scoured, pretty little dogs and everything. Nothing to bother about but making good portraits—dresses and all else of exactly the right colour and shade of colour. But the tone of it is simply marvellous, and the beautiful colour each little object has, and the skill of it all. He permits himself extreme darkness though. It's all very well to say it's a purple dress—very dark brown is more the colour of it. And the black, no words can describe the blackness of it. But the like of it is not for me to do—can't be—not to be thought of.
As I walked about there I thought if I had my life all over again, what would I best like to do in the way of making a new start once more; it would be to try and paint more like the Italian painters. And that's rather happy for a man to feel in his last days—to find that he is still true to his first impulse, and doesn't think he has wasted his life in wrong directions.
Burne-Jones.
CLVI
All painting consists of sacrifices andparti-pris.
Goya.
CLVII
In nature, colour exists no more than line,—there is only light and shade. Give me a piece of charcoal, and I will paint your portrait for you.
Goya.
CLVIII
It requires much more observation and study to arrive at perfection in the shadowing of a picture than in merely drawing the lines of it. The proof of this is, that the lines may be traced upon a veil or a flat glass placed between the eye and the object to be imitated. But that cannot be of any use in shadowing, on account of the infinite gradation of shades, and the blending of them which does not allow of any precise termination; and most frequently they are confused, as will be demonstrated in another place.
Leonardo.
CLIX
Forget not therefore that the principal part of Painting or Drawing after the life consisteth in the truth of the line, as one sayeth in a place that he hath seen the picture of her Majesty in four lines very like, meaning by four lines but the plain lines, as he might as well have said in one line, but best in plain lines without shadowing; for the line without shadow showeth all to a good Judgement, but the shadow without line showeth nothing, as, for example, though the shadow of a man against a white wall sheweth like a man, yet it is not the shadow but the line of the shadow, which is so true that it resembleth excellently well, as drawn by that line about the shadow with a coal, and when the shadow is gone it will resemble better than before, and may, if it be a fair face, have sweet countenance even in the line; for the lineonly giveth the countenance, but both line and colour giveth the lively likeness, and shadows shew the roundness and the effect or Defect of the light wherein the picture was drawn. This makes me to remember the words also and reasoning of her Majesty when first I came in her highness' presence to draw, who after shewing me how she noted great difference of shadowing in the works and Diversity of Drawers of sundry nations, and that the Italians who had the name to be cunningest and to Draw best, shadowed not. Requiring of me the reason of it, seeing that best to shew oneself needeth no shadow of place but rather the open light, to which I granted, affirmed that shadows in pictures were indeed caused by the shadow of the place or coming in of the light at only one way into the place at some small or high window, which many workmen covet to work in for ease to their sight, and to give unto them a grosser line and a more apparent line to be deserved, and maketh the work imborse well and show very well afar off, which to Limning work needeth not, because it is to be viewed of necessity in hand near unto the Eye. Here her Majesty conceived the reason, and therefore chose her place to sit in for that purpose in the open alley of a goodly garden, where no tree was near nor any shadow at all, save that as the Heaven is lighter than the earth, so must that little shadow that was from the earth; this her Majesty's curious Demand hath greatly bettered my Judgement, besides divers other like questions in Art by her most excellent Majesty, which to speak or write of were fitter for some better clerk. This matter only of the light let me perfectthat no wise man longer remain in Error of praising much shadows in pictures which are to be viewed in hand; great pictures high or far off Require hard shadows to become the better then nearer in story work better than pictures of the life; for beauty and good favour is like clear truth, which is not shadowed with the light nor made to be obscured, as a picture a little shadowed may be borne withal for the rounding of it, but so greatly smutted or Darkened as some use Disgrace it, and in like truth ill told, if a very well favoured woman show in a place where is great shadow, yet showeth she lovely not because of the shadow but because of her sweet favour consisting in the line or proportion, even that little which the light scarcely showeth greatly pleaseth, proving the Desire to see more.
Nicholas Hilliard.
CLX
The lights cast from small windows also present a strong contrast of light and shadow, more especially if the chamber lit by them is large; and this is not good to use in painting.
Leonardo.
CLXI
When you are drawing from nature the light should be from the north, so that it may not vary; and if it is from the south keep the window covered with a curtain so that though the sun shine upon it all day long the light will undergo no change. The elevation of thelight should be such that each body casts a shadow on the ground which is of the same length as its height.
Leonardo.
CLXII
Above all let the figures that you paint have sufficient light and from above, that is, all living persons whom you paint, for the people whom you see in the streets are all lighted from above; and I would have you know that you have no acquaintance so intimate but that if the light fell on him from below you would find it difficult to recognise him.
Leonardo.
CLXIII
If by accident it should happen, that when drawing or copying in chapels, or colouring in other unfavourable places, you cannot have the light on your left hand, or in your usual manner, be sure to give relief to your figures or design according to the arrangement of the windows which you find in these places, which have to give you light, and thus accommodating yourself to the light on which side soever it may be, give the proper lights and shadows. Or if it were to happen that the light should enter or shine right opposite or full in your face, make your lights and shades accordingly; or if the light should be favourable at a window larger than the others in the above-mentioned places, adopt always the best light, and try to understand and follow it carefully, because, wanting this, your work would be without relief, a foolish thing without mastery.
Cennino Cennini.
CLXIV
You have heard about Merlin's magic art; here in Venice you mayseethat of Titian, Giorgione, and all the others. In the Palazzo Barbarigo we went to the room which is said to have been Titian's studio for some time. The window faces the south, and the sun is shining on the floor by two o'clock. This made us think, whether you should not, after all, let the sun be there while you are painting. A temperate sunlight in the room makes the lights golden, and through the many, crossing, warm reflections the shadows get clearer and more transparent. But the difficulty is to know how to deal with such a shimmer; it is easier to paint with the light coming from the north. On the other hand, you see that the Venetians never tried to render in painting the impression of real, open sunlight. Their delicate sense of colour found a greater delight in looking at the fine fused tones and shades which are seen when the sunlight is only reflected under the clear blue sky and between the high palaces. Therefore, you often think that you see, for instance, groups of gondoliers on the Piazzetta in gay silvery notes, as in any painting by Paolo Veronese; and in the warm daylight in the great, gorgeous halls of the Palazzo Ducale there are still figures walking about in a colour as golden and fresh as if they were paintings by Titian.
E. Lundgren.
CLXV
Painting the face of a pretty young girl is like carving a portrait in silver. There may be great elaboration, but no likeness will be forthcoming. It is better to put the elaboration into the young lady's clothes, and trust to a touch here and a stroke there to bring out her beauty as it really is.
Ku K'ai-Chih(Chinese, fourth century).