Page 122

122              ANALYSIS of          BEAUTY. 
Rubens boldly, and in a mafterly manner, kept his 
bloom tints bright, feparate and diftind, but fornetimes 
too much fo for eafel or cabinet pidures; however, 
his manner was admirably well calculated for great 
works, to be feen at a confiderable diftance, fuch as his 
celebrated cieling at Whitehall-chapel I: which upon a 
nearer view, will illuftrate what I have advanc'd with 
regard to the feparate brightnefs of the tints; and 
fhew, what indeed is known to every painter, that had 
the colours there feen fo bright and feparate, been all 
finooth'd and abfolutely blended together, they would 
have produced a dirty grey inflead of flefh-colour. 
The difficulty then lies in bringing blue the third ori- 
ginal colour, into flefh, on account of the vail variety 
introduced thereby; and this omitted, all the difficulty 
ceafes; and a common fign-painter that lays his colours 
fmooth, inflantly becomes, in point of colouring, a 
Rubens, a Titian, or a Corregio. 
CHAP.         XV. 
Of the FACE. 
H   AVING     thus fpoken briefly of light, fhade and 
colour, we now return to our lineal account of 
form, as propofed (page 9i) with regard to the face. 
i The front of this building by Inigo Jones, is an additional exempli- 
fication of the principles for varying the parts in building ; (explained
by the candlefticks, &c. chap. 8.) which would appear to be a ftronger
proof fill, were a building formed of fquares, on fquares; with fquares 
uniformly cut in each fquare to be oppofed to it, to fhew the reverfe. 
It