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Hogarth, William, 1697-1764 / The analysis of beauty : written with a view of fixing the fluctuating ideas of taste

Chap. XIV: of colouring,   pp. 113-122

Page 118

their fhapes and fizes to differ as much as poflible; red 
muf   be ofteneff repeated, yellow      next often, purple 
red next, and blue but feldom, except in particular parts 
as the temples, backs of the hands, &c. where the larger 
veins fhew their branching fhapes (fometimes too dif- 
tin&ly) ftill varying thofe appearances. But there are 
no doubt infinite variations in nature from what may 
be called the moft beautiful order and difpofition of the 
colours in flefh, not only in different perfons, but in 
different parts of the fame, all fubje& to the fame prin- 
ciples in fome degree or other. 
Now if we imagine this whole procefs to be made 
with the tender tints of clafs 7, as they are fuppofed to 
fRand, red, yellow, blue, green and purple, underneath 
each other; the general hue of the performance will be 
a feeming uniform prime tint, at any little diftance, that 
is a very fair, tranfparent and pearl-like complexion; 
, Notwithifanding the deep-rooted notion, even amongit the majority 
of painters themfelves, that time is a great improver of good piftures, I
will undertake to fhew, that nothing can be more abfurd. Having men- 
tion'd above the whole effeft of the oil, let us now fee in what manner 
time operates on the colours themfelves; in order to difcover if any 
changes in them can give a piure more union and harmony than has 
been in the power of a fkilful mater, with all his rules of art, to do, 
When colours change at all it muff be fomewhat in the manner follow- 
ing, for as they are made fome of metal, fome of earth, fome of flone, and
others of more perifhable materials, time cannot operate on them other- 
wife than as by daily experience we find it doth, which is, that one 
changes darker, another lighter, one quite to a different colour, whilft
another, as ultramarine, will keep its natural brightnefs even in the fire.

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