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Hogarth, William, 1697-1764 / The analysis of beauty : written with a view of fixing the fluctuating ideas of taste
(1753)

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


Page 116

tri6            ANALYSIS of           BEAUTY. 
fhould ftrike us with the idea of beauty; which by the 
way, perhaps may be of. more: ufe to fome painters than 
they will care to own. 
There are but three original colours in painting be- 
fides black and white, viz. red, yellow      and blue. 
Green, and purple, are compounded; the firfi of blue and 
yellow, the latter of red and blue; however thefe com- 
pounds being fo diftindly different from   the original 
Fig. 94. colours, we will rank them as fuch.  Fig. *, reprefents 
T. p. 2.                                        9 
mixt up, as on a painter's pallet, fcales of thefe five ori- 
ginal colours divided into feven claffes, I, 2, 3, 4, S, 
6, 7,---4, is the medium, and moft brillant clafs, being 
that which will appear ' firm red, when thofe of 5, 6, 
7, would deviate into *hitc, and thofe of i, 2, 3, 
would fink into black, either by twilight or at a mo- 
derate diftance from   the eye, which fhews 4. to be 
brighteft, and a more permanent colour than the reft. 
But as white is neareft to light it may be faid to be 
equal if not fuperior in value as to beauty, with clafs .- 
therefore the claffes 5, 6, 7, have alfo, almoft equal 
beauty with it too, becaufe what they lofe of their bril- 
lancy and permanency of colour, they gain from the 
white or light; whereas 3, 2, i, abfolutely lofe their 
beauty by degrees as they approach nearer to black, the 
reprefentative of darknefs. 
Let us then, for diftintion and pre-eminence fake, 
call clafs 4 of each colour, bloom tints, or if you pleafe, 
virgin tints, as the painters call them; and once more 
recollect 


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