Now if we imagine this whole process to be made with the tender tints of class 7, as they are supposed to stand, red, yellow, blue, green and purple, underneath each other; the general hue of the performance will be a seeming uniform prime tint, at any little distance, that is a very fair, transparent and pearl-like complexion; but never quite uniform as snow, ivory, marble or wax, like a poet's mistress, for either of these in living-flesh, would in truth be hideous.
As in nature, by the general yellowish hue of the cuticula, the gradating of one colour into another appears to be more delicately soften'd and united together; so will the colours we are supposed to have been laying upon the busto, appear to be more united and mellowed by the oils they are ground in, which takes a yellowish cast after a little time, but is apt to do more mischief hereby than good; for which reason care is taken to procure such oil as is clearest, and will best keep its colour[18] in oil painting.
[18] Notwithstanding the deep-rooted notion, even among the majority of painters themselves, that time is a great improver of good pictures, I will undertake to shew, that nothing can be more absurd. Having mention'd above the whole effect of the oil, let us now see in what manner time operates on colours themselves; in order to discover if any changes in them can give a picture more union and harmony than has been in the power of a skilful master, with all his rules of art, to do. When colours change at all it must be somewhat in the manner following, for as they are made some of metal, some of earth, some of stone, and others of more perishable materials, time cannot operate on them otherwise than as by daily experience we find it doth, which is, that one changes darker, another lighter, one quite to a different colour, whilst another, as ultramarine, will keep its natural brightness even in the fire. Therefore how is it possible that such different materials, ever variously changing (visibly after a certain time) should accidentally coincide with the artist's intention, and bring about the greater harmony of the piece, when it is manifestly contrary to their nature, for do we not see in most collections that much time disunites, untunes, blackens, and by degrees destroys even the best preserved pictures.
But if for argument sake we suppose, that the colours were to fall equally together, let us see what advantage this would give to any sort of composition. We will begin with a flower-piece: when a master hath painted a rose, a lily, an african, a gentianella, or violet, with his best art, and brightest colours, how far short do they fall of the freshness and rich brillancy of nature; and shall we wish to see them fall still lower, more faint, sullied, and dirtied by the hand of time, and then admire them as having gained an additional beauty, and call them mended and heightened, rather than fouled, and in a manner destroy'd; how absurd! Instead of mellow and softened therefore, always read yellow and sullied, for this is doing time the destroyer, but common justice. Or shall we desire to see complexions, which in life are often, literally, as brillant as the flowers above-mention'd, served in the like ungrateful manner. In a landskip, will the water be more transparent, or the sky shine with a greater lustre when embrown'd and darken'd by decay? surely no. I own it would be a pity that Mr. Addison's beautiful description of time at work in the gallery of pictures, and the following lines of Mr. Dryden, should want a sufficient foundation;—
For time shall with his ready pencil stand,
Retouch your figures with his ripening hand;
Mellow your colours, and imbrown the tint;
Add every grace which time alone can grant;
To future ages shall your fame convey,
And give more beauties than he takes away. Dryden to Kneller.
were it not that the error they are built upon, hath been a continual blight to the growth of the art, by misguiding both the proficient, and the encourager; and often compelling the former, contrary to his judgment, to imitate the damaged hue of decayed pictures; so that when his works undergo the like injuries, they must have a double remove from nature; which puts it in the power of the meanest observer to see his deficiencies. Whence another absurd notion hath taken rise, viz. that the colours now-a-days do not stand so well as formerly; whereas colours well prepared, in which there is but little art or expence, have, and will always have, the same properties in every age, and without accidents, as damps, bad varnish, and the like (being laid separate and pure,) will stand and keep together for many years in defiance of time itself.
In proof of this, let any one take a view of the cieling at Greenwich-hospital, painted by Sir James Thornhil, forty years ago, which still remains fresh, strong and clear as if it had been finished but yesterday: and altho' several french writers have so learnedly, and philosophically proved, that the air of this island is too thick, or—too something, for the genius of a painter; yet France in all her palaces can hardly boast of a nobler, more judicious, or richer performance of its kind. Note, the upper end of the hall where the royal family is painted, was left chiefly to the pencil of Mr. Andrea a foreigner, after the payment originally agreed upon for the work was so much reduced, as made it not worth Sir James's while to finish the whole with his own more masterly hand.
Upon the whole of this account we find, that 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; which may be farther proved by supposing the rules here laid down, all or any part of them reversed.
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 have labour'd to attain it, not above ten or twelve painters have happily succeeded therein, Corregio (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 remarkably good colourist[19].
[19] The lame excuse writers on painting have made for the many great masters that have fail'd in this particular, is, that they purposely deaden'd their colours, and kept them, what they affectedly call'd chaste, that the correctness of their outlines might be seen to greater advantage. Whereas colours cannot be too brillant if properly disposed, because the distinction of the parts are thereby made more perfect; as may be seen by comparing a marble busto with the variegated colours of the face either in the life, or well painted: it is true, uncomposed variety, either in the features or the limbs, as being daubed with many, or one colour, will so confound the parts as to render them unintelligible.