The color of the object illuminated partakes of the color of that which illuminates it.
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Melody and harmony are like lines and colors in pictures. A simple linear picture may be completely beautiful; the introduction of color may make it vague and insignificant. Yet color may, by combination with lines, create great pictures, so long as it does not smother and destroy their value.
A good painter has two main objects to paint, man and the intention of his soul. The former is easy, the latter hard as he has to represent it by the attitude and movement of the limbs.
Shadow partakes of the nature of universal matter. All such matters are more powerful in their beginning and grow weaker towards the end, I say at the beginning, whatever their form or condition may be and whether visible or invisible. And it is not from small beginnings that they grow to a great size in time; as it might be a great oak which has a feeble beginning from a small acorn. Yet I may say that the oak is most powerful at its beginning, that is where it springs from the earth, which is where it is largest.
The variety of colour in objects cannot be discerned at a great distance, excepting in those parts which are directly lighted up by the solar rays.
Many are they who have a taste and love for drawing, but no talent; and this will be discernible in boys who are not diligent and never finish their drawings with shading.
A picture or representation of human figures, ought to be done in such a way as that the spectator may easily recognise, by means of their attitudes, the purpose in their minds. Thus, if you have to represent a man of noble character in the act of speaking, let his gestures be such as naturally accompany good words; and, in the same way, if you wish to depict a man of a brutal nature, give him fierce movements; as with his arms flung out towards the listener, and his head and breast thrust forward beyond his feet, as if following the speaker's hands.
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