hod, as introduced by the early masters, was adapted
to certain conditions, but, like many of their processes, was afterwards
misapplied. Vasari informs us that Lorenzo di Credi, whose exaggerated
nicety in technical details almost equaled that of Gerard Dow, was in
the habit of mixing about thirty tints before he began to work. The
opposite extreme is perhaps no less objectionable. Much may depend on
the skillful use of the ground. The purest color in an opaque state and
superficially light only, is less brilliant than the foulest mixture
through which light shines. Hence, as long as the white ground was
visible within the tints, the habit of matching colors from nature (no
matter by what complication of hues, provided the ingredients were not
chemically injurious to each other) was likely to combine the truth of
negative hues with clearness."--_Ib._ p. 400.

* * *

132. These passages open to us a series of questions far too intricate
to be even cursorily treated within our limits. It is to be held in mind
that one and the same quality of color or kind of brilliancy is not
always the best; the phases and phenomena of color are innumerable in
reality, and even the modes of imitating them become expedient or
otherwise, according to the aim and scale of the picture. It is no
question of mere authority whether the mixture of tints to a compound
one, or their juxtaposition in a state of purity, be the better
practice. There is not the slightest doubt that, the ground being the
same, a stippled tint is more brilliant and rich than a mixed one; nor
is there doubt on the other hand that in some subjects such a tint is
impossible, and in others vulgar. We have above alluded to the power of
Mr. Hunt in water-color. The fruit-pieces of that artist are dependent
for their splendor chiefly on the juxtaposition of pure color for
compound tints, and we may safely affirm that the method is for such
purpose as exemplary as its results are admirable. Yet would you desire
to see the same means adopted in the execution of the fruit in Rubens'
Peace and War? Or again, would the lusciousness of tint obtained by
Rubens himself, adopting the same means on a grander scale in his
painting of flesh, have been conducive to the ends or grateful to the
feelings of the Bellinis or Albert Duerer? Each method is admirable as
applied by its master; and Hemling and Van Eyck are as much to be
followed in the mingling of color, as Rub