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Together Instead Of Blending Them On The Palette May Be Attributed

some of the peculiarities of the tints and textures of the Flemish
school; they being, perhaps, results of intimate combination from
grinding, and consequently of a more powerful chemical action among the
ingredients compounded. This method has, in a great measure, fallen into
disuse, and undoubtedly it conduced to foulness when the colours of the
pigments ground were not pure and true, and did not assimilate well in
mixture chemically.

The superiority of Rubens and the Flemings, and of Titian and the
Venetian school, in colouring and effect, is due in a considerable
degree to their sketching their designs in colours experimentally with a
full palette. This practice, as derived from Reynolds, is common with
the best masters of our own school, who, in executing their works,
resort also to nature, with an improved knowledge of colours and
colouring. Such attention to colouring and effect, from the first study
and ground of a picture to the finishing, contributes a beauty to the
painting no superinduced colouring can accomplish.

The durability of colour in substances is to a great extent dependent
upon the condition in which they exist chemically. If pigments, for

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