A nice Paternoster image:
Image from page 166 of “The art of drawing in its various branches : exemplified in a course of twenty-eight progressive lessons, calculated to afford those who are unacquainted with the art, the means of acquiring a competent knowledge without the aid of
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Identifier: gri_c00033125010497473
Title: The art of drawing in its various branches : exemplified in a course of twenty-eight progressive lessons, calculated to afford those who are unacquainted with the art, the means of acquiring a competent knowledge without the aid of a master : being the only work of the kind in which the principles of effect are explained in a clear, methodical, and at the same time familiar style
Year: 1827 (1820s)
Authors: Smith, Thomas, watercolorist Sherwood, Gilbert & Piper, publisher Clowes, William, 1779-1847, printer
Subjects: Drawing Watercolor painting Color
Publisher: London : Printed for Sherwood, Gilbert, and Piper, Paternoster-Row
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute
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Text Appearing Before Image:
1 The strongest contrast to a light is by making thatlight the only light in the picture, all the rest being inshade. A square flat shade is best contrasted by any smallirregular lights, as in.Fig. 12, the squareness of the dark i CONTRAST OF COLOUR. 109 tomb is contrasted by the light leaves of the bramblewhich hang over it. Fig. 12. Every light or shade may be contrasted by a lightor shade of a different form, according to rules given forthe contrast of form.
Text Appearing After Image:
On the Contrast of Colour. There are three primitive colours, with which all othercolours may be made: these colours are yellow, blue,and red, each of which, if perfect, is entirely free fromany mixture of either of the above colours*. Whiteconsists in the absence of all colour, and black is madeby the mixture of the three colours f. * We possess no such thing as a perfect colour; the blues seemto me to he the most perfect that we have. In this, however, Imay he deceived by the superior power of blue over all the othercolours, by which any admixture is not so readily perceived. t Sir Isaac Newton says, that white is caused by the mixtureof every colour, and black by the absence of all colour. This isphilosophically true ; but as the work I now offer to the pub-lic is a work of practical information, I have ventured to assert aproposition, which, though perfectly true in regard to the mixingof colours, is at the same time false as far as it regards the doc-trine of colours, no CONTRAST
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