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or dead-coloured the whole of their subject with a full body of Colour, when this is dry to scrape the surface with the edge of a Knife held at right Angles.  This cuts off all the inequalities, and by reason of the moulded surface it produces, has a tendency to prevent a rigid style of execution, such as they leave al primo, and compels the Painter [[strikeout]] afterwards  [[/strikeout]] to mould out his Picture with a still fuller body of Colour.  This practice has some advantage when the dead  colouring happens to show disagreeable ridges of paint, where the parts should be blended and rounded off.  The Flemish mode is probably better, which is to make a very correct drawing, fixed in Colour and dried; then tinting every part with thin washes and glazings of colour, on which, when dry they advanced with repeated glazings and solid colour.

Implements.
Mere Amateurs, or ill-informed [[strikeout]] pretended  [[/strikeout]] Connoisseurs, who write or speak of the Arts, often do injury to the cause which they would promote, by their manner of commending what they mystify with their notions of genius; maintaining that it is not [[strikeout]] so much  [[/strikeout]] in professing all the Materials and facilities of Art that great things are accomplished; but by the innate faculty of Genius.  [[strikeout]]   that the Artist is enabled to execute  his Masterpieces [[/strikeout]] It is true that he who possesses a sufficient knowledge of drawing, proportion, expossion, colour light, shade and grouping, may display more talent and excellence without the fine Materials of the Colour shops, or any of the conveniences of [[strikeout]] the [[/strikeout]] a well supplied Studio, than all these can accomplish without  such knowledge or Lasle; which, however, can only be acquired by observation, comparison, and other modes, by which Genius , if not produced, is at least strengthened.  The Painter , carried away by his own Vanity, or the flattery of his friends, should  not consider himself exempt from the wants which are incident to every Art; and should know, if he will not acknowledge, that a good Workman should have good tools and the best Materials, and that he should keep in the best [[strikeout]] Order [[/strikeout]] condition.  Coarse brushes are unfit for the imitation of finely chisseled features, or sweetly blended shades; and the crude colours that