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38 Graphic Surveying The Topographical Surveyor depends upon his triangles for the ac-curacy of the delineation of the ground he would designate. In like man-ner the Artist surveys the Scene which is before him, by acquiring the faculty $ habit of seeing the direction from point to point, + the practice of imitating these, as if they existed on a plane at right angles with the eye, as on a sheet of glass interposed between [[?]] & the objects. The Surveyor, whose eye cannot thus be elevated to be at a right angle with the place which he is surveying, is therefore under the necessity of em-ployiong the Magnetic Compass to ascertain & define the true direction between every point in station. This is necessarily a slow operation; but the Draughtsman, whose eye is educated upon Graphic principlesm in a moment sess the direction from point to point, and his well-trained hand as instantly marks down the direction; and by employing various points of Comparison he is enabled to obtain the [[rel=alive?]] triangular situation of every portion of the most complicated scene. Colouring of Rubens. Among the Pictures belonging to the Antwerp Banker-Stier, whose collection became celebrated by the Notice of it in Sir Joshua Reynold's notes, there was a Roman Daughter by Rubens - rich + glowing in colour; W. Stier, who obtained those Pictures with his wife, lineally descended from Rubens, regarded them chiefly as objects of Merchandize; & to show the effect of cleaning removed the old Varnish, about the size of a half dollar, from the cheek of the female. This spot appeared as if it had been painted solely with Vermillion + White, whilst the contiguous parts, owing to the Varnish which had become Yellow, would have led a Copyist to mix much yellow with his Vermillion tints. It is therefore supposed that many of Rubens' pictures when new, must have been Zaw; thought brilliant - time has given them the warm mellow Rue, so much admired now. It is a delicate question for every Artist to ask himself; how much of sweetness he should allow to the mellowing influence of Time + Varnish; because it is certain that if his newly painted flesh looked exactly right at first, it would inevitably become too yellow in a little time.