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The maxim, so often quoted, from a few manuscript lines by Rubens, "never to suffer any white to enter into the painting of Shadows," is of no practical utility except to induce the Student painter to give sufficient depth &richness to his shadows & reflections. By adopting this maxim too litterally, writers on the art learn to decry the use of white altogether in shadows, recommending Naples Yellow instead, without considering that Naples Yellow is in fact a yellow white. It is true by using Naples Yellow an agreable warm hue is obtained, sufficiently light in most cases; but in default of this pigment, if Raw Siena, or yellow oker be mixed with as much white as will bring it to the tone of Naples Yellow, it will answer nearly, if not exactly, the same purpose, and the fact of there being white in this mixture, can be no worse than the fact that Naples Yellow is a light yellow because it possesses the elements of white in its composition; [[strikethrough]] because [[/strikethrough]] pure yellow [[strikethrough]] is [[/strikethrough]] being necessarily dark & transparent.
Transcription Notes:
white is underlined
yellow white is underlined
because is underlined