The Crown of Wild Olive by John Ruskin (a court of thorns and roses ebook free .TXT) 📕

Well, having ascertained thus your principal tints, you may proceed to fill up your sketch; in doing which observe these following particulars:

1. Many portions of your subject appeared through the aperture in the paper brighter than the paper, as sky, sunlighted grass, &c. Leave these portions, for the present, white; and proceed with the parts of which you can match the tints.

2. As you tried your subject with the cardboard, you must have observed how many changes of hue took place over small spaces. In filling up your work, try to educate your eye to perceive these differences of hue without the help of the cardboard, and lay them deliberately, like a mosaic-worker, as separate colours, preparing each carefully on your palatte, and laying it as if it were a patch of coloured cloth, cut out, to be fitted neatly by its edge to the next patch; so that the fault of your work may be, not a slurred or misty look, but a patched bed-cover look, as if it had all been cut out with scissors. For instance, in drawing the trunk of a birch tree, there will be probably white high lights, then a pale rosy grey round them on the light side, then a (probably greenish) deeper grey on the dark side, varied by reflected colours, and over all, rich black strips of bark and brown spots of moss. Lay first the rosy grey, leaving white for the high lights and for the spots of moss, and not touching the dark side. Then lay the grey for the dark side, fitting it well up to the rosy grey of the light, leaving also in this darker grey the white paper in the places for the black and brown moss; then prepare the moss colours separately for each spot, and lay each in the white place left for it. Not one grain of white, except that purposely left for the high lights, must be visible when the work is done, even through a magnifying-glass, so cunningly must you fit the edges to each other. Finally, take your background colours, and put them on each side of the tree-trunk, fitting them carefully to its edge.

Fine work you would make of this, wouldn't you, if you had not learned to draw first, and could not now draw a good outline for the stem, much less terminate a colour mass in the outline you wanted?

Your work will look very odd for some time, when you first begin to paint in this way, and before you can modify it, as I shall tell you presently how; but never mind; it is of the greatest possible importance that you should practice this separate laying on of the hues, for all good colouring finally depends on it. It is, indeed, often necessary, and sometimes desirable, to lay one colour and form boldly over another: thus, in laying leaves on blue sky, it is impossible always in large pictures, or when pressed for time, to fill in the blue through the interstices of the leaves; and the great Venetians constantly lay their blue ground first, and then, having let it dry, strike the golden brown over it in the form of the leaf, leaving the under blue to shine through the gold, and subdue it to the olive green they want. But in the most precious and perfect work each leaf is inlaid, and the blue worked round it: and, whether you use one or other mode of getting your result, it is equally necessary to be absolute and decisive in your laying the colour. Either your ground must be laid firmly first, and then your upper colour struck upon it in perfect form, for ever, thenceforward, unalterable; or else the two colours must be individually put in their places, and led up to each other till they meet at their appointed border, equally, thenceforward, unchangeable. Either process, you see, involves absolute decision. If you once begin to slur, or change, or sketch, or try this way and that with your colour, it is all over with it and with you. You will continually see bad copyists trying to imitate the Venetians, by daubing their colours about, and retouching, and finishing, and softening: when every touch and every added hue only lead them farther into chaos. There is a dog between two children in a Veronese in the Louvre, which gives the copyist much employment. He has a dark ground behind him, which Veronese has painted first, and then when it was dry, or nearly so, struck the locks of the dog's white hair over it with some half-dozen curling sweeps of his brush, right at once, and forever. Had one line or hair of them gone wrong, it would have been wrong forever; no retouching could have mended it. The poor copyists daub in first some background, and then some dog's hair; then retouch the background, then the hair, work for hours at it, expecting it always to come right to-morrow—"when it is finished." They may work for centuries at it, and they will never do it. If they can do it with Veronese's allowance of work, half a dozen sweeps of the hand over the dark background, well; if not, they may ask the dog himself whether it will ever come right, and get true answer from him—on Launce's conditions: "If he say 'ay,' it will; if he say 'no,' it will; if he shake his tail and say nothing, it will."

Whenever you lay on a mass of colour, be sure that however large it may be, or however small, it shall be gradated. No colour exists in Nature under ordinary circumstances without gradation. If you do not see this, it is the fault of your inexperience; you will see it in due time, if you practise enough. But in general you may see it at once. In the birch trunk, for instance, the rosy grey must be gradated by the roundness of the stem till it meets the shaded side; similarly the shaded side is gradated by reflected, light. Accordingly, whether by adding water, or white paint, or by unequal force of touch (this you will do at pleasure, according to the texture you wish to produce), you must, in every tint you lay on, make it a little paler at one part than another, and get an even gradation between the two depths. This is very like laying down a formal law or recipe for you; but you will find it is merely the assertion of a natural fact. It is not indeed physically impossible to meet with an ungradated piece of colour, but it is so supremely improbable, that you had better get into the habit of asking yourself invariably, when you are going to copy a tint,—not "Is that gradated?" but "Which way is it gradated?" and at least in ninety-nine out of a hundred instances, you will be able to answer decisively after a careful glance, though the gradation may have been so subtle that you did not see it at first. And it does not matter how small the touch of colour may be, though not larger than the smallest pin's head, if one part of it is not darker than the rest, it is a bad touch; for it is not merely because the natural fact is so, that your colour should be gradated; the preciousness and pleasantness of the colour itself depends more on this than on any other of its qualities, for gradation is to colours just what curvature is to lines, both being felt to be beautiful by the pure instinct of every human mind, and both, considered as types, expressing the law of gradual change and progress in the human soul itself. What the difference is in mere beauty between a gradated and ungradated colour, may be seen easily by laying an even tint of rose-colour on paper, and putting a rose leaf beside it. The victorious beauty of the rose as compared with other flowers, depends wholly on the delicacy and quantity of its colour gradations, all other flowers being either less rich in gradation, not having so many folds of leaf; or less tender, being patched and veined instead of flushed.

4. But observe, it is not enough in general that colour should be gradated by being made merely paler or darker at one place than another. Generally colour changes as it diminishes, and is not merely darker at one spot, but also purer at one spot than anywhere else. It does not in the least follow that the darkest spot should be the purest; still less so that the lightest should be the purest. Very often the two gradations more or less cross each other, one passing in one direction from paleness to darkness, another in another direction from purity to dullness, but there will almost always be both of them, however reconciled; and you must never be satisfied with a piece of colour until you have got both: that is to say, every piece of blue that you lay on must be quite blue only at some given spot, nor that a large spot; and must be gradated from that into less pure blue—greyish blue, or greenish blue, or purplish blue, over all the rest of the space it occupies. And this you must do in one of three ways: either, while the colour is wet, mix it with the colour which is to subdue it, adding gradually a little more and a little more; or else, when the colour is quite dry, strike a gradated touch of another colour over it, leaving only a point of the first tint visible: or else, lay the subduing tints on in small touches, as in the exercise of tinting the chess-board. Of each of these methods I have something to tell you separately: but that is distinct from the subject of gradation, which I must not quit without once more pressing upon you the preëminent necessity of introducing it everywhere. I have profound dislike of anything like habit of hand, and yet, in this one instance, I feel almost tempted to encourage you to get into a habit of never touching paper with colour, without securing a gradation. You will not in Turner's largest oil pictures, perhaps six or seven feet long by four or five high, find one spot of colour as large as a grain of wheat ungradated: and you will find in practice, that brilliancy of hue, and vigour of light, and even the aspect of transparency in shade, are essentially dependent on this character alone; hardness, coldness, and opacity resulting far more from equality of colour than from nature of colour. Give me some mud off a city crossing, some ochre out of a gravel pit, a little whitening, and some coal-dust, and I will paint you a luminous picture, if you give me time to gradate my mud, and subdue my dust: but though you had the red of the ruby, the blue of the gentian, snow for the light, and amber for the gold, you cannot paint a luminous picture, if you keep the masses of those colours unbroken in purity, and unvarying in depth.

5. Next note the three processes by which gradation and other characters are to be obtained:

A. Mixing while the colour is wet.

You may be confused by my first telling you to lay on the hues in separate patches, and then telling you to mix hues together as you lay them on: but the separate masses are to