It is in this manner, then, that nature seems to do her work.--And now let us see how by art the like appearance may be made and penciled on the surface of a uniform coloured statue of wax or marble; by describing which operation we shall still more particularly point out what is to our present purpose: I mean the reason why the order nature hath thus made use of should strike us with the idea of beauty; which by the way, perhaps may be of more use to some painters than they will care to own. [Illustration: Fig. 94] There are but three original colours in painting besides black and white, viz. red, yellow and blue. Green, and purple, are compounded; the first of blue and yellow, the latter of red and blue: however these compounds being so distinctly different from the original colours, we will rank them as such. Fig. [94 T p. II], represents mixt up, as on a painter's pallet, scales of these five original colours divided into seven classes--1, 2, 3, 4, 5, 6, 7.--4, is the medium, and most brillant class, being that which will appear a firm red, when those of 5, 6, 7, would deviate into white, and those of 1, 2, 3, would sink into black, either by twilight or at a moderate distance from the eye, which shews 4 to be brightest, and a more permanent colour than the rest. But as white is nearest to light it may be said to be equal if not superior in value as to beauty, with class 4. Therefore the classes 5, 6, 7, have also, almost equal beauty with it too, because what they lose of their brillancy and permanency of colour, they gain from the white or light; whereas 3, 2, 1, absolutely lose their beauty by degrees as they approach nearer to black, the representative of darkness. Let us then, for distinction and pre-eminence sake, call class 4 of each colour, _bloom tints_, or if you please, virgin tints, as the painters call them; and once more recollect, that in the disposition of colours as well as of forms, variety, simplicity, distinctness, intricacy, uniformity and quantity, direct in giving beauty to the colouring of the human frame, especially if we include the face, where uniformity and strong opposition of tints are required, as in the eyes and mouth, which call most for our attention. But for the general hue of flesh now to be described, variety, intricacy and simplicity, are chiefly required. The value of the degrees of colour being thus consider'd and ranged in order upon the pallet, figure 94, let us next apply them to a busto, fig. [96 R p. II], of white marble, which may be supposed to let every tint sink into it, like as a drop of ink sinks in and spreads itself upon course paper, whereby each tint will gradate all around. [Illustration: Fig. 96]