[*†365.] It is labour in vain to paint a high-noon, or {365.} mid-day light, in your picture; because we have no colours which can sufficiently express it; but it is better counsel, to choose a weaker light; such as is that of the evening with which the fields are gilded by the sun; or a morning light, whose whiteness is allayed; or that which appears after a shower of rain, which the sun gives us through the breaking of a cloud; or during thunder, when the clouds {370.} hide him from our view, and make the light of a fiery colour. [Sidenote: XLIV. Of certain things relating to the practical part.] Smooth bodies, such as crystals, polished metals, wood, bones, and stones; those which are covered with hair, as skins, the beard, or the hair of the head; as also feathers, silks, and the eyes, which are of a watery nature; and those which are liquid, as waters, and those corporeal species, {375.} which we see reflected by them; and in fine, all that which touches them, or is near them, ought to be “carefully painted flat, in flowing colours; then touched up with sprightly lights, and the true lines of the drawing restored, which were lost, or confused, in working the colours together.” [Sidenote: XLV. The field, or ground of the picture.] [*†378.] Let the field, or ground of the picture, be pleasant, free, transient, light, and well united with colours, which are of a friendly nature to each other; and of such a mixture, as there may be {380.} something in it of every colour that composes your work, as it were the contents of your palette. “And let those bodies that are back in the ground be painted with colours allied to those of the ground itself.” [Sidenote: XLVI. Of the vivacity of colours.] [*†382.] Let your colours be lively, and yet not look (according to the painters’ proverb) as if they had been rubbed or sprinkled with meal; that is to say, let them not be pale. [*†383.] Let the parts which are nearest to us, and most raised, be strongly coloured, and as it were sparkling; and let those parts which are more remote from sight, and towards the borders, be more faintly touched. [Sidenote: XLVII. Of shadows.] [*†385.] Let there be so much harmony, or consent, in {385.} the masses of the picture, that all the shadowings may appear as if they were but one. [Sidenote: XLVIII. The picture to be of one piece.] [*†386.] “Let the whole picture be of one piece, as if it were painted from one palette.” [Sidenote: XLIX. The looking-glass the painter’s best master.] [*†387.] The looking-glass will instruct you in many beauties, which you may observe from nature; so will also those objects which are seen in an evening in a large prospect. [Sidenote: L. An half figure, or a whole one, before others.]