AGLIONBY, William, Painting Illustrated in Three Diallogues. Containing some Choice Observations upon the Art. Together with The Lives of the Most Eminent Painters From Cimabue, to the time of Raphael and Michael Angelo. With an Explanation of the Difficult Terms, London, John Gain, 1685.1 quotations
There is a thing which the Italians call Morbidezza ; The meaning of which word, is to Express the Softness, and tender Liveliness of Flesh and Blood, so as the Eye may almost invite the Hand to touch and feel it, as if it were Alive ; and this is the hardest thing to Compass in the whole Art of Painting. And ‘tis in this particular, that Titian, Corregio, and amongst the more Modern, Rubens, and Vandike, do Excel.
SMITH, Marshall, The Art of Painting According to the Theory and Practise of the Best Italian, French, and Germane Masters. Treating of The Antiquity of Painting. The Reputation it allways had. The Characters of severall Masters. Proportion. Action and Passion. The Effects of Light. Perspective. Draught. Colouring. Ordonnance. Far more Compleat and Compendious then hath yet been publisht by any, Ancient or Modern. By M. S. Gent., London, The Vendüe, 1692.1 quotations
After you have attain’d to a Mastership in Draught, [...] ; you may begin the great Mistery of Colouring.
And first begin in two Colours as White and Umber &c. after good Draughts or Prints : which you may do in this manner.
First with a large Pencel lay on the lightest parts of the Forehead, Balls of the upper Cheeks, [...] then the lightest shaddows on the Forehead, under the Eyes [...] and so till you come down to the Darkest : taking care to leave no edges about the Eye-lids, Lips, &c. Observing to keep your Pencels for the same degree of Colouring, [...].
Thus when you have copyd some time in Two Colours, having obtaind some freedom in Pencelling by a light but steady hand : observing carefull all the Muscles and other Remarks : working all in with much Softness ; [...].