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
The Thoughts, and Finishings are in a great Measure seen in the Prints of such Works of which Prints are made, nor is a Drawing destitute of Colouring absolutely ; on the contrary, one frequently sees beautiful Tints in the Paper, Washes, Ink, and Chalks of Drawings ; But what is wanting in some respects is abundantly recompenc’d in Others, for in These Works the Masters not being embarrass’d with Colours have had a full Scope, and perfect Liberty, which is a very considerable Advantage, especially to some of them. There is a Spirit, a Fire, a Freedom, and Delicacy in the Drawings of Giulio Romano, Polydoro, Parmeggiano, Battista Franco, &c. which are not to be seen in their Paintings : A Pen, or Chalk will perform what cannot possibly be done with a Pencil ; and a Pencil with a thin Liquid only what cannot be done when one has a Variety of Colours to manage, especially in Oil.