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, 1692.2 quotations
All Shaddow must have a Sympathy with the Lights in their Colour as likewise the Reflections with the Bodys Reflecting. Arteficial Lights, if very bright, give a quick Heightning, and dark and deeply shortned Shaddows.
Lastly it must be carefully observ’d that betwixt all Lights and Shaddows there must be such Mediums, as may take of all Hardness, and so Arteficially wrought in as may not foul either with the other and so take away the Beauty and strength of the Picture.
Diligently observe what Colours bare a Sympathy or Antipathy to each other, and order your mixtures on your Pallate accordingly, as Blew and Yellow make a Green but Blew and Vermilion produce a Nigre Colour.
In the disposal of Colours on a Picture, consider the whitest Colours are not always the Stronger, but as they are Luminous or agreeing with the Light, as Vermilion is stronger then Green brought up to the same Height : and Yellow Masticot is stronger then White Masticot and will be seen at a greater Distance.
Those Colours must be laid near to one another, that are proper of their own nature to help one another, and give a mutual help to rayse up their Briskness, as the Red doth to the Green, and the Yellow to the Blew, &c.