LAY (TO) (v.)
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
In great works we mnst lay the Colours on Full, that we may Empast and Incorporate them sweetly, and that will make them to hold Firm and be lasting.
Colours must be so laid together, that they may be all sweetly united under the Briskness of a principall one, that it may participate of the Light which is chief over all the rest in the Picture ; and that all the Colours be Connected together by an agreeable Union, and likewise so dispos’d as they may partake of each other, by the Communication of the Light and help of Reflection.
We must not only avoid all Garrish and Gaudy Colouring (the Effect of a poor Judgment) but likewise a Briskness in the Meaner Parts which may any way hurt the Eye of the Picture.
We must observe to lay the Colours very strong at first, because it is easy to weaken what we would put back ; but more difficult to give a strength, where it is weakly put in.