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Plaintiff: and the Plaintiff, fuppofing the Property to be in J. %. at the Time of the Gift, took them ; and the Defen- dant took "em again from the Plaintiff; whereupon the Plain- tiff brings his Adion. This is a good Colour* and even a good Plea. See 2)o£i. and Stud. ' . Q . . 3
Colour of Office, is when fome umuft Action is done, under countenance of Office, or Authority.
To Colour Strangers Goods, is when a Freeman allows a Foreigner to enter Goods at the Cuifom houfo in his Name.
COLOURING, in Painting, the manner of applying, and conducting theCcto*iofa Picture : Or, it is the Mixture or Lights and Shadows, form'd by the various Colours, employ d in a Painting. See Glair-obscure. - '
The Colouring is one of the principal Branches ot Faint- ing. ML Felibien divides the Painter's Art into three Parts ; the Defign, the Compofition, and the Colouring. The Co- louring ftrikes the molt ; but among Matters it always gives place to the Exaanefs of the Defign. See Painting.
U)e 'Piles obferves, that the Word Colouring, in its con- fined Sen ie, is chiefly applicable to a Hiftory-piece ; fcarce at all to a Landikip. He adds, that the Term Colouring re- lates more i mmediately to the Carnations than>ny thing elfe.
The Colouring, in its general Senfe, takes in what relates to the Nature and Union of Colours ; their Agreement, or Antipathy; how to ufe them to advantage in Light and Sha- dow, foas to ihewa Relievo in the Figures, and a finking of the Ground : What relates to the aerial Perfpeftive, i. e. the Diminution of Colours, by means of the lnterpofition of Air 5 the various Accidents and Circumftances of the Luminary and the Medium ; the different Lights, both of the Bodies illuminating and illuminated ; their Reflexions, Shadows, different Views, with regard either to the Pofition of the Eye, or the Objea : What produces the Strength, Fierce- nefs, Sweetnefs, &c. in Paintings well coloured : The various Manners of colouring, both in Figures, Landikips. %$c.
'The fDotlrwe of Colouring is comprifcd under the fol- lowing Rules, Colours are confider'd, either in refpeft of their Ufe, or their Oeconomy and Difpofition.
lit, Wirh regard to their Ufe. They are either in Oil, or Water : Thofe in Oil, again, are either confider'd with a View to their Preparation, or Application.
In the Preparation of Oil Colours, care raufl be taken that they be ground fine; that in nutting them on the Pallet, thofe which won't dry of thcmfelves, be mix'd with Oil, or other Dryers ; and that the ting'd Colours be mix'd in as fraall Quantities as poftible.
For their Application, it is confider'd either with regard to the Kinds of Painting in Works of various Colours, or in thofe of one finglc Colour.
For the firfi ; in the larger Pieces, the Colours are either laid on fill), fo as they may be impafted, or incorporated to- gether, which makes them hold the more firmly.
Or elfe we mix thofe more agreeable ones, which dry too hard, and too nattily, with a little Colour, and the cleared of the Oil : But, in both Cafes, the Colours are to be laid on ftrong at firft ; it being eafy to weaken thofe that are to be thruit back, and to heighten the others : The Touches to be bold, by the Conduct of a free and fteady Pencil ; that the Work may appear the molt fini/h'd at a proper diftance, and the Figures animated with Life and Spirit.
For glazed Colours, care mult be taken that the Under- Colour be painted ftrong, and that it be a BoAy.Colour, and laid fmooth.
In finifh'd Works, which arc to be viewM near at hand, they proceed, either by applying each Colour in its place ; preferving their Purity, without fretting or tormenting them, but fweetly foftening off their Extremities : Or by filling up all the great Parts with one fingle Colour : and laying the other Colours, which are to form the little Things, upon it : which is the more expeditious way, but more apt to decay.
For the fec-ond: the Kinds of Pictures in one Colour are two, viz. Ca?nieux, where the Degradations of Colours of Objefts afar off, are ufually manag'd by Lights, as with Crayons ; and Sajfo-Rclicvo, which is an Imitation of Sculp- ture, of whatfocver Matter and Colour : in both thefe, the Colours are wrought dry. See Camikux, &c.
For Water-Colours, they are wrought various ways 5 viz. in lii (temper, where the Colours are prepaid in Size ; which Method is ufed on all kinds of Matter: in Frefco, or Paint- ing on frefli Mortar ; where the Colouring mull he quick, that the Matter dry not; and with much Care and Neatnefs, laying each Colour in its place, and intermingling them by Par- cels : In Agouache, where the Colours are mix'd with Gum, and the Pencil dragg'd ; as in Paint and Warnings : In Mi- ?iiature, for fmall and delicate Works ; where the Coloxirs are to be very fine and clean, mix'd with Gums and wrought in Dots or Points. See Distemper, Miniature, &c.
But in all the Kinds of Painting, both in Oil and Diftem- per, efpecially the latter, care muft be taken that the
Defign be flx'd, and all the Parts mark'd out, ere any Colon be applied. '
For the 2d Part of Colouring, or the Oeconomy and dif- penfing thereof in Paintings; regard is either had, firft the Qualities of the Colours, to appropriate them according to their Value and Agreement ; or, fecondly, to their Effect in the Union and Oeconomy of the Work.
For the firft, it muft be obferv'd, that white reprefems Light, and gives the brifknefs and heightening ; black, n the contrary, like Darkncfs, obfeures and effaces the Ob- jects : again, black fets off the light Parts ; and by that they ferve each other to loofen the Objects. A proper Choice to be made of Colours, and the too much charg'd manner to be avoided ; both in Carnations, where red Colours are not to be affecled, as rather refembling the Flefh when flead than the Skin ; and all bright glowing Colours : the Skin, how delicate foever, being always of a t)own-Colour. IntheZ^- pery, where the Painter has his whole ftock of Colours to chufe out of, to procure a good effect; and in the Landslip to difpofe thofe Colours near one another, which mutually aflift and raife each other's Force and Brifknefs ; as red and green, yellow and blue.
To manage 'em fo, as that they be accommodated to the Effects of the great Parts of Light and Colour : that the Oron? Colours lead to the foft ones, and make 'em more look'd at- bringing 'em forwards, or keeping 'em back, according to the Situation, and the degree of Force recmir'd.
For the Effects of Colours, they either regard the Union, or the Oeconomy : With refpeef to the firtt, care muft be ta- ken that they be laid fo as to be fweetly united, under the briiknefs of fome principal one; that they participate of the prevailing Light of the Piece ; and that they partake of each other by the communication of Light, and the help of Rcfleaion.
For the Oeconomy in managing their degrees, regard i$ to be had to the Contrajl, or Oppofition intervening in the Union of the Colours ; that by a fweet Interruption, the brifknefs, which otherwife fades and palls, may be rais'd to the Harmony which makes the Variety of Colours agree ; fupplying and fuftaining the Wcaknefs of fome by the Strength of others ; neglecting fome Places, on purpofe to ferve as a Bails or Repofe to the Sight, and to enhance thofe which are to prevail thro' the Piece : To the Degra- dation ; where, the better to proportion the Colours that fall behind, fome of the fame Kind are to be preferv'd in their purity, as a Standard, for thofe carried afar off to be com- par'd by, in order to juftify the Diminution : regard being always had to the quality of the Air, which, when loaded with Vapours, weakens the Colours more than when clear: To the Situation of the Colours ; where care muft be taken, that the pureft and the ftrongeft be placed before, or in the Front of the Piece ; and that by their force, the compound ones, which are to appear at a diftance, be kept back ; parti- cularly, the glazed Colours to be ufed in the firft Rank : Lall- ly, to the ExprcJfio7i of rhe Subject, and the Nature of the Matters, or Stuffs ; whether Ihining or dull, opake or trans- parent, polifh'd or rough. See Carnation, Contrast, De- gradation, $£c.
Colouring and .Nob-colouring 2)n/gs : Thus the Dy- ers diftinguifh their Drugs : the firjl are applicative, and communicate their Colours to the Matters boil'd in them, or pafs'd thro' them ; as Woods, fcarlet Grain, Cochineal, In- digo, Madder, Turmeric, &c. The fecond ferve to pre- pare and difpofe the Stuffs, and other Matters ; and to ex- tract the Colour out of the colouring Ingredients 5 as Alluni] Salt or Cryftal of Tartar, Arfenic, Realgal, Salt-Petre, common Salt, Sal Armoniac, Sal Gemma?, Agaric, Spirit of Wine, Bran, Peafe-flour, Wheat, Starch, Lime, and Afhes.
COLUMBINE, a kind of Violet-colour, call'd alfo Dove- colour. See Colour.
S. COLUMBUS, a Congregation of Regular Canons, formerly of great Extent in Ireland ; having under it an hundred Abbies, or Monafteries, in the "Britijlj Iflands. See Congregation, and Canon.
The principal Monaftery, or Chief of the Order, accord- ing to fome, was at Armagh ; according to others, at L<m~ dondcrry : others will have it in the Iftand of Ha, or Hi, or Iona, now called Tcohnkil, to the North of Ireland, not far from Scotland.
There is a Rule in Ifijb Verfe, fuppofed to have been dic- tated by S. Columbus to his Canons.
COLUMN, in Architecture, a round Pillar, made to fup- port or adorn a Building. See Pillar, Building, £Sfc-
The Column is the principal, or reigning Part of an Order. See Order.
The principal Laws and Properties of this eminent Mem- ber of Architecture are thus dedue'd :
Every Fulcrum, or Support, is fo much the more perfect as it is the firmer, or carries the greater appearance of firny nefs : and hence all Columns, or Pillars, ought to have their Bafe, or Foot, broader than themfelves. Sec Base.
Again,
