,,colour4  ,entered at ,stationers'     
,hall4  ,illustration3 ,,sunset         
,,colour ,,as ,a ,,means ,,of ,,art3    
,,being ,,an ,,adaptation ,,of ,,the    
,,experience ,,of ,,professors ,,to     
,,the ,,practice ,,of ,,amateurs4   ,,by
 ,,frank ,,howard1 ,,author ,,of ,,the  
,,sketcher',s ,,manual1 ,,the ,,spirit  
,,of ,,shakspeare1 c4   ,,london3       
,,henry ,g4 ,,bohn1 ,,york ,,street1    
,,covent ,,garden4 ,,mdcccxlix4         
,dedication     ,,to     ,,sir          
,,augustus ,,wall ,,callcott1 ,r4,a4    
c4 c4 c4      ,,dear ,,sir1      ,the   
endeavour of the present work is to fix 
and develope1 for     the benefit of the
 ,amateur and the ,student1 some of the 
acknowledged general principles of      
,colouring as a means of ,art1          
without reference to the purposes to    
which such ,art shall be                
applied1--without reference to poetical 
expression or character1     or to the  
imitation of the details of ,nature1    
which are     requisite for the         

production of great works4      ,and ,i 
have much pleasure in being permitted to
 dedicate it to     you1 who have so    
recently shown that the capability to   
execute     in the higher walks of ,art 
does not depend1 as is erroneously      
supposed1 upon mechanical skill attained
 by constant practice     and devotion  
to one class of subjects2 but upon      
intellectual     qualifications and     
mental refinement1 which has ever been  
conspicuous in your treatment of the    
subjects generally adorned     by your  
pencil4      ,i have the honour to      
remain1     ,your obedient ,servant1    
,frank ,howard4     ,,contents4         
,,page  ,,preface                       
,v  ,,introduction                      
#ag   ,,chapter ,i4  ,,colouring ,,as ,a
 ,,means ,,of ,,art                     
#be   ,section #a4--;,,harmony          
#bg   ,section #b4--,,tone              
#ca   ,,chapter ,,ii4  ,,rules ,,for    
,,producing ,,pictures ,,in ,,colour    
#ce   ,section #a4--;,,cuyp',s          

,,principle                             
#ci   ,section #b4--;,,both',s          
,,principle                             
#da   ,section #c4--;,,hobbima ,,and    
,,ruysdael',s ,,principles              
#dc   ,section #d4--,,teniers ,,and     
,,ostade',s ,,principles                
#de   ,section #e4--,,the ,,principles  
,,of ,,titian ,,and ,,the ,,venetian    
,,school    #dg   ,section              
#f4--,,ludovico ,,caracci',s ,,principle
                        #di   ,section  
#g4--;,,another ,,principle ,,of        
,,titian                         #ea    
,section #h4--,,ruben',s ,,principle    
#ec   ,section #i4--,,turner',s         
,,principle                             
#ee  ,section #aj4--;,,another          
,,principle ,,of ,,turner               
#eg  ,section #aa4--,,modern ,,manner   
#ei  ,section #ab4--;,,abstract         
,,principles ,,to ,,which ,,these       
,,arrangements ,,may ,,be ,,referred    
#fa   ,,chapter ,,iii4  ,,fine          
,,colouring                             

#fi   ,section #a4--,,principles ,,of   
,,colouring ,,objects                   
#ga   ,section #b4--;,,colours ,,of     
,,lights ,,and ,,shadows                
#ii   ,section #c4--,,sunshine          
#aja   ,section #d4--,,sunset           
#ajc   ,section #e4--,,moonlight        
#aje   ,section #f4--;,,grey ,,daylight 
#ajg     ,,list ,,of ,,plates4          
,,frontispiece4 ,,sunset4            7to
 face ,title page47                     
,,page   #a4 ,,cuyp',s ,,principle      
#ci   #b4 ,,both',s ,,principle         
#da   #c4 ,,ruysdael ,,and ,,hobbima',s 
,,principle                #dc   #d4    
,,tenier',s ,,and ,,ostade',s           
,,principle                 #de   #e4   
,,titian ,,and ,,the ,,venetian ,,school
                  #dg   #f4 ,,ludovico  
,,caracci',s ,,principle                
#di   #g4 ,,another ,,principle ,,of    
,,titian                     #ea   #h4  
,,ruben',s ,,principle                  
#ec   #i4 ,,turner',s ,,principle       
#ee  #aj4 ,,another ,,principle ,,of    

,,turner                     #eg  #aa4  
,,modern ,,manner                       
#ei  #ab4 ,,the ,,neri                  
#hh  #ac4 ,,the ,,bianchi               
#ic  #ad4 ,,the ,,dutch ,,school        
#id  #ae4 ,,sunshine                    
#aja  #af4 ,,moonlight                  
#aje  #ag4 ,,grey ,,daylight            
#ajg     ,,preface4   ,in the           
,sketcher's ,manual1 the general        
principles of making pictures in black  
and white1 or1 as it is technically     
termed1 in ,chiaroscuro1 have been      
briefly1 but it is hoped distinctly1    
explained4 ,the following work on       
,colouring proceeds upon the same       
method4 ,it treats first of the         
arrangements of masses of colours which 
have been established by various masters
 or schools1 and which have been        
recognized as satisfactory or agreeable 
by the public voice2 it then points out 
the abstract principles to which these  
several arrangements may be referred2   
and finally directs attention to the    

qualities of ,colouring in ,art which   
are requisite as regards the imitation  
of ,nature4 ,it does not profess to     
descend to details1 for these require a 
considerable advance in the ,art1 and   
consequently could not possibly be      
rendered intelligible in any            
publication1 because they would require 
the exercise of first-rate powers1 to   
colour every individual impression of   
the plates4 ,for examples of the details
 of colouring1 the ,amateur and the     
,student must be referred to the best   
pictures of the several masters whose   
general principles are herein exhibited4
 ,but it should be observed1 that       
although the several masters1 whose     
names have been brought forward in the  
present work1 and in the ,sketcher's    
,manual1 as the originators of the      
several principles of ,chiaroscuro and  
,colour1 are generally distinguished by 
some exercise of the principles to which
 their names are attached1 they have    
produced many and valuable works in     

other and very different styles4 ,it is 
not intended to imply that all the works
 of these masters are constructed upon  
the same principles2 still less is it   
intended to imply that the principal    
merit of these masters resides in the   
particular principle of picture-making1 
which they have mainly1 if not entirely1
 contributed to develope2 for this would
 reduce the art of painting to a        
mechanical trade1 or mere means of      
gratifying the eye4 ,least of all has it
 been intended to afford to critics a   
means of attack upon the modern masters1
 whose names have been introduced into  
these little works1 as painters of      
pictures on receipt1 or on a principle  
of manufacture4 ,the development of a   
new principle of ,art1 whether relating 
to ,composition1 ,chiaroscuro1 or       
,colour1 is as meritorious and worthy of
 distinction as1 if not more so than1   
the production of an able work upon the 
principles of ,art previously           
established by others4  ,the author is  

fully sensible that he must submit to   
criticism with respect to whatever he   
may place before the public2 nor is he  
in the least disposed to complain of any
 censure of the matter contained in the 
works1 or of the manner in which that   
matter is placed before the public4 ,he 
can even afford to smile at the         
criticism that a work addressed to the  
,,amateur and the ,,student on          
,picture-making in ,chiaroscuro1 will   
not make a ,raffaelle or a ,titian1     
particularly as the great merit of the  
latter was colouring2 and he may observe
 that he does not expect that even the  
present work1 which is solely devoted to
 colouring1 will make a ,titian4 ,it    
will be sufficient if he shall have     
placed in a tangible shape before the   
reader some of the principles by which  
the effects of ,colouring1 and light and
 shade have been made1 by certain       
masters1 subservient to higher          
purposes2--the ,art is but the means to 
an end4 ,but the author feels that he   

has a right to complain of a criticism  
of his work1 in which the censures of   
the critic upon third parties are made  
to appear to have proceeded from the    
author2 and he now begs to disclaim     
having said anything disrespectful      
either of ,mr4 ,stanfield or ,mr4       
,roberts1 either directly or indirectly1
 as will be evident upon the inspection 
of the ,sketcher's ,manual4  ,and the   
author feels it necessary to remove an  
erroneous impression with respect to the
 nature and intention of these works1 by
 stating1 that they are expressly       
intended for the ,amateur or the        
,beginner in ,art2 that they are not    
intended to be argumentative or         
controversial2 nor are any matters      
introduced that require the support of  
argument1 evidence1 or authority1       
although these could easily be adduced1 
if requisite2 but the desire of the     
author has been to lay before the       
,amateur such principles of ,art as have
 received the sanction of years1 and are

 universally appreciated by the public  
in their effects3 and the only merit    
claimed is that of having brought them  
together in such a form as to           
distinguish them clearly2 and to render 
the principles as evident as possible4  
,but there is no pretension of limiting 
the whole ,art of ,colouring to the     
principles of ,colouring contained      
herein4  ,for the method in which the   
plates of the present work have been    
executed1 ,i am indebted to a recent    
improvement in ,lithography1 made by    
,mr4 ,hullmandell4 ,it is capable of    
producing more nearly the effects of    
painting than any other style of        
engraving2 but from these plates        
professing only to represent masses of  
,colour and general tone1 and being the 
first that have been attempted in this  
particular application1 they are not    
calculated to display ,mr4              
,hullmandell's improvement to advantage4
     ,,introduction4   ,sir ,joshua     
,reynolds in one of his ,discourses has 

stated1 that the ,edifice of ,art has   
been gradually raised by the            
contributions of the great men of past  
ages1 and that although every addition  
to knowledge required the exertion of a 
mind far in advance of its              
contemporaries to effect it1 the results
 have now become the common property of 
all artists1 and may easily be          
appropriated by every ,student--that    
much may now be taught1 which it        
required vast genius to discover4  ,it  
will not be necessary to adduce any     
argument in support of this proposition4
 ,the difference of opinion will        
principally refer to what part can be   
taught8 ,and hereon there have been as  
great divisions and disputes as have    
arisen with regard to the part of the   
pig that was forbidden to be eaten by   
the followers of ,mahomet2 only it      
should be observed that the discussions 
have terminated in an almost opposite   
result2 for whereas the whole pig was   
eaten1 scarcely any of the ,art has been

 taught4  ,numerous works have been     
published and numerous methods of       
instruction adopted2 but they are almost
 all directed to points of mechanical   
execution1 or the representation of     
individual objects1 which mainly depend 
upon skill4  ,skill is the natural      
result of practice or fortunate         
organization1 and will1 of course1      
differ with the perseverance or capacity
 of the student1 which has led to the   
persuasion that the productions of ,art 
are dependent upon what is called       
natural genius4  ,but what is known of  
,art may be as easily communicated as   
any other fact1 and as easily acquired  
as a knowledge of history1 or any other 
appeal to the memory1 and is            
indispensable equally to the critic and 
to the amateur4 ,on this subject there  
are few if any works2 and it is rarely  
touched by professed teachers of the    
,art4  ,the method of private tuition at
 present in favour is1 to make a drawing
 before the pupil1 who is expected to   

appreciate the course of proceeding1 and
 to imitate the effect4  ,watching a    
drawing thus in progress1 it will be    
observed that the greater part is done  
apparently without a thought2 it appears
 to be literally at the fingers' ends of
 the artist3 and this will be found to  
comprehend much1 it not all that confers
 the effect of a picture4 ,but in what  
does this consist8 ,repeated practice1  
and continued study of works of art1    
will undoubtedly1 in time1 bring it to  
the fingers' ends of the student also1  
and it will insensibly become an        
inexplicable habit1 manner or style4    
,but this is1 in fact1 what may be      
taught or communicated in a short time2 
it is the knowledge resulting from the  
experience of ages1--the edifice built  
up of discoveries from time to time     
contributed to the fund of ,art by the  
success and failures of our             
predecessors4 ,this is the knowledge or 
science of painting1 which should       
precede all practice or attainment of   

skill1 and such portion as relates to   
colouring1 it is the intention of the   
present work to supply4 ,skill will     
follow as a result of the endeavour to  
make use of the means to produce the    
end--,pictures4  ,there has been1       
unfortunately1 so great confusion in the
 use of the terms applicable to         
,colours1 that it becomes difficult to  
convey any distinct information         
respecting them1 without hazarding the  
charge of pedantry by limiting the      
signification of certain words4 ,tints1 
,tones1 and ,shades of ,colour have     
been1 and still are1 too commonly used  
so indiscriminately to mean the same and
 different things1 that no definite     
impression can be given1 unless there   
exist a previous knowledge of the mode  
in which each word is applied4 ,it will1
 therefore1 be necessary to explain the 
meanings with which each word will be   
used in the present work4  ,,tints are  
those specific and definite qualities of
 colours1 by which the individuals of a 

class are distinguished from each other3
 as of ,reds2 ,scarlet1 ,crimson1 ,pink1
 ,rose-colour1 c43 of ,greens2          
,apple-green1 ,olive-green1 ,pea-green1 
c43 of ,yellows2 ,straw-colour1 ,amber1 
c43 of ,blues2 ,sky-blue1 ,garter-blue1 
,indigo1 c4  ,,shades ,,of ,,colour     
imply the degree of brilliancy or depth1
 as bright or deep ,crimson2 light or   
dark ,blue4  ,,tones ,,of ,,colour are  
of more general application1 as         
indicating the general aspect of classes
 of ,tints or ,shades2 and especially   
designating the degree of warmth or     
coldness3 as cool greens1 warm greys4   
,there may be lighter and darker ,shades
 of the same ,,tone1 but not of the same
 ,,tint4 ,rose-colour and ,crimson may  
be said to be lighter and darker shades 
of the same ,tone4  ,the word ,tone is  
also used by itself in opposition to    
crudity or rawness of colour2 and hence 
is technically descriptive of the       
ternary compounds1 of whatever tint or  
shade2 while the primary colours and the

 binary compounds1 ,blue1 ,red and      
,yellow1 and ,purple1 ,orange and       
,green1 are technically distinguished as
 ,colour4 ,the lighter shades of ,tone  
in this sense are technically included  
under the term ,greys2 warm1 as they    
contain ,orange2 cool1 as they contain  
,purple or ,green4 ,tints and ,tones are
 further classed as pure1 as they       
approach purple1 and those tints        
observed in ,mother of ,pearl1 hence1   
also pearly tints2 warm or hot as they  
approach ,orange2 heavy1 and unless they
 are exceedingly transparent1 muddy1 as 
they approach ,green4  ,,half-,,tints   
express those gradations of colour1 and 
,,half-,,lights those gradations of     
light1 between the greatest brilliancy  
and the shadows4  ,colours are said to  
be ,,supported by others which present  
some resemblance1 but are inferior in   
brilliancy2 as blues by purples1        
crimsons by reddish-browns1 yellows by  
orange3  --,,contrasted by those which  
are the most opposite1 as blues by      

orange or browns1 reds by green1 yellows
 by purples3  --,,balanced when by      
opposition they are so neutralized that 
no one appears principal or predominant4
  ,the author of a recent publication on
 ,colour is quite in error1 when1 in    
describing technical terms1 he states   
the ,balance of ,colouring is the       
harmony produced by supporting one      
colour by another introduced in         
different parts of the picture1 either  
of the same colour1 or one approaching  
to it4 ,this is ,,spreading a colour    
,,through the picture1 and though it may
 contribute to the balance of colouring 
by contrasting and neutralizing the     
other colours in the work1 it is in     
itself the very opposite of the balance 
of colouring1 as it consists entirely in
 loading one side of the beam4 ,to this 
it may be added that colours are said to
 be ,,supported by similar tints        
adjacent1 and ,,echoed by them when in  
different parts of the picture4  ,there 
are many other errors in the book       

above-mentioned1 but as this is not     
intended to be a controversial          
disquisition1 those mistakes only will  
be noticed which might otherwise lead to
 confusion2 but to the correction4  ,the
 definition of ,,mellowness1 as caused  
by those warm colours which1 when       
blended1 produce an agreeable tone or   
hue1 and would then be said to          
sympathize and create harmony1 is as    
incorrect and indefinite1 as the        
remainder of the paragraph is without   
foundation3--,on the contrary1 if1 in   
mixing two or more colours1 a           
disagreeable and harsh effect were      
produced1 they would be said to have an 
antipathy1 and create rawness--this     
adulteration of one colour by another   
causes what painters term a ,,muddy     
effect4 ,painters term an effect muddy  
when it is dirty in colour and wanting  
in transparency4 ,this fancy respecting 
the sympathy and antipathy of certain   
colours1 which is more distinctly       
alluded to in the following             

passage3--when1 to produce a particular 
tint1 the mixing of two colours which do
 not sympathize is unavoidable2 one or  
more may be introduced whose sympathy is
 greater1 that a pleasing and harmonious
 effect may be produced1 c4--this is    
wholly groundless4 ,how the sympathy and
 antipathy alluded to are supposed to   
act is not very evident1 but they have  
no existence whatever4  ,the definition 
of a ,,pearly ,,hue1 as obtained by     
softening or blending the warm colours  
without adulterating one with the other1
 is equally liable to objection as      
untrue4  ,the attempt at a philosophical
 account of the cause of the colours    
produced at sunset and sunrise1 has been
 incidentally exposed in the third      
chapter of the present work4 ,this error
 undoubtedly does not originate with the
 professed author of the publication    
alluded to2 and as the greater part of  
the book is evidently1 though without   
acknowledgment1 compiled from ,mr4      
,burnett and other writers on the       

subject1 the other errors are probably  
in a great measure also the result of   
compilation4     ,,chapter ,i4          
,,colouring ,,as ,a ,,means ,,of ,,art4 
,colouring is the decorative part of    
,art4 ,it answers to ,rhythm and ,rhyme 
in poetry1 as the means of attracting   
the senses4 ,as it is a means of        
producing1 so its indispensable         
qualification is1--,,beauty4 ,in the    
higher aims of ,art it should be made   
subservient to ,character and           
,expression1 by according with the      
nature of the subject2 but1 still under 
the limitation and regulation of those  
principles which govern ,pictorial      
,effect4 ,under all circumstances1 and  
to whatsoever purposes applied1 the     
first qualification of ,colouring as a  
means of ,art is1 that it should produce
 a ,picture4  ,a picture has been       
elsewhere defined as an arrangement of  
one or more objects and accessories so  
as to afford an agreeable subject of    
,contemplation4 ,and the principles     

which regulate ,chiaroscuro and general 
arrangement for this purpose1 have been 
pointed out4 ,the same principles must  
regulate ,colouring as a means of ,art4 
,the mere representation of any object1 
however accurately detailed and         
coloured1 does not constitute a picture4
 ,it must be represented with           
accessories and under ,pictorial        
,effect4 ,this as regards ,chiaroscuro  
has been shown to depend upon ,breadth4 
,as regards ,colouring it depends upon  
,harmony4   ,,chapter ,i4  ,,section ,i4
  ,,harmony4  ,harmony is a term        
borrowed from the sister ,art of ,music1
 to denote a degree of relation or      
congruity between two or more colours1  
so as mutually to support or develope   
each other's beauties1 as is the case   
with a chord or concord of sounds4 ,the 
degrees of relation1 or qualification   
for harmony1 of sounds1 can be          
ascertained by mathematical calculation 
incapable of erroneous results4 ,not so1
 those of ,colours2 at least in the     

present state of the science of ,optics4
 ,if it should be proved that colours   
are the effect of vibrations of the air1
 or any other fluid1 as are sounds1 the 
,harmony of ,colours may equally become 
the subject of mathematical calculation1
 with equally certain results2 at       
present we cannot go beyond rude        
approximations by guess or supposition2 
and are vaguely placed under the        
regulation of ,taste1 itself as ,protean
 and undefined4  ,the theory of the     
three or seven colours being all equally
 necessary to each other1 which has been
 derived from the division of the ray of
 light by a prism1 has been supposed to 
afford the relative proportions of the  
various tints necessary to ,harmony in a
 picture1 because existing in light2 and
 fanciful1 but entirely unfounded1      
analogies have been drawn by enthusiasts
 between the seven colours and the seven
 notes1 and the three colours and the   
notes of the common chord in music3 but 
without going into the question of how  

far this would be likely to assist in   
our present inquiry1 if true1 it may be 
sufficient to observe that these        
relative proportions vary with the      
substance of the prism by means of which
 the ray of light is divided2 so that   
the whole induction falls to the ground4
  ,but were the proportions always the  
same1 the induction would be equally    
untenable4 ,for1 though light may be    
very beautiful2 and the ,rainbow may be 
very beautiful2 a totally different kind
 of beauty is required for a picture4   
,the colours of the ,rainbow may        
perfectly harmonize2 but it is more than
 doubtful whether the person whose whole
 picture was a representation of a      
,rainbow1 would be considered to have   
produced a finely coloured work of ,art4
  ,harmony1 in ,pictorial ,colour1 does 
not depend upon any particular          
proportionate quantities of the         
different tints2 nor in any particular  
disposition or arrangement of them2 but 
upon the qualities and the treatment of 

the individual colours4 ,a picture may  
be painted with every variety of the    
most brilliant colours2 or1 on the other
 hand1 as ,rembrandt treated light1 the 
work may contain only one small spark of
 colour1 the remainder being made up of 
neutral tints2 and even the small spark 
of colour may be dispensed with1 and the
 whole picture be made up of a variety  
of tones4  ,having dwelt so much in the 
,sketcher's ,manual1 upon the principle 
of ,breadth being indispensable for the 
production of ,pictorial ,effect1 it    
will scarcely be requisite to point out 
that it is equally necessary that       
,colours should be so treated as to     
produce ,unity2 and that1 as with lights
 and shadows1 so whatever variety of    
tints may be introduced into a picture1 
they must be so blended and incorporated
 with each other1 that they still form  
parts of a whole2--that whether the     
lights be white1 and the shadows black1 
or differently coloured1 the same       
necessity for graduation remains2 so    

that ,colours must not be in flat       
patches4 ,and in the treatment of       
,colours1 besides the graduation        
requisite for ,breadth of ,chiaroscuro1 
it is necessary to pay attention to the 
peculiar quality termed ,,tone1 which is
 indispensable in a coloured ,work of   
,art4  ,as well as ,breadth of          
,chiaroscuro1 there must be ,,breadth   
,,of ,,tone1 the fundamental quality of 
,harmony4   ,,chapter ,i4  ,,section    
,,ii4  ,,tone4  ,this is a term also    
borrowed from the vocabulary of ,music1 
to denote a property or quality of      
,colour1 the opposite of gaudiness or   
harshness2 and implies a richness or    
sobriety1 inviting quiet contemplation4 
,it confers what is technically termed  
repose4 ,it bears that relation to      
colours in general1 that the quality of 
a musical note does to that of an       
unmusical sound or mere noise4 ,in      
,music1 this is known to depend upon the
 vibrations of the air being            
isochronous1 or at regular intervals4   

,should it be discovered that ,colours  
are also produced by vibrations1 ,tone  
in its present application may prove to 
arise from a similar regularity4  ,tone 
implies a degree of transparency1 which 
in ,oil colours is attainable with great
 facility1 by a process termed glazing2 
viz4 passing a transparent colour over a
 previously prepared tint4 ,there are   
also some other practical methods of    
producing it1 which are more advisable  
in certain cases1 but which need not be 
further noticed here4 ,in ,water        
colours1 the greater number of pigments 
used are transparent1 and the legitimate
 method of using them proceeds upon the 
principle of working entirely in        
transparent media2 which has1 at all    
times1 excited great hopes with regard  
to that branch of ,art1 as affording a  
better means than ,oil colours 7in which
 the light tints are all composed with  
opaque white7 of producing the          
brilliancy and truth of ,nature1 in     
combination with the transparency 7tone7

 which is required in a work of ,art4   
,and it is to be regretted1 that in some
 few1 and those popular instances1 this 
advantage arising out of the legitimate 
use of ,water colours1 should have been 
thrown away1 without obtaining any      
equivalent1 other than that of hiding or
 correcting blunders2 and that attempts 
should have been made1 by the use of    
opaque body colours1 and a similar      
method of working1 to imitate the effect
 of ,oil painting4 ,the progress of the 
true art of ,water-colour drawing1 must 
necessarily receive a check from the    
adoption of such a practice1 which will 
doubtless be sanctioned by the idle or  
the hurried2 and attempts to carry out  
the original prospects and genuine      
advantages of the transparent medium1   
will probably become rare1 if they      
should not cease entirely4  ,it is true 
that opaque ,water-colours are supposed 
to have an advantage over ,oil-colours1 
in light and brilliant parts1 in        
consequence of the tendency of the ,oil 

7the vehicle1 as it is technically      
termed7 to come to the surface1 and thus
 to give a tinge to1 or obscure1 the    
purer tints of skies and distant        
brilliant objects4 ,on this account1    
they are said to be used by ,turner in  
these parts1 when he desires to attain  
great clearness and purity of colour4   
,but1 however1 the union of             
,water-colours with ,oil may be         
advantageous for these purposes1 and    
thus ,opaque ,water-colours may receive 
a partial sanction2 it cannot be denied 
that1 in the instances previously       
alluded to1 in which the ,opaque        
,water-colours are used for no other    
purpose than the facility of recovering 
half-tints that had been too much       
obscured1 the only advantage of         
,water-colours is abandoned1 without    
obtaining the equivalent of richness1   
arising from texture in ,oil2 and the   
purity of the one art is lost1 without  
attaining the force of the other4 ,a    
crumbly1 bungling appearance is         

produced1 and for no reason1 as the     
practice can never be successfully      
employed in the parts or objects1 in    
which the use of semi-transparent       
colours is so invaluable in ,oil4 ,and  
in fact1 ,opacity1 the reverse of what  
is desired1 ,tone1 is produced by the   
very same means in ,water-colours1 by   
which transparency is attained in ,oil4 
,breadth of ,tone is obtained by a      
process termed breaking the colours1    
which is the same with the method of    
incorporating lights with each other1   
described in the ,sketcher's ,manual2   
viz4 graduating each tint into those    
adjacent1 by which means a certain      
degree of affinity is diffused          
throughout the whole picture1 and       
,harmony1 or ,breadth of ,tone1 is      
produced4 ,the same results are         
effected1 by a process perhaps abused in
 the present day1 termed ,glazing1 which
 consists in passing some transparent   
pigment of the tone desired1 over the   
whole picture1 and thus breaking all the

 tints in the work with the same colour 
which produces the affinity required4   
,,chapter ,,ii4  ,,rules ,,for          
,,producing ,,pictures ,,in ,,colour4   
,although ,harmony or ,pictorial        
,colouring does not depend upon any     
particular quantities or arrangement of 
particular tints1 as the slightest      
consideration of the infinite variety of
 ,pictures that have been produced will 
prove2 certain quantities and           
arrangements of certain colours1 have   
been found to effect it4  ,these        
discoveries have been made from time to 
time1 and have each been adopted as     
principles by different artists2 and    
though admitting of considerable        
variation in details1 their effects have
 been so evidently distinguished by the 
public as uniform in general aspect1    
that they have been ranged in classes or
 schools1 to one of which any individual
 work is instantly referred1 by those   
who have even a slight acquaintance with
 the ,art4  ,by writers upon ,art it has

 been very generally contended1 that    
there must be a balance of warm and cold
 colours4 ,a little consideration will  
show1 that this1 as well as all         
restrictive regulations1 such as that   
blue must not come in the front of the  
picture1 c4 are unfounded1 or nearly the
 whole of the ,dutch school of landscape
 and interiors must be condemned as     
wanting in ,harmony1 or bad colourists2 
for ,ruysdael and ,hobbima1 ,teniers and
 ,ostade1 seem to have had a horror of  
warm colours1 while1 on the other hand1 
,cuyp and ,both seem to have had an     
equal dread of cool tints4 ,that a      
balance of warm and cold colour is one  
principle by which ,pictorial ,harmony  
may be obtained1 is perfectly true2 and 
that there are various means of         
balancing them is also true2 which      
affords numerous varieties of style or  
character of pictures4 ,and that the    
principle deduced by ,sir ,joshua       
,reynolds from the ,venetian school1    
that one-third of the picture should    

7may7 be cool1 and the remaining        
two-thirds warm1 is also just2 and will 
be productive of beautiful results4 ,the
 error consists in making these relative
 proportions indispensable to ,harmony4 
,this chapter will contain such         
principles as have been found to ensure 
,harmony4 ,there may1 perhaps1 be many  
others in store for future discovery4   
,these principles are of universal      
application1 whatever objects may be the
 subject of the drawing or picture1     
whether landscape1 figures1 animals1    
flowers1 or altogether2 and they are    
wholly independent of ,poetical or      
,dramatic colouring1--the application of
 colour to ,expression and              
,character1--and of the colouring of    
individual objects4  ,the art of        
composition1 in regard to colour1       
consists in arranging objects in such a 
manner1 that their true colouring will  
produce the combination required by the 
principle adopted4 ,the art of too many 
of the artists of the present day1      

consists in introducing the colours     
required1 without any reference to their
 being found in nature or not4          
,illustration3 ,,cuyp',s ,,principle    
,,chapter ,,ii4  ,,section ,i4          
,,cuyp',s ,,principle4  ,the simplest   
arrangement and treatment of ,colours   
will be found in the style of ,cuyp and 
,both2 objects in shadow are relieved   
against a warm sunny sky4 ,for the      
reasons given in the ,sketcher's        
,manual1 with regard to ,progressive    
,execution1 these are the best adapted  
to beginners2 objects in shadow do not  
present much variety of tint4  ,the     
whole aspect or general tone of the     
picture is warm4 ,the shadows are cooler
 than the lights1 but very far from     
cold2 being of a ,sepia brown1 and      
sometimes warmer1 with some cool        
reflections from the air4 ,the sky is   
gently graduated from a rich yellow to  
the most delicate warm grey4 ,the middle
 ground affords some blackish-green     
half-tints or shadows2 and some golden  

lights are introduced in front4  ,cuyp  
treated figures1 animals1 and boats in  
this way4 ,the points requiring         
attention and care are1 first1 the tone 
of the sky and yellow lights1 which must
 be obtained from yellow and ,roman     
ochres2 the sky should have a creamy    
quality of colour2 and what little grey 
is introduced1 must be ,cobalt ,blue1 or
 ,ultramarine with ,carmine1 or ,lake1  
so as to prevent the slightest          
appearance of green2 secondly1 the      
masses of shadow must be of agreeable   
shape and must not be too dark4 ,plate4 
,illustration3 ,,both',s ,,principle    
,,chapter ,,ii4  ,,section ,,ii4        
,,both',s ,,principle4  ,the style of   
,both is only a slight variation from   
that of ,cuyp4 ,he adopted a different  
character of subject1 usually contriving
 to relieve a mass of rock or bank1 and 
a tree with delicate foliage against the
 sky2 and he increased the warmth of the
 general aspect of the picture1 by      
making the tree and part of another     

light bank1 of the rich brown afforded  
by burnt ,terra de ,sienna1 and by      
introducing some red clouds in the sky4 
,in some instances ,both has not escaped
 the dangers that present the difficulty
 to his followers2 the tone of these    
pictures appears hot1 and thereby a     
vulgarity is occasioned1 and that       
refinement which is required by ,taste  
in the ,fine ,arts1 is destroyed4       
,plate4  ,illustration3 ,,ruysdael',s   
,,and ,,hobbima',s ,,principle          
,,chapter ,,ii4  ,,section ,,iii4       
,,hobbima ,,and ,,ruysdael',s           
,,principles4  ,these masters have      
adopted a style which1 though apparently
 as opposite to that of ,cuyp and ,both 
as cold is to warm1 resembles it in this
 respect--they rarely1 if ever1 admit   
positive colours in force1 and thus     
offer another simple principle for the  
treatment and arrangement of tints4  ,in
 ,hobbima and ,ruysdael1 who painted    
landscapes1 dark brownish masses are    
relieved against a cloudy grey sky1 and 

some white or grey light is introduced  
in front to carry the colour of the sky 
through the work4 ,the general aspect of
 the picture is cold4 ,what little      
warmth of tone may be admitted1 is to be
 found in the centre of the shadows2 and
 the only approximation to positive     
colour1 is in the sky1 a little cold    
feeble blue1 obtained in water-colours  
from ,indigo2 and a small portion of a  
deeper shade of the same tone of blue on
 mountains or trees in shadow in the    
distance2 or a little cold green in the 
middle ground4 ,if ever any red be      
introduced1 it must be a mere speck of  
vermilion shaded with grey1 to give     
value by contrast to the neutral tones1 
which make up the principle part of the 
picture4 ,plate4  ,illustration3        
,,ostade',s ,,principle   ,,chapter     
,,ii4  ,,section ,,iv4  ,,teniers ,,and 
,,ostade',s ,,principles4  ,teniers and 
,ostade have treated homely interiors   
upon the same principle1 making up the  
greater part of the picture with        

brownish grey tones1 and introducing in 
the light1 some very feeble spots of the
 primary colours1 carefully shaded with 
grey1 to assimilate them with the       
general aspect of the work4 ,what little
 warmth is admitted1 is found in the    
shadows and reflections1 as in the      
productions of ,ruysdael and ,hobbima4  
,but the lights afford a greater purity 
of tone2 so that while the works of     
,ruysdael and ,hobbima would be said to 
have a grey tone1 ,teniers1 and         
particularly ,ostade1 are said to have a
 silvery tone4 ,plate4  ,illustration3  
,,principle ,,of ,,titian ,,and ,,the   
,,venetian ,,school   ,,chapter ,,ii4   
,,section ,v4  ,,the ,,principles ,,of  
,,titian ,,and ,,the ,,venetian         
,,school4  ,the ,venetian ,school1      
founded by ,titian1 adopted a           
combination of rich warm browns1        
yellows1 and greens1 supported by       
crimsons1 all deep in tone1             
overspreading two-thirds of the picture1
 opposed by very rich1 almost warm1     

blues1 and animated by a point of white1
 sometimes accompanied by black in the  
front of the subject4 ,no violent       
contrasts are admitted1 no crude        
colours4 ,the white is toned down to    
assimilate with flesh tints1 which are  
again toned to accord with golden       
lights1 gradually deepening into        
yellowish browns1 and emerging through  
warm greens to join the blues1 which are
 kept in check by the opposition in some
 places to rich reddish browns of the   
same relative shade1 so that one shall  
not be darker than the other2 the blue  
is graduated as it approaches the white1
 into which it is blended by the        
interposition of fleshy-coloured tints4 
,the whole aspect of the picture is rich
 and warm1 but subdued4 ,the lights are 
golden and the shadows brown1 with just 
so much cool green1 white1 and blue1 as 
shall prevent the picture appearing     
rusty4 ,but though these tints are      
called cool1 because they are cooler    
than the rest of the work1 as in the    

style of ,cuyp and ,both1 they must not 
be cold2 but above all it is requisite  
to take care that they are not crude4   
,white must be toned with yellow or red2
 blue must incline to purple2 and if    
black be introduced1 it must not be blue
 black4 ,plate4  ,illustration3         
,,ludovico ,,caracci',s ,,principle     
,,chapter ,,ii4  ,,section ,,vi4        
,,ludovico ,,caracci',s ,,principle4    
,ludovico ,caracci followed the         
,venetian school1 but subdued the       
colours of the whole picture1 to what   
,sir ,joshua ,reynolds calls a          
cloistered tone1 the effect of a dim    
religious light1 through storied pane4  
,neither white nor black are admitted3  
the deepest shadows do not descend below
 a rich brown2 the brightest lights do  
not rise above a creamy yellow4 ,the    
blue is no longer opposed to a brown of 
the same relative shade1 but is         
introduced in the half-lights1 and      
carefully blended into the shadows1 by  
means of warm reflections1 and the      

interposition of reddish purple shadows4
 ,the ,chiaroscuro is broader and more  
tranquil than in the works of the       
,venetian school4 ,plate4               
,illustration3 ,,another ,,principle    
,,of ,,titian   ,,chapter ,,ii4         
,,section ,,vii4  ,,another ,,principle 
,,of ,,titian4  ,titian has adopted     
another principle in the painted ceiling
 of the ,hall of ,judgment1 in the      
,ducal palace at ,venice4 ,pure greys   
are interspersed amongst masses of      
bright crimson1 which are opposed to    
some pure white and blue1 broken by     
flesh tints4 ,the reds and greys are    
supported by some warm yellows1 and the 
whole assimilated by rich brown shadows4
 ,the contrasts of colour and           
,chiaroscuro are vivid1 and require care
 in the shapes1 as well as the          
situations of the masses and points of  
relief4 ,plate4  ,this principle of     
colouring is applicable to gorgeous     
historical subjects1 portraits1 and     
flowers4 ,sir ,thomas ,lawrence         

frequently adopted it with a slight     
variation1 resulting from the           
combination of some portion of the      
following principle which was developed 
by ,rubens4  ,illustration3 ,,ruben',s  
,,principle   ,,chapter ,,ii4  ,,section
 ,,viii4  ,,rubens' ,,principle4        
,rubens is the founder of another school
 in which the most violent contrasts of 
colour and ,chiaroscuro are admitted in 
the focus of the picture4 ,the deepest  
black1 supported by rich yellows1       
crimsons1 and blues1 is opposed to the  
brightest vermilion1 sometimes          
heightened with gold1 and the purest    
white1 which is graduated through every 
variety of pearly tint into bright      
blues1 interspersed with purply greys1  
creamy and fleshy half-tints4  ,great   
simplicity of ,chiaroscuro is requisite 
in this style of colouring4 ,both the   
white and the black must graduate       
uninterruptedly into the half-lights1   
which form the greater part of the      
picture4 ,the crimsons1 blues1 and      

yellows1 that support the black1 must   
all partake of the same tone4 ,the      
vermilion must graduate into purply     
tints1 which will emerge through greys  
and greens to the bright blue4 ,plate4  
,illustration3 ,,turner',s ,,principle  
,,chapter ,,ii4  ,,section ,,ix4        
,,turner',s ,,principle4  ,turner has   
controverted the old doctrine of a      
balance of colours1 by showing that a   
picture may be made up of delicately    
graduated blues and white1 supported by 
pale cool green1 and enlivened by a     
point of rich brownish crimson4 ,it     
requires some care in the graduation and
 shapes of the masses of blue and white1
 and in the situation of the point of   
colour4 ,plate4  ,illustration3         
,,another ,,principle ,,of ,,turner     
,,chapter ,,ii4  ,,section ,x4          
,,another ,,principle ,,of ,,turner4    
,another principle adopted by ,turner   
is1 to contrast rich autumnal yellows in
 the foreground1 with a brilliant       
,italian blue sky1 graduated through a  

series of exquisitely delicate pearly   
tints1 to meet the cooler green tints of
 the middle ground4 ,the warm colours in
 the foreground are qualified by purply 
half-tints1 and supported by warm       
shadows and some rich crimsons2 or      
sometimes reduced to comparative        
sobriety by the opposition of the       
brightest orange and white4 ,plate4     
,illustration3 ,,modern ,,manner        
,,chapter ,,ii4  ,,section ,,xi4        
,,modern ,,manner4  ,a very favourite   
manner of the present day is partially  
to relieve a tower1 steeple1 spire1 or  
some upright object1 rendered of a      
purple colour1 against a white cloud    
which is graduated with purply greys1   
creamy and fleshy tints1 and opposed to 
some bright patches of blue2 the lower  
part of the building or object is       
graduated through cool greens or greys1 
into some warmer yellows or browns in   
the foreground1 which are interspersed  
with points of bright colours1 such as  
,cobalt blue1 ,vermilion1 ,lake1 and    

sometimes white and black1 but always   
introducing in front some dull red1 as  
of bricks or tiles1 contrasted with     
fresh greys4 ,plate4   ,,chapter ,,ii4  
,,section ,,xii4  ,,abstract            
,,principles ,,to ,,which ,,these       
,,arrangements ,,may ,,be ,,referred4   
,these several styles of colouring may  
be reduced to certain abstract          
principles1 which may be made the       
foundation for other and different      
arrangements1 as the taste and talent of
 the artist or amateur may dictate4     
,pictures may be made up of a balance1  
or harmonic arrangement of ,,tones4     
,or1 of a balance1 or harmonic          
arrangement of ,,colours4  ,or1 of a    
balance1 or harmonic arrangement of     
,,tones and ,,colours4  ,or1 by         
relieving a ,,spark of ,,colour against 
a mass of ,,tones4  ,or1 by relieving a 
spot of black or white1 the             
concentration of ,,tones1 against a     
general aspect of ,,colours4  ,pictures 
may be warm in tone1 qualified by so    

much cool tint as will prevent their    
appearing hot4  ,or cool1 with so much  
warm tint as will prevent their         
appearing cold4  ,a small spark of      
bright colour will balance a large mass 
of subdued tint4 ,equal brightness will 
require equal masses4  ,for the         
principles by which the shapes and      
situations of masses and points must be 
governed1 the reader is referred to the 
,sketcher's ,manual1 where they will be 
found at length1 and carefully          
illustrated4 ,the same regulations that 
govern the distribution of several      
lights or shadows1 must guide the       
positions of several masses of the same 
colour4 ,if two or more are introduced1 
they must not be equal in size1 nor     
similar in shape1 nor must they be so   
placed1 that a line drawn through them1 
would be either horizontal or           
vertical--parallel with either base or  
side4 ,the great principle of colouring 
being ,variety within the limits of     
,harmony1 such masses of similar tints  

should be of different sizes and shapes1
 and should be interspersed at different
 distances through the picture1 so as to
 suggest an undulating line1 traversing 
all1 or at least three1 of the four     
quarters of the picture1 that all the   
particular colour shall not be on one   
side1 and none on the other1 nor all at 
the lower1 and none in the upper half of
 the picture4 ,but if the arrangement of
 relieving a spark of colour against a  
mass of tones1 or the reverse be        
adopted1 it must not be placed in the   
centre of the picture1 nor equidistant  
from either top and base1 or the two    
sides4  ,with regard to the beauty of   
individual tints1 it would be difficult 
to come to any very strict definition1  
as what is pleasing to one person1 is   
not so to another2 and particularly in  
reference to the use of colours in ,art1
 for they then become so dependent upon 
the other tints by which they are       
surrounded1 that they may be said to    
cease to have positive designations1 and

 to become only comparative2 and there  
is scarcely any tint1 however           
disagreeable in itself1 but may be made 
by ,art to appear agreeable1 if not     
beautiful4 ,but the object of the       
present work being to collect the       
certain or decided principles of ,art1  
for the benefit of those who desire to  
derive pleasure or amusement from it1   
the doubtful or questionable hypotheses 
will be left untouched1 and those points
 only brought forward which are         
calculated to ensure success4  ,for this
 purpose1 the amateur should avoid      
greenish blues and greenish yellows2    
they both appear sickly3 and never place
 such a green between blue and yellow as
 would result from the mixture of the   
particular tints of those two colours   
which are made use of4  ,both blue and  
yellow become agreeable as they incline 
to red4 ,red becomes rich as it inclines
 to blue1 brilliant as it inclines to   
yellow4 ,all shades and tones of purple 
or orange are agreeable2 but of greens1 

those only which incline to yellow4     
,blueish greens require either to be    
very pale1 as shown in ,turner's first  
principle 7,see ,plate71 or moderated   
with black1 so as almost to cease to be 
colours1 and become tones4 ,all shades  
and tints of the tertiary compounds are 
agreeable in their places2 they receive 
value by the opposition of the colour   
which enters least into their           
composition1 and become difficult to    
manage only when they approach full     
blueish green4  ,white and black give   
value to all colours and tones4  ,it may
 be necessary to make an observation    
upon the foregoing warning1 and almost  
proscription1 of the use of green in    
,art1 as that colour is found to be     
exceedingly agreeable in ,nature1 and is
 used with success in manufactures1 and 
for other general purposes4 ,it is found
 to afford great relief to weak sight1  
and is abstractedly so much admired1    
that it appears singular and paradoxical
 to say1 that green must be sparingly   

used in pictures1 even in landscapes1   
whose greatest charm in nature consist  
of luxuriance of vegetation3 but such is
 the case4 ,the general tone of a       
picture may be yellow1 as in the works  
of ,cuyp1 ,both1 ,ludovico ,caracci 7see
 ,plates72 red1 as in the second        
principle of ,titian 7see ,plate72 blue1
 as in the first principle of ,turner   
7see ,plates72 grey or brown1 as in the 
works of ,ruysdael and the ,dutch       
,school 7see ,plates72 but a green      
picture1 however true to nature1        
instantly excites an universal outcry as
 being disagreeable2 and if any of the  
modern school1 to which we shall        
presently advert1 have been for a moment
 tolerated1 it has arisen from the      
previous great reputation of the artist1
 or for other merits in the work1 and in
 spite of its being a green picture4    
,the following hypothesis may be the    
mode of accounting for this paradox1    
and1 at the same time1 may throw some   
light upon another1 which will be       

noticed2 that although painting is an   
imitative art1 imitation1 to the extent 
of deception1 does not constitute its   
highest excellence4  ,the eye is excited
 by ,colour1 and the object of painting1
 independent of poetical expression or  
character1 is to excite the eye         
agreeably4 ,but green is found to excite
 the eye less than any other tint1      
7thereby affording some corroboration to
 the idea that1 strictly speaking1 its  
opposite red1 is the only true colour17 
not even excepting black2 so that it    
acts as an opiate1 and is used for      
counteracting the brightness of the sun1
 by means of parasols or glasses1 and to
 guard weak eyes from the effects of    
light by means of silk shades4  ,it is  
thrown out as a suggestion that1 in     
looking at a picture in which excitement
 to the degree of pleasure is expected1 
a disappointment may arise from finding 
a prevalence of those tints which do not
 excite1 except to a very slight extent1
 and that thus a green picture may      

occasion dissatisfaction4 ,in looking at
 ,nature we do not wish to be always    
excited1 and green is admired or valued 
as affording repose2 but in looking at a
 picture1 the very object is excitement1
 within certain limits1 which green has 
a tendency to destroy4  ,certain tints  
of green become disagreeable in certain 
parts of pictures1 from association of  
ideas4 ,green in flesh1 excites the idea
 of corruption and decay4 ,green in     
skies1 occasioned by blending the warm  
yellows of sunset with the blue1 excite 
the impression of want of skill to      
prevent the one tint running into the   
other4  ,but in reservation it must be  
repeated1 that there is no tint that    
cannot be controlled and made available1
 by great skill and management1 to the  
purposes of ,art4 ,these warnings are   
for beginners and amateurs2 and the work
 is intended to show them what they may 
do with safety2 as they attain          
proficiency1 they may attempt           
difficulties1 which principally reside  

in truth of detail in combination with  
agreeable general effect4 ,when to this 
is added a just subservience to         
,poetical ,character1 the greatest      
requisitions of the ,art have been      
complied with2 all other difficulties1  
of whatever nature1 being merely a      
species of mountebank trickery1 beneath 
the aim of high ,art1 and deserving of  
the well-known sarcasm of ,dr4 ,johnson 
upon some difficult music1 that he      
wished it were impossible4     ,,chapter
 ,,iii4  ,,fine ,,colouring4   ,having  
shown in the preceding chapters certain 
principles upon which ,pictorial        
arrangements of ,colours may be ensured1
 the attention of the reader must be    
directed to what other qualities are    
requisite to constitute ,fine           
,colouring4  ,fine ,colouring must not  
be confounded with ,fine ,colours4 ,some
 of the ,finest ,colourists have avoided
 ,fine ,colours1 and ,sir ,joshua       
,reynolds adduces as a proof that       
,apelles was a ,fine ,colourist1 the    

statement by ,pliny1 that1 after he had 
finished his pictures1 he passed an     
atramentum1 or blackness1 over the whole
 of them4  ,nor is truth of imitation   
sufficient of itself to constitute ,fine
 ,colouring1 though it always confers a 
value on a work of ,art4  ,fine         
,colouring1 in the higher walks of ,art1
 implies an adaptation of the general   
aspect or style of colouring to the     
expression and character of the subject2
 it then acquires the title of ,poetical
 ,colouring1 which is its highest       
commendation as a means of ,art4  ,but1 
independent of subject1 there are other 
abstract qualifications of ,fine        
,colouring to be sought for1 in the     
representation of objects4 ,it not only 
requires such an arrangement of tints   
and tones as shall produce an agreeable 
whole1 but descends to minutiae1 and    
demands that such tints and tones1 shall
 be obtained by a degree of refinement  
or idealization1 within probability1 of 
the ordinary appearances of ,nature1 or 

by a selection of the greatest beauties 
she displays1 and such a combination of 
them as shall contribute to convey the  
most pleasing impressions1 and present  
her under the most attractive aspect4   
,,chapter ,,iii4  ,,section ,i4         
,,principles ,,of ,,colouring ,,objects4
  ,proceeding to consider ,colouring    
independently of ,character or          
,expression1 to which it should be      
subservient in the higher walks of ,art1
 the attention of the reader must be    
directed to a circumstance connected    
with truth of representation4  ,it has  
commonly been the practice1 under the   
almost universal sanction of great      
authorities1 to place the student who   
may be desirous of acquiring the ,art of
 ,painting1 before some object1 and to  
direct him to copy what he sees4 ,but   
what does he see8  ,we need not go into 
the question of how impressions are     
produced upon the mind1 through the     
medium of the eye2 whether a species of 
picture of the object be1 during the    

inspection1 as it were painted upon the 
retina2 and whether that be inverted or 
anywise different from the real object2 
or whether1 and to what extent1         
association rectifies the imperfections 
of our sight4 ,these1 and other         
investigations into the philosophical   
and physical nature of vision1 may be   
left to the consideration of those who  
desire to account for particular facts2 
we have to do with the facts themselves4
  ,in whatever manner the effect may be 
produced1 it is indisputable1 that a    
certain and distinct impression is      
produced upon the mind1 through the     
medium of the eye1 by every object which
 may be before it1 and that impression  
has a strict relation to the real       
character of the object2 for instance1 a
 marble statue1 it appears1 or an       
impression is conveyed of1 an object of 
one unvaried tint4 ,how this impression 
is conveyed1 is of no consequence2 it is
 conveyed2 and a series of tints may be 
artificially arranged upon paper 7or any

 other convenient material71 so as also1
 if not equally1 to convey to the mind  
the impression of a marble statue of    
uniform whiteness4 ,but upon examination
 of the drawing or painting1 it would be
 seen1 that scarcely any two parts of   
the representation of the statue were of
 exactly the same tint4 ,some parts     
would be delicately graduated from a    
point of light1 through a series of     
darker tints1 to give the appearance of 
roundness2 while others would be made   
nearly black by shadow1 to give the     
appearance of projection4 ,the present  
enquiry has reference solely to         
,colours1 but the same difficulties     
occur with regard to forms4  ,here there
 is a discrepancy1 occasioned by        
,association1 which we shall scarcely   
find language to explain1 but which will
 in most cases prove of serious         
perplexity to the student2 for there are
 some other persons like ,queen         
,elizabeth1 who have no idea of shadow1 
unless it be the shadow of a parasol or 

tree1 under which they may escape the   
intensity of a noon-day sun4 ,the statue
 will appear1 or an impression will be  
conveyed to the mind1 of uniform        
whiteness4 ,but pictorially speaking1   
one spot only1 that which reflects the  
greatest light1 will appear quite white4
 ,all the other parts will appear1 that 
is1 to convey the impression1 they must 
be made1 of an infinite variety of      
tints1 from the brightest light to the  
deepest shadow4 ,the statue is actually 
uniformly white1 and it appears         
uniformly white1 yet the appearance or  
representation which must be put upon   
paper1 to convey an impression of that  
appearance by drawing or painting1 is   
totally opposite1 being an infinite     
variety of tints4  ,but in a statue1 by 
reason of its convexity1 the second     
species of appearance1 the ,pictorial1  
is much more readily appreciated1 from  
the strong opposition of light and      
shadow1 than in a flat surface1--a      
ceiling1 a pavement1 or meadow1 in which

 the perception of the modifications of 
colour1 arising from what is termed     
aerial perspective1 is considerably     
influenced1 by the ,association above   
mentioned1 until the eye has become     
educated to observe these minute and    
delicate gradations of tint4 ,thus1 in  
looking at a meadow1 we know the grass  
to be generally of the same colour      
throughout1 and to an uneducated eye it 
appears equally green from one end to   
the other3 or the ceiling of a well     
lighted room1 we know it to be of one   
colour throughout1 and it appears of one
 even tint from the nearest to the most 
distant extremity2 yet pictorially      
speaking1 it appears of an infinite     
variety of tints1 for the effect of the 
atmosphere is such as to rob the grass  
of its colour1 and to make the white    
ceiling grey1 as they recede from the   
eye4  ,it will scarcely be necessary to 
guard against misconception as to the   
use of the terms describing the effect  
of the atmosphere1 by explaining that it

 is not intended to assert that an      
actual change takes place1 or that there
 is any actual difference in the colour 
of those parts of objects which are at a
 distance from the eye2 or1 that the    
colour in the distance does not appear  
to be1 as we know it is1 the same with  
that nearest the eye2 but that the      
effect of distance is the pictorial     
appearance of a modification of tint1 by
 the interposition of the atmosphere1   
perceptible only to an educated eye4    
,we know the grass to be equally green  
throughout1 and it appears of the tints 
which convey that impression2 while     
,association conceals the modification  
occasioned by the interposition of the  
atmosphere 7which the generality of     
observers consider as only air1 and of  
no consequence71 and excites the notion 
that the meadow appears of one equal    
flat tint4 ,but the distant extremity of
 the meadow is seen through more or less
 atmosphere1 which is more or less      
dense2 and in proportion to its density 

will the colour of the grass be         
apparently altered or changed thereby2  
and in some instances1 as in case of a  
fog1 entirely concealed4  ,in looking at
 any object through a perfectly         
transparent medium1 such as plate glass1
 we do not perceive any alteration in   
the real colours4 ,but when the medium  
is not perfectly transparent1 which is  
the case with the atmosphere1 the       
colours of all objects seen through it  
are modified or tinged in proportion to 
its density1 until they are sometimes   
lost or absorbed in the tint of the     
medium4  ,the slightest possible        
colourless opacity gives a medium       
approaching to a whitish film1 which is 
very evident when there is light behind 
it2 as in the case of the beams of the  
moon4 ,this is the clearest state of the
 atmosphere4 ,as it increases in        
density1 it becomes more and more white1
 until it becomes a white mist1 fog or  
cloud4 ,the atmosphere is sometimes     
coloured1 as will hereafter be          

mentioned2 at present we have to do with
 its colourless state4  ,the opacity of 
the atmosphere1 as a white film over the
 darkness of space1 occasions the blue  
appearance of the sky2 and in proportion
 to the rarity or density of the medium1
 is the intensity of colour1 or rather  
depth of tone4 ,if the atmosphere be    
extremely rare1 as in the ,polar        
regions1 or at the height of ,mont      
,blanc1 the sky appears almost black4   
,and if the atmosphere be thick with    
vapour1 the sky assumes a milky colour1 
and the blue tint is lost in that of the
 medium4 ,when the atmosphere is just so
 rare as to be scarcely perceptible in  
its influence upon terrestrial          
objects1--as in ,italy1 or the eastern  
climes1 where the most distant buildings
 appear diminished in size1 but almost  
as distinct as those close to the       
spectator1--yet sufficiently dense to   
become a veil to the expanse of space1  
the colour of the sky appears the most  
intense blue4 ,as near as we can        

superficially ascertain it1--in the     
exact medium between such rarity of     
atmosphere as would afford blackness1   
and such opacity as would afford        
whiteness1--we may expect to find the   
most intensely blue colour in the sky4  
,as the effect of this colourless       
opacity of the atmosphere is1 to render 
the appearance of the darkness of space 
a blue colour1 so all dark terrestrial  
objects are similarly affected by the   
intervening of this medium1 and1 in a   
corresponding degree1 become more or    
less blue4 ,the dark mountains in ,wales
 and ,scotland appear of a deep blue1   
sometimes verging upon purple2 and a    
slight comparison between the colour of 
the trees close to the spectator and    
those in the distance1 will show how    
much more blue the latter become1 from  
the influence of the medium through     
which they are viewed4  ,and as objects1
 in proportion to their distance1 are   
more or less affected by the            
interposition of the atmosphere1 so1    

also1 do the parts of the individual    
objects themselves1 become more or less 
grey as they recede4 ,the boundaries of 
a white object are less white1 and of a 
black object less black1 than the parts 
nearest the eye4 ,a tree is most green  
at the prominent parts1 and greyer at   
the top and sides4  ,this truth is so   
decidedly felt by the public in         
general--though perhaps insensibly      
appreciated and but tacitly             
acknowledged1--that1 as the atmosphere  
reduces the colours of all objects to a 
blue tint1 so all blue colours convey an
 impression of distance1 and all tints  
approaching to blue are accordingly     
designated retiring colours4  ,but the  
atmosphere is not always colourless4    
,the rays of the sun tinge it with      
yellow4 ,the rays from a fire or candle 
tinge it with a colour approaching to   
red4 ,the combination of smoke tinges it
 with black or brown2 and fogs infuse   
various degrees of dingy yellow4 ,all   
these variations affect the colours of  

the objects seen through the atmosphere1
 and modify the degree of blue1 or      
quality of grey1 tint communicated      
thereby4  ,when the atmosphere is       
coloured by the light of the sun1 the   
blue is modified1 more or less1 into a  
warm grey4 ,but owing to the brilliancy 
resulting from the blaze of light1 the  
tints remain of the utmost purity4 ,all 
tendency to green is kept in            
subordination by the pearly tints of    
those parts which are in shadow4 ,the   
atmosphere is rendered more dense at the
 same time that it is coloured by the   
light of the sun2 but the light parts of
 the objects seen through it are        
rendered1 by the same cause1 so much    
more brilliant1 that the density of the 
medium is partially compensated2 while  
its full effect is apparent upon the    
shadows seen through it1 over which a   
bright haze diffuses a beautiful blue   
tint1 slightly warmed by the golden     
colour of the illuminating power4 ,the  
contrast of the yellow tinge in the     

lights makes these shadows appear to    
incline to purple2 and at sunset and    
sunrise1 when by the greater quantity of
 the medium1 rendered more dense by the 
aqueous vapours close to the earth1 the 
colour of the sun's light is enriched to
 a deep golden hue approaching orange   
and red1 the shadows assume a decidedly 
purple tint1 of which the blue is       
supplied by the density1 and the red by 
the colour1 of the medium4 ,as the light
 of the sun decreases1 the colour of the
 atmosphere is more evidently tinged    
with red1 until the sun has sunk so far 
below the horizon1 that the shadows of  
night incorporating with the colour of  
the vapours1 render them a dull grey1   
sometimes approaching a brown4  ,in     
proportion as the atmosphere is         
illumined does it also become opaque4   
,the sky close to the sun appears much  
less blue than on the opposite side of  
the heavens4 ,the beams of the sun1 or  
moon1 or even the rays of a candle1     
become so opaque1 as absolutely to      

conceal all objects behind them4  ,in a 
glowing sunshine1 the particles of the  
atmosphere loaded with light1 produce   
that soft haze or caligine1 as the      
,italian hath it1 by which the colours  
of every object seen through it1 are    
assimilated in one broad1 warm1 grey    
tone1 however varied the tints of the   
objects in reality may be4  ,another    
singular appearance takes place in      
remote objects1 of which no one has so  
fully availed himself as ,turner1 for   
the production of pictorial beauties1   
and the brilliancy of sunshine4 ,the    
atmosphere1 which becomes most visible  
when before shadows1 is frequently so   
much illuminated by the sun's rays1 as  
to make the shadows appear nearly       
equally light with the illuminated parts
 of the objects2 and the only           
distinction between the lights and      
shadows is to be found in the difference
 of tint--the shadows being blue or     
purple1 and the lights a warm yellow1 or
 fleshy colour4  ,the practice in art1  

both in ,oil and in ,water colours1 has 
been an imitation of the process of     
nature1 and with similar results4 ,it is
 usual in ,oil to paint the distance    
stronger in colour than it is intended  
to remain1 and when dry1 to pass some   
very thin opaque colour 7technically to 
scumble7 over the whole4 ,thus the most 
perfectly aerial tints are produced4 ,in
 ,water ,colours1 owing to the different
 quality of the materials employed1     
another method is adopted4 ,white1 or   
any opaque pigment 7except when used in 
conjunction with ,oil painting71 has a  
disagreeable effect2 so it is considered
 advisable partially to wash out the too
 highly coloured distance1 and aerial   
tints similar to those produced by the  
scumble are obtained4  ,however         
requisite it may be philosophically to  
account for these appearances1 it is    
unnecessary to perplex the reader of the
 present work with a questionable       
statement of the greater impetus of rays
 of certain colours enabling them to    

penetrate through the dense atmosphere1 
while others are more feeble1 and are   
swallowed up and absorbed by the medium 
through which they in vain essay to     
pass4 ,this may be a very pretty story  
to amuse children with1 and such        
philosophers as are verging on their    
second childhood2 but while so simple a 
method can be discovered of accounting  
for the blueness of the sky and distant 
objects1 and one that can be so easily  
exemplified as that given in the        
previous pages1 we shall not be the     
parties to contribute to that amusement1
 by writing the history of some blue    
rays that were lost in a fog4 ,nor is   
this the place to point out the         
absurdity of such theories2 it will be  
sufficient to remark that if they are   
correct1 all distant objects must appear
 red2 and the blueness of the sky can   
only be accounted for by the hypothesis1
 that the atmosphere is a sort of trap  
for the blue rays of all the light that 
has passed and is passing through it6   

,such being the effect of the           
atmosphere1 and such being the          
antagonizing influence of ,association  
in looking at ,nature1 it has been found
 necessary for the purposes of ,art1 in 
representation1 to exaggerate the       
former1 to overstep the modesty of      
,nature1 and thus to produce what may be
 termed conventional imitations or      
translations of ,nature4  ,for1 in      
looking at a picture1 ,association again
 affects us2 and as we know what is     
before us to be a flat surface1 this can
 only be overcome by increasing the     
effects produced by atmospheric         
influence1 reflections1 refractions1 c4 
,hence the colour of all distant objects
 are reduced to some tone of grey1      
oscillating between the extremes of     
bright blue or even purple1 and the     
medium between black and white as the   
subject1 may be in sunshine cold        
daylight2 or1 as the taste of the artist
 may lead him to prefer one scale of    
colouring to another4 ,those who delight

 in the sunny skies of ,italy1 or       
tropical climates1 represent the        
distance by the purest blue that        
,ultramarine affords4 ,others1 who      
delineate the village church or         
cathedral tower1 represent them of a    
dark grey4 ,mountain scenery is         
represented of a deep ,indigo blue1     
sometimes inclining to a decided purple1
 as all must remember in the drawings of
 the late ,mr4 ,robson4  ,if this       
exaggeration or pictorial license be    
objected to1 as an unnecessary departure
 from truth or the beauty of ,nature1   
let the most inveterate worshipper of   
verisimilitude place himself before a   
landscape under bright sunshine1 on a   
clear day1 and make an exact            
representation1 if he be able1 of what  
he sees2 and he will be convinced that  
in such an instance1 something more and 
very different is required1 to make a   
finely coloured picture4 ,it cannot be  
that the colours of the original are    
deficient in beauty1 but that an        

essential quality of the beauty of      
,nature cannot be preserved by          
,imitative ,art4 ,he will find that it  
will not be possible to preserve even   
slightly the gradation of tints before  
him1 without descending almost to       
blackness in the shadows1 which will be 
destructive of brilliancy of sunshine1  
and at the same time1 of that quality   
which is indispensable in a work of     
,art1 breadth4 ,he will find that in    
comparison with the brightness of the   
sky1 the trees will look as dark as they
 are represented by ,ruysdael and       
,hobbima1 but who incontestibly do not  
give the idea of sunshine4 ,as in       
translating from one language to        
another1 he will find that a literal    
version may give the bones1 but not the 
spirit of the text2 and that something  
more is required to transfer the full   
force and character of the original4    
,herein consists a great part of the art
 of colouring objects4 ,it may be that  
the scene being unbounded in ,nature1 is

 acted upon by extraneous circumstances 
which cannot be called to the aid of a  
picture4  ,as it is impossible with     
pigments to rival the brightness of     
light1 it has been found necessary to   
adopt some method of forcing the effect 
of colours1 so as to conceal or to      
supply a compensation for this          
deficiency1 and apparently to produce   
the vigour of truth4  ,this has led to a
 division1 which rivals in fierceness as
 in name1 the feud of the ,bianchi and  
the ,neri of ,italy1 into two great     
schisms or factions of colourists1 of   
whom1 it is to be regretted1 too many   
are apt to consider those of the        
opposite party as lost in the depths of 
absurdity4 ,the hostility and contempt  
are quite mutual1 and equally           
ungrounded4  ,a writer in ,blackwood's  
,magazine of the ,neri faction says1 ,we
 have received a prescriptive right to  
make war upon the rising heresy of light
 pictures1 and we will wage it to the   
knife1 or some such expressions4        

,certain tones of colour have been found
 to be almost universally recognized as 
agreeables2 and by the above mentioned  
class of artists and critics1 the ,neri1
 it is held to be fine colouring1 to    
reduce every representation1 without    
consideration of propriety1 to these    
conventionally agreeable tones4 ,plate4 
,sir ,joshua ,reynolds commends a       
picture of a moonlight scene by ,rubens1
 which is so rich in colour1 that if you
 hide the moon it appears like a sunset4
  ,the background of the far-famed      
,mercury1 ,venus and ,cupid1 by         
,corregio1 in the ,national ,gallery1   
and the sky of the ,bacchus and         
,ariadne1 by ,titian1 in the same       
collection1 are instances of this       
practice1 the use of conventionally     
agreeable tones1 which may be seen by   
every one4 ,it would be difficult to say
 what the former was meant for1 except  
background to the figures2 and no one   
ever saw a sky such a blue as the       
latter4 ,it irresistibly brings to mind 

the counter-criticism of a sceptic to   
the admiration of a landscape by        
,poussin1 in which ,sir ----1 a         
worshipper of the old masters1 was      
indulging3--,what ,i like so much is1 it
 looks so like an old picture4--,yes1   
said the sceptic1 and the sky looks as  
old as the rest of the picture1 for you 
never see such a sky now-a-days4  ,the  
,neri apparently give up all hope of    
rivalling the brightness of nature2 but 
by forcing the shadows and general tone 
of the whole picture1 endeavour to      
produce the same gradation of light and 
shadow as in nature1 but on a lower     
scale4  ,the ,bianchi party1 on the     
other hand1 endeavour to compensate for 
the want of positive brilliancy1 by     
refining or increasing the delicacy and 
beauty of the tints4  ,light is the     
origin1 or immediate cause of colour1   
and the brighter the light1 the greater 
variety of tints will be found or       
displayed4 ,as we cannot rival the      
cause1 the ,bianchi contend that we must

 increase the effect by introducing     
colour in lieu of those tints which in  
nature appear neutral2 and thus conceal 
the weakness of our imitation of the    
cause1 by making it apparently produce  
greater effects4 ,thus all greys are    
rendered by pure ,ultramarine blue      
tints1 or delicate pearly purple1 and   
the greatest possible variety of        
beautiful and delicate colours are      
introduced in the light2 while the      
shadows are generally of a neutral      
colour1 the most decidedly contrasting  
with the tints in the light4 ,but       
sometimes the colour is also carried    
through the shadows as well as the      
lights2 positive crimson being          
introduced into those of leaves or      
grass2 while those of flesh are rendered
 by a dull red2 and those of a sandy    
bank by pure blue4 ,plate4  ,the ,neri  
complain that the ,bianchi want tone1   
and the ,bianchi that the ,neri want    
purity and light4  ,each of these       
factions contends1 that all the         

difficulty of fine colouring is to be   
found only in their own aim2 while they 
hold in perfect contempt the productions
 of their opponents1 as being of such   
facile achievement as to the sarcasm of 
,michael ,angelo1--to be fit only for   
children1 and beneath the attention of  
those who profess to study the ,fine    
,arts4  ,illustration3 ,,the ,,neri     
,the main difference between the        
principles of these two parties or      
factions1 will be found to lie in the   
treatment of the atmospheric influence  
and association1 previously alluded to4 
,the ,bianchi availing themselves of the
 former circumstance1 as a reason for   
introducing a great variety of pearly   
greys1 on the purity and beauty of which
 they contend fine colouring is         
dependent2 and the ,neri availing       
themselves of the latter1 as an excuse  
for the introduction of breadth of warm 
tones1 and the omission of as much as   
possible of the cool tints1 which are   
deemed so indispensable by their rivals2

 they limit the representation of       
atmospheric influence to the least      
possible degree4 ,titian's ,venuses are 
masses of the local colour of flesh1    
broken with so little half-tint1 that   
they are scarcely round1 and satisfy few
 but critics sufficiently learned in the
 ,art1 to be contented with the beauties
 of ,art1 as a substitute for the       
imitation of ,nature4  ,this class of   
colouring is founded upon the power of  
,association1 previously alluded to1 by 
which1 the local colour overpowers the  
greys of atmospheric influence2 in other
 words1 that to the eyes of the many1   
flesh looks of a flesh colour1 and ought
 to be so represented4 ,but the full    
effect of ,association is here not      
allowed for4 ,in looking at flesh1 we   
know it to be flesh colour2 and we know 
it to be round2 and it requires some    
education of the eye to discover the    
atmospheric influence1 as well as the   
minute gradations in form4 ,but on the  
other hand1 in looking at a picture1 we 

know it to be a flat surface2 and       
however far the imagination may be      
willing or have a tendency to supply the
 deficiencies in the representation1    
,association is an antagonist and not an
 ally4 ,this will become evident upon   
making outlines of objects and filling  
them up with flat tints2 imagination    
will not have power to make them appear 
to be round1 or to recede4 ,the beauties
 of this class of colouring are solely  
conventional4  ,titian1 ,giorgione1 and 
,sir ,joshua ,reynolds lead the van of  
the ,neri2 ,rubens1 ,vandyke1 and       
,lawrence are at the head of the        
,bianchi2 unless1 indeed1 we should     
consider ,turner as general-in-chief of 
the latter4 ,claude was probably of the 
,bianchi faction2 but ,time1 who is the 
great ally of the ,neri1 has made him   
appear in some of his productions an    
adherent of that party4  ,it may be     
added1 that most historical painters    
lean to the ,neri faction1 on account of
 the disadvantage arising from too close

 an approach to the common appearance of
 every-day nature1 of which the effect  
is described in the proverb1 that       
familiarity breeds contempt1 and        
consequently is destructive of that     
grandeur1 solemnity1 or refinement which
 is indispensable in high art2 and they 
take refuge in the cloistered tone of   
,ludovico ,caracci1 so commended by ,sir
 ,joshua ,reynolds1 a conventional      
beauty which will presently be noticed4 
,the ,landscape painters1 on the other  
hand1 almost universally belong to the  
,bianchi party2 as truth or apparent    
truth is so much more indispensable in  
subjects that only display the scenery  
of nature1 and which depend upon that   
resemblance for producing an impression1
 than in subjects which appeal to the   
passions by the display of some stirring
 incident4 ,from the nature of the      
materials employed1 the tendency of oil 
painting is to the side of the ,neri2   
whilst the general inclination induced  
by ,water-colour drawing1 is in favour  

of the ,bianchi party4 ,the alleged     
principle of the colouring of the ,neri 
is deduced from the hypothesis laid down
 by ,sir ,isaac ,newton1 that neither   
white nor black are colours1 therefore  
say the ,neri1 neither should appear in 
a finely coloured picture2 the brightest
 lights should not be white2 the deepest
 shadows should not be black2           
nevertheless1 those productions which   
are cited by this party as the finest   
specimens of colour in existence1 do    
contain both white and black4 ,in the   
celebrated picture by ,giorgione1 copied
 recently by ,mr4 ,ward1 ,r4,a41 to the 
eye of the uninitiated are presented    
both white lights1 and black shadows4   
,the former1 it is true1 are reduced by 
,time or glazing2 and the latter are    
excused as having lost their original   
colour4  ,but this principle can        
scarcely be said to be carried out1     
except in such pictures as possess the  
cloistered tone of ,ludovico ,caracci   
alluded to4 ,here the lights are warm   

and golden1 as if transmitted through   
stained glass4 ,the atmospheric greys   
are introduced to no greater extent than
 is indispensable to prevent the picture
 appearing rusty4 ,the shadows are deep 
rich browns1 into which are thrown still
 warmer reflections2 and the whole      
picture is subdued to a soft-mysterious 
effect1 which is admirably adapted to   
produce what is technically termed      
repose1 and to excite gentle1           
reverential1 solemn1 and even           
affectionate feelings4 ,it is a style of
 colouring peculiarly suited to         
religious subjects2 and in              
representations of interiors1 may be    
said to be like nature1 because ,nature 
may be made to appear like it4 7,see    
,plate47  ,illustration3 ,,the ,,bianchi
  ,this principle of colouring may be   
carried out on a higher scale than is   
generally found among the productions of
 its advocates1 and abstractedly1 is    
undoubtedly calculated to lead to very  
beautiful results2 though it may be     

questioned1 whether it is sufficient to 
entitle the party exclusively to        
arrogate to themselves the designation  
of colourists1 as they are in the habit 
of doing4 ,for the principle of the     
,bianchi is likewise adapted to produce 
exceedingly beautiful colouring2 and    
without some rational or scientific     
standard by which the comparative beauty
 of individual colours may be           
determined1 so as to distinguish between
 fine colours and fine colouring1 the   
admirers of this class of colours may1  
with the greatest justice1 contend that 
it is equally beautiful with that of the
 opposite party2 while it has this      
superiority1 that it will enable the    
,artist to produce much more resemblance
 in the representation of external      
nature1 and will be much less artificial
 in the effects produced as imitation of
 interiors4  ,and they derive a strong  
argument in favour of their mode of     
proceeding being correct1 and most      
likely to stand1 from the circumstance1 

that the pictures of ,vandyke1 many of  
which are now claimed by the ,neri as   
painted on their principle1 when first  
done were frequently censured as being  
too raw or white4  ,further1 it should  
be observed that1 by too many of the    
,neri party1 their great object of      
worship1 ,tone1 is limited to the rich  
warm brownish yellow which is           
legitimately superinduced in oil        
pictures by the action of ,time1 or     
glazing2 and surreptitiously obtained by
 washing with tobacco-water4 ,but an    
inspection of the works of the ,dutch   
school1 who belong to a third party     
which considers both the ,bianchi and   
,neri to be in the wrong1 as too        
artificial1 will show that tone may be  
cool as well as warm1 and that there is 
a silvery tone which has as devoted     
admirers as those of the ,golden        
,image--7see ,plates of ,ruysdael and of
 ,ostade74  ,illustration3 ,,the ,,dutch
 ,,school  ,it may not be becoming in   
the author of the present work to decide

 between these great disputants2 but    
from the statement respecting ,vandyke's
 pictures1 that they were considered raw
 when fresh painted1 as well as from the
 nature of the materials employed1 it is
 evident1 that the productions of       
,titian1 ,giorgione1 and other          
celebrated colourists1 were not1 when   
first painted1 of such deep tones as    
they exhibit now2 and it may be         
suspected that the reputation1 which was
 derived from the original colouring of 
their pictures1 has1 to a certain       
extent1 been attached to the colouring  
they at present exhibit2 and that       
veneration of talent1 and respect for   
authority1 have given sanction to what  
would be repudiated by the ,great men   
whose names form the slogan of the      
party1 and is not really entitled to    
commendation4  ,that the two principles 
may be combined1 and so produce higher  
qualities than either affords alone1 is 
hardly possible1 when their opposite    
treatment of the effects of atmospheric 

influence and association are taken into
 consideration4  ,but this compromise   
may be made between them with advantage 
both to ,amateurs and ,artists2 that the
 style of the ,neri1 including that of  
the ,dutch school1 may be considered as 
most applicable to the representation of
 interiors and quiet or grand subjects2 
while that of the ,bianchi may be       
considered as most suited to exteriors1 
and subjects of gaiety and animation4   
,for the benefit of the ,amateur1 it    
will be necessary to say something more 
upon the style of colouring adopted by  
the ,dutch school1 the productions of   
which among the cognoscenti1 are termed 
pictures of ,tone2 tone being in this   
instance used in opposition to positive 
colour1 and as implying varieties of the
 ternary combinations1 called neutral   
tints1 or greys1 but otherwise          
possessing the qualities of tone in a   
general sense1 namely1 transparency4    
,this style of colouring is peculiarly  
adapted to the class of subjects on     

which the ,masters of the ,dutch school 
generally exercised their pencils1      
homely interiors2 but when applied to   
out-of-door scenes1 although undoubtedly
 possessed of certain conventional      
beauties1 such as harmonious arrangement
 and balance of tones1 it has a tendency
 to look dull and heavy4 ,the landscapes
 of ,ruysdael and ,hobbima do not reckon
 among their beauties1 that of vivacity 
or cheerfulness4 ,they may be clear and 
bright and fresh1 as their admirers say1
 but they do not represent ,nature under
 her most bewitching aspect1 nor is the 
style of the school adapted to do so4   
,it leans to the side of the ,neri1 from
 its dread of brilliant colours4 ,it is 
unaffected1 sober1 and in many          
instances1 such as interiors or close   
woody scenes under grey daylight1       
possesses great truth2 but from its     
limited application1 and unpretending   
effect1 is scarcely to be put into      
competition1 as a style of ,fine        
,colouring1 with the higher aims of the 

two great parties before mentioned4     
,plate4  ,such is the present state of  
the theory of ,fine ,colouring2 from    
which it is evident1 that1 except in a  
very limited class of subjects1 ,truth  
cannot be made the test--that even in   
this class of subjects1 it is disputed  
whether it should be made the test2 and 
that it is also disputed1 to what extent
 a departure from truth is admissible2  
or rather1 what quantity of resemblance 
to ,nature is indispensable1 and what   
method may be the best of compensating  
the want of accurate transcription2 in  
short1 what is the true idiom of ,fine  
,colouring in ,art1 so as fully to      
translate the beauties of ,nature4  ,the
 fashion of the day rather leans to the 
,bianchi party in ,water-colour         
drawings1 if not in ,oil paintings2 but 
the principles of none of the parties   
are fully developed in the works of     
their existing followers4 ,the followers
 of the ,dutch school are sacrificing   
part of their truth for some1 but it may

 be doubted whether the best1 part of   
the conventional tones of both the other
 parties4 ,the ,bianchi are more        
regardless of truth than they need be1  
even to develope their principles to the
 utmost4 ,and the ,neri admit themselves
 to be wandering in a maze1 without any 
fixed ideas of their own principles1 and
 therefore are less frequently          
successful than the reverse2 and they   
are equally obnoxious to the charge of  
departing farther from truth1 than is   
necessary to give their own principles  
full play4 ,very recently a heresy of   
this faction adopted a peculiarity of   
tone1 which is not to be found in the   
works of any of the great men of their  
party2 and which is obnoxious to two    
serious objections4 ,it is a greenish   
tone that unavoidably excites the idea  
of corruption and decay1 which1 having a
 tendency towards the disgusting1 is not
 tolerable in the ,fine ,arts2 and the  
second objection is1 that1 in their zeal
 for transparency1 they had lost        

solidity to such an extent1 that a      
portrait of ,george ,,iv4 by a          
celebrated artist1 had the appearance of
 a vision1 or of having been spun out of
 green glass bottles4  ,the beginner and
 the ,amateur have already been warned  
against the dangers of green in         
pictures4 ,and it may now be added1 that
 transparency should reside in the      
colours to conceal the appearance of    
pigments1 but that the substances       
represented should appear as solid as in
 nature4   ,,chapter ,,iii4  ,,section  
,,ii4  ,,colours ,,of ,,lights ,,and    
,,shadows4  ,whatever party of          
,colourists may find favour in the eyes 
of the reader1 it will be necessary for 
him to be aware of certain effects      
observed in ,nature1 of which he will   
make such use as is admissible under the
 principle he may adopt4  ,colours      
reside in the light parts of objects1 if
 not brightest on the lightest parts1   
closely adjacent to them4  ,shadows     
reduce1 blacken1 or render negative the 

colours of objects4 ,the edges1         
extremities1 or boundaries of all       
shadows are grey4  ,from the effect of  
contrast1 shadows appear comparatively  
of the opposite colour to that of the   
light4 ,the ,bianchi take advantage of  
this circumstance1 and sometimes force  
or increase the colour of the shadow1 to
 bring out that of the light without    
really tinging it so deeply as is the   
case in ,nature2 whereby greater        
brilliancy is retained4  ,the colours of
 the lights and shadows depend upon that
 of the illuminating power1 whether     
sunshine1 moonlight1 or grey daylight4  
,these will be separately pointed out4  
,illustration3 ,,sunshine   ,,chapter   
,,iii4  ,,section ,,iii4  ,,sunshine4   
,the degree to which the colours of     
objects will be affected by that of the 
source of light1 will very much depend  
upon the strength of the illuminating   
power4  ,the light of the noonday sun is
 so vivid that it diffuses its colour   
over all the illumined parts of the     

objects under its influence4 ,these     
assume a rich golden hue1 through which 
the local colours of the objects are    
slightly distinguishable1 but rather as 
modifications of the warm tone diffused 
by the rays of the sun1 than as integral
 varieties of tint4  ,as already has    
been noticed1 the obvious effect of a   
yellowish light upon a blue object would
 be to induce a greenish tint2 but in   
the case of sunshine1 this is           
counteracted by the brilliancy of the   
light1 and in representation1 it is     
necessary for the same purpose1 to      
infuse sufficient red into the light of 
blue objects under the influence of     
sunshine1 or a disagreeable heavy effect
 will be produced4  ,green1 yellow1 and 
orange objects become particularly      
brilliant in sunshine4  ,the shadows of 
the foreground are1 in ,nature1         
particularly negative or colourless2 but
 as they recede1 become gradually more  
blue4 ,sir ,joshua ,reynolds has made   
the shadows on the arm of his ,sleeping 

,girl nearly black4 ,he is one of the   
,neri4 ,the ,bianchi would have made    
them partake more of the colour opposite
 to that of light1 purply brown1 broken 
with red reflections4 ,the shadows on   
green objects in the foreground would be
 rendered by dark crimson4 ,sir ,thomas 
,lawrence frequently used pure lake in  
the shadows of his grass or shrubs4     
,plate4   ,,chapter ,,iii4  ,,section   
,,iv4  ,,sunset4  ,at ,sunset there is  
even less variety of colour observable  
in the illumined parts of objects than  
when the sun is higher in the sky4 ,this
 arises from the influence of the       
atmosphere previously alluded to4 ,a    
greater quantity of the medium is loaded
 with light1 and the local colours of   
the objects seen through it are         
consequently affected to a greater      
degree thereby4 ,the colour of the light
 is also affected by the medium through 
which it passes1 and it becomes much    
richer1 and more nearly approaching to  
orange4  ,the light in the sky1 or      

illuminating power1 is made yellow2 but 
the lights on objects are rendered of a 
fleshy colour1 which is made to appear  
warmer by the opposition of positive    
purple shadows1 while those objects     
which do not receive any of the sun's   
light are kept very cool grey 7the      
effect of reflected light from the blue 
sky71 which by contrast throws the whole
 of the illuminated part of the picture 
into warmth4 ,frontispiece4             
,illustration3 ,,moonlight   ,,chapter  
,,iii4  ,,section ,v4  ,,moonlight4     
,the light of the moon being white or   
silvery grey1 the shadows are made      
comparatively warm browns4 ,the         
appearance of moonlight is given by the 
colours on the illuminated objects in   
the picture1 which are made to appear   
cooler than they really are1 by the     
contrast with the warm shadows4 ,by this
 means1 much more colour may be         
introduced into the light than is       
usually observed in ,nature1 and without
 impairing the effect of moonlight2 and 

the ,bianchi contend that by such means 
greater brilliancy is obtained4 ,the    
blues in the sky near the moon are kept 
very pure for the same purpose4 ,plate4 
,illustration3 ,,grey ,,daylight        
,,chapter ,,iii4  ,,section ,,vi4       
,,grey ,,daylight4  ,grey daylight also 
affords brownish shadows1 but from the  
greater quantity and diffusion of       
comparatively colourless light1 the     
local colours of objects become more    
visible1 while the shadows are more     
varied by reflection and refraction4    
,reflections take their colours from    
those of the objects by which they are  
occasioned4 ,the lights on objects are  
treated as in the case of moonlight2    
they are made positively warmer than    
they appear in nature1 and are rendered 
comparatively cool by the warmth of the 
shadows4--,plate4  99       99       99 
99       99  ,the degrees to which these
 licences may be carried1 must depend   
upon the style of colouring adopted4    
,the ,amateur has had them placed before

 him1 and whichever he may choose1 he   
will be certain to meet with success in 
the eyes of one party2 he cannot hope to
 please all4   ,j4 ,m4 ,,burton1        
,,ipswich ,,steam ,,press4