he light with the shade.

In the conduct of light, I conceive the objects which receive its
influence, should, of all things, as much as possible, partake of the
colour of that light, as seeming more like an extension of it, and
looking more natural:--thus, in a church, all the parts receiving the
light from a painted glass window, would partake of its varieties of
colour. The rising and setting of the sun turns all to gold, by the same
alchymy, while it acts as an uniting link in carrying the colour through
the picture: these, in their turn, throw their radiating reflects in a
thousand other directions, keeping up and sustaining the communicative
principle of the whole--imparted by the primitive cause and its agency.

The colouring of a picture should always be in _harmony_ with its light
and shade.

The lights will require to be overcharged with colour, if the shadows
are too heavy and loaded; on their transparency depends the beauty of
both.

The shadows must be _darker_ than the shadowed sides of the objects
which project them; for the reason explained in the article on Light and
Shade.

The masses of light should be of warm colours, yellow or red, supported
by blue or grey in the shadows; a very small proportion of which will
generally be found sufficient.

The _real_ colour of an object is only seen in the light. All shadows
should partake, more or less, of the colour of the light. That shadow
will appear the darkest that is surrounded by the brightest light.

The nearer a colour is to the eye, the purer it will appear; arraying
itself as it retires, with the colour of the air interposed between it;
consequently, the purest colours should only occur in foregrounds,--where
the shadows, for the same reason, would likewise be darkest.

The colour of a light will be stopped at the part where any reflex
reaches it. We see mountains covered with snow, at sunset, from the
effulgence of its rays, make the horizon appear all on fire.

Distant mountains appear more deeply blue, according to the extent of
the azure of the air interposed between them and the eye. All masses in
the distance partake, more or less, of this quality.

'The vapours mixing with the air, in the lower region near the earth,
render it thick, and apt to reflect the sun's rays on all sides, while
the air above remains dark; and because light (white) and darkness
(black) mixed together, compose the azure that becomes the colour of the
sky--whi