d one: thus, all proximity of colours affect each
other, in the light, in the manner of reflexes, declining as they
recede. The reflected lights in folds of silk draperies illustrate this
phenomenon best.

Compare the shadows thrown on different colours with each other, by
placing a number of coloured materials in a dark place, the colours of
shadows being regulated by the objects giving and receiving them.

Examine well the colours in the shadows of flowers; they present the
most excellent combinations.

All colours, as at night, may be lost in that of the general shadow,
presuming it dark enough to destroy all reflexes.

Colours reflected on by their _opposites_ will become neutralized; as
green against red, purple against yellow, &c.

The shadows on all objects partake of the colour of the light, or are
qualified by other lights throwing their reflects into them.

The lightness or darkness of shadows are entirely regulated by the
colour of the objects on which they fall.

An object painted in a light colour will be more or less light,
according to the strength of its shadow, from the consequences attending
opposition.

So a light figure, laid upon a light background, but differing in
colour--as a warm object on a grey sky--assists, in the greatest degree,
the preservation of the breadth. Opposition of colour is, perhaps, of
most use under these circumstances.

Colours on the figures or parts brought into notice by opposition may be
sometimes applied with sufficient _depth_ and intensity as to
advantageously take the place of _shadows_ or darks.

Light and shade may be produced by the influence of _colours alone_,
judiciously applied; the reds and yellows supporting the lights, while
the blues, greys, and cold colours form the retiring portions, or such
as would otherwise be in shadow.

Suppose a picture, composed of one part shade and the other light--the
light being warm, and the shadow composed of cold colours--a red or
warm-coloured figure laid against the shadowed side, and a blue one
brought out from the light, would, in addition to possessing the
greatest force of colour, have a spirited and imposing effect. But the
_contrary_ treatment would possess the greatest breadth and repose;--a
dark figure laid on the mass of shadow (a point of which, being darker
than the rest, would gather it together), and a light one on the light,
having a point still higher in colour than the ground.

Rich, deep, and