s is the greatest evil of our
time. Instead of elevating the mind to the quality of the _whole_, it
degenerates into an abject and curious species of imitation of the
parts, or of some one thing in particular the artist feels he can do
cleverly; sacrificing to this 'industrious idleness,' correctness of
drawing, character, expression, and elevation of style. In a word, it is
mechanics, and not art! Grandeur, sublimity, simplicity, all fly from
this one evil.

Style comprehends the whole of a picture, in all its mysterious or
simple workings--its moral character--its elevation, or its degeneracy.

Decision, spirit, and freedom of execution and expertness of handling,
opposed to feeble uncertainty, have great charms, in common with all
excellencies; yet, so delusive is this species of fascination, that it
becomes imperious to be guarded against it. The _end_ must not be
sacrificed to the means!

OF BACKGROUNDS.

'ONE of the principal and most important parts of painting, is the
nature and quality of backgrounds;' from which any round or solid body
is to detach itself; and this may be so contrived that both may be of
the same colour; 'because the convex sides of solid bodies do not
receive the light in the same manner as the ground does, being lighter
or darker than the ground.'

Different colours, or degrees of light in the background, can alone
separate the object from it. They will become more detached as they
differ from the colour of the object to be relieved.

The greatest relief is acquired by a ground of a _neutral_, or
undetermined colour. But the object that is to stand out from it,
depends wholly on its light and shade for relief.

According to the ground which surround colours, they will appear
different to their natures. Flesh will look palest on a red ground: and
a pale colour, redder on a yellow ground: and so on, always deriving
their character from the surrounding one.

If any object in a composition does not sufficiently assert its place,
instead of heightening the colour of it, it is generally more advisable,
as the case may be, to subdue the power of its background.

The outlines of figures should be sketched with either the
shadow-colour, or the colour of the ground, on which they are laid;
strengthening them according to their situations.

A very useful resource, in painting, is often to look at your picture in
a looking-glass, whose reflection is a _copy_ of the picture; and the