sufficient shadow,
and that a certain quantity of cold colours is necessary to give value
and lustre to the warm.' Observation of the best pictures will convey
those proportions to the mind, much better than the most profound
demonstration, 'that the eye may not be distracted by a multiplicity of
objects of equal magnitude.'

Grouping, in composition, involves in its arrangement, a combination of
the parts, so that they form an agreeable and well-defined whole, in
which it is essential sometimes to employ the strongest contrasts; on
the other hand, if the forms be too much scattered, they will distort
the harmonious combination that is the greatest beauty of art. All
accessories may be included in the principal group, so that they
contribute to the general breadth. _Opposition_ to regular forms is
essential; this opposition is called Relief. (_See art. Light and
Shade._)

We may derive hints in composition from almost every sort of
combination.

Variety and intricacy have many excellencies, when managed with skill,
as they exert the imagination of the beholder.

'Simplicity,' says Sir Joshua Reynolds, 'when so very inartificial as to
seem to _evade_ the difficulties of art, is a very suspicious virtue.'
Simplicity might often better deserve the name of penury. 'I do not,
however, wish to degrade simplicity from the high estimation in which it
has been ever justly held. It is our barrier against that great enemy to
truth and nature, affectation! which is ever clinging to the pencil, and
ready to drop in and poison every thing it touches.'

Perseverance, in laborious application to acquire correctness, should
always be preferred to a splendid negligence of manner.

[Illustration: Composition Plate I. C. Hullmandel's Patent]

The frequent practice of covering down, veiling, or concealing an object
or figure, because they cannot draw it, and doing that so inexpertly
as not to escape detection, is frequently observable in the works
of modern artists; such as clothes, baskets, &c., thrown across a horse,
to conceal its deformity; unnecessary or affected drapery over a figure;
a cow, half buried in weeds and dock-leaves, that its shapeless legs may
not be seen, &c., with many other artifices to evade difficulties: to
such he says, 'If difficulties overcome make a great part of the merit
of art, difficulties evaded can deserve but little commendation.'

It is by no means an object with me, neither has this work pretens