lencies of others frequently corrupt
ourselves: just as one coat, however well made, will not adapt itself to
two persons, any more than their talents will blend with and lessen our
defects.

There is no particular style or branch of art, that the student may be
in pursuit of, that does not possess some excellence or other--that is
not alone, or at all, perhaps, to be found in the great manner of the
Roman or Florentine schools of colour: in composition, breadth and
arrangement (particularly of light and shade), and masterly treatment of
colour, the Flemish and Dutch, as will our own school, furnish
sufficient instances.

Light and shade, colour, novelty, variety, contrast, and even
simplicity, all become defects in their excess!--the spirit of the rules
by which they are regulated is to be more observed than their literal
sense. It will generally be found sufficient to preserve this spirit of
their laws alone, to which our ideas may be proportioned and
accommodated.

Colour, in my opinion, is as useful in composition as lines: a few
colours, scientifically woven together, will form agreeable composition
of themselves.

Warm and cold colours, with their gradations and contrasts, lights and
shadows with theirs, agreeing with and opposing each other, all
struggling together (but that struggle _unseen_--the art _concealed_!)
to the accomplishment of one object--the sweetness of harmony and union
of the whole to one end.

OF THE THREE PRIMITIVE COLOURS.

THE Three Primitive Colours are the basis of a perfect system, and may
be reduced, in order of degradation, into perfect black. Their communion
comprehends all other colours; and their effects, under the influence of
light and shade, make pictures.

Yellow is the light; Red, the medium; and Blue, darkness;--colours of
themselves, that cannot be produced by the mixture of any other.

Hayter says, in his Compendium: 'Secondly--Yellow, red, and blue contain
the sole properties of producing all other colours whatsoever, as to
colour, by mixtures arising entirely among themselves, without the aid
of a fourth.

'Thirdly--Because, by mixing proper portions of the Three Primitives
together, black is obtained, providing for every possible degree of
shadow.

'Fourthly--And every practical degree of light is obtained by diluting
any of the colours, as above producible; or, in oil painting, by the
mixture of white paint.

'Fifthly--All transient or prismatic eff