made of_ white and black); blue and red,
by the interposition of purple, (purple being formed of blue and red.)

The larger the mass employed of neutral and _obscure_ colours, the
greater will be the force and illumination in the _clear_ ones, which,
being in their natures most attractive, should always be employed in
parts intended to create the greatest sensation.

ON GENERAL NATURE.

THE magic of art does not consist in an exact resemblance of an
object:--'An exact resemblance,' says Sir Joshua, 'may be even
disagreeable. The effect of figures in wax-work, for instance, is
disgusting to the eye accomplished to judge of Fine Art, yet it
approaches reality. We are pleased, on the contrary, by seeing ends
accomplished by seemingly inadequate means; but to express distances on
a plain surface, softness by hard bodies, and particular colouring by
materials which are not singly of that colour, produces that magic which
is the prize and triumph of Art. The power of a few well-chosen strokes,
which supersede labour by judgment and direction, produce a complete
impression of all that the _mind_ demands in an object; we are charmed
with such an unexpected happiness of execution, and begin to be tired
with superfluous diligence, which, in vain solicits an appetite already
satiated.'

We do not desire those who look on our pictures to suppose them real men
and women, or that they are real landscapes; but to admire the art
through the _means_ by which it is performed.

I have always observed the most exact imitations of nature to be
peculiarly within the sphere of the illiterate and uninformed; and the
more debased and vulgar the mind, the more will it admire such
productions. On the other hand, Fine Art has its own peculiar modes of
imitating Nature and of deviating from it, for the attainment of its own
purpose--'Nature to advantage dressed:' the great end of Art is to make
an impression on the imagination and the feelings. The imitation of
nature frequently does this; sometimes it fails, and sometimes else
succeeds. 'I think, therefore,' says Sir Joshua, 'the true test of all
Art is not solely whether the production is a true copy of Nature, but
whether it answers the end of Art, which is to produce a pleasing effect
upon the mind.'

Of the contracted ideas of high-finishers, I think excessive labour is
excessive weakness, and vigour can never come from such a source: making
every brick of a house appear, has no