ties. It is your business to see subtly, for nature uses colors
subtly. The note sparkles in nature, but you do not notice the
complementary color near it. Can you not also place the complementary
color so that it is not seen, but its influence on the important color
is felt? It is by searching out these _finesses_ of nature that you
train your eye. You must actually see these colors. At first you may
only know that they must be there because the effect is there. But
your eye is capable of actually recognizing them themselves, and you
are no painter till it can. The theoretical knowledge is and should be
a help to you, but the actual power of sight is most important. A
painter may use theoretical knowledge to help his self-training, but
power of eye he must have as the result of that training. The
instantaneous recognition of facts and relations, the immediate and
perfect union of eye and thought, are what make that intuitive
perception which is the true feeling of the artist.

Work this out with eye and palette. Study the color and its relation
in nature, and study its analogy in the pigment touches on the canvas.

=The Palette.=--You try to attain nature's effects of light with
pigment. Pigment is less pure than light. You cannot have the same
scale, the same range, but you must do the best you can, and the
arrangement of your palette will help you. As you have not a perfect
blue, a perfect red, and a perfect yellow, you must have two colors
for one. Your paints will always be more or less impurely primary. No
one red will make a pure purple with blue, and an equally pure orange
with yellow. Yet pure purple and pure orange you must be able to make.
Have, then, both a yellowish or orange red and a bluish or purplish
red on your palette. Do the same with blue and yellow. In this way you
can not only get approximately pure secondaries when you need them,
but the primaries themselves lean somewhat towards the secondaries, so
that you can make very delicate combinations with pure colors. A
bluish yellow and a yellowish blue, for instance, will make a rather
positive green. By using a reddish yellow and a bluish or purplish
red, you practically bring in the red note, and make a grayer green
while still using only two pigments.

So, too, you get similar control of effects by the use of opaque or
transparent pigments, the transparent ones tending to richness, the
opaque to dulness of color. Various processes in the manner o