f laying
on paint bring about these different qualities, and will be spoken of
in the chapter on "Processes."

Classify your pigments in your mind in accordance with these
characteristics. Think of the ochres, for instance, as mainly opaque,
and as yellows tending to the reddish. With any blue they make gray
greens because of the latter quality, and they make gray oranges with
red because of the dulness of their opacity and body. For richer
greens think of the lighter chromes and cadmium yellows or citrons;
and for the richer oranges, the deeper cadmiums and chromes. With
reds, work the same way, scarlet or orange vermilions for one side of
the scale, and the Chinese or bluish vermilion on the other side. The
deeper and heavier reds fall in line the same way. Indian red is
bluish, light red and Venetian red are yellowish.

PART IV

PRACTICAL APPLICATION

CHAPTER XXII

REPRESENTATION

Although much has been said about the theoretical and abstract side of
painting, and the importance of the aesthetic elements in art have been
insisted upon, it is not to be supposed for a moment that painting
does not deal with actual things. All painting which is not purely
conventional must deal with and represent nature and natural facts.
These are the body of the picture; the aesthetic elements are the heart
of it. I believe that it is important that you should know that there
is that side to painting, and should have some insight into it; that
you should see that there is something else to think of than the
imitation of natural objects. I would have you think more nobly of
painting than to believe that "the greatest imitation is the greatest
art." Beneath the imitation of the obvious facts of nature are the
deeper facts and truths, and in and through these may you express
those qualities of intellectual creation by means of which only,
painting is not a craft, but an art.

But for all that, painting does, and always must, deal with those
obvious facts; and however much you may give your mind to the problems
of composition and color, you must base it on a foundation of ability
to represent what you see. Represent well the external objects, and
you are in a position to interpret the spirit of them. For as nature
only manifests her inner spirit through her outward forms and facts,
you must be able to pain