ing her with a
mantle of his own. The knights wooing the same mistress are therefore
lorn rivals.

For effect, no one can deny that produced by the savage in war paint and
feathers is more startling than the man wearing the conventional garb of
civilization, or that the stars and stripes have greater attraction than
the modified tones of a gobelin tapestry or a Persian rug. We put the
flag outside the building but the daily course of our lives is more easily
spent with the tapestry and rug.

An "impression"(19) among tonal pictures appears as foolish as a tonal
picture among impressions and the sane conclusion is that the attempt to
combine them should not be made.

The clear singing tones of the upper register are better rendered under
this formula than by any other, but the feeling of solidity and the tonal
depth of nature are qualities which it compromises. Impressionism
expresses frankly by the use of smaller methods what the tonists attain by
larger and freer ones. The individual must decide whether he prefers to
tell the time as he watches the movement of the works or will take this
for granted if he gets the result.

For charm in color no one will deny that in the works of old masters this
is found in greater degree than in painting of more recent production, and
the reason is, not because the pigments of the fourteenth century are
better than ours, but it is to be found in the alterative and refining
influences of time and varnish, which have crowned them with the glorious
aureole of the centuries.

Guided by this fact the modern school of tonists seeks to shorten the
period between the date of production and this final desirable quality, by
setting in motion these factors at once. They therefore paint with
varnish as a medium, multiplying the processes of glazing with pure color
so that under a number of surfaces of varnish the same chemical action may
be precipitated which in the earlier art came about with but few
exceptions as a happening through the simple necessary acts of
preservation. The consequence of this adoption of kindred processes is
that the tonal pictures and the old masters join hands naturally and can
stand side by side in the gallery of the collector.

This, though a wholly practical reason for the growing popularity of tonal
art is one of the powerful considerations for the trend from that sort
which is liable to create discord. The simplest illustration of harmony,
and unity an