the more sober art.

It must however be borne in mind that the danger lies in the direction of
color. Inharmony is more frequently found here than in the picture of
sober tone.

Precisely the same palette is used to produce an autumnal scene on a blue
day, when the colors are vivid and the outline on objects is hard and the
form pronounced, as on an overcast day with leaden clouds and much of the
life and color gone from the yellow and scarlet foliage.

The reason why chances for harmony in the first are less than in the
second is that the synthetic union of the colors is not as obvious or as
simple as in the latter, in which to produce the gray sky, red and yellow
have been added to the blue, and the sky tones are more apparently added
to the bright hues by being mixed into dull colors upon the palette. The
circle of harmony is therefore more easily apparent to our observation.

It is for this reason that tonality is more easily understood when applied
to the green and copper bronze of the oak tree against a cool gray sky
than the red and yellow hillside and the blue sky.

VALUES.

Another important consideration in an estimate of a picture is its truth
of values. The color may be correct and harmonious but the degree of its
light and shade be faulty. This is a consideration more important to the
student than the connoisseur as but few pictures see the light of an
exhibition which carry this fault. It is the one most dwelt upon in the
academies after the form in outline has been mastered. On it depends the
correctness of surface presentation. If, for instance, the values of a
face are false, the character will be disturbed. This point has been made
evident to all in the retouching, which many photographs receive.
Likeness is so dependent on those surfaces connecting the features or upon
the light and shade of the features, that any tampering with them in a
sensitive part is ruinous.

Values represent the degree of light and shade which the picture demands,
the relations of one part to another on the scale assumed. Thus with the
same light affecting various objects in a room, if one be represented as
though illumined by a different degree of light it is out of value; or, in
a landscape, if an object in the distance is too strong in either color or
degree of light and shade for its particular place in perspective, it is
out of value. There are therefore values of color and of chiaroscuro,
which may