wo colors to be seen at once.

The last method is that of Titian, the second in combination with the last
that of Rembrandt in his latest and best period, the first that of Monet,
which contains the principle of coloration in its scientific analysis.
The chasm between these men is not known in any such degree as a
superficial notion of their respective arts might presuppose. The real
disparity in color presentation exists between all such painters and those
who paint directly on white canvas, neglecting the influence of the
undertone and the enrichment which enters into color by glazes
(transparent color).

Such painters may be able to represent most faithfully the true tints of
Nature but not the true impression, for Nature is always expressive of
that depth and strength which lies far in and which the painter of
"quality" insists to render. To him it is that something containing the
last word of a thorough statement, and without it the statement is a
surface one.

Technically, it may mean the labor of many repaintings, of color glazes,
and of procedure from one process to another, so that the first statement
on the canvas becomes the general but not the final dictum. Through these
the work takes on that unctuousness of depth and strength by which one
experiences the same thrill as through the deep reverberations of a
musical tone from many instruments, simple tone being producible by one
instrument. Practically, it is the pulsation of color in every part of
the picture felt by either the play of one color through another or by
such broken color as may be administered by a single brush stroke loaded
with several colors or by a single color so dragged across another as to
leave some of the under color existent.

Quality

Such technique produces the highest tonal quality. It cannot be
supposed that Rembrandt glazed and repainted on his portraits for a lesser
reason than to supply them with a quality which direct painting denied,
nor that Frank Holl, of our own times, employed a like method _for the
sake of being like Rembrandt._

Natural Color; Tonal Color, representing nature; and Tonality plus
"Quality" (the last a vague term denoting depth and fullness of color) are
three grades represented, the first by Meissonier in his _"__1807__"_, a
picture devoid of tone; the second by the portraits of Alice, by Chase,
and _Lady Archibald Campbell_, by Whistler; and the las