colours are connected
with each other, as in dark and light sides of the same object. Much
more aspect and sense of harmony are gained by the precision with which
you observe the relation of colours in dark sides and light sides, and
the influence of modifying reflections, than by mere accuracy of added
depth in independent colours.

This harmony of tone, as it is generally called, is the most important
of those which the artist has to regard. But there are all kinds of
harmonies in a picture, according to its mode of production. There is
even a harmony of _touch_. If you paint one part of it very rapidly and
forcibly, and another part slowly and delicately, each division of the
picture may be right separately, but they will not agree together: the
whole will be effectless and valueless, out of harmony. Similarly, if
you paint one part of it by a yellow light in a warm day, and another by
a grey light in a cold day, though both may have been sunlight, and both
may be well toned, and have their relative shadows truly cast, neither
will look like light: they will destroy each other's power, by being out
of harmony. These are only broad and definable instances of discordance;
but there is an extent of harmony in all good work much too subtle for
definition; depending on the draughtsman's carrying everything he draws
up to just the balancing and harmonious point, in finish, and colour,
and depth of tone, and intensity of moral feeling, and style of touch,
all considered at once; and never allowing himself to lean too
emphatically on detached parts, or exalt one thing at the expense of
another, or feel acutely in one place and coldly in another. If you have
got some of Cruikshank's etchings, you will be able, I think, to feel
the nature of harmonious treatment in a simple kind, by comparing them
with any of Richter's illustrations to the numerous German story-books
lately published at Christmas, with all the German stories spoiled.
Cruikshank's work is often incomplete in character and poor in incident,
but, as drawing, it is _perfect_ in harmony. The pure and simple effects
of daylight which he gets by his thorough mastery of treatment in this
respect, are quite unrivalled, as far as I know, by any other work
executed with so few touches. His vignettes to Grimm's German stories,
already recommended, are the most remarkable in this quality. Richter's
illustrations, on the contrary, are of a very high stamp as respects
unders