light blues
turn white, or nearly so. This low, fading light also suggests many
useful hints as to arrangement, from the circumstance of the dashings of
the brush in a picture but newly commenced, suggesting forms that were
not originally intended, but which often prove much finer ones. Ah,
sometimes I see something very beautiful in these forms; but then I have
such coaxing to do to get it fixed!--for when I draw near the canvas
the vision is gone, and I have to go back and creep up to it again and
again, and, at last, to hold my brush at the utmost length of my arm
before I can fix it, so that I can avail myself of it the next day. The
way to paint a really fine picture is first to paint it in the mind, to
imagine it as strongly and distinctly as possible, and then to sketch it
while the impression is strong and vivid.

[Illustration: _Puvis de Chavannes_ HOPE]

I have frequently shut myself up in a dark room for hours, or even days,
when I have been endeavouring to imagine a scene I was about to paint,
and have never stirred till I had got it clear in my mind; then I have
sketched it as quickly as I could, before the impression has left me.

_Northcote._

DECORATIVE ART

CLXXIX

Decoration is the activity, the life of art, its justification, and its
social utility.

_Bracquemond._

CLXXX

The true function of painting is to animate wall-spaces. Apart from
this, pictures should never be larger than one's hand.

_Puvis de Chavannes._

CLXXXI

I want big things to do and vast spaces, and for common people to see
them and say Oh!--only Oh!

_Burne-Jones._

CLXXXII

I insist upon mural painting for three reasons--first, because it is an
exercise of art which demands the absolute knowledge only to be obtained
by honest study, the value of which no one can doubt, whatever branch of
art the student might choose to follow afterwards; secondly, because the
practice would bring out that gravity and nobility deficient in the
English school, but not in the English character, and which being latent
might therefore be brought out; and, thirdly, for the sake of action
upon the public mind. For public improvement it is necessary that works
of sterling but simple excellence should be scattered abroad as widely
as possible. At present the public never see anything beautiful
excepting in exhibition rooms, when the novelty of sight-seeing
naturally disturbs the intellectual perceptions. It is a melanch