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The Same In Light And Shade Or White And Black Which Mix With

clearness. Now, there are only two ways in which this distinctness in
union of contrasts can be effected in practice: the one is by hatching
or breaking them together in mixture, without compounding them
uniformly; and the other is by glazing, in which the colours unite and
penetrate mutually, without monotonous composition.

The former process may be said to be the carrying out of the principle
of separate colours to the utmost possible refinement, by using atoms of
colour in juxtaposition, instead of in large spaces. And it is to be
noted, in filling up minute interstices of this kind, that if the colour
with which they are filled be wanted to show brightly, a rather positive
point of it had better be put, with a little white left beside or round
it in the interstice. This plan is preferable to laying a pale tint of
the colour over the whole interstice. Yellow or orange, for instance,
will hardly show, if pale, in small spaces; but they show brightly in
free touches, however small, with white beside them. The latter mode is
founded on the fact, that if a dark colour be laid first, and a little
blue or white body-colour struck lightly over it, a more beautiful gray
will be obtained than by mixing the colour and the blue or white.
Similarly, if over a solid and perfectly dry touch of vermilion there be
quickly washed a little very wet carmine, a much more brilliant red will
be produced than by mixing the two colours.

Transparency and opacity constitute another contrast of colouring, the
former of which belongs to shade and blackness, the latter to light and

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