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

The Reds Seem For The Most Part To Be Composed Of Oxide Of Iron Mixed The Secondary Orange And Its Near Relatives Scarlet &c; And With facebooktwittergoogle_plusredditpinterestlinkedinmail