Should Be Of Some Colour--never Black Nor Approaching Black They

: ON THE NEUTRAL, BLACK.

should be evidently and always of a luminous nature, and the black

should look strange among them; never occurring except in a black

object, or in small points indicative of intense shade in the very

centre of masses of shadow. Shadows of absolutely negative grey,

however, may be beautifully used with white, or with gold; but still

though the black thus, in subdued strength, becomes spacious, it should

always be conspi uous: the spectator should notice this grey neutrality

with some wonder, and enjoy, all the more intensely on account of it,

the gold colour and the white which it relieves. Of all the great

colourists, Velasquez is the greatest master of the black chords: his

black is more precious than other people's crimson. Yet it is not simply

black and white that must be made valuable, rare worth must be given to

each colour employed; but the white and black ought to separate

themselves quaintly from the rest, while the other colours should be

continually passing one into the other, being all plainly companions in

the same gay world; while the white, black, and neutral grey should

stand monkishly aloof in the midst of them. Crimson may be melted into

purple, purple into blue, and blue into green, but none of them must be

melted into black.



All colours are comprehended in the synthesis of black, consequently the

whole sedative power of colour is comprised in black. It is the same in

the synthesis of white; and, with like relative consequence, white

includes all the stimulating powers of colour in painting. It follows

that a little white or black is equivalent to much colour, and hence

their use as colours requires judgment and caution. By due attention to

the synthesis of black, it may be rendered a harmonizing medium to all

colours, to all which it lends brilliancy by its sedative effect on the

eye, and its powers of contrast: nevertheless, we repeat, it must be