the merely practiced pencil draughtsman. The plates of this
work are indebted to his invention.

DESCRIPTION OF THE PLATES.

AFTER what has been said already, a lengthened description of the plates
would be unnecessary.

_Plate 1_--Has been described in reference to the article on
Composition; as Plates 2 and 3 have, in the one on Light and Shade.

_Plate 4._--The Porch of Chartres Cathedral, has been referred to under
the inquiry into accidental Shadows.

_Plate 5._--The Temple of Jupiter Tonans, and the Forum of Nerva, have
been noticed in like manner: as has likewise Plate 6, an ancient
Wine-store in the Rhaetian Alps.

_Plate 7._--Here are the extremes of hot and cold. The strongest colours
are placed in the darks, from which they derive all the power of the
palette, while the point is preserved by the figure in red. A warm
light, surrounded by warm tints, has the greatest brilliancy when ably
supported by the intervention of a cold one. The cool grey centre is
repeated in the hollow of the door, the lower part of the figure, and
carried out by the blue of the sky; while the warm colours are dispersed
and diffused on the wooden gallery, the walls, the ground, and gathered
up by the rich red of the woman's gown and the warm brown of the figure
behind; the dark colour of which, being laid on the dark background,
helps the woman into her forward position;--the warm colour, projected
by the red gown, is again carried up by the cap and brown of the figure
behind into the balcony, tiles, &c., until, after mingling in every
possible way with the cool greys, it escapes by the walls; spreading its
influence every where, and investing the greens of the vine and the
foreground with its character. The high light on the wall is repeated on
the linen, carried across by the figure in the gallery, and brought down
by the figure and flowers in the foreground. The general tone of the
work is warm;--the blues, greys and greens are used as a foil to give
value to the warm colours, the shadows and middle tints: the greys are
glazed warm, to preserve the richness of the general effect throughout.
The reds and blues are combined of colours possessing the properties of
each. The quantity of warm and cold colours are to be principally
observed--the union of one part with another--preservation of the
breadth, and the general harmony.

_Plate 8._--A VIEW IN BELGIUM.--The disturbed and heavy clouds sweeping
across the country a