re kept of a low, subdued, but warm grey;
intersecting the distant trees, and invading the middle space, until it
is found among the greens of the foliage and grass of the foreground;
the stones, the chalky road, &c., ending in the darks of the figures.
The warm lights are scattered over the tops of the trees and sunny
browns of the middle space and foreground, repeated in the lower part of
the sky, and brought forward in the foliage and grass on the left; while
the reds are gathered up in the branches and stems of the trees, and
brought to a point in the figure on the right:--the white of the chalky
road is carried into their trunks, the rock, and up into the clouds by
the birds. The breadth is divided into two wedge-shaped forms, carried
at an angle across the work, and up into the bank and trees on the left;
opposed by the long stretching line of the horizon and round forms of
the clouds and foliage,--balanced by the mass of rock on the other side.
The harsh opposition of the cutting-lines of the foreground serves to
attract the eye, while it reposes the distance.

_Plate 9._--In this example, the darkest dark being of a warm brown, is
brought up, by contrast, against the half dark in the distance, which is
of a cold grey: it is then carried up into the dark markings of the
houses, the roofs at the sides, and repeated on the right; brought down
by the scaffolding over the steps, and woven throughout into the cool
greys of the half shade, occupying nearly two-thirds of the subject, and
carried, by the reflections of the boats, into the grey of the water and
the blue of the sky;--the density of the barge, deepened by positive
colour, clearing up all the half tints. The highest light, near the
centre, is gradated along the distant buildings, and repeated in the
warm red and yellow lights, catching at different intervals on the
houses, until lost in the water.

_Plate 10._--ST. JAMES'S PARK AND THE HORSE GUARDS.--This view was taken
from the side of the Column, looking from the steps towards the
Treasury. The two great masses, thrown at the boldest angle across the
picture, the opposing lines broken up and varied by the round forms of
the trees, and cutting it nearly in half, are divided between the bustle
of the middle distance and the repose of the sky, the steps, the
terraces, and the base of the column;--the colours employed in one
division are made to invade the province of the other, until all are
_placed_ by the