bright red of the soldier's dress and darker markings of
the figures in the foreground, repeated here and there as uniting links,
and carried through by the figures in the distance; while the
communicating principle is sustained between the reds, blues and
yellows, by the colour of the sky and distant buildings being composed
of all three.

_Plate 11._--MILLS ON A SEA COAST.--The large and varied portion of
shadow, principally thrown into the wild uproar of the scudding clouds,
is gathered together, and focussed by the strong and positive colour in
the mill on the left, the stranded vessel, the horizon, the figures and
dark markings in the foreground; and brought gradually down by the half
shade into the cliff, the cottage, and the principal mill; and again
carried up, by the agency of its primitive cause, to the highest parts
of the clouds. The highest light is gathered up on the wall of the
cottage, repeated in the accidental light on the retiring mill, the
horizon, the figures on the sands, the birds in the air, &c., until it
comes down to the chalky rocks and stones, mingling with the weedy
greens of the foreground; the blues are carried down by the figures, and
on which the reds are centred, and repeated in the unities of the tiles,
collecting its force in the retiring mill, and insinuating itself into
the distant figures, the sail and flag of the vessel, until lost in the
warm colours of the clouds. The middle tints are kept much of the same
strength to sustain the breadth, while the dark line of the horizon is
graduated upwards and downwards for the same purpose. The shadow on the
steps in the cliff is brought up against the light on the cottage to
give it point; and the quantity of half shade that pervades the work is
gathered up by the depths of the darks. This effect was observed at
Cayeux, in Normandy.

_Plate 12._--THE CHANCEL OF A FLEMISH CHURCH.--In this instance a number
of positive, harmonizing and opposing colours, are thrown together and
collected in the middle space; diffused, and carried out, by the
intimacy of the union of their attributes, in the figures, the altar,
the banners, &c., forming a cone of colour surrounded and reposed by
warm grey. The greys are lost and found among the browns, insinuating
themselves into the recesses and tracery on the walls, and every where
influencing the warm colours. The figures, in red and blue, are placed
in the gallery to disturb the form of the cone: while th