light and shade, when divested of colour. It is
frequently produced after the picture is painted, by glazing or toning
over it until the required depth and expression of colour is obtained,
and mostly adding richness, splendour and variety. In water colour it is
highly and essentially prized.

A beautiful quality of tone is obtained from drawing on grey or coloured
paper, with black, white, and red chalks, the colour of the paper
supplying the middle tint, (which should always pervade the largest
space). It is likewise an admirable principle to adopt in water colour,
as it qualifies the whole appearance of the work, and the student will
proceed with greater certainty.

Of the situations in which a colour appears most beautiful, Leonardo
says, 'Black is the most so in the shade; white, in the strongest light;
blue and green in the half tint; yellow and red in the principal light;
gold in the reflexes, and lake in the half tint:' and 'the lighter a
colour is in its nature, the more so it will appear when removed to some
distance; but with dark colours it is quite the reverse.'

Some colours are rather unsociable, and, not mixing well with others,
are best used by themselves, producing the required tint by glazing one
over the other.

When any transparent colour is laid over an opaque one, or another of
its own quality, it produces a mixture different to either of those that
compose it; as lake over blue gives purple; yellow on blue produces
green, and so on. In many cases this is a superior method to that of
mixing them at once to the colour desired.

White is the receiver of all colours; black of none.

Any single colour appears most beautiful and brilliant when near the
same colour, but not having so much density in it. Observe how colours
are blended or contrasted in the plumage of birds, the wings of
butterflies, &c.

The shifting, blending, and comparing a number of coloured cards, has
always been found a useful and amusing way of instructing children in a
knowledge of colours.

Different coloured pieces of glass held up against a landscape, will
serve to show, through their medium, the varieties of hot and cold
effects.

Certain colours impart value to others, principally by contrast; thus,
the brilliant and rich glow of an autumnal evening is rendered most
intense when the dark brown and neutral masses of foliage are brought up
against it: it is only to their relative situations that they owe their
pow