er.

That part of a white object which is nearest to a dark one, will appear
the whitest, and the less so as it is removed from it. The same occurs
by a dark one.

All colours will appear most perfect in themselves when contrasted with
their _opposites_--a green against red; blue against yellow; black
against white, &c.

Where one colour terminates on another, that is its contrast, there will
be greater strength exhibited at the junction than in the middle.

Great darkness is only obtained by the opposition of bright light, and
bright light by contrasting it with density of shadow.

Colours should recede in proportion to the _size_ of objects, as they
retire from the eye.

Too frequent a repetition of the same colour will produce monotony; so
will too much contrast.

Contrasts in colouring must be used with great caution, or the absence
of all keeping will be the result. At the same time, the beauty of a
colour is only fully developed by being placed by the side of its
opposite, or the one from which it is farthest removed.

If the blacks in a picture are kept firm and decided, they _clear up_
the general effect, and give _lightness_ and buoyancy to the whole work.

A colour is often left single, and standing by itself, in some principal
object; in which case, it is so contrived, by its density, or some other
quality, to bring together and harmonize all the rest.

If colours are not placed in _harmony_ with each other, they must be in
contact with such as give them value; as red against a cold, or green
against a warm colour. In short, the grand principle, in all its
constituent parts, simply amounts to this.

The strongest darks, brought in contact with the strongest lights,
increase their brilliance, by giving to the lights the utmost force and
clearness they can receive.

_Richness_ of colouring can only be adopted when the general tone of the
picture is sufficiently _dark_ to support it.

All colours retire in proportion to their negative or neutral character;
and as they develope themselves, gradually approaching to their
brightest point, so they reach the prominent parts of the foreground.

Rich, warm, and deep shadows, will support the strongest colours; and if
the browns are kept cool, the greys and cold colours retain their purity
better. The colours that _unite_ the hot and cold parts of a picture
require the nicest judgment: thus, white and black may be brought
together by grey, (grey being _