r the grace and
lightsomeness of the composition. The analogy between color and
imagination is marked. Certain temperaments instinctively express
their ideals through color. To the painter color may be an
all-influencing power; it is the glory of painting.

Drawing appeals to the intellect, but color speaks directly to the
emotions, and conveys at a glance the idea which is re-enforced
through the slower intellectual perception of the meaning of forms. In
some unexplained way it expresses to the observer the temperamental
mood; the joyousness, the severity or agitation which was the cause of
its conception. In this strange but direct manner the color note aids
the expression by line and mass of the aesthetic emotion which is the
meaning of the painter's thought.

=Key.=--The key, then, is an important part of the picture. The very
terms _warm_ and _cold_ applied to colors suggest what may be done by
color arrangement. The _pitch_ of the picture places it, in the
emotional scale.

=Tone.=--Tone is harmony; the perfect balance of color in all parts of
the picture. Fine color always means the presence, in all the color of
the picture, of all the three primaries in greater or less proportion.
Leave one color out in some proportion, and you have just so much less
of a balance. I do not mean that some touch may not be pure color. On
the contrary, the whole picture may be built up of touches of pure
color. But the balance of color must be made then by touches of the
different colors balancing each other, not only all over the picture,
but in each part of it, to avoid crudity or over-proportion of any
color. Generally the color scheme is dominated by some one color:
which means that every touch of color on the canvas is modified to
some extent by the presence of that color, keeping the whole in key.
Each color retains its personal quality, but the quality of the
dominant color is felt in it.

=False Tone.=--This is not to be attained by painting the picture
regardless of color relations, and then glazing or scumbling some
color all over the whole. This is the false tone of some of the older
historical painters, particularly of the English school of the earlier
part of this century. They "painted" the picture, and then just before
exhibiting it "toned" it by glazing it all over with a large brush and
some transparent pigment, generally bitumen. This did, in fact, bring
the picture in tone after a fashion. But it is not a co