rwards proceed to more complicated
studies, matching the colors carefully first by your old method; then
deepening each color with its own tint, and being careful, above all
things, to keep truth of equal change when the colors are connected with
each other, as in dark and light sides of the same object. Much more
aspect and sense of harmony are gained by the precision with which you
observe the relation of colors in dark sides and light sides, and the
influence of modifying reflections, than by mere accuracy of added depth
in independent colors.

239. This harmony of tone, as it is generally called, is the most
important of those which the artist has to regard. But there are all
kinds of harmonies in a picture, according to its mode of production.
There is even a harmony of touch. If you paint one part of it very
rapidly and forcibly, and another part slowly and delicately, each
division of the picture may be right separately, but they will not agree
together: the whole will be effectless and valueless, out of harmony.
Similarly, if you paint one part of it by a yellow light in a warm day,
and another by a gray light in a cold day, though both may have been
sunlight, and both may be well toned, and have their relative shadows
truly cast, neither will look like light; they will destroy each other's
power, by being out of harmony. These are only broad and definable
instances of discordance; but there is an extent of harmony in all good
work much too subtle for definition; depending on the draughtsman's
carrying everything he draws up to just the balancing and harmonious
point, in finish, and color, and depth of tone, and intensity of moral
feeling, and style of touch, all considered at once; and never allowing
himself to lean too emphatically on detached parts, or exalt one thing
at the expense of another, or feel acutely in one place and coldly in
another. If you have got some of Cruikshank's etchings, you will be
able, I think, to feel the nature of harmonious treatment in a simple
kind, by comparing them with any of Richter's illustrations to the
numerous German story-books lately published at Christmas, with all the
German stories spoiled. Cruikshank's work is often incomplete in
character and poor in incident, but, as drawing, it is _perfect_ in
harmony. The pure and simple effects of daylight which he gets by his
thorough mastery of treatment in this respect, are quite unrivaled, as
far as I know, by any other work