hot mass of red like a huntsman's coat in your picture, the coolest
colour should be looked for everywhere else. Seen in a November
landscape, how well a huntsman's coat looks, but then, how cold and grey
is the colouring of the landscape. The right thing to do is to support
your red with as many cool and neutral tones as possible and avoid hot
shadows. With so strong a red, blue might be too much of a contrast,
unless your canvas was large enough to admit of its being introduced at
some distance from the red.

Most painters, of course, are content to keep to middle courses, never
going very far in the warm or cold directions. And, undoubtedly, much
more freedom of action is possible here, although the results may not be
so powerful. But when beauty and refinement of sentiment rather than
force are desired, the middle range of colouring (that is to say, all
colours partly neutralised by admixture with their opposites) is much
safer.

[Sidenote: Between Interest and Mass.]

There is another form of balance that must be although it is connected
more with the subject matter of art, as it concerns the mental
significance of objects rather than rhythmic qualities possessed by
lines and masses; I refer to the balance there is between interest and
mass. The all-absorbing interest of the human figure makes it often when
quite minute in scale balance the weight and interest of a great mass.
Diagram XXVII is a rough instance of what is meant. Without the little
figure the composition would be out of balance. But the weight of
interest centred upon that lonely little person is enough to right the
balance occasioned by the great mass of trees on the left. Figures are
largely used by landscape painters in this way, and are of great use in
restoring balance in a picture.

[Illustration: Diagram XXVII.

ILLUSTRATING HOW INTEREST MAY BALANCE MASS]

[Sidenote: Between Variety and Unity.]

And lastly, there must be a balance struck between variety and unity. A
great deal has already been said about this, and it will only be
necessary to recapitulate here that to variety is due all the expression
or the picturesque, of the joyous energy of life, and all that makes the
world such a delightful place, but that to unity belongs the relating of
this variety to the underlying bed-rock principles that support it in
nature and in all good art. It will depend on the nature of the artist
and on the nature of his theme how far this underlyi