with regard to any individual object--but we doubt if it be always so
in picture. The character of the picture may not at all depend upon
form--nay, it is possible that the painter may wish to draw away the
mind altogether from the beauty, and even correctness of form, his
subject being effect and colour, that shall be predominant, and to
which form shall be quite subservient, and little more of it than
such as chiaro-scuro shall give; and in such a case colour is the
more important truth, because in it lies the sentiment of the
picture. The mystery of Rembrandt would vanish were beauty of form
introduced in many of his pictures. We remember a picture, the most
impressive picture perhaps ever painted, and that by a modern too,
Danby's "Opening of the Sixth Seal." Now, though there are fine parts
in this picture, the real power of the picture is in its colour--it
is awful. We are no enemy to modern painters; we think this a work of
the highest genius--and as such, should be most proud to see it
deposited in our National Gallery. We further say, that in some
respects it carries the art beyond the old practice. But, then, we
may say it is a new subject. "It is not certain whether any two
people see the same colours in things." Though that does not affect
the question of the importance of colour, for it must imply a defect
in the individuals, for undoubtedly there is such a thing as nature's
harmony of colour; yet it may be admitted, that things are not always
known by their colour; nay, that the actual local colour of objects
is mainly altered by effects of light, and we are accustomed to see
the same things, _quoad_ colour, variously presented to us--and the
inference that we think artists may draw from this fact is, that
there will be allowed them a great licence in all cases of colour,
and that naturalness may be preserved without exactness--and here
will lie the value of a true theory of the harmony of colours, and
the application of colouring to pictures, most suitable to the
intended impression, not the most appropriate to the objects. We have
often laid some stress upon this in the pages of _Maga_--and we think
it has been too much omitted in the consideration of artists. Every
one knows what is called a Claude glass. We see nature through a
coloured medium--yet we do not doubt that we are looking at
nature--at trees, at water, at skies--nay, we admire the colour--see
its harmony and many beauties--yet we know them