hich, rough at first, establishes
from the beginning the essential conditions of relief and solidity.

Colourists, being those who unite all the qualities of painting, must,
in a single process and at first setting to work, secure the conditions
peculiar and essential to their art.

They have to mass with colour, as the sculptor with clay, marble, or
stone; their sketch, like the sculptor's, must show proportion,
perspective, effect, and colour.

Outline is as ideal and conventional in painting as in sculpture; it
should result naturally from the good arrangement of the essential
parts. The combined preparation of effect which implies perspective and
colour will approach more or less the actual aspect of things, according
to the degree of the painter's skill; but this foundation will contain
potentially everything included in the final result.

_Delacroix._

CL

I believe colour to be a quite indispensable quality in the _highest_
art, and that no picture ever belonged to the highest order without it;
while many, by possessing it--as the works of Titian--are raised
certainly into the highest _class_, though not to the very highest grade
of that class, in spite of the limited degree of their other great
qualities. Perhaps the _only_ exception which I should be inclined to
admit exists in the works of Hogarth, to which I should never dare to
assign any but the very highest place, though their colour is certainly
not a prominent feature in them. I must add, however, that Hogarth's
colour is seldom other than pleasing to myself, and that for my own part
I should almost call him a colourist, though not aiming at colour. On
the other hand, there are men who, merely on account of bad colour,
prevent me from thoroughly enjoying their works, though full of other
qualities. For instance, Wilkie or Delaroche (in nearly all his works,
though the Hemicycle is fine in colour). From Wilkie I would at any time
prefer a thoroughly fine engraving--though of course he is in no respect
even within hail of Hogarth. Colour is the physiognomy of a picture;
and, like the shape of the human forehead, it cannot be perfectly
beautiful without proving goodness and greatness. Other qualities are in
its life exercised; but this is the body of its life, by which we know
and love it at first sight.

_Rossetti._

CLI

In regard to the different modes of painting the flesh, I belief it is
of little consequence which is pursued, if you on