it, since in many of the Venetian pictures we find green
draperies of a beautiful colour. Sir John seems to infer that the
colours used in the decoration of the Parthenon (no doubt used) were
crude. The extraordinary refinements demonstrated in a lecture by Mr.
Penrose on the spot last year, at which I had the good fortune to be
present, forbid such a conclusion. A few graduated inches in the
circumference of the columns, and deflection from straight line in the
pediment and in the base-line, proved by measurement and examination to
be carefully intentional, will not permit us for a moment to believe
this could have been the case; so precise in line, rhythmical in
arrangement, lovely in detail, and harmonious in effect, it could never
have been crude in colour. No doubt the marble was white, but
illuminated by such a sun, and set against such a sky and distance, the
white, with its varieties of shadow, aided by the colours employed,
could have gleaned life and flame in its splendour. Colour was certainly
used, and the modern eye might at first have something to get over, but
there could have been nothing harsh and crude. The exquisite purity of
line and delicacy of edge could never have been matched with crudity or
anything like harshness of colour. To this day the brightest colours may
be seen on the columns at Luxor and Philae with beautiful effect.

_Watts._

CIII

I am getting on with my pictures, and have now got them all three into a
fairly forward state of _under_ painting; completion, however, will only
be reached in the course of next winter, for I intend to execute them
with minute care. I have simplified my method of painting, and forsworn
all _tricks_. I endeavour to advance from the beginning as much as
possible, and equally try to mix the right tint, and slowly and
carefully to put it on the right spot, and _always_ with the model
before me; what does not exactly suit has to be adapted; one can derive
benefit from every head. Schwind says that he cannot work from models,
they _worry_ him! A splendid teacher for his pupils! Nature worries
every one at first, but one must so discipline oneself that, instead of
checking and hindering, she shall illuminate and help, and solve all
doubts. Has Schwind, with his splendid and varied gifts, ever been able
to model a head with a brush? Those who place the brush behind the
pencil, under the pretence that _form_ is before all things, make a very
great mistake. F