the imitation of all coloured objects, by means of which their images appear upon a plain surface, as if they were seen with the relief peculiar to them. From this possibility of imitating clearly the minutest details in a model, results the possibility of expressing upon plane figures all the emotions of the heart of man which are manifested by the expression of his countenance. From thence is derived the noblest, the loftiest part of the art which places the painter near the poet, the historian, and the moralist; a part upon which the critic pours his admiration to excite it in others, but which has no rules a master can impart to his pupils. I make this declaration in order that my intention may not be misunderstood, which has dictated to me the developments promised above (859.), relative to the correspondence of the harmonies of colour with the subject upon which they are employeddevelopments upon which I now enter.

(865.) If harmony of contrast is most favourable to cause two colours to impart value to each other (845.), on the other hand, when we desire to derive the best possible advantage from a union of numerous brilliant colours in any work-a picture, for instance this diversity presents some difficulties for the harmony of the whole, which a smaller number of colours would not present, and particularly of colours less brilliant (859.). Accordingly, it is evident, that if we compare together two effective pictures, well adapted to be judged under the relation of colour, other things being the same, the one which presents the most harmony of contrast of colour will have the greater merit under the relation of the difficulty overcome in the employment of the colours; but we must not conclude that the painter of the other picture is not a colourist; because the art of colouring is composed of various elements, and the talent of opposing pure colours with each other is only one of these elements.

(866.) Let us now consider the relations existing between the subjects of painting and the harmonies they admit. We know that the more pictures address the eye by numerous contrasts, the more difficulty the spectator experiences in fixing his attention, especially if the colours are pure, varied, and skilfully distributed upon the canvas. A result of this state of things then is that, these colours being much more

vivid than the flesh-tints, the painter who wishes that his idea should be sought in the expression of his figures, and who, putting this part of his art above the others, is also convinced that the eyes of most people, ignorant of the art of seeing (being carried away by what they see at first), are incapable of returning from this impression to receive another; the painter, I repeat, who knows all these things, and is conscious of his power, will be restrained in the use of harmonies of contrast, and prodigal of the harmonies of analogy. But he will not derive advantage from these harmonies, especially if he selects a scene occupying a vast space filled with human figures, as in the "Last Judgment" of Michael Angelo, unless he avoids confusion by means of correct drawing, by a distribution of the figures in groups skilfully distributed over the canvas, so that they cover it almost equally, yet without presenting a formal symmetry. The eye of the spectator must embrace all these groups easily, and seize the respective positions; lastly, in penetrating one of them, he must find a diversity which will entice him to extend this examination to other groups.

(867.) The painter who misses the effect of the physiognomies when having recourse to the harmonies of analogy, will not have the same advantage in fixing the attention of the multitude as the painter who has employed the harmonies of contrast.

(868.) The harmonies of contrast of colour are especially applicable to scenes illuminated by a vivid light, representing fêtes, ceremonies, &c., which may be sober without being sad; they are also applicable to large subjects, in which we find different groups of men animated with various passions.

(869.) To conclude, in all I have said on the subject of the immediate applications of the law of contrast to painting, I have given precepts adapted to enlighten the artist as well as the critic, since he cannot avoid them without evidently being unfaithful in the imitation of his model. I have stated numerous considerations, in order that clearly separating by analysis the elements of the art which concur with those of which I have given the rules, they will not attribute to me ideas which I do not entertain, but, on the contrary, they will see plainly that I have never misunderstood the qualities

which neither instruct nor make the great artist. It is in this spirit that I have spoken of the harmonies of colours; and in distinguishing them into harmonies of analogy, and harmonies of contrast, I have been led to observe that we cannot mistake with respect to the pleasure produced in us by the sight of various colours suitably assorted. When indicating the subjects in which it appeared to me the harmonies of one kind should dominate over the others, I spoke in a general, but not in an absolute manner. I remarked that if the painter, with the intention of attaining the highest rank in his art, would fix attention by the expression of his figures rather than by colour, and if, in consequence, he makes the harmonies of analogy predominate over the others, it will happen that-if he misses his aim-he will have a marked disadvantage in respect to the case where he would have employed vivid and contrasting colours, the expression of his figures remaining the same. On the other hand, I have remarked that the painter who would treat a subject to which the harmonies of contrast belong, will place himself in an unfavourable position, other things remaining the same, if he has recourse to the harmonies of analogy.

A result of this view is that the critic must never compare two large compositions under the relation of colouring, without taking into account the difference which may exist in the accordance of each subject with one kind of harmony more than with the other.

ARTICLE 2.

Painting in Flat Tints.

(870.) To apply painting in flat tints to historical, portrait, and landscape painting,-in a word, to the imitation of any object of which we can reproduce a faithful representation, would be going back to the infancy of art; but to abandon it to practise exclusively the system of painting where all the modifications of light are reproduced according to the rules of chiar'oscuro would be an error, which can be demonstrated beyond question.

Painting in flat tints as well as painting in chiar'oscuro is based on the two following facts:

] INFLUENCE OF THE LAW OF CONTRAST. 385 1o. That the sight of colours is agreeable.

2o. That the sight of a drawing reproducing an elegant form is also agreeable, particularly when the re

membrance of a cherished object is connected with it.

(871.) Let us now see the special advantages of the first system of painting.

1o. One part being of a uniform colour, and circumscribed by a faint or strong outline, it is very easy to distinguish the contiguous parts, and at the same distance it is much easier than if the colour of this part were shaded.

2o. More simple than painting in chiar'oscuro, painting in flat tints is easier of execution and more economical; consequently, in its speciality it is susceptible, at the same cost, of being better executed than the same object would be if painted in chiar'oscuro.

(872.) From which I conclude,

1o. That in every instance where a picture must be placed at such a distance from the spectator that the details of the chiar'oscuro will not be visible, we must have recourse to flat tints; not neglecting, however, to use masses of light and shade adapted to give relief, if it be considered advisable.

2o. That in every case where the picture is accessory
to the decoration of an object, flat tints are pre-
ferable to chiar'oscuro, because the use of the
object almost always prevents the picture which
ornaments it from being clearly seen under all
circumstances.

Thus painting in flat tints is preferable to the other,
(a) For ornamenting boxes, tables, screens, which,
from the various positions their use requires,
only admit of our seeing a part of the pictures
which decorate them; or if the paintings are

entirely visible, as those of a screen, they will be presented, relatively to the daylight, in a manner quite different from each other, on account of the various positions of the parts of the painted object.

(b) For decorating curved surfaces, as those of vases, the surfaces of which are never plane. Nothing, I think, can justify the expense required by a painting in chiar'oscuro upon a surface, the curvature of which necessarily contradicts the effects of the picture.

3o. That the qualities peculiar to painting in flat tints

are:

(a) Purity of outline.

(b) Regularity and elegance of forms.

(c) Beautiful colours properly assorted.

Whenever opportunity permits, the most vivid and most contrasting colours may be advantageously employed.

(d) Simplicity in the whole, so as to render clear and distinct view easy.

§ 2.

OF THE ARTS WHICH ADDRESS THE EYE BY EMPLOYING COLOURED MATERIALS OF A CERTAIN SIZE, CONSIDERED RELATIVELY TO THE PHYSICAL CONDITION OF THESE MATERIALS, AND TO THE SPECIALITY OF THE ART EMPLOYING THEM.

(873.) I HAVE remarked, that if we examine paintings with sufficiently powerful magnifying instruments, we shall see that the coloured material, far from being continuous in all its parts, is in separate particles; and, consequently, if the naked eye does not perceive the intervals separating them, it is because these intervals are too small. This remark should be remembered, because it is the basis of the first distinction we must establish in this paragraph. In fact, the coloured threads (elements of tapestries and carpets),