1 The worst general character that colour can possibly have is a prevalent tendency to a dirty yellowish green, like that of a decaying heap of vegetables; this colour is accurately indicative of decline or paralysis in missal-painting.Numbers are eager and voluble about it who probably never in all their lives received one genuine colour-sensation. The modern religionists of the school of Overbeck are just like people who eat slate-pencil and chalk, and assure everybody that they are nicer and purer than strawberries and plums.

Take care also never to be misled into any idea that colour can help or display form; colourl always disguises form, and is meant to do so.

It is a favourite dogma among modern writers on colour that warm colours (reds and yellows) approach or express nearness, and cold colours (blue and grey) retire or express distance. So far is this from being the case, that no expression of distance in the world is so great as that of the gold and orange in twilight sky. Colours, as such, are absolutely inexpressive respecting distance. It is their quality (as depth, delicacy, c.) which expresses distance, not their tint. A blue bandbox set on the same shelf with a yellow one will not look an inch farther off, but a red or orange cloud, in the upper sky, will always appear to be beyond a blue cloud close to us, as it is in reality. It is quite true that in certain objects, blue is a sign of distance; but that is not because blue is a retiring colour, but because the

1 That is to say, local colour inherent in the object. The gradations of colour in the various shadows belonging to various lights exh bit form, and therefore no one but a colourist can ever draw/arms perfectly (see Modern Painters, vol. iv. chap, iii. at the end); but all notions of explaining form by superimposed colour, as in architectural mouldings, are absurd. Colour adorns form, but does not interpret it. An apple is prettier because it is striped, but it does not look a bit rounder; and a cheek is prettier because it is flushed, but you would see the form of the cheek bone better if it were not. Colour may, indeed, detach one shape from another, as in grounding a bas-relief, but it always diminishes the appearance of projection, and whether you put blue, purple, red, yellow, or green, for your ground, the bas-relief will be just as clearly or just as impertecly relieved, as long as the colours are of equal depth. The blue ground will not retire the hundredth part of an inch more than the red one.

Mist in the air is blue, and therefore any warm colour which has not strength of light enough to pierce the mist is lost or subdued in its blue: but blue is no more, on this account, a retiring colour, than brown is a retiring colour, because, when stones are seen through brown water, the deeper they lie the browner they look; or than yellow is a retiring colour, because, when objects are seen through a London fog, the farther off they are the yellower they look. Neither blue, nor yellow, nor red, can have, as such, the smallest power of expressing either nearness or distance: they express them only under the peculiar circumstances which render them at the moment, or in that place, signs of nearness or distance. Thus, vivid orange in an orange is a sign of nearness, for if you put the orange a great way off, its colour will not look so bright; but vivid orange in sky is a sign of distance, because you cannot get the colour of orange in a cloud near you. So purple in a violet or a hyacinth is a sign of nearness, because the closer you look at them the more purple you see. But purple in a mountain is a sign of distance, because a mountain close to you is not purple, but green or grey. It may, indeed, be generally assumed that a tender or pale colour will more or less express distance, and a powerful or dark colour nearness; but even this is not always so. Heathery hills will usually give a pale and tender purple near, and an intense and dark purple far away; the rose colour of sunset on snow is pale on the snow at your feet, deep and full on the snow in the distance; and the green of a Swiss lake is pale in the clear waves on the beach, but intense as an emerald in the sunstreak, six miles from shore.

And in any case, when the foreground is in strong light, with much water about it, or white surface, casting intense reflections, all its colours may be perfectly delicate, pale, and faint; while the distance, when it is in shadow, may relieve the whole foreground with intense darks of purple, blue green, or ultramarine blue. So that, on the whole, it is quite hopeless and absurd to expect any help from laws of aerial perspective. Look for the natural effects, and set them down as fully as you can, and as faithfully, and never alter a colour because it won't look in its right place. Put the colour strong, if it be strong, though far off; faint, if it be faint, though close to you. Why should you suppose that Nature always means you to know exactly how far one thing is from another? She certainly intends you always to enjoy her colouring, but she does not wish you always to measure her space. You would be hard put to it, every time you painted the sun setting, if you had to express his 95,000,000 miles of distance in aerial perspective.