Howard, Frank: Colour, as a means of art: being an adaptation of the experience of professors to the practice of amateurs (London, 1838)

88 PRINCIPLES OF

black," nevertheless, those productions which are
cited by this party as the finest specimens of
colour in existence, do contain both white and
black. In the celebrated picture by Giorgione,
copied recently by Mr. Ward, R. A. to the eye of
the uninitiated, are presented both white lights,
and black shadows. The former, it is true, are
reduced by Time or glazing; and the latter are
excused as having lost their original colour.

But this principle can scarcely be said to be
carried out, except in such pictures as possess
the " cloistered tone'' of Ludovico Caracci alluded
to. Here the lights are warm and golden, as
if transmitted through stained glass. The
atmospheric greys are introduced to no greater
extent than is indispensable, to prevent the
picture appearing rusty. The shadows are
deep rich browns, into which are thrown still
warmer reflections; and the whole picture .
is subdued to a soft-mysterious effect, which
is admirably adapted to produce, what is
technically termed, repose, and to excite gentle,
reverential, solemn, and even affectionate feelings.
It is a style of colouring peculiarly suited to
religious subjects; and in representations of
interiors, may be said to be like nature, because