DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18975#0488
CHAPTER VIII
OF THE RELATION OF COLOUR TO OUTLINE
1-4. . . . . . . .1
5. Thus far I have repeated, with modification of two
sentences only, the words of my old o/" jDrate-
—words which I could not change to any good pur-
pose, so far as they are addressed to the modern amateur,
whose mind has been relaxed, as in these days of licentious
pursuit of pleasurable excitement, all our minds must be,
more or less, to the point of not being able to endure the
stress of wholesome and errorless labour,—(errorless, I
mean, of course, only as far as care can prevent fault).
But the jLme.? c/' address themselves to no persons
of such temper; they are written only for students who
have the fortitude to do their best; and I am not minded,
any more, as will be seen in next chapter, while they have
any store of round sixpences in their pockets, to allow them
to draw their Sun, Earth, and Moon like crooked ones.
6. Vet the foregoing paragraphs are to be understood
also in a nobler sense. They are right, and for evermore
right, in their clear enunciation of the necessity of being
true in colour, as in music, note to note; and therefore
also in their implied assertion of the existence of Colour-
Law, recognizable by all colourists, as harmony is by all
musicians ; and capable of being so unanimously ascertained
by accurate obedience to it, that an ill-coloured picture
could be no more admitted into the gallery of any rightly
i [§§ 1-4 of this chapter, dwelling on the extreme difficulty of right colouring,
consisted of §§ 152-154 of TAe o/ Druwbuy; see above, pp. 133-136, where
the notes and modifications added in TAe Zutc# <y are given.]
432
OF THE RELATION OF COLOUR TO OUTLINE
1-4. . . . . . . .1
5. Thus far I have repeated, with modification of two
sentences only, the words of my old o/" jDrate-
—words which I could not change to any good pur-
pose, so far as they are addressed to the modern amateur,
whose mind has been relaxed, as in these days of licentious
pursuit of pleasurable excitement, all our minds must be,
more or less, to the point of not being able to endure the
stress of wholesome and errorless labour,—(errorless, I
mean, of course, only as far as care can prevent fault).
But the jLme.? c/' address themselves to no persons
of such temper; they are written only for students who
have the fortitude to do their best; and I am not minded,
any more, as will be seen in next chapter, while they have
any store of round sixpences in their pockets, to allow them
to draw their Sun, Earth, and Moon like crooked ones.
6. Vet the foregoing paragraphs are to be understood
also in a nobler sense. They are right, and for evermore
right, in their clear enunciation of the necessity of being
true in colour, as in music, note to note; and therefore
also in their implied assertion of the existence of Colour-
Law, recognizable by all colourists, as harmony is by all
musicians ; and capable of being so unanimously ascertained
by accurate obedience to it, that an ill-coloured picture
could be no more admitted into the gallery of any rightly
i [§§ 1-4 of this chapter, dwelling on the extreme difficulty of right colouring,
consisted of §§ 152-154 of TAe o/ Druwbuy; see above, pp. 133-136, where
the notes and modifications added in TAe Zutc# <y are given.]
432