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This historic book may have numerous typos and missing text
Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1871 edition. Excerpt: ... leaves in the foreground. Reflections may be of any colour that suit your purpose. There are plenty of pictures, doubtless, to be found where the colour of a shadow is produced by a deeper tint of the colour of the light; but this is not an advisable style to follow, nor is it following Nature, nor the best artists. G. Barret says: It appears to me that the faulty representation of flowers consists merely in painting those parts in shade with positive colour--the shade on a blue flower with a stronger tint of blue--of a red with a darker red, &c. Surely this is a great error, seeing that colour is the result of light; and in proportion to the decrease of light, colour will be diminished, and be finally nearly lost in the depth of shade. We must, in conclusion, add as a caution, that there are certain effects which may invariably be set down as disagreeable, and therefore to be avoided. Such are greenish-blues and greenish-yellows, they both appear sickly. Never place such a green between blue and yellow as would result from the mixture of the particular tints of those two colours that are made use of. Bluish-greens must either be very pale, or so moderated with black as to be nearly neutral. Both blue and yellow become agreeable as they incline to red. Red becomes rich as it inclines to blue, brilliant as it inclines to yellow. All shades of purple and orange are agreeable, but only such greens as incline to yellow. All shades and E 2 tints of tertiary compounds--citrine, olive, and russet--are agreeable in their places, receive value by contrasts of their own shades, and are only difficult to manage when they approach full bluish-green. Green must be sparingly used, even in landscape, whose greatest charm consists...
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