pigment, and such colours as injure each other pointed out, leaving it to be understood that in instances not noticed colours may be mixed and employed with impunity. The attention of the artist to the individual powers of pigments, although it may be of less concern than the attention to general effect in colouring, is by no means less necessary in practice; and it has been well-remarked by Opie,⁕ that he who would excel in colouring must study it in several points of view—in respect to the whole and in respect to the parts of a picture, in respect to mind and in respect to body, and in regard to itself alone; and without a knowledge of the powers of his pigments individually, he will be likely to fail in these other respects. *Lect. iv. p. 138. CHAPTER VIII. ON THE NEUTRAL, WHITE. "I take thy hand;-this hand As soft as dove's down, and as white as it; Or Ethiopian's tooth, or the fann'd snow that's bolted WHITE, in a perfect state, should be neutral in hue, with regard to colour, and absolutely opaque; that being the best which reflects light most brilliantly. This is the property in white called body; which term in other pigments, more especially in those which are transparent, means tingeing power. White, besides its uses as a colour, is the instrument of light in painting, and compounds with all colours, when pure, without changing their class: yet it dilutes and cools all colours except blue, which is specifically cold; and, though it does not change nor defile any colour, it is defiled and changed by all colours. This pureness of white, if it be not in some degree broken or tinged, will cast down or degrade every other colour in a picture, while itself becomes harsh and crude. Hence the lowness of tone which has been thought necessary in painting, but is so only because our other colours do not approach to the purity of white. Had we all necessary colours thus rela tively pure as white, colouring in painting might be carried up to the full brilliancy of nature; and more progress has indeed been already made in both respects than the prejudice for dulness is disposed to tolerate. The term colour is equivocal when attributed to the neutrals, yet the artist is bound to consider them as colours; and, in philosophic strictness, they are such in extreme composition and latently, for a thing cannot but be that of which it is composed, and neutrals are composed of, or comprehend, all colours. Locally, white is the most advancing of all colours in a picture, and produces the effect of throwing other colours back in different degrees, according to their specific retiring or advancing powers; which powers are not, however, absolute properties of colours, but dependant upon the relations of light and shade, which are variously appropriate in all colours: hence it is that a white object, properly adapted, appears to detach, distribute, put in keeping, and give relief, decision, distinctness, and distance to every thing around it ; and hence the use and necessity of a white or light object in every distinct group of a composition. White itself is advanced or brought forward, unless indeed white surround a dark object, in which case they retire together. In mixture white communicates these properties to its tints, and harmonizes in conjunction or opposition with all colours, but lies nearest in series to yellow, and remotest from blue, of which, next to black, it is the most perfect contrast. It is correlative with black, which is the opposite extreme of neutrality. We have said. that black and white are the same colour; and the truth of this appears practically in painting a white object upon a light ground, which is done with black pigment; and also in painting a black object upon a dark ground, which is done with white pigment: in the latter case, by supplying the lights of the object; and in the former, by supplying the shadows. The same is evinced to the eye in the black and white of the definitive scale (page 39). Perfect white is opaque, and perfect black transparent; hence, when added to black in minute proportion white gives it solidity; and from a like small proportion of black combined with white the latter acquires locality as a colour, and better preserves its hue in painting. Both white and black communicate these properties to other colours in proportion to their lightness or depth, while they cool each other in mixture, and equally contrast each other when opposed. These extremes of the chromatic scale are each in its way most easily defiled, as green, the mean of the scale, is the greatest defiler of colours. Rubens regarded white as the nourishment of light and the poison of shadow. Physically, white is expressive of infirmity,a fair or pale complexion is feminine, and indicates ill health and want of stamina. The white colour of flowers is attributed by the botanist to disease, as is also the white and pale spots of the foliage on variegated plants; and plants are blanched and deprived of vegetative power by exclusion from light. Of animal nature the white and piebald are considered weakest. Horses of these colours want bottom; the Albino is diseased and a monster; the white rabbit is of tender constitution, so is the white dove; and in the winter of cold climates, when animals have less vigour, the colour of their furs becomes white. Morally, white is expressive of modesty and sweetness, and contributes to these expressions in other colours, when mixed therewith, by subduing their force; it is hence the pleasing expression of paleness and pureness of colour arises; -and in its general effect, as a colour on the eye and the mind, white is enlivening and elating, without gaiety, according to the neutrality of its relations; inspiring confidence or hope, as black or darkness does fear and distrust. It has ever been the vesture of priesthood, and, in its sensible and moral expression, it is the natural garb and emblem of purity, delicacy, cheerfulness, innocency, timidity, gentleness, dignity, piety, peace, and all the modest virtues hence the white flag is the token of peace; the white feather the metaphor of timidity: the white shield was the mark of untried manhood; and the white vestments of the vestal, the priest, and the Pythagoreans were symbols of purity and peace. And it heightens these sentiments in pictorial representations, and lends its powers to |