troduced they must be left, and a little Indian-ink added to the blue will make a tint for their shadows, and more blue again to this will answer for the extreme distance; and the Indian-ink should be gradually increased as the scene advances. For the foreground, Indian-ink alone must be used at first, and afterwards warmed with the bistre, which may be mixed with the Indian-ink for the near trees, as it will make a very agreeable tint, tending a little to a mellowgreen. Those parts where the sun produces a bright light should be washed with a little pure bistre, and the pupil must endeavour to wash in the dark parts of objects and shadows upon the foreground as near the required strength as possible, for a repetition of washes, in this style of drawing, will certainly produce heaviness.

I am, &c.

MY DEAR SIR;

As the pupil is now introduced to the use of the brush, I will endeavour to stimulate him to the energetic use of it by treating of colour, one of the most delightful, yet difficult parts of the art. But before I proceed to the practical application of it, I will venture a few brief remarks upon the theory of colours, which, although it may not be absolutely necessary for him in the pursuit of his art, still may lead him to make such observations as will not only afford him much amusement, but finally tend to the improvement of his mind. Indeed, without the most careful observation of nature, aided by an active exertion of the reason, no one can ever become a good colourist, for he that depends upon his eye

only will be continually deceived, and I am inclined to believe, that the generality of persons see objects as they know them to be, and not as they appear to the eye. But the tyro, by a constant endeavour to trace the cause that occasions so great a change in the appearance and colour of objects, during the progress of the sun from the east to his final setting in the west, and by observing how certain colours are affected by the opposition of those of a different hue, and the beautiful gradations occasioned by the intervening and varying atmosphere, may at last, by adding practice to his remarks, acquire so true a feeling for colour as to be able to rely upon his eye with confidence. As this, however, is a subject that will be resumed occasionally, it will not be necessary to pursue it any further at present. That colour is only a modification of light, reflected from various substances, has been satisfactorily proved by the experiments of Sir Isaac Newton; and that there are but three primitive colours,

blue, red, and yellow, there can be no doubt, as the endless variety of tints so perceptible through

out nature are composed of these, either individually or combined. What tends to corroborate this is, that with them the colour of all objects, however varied, may be imitated, and even a more intense black than Indian-ink can be made by a skilful mixture of the three, notwithstanding two of them are of the brighest hue. Black, however, is considered by philosophers to be produced by the privation of light. This is true when it is produced by a total absence of light, but will not hold good in regard to a black object (cloth for example), as shadows may be

cast upon it which could not be

to absorb the whole of the light.

effected were it

The next thing

to be considered is, how so great a variety of tints in natural objects is produced. The true cause, perhaps, like many other secret workings of nature, will ever remain a mystery; still the mind of man is prone to speculate, and I will

(though with diffidence) submit a few remarks to the consideration of those more competent to pursue the inquiry. In the first place I will observe, that notwithstanding the surfaces of many objects appear perfectly smooth to the unassisted eye, yet when seen through a powerful lens they are found to be more or less rugged; and we know that the most highly polished surface, when viewed in the microscope, is full of inequalities and roughnesses. This inclines me to imagine that the various tints presented to the eye may proceed from the different texture of objects, which separates and refracts the rays of light. For example, may not the surface of a flower be such as to return the red ray only, and absorb the blue and yellow; and the leaf, on the contrary, by reflecting the blue and yellow united, give the idea of green; the purple, by the blue and red; the orange, by the red and yellow; and the white, by a complete union of the three; and so on to an unlimited variety of tints. Objects are also much