is always to imitate the actual appearance of the definite hue, doing away with the recollection of the elementary ingredients of colour. This difficulty is in no instance greater than in the imitation of the surface of the human figure.
878.
The colour of flesh, as a whole, belongs to the active side, yet the bluish of the passive side mingles with it. The colour is altogether removed from the elementary state and neutralised by organisation.
879.
To bring the colouring of general nature into harmony with the colouring of a given object, will perhaps be more attainable for the judicious artist after the consideration of what has been pointed out in the foregoing theory. For the most fancifully beautiful and varied appearances may still be made true to the principles of nature.