WEAK COLOURING.
894.
It is owing to the same uncertainty that the colours are sometimes so much broken as to have the effect of a grey camayeu, the handling being at the same time as delicate as possible.
895.
The harmonious contrasts are often found to be very happily felt in such pictures, but without spirit, owing to a dread of the motley.
THE MOTLEY.
896.
A picture may easily become party-coloured or motley, when the colours are placed next each other in their full force, as it were only mechanically and according to uncertain impressions.
897.
If, on the other hand, weak colours are combined, even although they may be dissonant, the effect, as a matter of course, is not striking. The uncertainty of the artist is communicated to the spectator, who, on his side, can neither praise nor censure.
898.
It is also important to observe that the colours may be disposed rightly in themselves, but that a work may still appear motley, if they are falsely arranged in relation to light and shade.
899.