dignified; liveries might be ordinary and striking to the eye. Examples both good and bad would not be wanting, since the scale of colours usually employed for such purposes is limited, and its varieties have been often enough tried.58
ÆSTHETIC INFLUENCE.
848.
From the moral associations connected with the appearance of colours, single or combined, their æsthetic influence may now be deduced for the artist. We shall touch the most essential points to be attended to after first considering the general condition of pictorial representation, light and shade, with which the appearance of colour is immediately connected.
CHIARO-SCURO.
849.
We apply the term chiaro-scuro (Helldunkel) to the appearance of material objects when the mere effect produced on them by light and shade is considered.—Note DD.
850.
In a narrower