ground, should depend on considerations which the artist pre-establishes for himself. Here a reference to the effect of colours singly or combined, on the feelings, is especially necessary. On this account the painter should possess himself with the idea of the general dualism, as well as of particular contrasts, not forgetting what has been adverted to with regard to the qualities of colours.
881.
The characteristic in colour may be comprehended under three leading rubrics, which we here define as the powerful, the soft, and the splendid.
882.
The first is produced by the preponderance of the active side, the second by that of the passive side, and the third by completeness, by the exhibition of the whole chromatic scale in due balance.
883.
The powerful impression is attained