but that a work may still appear motley, if they are falsely arranged in relation to light and shade.
899.
This may the more easily occur as light and shade are already defined in the drawing, and are, as it were, comprehended in it, while the colour still remains open to selection.
DREAD OF THEORY.
900.
A dread of, nay, a decided aversion for all theoretical views respecting colour and everything belonging to it, has been hitherto found to exist among painters; a prejudice for which, after all, they were not to be blamed; for what has been hitherto called theory was groundless, vacillating, and akin to empiricism. We hope that our labours may tend to diminish this prejudice, and stimulate the artist practically to prove and embody the principles that