172. If tone be the legitimate principle of colour, he who has not tone,
though he should excel in individual imitation, colours in fragments and
produces discord.
173. Harmony of colour consists in the due balance of all, equally
remote from monotony and spots.
174. The eye tinges all nature with its own hue. The eye of the Dutch
and Flemish schools, though shut to forms, tipped the cottage, the boor,
the ale-pot, the shambles, and even the haze of winter, with orient hues
and the glow of setting suns.
175. Clearness, freshness, force of colour, are produced by simplicity;
one pure, is more than a mixture of many.
176. Colour affects or delights like sound. Scarlet or deep crimson
rouses, determines, invigorates the eye, as the war-horn or the trumpet
the ear; the flute soothes the ear, as pale celestial blue or rosy red
the eye.
177. The colours of sublimity are negative or generic--such is the
colouring of Michael Angelo.
178. The passions that sway features and limbs equally reside,
fluctuate, flash and lower in colour.