For the mind also _gives its own colouring_, or is unobservant of some colours which the eye presents, and makes from all presented to it its own selections and combinations, and suits them to its own conception and creation. It has always been admitted that the painter's mind does this with objects of form, omitting much, generalizing or selecting few particulars. Now if this power be admitted with regard to objects themselves, as to their forms and actual presence, why should it not, with equal propriety, be extended to the colours of those objects, even though they have a sensible effect upon the scenes which are before us? But, as was said, _the mind colours_; it is not the slave to the organ of sight, and in the painter, as in the poet, asserts its privilege of _making_, delighting even to "exhaust worlds" and "imagine new." It takes for an imperial use the contributions the eye is ever offering, but converts them into riches of its own. It will not be confined by space, nor limited by time, but gathers from the wide world, and even beyond its range. Thus, in the simple yet creative enthusiasm of his passion, did Burns gather, at one moment, the flowers of all seasons, and all "To pu' a posy for his ain sweet May;" and cold would be the criticism that would stop to note the impossibility; yet was it a great truth, the garden was his own heart, and his every wish a new flower. Here they all were. It is the misfortune of art that this great power of the mind over materials is not sufficiently and practically admitted. In colouring we seem to have altogether abandoned the idea of invention. We go quite contrary to the practice of those good architects of other ages, who spoke and painted by their art; who invented because they felt the religious awe, that solemn _chiaro-scuro_--and the painted windows, not gorgeous and flaring with large masses of unmixed colours, (as are the unmeaning windows the modern Templars have put up in their ill-painted church, in which, too, the somewhat tame and dead Byzantine colouring of the walls agrees not with the overpowering glass of the windows;) these old architects, I say, affecting the "dim religious light," and knowing the illumination and brilliancy of their material, took colours without a name, for the most part neither raw reds, nor blues, nor yellows, but mixed, and many of a low and subdued tone; and so, when these windows represented subjects, the designs had a suitable quaintness, a formality, a saint-like immutability, a holy repose; and the very strong colours were sparingly used, and in very small spaces; and the divisions of the lead that fastened the parts together had doubtless, in the calculation of the architect, their subduing effect. Religious poetry--the highest poetry, consequently the highest truth--was here. There are who might prefer the modern conventicle, with its glare of sunshine, and white glass, and bare,