In our assuming, then, this very high, this white key, we deviate from the practice of every good school. It is not desirable that this should be the peculiarity of the English school; but it certainly has too great a tendency that way. The Dutch and Flemish are of a much lower key, and the Italian of a lower still. Even in their landscape it is remarkable, that the painters whose country was the lightest, should have adopted the deepest tones; and that the landscapes of their historical painters are of all the deepest, and they were the best landscape painters. What exquisite richness and depth, and jewel-like glow, is there in the landscape of Titian, and Giorgione; and what illumination, that superior characteristic of nature, so much overlooked now a-days. And yet our country is, from our atmosphere, darker than theirs, and presents a greater variety of deep tones and nameless colours. And as I before mentioned, the admired Claude, whom I rank of the Italian school, is of a very low key, delighting in masses of deep tones. And it is remarkable that his trees are never edged out light with Naples yellow, as our artists are fond of doing, but are mostly in dark masses, and whether near or distant, singly or in groups, are always without any strong and vivid colour. His object seems to have been to paint atmosphere not light, or rather that free penetrating light which he best effected by his lower key. And from this cause it is, that the eye rests, is filled, satisfied by the general effect, is never irritated either by too much whiteness, or too vivid colours; for he knew well that such irritation, though at first it attracts and forces attention, is after a while painful, and should therefore at any sacrifice be avoided. But, to return to colouring as an expression. Here is a great field for practical experiment. On this subject I will quote a passage from the Sketcher in Maga of Sept. 1833.