Power is not inconsistent with modesty--with forbearance. In the flashy style, all the force is expended, and visibly so; and as in that excess of power the flash of lightning is but momentary, we cannot long bear the exhibition of such a power rendered continuous. In the more modest--the subdued style--the artist conceals as much as may be the very power he has used, thereby actually strengthening it; for while you have all you want, you know not how much may be in reserve, and you feel it unseen, or may believe it to be unseen, when in fact it is before your eyes, though half veiled for a purpose. Let not any painter who would be a colourist deceive himself into the belief that the most vivid and unmixed colours are the best for his art, nor that even they are the truest to nature, in whatever sense he may take the word nature. It is easy enough to lay on crude vermilion, lake, and chrome yellows; yet the colours that shall be omitted shall be infinite, and by far more beautiful than the chosen, and for which, since the generality are not painters, nor scientific in the effects of colours, there are no names. Let a painter who would have so limited a scale and view of colour do his best, and the first flower-bed he looks at will shame him with regard to those very colours he has adopted, as with regard to those thousand shades of hues, mixed and of endless variety, which are still more beautiful. We scarcely ever in nature see a really unmixed colour; and that the mixed are the most agreeable may be more than conjectured, from the fact that, of the three, the blue, the red, and the yellow, the mixture of the two will be so unsatisfactory, that the mind's eye will, when withdrawn, supply the third. A few words only remain to be said. To complete, practically, agreeability of colouring, there is wanting a more perfect vehicle for our colours. Much attention has, of late years, been directed to this subject; and there is every reason to believe not in vain. I wait, impatiently enough, Mr Eastlake's other volume, in which he promises to treat of the Italian methods. He has been indefatigable in collecting materials,--has an eye to know well what is wanted; and, as a scholar and collector of all that has been written on art, in Italian, as well as other languages, has the best sources from which to gather isolated facts, which, put together, may lead to most important discoveries.