The combination of coloured objects, as well as the colour of their ground, should depend on considerations which the artist pre-establishes for himself. Here a reference to the effect of colours singly or combined, on the feelings, is especially necessary. On this account the painter should possess himself with the idea of the general dualism, as well as of particular contrasts, not forgetting what has been adverted to with regard to the qualities of colours. 881. The characteristic in colour may be comprehended under three leading rubrics, which we here define as the powerful, the soft, and the splendid. 882. The first is produced by the preponderance of the active side, the second by that of the passive side, and the third by completeness, by the exhibition of the whole chromatic scale in due balance. 883. The powerful impression is attained by yellow, yellow-red, and red, which last colour is to be arrested on the plus side. But little violet and blue, still less green, are admissible. The soft effect is produced by blue, violet, and red, which in this case is arrested on the minus side; a moderate addition of yellow and yellow-red, but much green may be admitted. 884. If it is proposed to produce both these effects in their full significancy, the complemental colours may be excluded to a minimum, and only so much of them may be suffered to appear as is indispensable to convey an impression of completeness. HARMONIOUS COLOURING. 885. Although the two characteristic divisions as above defined may in some sense be also called harmonious, the harmonious effect, properly so called, only takes place when all the colours are exhibited together in due balance. 886. In this way the splendid as well as the agreeable may be produced; both of these, however, have of necessity a certain generalised effect, and in this sense may be considered the reverse of the characteristic. 887. This is the reason why the colouring of most modern painters is without character, for, while they follow their general instinctive feeling only, the last result of such a tendency must be mere completeness; this, they more or less attain, but thus at the same time neglect the characteristic impression which the subject might demand. 888. But if the principles before alluded to are kept in view, it must be apparent that a distinct style of colour may be adopted on safe grounds for every subject. The application requires, it is true, infinite modifications, which can only succeed in the hands of genius. GENUINE TONE. 889. If the word tone, or rather tune, is to be still borrowed in future from music, and applied to colouring, it might be used in a better sense than heretofore. 890. For it would not be unreasonable to compare a painting of powerful effect, with a piece of music in a sharp key; a painting of soft effect with a piece of music in a flat key, while other equivalents might be found for the modifications of these two leading modes.