620. Let us now consider the relations existing between the subjects of painting and the harmonies they admit of. We know that the more pictures address the eye by numerous contrasts, the more difficulty the spectator experiences in fixing his attention; especially if the colours are pure, varied, and skilfully distributed upon canvas. It results, therefore, from this, that these colours, being much more vivid than the flesh tints, the painter who wishes that his idea should be found in the expression of his figures, and who, deeming this part of his art superior to the rest, is convinced that the eyes of most people ignorant of the art of seeing, being carried away by their first impressions, are incapable of returning from these to receive others;—the painter, I say, who knows all this, and is conscious of his power, will be restrained in the use of harmonies of contrast, and prodigal of the harmonies of analogy. But he will not derive advantage from these harmonies, especially in a subject covering a vast space filled with human figures, as the “Last Judgment” of M. Angelo, unless he avoids confusion by correct drawing, by a distribution of the figures in groups, skilfully distributed over the canvas, so that they may cover it almost equally, yet without cold symmetry. The eye of the spectator must embrace all these groups easily, and seize the respective positions; while in looking into one of them he must discover a variety which will invite his attention to other groups. 621. The painter who fails to gain the effects of the physiognomies, &c., in having recourse to the harmonies of analogy, will not have the same advantage in fixing general attention, as the painter who employs the harmonies of contrast. The harmonies of contrast of colour are especially applicable to scenes (illumined by a too vivid light), representing fêtes, ceremonies, &c., which may be sober without being mournful; they are also applicable to large subjects, comprising groups of men animated with various passions. Hence, the critic must never compare the colouring of two large compositions without taking into account the difference which may exist in the suitableness of each subject with one kind of harmony rather than with the other. _Painting in Flat Tints._ 622. To apply painting in flat tints to historical, portrait, and landscape painting—in a word, to the imitation of any object of which we can produce a faithful representation, would be going back to the infancy of art; but to abandon it to practise exclusively the system of painting where all the modifications of light are reproduced according to the rules of chiaro-’scuro, would be an error which can be demonstrated beyond question.