294. We can conceive without difficulty that if the modification is not manifested with monochromous objects of vivid colours, as yellow, scarlet, &c., it is because that part of the surface of these objects which reflects the least light to the eye, always reflects enough of its peculiar colour to neutralize the complementary which the coloured light of the illuminated portion tends to develop. I believe that this effect tends to enfeeble the coloured light of the shaded part. 295. Although, in this chapter, I do not propose to treat of the modifications shown by coloured stuffs with white designs; yet, as it is a case so connected with the preceding considerations, I cannot avoid mentioning them in this place. 296. If we observe a sky-blue silk with white flowers, the weft of which is in an opposite direction to the weft of the blue ground, we shall see the flowers white, if they are placed in the most favourable manner to receive the white light reflected by them; while, in the contrary position, we shall see these flowers absolutely orange. There is still much white light reflected, but it is not sufficiently vivid to neutralize the development of the complementary of the ground. PAINTING ON THE SYSTEM OF FLAT TINTS. 297. In painting by flat tints, the colours are neither shaded, blended together, nor modified by the coloured rays coming from the surrounding parts of the picture. In pictures which belong to this kind of painting, the representation of the model is reduced to the observance of linear perspective, to the employment of vivid colours in the nearer parts, and of pale and grey colours in the more distant. If the choice of contiguous colours has been made conformably to the law of simultaneous contrast, the effect of the colour will be greater than if it had been painted on the system of chiaro-’scuro. 298. In every instance where painting is an accessory, and not a principal feature, painting in flat tints is in every respect preferable to the other kind. 299. The essential qualities of painting in flat tints necessarily reside in the good choice of colours and well drawn outlines. These outlines contribute to render the impressions of colours stronger and more agreeable, when, circumscribing forms clothed in colours, they concur with them in suggesting to the mind a graceful object, when even the imitation of it does not give a faithful representation. 300. We may, in conformity with what has been said, consider that painting in flat tints may be advantageously employed, 1. When the objects represented are at such a distance that the finish of an elaborate picture would disappear.