1. That the purples must be more or less red. 2. That the reds must be more or less scarlet. 3. That the scarlets must be more or less yellow. 4. That the orange must be more intense, more vivid. 5. That the yellows must be more or less intense, and orange. 6. That the greens lose their blue, and consequently become yellower. 7. That the light blues become more or less light grey. 8. That the deep indigo becomes more or less maroon. 9. That the violets lose some of their blue. Thus we see that orange light heightens all the colours which contain red and yellow, while, neutralizing a portion of blue in proportion to its intensity, it destroys wholly or partially this colour in the body which it illuminates, and consequently disturbs the greens and the violets. 342. With reference to the true imitation of colouring, it appears to me that painters of interiors, have, other things being equal, more skill than historical painters in faithfully reproducing the modifications of light. Historical painters, attaching more importance to the attitudes and physiognomy of their figures than to the other parts of their composition, attend less to small details, the faithful imitation of which is the essential merit of the painter of interiors. Besides, the historical painter is never in a position to see the whole of the scene he would represent, while the painter of interiors, having constantly his model before him, sees it completely, as he imitates it upon the canvas. Hence, therefore, in every small composition the colours, as well as the objects represented, must be distributed with a kind of symmetry, so as to avoid being what I can best express by the term _spotty_. In fact, for want of a good distribution of objects, the canvas will not be filled in some parts, or, if it is, there will be, in many places, evident confusion; so also if the colours be not properly distributed, the picture will be spotty, because they are too far isolated from the others. (See 249-251.)