170. Judge not an artist from the exertions of accidental vigour or some unpremeditated flights of fancy, but from the uniform tenor, the never-varying principle of his works: the line and style of Titian sometimes expand themselves like those of Michael Angelo; the heads and groups of Raphael sometimes glow and palpitate with Titiano's tints; and there are masses of both united in Correggio: but if you aim at character, let Raphael be your guide; if at colour, Tiziano; if harmony allure, Correggio: they indulged in alternate excursions, but never lost sight of their own domain. _Coroll._--No one, of whatever period of art, of whatever eminence or school, out-told Rembrandt in telling the story of a subject, in the choice of its real crisis, in simplicity, in perspicuity: still, as the vile crust that involves his ore, his local vulgarity of style, the ludicrous barbarity of his costume, prepossess eyes less penetrating than squeamish against him, it requires some confidence to place him with the classics of invention. Yet with all these defects, with every prejudice or superiority of taste and style against him, what school has produced a work (M. Angelo's Creation of Adam, and the Death of Ananias by Raffaelle excepted,) which looks not pale in the superhuman splendour that irradiates his conception of Christ before Pilate, unless it be the raising of Lazarus by Lievens, a name comparatively obscure, whose awful sublimity reduces the same subject as treated by Rembrandt and Sebastian of Venice, to artificial parade or common-place? 171. Tone is the moral part of colour. 172. If tone be the legitimate principle of colour, he who has not tone, though he should excel in individual imitation, colours in fragments and produces discord. 173. Harmony of colour consists in the due balance of all, equally remote from monotony and spots. 174. The eye tinges all nature with its own hue. The eye of the Dutch and Flemish schools, though shut to forms, tipped the cottage, the boor, the ale-pot, the shambles, and even the haze of winter, with orient hues and the glow of setting suns. 175. Clearness, freshness, force of colour, are produced by simplicity; one pure, is more than a mixture of many. 176. Colour affects or delights like sound. Scarlet or deep crimson rouses, determines, invigorates the eye, as the war-horn or the trumpet the ear; the flute soothes the ear, as pale celestial blue or rosy red the eye. 177. The colours of sublimity are negative or generic--such is the colouring of Michael Angelo. 178. The passions that sway features and limbs equally reside, fluctuate, flash and lower in colour. 179. The colours of pleasure and love are hues. 180. The colour of gravity, reverie, solemnity, approaches to twilight.