getting the just tone which any particular section of his modelling or distance effects ought to have. In other words we have here a source of exceptional difficulty. In the countenance, for example, the lip is red, the eyebrow dark, black, brown, or, if blonde, at least darker as such than the lip; in the same way the cheeks with their reddish tint are more brilliant in colour than the nose, with its main impression of yellow, brownish, or greenish tint. Such portions of the face can readily receive a greater brightness and intensity owing to this local colour than is consonant with their modelling as parts of the whole. In sculpture, indeed in mere drawing too, such parts of a composition receive their light and shadow wholly in reference to their particular form and its manner of lighting. A painter on the contrary must accept their local colouring, and this disturbs such a relation. Such a difficulty is even more obvious between objects more removed from one another. For the ordinary vision of sight it is our mind which determines the distance and form of such objects, not merely by means of their colour appearance, but also on a variety of other grounds. In painting, however, all that we have before us is colour, which as such is able to interfere with that which is demanded by mere brightness and darkness as such. The art of the painter, therefore, consists in his ability to resolve this contradiction, and so to arrange his colours that neither in their local tints, nor in their mutual relation in any other way, they impair the modelling as a whole. Only if success is secured in both respects are we likely to see the actual shape and colour of the objects realized in perfection. With what consummate art, for example, have the Dutch painted the sheen of satin dresses with all their variety of reflections and gradations of shadow in their folds, or the flash of silver, gold, copper, vessels of glass and velvet; and in the same way we may mention the lighting a Van Eyck gives to his jewels, gold borders, and metals. The colours by means of which the flash of gold is presented have nothing of metallic about them: looked at closely we merely see yellow, which by itself is of no great brightness. The entire effect is due on the one hand to the prominence of the form, and on the other to the contiguity of the mutual gradations of distinct colour tones. A further aspect in the _second_ place is the _harmony_ of the colouring.