and benumbing, rather than active, or, as one might say, heating and inflaming. For this reason the effects seem appropriately compared to those of awe and horror represented by the pectoral quality. Of course, colour alone, without other means of expression, can only approximate a representation of these; but let the outlines justify it, and what hues, mixed with those of the countenance, can make it so ghastly as dark blue and green; or can make the clouds of heaven so unheavenly as very dark blue; or the sod of the earth so unearthly as dark blue-green; or anything so deathlike and appalling as these colours used with excessive contrasts of light and shade? Is it any wonder that it is with such combinations that Gustave Doré produces most of the harrowing effects in his series of pictures illustrating Dante's "Inferno"?

Now let us add black to yellow, orange, or red, either mixing the two or placing them side by side, and notice the effect. As said before, the very dark shades cannot, in painting, be used exclusively. If they be, the outlines cannot be made clearly perceptible. But to use black in connection with the lighter tints, introduces that variety which, as said on page 254, always increases the excitation of the effect. Warmth, in connection with black, or, as explained in the last paragraph, with apprehensive excitation, emotive heat causing active resistance to that which is dreaded, - does not this describe, as nearly as anything can, a condition attendant upon hostility such as is represented to the ear by the guttural tone? In the case of the warm colours, too, still more than in that of the cold, nature seems to have enforced the meanings of the combinations so that we shall not mistake them. Yellow and black, orange and black, red and black, or, in place of black, very dark gray, green, blue, or purple,

which are allied to black,- is there a particularly venomous insect or beast, or appearance of any kind, from a bee, or a snake, or a tiger, to the fire and smoke of a conflagration, or the lightning and cloud of a storm, in which we do not detect some presence of these combinations? No wonder, then, that so often in former times, at least, soldiers wore them when girded for the contests of the battle-field!

The whisper, in its weaker form, was said to represent not apprehension, but a more or less agreeable degree of interest. Of course, the weaker form of a negation of colour, at its extreme, must be represented by white. As applied to tones, there is no separate term of designation for this whisper when added to normal or orotund quality. Elocutionists merely speak of an aspirated normal or orotund, saying that, when aspirated, feeling is added to the effect of each. Let us recall now combinations of white with blue, green, or purple. Is there any difficulty in recognising how closely the result corresponds to that which is produced by an aspirated normal tone? We have all seen such combinations in summer costumes, as well as in tents and awnings over windows or verandas. In such cases, is there not a more exhilarating effect produced by them than could be produced by white alone? or by one of these colours alone? Yet, at the same time, is not the effect far cooler, and, in this sense, less exhilarating, than is produced by combinations of white with red, orange, or yellow?

In these latter we have, as has been said, that which corresponds to the effect of the aspirated orotund,—the tone used in earnest advocacy or description of something which is felt to be in itself of profound interest. Think of the combinations of white with these warmer

colours. Could any language better than that just used designate their peculiar inflence? What than they are more exhilarating or entrancing in the decorations of interiors, or in banners and pageants?

Even were it possible, which it is not, to illustrate fully in book-form these various effects of colour, there would be no great necessity for doing so. By following up the suggestions that have been made, those interested in the subject will have no difficulty in applying the principles unfolded,― sufficiently, at least, to become convinced of their essential accuracy. Nor is it necessary in this place to carry the discussion farther, and try to distinguish between the representative possibilities of each of the cold colours-green, blue, and purple, or of the warm coloursred, orange, and yellow. Viewed in their relations to mental effects, the differences between the colours of each group, as between the shades of each colour, are mainly of degree, not of kind, and depend largely upon the natural colour of the objects represented or by which these are surrounded. The only unvarying fact is that indicated by the general division into cold and warm colours. Accordingly attention has been directed here to this, and to this alone.

CHAPTER XIV.

ART-COMPOSITION.

Imagination Necessary in Elaborating as well as in Originating Representative Forms of Expression-Methods of Composing Music-PoetryPainting, Sculpture, and Architecture-Mental Methods in Art-Composition Analogous to Other Mental Methods-To that in Classification-How Art-Classification Differs from Ordinary ClassificationThe Method of Classification not Inconsistent with Representing the Artist's Thoughts and Emotions—Or with Representing Nature-Explanation-Artists Influenced by Mental and Material Considerations— Methods of Art-Composition Are Methods of Obtaining Unity of Effect-Obtained in Each Art by Comparison, or Putting Like with Like-Variety in Nature Necessitating Contrast-Contrast in Each Art-Also Complexity-Complement-Order and Group-Form-Confusion and Counteraction-Principality and Subordination-BalanceDistinguished from Complement and Counteraction—Principality in Music and Poetry-Subordination and Balance in the Same-Principality in Painting and Sculpture-In Architecture—Organic Form— In Music-In Poetry-In Painting and Sculpture-In Architecture.

CHAPTERS XII.and XIII. have shown us that certain

audible or visible effects traceable to material or to human nature have, either by way of comparison, as in imitation, or of association, as in conventional usage, a recognised meaning. This meaning enables the mind to employ them in representing its conceptions. But what has been said applies to the use of these effects so far only as they exist in the condition in which they manifest themselves in nature. Art-composition involves an elaboration and often an extensive combination of them.