Half-tints express those gradations of colour, and HALF-LIGHTS those gradations of light, between the greatest brilliancy and the shadows.
Colours are said to be SUPPORTED by others which present some resemblance, but are inferior in brilliancy; as blues by purples, crimsons by reddish-browns, yellows by orange:
—Contrasted by those which are the most opposite, as blues by orange or browns, reds by green, yellows by purples:
—Balanced when by opposition they are so neutralized that no one appears principal or predominant.
The author of a recent publication on Colour is quite in error, when, in describing technical terms, he states "the Balance of Colouring is the harmony produced by supporting one colour by another introduced in different parts of the picture, either of the same colour, or one approaching to it." This is SPREADING a colour THROUGH the picture, and though it may contribute to the balance of colouring by contrasting and neutralizing the other colours in the work, it is in itself the very opposite of the balance of colouring, as it consists entirely in loading one side of the beam. To this it may be added that colours are said to be SUPPORTED by similar tints adjacent, and ECHOED by them when "in different parts of the picture."
There are many other errors in the book above-mentioned, but as this is not intended to be a controversial disquisition, those mistakes only will be noticed which might otherwise lead to confusion; but to the correction.
The definition of "Mellowness," as "caused by those warm colours which, when blended, produce an agreeable tone or hue, and would then be said to sympathize and create harmony," is as incorrect and indefinite, as the remainder of the paragraph is without foundation:—"On the contrary, if, in mixing two or more colours, a disagreeable and harsh effect were produced, they would be said to have an antipathy, and create rawness—this adulteration of one colour by another causes what painters term a MUDDY effect." Painters term an effect muddy when it is dirty in colour and wanting in transparency. This fancy respecting the sympathy and antipathy of certain colours, which is more distinctly alluded to in the following passage:—"when, to produce a particular tint, the mixing of two colours which do not sympathize is unavoidable; one or more may be introduced whose sympathy is greater, that a pleasing and harmonious effect may be produced, &c."—this is wholly groundless. How the sympathy and antipathy alluded to are supposed to act is not very evident, but they have no existence whatever.
The definition of a "Pearly hue," as "obtained by softening or blending the warm colours without adulterating one with the other," is equally liable to objection as untrue.
The attempt at a philosophical account of the cause of the colours produced at sunset and sunrise, has been incidentally exposed in the third chapter of the present work. This error undoubtedly does not originate with the professed author of the publication alluded to; and as the greater part of the book is evidently, though without acknowledgment, compiled from Mr. Burnett and other writers on the subject, the other errors are probably in a great measure also the result of compilation.