191. There are works whose effect is entirely founded on the contrast of tints, of what is termed warm and cold colour, and on reflected hues: strip them of this charm, reduce them to the principles of light and shade and masses, and as far as the want of those can degrade a picture, they will be fit to take their places on sign-posts.
192. Him who has freshness without frigidity, who glows without being adust, whose tints luxuriate though not fermented by putrefaction; who is juicy yet not clammy, though broad not empty, sharp without dryness, clear not pellucid, airy not volatile, without being clumsy plump—him you may venture to call a colourist.
193. Breadth is not vacuity—Breadth might easily be obtained if emptiness could give it.
194. The forms of virtue are erect, the forms of pleasure undulate: Minerva's drapery descends in long uninterrupted lines; a thousand amorous curves embrace the limbs of Flora.
195. Subordination is the character of drapery. The heraldry of dress, the rows of aggregated mitres and pontifical trappings, are noticed only for the sake of their wearers in the compositions of the Vatican.