or four, he allows himself this advantage when it is possible, without in the least embarrassing himself with the actual color of the objects to be represented. A stone in the foreground might in nature have been cold gray, but it will be drawn nevertheless of a rich brown, because it is in the foreground; a hill in the distance might in nature be purple with heath, or golden with furze; but it will be drawn nevertheless of a cool gray, because it is in the distance.
This at least was the general theory,—carried out with great severity in many both of the drawings and pictures executed by him during the period: in others more or less modified by the cautious introduction of color, as the painter felt his liberty increasing; for the system was evidently never considered as final, or as anything more than a means of progress: the conventional, easily manageable color, was visibly adopted, only that his mind might be at perfect liberty to address itself to the acquirement of the first and most necessary knowledge in all art—that of form. But as form, in landscape, implies vast bulk and space, the use of the