to be acquired by any such off-hand processes; and that perfect success therein will require-what no literary work can supply the constant and united efforts of an able hand, a good eye, and a cultivated judgmentdirected in the first instance to the works of good colourists, and perfected by an assiduous application to nature.

But though the records of literature and science cannot alone produce a colourist, nor form the practical painter in other respects, they may become most important auxiliaries,—not merely by recreating his faculties, instructing his hand, and extending the sphere of his art, by endless analogies throughout the field of history and philosophy, and the vast regions of poetic fancy; but also by exciting a just enthusiasm, and stimulating his invention, while they enlarge his judgment and refine his taste; supporting at the same time that connexion with learning which gives dignity to fine art, and raises it above mere manipulation. Indeed there never was a truly great artist who did not unite with his ability somewhat of literary talent, inclination, or acquirement; nor is there a surer mark of a low and groveling genius than a contempt of theory or science, and an over-devotion to the mechanical and practical in art; for the connexion of art with science, theory, and practice, and of these with literature, is most intimate and indissoluble; nor is it likely the artist should paint the worse for being acquainted with the philosophy of his art. We derive hence an excuse for having, even in this lowly performance, attempted to draw philosophy on the one hand, and poetry and harmonics on the other, into intimate connexion with colours and colouring, by a variety of natural analogies and poetical instances.

To his Subscribers the author's acknowledgements are due, and his satisfaction will be much augmented if he find in the end that he has not entirely disappointed their expectations. In tendering such acknowledge

ments he cannot suppress his sentiment of deep regret, that several immediate disciples of the illustrious Reynolds, and other encouragers of this work, have been called from the career of art. Among these are his favourite pupil, the shrewd and amiable Northcote,-the tasteful and admirable Stothard, whose last signature in behalf of art was given to this work with peculiar grace and urbanity,—and the late elegant and courteous President of the Royal Academy, Sir Thomas Lawrence, who was the first to desire his name to be placed on the list of its subscribers.

No praise of the author could do adequate honour to these eminent men : they will receive from posterity the meed of reputation which is due to their various and exalted merits.

CHAP. IX.

OF THE PRIMARY COLOURS.-Of YELLOW, and Yellow Pigments

CHAP. X.

Of RED, and Red Pigments.

CHAP. XI.

Of BLUE, and Blue Pigments

CHAP. XII.

OF THE SECONDARY COLOURS.-Of ORANGE, and Orange Pigments

CHAP. XIII.

Of GREEN, and Green Pigments

CHAP, XIV.

Of PURPLE, and Purple Pigments

CHAP. XV.

OF THE TERTIARY COLOURS.-Of CITRINE, and Citrine Pigments

CHAP. XVI.

Of RUSSET, and Russet Pigments

CHAP. XVII.

Of OLIVE, and Olive Pigments

CHAP. XVIII.

OF THE SEMINEUTRAL COLOURS.-Of BROWN, and Brown Pigments