11 



effects is essential, and comes only as the result of study, 

 observation and practice. 



In the application of these fundamental principals of 

 the arts of desicfn to practice, four points are to be mas- 

 tered : perspective, tone, values, and composition. Per- 

 spective is linear and aerial ; the former founded upon 

 the conver<2:ence of imaginary geometric lines, the latter 

 a matter of feeling and observation. Tone is a term bor- 

 rowed from music, suggested by the limited power of 

 material colors to give the impression of light. White 

 is the starting point, and everything in the picture has to 

 be i)itched on that key. The stronger the etiect required, 

 the lower must be the tone. The term "values" is used 

 to indicate the equilibrium between a given eflect and the 

 materials at command. Only great artists can disregard 

 them with safety. Composition is the application of all 

 these principles to the conception of a work of art. Ex- 

 amples were given of artists who had excelled in each or 

 all of these particulars. Artists as a whole are agreed 

 u[)on these theories, but ditfer when they come to reduce 

 them to practice ; and on this point a very sharp and de- 

 served criticism of many art critics was given. The least 

 diversity between theory and practice is found in the 

 plastic arts. In regard to the arts of design there is 

 endless controversy. A consideration of the comparative 

 merits and demerits of water colors and oil pigments fol- 

 lowed, and the excellences of each stated, the large pref- 

 erence in point of dignity and durability being given to 

 paintings in oil. In this department every great artist 

 has his own method of employing colors. 



The lecturer then explained the importance of careful 

 study and application, while at the same time the super- 

 human power of real genius Avas admitted. This point 

 Avas exquisitely illustrated by a description of a church 



