HARMONY. 
As in one art t 
though fo extremely unlike {pecifically, are brought by 
tuning to one key, and thereby made to produce one whole 
harmonious found, or rather mixture of founds, to the ear ; 
fo in the other, different and violently oppofing lines and 
colours, which are its inftruments of expreflios, may, by 
contraft, arrangement, and the admixture of intermediate 
made to unite in one agreeable effect to 
§ 5 
combination of parts, naturally diverfified, and fome even 
itie 
he « believes there is a true harmony in colouring. ray 
5 cease > ae 5 : 
Similar to this is the bafis of harmony in founds ; and _ if, as 
ects upon our vifual organs, 
two oppofite colours may not, the quality of one being 
{ th and both placed. 
ciples of the former in this art, viz. tone. es 
this word denotes the peculiarity of the found 
rument or yoice,. In painting, it fignifies the pe- 
fk 
guliar governing hue*which a.pitture or colour polfefles. “In 
in an in 
care being taken that they are of one 
the former, we fpeak of a high or a low, a fweet ora fhrill: 
toned inftrument, &c. 
colours, is obvious. 
‘The adoption of this latter word, fone, in painting, is com- 
pletely arbitrary, its fenfe, which is fimply found, having 
no analogy to any part of painting, which addrefles itfelf to 
the underitanding folely through the medium of the eye. It 
has probably grown into ufe with harmony (which, as we 
ave fhewn, is correétly applied in both‘arts), and without 
any other ground of fupport than an intuitive comprehention 
of its meaning when fo ufed, which moit men feel, without 
conhdering wherefore. 
e principle upon’ which harmony in painting dependss 
feems to be, that all the hues of a picture fhould have a cor- 
refpondent degree of intenfity, or, in the technical phrafe, 
be of the fame tone, however they may vary in their degrees 
of light and dark ; juft as in a piece of mufic, which is in- 
tended to be played in ene key, though the notes are high 
and low, yet none fhould be introduced that do not belong 
vs: every object lofes fomewhat of its daylight-brilliancy 
d 
light, the harmony would be deftroyed 5 and the rea 
apparent, viz. two caufes, fo diflinct _as light and darknels, 
of this, gacty and bright daylight are the ruling principle m 
is : b an re 
{ egree of br ilianey m 
the illumination, according to the arrangement of ehiaro- 
curo. P 
Something fimilar to the introduétion of the half-tone 19 
mufic to. produce harmony, .is the value of half-tone or bat 
teint in painting (fee Hatr-rerst); but with this diverlitys 
that in the latter art it conititutes the far greater part of a 
compofition, as relative to colour; w reas I fc 
de, 
hereas in the former 
* 
