HAR. HAR 
cate, beautiful, and juft imitation of tlie harmony and ein and if it be regularly ¢ employed through ior he, ghee 
which always reigns in natu will neceflarily be producéd. Much attention is is er re~ 
Pikncts, 1 in the harmony rat a picture, 15 much. depends be not to let this hue enter too fa ins! or in 2 ities a 
on the arrangement o the colours, The rainbow is a proof, ie into the: body of the vig others 1 ae ny 
and the beft exemplar of this. Its Las has ‘ge aleaya, ¥ ; 2 the confequence, which is the very bathos of har- 
recognized, and has been juitly extolled = BPE s, and inef- mo 
“Ege pa lp to be imitated by painters. _ In it not The fimpleft fhade colour that can be employed is umber- 
imary colour, the red, the a and the yellow, unburnt; but its want of depth of tone makes it in 
hare ual zi rees of intenfity aad confequent. har » quate to produce great force effet ; and the half teint 
b equal ce q cS, SP ae 
ut the extreme fubtlety and foftnefs of their mutual ap- which it makes in mixture with the lo cal colour, dee ae 
proximations, by gradually blending their hues, produce the as it approaches the Aon » an intermixture of grey to give 
elight which colours are capable of affording. it clearnefs ; efpecially in preparations or dead-colouring, in: 
Not a little of this delight is owing entirely to the arrange- order to prevent the glazin gs employed for finifhing, render- 
ment of the colours. Let us fuppofe, that inftead of the w; ing the work too id brown. , It appears to he b 
fpreading bot oth w ways, and Bolg a Fy reen on ste one fide, an ex pace oy tone ap colour fora som Fe cecum :. mere isy, 
and purple on the other, while the tas teints of redand giving one harmonious teint over the whole ; but care m 
to t d n 
all produced ; all the prefent rich’vividity of its effect would. cu mulate upon the fries of a picture, will in a few years 
iad tc would neceflarily have prefented a far lefs ee its depth by fuperadding another tone of a 
pleafing object to the view. This remark, however, rather nature, 
belongs to the fyftem of colouring than to that of harmony’ _ Titian, Giorgione, and. Correggio are the great original: 
itriétly fpeaking, for the harmony might be equal in either exem lars of harmony of colouring, though the mode in 
cafe, though the efle& be far lefs agreeable. Something which it was produced by the latter, differed exceedingly 
of this is neverthelefs. requifite to produce harmony in widely from that of the two former. A careful examination of 
extended pemeciitione:s in ies s necefla their works, to which may be added thofe of Vandyke 
en, that colours ve their repetitions Toeead: and fir Jof, eynolds, is the beft mode of obtaining'a jute 
through the wh ole: Fad ae upon the fame principle as they ase eens of it, and of becoming: * abied to put it. im 
are. arranged in the ame or they will not unite agree- ce. 
ably, nor form a oot whol Pe TEARMOS , from apx, apto, J fit, a word, ufed by the 
.8 Well as in the colouring of a picture, there fhould alfo old medicinal aieaiie for the fleth growing between the: 
i. harmonious concord im the lines; which fhould unite  teet 
in es ape able manner, witheut yiolent contraits, HARMOSTES, or HARMosTA, in Antiquity, a fort o& 
wo where may be neceflary for the better expreflion. magiftrate among the > aires whereof there were feveral,, 
2 of the tabi g fy the one fhould altogether, and in whofe butfinefs was to look to the building % esi and 
| every part, have one character of coh, as far as is agreeable Bie the forts and fortifications of the ci 
to the Rat the different objects introduced. If.one ord is s&pyosncy formed of g Gp LOW». pi COMCINND, £ 
part Of a figure for inftance be drawn with {quare forms and ada » concert, &c. 
augular lines, and in certain Rrepontipnss no other parts JARMOSYNIANS, ¢ pporwa, were magiftrates cig 
fhould have flowing lines, or be 0 f different p cSparsiep®> the ‘Spartans, who, after the death of Lycurgus, were 
each of thefe being the means of reprefenting different { pa to enforce the obfervance of a, law of the Spartan 
‘ific charaé and two charaéters can never be fou ae t iflator, which required married women to wear il, 
| bature in the fame ficure. Thus one hand fhould be made en they appeared in the preitts whereby they were din 
| vilible through the whole picture, and no unequal. or diverti- oe from fingle females, who were allowed to appear 
| Sed power appear in it ; even in making various and oppolite abroad with bat is ces uneovere 
TOME, in Mincralogys a name y tlie- 
Phe i thignien thernfelves fhould tend to one poms to een roe eryftallographer to a minera aaah Wass, 
inculcat mofal; there ought in this refpeét to o be an and is ftill, more commonly called cro/s-//one, fae 
: belies. a Oi satin among them ; they co-ope- in ager on account of the form it re fre 
ate to produce one total, and never lead the mind of the quently feen et. It is likewife known by the names: 
| obferver aftray from the fubjeé& of the picture. of a ead andreafper, oly given to it by Lametherie,, 
| of ‘hemoft important point to attend to, im the production from the place where it was firlt reid, We adopt 
" harmony in ainting, is the fhade teint, or that hue of Haiiy’s name, persly becaule ix Dua, like that of *crofs— 
i. colour which the ? er ple fue yao particu- ftone,”” fubjeét this. this fubftance t i ‘© be confoun ded with what i igs 
¥ S . £ eed * ;: : a 4 “3 
Blackn E ys ~ Shadow, in the eye of the painter, . is not 
: 3 but a colour poffeffing richnefs and 
appro priate hue varies according to the nature of he rg 5 
ai 2 Soc tie drier ett It has has been name rat wg 
my that the far greater part of the farface of all round heer Here. peapicmes. jv: 
ou of the rats its age pu fates oe it as a Mranety of Sts is now ¢ 
vi : 
"3 ze Hebe 
: 
