PART III. ARCHITECTURE. 16*9 



except in white and black. The reason is, that most objects 

 of other colours externally have their internal parts lightest; 

 as in the greens, blues, and yellows of vegetables. White and 

 black objects, and sometimes red ones, are generally darker in- 

 ternally than on their outer surface. The two last, dark red 

 and black, are more rare in nature than the others ; and hence 

 we admit them more sparingly in internal finishing, or indeed 

 in ornament in general. 



In concluding this section, let me caution the reader against 

 carrying into the extreme these, or any other ideas which have 

 been suggested, in opposition to general practice. When the 

 expression of gaiety, or striking beauty, is desirable, no reasons 

 that I have suggested, from the colour of rocks or soil, are in- 

 tended to hinder the production of these characters, if in gene - 

 ral harmony with what surrounds them. One principle, taken 

 apart, and followed out in its fullest extent, will often prove 

 pernicious ; and the developement of such a principle in a book 

 is always liable to the wrong explanations of the captious and 

 opinionative. In practice, it is the combination of the whole 

 in the mind of the artist, and the full consideration of every 

 particular connected with the case, that must guide his judg- 

 ment upon every occasion. He will soon find, that there are 

 many things that may be taken advantage of in architectural 

 painting, or poetry, which would ill accord with real execu- 



z 



