COLOUR 
77 
whole, would present a very different picture 
if broken up and the positions of the different 
plants altered. 
Perhaps the following illustration will help 
to make my meaning clear. 
Some years ago I had the privilege of going 
out sketching with Mr Solomon, R.A. The 
subject was a white goat in a hayfield. I 
painted my goat white, with nice grey 
shadows, and I painted hay-coloured hay. 
Solomon painted his goat, not white, but 
chiefly pale blue and green, and his hayfield 
was not painted with hay-coloured paint, but 
in all shades of violet and rose and mauve- 
pink colours which I didn’t see at all in the 
hay. When we had finished, his was a real 
live goat in a field of growing hay — mine was 
a flat sort of cardboard presentment, of some- 
thing the shape of a goat, on a mud-coloured 
background ! I am glad to say I own the 
sketch of the real goat, and it has often helped 
me to look for the colour which ought to be 
there when I don’t see it. 
This is technically called the relation of 
constituent masses of colour to each other ; 
in other words, two colours, neither of them 
apparently the colour of what you want to 
reproduce, will, if used with the right know- 
