18 
proportion, and be made to graduate into the shade, so as not to interfere, 
but to harmonise with the principfy. As green by no means harmonises with 
orange stem, and still less with red, you must necessarily introduce yellow, 
which will give you an opportunity of introducing green agreeably; and,by 
mixing the orange and blue you^get an olive, that will suit with both the 
orange and red : you must likewise have some purple to balance the yellow. 
The reflected tints as before directed. 
A* 
COMPOSITION OF GREEN. 
Nothing pleasing could be made of this as a composition, without 
taking it in its palest degree, as it graduates from yellow; but by making a 
jX principal*.of it in that state, there is room to do a great deal, as it has not only 
nearly the same degree of lightness as yellow, but may be worked into a very 
rich effect. Its contrasting,or balancing tint ; is pale red, inclining to purple, 
in proportion as the green inclines to yellow; but this tint must be so subdued 
by black, as not to be either too bright, or too strong for the green in its 
palest state. 
The harmonising tints, being deeper greens, titty will also require deeper 
reds to contrast them; which are to be subdued with black, likewise in the 
deepest shade. 
The leflected tints are formed, as before mentioned, with the principle ;t- 
warm tints, and the contrasting one. U 
