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Towards evening by the influence of Red which subdues it and neutralizes the freshness of green— in the least fatiguing to the sight. In the twilight all colours, viewed at a little distance are lost in gray or stone colours, being artificially composed of white, Black and Red. Ocre which included a little yellow proves how much Red enters into the composition of most compounds substances, let anyone wear a pair of green spectacles;—contrasted with the influence of green on all objects seen directly forwards, let the eye pass from the green glasses to the objects on either side, and they will appear decidedly reddish. 

Colours, often imaginary.
Crimson seen in the twilight, and not previously know to be Crimson, when seen at a little distance, cannot be distinguished from green. In Cuyph's most beautiful landscapes of evening scenes his trees are brown. Trees then only seem green because we know them to be green. 

Summer and Winter Tints
Larger masses of tints are required to be mixed on the Palette in the summer than may be necessary for use in the winter; because in the larger mass the paint does not dry so fast- at the edges, which, however, may be removed with the knife- or the tints transferred to another Pallet and thinned with Poppy oil or Turpentine. 

Softener 
It is sometimes advisable, with a softness, or large spreading brush, to soften out the scratches of the brush in paint which has been freely put on. It is recommended, after using the softener, to repeat some of the most prominent or characteristics touches; for although the softeners and roundness produced by the softner are often pleasing, they are obtains in the handling of his Brush, the less occasion will he find [crossed out to] to use the softener, which however, even with the most experienced, will sometimes be found necessary, especially in Backgrounds and Draperies.