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71 practice prevails. I have remarked in the Pictures by Rubens, what Reynolds meant, probably, to express — for instance one spot of bright Red, & in different parts of the Picture other portions or Red, but darker & darker not the same colour; this Burnet also verifies in speaking of the proper degredation of hues. Successive Retouchings. In the successive retouchings of Flesh, the Artist, applying [[underline]] delicately light touches [[underline]] to improve the form or expression, will often find that these touches will [[underline]] dry darker [[underline]] & lose the effect intended — They should therefore, be made [[underline]] light [[underline]] enough to [[underline]] compensate [[underline]] for this result, which might injure instead of benefitting his work. Neutralizing Powers of Colours. "Too much of any Colour in a painting is reconciled to the eye, by the due introduction of its [[underline]] opposite [[underline]], either in the way of compounding, by glazing or intermingling, or by contrast; in the first manner, with neutralizing & subdued effect; and in the last, with heightened effect and brilliancy." [[underline]] Field[[underline]] Note - [[underline]] Red [[underline]] is the opposite of [[underline]] Green [[underline]]; Yellow the opposite of [[underline]] Purple [[underline]]; [[underline]] Blue [[underline]] the opposite of Orange - and vice versa. R.P. Influence of the Sun. On strips of canvass, having made a number of experimental mixtures & tints with [[underline]] white[[underline]] , which were first dried in the Sun, but afterwards put away & excluded from air & light during ten months, the white became extremely yellow. On placing them again in the Sunshine for two or three days, those which were ground with Magnesia were bleached to their original hues & remained so - with French alumine less perfectly - and those with Philad'a prepared alumine remained very brown.