lighter blue close upon the neck is too small to affect the power of the
picture. It certainly is a fact, that blue fades more than any colour at
twilight, and, relatively speaking, leaves the image that contains it
lighter. We should almost be inclined to ask the question, though with
great deference to authority, is blue, when very light, necessarily
cold; and if so, has it not an activity which, being the great quality
of light, assimilates it with light, and thus takes in to itself the
surrounding "radiance?" A very little positive warm colour, as it were
set in blue, from whatever cause, gives it a surprising glow. We desire
to see the theory of colours treated, not with regard to their
corresponding harmony in their power one upon the other, nor in their
light and shadow, but, if we may so express it, in their
sentimentality--the effect they are capable of in moving the passions.
We alluded to this in our last paper, and the more we consider the
subject, the more we convinced that it is worth deeper investigation.

* * * * *

The NINTH DISCOURSE is short, and general in its character; it was
delivered at the opening of the Royal Academy in Somerset Place, October
16, 1780. It is an elegant address; raises the aim of the artist; and
gives a summary of the origin of arts and their use. "Let us for a
moment take a short survey of the progress of the mind towards what is,
or ought to be, its true object of attention. Man in his lowest state
has no pleasures but those of sense, and no wants but those of appetite;
afterwards, when society is divided into different ranks, and some are
appointed to labour for the support of others, those whom their
superiority sets free from labour begin to look for intellectual
entertainments. Thus, while the shepherds were attending their flocks,
their masters made the first astronomical observations; so music is said