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dEeeirH ^«< > vw ti »! e ^ sainroit , oftUerro < 3 k ,. ff «« jt « 'o . «> r . yM- ! eerfigures , and . theheavy ettmes : they ' 5 B ^ rh /^ wg : *« i ^ J Ao 1 «^ t . iaQW | i : »|) oa . ^| j « Mr beadi ? , Mt po 4 oubt as to tkek ' mtent \ QVi $ . Jt w ^ ffcb « k # ct . < 9 f ^^ rv > BKnt . to ,. $ pring 3 $ i < Je an&to £ » sh 'fern .. out « f , imme # 9 fce , dagger , ^^ . jtfee ^ iexll-PMnpte isrP . J 3 iCge gvece& . © frock fell at . their . feet . " , XJieji « Vil !" -gli <)» teidToin ,. asP < i . he jusd : it , w # s -WAfite pf Ji ow 4 ? r aud . 6 b . p 4 ; , f < jr ibe assailants instantly withdrew . 4 Pleasant , this , " he muttered ; bjit there was no time for reflection—two more ljfljlets iftbistlpA thrpjaghjbe air , and torn was again wounded . The-next minute-a-stone from above'knocked-his -gun -from George ' s hand , and , without tbe delay of ^ -Eeecad , auotJter , -flungifcy a * afer-arqa---tbiat of Goiney hiaaself- —descended- < m 'iji 3 ; head , ^ p d ) be , < saftk , >» UUHied , ; toitheje » rth . ^ . specimen -of Australian , 6 CQne * y , with , its . drawbacks : «
rr-Abo « t boop , aiter'tmvelliD ^ . orer several ranges , an . exquisite . scene burst-upon * them as itbey stoojitipoii . oDftDf tli ^ JieigJjtB . d 3 * ffi * e ttWSH . ; boi « eiwig ( tJbe ^ J : « op , -were-the , . < ele * r btye * v » ves of , the Sewth . JEacigp , fceaving 4 o : < aB 4 ! fi ? o . » n \ he tjjwe of an aSmstraSian < n © Qn < tide sun 5 . at their ; fee . k y « t .-qtiU ^ dist *» t , Jn&iJMww&i wjth Jts . teke s ^ ajd-shady ig lens ^ its . tropical foliager-rjts clustering / vJRejs—its msfw ^ ws , fitted with cat , tler-its _ ferjws . afld Arca&a . n-loakmg homesteads , which ! told of the pxesgsce pf citJUsed . mia ^; . behind weive the parched and . sandy forests , whose arid soil and stunted trees served to give greater effect to the lovely view , on which even -Jthe -roughest jwu . ld ; iv ? t ; gafle without-pleasure . " Wejl eaiff dpis be , « all « 3 -Jbhe'Jl cleji of JSew jSo » th Wates , " wurtnurftd George to , .. himself ; " our first parentscojuld . scarcely have opened . thejr eves . 011 a , fairer spot . " . Afld toe
$ at tnis moment , as it to m ^ fce eomparisQa more perfect , a slight rustling among -tiaeupderwood'Coald be heard , and a graceful snake , with head slightly raised , and bady winding through -the bush , came onwards * to the spot where . George remained rooted , asit were , -with fascination . i ¦ Itwas . ^ bojit ten . feet long , and \ nearly grey in <» lc « r ; spotted with dark brown ( hence Tfchis-specjesisjgjpwfl fts . thft earpet . snak ^); and , fe > na its length , . appeared to . George rather a formidable opponent . He was rather behind his companions at the time of its appearance ; ' apd vrhenit approached to within five feet of himself he recovered his presence of mind , and xetre ^ ted beforoit . with-rapid .-Bteps . ' > Jti ^ iY ^ cediptmawiftly ;^ j •^ T 4 i r » i « ffto > . tiiele ^ I . Ge prge bMj ust t | me toobey the directwnspd spring . a id . e , « s the easke . passed over the . ^ lace ^ biqh he had left , and disappeared into the fbrestT ¦ ti Well . tl've had a narrow escape ; " said lie to'Tom , when he Jjad caught up his-party : ' a declared . ^ s . BQorefrightened at ihat-snake than at € olney . |» m laughed . i " . Taey ' j ^ iiasfcyv ^ rnjfotenough 4 ttlmes--. spttjeoirtbe 1 n . atfeast ; but that ' sjiqtaihurfcful ! ¦ ¦§ o . rt . . . ¦ . f ( At all events it ran after me . " i
- " Not it ; it ran-towards its hole , as they alwajs will when they're frightened ; and all . you had to do was . to step out of its- way . * ' EityJiheee-sbouJd- fee any . poriomcreature : in such . a lovdy cooutry !" ' '¦ Why , astoJhat ,. this is not anatural , country in anything . " '" Not natural rVeiaculatedGeorgg ; " there's nqtbjiig very artificial beye . " ¦ ' " About artificiall don't know " said Tom , senitenfiously ; "I ' m not learned ; but 1 do 3 £ now \ that most things in Australia are very unnatural . " < $ bsr&& > ' ¦ ¦ ¦ ¦' . ¦ ¦ « Why , w < everything . Tbere ? s the t « k , to begin < with ; it ' s so piping hot at Christmas # ! ine : 4 h . ata fellow speeds to he ever drinkipg -Ifce / t fish ; . and then at Midsummer-day it ' s the middle of wjbter ! then they tell me * hat tbe sun shines at contrary hours to what it does in England , which "I don ' t believe . But look at the animals , all unnatural-like : one of them ho c using its little ones in a pouch , and sitting on its tail . As to the birds , they ' re like so many tine folks- ^ only good to be looked ixt . Those trees haven't been-taught proper . manners , and keen on their leaves all * h « v / uir mnnrt ' And an tn iho Immnn K ^! n , » = fl , « ,, Vo
¦ pnnatttrajj I . tbink-rwearing no clothes , and their skjn as dark as | he back of a . chimney ; i -and . tUej . make their female ^ iwait on them , and provide the . meahs , wjjieh is quite cofltrary to our ways , I'm sure , though uncommonly ' sensible ' . " i George could not help laughing at this . hst of grievances . - '' I imagined you liked this country , but you sje ^ k as if your twenty years ' experience 4 n it h ^ 4 . prod |) c « d a d ^ ferenti ^ eot ;; " { " I . Jjlce Australia , ";^ p lied Toni , 4 » d I always write . to all my frieAds to emigrate , « scejpt those , perhaps , as have a lot of wee piccaninnies about them , which is . troublesome at 4 irst ; but Australia ' s like everything in this wprld : it has its ups and its downs , its good ^ md its bad , and . they ' re pretty equal . -Now , in tiie old place-there's a precious small sight / of coodr for tlio poor : it ' s all luxrdi work and small nav . and the workhouse to . end it : tiere
( fh 9 re'stj » clQpe . q 4 Pnce forsvery jone th » t- « hoo $ ei ? . You see , sir , when I ' m downheartjedjiJost , dn , the buslj , anjl bruised abo ) it by a set of jrascally bushrangers , I ' m , ready to find fe-ujt with Australia ; but when Leee , , fl 3 I often do , those * yho were saving in England , living here in comfort , with happy faces round them , and asomethipe to fall back upon when , they ' re old , then , say I , it's a pity and a crime that one-half of the poor , starving things in the old country , haven't the-means given-them to come out hero too . " ' 14 1 heartily agree with you , " returned George ; and siuco I have been in Australia , it . ja-ppeaivJito . mo ostoundiopj tbiat ^ o fa ^ among the wealthy and influential look upon emigration in the important fight it deserves ?* fhay kno \ y , or ought to know , that thero arc . Imndreds , almost starving , and thai . there , is , a Jtind where they might live in plenty , yet they look on . supinely , coptentto WAtch the efforts of the few who nobly exqrt themselves to people this vast continent . "
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more sensitive than " -his critics of his failures , -we raay -place him wifctoirt the pale , for no preachi ng of ours will m . end him . That there , aaje certain wholesome academy rules of pictorial colouring is true , but they # *> e purely ei » pirical : the science of colouring is yet to be discovered . It required a man like M . Chevreul , a hard-headed experimenter , thoroughly used to the scientific method , to . make any way in . the subject of colour . It must be borne in mind that pictorial colouring is as different from ornamental ^ colouring as the ornamental is from the natural ; and not "being wuwi jtii inciiimaci is tnac tne artistic
ucu ure , w noc " an exigency Habits $ hould be disturbed . So we find M . Chevreul , as director of the . dyeing a £ the Gobelins' factory , devptirig Jjimself to the practical and commercial relations of colour . ^ We had several books putting forth theories and speculations , but the experimental facts were like Falstaff ' -s bread to the ^ sack—a beggarly disproportion . And as our so-called Charles Martel says , written In " a jargon of lucubrations , valueless and obsolete : ' A . vast deal of trouble bestowed upon the analogy of-the scale-in music "to the epectrum . of light , and terms , such as advancing and ¦ retiring -applied -to colours , which , are simply absurd . Or we find it insisted upon thatso ^ many square . feet of red must base so many . of bLue ** to balance : "¦—all which-we believe to be *' nxoonshine . "
Much of-the writing hitherto about colour has been really mere words * w e . g . fField ) : ^ ' Colour depends physically upona latent concurrence of-those principles which are sensible , transiently in light andshade , and inherently in black and -white , as is demonstrated synthetically by their composing the neutral grey . " This-seems worthy of Ennempser . Or take what an artist 4 vxites-:- ^ - Harmony inPictorial Colour , does not depend upon , any particular proportionate quantities of-the difiererat tints ; nw in any particular disposition or arrangement of them ; but upoa the qualities and , the treatment of ith * individual colours . ,.. . It is equally necessary , that Goloursshould be 30 treated as to produce Unity ; and that , sis with lights and shadows , so w ^ iateyer variety xjf . tintsjnay . be in , t * oduced into- a picture , -they must be so blended anii incorporfited -with each other , . that they still form parts of a vrliolv : —that -whether the lights be wnite , and the shadows black , or differently coloured , the same necessityfor graduation remains , so that Colours must not be in flat patches . Aud in tlje treatment of Colours , besides-thejgrgduation > r-c ^ jiis ite for 'Breadth of Chiaroscuro ,, it is necessary .-to pay attention to > the-peeufiar qjjajitytetjned Tone , which is indispensable iii a coloured work of Art . -A ^ w « llas Biseadih ( of ehjarosquro , thjere mast be . Bbjsaoxji qx Tone , the fundamental qnalitj of Harmony .
. Now let us see what comfort we shall derive from Chevreul ' s experimental treatxoetit of thesubject- . ^ ere is the simplest evidence of the existence q £ tbe . law . of confcrasjt yrjiich his work goes to ' establish and apply : — If we-look simultaneously upon two stripes of different tones of the same coloar , or upon two stripes of the same tone of different cplours , placed side by sJtie , if the stripes are not too wide , the , eye perceives-certain modifications which in the first place influence-tbe intensity of colour , ' and in . the second , the optical composition of the two juxtaposed colours respectively . J&ow as these modifications make tlie stripes appear different from what they really are ' . J give to them the name of simultaneous . contrast of colours ; and I call contrast of . tone the modification in intensity of colour , and contrast of colour that which affects the optical composition « f each juxtaposed colour .
* * * ) H * Divide a pnece of cardboard into ten stripes , each of about a quarter of an inch in width , 1 , 2 , $ , 4 , 5 ,-6 , 7 , 8 , 9 , 10 , and cover it with a uniform wash of Indian ink . When it is dry , spread < i second wash over all the-stripes except the first . When this second wash is dry , «^ read : « . third over 4 II . ttie stripes except 1 and 2 ; and proceed thus to coverall the stripes with a flat tint , each . 00 . 0 becoming darker and darker as it r « cedes from the first ( 1 ) . If we take ten stripes pf the same j ; rey , but each of a different tone , and glue them upon a card so as to observe the preceding gradations , it will serve the same purpose . On now looking at the card , we sliall perceive that instead of exhibiting flat tints , each stripe , appears of , a tone gradually shtaded ifrom the . edge a a to the edge h h . In t ) io band 1 , the contrast is produced simply by . t he contiguity of the a / Lea b b with the edge a a of tb . 3 by the of the with the
tvipe 2 ; in tlie stripe 10 it is snnp ^ contact edge a a edge b b of the Stripe £ > . But jn each of the intermediate stripes , 2 , 3 , 4 , 5 , G , 7 , 8 , and , 9 , the contrast is produced by a . double cause ; one , the contiguity of the edge a a with the edge 6 6 of the stripe which precedes it ; thoother . by the contiguity of the eJge 6 , 6 with the edge a a of the dartor stripe which follows it . Th < e first cause tends tp-raise the tone of the . half of tho intermediate stripe ,-while the second cause tends to lower ( Ue tone of the other half of this same jjtripe . The result of thia contrast is , that the stripes , seen from a suitable distanco , resemble channeled grooves ( glyphs ) more than plane surfaces . For in the stripos 2 and 3 , for instance , tho grey being insensibly shaded from the edge a a to the edge b 6 , they present to the eye tho . s&mo effect as if the light fell upon a channeled surface , so as to light tho par . t near , to bb , while the part a . a will appear to bo in the shade ; but witli this dinereucp ,. that in n , real oliawnol tho lighted paxt would throw a reflection on tho dark part . of of
TIUS . ERJKTOTXdRS OF HAJRMQtfy AND CONTRAST OV COLQURg , : JVND SHEIR Al ^ LJCATaQN TO THE AP-TS . ' IFhe JPKittcipfaqf ffar mmi < WH * Ge » fiw ( of Cqloutv , < ni 4 their ApplicatUni to . tfte Arts . By : iH . , |} . -fihowqu ) , M « mbro do HHnatityt nip , Jfrajxc ^ . Traosltitcd by Charles Muriel , , l , Qngman 3 . and . Co T « b paints have . fpiind & chameUon . 3 Che hafl « ty , tho |; I sec , says one , is all rod . No .- ; ( that ' s , impossible , says . another , it must bo nil blue ; . while a thml ^ sweass ! by-his . oyc , it . should be all yellow . 3 fou are all wrong , says Mr . Noutral , for true'beauty is no colour at all ^—Ohiav"oscuro is my maxim ; oyow , cannot lmvebea , vitifHl colour without light ond shade , tone and'hnvniony ., 'There exiatfl a raciner faction of iNeri amd Biunchi amonorst naintoi-s . Thn
< onc sect contending that * ' tone" is the grand element of pictorial effect—that Jhere lies tine secret of tho old ipaaters ; tho other , despising tho beauty of mystery and tho charm of obscurity , would even rival Nature ' s brightest ! tints of the noonday . . All theao clover men may be quite right in their way—they mnylmve got ' r fyold of the skirt of Truth ; they colour to please their own oyo : what other giiid © should they , or could they , follow P Certainly the painter may bo flUov ^ d to wotfk'by hia rule of eye pust as the potter does by Mb rule of tbuniib 5 the painting of a picture 19 , we admit , a very delicate matter to "legislate upon , and yet < tUcrc mupt be laws hero aa everywhere else , and # 10 sooner they arc icmnd out the better . lA-rtiatparo about tho lcu ^ t likely mop to discover tho dry u Iaw 3 that lio UttUe'bottom of tliieir art . 'Their organisation is not designed for such in-i veatjg ^ tiona : if it wen-o , their art would fade . Art and art-life are so
comfU ettily matters of pcnslbllity , Qf ideality , of fealty to tlio instincta of tho imagination , if tho . expression may bo slfowed , that if you attempt to fetter an ortint wttit-tho boniUs of science and . tho cnlcultttions of mathcioakica , you < jnpplo him at onco . Ho must learn by his own miotakefl , and unless 'he l > a
Jilo tliQn give ^ the rqsults seventeen experiments with strips coloured ! paper , or stuff , to shovrstheinodificationsof tint thrown over the two colours phwjod eiclo by side . ; he deduces tb . o following : — It follows then , from tho experhnenta desoribetl in tliia pliaptor , that two coloured surfaces [ n juxtaposition will cxlripit two modificntions to tho eye viewing tl »« in simultaneously , the opo relative to tho Jjeigbt of tone of their respective colours , anu tho other relative to tho physical composition of these sunv ) colours . After having , witialiod myself . that- tho preceding phenomena conattintly recurred when my sight w « s not fatigued , anu . thiit insuy pwdous accustomed to judge of cdIouch r $ w thorn as 1 . did , X Qiideavouryd to vyduco U'ena to . some ^ e aynvl o . \ prcsaiou tlttvt would euuico to Qnublo Us to prccliot . tho offecfc tlwt would ho produced « pon tho organ of sight by the juxtuppsitioa of two given colours . AH the phenomena I lmvo observed « ecm to mo to depend upon a very simple law , which , taken in its most general signification , inny bo expressed in t )> oso tevmas-r-In tho enso whore tliecya sees at tho sumo time two contiguous colours , they will appear
As ( ijssiwilw j » 8 possible , both in tlioit optical composition , » ind tho height of their tone . Wo havo tl > en , fU . tho aamctime , BimuHanoouH cQiitnist of colour properly so called , and oontraufc of tone . In examining tho i ^ esults of hia experiments of contrast , we seo "that the tint thrown over contiguous coloui's ( or , if wo choose to say so , tho Ulusive impression on tho retina ) i-i tho complementary colour of ouch bestowca upon its neighbour . lied beside blue , gets a yollow tint which w tno convplcmontary oi ' blu « , and , blue gota a green tint tUo cojuplouwritory ot re < X : Wo almll seo that tlio colours will acinum a moat r « n * rit « blo brlllianoy , bWoorui , aw * purity , And-thin result , in perfect conformity witluho law , w e'wilv uiia « wtoo . | *««* - mnplo , « m onui ^ ooloa -ed objucte . rdlw .-ts blue my » , jiwt {«• » ^" ° f . " ? wlethor w ? my « . ' Thorcforo , wl . en wo pit u blue atrip ., in ooiitaot willi ™ om W £ ffi , "J » to ^ Xit that th « flntappeara to tho eyo to rocoivo suiuob u « . Irwn ho i » ro * l n i ^ ofg « « ™™ j * w thia )» tt « r nnprnro to acquire oranfio throuffh tho viomitjr of tho Wuo -trip «' "' u » the mim thing , whethor wi « dmitth « t tho bfio utripo « upaiiro ^^ W ^ Jj ^ Jr ! Moo mya of tho second stripe , m tliia J * Mor nppoiirfl to d ««» wy ' £ ? fmLTt i l 33 of tho bliw » tripi > -ib ia evW «» t tluit tho colour * of tlio two objwtfl m oonUot mil purUy , eaou
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Se-pt&mbbb 30 , 1854 . ] TIE C ^ A B E IR . $ ® £
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Citation
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Leader (1850-1860), Sept. 30, 1854, page 931, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2058/page/19/
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