138 A Painter's Views On the other hand, no matter how little one gives, the eye will generally compromise by wanting only a little more. In either case the eye will want more, so one may as well stop sooner as later. Sensible painting, like sensible law, sensible writing, or sensible anything else, consists as much in knowing what to omit as what to insist upon. It consists in the tact that tells the painter where to stop. Painting and Association Painting is only possible by reason of association's not stick- ing to the letter of its bond, so that we jump to conclusions. The Credulous Eye Painters should remember that the eye, as a general rule, is a good, simple, credulous organ—very ready to take things on trust if it be told them with any confidence of assertion. Truths from Nature We must take as many as we can, but the difficulty is that it is often so hard to know what the truths of nature are. Accuracy After having spent years striving to be accurate, we must spend as many more in discovering when and how to be in- accurate. Herbert Spencer He is like nature to Fuseli—he puts me out. Shade Colour and Reputation When a thing is near and in light, colour and form are im< portant; when far and in shadow, they are unimportant. Form and colour are like reputations which when they be- come shady are much of a muchness.