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.
After having spent years striving to be accurate, we must
spend as many more in discovering when and how to be in-
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.