Accordingly, if an artist has made up his mind that his tonal harmony shall be a cool one, he either composes it entirely of cool hues, or sees to it that some one or all of them shall “prevail.” The warmer hues may be introduced for the sake of contrast, but very sparingly. And, of course, he will reverse his use of the hues, if he wishes the tone to be a warm one. This you could have guessed for yourselves; but I point it out because most people, I believe, prefer a warm picture. If it represents the sun setting in a mass of crimson over which the sky is orange, passing to yellow; and the effect of this warm light is shown on the surrounding trees and meadow, so that everything seems to be kindled into a dreamy warmth, we easily find the picture very beautiful. It is so attractive in its richness and mellow warmth, that the quiet coolness of that picture opposite may seem tame by comparison, and we pass it by. On the other hand, if, recognising the difference of the intention, we study the latter picture carefully, we may very likely come to admire it even more than the warmer one, by reason of the very quietness of its appeal, or because of the purity and freshness of feeling that probably pervade it.