Consequently, when we wish to increase the abstract impression of the power of any influence over objects with which we have no connection, we must increase degree; but, when we wish the impression to produce a permanent effect upon ourselves, we must increase duration.

Now, degree is always increased by contrast, and duration by assimilation.  A few instances of this will be sufficient.

232.  Blue is called a cold color, because it induces a feeling of coolness to the eye, and is much used by nature in her cold effects.

Supposing that we have painted a storm scene, in desolate country, with a single miserable cottage somewhere in front; that we have made the atmosphere and the distance cold and blue, and wish to heighten the comfortless impression.

There is an old rag hanging out of the window:  shall it be red or blue?  If it be red, the piece of warm color will contrast strongly with the atmosphere; will render its blueness and chilliness immensely more apparent; will increase the degree of both, and, therefore, the abstract impression of the existence of cold.  But, if it be blue, it will bring the iciness of the distance up into the foreground; will fill the whole visible space with comfortless cold; will take away every relief from the desolation; will increase the duration of the influence, and, consequently, will extend its operation into the mind and feelings of the spectator, who will shiver as he looks.

Now, if we are making a picture, we shall not hesitate a moment:  in goes the red; for the artist, while he wishes to render the actual impression of the presence of cold in the landscape as strong as possible, does not wish that chilliness to pass over into, or affect, the spectator, but endeavors to make the combination of color as delightful to his eye and feelings as possible.[52] But, if we are painting a scene for theatrical representation, where deception is aimed at, we shall be as decided in our proceeding on the opposite principle:  in goes the blue; for we wish the idea of cold to pass over into the spectator, and make him so uncomfortable as to permit his fancy to place him distinctly in the place we desire, in the actual scene.

[Footnote 52:  This difference of principle is one leading distinction between the artist, properly so called, and the scene, diorama, or panorama painter.]

233.  Again, Shakspeare has been blamed by some few critical asses for the raillery of Mercutio, and the humor of the nurse, in “Romeo and Juliet;” for the fool in “Lear;” for the porter in “Macbeth;” the grave-diggers in “Hamlet,” etc.; because, it is said, these bits interrupt the tragic feeling.  No such thing; they enhance it to an incalculable extent; they deepen its degree, though they diminish its duration.  And what is the result? that the impression of the agony of the individuals brought before us is far stronger than