the repose of a work,--by throwing into the general mass of
shadow a number of objects that may appear of the least consequence to
the development of its story, and bringing those which should be most
prominent boldly forth into the light, by projecting their forms from
the hollows of the shadows, that may appear to teem with a multitude of
mysterious forms, while the cutting edges and sharp lights of those
projections come out in sunshine, depending solely on their vigorous
_division_,--is one of the greatest difficulties in composition, and is
principally rendered so by the necessity of adapting its sympathies to
the subject we would place before the beholder--by its agreeable
disposition and management; at the same time preserving the utmost
singleness of intention and simplicity, by avoiding confusion, and
supporting its breadth by the shapes of the masses of one and of the
other. A very small portion of the light, striking some object placed in
the shadow, will carry the light into it; while some point or figure,
enveloped in shade or dark local colour, will be sufficient to convey
the obscure parts into the luminous, and preserve the balance of the
whole. (_Plate 3, fig. 2._)

The most complicated outline may by this means be reduced to the
broadest effect of light and shade. And simple and palpable as this
principle may seem, it may be pursued until the artist is enabled to
_conceal_ entirely the art by which it is effected; until he feels that
which he could not perhaps explain, but may paint in a language that all
may read.

Sir Joshua Reynolds speaks of 'That breadth of light and shadow,--that
art and management of uniting light to light, and shadow to shadow, so
as to make the object rise out of the ground in the plenitude of
effect.'

Outline is _cold_ and determined in its appearance, and would seem so
though drawn with vermilion; and, from its being defined, carries away
all idea of space and extent with it. The greater the absence of
outline, the greater will be the breadth. Where there is a necessity for
much outline, large masses of it must be collected into broad portions
of the shadows and lights, which should be well diversified in their
forms. (_Plate 5._)

Where light _joins_ darkness, the light and dark are most intense at
their _junction_, arising from affinity of contrast. It is not necessary
to enter into the phenomena of vision to prove the existence of any
thing that will be found in thi