ng the light down with more effect--diffusing it more
extensively.

The shadow on the ground on which it is thrown, should be darker than
the object projecting it; and, if the object be round, a reflected light
will be found on the edge where it joins the shadow, as in a column.

I placed a chair in the shade, and the sun's _reflection_ threw a
_shadow_ from it!

The light of every body is qualified by the ground that surrounds it.

Breadth is acquired by blending the light parts of the figures with the
light of the ground; and the same rule will apply to the shadows.

When the ground of the picture is mostly dark, the lights, in my
opinion, should take some one or other good decided _form_ in
composition, in their developement, as their meaning is only to be
explained by themselves. (_Plate 4._)

If a single light or luminous mass be surrounded on all sides by a dark
ground, one or more of its edges should be strong and cutting; and if a
dark centre be placed on a light ground, if the same management be not
observed, it will look like a hole.

Leonardo says 'The ground which surrounds the figures in any painting,
ought to be _darker_ than the light part of those figures, and lighter
than the shadowed part.'

Great beauty is obtained by laying the shadowed part of an object
against a darker ground; the light receiving increased brightness from
this arrangement, and the softness of the shadow on the light side being
nearly imperceptible, gives great relief and beauty. This mode is much
resorted to in the management of portraits, while it equally applies to
landscape.

Most _repose_ is obtained by placing a light group or object on the
light side of the picture, and dark objects on the dark side, as no
interference of the one or the other then occurs to disturb the masses;
but the effect will be less than when carried the one into the other,
and the difficulty of uniting the two parts become greater.

In some of the best works of Ostade, and many of the Dutch school, a
dark figure or group is brought out from a darker background, with great
brilliance, and even force, when the colour of the one is cold, and the
other warm.

Corregio's management of light and shade placed him in the highest
sphere of this department of the art.

An object or figure, having a dark and a light side, the dark side being
opposed to the light part of the ground, and the light side coming off
the darker part, will have great effec