t.

When a dark body terminates on a light ground, it will detach itself. If
a round object, it will not carry its light to the extremity of its
outline, but finish in a half shade, darker than the ground.

A large mass of light in the middle of the picture, surrounded by
shadow, is a rule; and, when reversed, has an equally imposing effect.
(_Plate 2, fig. 5._)

The largest division of the light and the dark parts of a picture, so
they differ in quantity, will of necessity produce the greatest breadth;
but the extent and magnitude of that breadth will be entirely qualified
by the judicious management employed in producing a union between them.

One greatly approved method of producing this effect is, by bringing the
light up to a brilliant focus, and absorbing the shadows into the
darkest obscurity; while the larger portion of the work is pervaded by
the half light and the half dark, as well as their shadows by strong
local colour; while those in the shadow should come out sharp and
distinct. The vigour of the light will dissolve all chance of influence
in the half tints; while the extreme depth of the shadow, carried
perhaps to a little excess, will gather up and absorb all the
subordinate shadows. (_Plate 1, figs. 5 and 6._)

Marking, with a stump and bit of black lead, when we are abroad, the
principal points, in sketching from nature; and noticing in what manner
those points refer to, and assist each other; tracing their effects, and
ascertaining the laws that bring them harmoniously, or by contrast,
together, is the best method to be pursued for the arrangement of our
own ideas in composing. Sketches so obtained, should be preserved as
models to exercise the invention by.

A more distinct idea of light and shade is best obtained by the use of
one colour only, as many only tend to perplex the eye, and divert the
attention from the great object that should be distinctly kept in view.

In laying on the tints (of one colour only), the method to be pursued is
as follows:--Mix the separate shades in separate saucers, three, four,
or five, as may be required; keep the board you have previously strained
the paper on inclined at moderate elevation, that the colour may flow
freely; lay in the sky first; the farthest distance next; then all those
masses of shadow which principally influence the division and interest
of the picture; working downwards to the foreground from the middle
distance, using a large brush, fill