ed with colour, to produce clearness
and transparency. Then proceed to delicately touch upon the lights, in
order to blend them with the shadows, that they may not appear too
abrupt, as well as to break down their asperity, and prevent the work
looking bald. Now a darker shade than any should be mixed up, to put in
the markings of the foliage and foreground, rocks, or whatever the
composition may consist of. Lay the whole on with freedom and boldness;
and, if any parts require strength, they may be lightly floated over
again, when quite dry.

Do not disturb the surface of the paper more than can be avoided; and
endeavour to keep all the tints _even_, or flat, in the first instance,
without attention to the details. Always mind to take up enough of the
colour at once to cover down the space intended, without sweeping it
contrary ways. Thick rough paper is the best.

The power of making large masses of flat tints, commonly comes of great
practice; it is, therefore, necessary that this difficulty is conquered,
before attempting to blend them.

The use of that important thing, in the hands of an artist, the sponge,
must be taught and seen to be understood.

The most forcible arrangement in the composition of light and shade is,
where it is spread and diffused, until reaching the strongest point;
which point, opposed immediately to the most retiring part, and clothed
in strong colour, will have the effect of balancing and combining the
most complicated forms, that, but for this method, had been all
confusion.

If a sketch be too outliny, it will want solidity; if too much filled
in, it will be heavy.

Do not let the lights be too scattered, or too equal, lest the struggle
for precedence be observed.

When clouds are interposed between the sun and the object, the shadows
will be soft, and their terminations almost imperceptible.

[Illustration: Light and Shade Plate 2

C. Hullmandel's Patent.]

[Illustration: Light and Shade Plate 3]

[Illustration: Light and Shade Plate 4]

[Illustration: Light and Shade Plate 5.]

[Illustration: Light and Shade Plate 6.]

In conclusion, the concentration, the diffusion, or the contrast of
light and shade, is best understood from a few blots made from the
pictures of those great masters, who strike us as having excelled most
in this department of the art, carefully preserving their arrangements,
and applying them to our own compositions, until we feel and think like