lues must be to the whole picture. It is not possible to
do any good work, either in black and white or color, without it. In
one sense it is incidental to drawing. When you consider drawing as
the expression of modelling, the relative roundness of parts, and of
relief, as well as outline, values come into play to give the
relations of planes of light and dark in black and white. In this it
becomes part of drawing.

=Values and Color.=--As soon, however, as color becomes a part of the
picture, values become the basis of modern painting as distinguished
from the painting of previous centuries. Values, of course, always
existed wherever good painting existed, because you cannot paint
without recognizing the relations, the relative pitch and relative
strength of tones. But the word is never heard in relation to old
masters. It is apparently of quite modern coinage and use, and it
probably was coined because of a new and greater importance of the
fact which it represents.

The older painters in painting a picture kept parts of a whole
object--a head or a figure, say--in relation to itself; and that was
values--but restricted values. The whole picture was arranged on the
basis of arbitrary lighting, which entered into the scheme of
composition of that picture. This is not values, but what is generally
understood by the older writers when they speak of "chiaroscuro." The
modern painter deals little with chiaroscuro. It is almost obsolete as
a technical word. Arbitrary arrangement of light and shade in a
picture is not usual nowadays, and consequently the word which
expressed it has dropped somewhat into disuse.

=Basis of Modern Painting.=--Instead of the old composition in
arbitrary light and shade, the modern painter accepts the actual
arrangement of light as the basis of his picture, and spreads the
values over the whole canvas. In this way the quality of "value"
becomes the very foundation of the modern picture. For you cannot
accept the ordinary or actual condition of light, as governing the
light and shade of your picture, without extending the same scheme of
relations over the whole canvas. Every most insignificant spot of
light and shade and color, as well as the most significant, must keep
its place, must hold its true relation to every other spot and to all
the rest. Each value must keep its place according to the laws of
fact, or it is out of touch with the whole. The whole picture must be
either on a scheme of