rdness, and lines crossing in every
direction atmosphere," and these rules apply equally well to the
direction of the brush strokes (the brush work) in a painting.

#The brush swinging round the forms suggests fore-shortening, and
fulness of form generally, and across the forms softness, while the
brush following down the forms suggests toughness and hardness, and
crossing in every direction atmosphere#. A great deal of added force can
be given to form expression in this way. In the foreshortened figure on
the ground at the left of Tintoretto's "Finding of the Body of St.
Mark," the foreshortened effect helped by the brush work swinging round
can be seen (see illustration, page 236 [Transcribers Note: Plate
XLIX]). The work of Henner in France is an extreme instance of the
quality of softness and fleshiness got by painting across the form. The
look of toughness and hardness given by the brush work following down
the forms is well illustrated in much of the work of James Ward, the
animal painter. In his picture in the National Gallery, "Harlech
Castle," No. 1158, this can be seen in the painting of the tree-trunks,
&c.

The crossing of the brush work in every direction, giving a look of
atmosphere, is naturally often used in painting backgrounds and also
such things as the plane surfaces of sky and mist, &c.

It is often inconvenient to paint across the form when softness is
wanted. It is only possible to have one colour in your brush sweep, and
the colour changes across, much more than down the form as a rule. For
the shadows, half tones and lights, besides varying in tone, vary also
in colour; so that it is not always possible to sweep across them with
one colour. It is usually more convenient to paint down where the
colours can be laid in overlapping bands of shadow, half tone and light,
&c. Nevertheless, if this particular look of softness and fleshiness is
desired, either the painting must be so thin or the tones so fused
together that no brush strokes show, or a dry flat brush must afterwards
be drawn lightly across when the painting is done, to destroy the
downward brush strokes and substitute others going across, great care
being taken to drag only from light to dark, and to wipe the brush
carefully after each touch; and also never to go over the same place
twice, or the paint will lose vitality. This is a method much employed
by artists who delight in this particular quality.

But when a strong, tough look i