, or a dark interior lit
by one brilliant window, are attempted, the values will be found to be
much simpler and more harsh, often resolving themselves into two
masses, a brilliant light contrasted with a dark shadow. This tone
arrangement of strong light in contrast with dark shadow was a favourite
formula with many schools of the past, since Leonardo da Vinci first
used it. Great breadth and splendour is given by it to design, and it is
one of the most impressive of tone arrangements. Leonardo da Vinci's
"Our Lady of the Rocks," in the National Gallery, is an early example of
this treatment. And Correggio's "Venus, Mercury, and Cupid," here
reproduced, is another particularly fine example. Reynolds and many of
the eighteenth-century men used this scheme in their work almost
entirely. This strong light and shade, by eliminating to a large extent
the half tones, helps to preserve in highly complete work a simplicity
and directness of statement that is very powerful. For certain
impressions it probably will never be bettered, but it is a very
well-worn convention. Manet among the moderns has given new life to this
formula, although he did not derive his inspiration directly from
Correggio but through the Spanish school. By working in a strong, rather
glaring, direct light, he eliminated still further the half tones, and
got rid to a great extent of light and shade. Coming at a time when the
realistic and plain air movements were destroying simple directness, his
work was of great value, bringing back, as it did with its insistence on
large, simple masses, a sense of frank design. His influence has been
very great in recent years, as artists have felt that it offered a new
formula for design and colour. Light and shade and half tone are the
great enemies of colour, sullying, as they do, its purity; and to some
extent to design also, destroying, as they do, the flatness of the
picture. But with the strong direct light, the masses are cut out as
simply as possible, and their colour is little sullied by light and
shade. The picture of Manet's reproduced is a typical example of his
manner. The aggressive shape of the pattern made by the light mass
against the dark background is typical of his revolutionary attitude
towards all accepted canons of beauty. But even here it is interesting
to note that many principles of composition are conformed to. The design
is united to its boundaries by the horizontal line of the couch and the