surely an
artist after making a few sketches from the actual thing will hardly
require all this machinery to draw a simple shadow.

CLXII

SHADOWS PRODUCED BY ARTIFICIAL LIGHT

[Illustration: Fig. 287.]

Shadows thrown by artificial light, such as a candle or lamp, are found
by drawing lines from the seat of the luminary through the feet of the
objects to meet lines representing rays of light drawn from the luminary
itself over the tops or the corners of the objects; very much as in the
cases of sun-shadows, but with this difference, that whereas the foot of
the luminary in this latter case is supposed to be on the horizon an
infinite distance away, the foot in the case of a lamp or candle may be
on the floor or on a table close to us. First draw the table and chair,
&c. (Fig. 287), and let _L_ be the luminary. For objects on the table
such as _K_ the foot will be at _f_ on the table. For the shadows on the
floor, of the chair and table itself, we must find the foot of the
luminary on the floor. Draw _So_, find trace of the edge of the table,
drop vertical _oP_, draw _PS_ to point of sight, drop vertical from foot
of candlestick to meet _PS_ in _F_. Then _F_ is the foot of the luminary
on the floor. From this point draw lines through the feet or traces of
objects such as the corners of the table, &c., to meet other lines drawn
from the point of light, and so obtain the shadow.

CLXIII

SOME OBSERVATIONS ON REAL LIGHT AND SHADE

Although the figures we have been drawing show the principles on which
sun-shadows are shaped, still there are so many more laws to be
considered in the great art of light and shade that it is better to
observe them in Nature herself or under the teaching of the real sun. In
the study of a kitchen and scullery in an old house in Toledo (Fig. 288)
we have an example of the many things to be considered besides the mere
shapes of shadows of regular forms. It will be seen that the light is
dispersed in all directions, and although there is a good deal of
half-shade there are scarcely any cast shadows except on the floor; but
the light on the white walls in the outside gallery is so reflected into
the cast shadows that they are extremely faint. The luminosity of this
part of the sketch is greatly enhanced by the contrast of the dark legs
of the bench and the shadows in the roof. The warm glow of all this
portion is contrasted by the grey door and its frame.

[Illustration