white, and still there remains the
possibility of employing the light-sources themselves in extending the
scale of brightness. Superposing color upon the whole it is obvious that
the combination of "primary" light with reflected light possesses much
greater potentiality than the latter alone. This potentiality of light
is best realized if lighting is regarded as "painting with light" in a
manner analogous to the decorator's painting with pigments, etc.

The expressive possibilities of lighting find extensive applications in
relation to painting, sculpture, and architecture. A painting is an
expression of light and the sculptor's product finally depends upon
lighting for its effectiveness. Lighting is the master painter and
sculptor. It may affect the values of a painting to some extent and it
is a great influence upon the colors. It molds the model from which the
sculptor works and it molds the completed work. The direction,
distribution, and quality of light influence the appearance of all
objects and groups of them. Aside from the modeling of ornament, the
light and shade effects of relatively large areas in an interior such as
walls and ceiling, the contrasts in the brightnesses of alcoves with
that of the main interior, and the shadows under cornices, beams, and
arches are expressions of light.

The decorator is able to produce a certain mood in a given interior by
varying the distribution of values and the choice of colors and the
lighting artist is able to do likewise, but the latter is even able to
alter the mood produced by the decorator. For example, a large interior
flooded with light from concealed sources has the airiness and
extensiveness of outdoors. If lighted solely by means of sources
concealed in an upper cornice, the ceiling may be bright and the walls
may be relatively dark by contrast. Such a lighting effect may produce a
feeling of being hemmed in by the walls without a roof. If the room is
lighted by means of chandeliers hung low and equipped with shades in
such a manner that the lower portions of the walls may be light while
the upper portions of the interior may be ill defined, the feeling
produced may be that of being hemmed in by crowding darkness. Thus
lighting is productive of moods and illusions ranging from the mystery
of crowding darkness to the extensiveness of outdoors.

Future lighting of interiors doubtless will provide an adequacy of
lighting effects which will meet the respective