iven to the largest mass but usually not the most important. This, if
trees or a building, is shadow covered, reserving the more distant mass,
which is the most attractive, to gain by the sacrifice of the foreground
mass.

[Spots and Masses; Note-book sketches from Rubens, Velasquez, Claude
Lorrain and Murillo]

The first of these forms was evidently most esteemed by Claude, for his
greatest works are thus conceived: "Cleopatra Landing at Tarsus," _"__The
Embarkation of the Queen of Sheba,__"_. "The Flight into Egypt," "St.
Paul leaving Ostia," "The Seaport with the Large Tower" and others. In
all of these the light proceeds toward us through an avenue which the
sides create. Under this effect we receive the light as it comes to us.
In the other form the vision is carried into the picture by a series of
mass attractions the balance being less apparent. "The Landscape of the
Dresden Gallery," "The Marriage of Isaac and Rebecca," "The Finding of
Moses," "Egeria and Her Nymphs," and "Driving Cattle to the Meadows,"
together with many etchings, are based on the second form. In all these
about one third of the picture is put into shadow, a great right angle
being constructed of the vertical mass and the shadow which it casts,
generally across the entire foreground.

[Death of Caesar--Gerome; The Travel of the Soul--After Howard Pyle]

In _"__The Travel of the Soul__"_ by Howard Pyle, reproduced from the
_Century Magazine,_ is remarkably expressed the fullness of quality
resulting from these few principles. The force of the light is increased
first by juxtaposition with the deepest dark merging so gradually into the
darkness behind as to become the end or culmination of the great gradation
of the background. As in many works by the older masters the source of
light is conceived within the picture, so by its issuance from the inward
of the wing, the valuable principle of radiation has resulted, the light
passing upward through the wan face behind to the crescent moon and below
through the sleeve and long fold of the dress to the ground. On the side
it follows the arm disappearing through the fingers into the shadow.

Beyond this circuit lies the great encasement of another gradation
darkening toward the sides and corners. This has been interrupted by the
tree masses and sky of the upper side, as the idea of radiation was
changed on the left by the oppositional line of branch forms.