CHAMBERS'S INFORMATION FOR THE PEOPLE. 



placed offensively below the peak of the distant 

 hilL 



While repetition is offensive, balance is neces- 

 sary. In fig. 27 there is a vacuity on the side 

 opposite to the tree, which appears unpleasing. 



Fig. 27. 



This is remedied in fig. 28, by the trees intro- 

 duced, which, although smaller and more distant, 

 are yet sufficient. It is not always essential, how- 

 ever, that trees are made to balance trees ; other 



Fig. 28. 



objects may sometimes be introduced. A very 

 admirable example of balance, and indeed of all 

 the best qualities of arrangement, is given at the 

 commencement of this article, ' The Ford,' by 

 Claude. The tree to the right is quite different 

 from those on the opposite side of the picture, yet 

 they balance admirably. On the right side, every- 

 thing is strong and boldly expressed ; on the left, 

 there is lightness and delicacy. The disposition 

 of the cattle, as they cross the water, is also care- 

 fully studied with a view to variety ; they seem to 

 spread out as they approach the left, thus har- 

 monising with the smaller parts on that side of 

 the drawing. 



GENERAL PRINCIPLES OF LIGHT AND SHADE. 



The study of light and shade is most important 

 in the art of drawing, as, besides giving feeling, 

 it assists the expression of the objects intro- 

 duced, and is the principal means of giving effect 

 to the subject 



Although it is impossible to give any fixed rules 

 for the relative proportion between the light and 

 the shade of a picture, still, unless certain methods 

 of arrangement be adopted, such as are found in 

 the works of the great masters, there will be little 

 likelihood of producing a satisfactory effect. The 

 light and shade of a picture should be considered 

 as a whole : in some, the light is nearly sur- 

 rounded with shade. In the illustration last 



650 



alluded to' The Ford/ by Claude this particul 

 arrangement will be observed. The principa 

 mass is the sky near the horizon. It will be 

 noticed that the dark mass of the tree to the right 

 is sharply contrasted with it ; the shade then 

 crosses to the left, becoming lighter and lighter as 

 it approaches the sky, which is also a little deeper 

 towards the upper portion of the picture. The 

 general principle observed is, that the principal 

 light is contrasted with the strongest dark, and 

 that they radiate gradually from the point of con- 

 trast to the left, where they harmonise. By this 

 mode of arrangement, the greatest softness is 

 secured, with sufficient force to give spirit to the 

 picture. The methods by which this is effected 

 should be carefully noted. The dark mass of the 

 tree to the right is connected with the mass of 

 gray tint on the left by means of the dark shadow 

 traversing the foreground, and the dark points of 

 the cattle crossing the stream. The eye is led by 

 the inclined tree to the principal mass of foliage ; 

 and this is softened by the light foliage of the 

 willow introduced between it and the sky. 



This picture also affords a fine illustration of 

 what is termed breadth. This expression is applied 

 to massiveness of effect, as opposed to conflicting 

 lights and darks which distract the eye ; at the 

 same time, it must not be confounded with flatness 

 and monotony. In the present example, it will be 

 observed that there is but little repetition of tint. 

 There are fine quiet gradations over the entire 

 picture : the darks in the foreground are con- 

 nected with the more distant tints, so that the eye 

 can wander from the foreground to the distant 

 hills without meeting with any harsh interrup- 

 tions. It is by the preservation of this connec- 

 tion of all the parts of a drawing that breadth 

 is attained, whether in the lights or in the 

 shadows. 



The expression balance is also well illustrated 

 here the dark to the right balances the mass of 

 gray tint on the left ; there is no repetition, 

 because the one side is a perfect contrast to the 

 other, both in form and tint. All repetition is 

 offensive ; and while arranging the effect of a 

 drawing, in order to preserve balance, it should be 

 done with a view to obtain the greatest amount of 

 variety, giving a small portion of dark to balance 

 a mass of middle tint : no precise rule, however, 

 can be given in this respect ; all must be left to 

 the judgment. Softness of tint is very important 

 in all drawings ; this is best attained by studying 

 to keep a gradation in each by itself, and among 

 all collectively giving sufficient decision when 

 required, to prevent woolliness. Hardness of tint 

 is produced by a monotonous cutting edge to any 

 portion in a drawing, and is remedied by lightening 

 some portions, leaving merely enough sharpness 

 to preserve clearness. 



PAINTING. 



WATER-COLOUR PAINTING. 



The mode of painting in water-colours differs 

 from that of painting in oil, the principal differ- 

 ence being the vehicle, which is gum and water, 

 and the employment to a greater extent of trans- 

 parent colour. It possesses many advantages, 

 the principal of which are, great clearness 



