256 ARIADNE FLORENT1NA. 



C. Is the shaded drawing itself to be considered only as a 

 deficient or imperfect painting, or as a different thing 

 from a painting, having a virtue of its own, belonging 

 to black and white, as opposed to colour ? 



17. I will give you the answers at once, briefly, and am- 

 plify them afterwards. 



A. All engraving must be cut work ; that is its differentia. 



Unless your effect be produced by cutttng into some 

 solid substance, it is not engraving at all. 



B. The proper methods for light-and-shade drawing vary 



according to subject, and the degree of completeness 

 desired, some of them having much in common with 

 engraving, and others with painting. 



C. The qualities of a light-and-shade drawing ought to 



be entirely different from those of a painting. It is 

 not a deficient or partial representation of a coloured 

 scene or picture, but an entirely different reading of 

 either. So that much of what is intelligible in a paint- 

 ing ought to be unintelligible in a light-and-shade 

 study and vice versa. 



You have thus three arts, engraving, light-and-shade draw- 

 ing, and painting. 



Now I am not going to lecture, in this course, on painting, 

 nor on light-and-shade drawing, but on engraving only. But 

 I must tell you something about light-and-shade drawing 

 first ; or, at least, remind you of what I have before told. 



18. You see that the three elementary lectures in my first 

 volume are on Line, Light, and Colour, that is to say, on 

 the modes of art which produce linear designs, which pro- 

 duce effects of light, and which produce effects of colour. 



I must, for the sake of new students, briefly repeat the ex- 

 planation of these. 



Here is an Arabian vase, in. which the pleasure given to the 

 eye is only by lines ; no effect of light, or of colour, is at- 

 tempted. Here is a moonlight by Turner, in which there are 

 no lines at all, and no colours at all. The pleasure given to 

 the eye is only by modes of light and shade, or effects of light. 

 Finally, here is an early Florentine painting, in which there are 



