14? 



CHAPTER VIL 



The various effects in painting which 

 have been discussed in the last chapter, 

 naturally lead me to that great principle 

 of the art, breadth of light and shadow. 

 What is called breadth, seems to bear 

 nearly the same relation to light and sha- 

 dow, as smoothness does to material ob- 

 jects ; for as a greater degree of irritation 

 arises from uneven surfaces, and from 

 those most of all which are broken into 

 little inequalities, so all lights and shadows 

 which are interrupted and scattered, are 

 infinitely more irritating than those which 



