56 



OF PAINTING. 



BOOK I 



4. Light, Shade, and Keeping.— The forms of all the 

 objects in the landscape being now determined, the next thing is 

 to give them substance. This is accomplished by lights and 

 shadows ; the modes of forming which, whether in oil or water 

 colours, are generally known. A second use of light and shade 

 is for effect ; and nothing contributes so much to form a whole, 

 whether in a picture or a real scene. In the landscape which we 

 have designed, disposed, and outlined, the great mass of light 

 will be thrown on the distance and water, and the great mass of 

 shade on the foreground, and the trees, whether there, or in the 

 middle distance, which are opposed to it. A third use of light 

 and shade is called Keeping. This is what produces aerial per- 

 spective, and is effected by making the objects which are 

 nearest the eye darkest, and letting them die away as they re- 

 cede into the remote distance. 



5. Colouring. — In painting, colours are divided into two 

 kinds only (light and shade, including the black and white co- 

 lours) : the cold ; as blue, lilac, green, &c. : and the hot; as red, 

 yellow, orange, &c. These two classes, when mixed together, 

 are capable of producing varieties, harmonies, discords, and 

 privations. Harmony ought to pervade every picture ; and 

 where a strong effect is to be produced, one colour ought to 

 prevail over all others, and be echoed (so to speak) throughout 

 the whole piece. Thus in the landscape which we have now 



