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extremities, and is supposed to arise from some other object placed in the full 
light, near to the shadowed part of that you are painting, upon which it 
throws a reflected light on its extremities : as will be evident, if two balls aie 
held near each other in a line with the light; take away the furthest from the 
light, and no such reflected tint will appear—all will be darkness on the shade 
side of the other, if near no other object, and it will stick to the ground if it 
happen to be as dark as the shade; but produce the reflected tint again, and 
it will appear to start from it, or from your paper by the same management, 
in proportion to the judicious arrangement of your tints. It often happens, that 
the stalks, and green leaves belonging to white flowers, have a tint of other 
colours, as yellow, orange, red, &c. ; in that case it must be remembered, 
that they can only be admitted in their fuller pure state, in the very smallest 
proportion; and that if there is necessarily a larger portion of them, they 
must either be flung into the shade, or their strength broken by another tint; 
otherwise, it would be a mixed composition, and not a white one. White 
objects that have an inclination to any other colour, either in parts, or alto¬ 
gether, lose their place in composition as white ones, and belong to that class 
of colours they have a tint of, and may be considered as lighter reds, 
blue, &c. 
Note. There is another cause for the extremities on the shade side being 
made less dark than the deepest shade, setting reflection out of the question; 
and that is, that in point of perspective they should be so, as objects weaken 
in strength of colour as they retire from the eye, both in the light, and in 
the shade. 
