deep shadow, or may appear so from the different
colours of the trees; in which case, it will blend more gently with the
sky, and more intensely focus the depth of shadow, if the lighter colour
be interposed between it and the sky, losing a little of its force, but
gaining harmony and union, together with the advantage of carrying the
warm colour of the foreground up into the foliage, and extending it more
gradually through the clouds.

_Three_ lights, differing in strength--the _centre_ one the
strongest--and placed at different angles, has universally been found an
agreeable arrangement. This mode may be always pursued with a certain
degree of success. The etchings and drawings after this manner are very
numerous,--perhaps from its easy management.

As our senses are carried through the varieties of a tale, so the eye
_must_ be diverted from any _particular_ object in a picture, by
judiciously absorbing or bringing into notice the accessories necessary
to complete the composition, without disturbing it, or prejudicing the
principal. An harmonious intimacy with all the parts, and the _means_
of that intimacy rendered as imperceptible as possible, will absorb
hardness in the masses, and give distinctness and articulation to that
which should predominate in acute solidity, all disjointed and
unconnected appearances being carefully guarded against. Different
arrangements of the same subject will be found the best means of
exemplifying this.

The shadow of a cloud may accidentally be thrown over the greatest
distance, while a sunbeam may suddenly illumine the middle space or
foreground: the distance then would be the darkest part of the picture.
Or a gleam of light may rest upon the distant mountains, while the
middle space and foreground may be in shadow; then the case would be
reversed, the greatest spread of light occupying the farthest distance.
Even this arrangement has succeeded with some.

The highest defined light will be that which comes boldest off the
darkest part of the ground. All others will decrease in proportion, as
they mingle with the ground. And, as the aforesaid light is pure, so the
darks will appear darker than they are. (_Plates 5, 6._)

That part of a body in light will be the brightest that is nearest to
the luminary. In the theory of light, it often happens there are double
and treble reflexes, which must be stronger than single ones, and the
shadows of course proportionally faint. (_Plate 4.