,
or as it were carrying the shadow into the light, it would look _bald_.
As this is done cleverly, so it will have the effect of subduing the
harshness of the lights; which not being in compact masses, lose their
force.

I often rumple a piece of paper, to observe the infinite variety of its
shadows. And place a ball against the light, on a white surface, and
observe its gradations. So, if you roll up a sheet of white paper, and
lay it on a white surface, against the light, or make it stand up, it
will describe the gradations of a column.

It is a very excellent method to keep a solid square, a solid sphere, a
cylinder or tube, a cone (make a paper one), a cup, &c., by you, and
place them in various directions in the light, making various memoranda
of their lights, shadows, and reflexes, in one colour. By this means,
light and shade will soon become familiar, and the task get easier at
every trial.

A piece of white paper _folded several ways_, and laid on a table
against the light, will reveal all the different degrees of shade. Then,
observe the highest light and the deepest shade, with their gradations.

Observe, in a room with one window, having chairs, tables, sofas, &c. in
it, where and how their shadows fall. This will assuredly lead the mind
into the mysteries of light and shade, which must end in knowledge. At
the very least, the power to see things as they are!

To render bodies in sunshine, the shadows must be dark, and marked
strongly and _distinctly_, and the lights extended and broad. So,
_in-door_ objects have equally strong shadows, with the lights and
shades _distinctly_ divided and precise. All should, as a peremptory
rule, receive the light from above. The light should come in from a
sufficient height to give a shadow on the ground the same length as the
object is high.

If any projection occurs on a plain on which a shadow is thrown, the
shadow takes the _form_ of the projection, as it _passes_ it; but, if it
ends _upon it_, the shadow will be shaped by the _object_ that flung it,
still qualified by the section of the projection. The rough surfaces of
many things would describe the same in a lesser degree.

Light objects, as they retire, become darker; and dark ones, lighter;
but light ones are seen at a greater distance than dark.

The darkest opposing object brought up against the most retiring, should
not extend itself to the edges of the picture, but let the half tints
creep in, to bri