r of its contrast, and also for its color quality, are to be seen
in moonlight or nightlight as compared with daylight. Artificial
light, such as lamp- and candle-light, gives marked effects also,
which may be compared with daylight both as it is out-of-doors and in
its more concentrated effects in the studio. Compare the picture of
the "Woman Sewing by Lamplight," by Millet, with the "Canal" and the
"Bohemian Woman" given above. The effects of gas and electric light
also should be studied. Their characteristics both of contrast and,
particularly, of color are worth your attention as a student, inasmuch
as the essence of some pictures lies in these qualities.

Another matter of great importance to the student, and one which the
same three illustrations just referred to may serve to show, is the
effect on objects of the position of the point of entrance of the
light with reference to them and to the observer. The simplest light
is the side-light from a single window. This gives broad, sharp masses
of light and shade, and makes the study of drawing and painting more
simple. With the observer in the same relative position to the
subject, as the light swings round towards a point back of him the
contrasts become less, the relations more subtle and difficult of
recognition, and naturally the study of them more difficult. In this
position of light the values become "close." To make the object seen
at all, it is necessary that the finest distinctions shall be
observed.

[Illustration: =Bohemian Woman.= _Frans Hals._
Effect of contrast of light and shade in studio to be compared with
diffused light of open air in the "Canal," and artificial light in
"Woman Sewing by Lamplight."]

[Illustration: =Sewing by Lamplight.= _Millet._
Effect of artificial light contrast to be compared with natural light
in illustrations of "Canal" and "Bohemian Woman."]

[Illustration: =Descent from the Cross.=]

Portrait painters have always been fond of a top light, which gives a
direct concentrated light descending on the sitter, very similar in
character to the side-light, but more favorable to the expression and
drawing of the face.

=Cross Lights.=--The most confusing and difficult of study and
representation are the "_cross lights_." If there are several windows
or other points for the admission of light, and the sitter or object
painted is between them, the light comes from all sides, so that the
rays cross each other and there is no si