interesting with a quiet background, be sure a multitude of objects
will not help it. The more you put into it the worse it will be. Learn
to be master of the less before you try to be master of the more.

[Illustration: =Milton Dictating "Paradise Lost."= _Munkacsy._
To show use of background. Notice also the composition.]

=Lighting.=--I have spoken of lighting in general in other chapters.
You must apply the principles to your use of figures. Study the
different effects which you can get on the model by the different ways
of placing in reference to the window. Whatever lighting will be
difficult in one kind of painting will be no less so in another. Avoid
cross-lights, and do not be ambitious to try unusual and exceptional
effects. If one should occur to you as charming, of course do it, if
it is not too difficult, but don't go around hunting for the strange
and weird. There is beauty enough for all occasions in such effects as
are constantly coming under your observation. What was said about
simplicity of subject will apply here as well, for the light and color
effect is naturally a part of the subject. The most practical lights
are those which fall from one side, so as to give simple masses of
light and dark; they should come from above the level of the head, so
as to throw the shadow somewhat downwards.

="Contre Jour."=--One kind of posing with reference to lighting, gives
very beautiful effect, but calls for close study of values, and is
very difficult. It is called in French, _contre jour_; that is,
literally, "against the day," or, against the light. It is a placing
of the model so that the light comes from behind, and the figure is
dark against the light. From its difficulty it should not be taken as
a study by a beginner, for modelling and color are difficult enough at
best. When they are to be gotten in the low key that the light behind
necessitates, and with the close values which this implies, the
difficulty is enormously increased. But before you attempt the human
figure in the open air, you will find it very good study to work in
the house _contre jour_. The effect of a figure out-doors has many of
the qualities of _contre jour_. The diffusion of light and the many
reflections make the problem more complex; but the contrast, the close
values, and the subtle modelling which you must study in _contre jour_
will be good previous training before going out-doors with a model.

Look at Millet's "Shepherde