ation of some
of the principles previously laid down.

[Illustration: FIG. 35 FROM A PHOTOGRAPH]

[Illustration: FIG. 36 D. A. GREGG]

[Side note: _First Problem_]

In the first example the photograph, Fig. 35, shows the porch of
an old English country church. Let us see how this subject has
been interpreted in pen and ink by Mr. D. A. Gregg, Fig. 36. In
respect to the lines, the original composition presents nothing
essentially unpleasant. Where the strong accent of a picture occurs
in the centre, however, it is generally desirable to avoid much
emphasis at the edges. For this reason the pen drawing has been
"vignetted,"--that is to say, permitted to fade away irregularly
at the edges. Regarding the values, it will be seen that there is
no absolute white in the photograph. A literal rendering of such
low color would, as we saw in the preceding chapter, be out of
the question; and so the essential values which directly contribute
to the expression of the subject and which are independent of local
color or accidental effect have to be sought out. We observe, then,
that the principal note of the photograph is made by the dark part
of the roof under the porch relieved against the light wall beyond.
This is the direct result of light and shade, and is therefore
logically adopted as the principal note of Mr. Gregg's sketch also.
The wall at this point is made perfectly white to heighten the
contrast. To still further increase the light area, the upper part
of the porch has been left almost white, the markings suggesting
the construction of the weather-beaten timber serving to give it
a faint gray tone sufficient to relieve it from the white wall.
The low color of the grass, were it rendered literally, would make
the drawing too heavy and uninteresting, and this is therefore only
suggested in the sketch. The roof of the main building, being equally
objectionable on account of its mass of low tone, is similarly
treated. Mr. Gregg's excellent handling of the old woodwork of the
porch is well worthy of study.

[Side note: _Second Problem_]

Let us take another example. The photograph in Fig. 37 shows a
moat-house in Normandy; and, except that the low tones of the foliage
are exaggerated by the camera, the conditions are practically those
which we would have to consider were we making a sketch on the spot.
First of all, then, does the subject, from the point of view at
which the photograph is taken, compose well?* It can