n the other picture the emerald green eyes of
the lion are the attraction of the picture, as points of light relieved by
the great measures of dark of the lion, together with the gloom of the
cave.

The message of impressionism is _light,_ as the effort of the early
painters was _to secure light,_ the quest of all the philosophies. The
impressionist calls upon every part of his work to speak of light, the
middle tint, the high lights and the shadow all vibrating with it. From
the decorative point of view alone, the picture, as a surface containing
the greatest amount of beauty of which the subject is capable is more
beautiful when varied by many tones, or by few, _in strong contrast,_ than
when this variety or contrast is wanting. Those decorative designs have
the strongest appeal in which the balancing measures are all well defined.
There are schemes of much dark and little light, or the reverse, or an
even division, and in each case the balance of light and dark is
sustained; for when there is little dark its accenting power is enhanced
and when little light is allowed, it, in the same manner, gains in
attraction. But light and dark every work of art must have; for to think
of light without dark is impossible. When, therefore, the artist begins a
picture his first thought is what is to be the scheme of light and shade?
The direction or source of the light helps a decision. The illumination
of the subject is a study most easily proceeded with by induction, from
particular cases to general conclusions.

[A Reversible Effect of Light and Shade (The Same Subject Vertically and
Horizontally Presented)]

The effectiveness of the first of the two reversible _photographs_ is as
great as the last and the subject as picturesque though it be discovered
that the first is the second placed on end. It is able to satisfy us not
only because of the happy coincidence that the leaves upon the bridge
represent bark texture and the subdued light upon its near end creates the
rotundity of the trunk or that a distant tree serves as the horizontal
margin of a pool, but because its light and shade is conceived upon the
terms of balance expressing in either position one of the fundamental
forms of light and shade and lineal construction, that of the rectangle in
either light or dark together with an oppositional measure--the light
through the distant trees.

With the history of art and the world's gallery o