tensils, often introduced
for this purpose only. It may be observed likewise, what a portion is
strongly relieved and how much is united with its ground; for it is
necessary that some part (though a small one is sufficient) should be
sharp and cutting against its ground whether it be light on dark, or dark
on a light ground, in order to give firmness and distinctness to the work.
If, on the other hand, it is relieved on every side, it will appear as if
inlaid on its ground."

"Such a blotted paper held at a distance from the eye would strike the
spectator as something excellent for the disposition of the light and
shadow though he does not distinguish whether it is history, a portrait, a
landscape, dead game, or anything else; for the same principles extend to
every branch of art. Whether I have given an exact account or made a just
division of the quantity of light admitted into the works of those
painters is of no very great consequence; let every person examine and
judge for himself: it will be sufficient if I have suggested _a mode of
examining pictures this way and one means at least of acquiring the
principles on which they wrought._"

The accompanying page of sketches has been produced in the spirit of this
recommendation.

Turning from examples of figure art, to outdoor nature, it will be found
that these principles apply with equal force to landscape composition. No
better advice could be offered the beginner in landscape than to
resolutely select and produce three, four or five distinct and separate
tones in every study. The incoherency of beginner's work out of doors is
largely due to its crumbling into a great number of petty planes, a fault
resulting from observation of detail instead of the larger shapes. For
this reason the choice of subjects having little or no detail should be
insisted on: sky and land, a chance for organic line and a division of
light and shade, such as may be found in an open, rolling country where
the woodland is grouped for distant masses.

PRINCIPALITY BY EMPHASIS, SACRIFICE, AND CONTRAST.

Under the discussion of Balance it was shown that a small measure often
became the equivalent of a larger measure by reason of its particular
placement. The sacrifice of many measures to one, also is often the
wisest disposition of forces. Upon the stage, spectacular arrangement is
constructed almost entirely on this principle. The greater the number of
figures supporting, or