elpful, and directly in line with Sir Joshua's habit with
the old masters.

It is not sufficient that pictures have lights and darks. The balance
here is quite as important as line and measure. The proportion of light
to dark depends on the importance required by certain parts of the
picture. Effectiveness is given to that end of the scale which is
_reserved in small quantity._ The white spot attracts in the _"__Dead
Warrior,__"_ the dark spot in the _"__Lion of the Desert.__"_ A
comparison of the _"__Night Watch__"_ and the _"__Landscape__"_ by Inness
will show that both are constructed on a medium tone on which strong
relief is secured by contrasts of light and dark. Isolated spots occur
through each contributing an energy opposed to the subtle gradations of
the large spaces. The rich depths of the background and the frequent
opposition of shadow with light in the landscape are very typical of
Inness' art and we know that the "Night Watch" contains the best thought
and richest conclusions of the greatest master of light and shade.

The type forms in light and shade are less pronounced than those of linear
construction, though through all compositions of effect, certain well
defined schemes of chiaroscuro are traceable. As soon as any one is
selected it rests with the artist to vary its conventional structure and
make it original.

Lack of a well-defined scheme of light and dark however, is ruinous to any
pictorial or decorative undertaking.

The accompanying wood interiors are introduced in proof that light and
shade rather than form is the pictorial element of greatest value. In
both pictures the principles of chiaroscuro are strongly expressed, and we
look closely before discovering that the first one is the second placed on
end.

Analysis of pictures into light, dark, and halftone develops the following
forms.

GRADATION

Light being the happy and positive side of art presentation, any form or
modification of it partakes of its quality. The gradation bespeaks its
tenderness, and, much as we may admire light's power, this, by its mere
variety, is more attractive.

We well endure the shadow if in it can be noticed a movement toward the
light. Technically, an ungraded shadow means mud. One in which
reflection plays a part speaks of the life of light and in it we feel that
promise. We know it to be on its travels, glancing and refracting from
every object which it touches. The shadows which