tography much of the "Rembrandt-esque effect," which when
produced, proves to be just blackness. There can be no shadow without
light, and Rembrandt's effort was to obtain this, rather than produce
darkness.

The feeling of light may also be broadly expressed by a direct
illumination. Here the shadow plays a very small part, and the subject is
presented in its outline. Under such an effect we lose variety but gain
simplicity. This brings us close to the region of two dimensions, the
realm of Japanese art and mural decoration. The portraits of Manet, the
decorations of Puvis de Chavannes, and the early Italians, display the
quality of breadth because of the simplicity of lighting which these
subjects received.

Breadth in the treatment of the figure may be obtained by _graded_ light.
If a shadow be produced at the bottom of the picture sufficiently strong
to obliterate both the light and shade of detail, and thence be made to
weaken as it proceeds upward and finally give place to light, where light
is most needed, great simplicity as well as the element of variety will be
the result.

Thus, in the most effective treatment in mural decoration, one sees only
the grand forms, the movement, the intention, those things which most
befit the inner surface of the building being also those which bear the
greater importance. The fact is used as an argument for the assumption
that painting should, after all, be an art of two dimensions, length and
breadth, reserving thickness and its representation, for sculpture. This
robs painting of the quality of natural aspect, except under the single
effect of absolutely direct lighting and ignores its development beyond
the flatly colored representations of the ancient Egyptians, our American
Indians and the Japanese, a development inaugurated by the Greeks and
since adhered to by all occidental nations.

The student who goes to nature and sees mass only, discarding all detail,
will run the chance of being a colorist as well as a painter of breadth,
two of the most important qualifications; for if he refuses to be stopped
by detail his intelligence will crystallize upon that other thing which
attracts him. He will think the harder upon the simple relations of tones
and the exact color. Slowly dexterity will add a facility to his brush
and he will, while aiming at character, through breadth, unconsciously
introduce characteristic detail. This is the hope of the new method which