be illustrated in a piece of drapery. A light pink silk will be
out of value in its shadow if these are too dark for the degree of light
represented, and out of color value, if, instead of a salmon tone in the
crease which a reflection from the opposing surface of the fold creates,
there be a purplish hue which properly belongs to the outer edge of the
fold in shadow, where, from the sky or a cool reflecting surface near by,
it obtains this change of color by reflection.

The most objectionable form of false values is the isolated sort, whereby
the over accentuation of a part is made to impress itself unduly; "to
jump" in the technical phraseology of the school.

The least objectionable and often permitted form is that where a large
section is put out of its value with the intent of accenting the light of
a contiguous part.

In landscape the whole foreground is frequently lowered in tone beyond the
possibility of any cloud shadow, for the sake of the light beyond, which
may be the color motif of the picture and which thereby is glorified.

CHAPTER XVII - ENVELOPMENT AND COLOR PERSPECTIVE

Allied to values is the idea of envelopment: of a kindred notion to this
is aerial perspective. On these two depends the proper presentation of a
figure _in air._

If at any place on the contour of a figure the background seems to stick,
the detachment from its surroundings, which every figure should have, is
wanting.

The reason for it is to be found in a false value which has deprived it of
rotundity of envelopment.

The solid object which resists the attempt to put one's hand around it or
to stretch beyond into the background, lacks this quality. A fine
distinction must be here drawn between simple envelopment and relief,
which is a more positive and less important quality.

However flatly and in mass figures may be conceived, the impression of
aerial envelopment must be unmistakable. Here a nice adjustment of values
or relative tones will accomplish it.

Naturally, the greater space between the spectator and an object, the more
air will be present. To the painter the color of air is the color of the
sky. This then will be _mixed_ with the local color of the object, giving
it atmosphere.

Envelopment is unmistakably represented by the out of door Dutch painters,
for in the low countries atmosphere _is seen_ in its density, and at very
short range. Holland is therefore an ideal sketching ground for the
pa