-that is, the inevitable
relation of objects in light and shade that must exist under any
circumstances--and not one attempt to contrive an artificial composition
of light and shade which shall concentrate the attention of the
spectator on the crucial point, and shall introduce these delightful
effects of dark things against light and light against dark, which lend
such richness and variety of tone and such vitality of construction to
Titian, Rembrandt, and Reynolds. If we turn for a moment to the National
Gallery and look at Gainsborough's "Baillie Family," or Reynolds' "Three
Ladies decorating the Term of Hymen," we see at once the difference; in
Gainsborough's case the group is in a mellow flood of light, there are
no strong shadows on any of the faces, and none of the figures are used
to cast shadows on other figures in the group; and yet as you look you
see the whole light of the picture culminating in the central head of
the mother, the sides and bottom of the picture fade off into artificial
shadow, exquisitely used, without which that glorious light would have
been dissipated over the picture, losing all its effectiveness and
carrying power. See how finely he has understood the reticent tones of
the man behind, and how admirably the loosely painted convention of
landscape background is made to carry on the purely artificial
arrangement of light and shade. In the Reynolds the shadowed figure on
the left, and the shadows that flit across the skirts of the other two
figures, and the fine relief of the dark trees, give a wonderful
richness of design to a picture that is not in other respects of the
highest interest.

_C. W. Furse._

CLXXIII

Why have I not before now finished the miniature I promised to Mrs.
Butts? I answer I have not till now in any degree pleased myself, and
now I must entreat you to excuse faults, for portrait painting is the
direct contrary to designing and historical painting in every respect.
If you have not nature before you for every touch, you cannot paint
portrait; and if you have nature before you at all, you cannot paint
history. It was Michael Angelo's opinion and is mine.

_Blake._

CLXXIV

I often find myself wondering why people are so frequently dissatisfied
with their portraits, but I think I have discovered the principal
reason--they are not pleased with themselves, and therefore cannot
endure a faithful representation. I find it is the same with myself. I
cannot bear