Decision, again introducing the idea of cuts or divisions, as
opposed to gradations; Linear, as opposed to massive or broad?

Yet we use all these words at different times in praise, while they
evidently mark inconsistent qualities. Softness and decision, breadth
and delineation, cannot co-exist in equal degrees. There must surely
therefore be a virtue in the engraving inconsistent with that of the
painting, and vice versa.

Now, be clear about these three questions which we have to-day to
answer.

A. Is all engraving to be cut work?

B. If it need not be cut work, but only the reproduction of a
drawing, what methods of executing a light-and-shade drawing
will be best?

C. Is the shaded drawing itself to be considered only as a
deficient or imperfect painting, or as a different thing from a
painting, having a virtue of its own, belonging to black and
white, as opposed to color?

17. I will give you the answers at once, briefly, and amplify them
afterwards.

A. All engraving must be cut work;--_that_ is its differentia.
Unless your effect be produced by cutting into some solid
substance, it is not engraving at all.

B. The proper methods for light-and-shade drawing vary
according to subject, and the degree of completeness
desired,--some of them having much in common with engraving,
and others with painting.

C. The qualities of a light-and-shade drawing ought to be
entirely different from those of a painting. It is not a
deficient or partial representation of a colored scene or
picture, but an entirely different reading of either. So that
much of what is intelligible in a painting ought to be
unintelligible in a light-and-shade study, and _vice versa_.

You have thus three arts,--engraving, light-and-shade drawing, and
painting.

Now I am not going to lecture, in this course, on painting, nor on
light-and-shade drawing, but on engraving only. But I must tell you
something about light-and-shade drawing first; or, at least, remind you
of what I have before told.

18. You see that the three elementary lectures in my first volume are on
Line, Light, and Color,--that is to say, on the modes of art which
produce linear designs,--which produce effects of light,--and which
produce effects of color.

I must, for the sake of new students, briefly repeat the explanation of
these.

Here is an Arabian vase, in