have most failed in is composition, both in regard to the grouping of their figures, and the art of disposing the light and shadow in masses. It is apparent that this, which makes so considerable a part of modern art, was to them totally unknown.

If the great painters had possessed this excellence, some portion of it would have infallibly been diffused, and have been discoverable in the works of the inferior rank of artists, such as those whose works have come down to us, and which may be considered as on the same rank with the paintings that ornament our public gardens. Supposing our modern pictures of this rank only were preserved for the inspection of connoisseurs two thousand years hence, the general principles of composition would be still discoverable in those pieces: however feebly executed, there would be seen an attempt to an union of the figure with its ground, and some idea of disposing both the figures and the lights in groups. Now as nothing of this appears in what we have of ancient painting, we may conclude that this part of the art was totally neglected, or more probably unknown.

They might, however, have produced single figures which approached perfection both in drawing and colouring; they might excel in a solo (in the language of musicians), though they were probably incapable of composing a full piece for a concert of different instruments.

NOTE XXXVIII. VERSE 419.

Permit not two conspicuous lights to shine
With rival radiance in the same design.

R.

The same right judgment which proscribes two equal lights forbids any two objects to be introduced

of equal magnitude or force, so as to appear to be competitors for the attention of the spectator. This is common; but I do not think it quite so common, to extend the rule so far as it ought to be extended; even in colours, whether of the warm or cold kind, there should be one of each which should be apparently principal, and predominate over the rest. It must be observed, even in drapery; two folds of the same drapery must not be of equal magnitude. R.

NOTE XXXIX. VERSE 421.

But yield to one alone the power to blaze,

And spread th' extensive vigour of its rays.

Rembrandt frequently practised this rule to a degree of affectation, by allowing but one mass of light; but the Venetian painters, and Rubens, who extracted his principles from their works, admitted many subordinate lights.

The same rules which have been given in regard to the regulation of groups of figures must be observed in regard to the grouping of lights; that there shall be a superiority of one over the rest, that they shall be separated, and varied in their shapes, and that there should be at least three lights; the secondary lights ought, for the sake of harmony and union, to be of nearly equal brightness, though not of equal magnitude with the principal.

The Dutch Painters particularly excelled in the management of light and shade, and have shown, in this department, that consummate skill which entirely conceals the appearance of art.

Jan Steen, Teniers, Ostade, Du Sart, and many others of that school, may be produced as instances,

and recommended to the young artist's careful study' and attention.

The means by which the painter works, and on which the effect of his picture depends, are light and shade, warm and cold colours. That there is an art in the management and disposition of those means will be easily granted, and it is equally certain, that this art is to be acquired by a careful examination of the works of those who have excelled in it.

I shall here set down the result of the observations which I have made on the works of those artists who appear to have best understood the management of light and shade, and who may be considered as examples for imitation in this branch of the art.

Titian, Paul Veronese, and Tintoret, were among the first painters who reduced to a system what was before practised without any fixed principle, and consequently neglected occasionally. From the Venetian painters, Rubens extracted his scheme of composition, which was soon understood and adopted by his countrymen, and extended even to the minor painters of familiar life in the Dutch school.

When I was at Venice, the method I took to avail myself of their principles was this. When I observed an extraordinary effect of light and shade in any picture, I took a leaf of my pocket-book, and darkened every part of it in the same gradation of light and shade as the picture, leaving the white paper untouched to represent the light, and this without any attention to the subject, or to the drawing of the figures. A few trials of this kind will be sufficient to give the method of their conduct in the management of their lights. After a few experiments I found the paper blotted nearly alike: their general practice appeared to be, to allow not above a quarter of the

picture for the light, including in this portion both the principal and secondary lights; another quarter to be as dark as possible; and the remaining half kept in mezzotint or half shadow.

Rubens appears to have admitted rather more light than a quarter, and Rembrandt much less, scarce an eighth by this conduct Rembrandt's light is extremely brilliant, but it costs too much; the rest of the picture is sacrificed to this one object. That light will certainly appear the brightest which is surrounded with the greatest quantity of shade, supposing equal skill in the artist.

By this means you may likewise remark the various forms and shapes of those lights, as well as the objects. on which they are flung; whether a figure, or the sky, a white napkin, animals, or utensils, often introduced. for this purpose only. It may be observed likewise what portion is strongly relieved, and how much is united with its ground; for it is necessary that some part (though a small one is sufficient) should be sharp and cutting against its ground, whether it be light on a dark, or dark on a light ground, in order to give firmness and distinctness to the work; if on the other hand it is relieved on every side, it will appear as if inlaid on its ground. Such a blotted paper, held at a distance from the eye, will strike the spectator as something excellent for the disposition of light and shadow, though he does not distinguish whether it is a history, a portrait, a landscape, dead game, or any thing else; for the same principles extend to every branch of the art.

Whether I have given an exact account, or made a just division of the quantity of light admitted into the works of those painters, is of no very great consequence : let every person examine and judge for him

self: it will be sufficient if I have suggested a mode of examining pictures this way, and one means at least of acquiring the principles on which they wrought. R.

NOTE XL. VERSE 441.

Then only justly spread, when to the sight

A breadth of shade pursues a breadth of light.

The highest finishing is labour in vain, unless at the same time there be preserved a breadth of light and shadow; it is a quality, therefore, that is more frequently recommended to students, and insisted upon, than any other whatever; and, perhaps, for this reason, because it is most apt to be neglected, the attention of the artist being so often entirely absorbed in the detail.

To illustrate this, we may have recourse to Titian's bunch of grapes, which we will suppose placed so as to receive a broad light and shadow. Here, though each individual grape on the light side has its light, and shadow, and reflection, yet altogether they make but one broad mass of light: the slightest sketch, therefore, where this breadth is preserved, will have a better effect, will have more the appearance of coming from a master-hand, that is, in other words, will have more the characteristic and generale of nature, than the most laborious finishing, where this breadth is lost or neglected.

NOTE XLI. VERSE 469.

Which mildly mixing, every social dye
Unites the whole in loveliest harmony.

R.

The same method may be used to acquire that harmonious effect of colours, which was recommended