DOI Page / Citation link:
https://doi.org/10.11588/diglit.19811#0029
18 Of D R A V/ I N G.
but where there happens the least Elevation, a Sha-
dow is produced, which exhibits the Figure os the
illuminated Part on the Plan. Light, though quite
contrary to Shadow, is yet what gives it its Being, as
the Body or Object is what gives its Form or Figure.
In effect it mud be held for a certain Maxim, that
Shadows always retain the same Point of Sight as the
Objects.
A lmall Light illumining a Body, occasicns the
Shadows on the unenlightened Side to be large, and
their Extremities to be very bold : On the ether
hand, a large Light makes the Shadow on the same
Side of the Body less distinct, and mere minute in
their Limitations : When a little, but strong Light
js inclosed in another more extensive, yet still more
weak, as the Sun in the Air; the most feeble, in that
Case, will have the Effect of a Shadow on the Bodies
which are enlightened by it.
In any Drawing, theresore, where a Multitude of
Figures are introduced, either Men or Beasts; you
must observe to make those appear the most obseure,
that are lowest, and farthest involved in the Croud.
Figures that are expos'd to an universal Light, ap-
pear more beautiful, and strike the Eye more agree-
ably, than those that are illumin'd only with a par-
ticular Light: And the Reason is, Because a large
and strong Light surrounds the Relievoes of Bodies ;
so that the Figures enlightened thereby appear with
Force and Freedom, and preserve themselves at a
great Distance ; whereas those that are more confined,
and only enlightened by a small contracted Light,
receive very large as well as very deep Shadows. You
must never admit two equal Lights in the same
Picture; and let the Light strike forcibly on the
Middle, or Front, of your Drawings.
And lafdy, when you draw your Figures, avoid
strong Shadows on the Middle of the Limbs : But
place those' Shadows round about them, thereby to
heighten the Parts; and take such advantageous
Lights
but where there happens the least Elevation, a Sha-
dow is produced, which exhibits the Figure os the
illuminated Part on the Plan. Light, though quite
contrary to Shadow, is yet what gives it its Being, as
the Body or Object is what gives its Form or Figure.
In effect it mud be held for a certain Maxim, that
Shadows always retain the same Point of Sight as the
Objects.
A lmall Light illumining a Body, occasicns the
Shadows on the unenlightened Side to be large, and
their Extremities to be very bold : On the ether
hand, a large Light makes the Shadow on the same
Side of the Body less distinct, and mere minute in
their Limitations : When a little, but strong Light
js inclosed in another more extensive, yet still more
weak, as the Sun in the Air; the most feeble, in that
Case, will have the Effect of a Shadow on the Bodies
which are enlightened by it.
In any Drawing, theresore, where a Multitude of
Figures are introduced, either Men or Beasts; you
must observe to make those appear the most obseure,
that are lowest, and farthest involved in the Croud.
Figures that are expos'd to an universal Light, ap-
pear more beautiful, and strike the Eye more agree-
ably, than those that are illumin'd only with a par-
ticular Light: And the Reason is, Because a large
and strong Light surrounds the Relievoes of Bodies ;
so that the Figures enlightened thereby appear with
Force and Freedom, and preserve themselves at a
great Distance ; whereas those that are more confined,
and only enlightened by a small contracted Light,
receive very large as well as very deep Shadows. You
must never admit two equal Lights in the same
Picture; and let the Light strike forcibly on the
Middle, or Front, of your Drawings.
And lafdy, when you draw your Figures, avoid
strong Shadows on the Middle of the Limbs : But
place those' Shadows round about them, thereby to
heighten the Parts; and take such advantageous
Lights