Burnet, John: A treatise on painting: in four parts: Consisting of an essay on the education of the eye with reference to painting, ann four parts. Consisting of an essay on the education of the eye with reference to painting, and practid practical hints on composition, chiaroscuro and colour (London, 1837)

32 PRACTICAL HINTS ON

by taking a figure from some celebrated master, and designing others to
correspond with it; thereby imparting a grandeur of style to the whole.
So, by commencing with something sketched from nature, we give a
decided look of truth to the other parts of the picture.

Many painters model their groups for the purpose of obtaining a true
representation of the light and shade. Small figures, however rude in
form, will serve this purpose, and give the artist many invaluable hints.

Tintoretto and Coreggio, both great masters of chiaroscuro, are known
to have availed themselves of this method; and the student must have a
most erroneous idea of his art, who imagines excellence can be obtained
without the assistance of every auxiliary. The most learned arrange-
ments of light and shade may astonish; but there is a charm in the
chiaroscuro of nature which carries irresistible sway.

Plate VI. Fig. 6.

In this subject we have the dark group brought off the light side of the
background in the simplest and most decided manner; and the principles
of light and shade made applicable to giving the strong look of nature,
viz. breadth and solidity to the ground, and light and extent to the sky.
Rembrandt has often been accused of being artificial in his effects, but he
never misses his aim, either in representing the splendid emanations of
light, or the quiet depths of shadow; the peculiar character of an object,