LIGHT AND SHADE IN PAINTING. 27

darks are placed on the delicate half light, instead of on the strong light,
they have greater force, as the ground has a more retiring quality: the
strong colours have also a more natural appearance, as in the event of
colours being opposed to the glare of light, their brilliancy is destroyed.

A few small touches of light are sufficient to convey the light into the
dark side of the picture, and to take off the heaviness of the shadows.
In compositions, when the background is very dark, we find shining
substances, such as mirrors, metal, armour, &c. employed, as they take
on a sharp light, and thereby connect the shade with the light without
destroying its breadth; on the contrary, they add to its depth.

Plate VI. Fig. 2. .

When the light part of the group is placed upon the light side of the
ground, provided there can be sufficient firmness given, we must of
necessity have a greater breadth of effect. Vandyke has in this picture
kept the principal light upon the sleeve of the jacket (which makes the
most prominent point), and has diffused it upon the sky. The cool tints
of the shadows of the jacket, and part of a blue ribbon, detach it from the
under part of the sky, which is warm. The warm colouring of the boy,
and the cloak which he carries, and the king's breeches being of a dull