DOI Page / Citation link:
https://doi.org/10.11588/diglit.19949#0057
LIGHT AND SHADE.
53
with which the bridge is treated, it is brought forward
to the eye as a principal object; but it docs not, never-
theless, occupy the centre of the composition, nor does
the stream flow in a direct course down the centre of the
drawing, nor the mountain rise to a cone equidistant from
both sides. These dispositions are effected with a view
to avoid that balanced formality against which we have
cautioned the learner. Again, with respect to the arch,
it contrasts with the irregular shapes of the rocks and
stones lying near it ; and no two of these are of like
form. The lines, descriptive of the descent of the moun-
tain, necessarily tend in one direction; but a formal
parallelism is avoided, and the lines are modified by
light and shade. In artificial objects parallels necessarily
occur, as in buildings of all kinds ; but such lines and
parts are rather indicated than harshly forced upon the
eye; and, by the aid of light and shadow, they are reduced
to purer breadth and harmony.
LIGHT AND SHADE.
In an outline sketch, it is found that outline alone is
inadequate to the representation of an object in relief; it
cannot give substance, nor define relative distances so as
to maintain the objects in their proper places. We have
urged the necessity of judicious selection of subject matter,
and we have now to observe, that, how well soever the
subject may admit of composition, it is yet necessary that
53
with which the bridge is treated, it is brought forward
to the eye as a principal object; but it docs not, never-
theless, occupy the centre of the composition, nor does
the stream flow in a direct course down the centre of the
drawing, nor the mountain rise to a cone equidistant from
both sides. These dispositions are effected with a view
to avoid that balanced formality against which we have
cautioned the learner. Again, with respect to the arch,
it contrasts with the irregular shapes of the rocks and
stones lying near it ; and no two of these are of like
form. The lines, descriptive of the descent of the moun-
tain, necessarily tend in one direction; but a formal
parallelism is avoided, and the lines are modified by
light and shade. In artificial objects parallels necessarily
occur, as in buildings of all kinds ; but such lines and
parts are rather indicated than harshly forced upon the
eye; and, by the aid of light and shadow, they are reduced
to purer breadth and harmony.
LIGHT AND SHADE.
In an outline sketch, it is found that outline alone is
inadequate to the representation of an object in relief; it
cannot give substance, nor define relative distances so as
to maintain the objects in their proper places. We have
urged the necessity of judicious selection of subject matter,
and we have now to observe, that, how well soever the
subject may admit of composition, it is yet necessary that