DOI Page / Citation link:
https://doi.org/10.11588/diglit.18972#0137
LETTER I.]
ON FIRST PRACTICE.
109
is afterwards to enclose the form, the painter will
strike a broad dash of this shade beside his outline
at once, looking as if he meant to thicken the out-
line ; whereas this broad line is only the first instal-
ment of the future shadow, and the outline is really
drawn with its inner edge. And thus, far from good
draughtsmen darkening the lines which turn away
from the light, the tendency with them is rather to
darken them towards the light, for it is there in gene-
ral that shade will ultimately enclose them. The best
example of this treatment that I know is Eaphael's
sketch, in the Louvre, of the head of the angel pur-
suing Heliodorus, the one that shows part of the left
eye; where the dark strong lines which terminate
the nose and forehead towards the light are opposed
to tender and light ones behind the ear, and in other
places towards the shade. You will see in Fig. 11.
the same principle variously exemplified; the prin-
cipal dark lines, in the head and drapery of the arms,
being on the side turned to the light.
All these refinements and ultimate principles,
ON FIRST PRACTICE.
109
is afterwards to enclose the form, the painter will
strike a broad dash of this shade beside his outline
at once, looking as if he meant to thicken the out-
line ; whereas this broad line is only the first instal-
ment of the future shadow, and the outline is really
drawn with its inner edge. And thus, far from good
draughtsmen darkening the lines which turn away
from the light, the tendency with them is rather to
darken them towards the light, for it is there in gene-
ral that shade will ultimately enclose them. The best
example of this treatment that I know is Eaphael's
sketch, in the Louvre, of the head of the angel pur-
suing Heliodorus, the one that shows part of the left
eye; where the dark strong lines which terminate
the nose and forehead towards the light are opposed
to tender and light ones behind the ear, and in other
places towards the shade. You will see in Fig. 11.
the same principle variously exemplified; the prin-
cipal dark lines, in the head and drapery of the arms,
being on the side turned to the light.
All these refinements and ultimate principles,