Smith, Thomas [Hrsg.]: The Art Of Drawing In Its Various Branches: Exemplified In A Course Of Twenty-Eight progressive Lessons, Calculated To Afford Those Who Are Unacquainted With The Art, The Means Of Acquiring A Competent Knowledge Without The Aid Of A Master ; Being The Only Work Of The Kind In Which The Principles Of Effect Are Explained In A Clear, Methodical, And At The Same Time Familiar Style. Illustrated With Coloured Designs And Numerous Wood Engravings (London, 1827)

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ON EFFECT.

LESSON XXVIII.

On Effect.

In speaking of the contrast of forms, I have intro-
duced many objects as contrasting others when the oppo-
sition was not perfect, but, on the contrary, more or less
broken by a mixture of harmony ; for instance, I have
said, that “ any line which if continued would cross an-
other line is a contrast to that line so it is ; but unless
that line cross the other at right angles, the contrast is
not perfect, but inclines more or less towards harmony,
in proportion as the lines approximate towards a parallel
situation : indeed, all the examples of contrast which I
have given, are so mingled with a certain proportion of
harmony, that they may all of them be introduced with-
out any fear of rendering the picture disturbed. In
making a drawing, the most powerful contrast as well
of light and shade, and colour, as of form, ought to exist
in the principal object, whilst all the other parts are kept
subdued, so that the eye may rest undisturbed on what
forms the subject of the picture, without being called
away by the superior force or brilliancy of some other
object of less importance. With this viewr, I have given,
in the subject of poultry drinking, the brightest colours
and most forcible contrast to the cock, whilst all the rest
is more or less subdued, and rendered subservient to
that one object. Had I rendered the dish which con-