what on the other; and where they are more or less apparent, or broad, or slender. Lastly, take care that the shadows and lights be united, or lost in each other; without any hard strokes, or lines: as smoke loses itself in the air, so are your lights and shadows to pass from the one to the other, without any apparent separation.
When you have acquired the habit, and formed your hand to accuracy, quickness of execution will come of itself[1].
Chap. CLXXXII.—How the Painter is to place himself in regard to the Light, and his Model.
Let A B be the window, M the centre of it, C the model. The best situation for the painter will be a little sideways, between the window and his model, as D, so that he may see his object partly in the light and partly in the shadow.
Chap. CLXXXIII.—Of the best Light.
The light from on high, and not too powerful, will be found the best calculated to shew the parts to advantage.
- ↑ Sir Joshua Reynolds frequently inculcated these precepts in his lectures, and indeed they cannot be too often enforced.
