fade. His paper lines and proportions are of no value: all that he has to do must be done by spaces of light and darkness; and his business is to see that the one is broad and bold enough not to be swallowed up by twilight, and the other deep enough not to be dried like a shallow pool by a noon-day sun.
And, that this may be, the first necessity is that the quantities of shade or light, whatever they may be, shall be thrown into masses, either of something like equal weight, or else large masses of the one relieved with small of the other; but masses of one or other kind there must be. No design that is divided at all, and yet not divided into masses, can ever be of the smallest value: this great law respecting breadth, precisely the same in architecture and painting, is so important, that the examination of its two principal applications will include most of the conditions of majestic design on which I would at present insist.
XIV. Painters are in the habit of speaking loosely of masses of light and shade, meaning thereby any large spaces of either. Nevertheless, it is convenient sometimes to restrict the term 'mass' to the portions to which proper form belongs, and to call the field on which such forms are traced, interval. Thus, in foliage with projecting boughs or stems, we have masses of light, with intervals of shade; and in light skies with dark clouds upon them, masses of shade, with intervals of light.
This distinction is, in architecture, still more necessary; for there are two marked styles dependent upon it: one in which the forms are drawn with light upon darkness, as in Greek sculpture and pillars; the other in which they are drawn with darkness upon light, as in early Gothic foliation. Now, it is not in the designer's power determinately to vary degrees and places of darkness, but it is altogether in his power to vary in determined directions his degrees of light. Hence the use of the dark mass characterizes, generally, a trenchant
