XXI.THE HIGHEST SWELLINGS IN THE OUTLINESHere the highest swellings in the outlines are indicated, so that the proper undulations following the bone forms may be secured

XXII. THE ATTACHMENT OF THE FOOT IN THIS VIEW

XXIII. PROFILE VIEW OF THE LEG

[59]

CHAPTER VI

LIGHT AND SHADE

IT is a curious phenomenon that although children and savages give evidences of an elementary sense of form, and are of course conscious of the solidity of objects, they are not conscious of the signs which convey that sense of the solid to the eye and mind.

Whether the pre-Raphaelite painters were ignorant of these signs or purposely ignored them is not certain, but Leonardo da Vinci blames his contemporaries for their ignorance in this respect ; and we might conclude that he was amongst the first to discover the part played by light and shadow in producing this sense of the solid.

The elementary principles of chiaroscuro are now patent to all artistically cultivated minds, and my readers, I feel sure, understand them up to a point. The distinction between definite light and marked shadow is sufficiently obvious ; but that a painter's modelling is due almost entirely to the knowledge, and a capacity to use that knowledge, of tone relations, is not generally appreciated. Yet modelling is perfectly simple [60] to understand when the main governing principles are grasped.

Plates XXIV. and XXV. should make the matter fairly clear.

Here we have objects, the surfaces of which are composed of a large number of planes or facets.

We shall see that the facet parallel with the FIG. 12 source of light predominates, and that the others, in proportion as they recede from the source of light, are toned and shaded.

Objects are not all composed of angles and the planes made by them, as in these examples, but the underlying principle is the same whether it is applied to curves or angles, the tones being only more suavely merged in the former case. This I have endeavoured to demonstrate in the study of a man, here reproduced.

The lightest passage, on and above the arch of the ribs, is parallel to the light; the tone above marks the receding plane of the pectorals ; and below, the general plane of the abdomen that falls [61]in towards the legs. The upper part of the legs advances again to the light, toning as the legs curve slightly under towards the knees, the left lower leg protruding again and offering a surface to the light, so that the waves of surface are seen as it were to undulate from the head to the foot.

XXIV. FACET MODELS
The light facet parallet with the source of illumination, the toned facets receding from it

XXV.
Figure in a lighting similar to that of the facet models on the opposite page