The relative values of light and tone are entirely responsible for this appearance of advancing and retiring facets.

We shall see by this study also that passages furthest removed from the light centre, although they offer some planes parallel to the light, are generally lowered in tone, partly because of their greater distance from the light centre, and partly because of their local tones. The head, the feet, the knees, and the lower part of the abdomen are generally richer in colour, and therefore lower in tone, than the rest of the figure.

With but few exceptions, every figure or solid object has one predominating light passage, and it stands to reason that every other passage must be lowered in relation to it, however delicately in some instances, to enable it to predominate ; and the same applies to the tone value of shadows.

It is the realisation of the delicate differences of tone throughout the object painted, or throughout a picture containing many objects, that constitutes, in respect of light and shade, what is known as " breadth "-that is, au fond, that every part takes its right relative position, and its proper subordination to the main light or object [62] lighted. There is a lesson in what Sir W. S. Gilbert, the playwright, says : " Where every one is somebody, then no one's anybody." To the uninitiated it is sometimes difficult to distinguish the predominating light from others that are to all appearance equal to it in brilliancy ; but there is one unfailing method by which the relation of all the light and shaded surfaces can be so distinguished, and that is, by nearly closing the eyes when examining the model or subjects under observation. If, for instance, two light passages appear equal, the lids must be brought closer and closer together until one of these passages is almost lost to view. This will readily settle the claim of the lighter passage to distinction. The same method is applicable in arriving at a similar decision with regard to the relation of shadows, all intervening tones, and the general tonal aspect of the whole figure- in fact, of everything within range of the eye.

Once this method has been thoroughly grasped, there will be little more to learn about the theory of light and shade and tone values.

There are, however, some matters to be considered in connection with the rendering of these tone values in painting or. tone drawing ; for instance, where there is a light too brilliant to be rendered by pigment or clean white paper.

A bright sky, to say nothing of the sun itself presents to us such a problem.

If, with our eyes half closed, we compare this sky with the earth, trees, and so on, we should [63] reduce the earth to a tonality that would deprive it of all sense of the light that is playing over its surface. Here a compromise must be effected, the kind of compromise depending entirely on the temperament or the taste of the artist. He would not care to sacrifice the light on his landscape by way of conceding to his sky its approximate brilliancy. On the other hand, he may not see his landscape independent of its relation to the source of its lighting, as is so often done by those who are ignorant of the value of tone relations to their art. He must therefore settle the degree of lighting in his sky and of the tone of his ground which is imposed by the limitations of his materials.

Although as a general principle the value of tone relations must never be overlooked, we must be careful not to become pedantic about them.

There are some painters who, in painting a woman with brilliant diamonds about her, reduce the flesh tones and all others in endeavouring to give due value to the brilliancy of the jewels. In such a case the taste of the painter must decide the quality and the extent of the necessary compromise ; but where the predominating light passage is obtainable without strain, be guided by it absolutely-the quality of your surfaces demands it : for example, the high light on a white porcelain vase reduces by contrast what would be a white surface without that shining light to a low-toned one. The quality of the glaze is thus seen in nature, and thus rendered in painting or drawing.

[64] The reproducing of every kind of texture depends partly on drawing, but mainly on the tone value of their light, half-tone, and shadows. This will be clearly seen in a photograph of flesh, silk, satins, metals, and the like. Colour plays no part here, but tone alone is sufficient to render with the utmost fidelity such textures in the photographic print.

Photography is unwarrantably abused in our day by some painters, and I warn you most seriously about using the camera illegitimately, and so becoming the real camera fiend. But if you would learn the importance of tone value in your art, study photographs (not of your own making) from this point of view, and you will learn many a good lesson both about textures, modelling, and aerial perspective.

As an exercise in aerial perspective draw an interior, carefully contrasting (by the eye-closing method) the relative values of the objects in it, and be satisfied with your drawing (of course a toned one) only when you are, or rather when another person is, able to say that this chair is just so many feet away from the wall, or that other object so far from the chair, and so on.

I take it, of course, that your knowledge of linear perspective is adequate. If the room is lighted from behind you, you will find as a rule that the nearest lights and the nearest shadows are stronger both in tone and colour than the more [65] distant ones, even though their surface colours are unequal.

Do not attempt to paint or draw a figure, or any object, except the setting be that which you wish ultimately to realise. The tone of the setting or background is as much affected by the main object as that object is affected in tone by its setting. They act and react on each other, and the subtle differences thus brought about make all the difference in the quality of your drawing or painting.

Except perhaps in decorative or in imaginary subjects, keep to this rule ; and even in the carrying out of such work, be aided by nature's tones wherever it is possible, or your surface quality, its weight (or solidity), will suffer.

To this subject I shall have reason to return in the chapters devoted mainly to painting.

When you have mastered the foregoing lessons and have learned how to apply them, then and then only would I advise you to take up your palette.

Colour has a fatal fascination for us all ; it will not spoil for the keeping. Lay a sure foundation for your house, or the superstructure, which painting is, will be futile and of no avail.

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