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fol. 53v 	 'Of Truth of Chiaroscuro'  (Pt II, Sn II, Ch III)    (3.316-17)
      
      
      
     But - even supposing that this were a<n> true representation of a point of light
     where are our points of darkness -   The whole picture - walls and figures
     and ground is one mass of deep shade - through which the <figures[?] and>
     details are ^ {indeed} most marvellously given - when we look close -  but which
 5   totally precludes all possibility of giving a single point or key note
     of shade .      Now <in> nature - just so <much> {far} as she raised the cows
     head above ^ {all} this middle tint in light , would have put some hole
     ^ {in the wall} <or pair of boots> or black <hat> ^  {piece of dress} - or something ,
     					       			below all this middle
     tint in shadow -  just as violent - & just as conspicuous - in shade
10   as the head is violent & conspicuous in light .    Whatever she
     threw  into shade by her brilliancy - she would throw into light
     again by her depth   . ^ {using only points of both}   Consequently  Berghem gives us
     	        only two legs
     of chiaroscuro to stand upon - {while} Nature never ^ {by any chance} does without
     					      three -
     Now I have chosen this picture because I consider it an exceedingly clever
15   and studied one . & by a master less disposed to tricks of chiaroscuro than
     most of the old masters  .  But it will be evident to the reader that in
     the same way - and in a far <high> greater degree - those masters are false
     who are commonly held up as the great examples of management of chiaroscuro .
     All erred - exactly in proportion as they <paid greater attention to> {plunged with
     greater energy into} the jackalantern
20   chase  -  Rembrandt most fatally & constantly - next to him Correggio -
     next Titian - Paulo Ver<*…..*>onese - & the ^ {rest of the} Venetians - The
     	         Florentines &
     the Romans kept right because they did not care one straw about the
      
fol. 54r	'Of Truth of Tone' (Pt II, Sn II, Ch  I)    (3.271?)
     
      
      
      
												31
     admit of a change of light & climate in different parts of it .  The top of a
     mountain is always in a different climate from the bottom, and its 	
     tones of colour totally different .  But in small spaces . such as are
     included in historical pictures  - or groups of figures.  the climate
 5   must generally be the same - & the light the same - over all.  There
     may indeed be a sky <of> under a different light from that which illumines
     the figures . but not one fig. under* a different light from the rest -
     unless by some accident or trickery  .
     Nor is it merely the luminous parts of the picture which are affected
10   by the quality of the light - for as in its shadows, all that is seen , is
     seen by the same light, indirectly dispersed , the objects in the shadows
     so far as they are seen , are affected by its tone .   <It> And though there
     is much license of colour - in shadows . owing to the numerous mingled
     effects of accidental reflections - and direct rays interfering between them
15   and the eye - yet the relation of colours in them is as determined &
     imperative as in the lights - and <th> a
     <Nor is tone dependent on the colour>
     Now there are two qualities of light more carefully to be distinguished
     in speaking of the tone of a picture .   1st .  Its own actual colour, which
20   falls more or less on every thing which it touches - neutralizing the
     colours existing in the objects themselves .  Such is the well known pure
     rose colour which the rays of the sun assume five minutes before sunset .  	
      

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