sense a mass of shadow lighted by reflexes is often thus designated; but we here use the expression in its first and more general sense.
851.
The separation of light and dark from all appearance of colour is possible and necessary. The artist will solve the mystery of imitation sooner by first considering light and dark independently of colour, and making himself acquainted with it in its whole extent.
852.
Chiaro-scuro exhibits the substance as substance, inasmuch as light and shade inform us as to degrees of density.
853.
We have here to consider the highest light, the middle tint, and the shadow, and in the last the shadow of the object itself, the shadow it casts on other objects, and the illumined shadow or reflexion.
854.
The globe