The Theory and Practice of Perspective Part 29

Let _L_ be the luminary. Raise vertical _LF_. _F_ will be the vanis.h.i.+ng point of the shadows on the ground. Draw _Lf_ parallel to _FS_. Drop _Sf_ from point of sight; _f_ (so found) is the vanis.h.i.+ng point of the shadows on the wall. For shadow of roof draw _LE_ and _fB_, giving us _e_, the shadow of _E_. Join _Be_, &c., and so draw shadow of eave of roof.

[Ill.u.s.tration: Fig. 282.]

For shadow of _K_ draw lines from luminary _L_ to meet those from _f_ the foot, &c.

The shadow of _D_ over the door is found in a similar way to that of the roof.

[Ill.u.s.tration: Fig. 283.]

Figure 283 shows how the shadow of the old man in the preceding drawing is found.

CLIX

SHADOW OF AN ARCH, SUN IN FRONT

Having drawn the arch, divide it into a certain number of parts, say five. From these divisions drop perpendiculars to base line. From divisions on _AB_ draw lines to _F_ the foot, and from those on the semicircle draw lines to _L_ the luminary. Their intersections will give the points through which to draw the shadow of the arch.

[Ill.u.s.tration: Fig. 284.]

CLX

SHADOW IN A NICHE OR RECESS

In this figure a similar method to that just explained is adopted. Drop perpendiculars from the divisions of the arch 1 2 3 to the base. From the foot of each draw 1S, 2S, 3S to foot of luminary _S_, and from the top of each, A 1 2 3 B, draw lines to _L_ as before. Where the former intersect the curve on the floor of the niche raise verticals to meet the latter at P 1 2 B, &c. These points will indicate about the position of the shadow; but the niche being semicircular and domed at the top the shadow gradually loses itself in a gradated and somewhat serpentine half-tone.

[Ill.u.s.tration: Fig. 285.]

CLXI

SHADOW IN AN ARCHED DOORWAY

[Ill.u.s.tration: Fig. 286.]

This is so similar to the last figure in many respects that I need not repeat a description of the manner in which it is done. And surely an artist after making a few sketches from the actual thing will hardly require all this machinery to draw a simple shadow.

CLXII

SHADOWS PRODUCED BY ARTIFICIAL LIGHT

[Ill.u.s.tration: Fig. 287.]

Shadows thrown by artificial light, such as a candle or lamp, are found by drawing lines from the seat of the luminary through the feet of the objects to meet lines representing rays of light drawn from the luminary itself over the tops or the corners of the objects; very much as in the cases of sun-shadows, but with this difference, that whereas the foot of the luminary in this latter case is supposed to be on the horizon an infinite distance away, the foot in the case of a lamp or candle may be on the floor or on a table close to us. First draw the table and chair, &c. (Fig. 287), and let _L_ be the luminary. For objects on the table such as _K_ the foot will be at _f_ on the table. For the shadows on the floor, of the chair and table itself, we must find the foot of the luminary on the floor. Draw _So_, find trace of the edge of the table, drop vertical _oP_, draw _PS_ to point of sight, drop vertical from foot of candlestick to meet _PS_ in _F_. Then _F_ is the foot of the luminary on the floor. From this point draw lines through the feet or traces of objects such as the corners of the table, &c., to meet other lines drawn from the point of light, and so obtain the shadow.

CLXIII

SOME OBSERVATIONS ON REAL LIGHT AND SHADE

Although the figures we have been drawing show the principles on which sun-shadows are shaped, still there are so many more laws to be considered in the great art of light and shade that it is better to observe them in Nature herself or under the teaching of the real sun. In the study of a kitchen and scullery in an old house in Toledo (Fig. 288) we have an example of the many things to be considered besides the mere shapes of shadows of regular forms. It will be seen that the light is dispersed in all directions, and although there is a good deal of half-shade there are scarcely any cast shadows except on the floor; but the light on the white walls in the outside gallery is so reflected into the cast shadows that they are extremely faint. The luminosity of this part of the sketch is greatly enhanced by the contrast of the dark legs of the bench and the shadows in the roof. The warm glow of all this portion is contrasted by the grey door and its frame.

[Ill.u.s.tration: Fig. 288.]

Note that the door itself is quite luminous, and lighted up by the reflection of the sun from the tiled floor, so that the bars in the upper part throw distinct shadows, besides the mystery of colour thus introduced. The little window to the left, though not admitting much direct sunlight, is evidence of the brilliant glare outside; for the reflected light is very conspicuous on the top and on the shutters on each side; indeed they cast distinct shadows up and down, while some clear daylight from the blue sky is reflected on the window-sill. As to the sink, the table, the wash-tubs, &c., although they seem in strong light and shade they really receive little or no direct light from a single point; but from the strong reflected light re-reflected into them from the wall of the doorway. There are many other things in such effects as this which the artist will observe, and which can only be studied from real light and shade. Such is the character of reflected light, varying according to the angle and intensity of the luminary and a hundred other things. When we come to study light in the open air we get into another region, and have to deal with it accordingly, and yet we shall find that our sciagraphy will be a help to us even in this bewilderment; for it will explain in a manner the innumerable shapes of sun-shadows that we observe out of doors among hills and dales, showing up their forms and structure; its play in the woods and gardens, and its value among buildings, showing all their juttings and ab.u.t.tings, recesses, doorways, and all the other architectural details. Nor must we forget light's most glorious display of all on the sea and in the clouds and in the sunrises and the sunsets down to the still and lovely moonlight.

These sun-shadows are useful in showing us the principle of light and shade, and so also are the shadows cast by artificial light; but they are only the beginning of that beautiful study, that exquisite art of tone or _chiaro-oscuro_, which is infinite in its variety, is full of the deepest mystery, and is the true poetry of art. For this the student must go to Nature herself, must study her in all her moods from early dawn to sunset, in the twilight and when night sets in. No mathematical rules can help him, but only the thoughtful contemplation, the silent watching, and the mental notes that he can make and commit to memory, combining them with the sentiments to which they in turn give rise. The _plein air_, or broad daylight effects, are but one item of the great range of this ever-changing and deepening mystery--from the hard reality to the soft blending of evening when form almost disappears, even to the merging of the whole landscape, nay, the whole world, into a dream--which is felt rather than seen, but possesses a charm that almost defies the pencil of the painter, and can only be expressed by the deep and sweet notes of the poet and the musician. For love and reverence are necessary to appreciate and to present it.

There is also much to learn about artificial light. For here, again, the study is endless: from the glare of a hundred lights--electric and otherwise--to the single lamp or candle. Indeed a whole volume could be filled with ill.u.s.trations of its effects. To those who aim at producing intense brilliancy, refusing to acknowledge any limitations to their capacity, a hundred or a thousand lights commend themselves; and even though wild splashes of paint may sometimes be the result, still the effort is praiseworthy. But those who prefer the mysterious lighting of a Rembrandt will find, if they sit contemplating in a room lit with one lamp only, that an endless depth of mystery surrounds them, full of dark recesses peopled by fancy and sweet thought, whilst the most beautiful gradations soften the forms without distorting them; and at the same time he can detect the laws of this science of light and shade a thousand times repeated and endless in its variety.

_Note._--Fig. 288 must be looked upon as a rough sketch which only gives the general effect of the original drawing; to render all the delicate tints, tones and reflections described in the text would require a highly-finished reproduction in half-tone or in colour.

As many of the figures in this book had to be re-drawn, not a light task, I must here thank Miss Margaret L. Williams, one of our Academy students, for kindly coming to my a.s.sistance and volunteering her careful co-operation.

CLXIV

REFLECTION

[Transcriber's Note: In this chapter, [R] represents "R" printed upside-down.]

Reflections in still water can best be ill.u.s.trated by placing some simple object, such as a cube, on a looking-gla.s.s laid horizontally on a table, or by studying plants, stones, banks, trees, &c., reflected in some quiet pond. It will then be seen that the reflection is the counterpart of the object reversed, and having the same vanis.h.i.+ng points as the object itself.

[Ill.u.s.tration: Fig. 289.]

Let us suppose _R_ (Fig. 289) to be standing on the water or reflecting plane. To find its reflection make square [R] equal to the original square _R_. Complete the reversed cube by drawing its other sides, &c.

It is evident that this lower cube is the reflection of the one above it, although it differs in one respect, for whereas in figure _R_ the top of the cube is seen, in its reflection [R] it is hidden, &c. In figure A of a semicircular arch we see the underneath portion of the arch reflected in the water, but we do not see it in the actual object.

However, these things are obvious. Note that the reflected line must be equal in length to the actual one, or the reflection of a square would not be a square, nor that of a semicircle a semicircle. The apparent lengthening of reflections in water is owing to the surface being broken by wavelets, which, leaping up near to us, catch some of the image of the tree, or whatever it is, that it is reflected.