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10

that may be sufficient [[strikeout]] do [[/strikeout]] to represent the hue of a dirty Beggar, are unfit for comparison with the rosy health of a Cherub Child, or the rich complexion of  vigorous Manhood.  Besides, the various effects of light and shade, in Modification with the almost infinite diversity of health and temperament, require the judicious use of every pigment which the chemist has discovered, in aid of the volcanic and other natural productions which are generally known, and these in the best states of preparation, together with the best modes of application -- taking it always for granted that none be used together which may chemically injure each other.  

Penumbra.

From pene, almost, and umbra, shadow.  Penumbra are not almost but real [[strikeout]] shadows [[/strikeout]] and positive shadows, occasioned by a less degree, but broader expanse of light-- They appear faint compared with contiguous shadows, cast by a more powerful and concentrated light.  

It is especially important to the Portrait painter to understand and consider well the nature and laws of lights, shadows, penumbra and reflections.  Whatever may be the size and height of the window by which he paints, the ceiling and walls of his Room are illuminated in different degrees, and exercise an influence on his shadows, not only in lessening their intensity, but in modifying their shapes.  A face illuminated by the direct rays of the Sun, exhibits every shadow with a sharp termination, and dark in proportion to the brightness of the light, which is uniform over surfaces presenting the same angle  to its influence.  Out of doors the intensity of shadows is greatly modified by light from the circumambient sky, with or without light clouds; but it is easy to understand that if a very bright cloud reflects on the shadowed side of the face, its influence will be also perceived in softening some of the shadowy parts among the lights.  In the less glaring light of the Painting Room, especially the nose, will exhibit penumbral shades caused by the secondary lights proceeding from [[strikeout]]at[[/strikeout]] the extremities of the window, and [[strikeout]] others [[/strikeout]] light object [[strikeout]] of [[/strikeout]] in the Room, [[strikeout]] and [[/strikeout]] producing greater breadth and blended softness to the shadows.  Shadows  are darkest near the projection that produce them, and all shadows are affected by some degree of light.