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in this experiment are which [[strikethrough]]were are[[/strikethrough]] not illuminated by the White Muslin. It strikingly [[strikethrough]]This experiment[[/strikethrough]] shows how Colours are influenced by [[strikethrough]]the Medium through which they are seen, & by harmony or[[/strikethrough]] Contrast, and indicates the importance of judiciously introducing the blueish tints in their penumbral situations as they best appear when the Northern sky is illuminated by a broad expanse of white clouds. It is therefore manifest that a South window, [[strikethrough]]which is said to be the favorite light of Titian -[[/strikethrough]] receiving the light from the Sun, softened by ground glass, thin Muslin or paper, produces a more uniform tone of flesh, because it receives no influence from the blueness [[strikethrough]]a blue[[/strikethrough]] sky; the gray tints are therefore scarcely perceptible, & chiefly dependent on the blue veins or downy edges of the skin. It is said that Titian painted in such a light - his flesh tints exhibiting such a general warmth of hue. This arrangement of light, however, is objected to by reason of the occasional crossing [[strikethrough]]of a[[/strikethrough]] cloud.

This experiment was suggested by the occasioned by a disadvantage often experienced in finishing a Portrait, under a North window, during a long clear spell of weather, without the benefit of a passing white cloud, to [[strikethrough]]light[[/strikethrough]] brighten up the face of the Sitter for which I have worked day after day - [[strikethrough]]an advantage which every Painter knows how to appreciate.[[/strikethrough]] My experiment was with a view to make an artifical cloud [[strikethrough]]and have a white cloud always at command[[/strikethrough]]; but with the ill success & surprise here mentioned - which, nevertheless, resulted in useful conclusions.

Guido  Light - Artificial Sky light.

Very few Rooms afford a good light for the Portrait Painter. The window should be high & long, emitting the chief light [[strikethrough]]from above[[/strikethrough]], at an Angle of 45 degrees; the shadows being [[strikethrough]]then[[/strikethrough]] modified by [[strikethrough]]more or[[/strikethrough]] less light from the lower portion of the window. From examination of the Paintings by Guido, I was satisfied that he used a double light - a high principal [[strikethrough]]light[[/strikethrough]] one, & a lesser [[strikethrough]]low light[[/strikethrough]] one to diminish[[strikethrough]]ing[[/strikethrough]] the force of his shadows, & produc[[strikethrough]]ing[[/strikethrough]] a broad penumbral effect. This suggested to me a Contrivance to procure the same Advantage in an ordinary Room, by means of a Metal Reflector, which I have used with decided benefit. It is 34 inches long, & 22 inches wide, & is suspended [[strikethrough]]midway[[/strikethrough]], 7 feet 3 inches from the floor, from a projecting arm of an upright post, which rests on a base, moveable on  Casters, to admit of easy adjustment

* The English atmosphere is more favorable to the Portrait Painter because the sky is seldom blue. [[strikethrough]]I have waited in America to five days for the chance of a cloud to finish a Portrait.[[/strikethrough]] 





















































































































































































































































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