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So, [[underline]]as to assist the pictorial tone contrast of light and shadow[[/underline]]. Since I do [[undeline]] not [[/underline]] want to [[underline]]sacrifice [[/underline]] any color. It is the principal beauty of nature in pure sun light, although impossible to separate from the tone contrast. Herein lies the difficulty, the [[underline]] problem of the pictorial colorist,[[/underline]] as against impressionistic (Monet) illustration of luminous atmosphere which too much sacrifices color, destroys the breadth of pigment. It is, of course, an individual, temperamental conception of nature. 
6) All [[underline]]upright planes [[/underline]], even those not fully white, as grey objects, lit by the sun, are [[underline]]strong pure yellow [[/underline]] while the [[underline]]horizontal are rose [[/underline]] (reflecting both sun and sky, yellow, white, blue producing rose); those planes which are facing South, SW, and upright, being the yellowest or whitest; those which are also vertical but North West, are more rose or orange, having some sunlight, and much reflex from the distance, those sloping up and being lit, are roseviolett [several diagrams of light rays hitting planes], since they are midway between vertical and horizontal planes. [a diagram of shadow] walls NE are in shadow, but receive violettish, or orange reflected light; [another diagram of shadow] those, in shadow, South East facing, reflect the southern blue sky; [roof diagram] roofs inclined, North East, reflect blue sky; 7) [[underline]]Local grey color added to colors not quite pure [[/underline]] adds to the character; and increases the purity of clear pigment.

(87 [[in pencil]]