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.
The globe is well adapted for the general exemplification of the nature of chiaro-scuro, but it is not altogether sufficient. The softened unity of such complete rotundity tends to the vapoury, and in order to serve as a principle for effects of art, it should be composed of plane surfaces, so as to define the gradations more.
The Italians call this manner "il piazzoso;" in German it might be called "das Flächenhafte."[4] If, therefore, the sphere is a perfect example of natural chiaro-scuro, a polygon would exhibit the artist-like treatment in which all kinds of lights, half-lights, shadows, and reflexions, would be appreciable.—[Note EE].
The bunch of grapes is recognised as a good example of a picturesque completeness in chiaro-scuro, the more so as it is fitted, from its form, to represent a principal group; but it is only available for the master who can see in it what he has the power of producing.