3. Blois.—White figures in boats, buttresses of bridge, dome of church on the right, for light; woman on horseback, heads of boats, for shadow. Note especially the isolation of the light on the church dome.
4. Chateau de Blois.—Torches and white figures for light, roof of chapel and monks' dresses for shade.
5. Beaugency.—Sails and spire opposed to buoy and boats. An exquisite instance of brilliant, sparkling, isolated touches of morning light.
6. Amboise.—White sail and clouds; cypresses under castle.
7. Chateau of Amboise.—The boat in the centre, with its reflections, needs no comment. Note the glancing lights under the bridge. This is a very glorious and perfect instance.
8. St. Julien, Tours.—Especially remarkable for its preservation of deep points of gloom, because the whole picture is one of extended shade.
I need scarcely go on. The above instances are taken as they happen to come, without selection. The reader can proceed for himself. I may, however, name a few cases of chiaroscuro more especially deserving of his study. Scene between Quillebœuf and Villequier,—Honfleur,—Light Towers of the Héve,—On the Seine between Mantes and Vernon,—The Lantern at St. Cloud,—Confluence of Seine and Marne,—Troyes,—the first and last vignette, and those at pages 36, 63, 95, 184, 192, 203, of Rogers's poems; the first and second in Campbell, St. Maurice in the Italy, where note the black stork; Brienne, Skiddaw, Mayburgh, Melrose, Jedburgh, in the illustrations to Scott, and the vignettes to Milton, not because these are one whit superior to others of his works, but because the laws of which we have been speaking are more strikingly developed in them, and because they have been well engraved. It is impossible to reason from the larger plates, in which half the chiaroscuro is totally destroyed by the haggling, blackening, and "making out" of the engravers.
[22] Compare Sect. II. Chap. II. § 6.