Let a b c d be the chest on which the work may be raised or lowered, so that the work moves up and down and not the painter.  And every evening you can let down the work and shut it up above so that in the evening it may be in the fashion of a chest which, when shut up, may serve the purpose of a bench.

[Footnote:  See Pl.  XXXI, No. 2.  In this plate the lines have unfortunately lost their sharpness, for the accidental loss of the negative has necessitated a reproduction from a positive.  But having formerly published this sketch by another process, in VON LUTZOW’S Zeitschrift fur bildende Kunst (Vol.  XVII, pg. 13) I have reproduced it here in the text.  The sharpness of the outline in the original sketch is here preserved but it gives it from the reversed side.]

On the best light for painting (513-520).

513.

Which light is best for drawing from nature; whether high or low, or large or small, or strong and broad, or strong and small, or broad and weak or small and weak?

[Footnote:  The question here put is unanswered in the original MS.]

514.

OF THE QUALITY OF THE LIGHT.

A broad light high up and not too strong will render the details of objects very agreeable.

515.

THAT THE LIGHT FOR DRAWING FROM NATURE SHOULD BE HIGH UP.

The light for drawing from nature should come from the North in order that it may not vary.  And if you have it from the South, keep the window screened with cloth, so that with the sun shining the whole day the light may not vary.  The height of the light should be so arranged as that every object shall cast a shadow on the ground of the same length as itself.

516.

THE KIND OF LIGHT REQUISITE FOR PAINTING LIGHT AND SHADE.

An object will display the greatest difference of light and shade when it is seen in the strongest light, as by sunlight, or, at night, by the light of a fire.  But this should not be much used in painting because the works remain crude and ungraceful.

An object seen in a moderate light displays little difference in the light and shade; and this is the case towards evening or when the day is cloudy, and works then painted are tender and every kind of face becomes graceful.  Thus, in every thing extremes are to be avoided:  Too much light gives crudeness; too little prevents our seeing.  The medium is best.

OF SMALL LIGHTS.

Again, lights cast from a small window give strong differences of light and shade, all the more if the room lighted by it be large, and this is not good for painting.

517.

PAINTING.

The luminous air which enters by passing through orifices in walls into dark rooms will render the place less dark in proportion as the opening cuts into the walls which surround and cover in the pavement.

518.

OF THE QUALITY OF LIGHT.