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or Pace Half Space

colour, hue, light, half-tint, dark and objects

HALF SPACE, or PACE, as it is sometimes called, a resting place in a dot?!.de parallel-flighted stair, where the higher riser of the lower flight is in the same vertical plane with the lowest riser of the higher flight. Also any raised platform such as the dais at the upper end of the halls of the middle ages.

Hats-TEINT, now more generally written Half-Tint, in painting, is, precisely speaking, the teint which lies exactly midway between the extreme light and the extreme dark which any colour is capable of receiving and reflecting. But painters use it in a far more general sense, viz., as inclusive of almost all the intermediate gradations between these two points ; and therefore regard all objects, in what relates to colour and ehiaro-oscuro, as composed of these three—liyht, dark, and or Flow much of the vision of objects is included within the sphere of half-tint, may be illustrated by imagining a ball of ivory placed opposite the sun, and viewed in nearly the same direction. In this situation, a small portion of it will reflect an image of the sun to the eye of the observer, which image, in the language of artists, will be termed its high-light. Towards its lower part a very small portion will be lust in shade. The fir greater part of the ball, not reflecting light enough to come under the limner of these denominations, nor being sufficiently deprived of it to receive the latter, is recog nized under the term we are now discussing.

When pictures therefore represent the ordinary effect of day-light, where the illumination produces breadth of light, as the sun does, and still more in that kind of light produced by an illumined atmosphere when the sun is not clearly seen, it is evident that half-tint must be the reigning portion of tone and colour in them. Add to this that as objects recede in the plane of the picture from the source of light, they fall into comparative halt:tint, their high-lights and shadows participating of the hue with which the intervening atmos phere envelopes them. From both these causes it may Eddy

be reckoned that nine-tenths at least, and it greater propor tion occasionally, in subjects of this nature, will be half-tint, unless artificial shadows are introduced.

This being the case, too much attention cannot be given to the management of the half-tint, as it produces the pre vailing tone of colour in the picture. The difficulty lies in giving each colour introduced a gradation participating of the same hue, but at the same time preserving the true characters of the original colours in the whole. The reason of blending this one hue with all colours is made evident by considering the mode of operation adopted by nature, in which all gradations of shade are the effect of privation of light, and consequently of colour, which depends upon it, till at last every colour is lost in one dark hue, by the total lack of illutninution ; and that hue is alike with all. It is that hue, therefore, in different degrees, which produces the gra dation from extreme light to dark, and which, acting equally on all, produces harmony in the effects by breaking each with a participation of itself.

This is the simplest mode of producing the half-tint, and maintaining it with an harmonious effect throughout the various parts of a picture. It will of course allow of inter mixtures of reflections, either from parts of the same body, as in the folds of draperies, or from different coloured objects acting upon each other; and thus with its simplicity, rich ness and variety may be combined. What the hue of the dark shade with which it is produced, may be, depends entirely upon the taste of the painter, and the nature of the illumination. One only rule can be given. It ought, in its mixture with the light, or local colour, to produce a tint more cool than that in its hue.