in miniature is bad, because a landscape is in itself a subject
sufficient for the employment both of pencil and eye; therefore
historical figures in a view, are lost and out of place.

12. Birds may be introduced with good effect, if thrown into proper
distance; to represent them _near_ is absurd: ruins and sea views are
the best subjects in which they can appear.

13. _Effect_ is to be produced best, by strong contrasts of _light_ and
_shade_ both in earth and sky; but the student's taste must determine
where these shall fall, and though the contrasts should be strong, yet
_gradation_, in both, must be observed.

14. A predominancy of _shade_ has the best effect; and light, though it
should not be scattered, must not be drawn, as it were, into one focus.

15. The light, in a picture, is best disposed when the fore-ground is
in shadow, and it falls in the middle; but this rule is subject to many
variations. Light should rarely be spread on the distance.[5]

[Footnote 5: Extraordinary and beautiful effects, however, are, by
superior painters, frequently produced by violating this latter rule.
The writer would particularly notice the results of light thrown into
the distance, in stormy sea-views.]

16. It is useful to know, that the shadows of morning are darker than
those of evening; also, that when objects are in _shadow_, their light
(as it is then a reflected light,) falls on the opposite side to that on
which it would come if they were enlightened.