[Illustration: FIG. 31 JOSEPH PENNELL]

Still another and a more restful scheme is the actual gradation
of color. This gradation, from black to white, wherein the white
occupies the centre of the picture, is to be noted in Fig. 20.
Observe how the dark side of the foreground tree tells against the
light side of the one beyond, which, in its turn, is yet so strongly
shaded as to count brilliantly against the white building. Still
again, in Mr. Goodhue's drawing, Fig. 30, note how the transition
from the black tree on the left to the white building is pleasingly
softened by the gray shadow. Notice, too, how the brilliancy of
the drawing is heightened by the gradual emphasis on the shadows
and the openings as they approach the centre of the picture. Yet
another example of this color-scheme is the drawing by Mr. Gregg,
Fig. 50. The gradation here is from the top of the picture downwards.
The sketch of the coster women by Mr. Pennell, Fig. 31, shows this
gradation reversed.

The drawing of the hansom cab, Fig. 32, by Mr. Raven Hill, illustrates
a very strong color-scheme,--gray and white separated by black,
the gray moderating the black on the upper side, leaving it to
tell strongly against the white below. Notice how luminous is this
same relation of color where it occurs in the Venetian subject by
Rico, Fig. 14. The shadow on the water qualifies the blackness
of the gondola below, permitting a brilliant contrast with the
white walls of the building above.

It is interesting to observe how Vierge and Pennell, but chiefly the
former, very often depend for their grays merely upon the delicate