local color rather than to the direction of the light, which strikes
the nearer tower from the right, the rest of the walls being in
shadow. While the black areas of the picture are large enough to
carry a mass of gray without sacrificing the sunny look, such a
scheme would be likely to produce a labored effect. Two alternative
schemes readily suggest themselves: First, to make the archway the
principal dark, the walls light, with a light half-tone for the
roof, and a darker effect for the trees on the right. Or, second,
to make these trees themselves the principal dark, as suggested by
the photograph, allowing them to count against the gray of the
roof and the ivy of the tower. This latter scheme is that which
has been adopted in the sketch, Fig. 38.

[Illustration: FIG. 38 C. D. M.]

It will be noticed that the trees are not nearly so dark as in
the photograph. If they were, they would be overpowering in so
large an area of white. It was thought better, also, to change the
direction of the light, so that the dark ivy, instead of acting
contradictorily to the effect, might lend character to the shaded
side. The lower portion of the nearer tower was toned in, partly
to qualify the vertical line of the tower, which would have been
unpleasant if the shading were uniform, and partly to carry the
gray around to the entrance. It was thought advisable, also, to
cut from the foreground, raising the upper limit of the picture
correspondingly. (It is far from my intention, however, to convey
the impression that any liberties may be taken with a subject in
order to persuade it into a particular scheme of composition; and
in this very instance an artistic photographer could probably have
discovered a position for his camera which would have obviated the