keeping the eye from the real subject. It may be objected, however,
that it is natural that the contrasts should be stronger in the
foreground. Yes; but in looking straight at the clock-tower one does
not see any such dark shadow at the top of the very uninteresting
building in the left foreground. The camera saw it, because the
camera with its hundred eyes sees everything, and does not interest
itself about any one thing in particular. Besides, if the keeper
of the shop had the bad taste to paint it dark we are not bound
to make a record of the fact; nor need we assume that it was done
out of regard to the pictorial possibilities of the street. We
decide, therefore, to render, as faithfully as we may, the values
of the clock-tower and its immediate surroundings, and to disregard
the discordant elements; and we have no hesitation in selecting
for principal emphasis in our drawing, Fig. 40, the shadow under
the projecting building. This dark accent will count brilliantly
against the foreground and the walls of the buildings, which we
will treat broadly as if white, ignoring the slight differences
in value shown in the photograph. We retain, however, the literal
values of the clock-tower and the buildings underneath it, and
express as nearly as we can their interesting variations of texture.
The buildings on the right are too black in the photograph, and
these, as well as the shadow thrown across the street, we will
considerably lighten. After some experiment, we find that the building
on the extreme left is a nuisance, and we omit it. Even then, the
one with the balcony next to it requires to be toned down in its
strong values, and so the shadows here are made much lighter, the
walls being kept white. It will be found that anything like a strong
emphasis of the projecting eaves of the building would detract
from the effect of the tower, so that the shadow under the eaves
is, therefore, made grayer than in the photograph, while that of