is not absence of light, but light of _a different quality_ and of different value. Shadow is not a part of the landscape where light ceases, but where it is subordinate to a light which appears to us more intense. In the shadow the rays of the spectrum vibrate with different speed. The third conclusion resulting from this: the colours in the shadow are modified by _refraction_.... The colours mixed on the palette compose a dirty grey.... Here we touch on the very foundations of Impressionism. The painter will have to paint with only the seven colours of the spectrum, and discard all the others; that is what Claude Monet has done boldly, adding to them only black and white. He will, furthermore, instead of composing mixtures on his palette, place on his canvas touches of none but the seven colours _juxtaposed_, and leave the individual rays of each of these colours to blend at a certain distance, so as to act like sunlight itself upon the eye of the beholder.” CAMILLE MAUCLAIR. (“The French Impressionists.”) “Take a landscape with a cloudy sky, which means diffused light in the old sense of the term, and observe the effect upon it of a sudden burst of sunlight. What is the effect when considerable portions of the scene are suddenly thrown into marked shadow, as well as others illuminated with intense light? Is the absolute value of the parts in shadow lowered or raised? Raised, of course, by reflected light. Formerly, to get the contrast between sunlight and shadow in proper scales, the painter would have painted the shadows darker than they were before the sun appeared. Relatively they are darker, since their value, though heightened, is raised infinitely less than the value of the parts in sunlight. Absolutely their value is raised considerably. If therefore they are painted lighter than they were before the sun appeared, they in themselves seem true. The part of Monet’s picture that is in shadow is measurably true, far truer than it would have been if painted under the old theory of correspondence, and had been unnaturally darkened to express the relations of contrast between shadow and sunlight. Scale has been lost. What has been gained? Simply truth of impressionistic effect. Why? Because we know and judge and appreciate and feel the measure of truth with which objects in shadow are represented; we are insensibly more familiar with them in nature than with objects directly sun-illuminated, the value as well as the definition of which are far vaguer to us on account of their blending and infinite heightening by a luminosity absolutely overpowering. In a word, in sunlit landscapes objects in shadow are what customarily and