ABSTRACT
This chapter applies the term chiararo-scuro (Helldunkel) to the appearance of material objects when the mere effect produced on them by light and shade is considered. In a narrower sense a mass of shadow lighted by reflexes is often thus designated; but one uses the expression in its first and most general sense. The globe is well adapted for the general exemplification of the nature of Chiaro-scuro, but it is not altogether sufficient. The softened unity of complete rotundity tends to the vapoury, and in order to serve as a principle for the effects of art, it should be composed of plane surfaces, so as to define the gradations more. Modern examples may be found in single figures by Raphael, in entire works by Coreggio, and also by the Flemish masters, especially Rubens. Even the sculpture of the ancients could not be exempt from the influence of the propensity. The Egyptians painted their bas-reliefs; statues had eyes of coloured stones.
