LANDSCAPE PAINTING
so used to picking nature to pieces, studying her in detail, considering the undertones by themselves, for instance, while we hold the overtones in abeyance, that we find no difficulty in separating the chiaroscuro from the color, and temporarily assuming a color-blindness if we have it not.
But values are a convention in still another sense. Our ability to counterfeit nature in a picture depends upon a palette made up of a certain number of dead pigments, whose scale of light and shade is ludicrously inadequate when compared with that of nature. Limited thus on the material side, the best we can do is to translate the infinite value-scale of nature into our sadly finite scale of pigments, and endeavor, by most careful balance, to adjust our means to our ends. This would be practically impossible were it not for the kindly
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