Light and lighting . nting(Fig. 3) with greenish-blue rays added tothe uncoloured artificial light. The effect of quality of light on apainting is well illustrated in Fig. 2by means of a specially painted picture. 4^ S \ I \ N / \ / \ \\ / X \ ->/X x > Fig. 4.—Showing details of arrangement of reflector and lights ; specially coloured lights are selected for each picture. Under an orange coloured illuminationthe mountain and objects in middledistance have completely many paintings the effect of injectingrays of proper colour gives the picturean atmosphere quite lacking und
Light and lighting . nting(Fig. 3) with greenish-blue rays added tothe uncoloured artificial light. The effect of quality of light on apainting is well illustrated in Fig. 2by means of a specially painted picture. 4^ S \ I \ N / \ / \ \\ / X \ ->/X x > Fig. 4.—Showing details of arrangement of reflector and lights ; specially coloured lights are selected for each picture. Under an orange coloured illuminationthe mountain and objects in middledistance have completely many paintings the effect of injectingrays of proper colour gives the picturean atmosphere quite lacking underartificial illumination. In the lighting of paintings the writerheartily endorses the specific treatmentof each picture with light properly dis-tributed or directed and of carefullychosen colour-value and intensity. Thisis an easy matter when treating lonepaintings but becomes more difficultin large exhibits where pictures must becrowded together in utter and often e 2 160 THE \ATI.\<; ENGINEEB (march). G.— How pictures should not be bung;
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