And now for another series of contrasts: those supplied by the lights and darks. In the original picture these contrasts would depend partly on the color of the various objects; but here, in the black and white reproduction, we may think of the pattern simply as one of very dark spots and very light ones, threaded together by others of varying depths of greyness. Again, what an important part the sky plays! It is a flood of light, against which everything forms a silhouette,[4] more or less dark, relieved by spots and streaks of light. The water, but for the pathway of reflection, is shrouded in shadow. Shadow, too, is wrapping itself round the tall building on the left, and slumbers drowsily among the trees on the opposite hill slopes. The artist, you will notice, has varied the distribution of shadows. On the left the gradation from very dark to very light is continuous. It is as if the first building struck a loud strong note, and the sound gradually diminished toward the distance. On the right, however, the foreground is lighter, and the dark gradually increases, swelling up, as they say in music, in a _crescendo_ effect and then passing in a _diminuendo_ far off into the distance. In fact, on both sides of