So much for the older method of considering the relations between light and dark. The modern one, depending on the light and dark of values, derived from the example of Velasquez and of Vermeer and other Dutchmen of the Seventeenth Century, I have recently explained in connection with Whistler’s _White Girl, Symphony in White Number Two_. So I will only remind you that in this picture there is practically no contrast of shadow. The whole scene is bathed in a uniform light. But the contrast of dark is obtained by putting in certain objects, the red box, the blue vase, and so on, the values of which are lower than that of the white dress. The artist has thought of darkness, not as the result of shadow, but of certain colors being darker in themselves, because they reflect less light than others. If this is not quite clear to you, perhaps it will be, if you refer to the chapter in which this picture is discussed.