Portioned

Sometimes this alternation is merely a reversal of contrasts; as that, after red has been for some time on one side, and blue on the other, red shall pass to blue's side and blue to red's. This kind of alternation takes place simply in four-quartered shields; in more subtle pieces of treatment, a little bit only of each colour is carried into the other, and they are as it were dovetailed together. One of the most curious facts which will impress itself upon you, when you have drawn some time carefully from Nature in light and shade, is the appearance of intentional artifice with which contrasts of this alternate kind are produced by her; the artistry with which she will darken a tree trunk as long as it comes against light sky, and throw sunlight on it precisely at the spot where it comes against a dark hill, and similarly treat all her masses of shade and colour, is so great, that if you only follow her closely, every one who looks at your drawing with attention will think that you have been inventing the most artificially and unnaturally delightful interchanges of shadow that could possibly be devised by human wit.

You will find this law of interchange insisted upon at length by Prout in his lessons on Light and Shade: it seems of all his principles of composition to be the one he is most conscious of; many others he obeys by instinct, but this he formally accepts and forcibly declares ["...light and shadow are respectively interchanged by way of contrast, but in similar proportions....."]

The typical purpose of the law of interchange is, of course, to teach us how opposite natures may be helped and strengthened by receiving each, as far as they can, some impress or reflection, or imparted power, from the other.