1. Further research has led me to paint Alexander's horse black. This color change forced me to lighten the area behind and introduce an arched darkened doorway. Why? As this is an area of maximum interest the 'light against dark and dark against light' assumes greater importance. The arch of my door 'frames' Alexander's head but is positioned so as not to interfere with the dark horse.

2. As I increased the amount of misty light behind the dark soldiers on the right I needed a balance on the left so I shifted the ground highlight from beneath Alexander's feet to the left of the King's chair.

3. Foreground logic. As figures, sheep or objects become more distant from the light source their highlights change from yellow to orange to red - as does the light source itself.

4. I have done some minor alterations in the skyline as I dropped the top border three inches. The profile of the tallest building is changed and reduced (yet again). The old -new, stone - timber and not quite vertical or strict nature of the architecture is retained. I have added a purple glaze to the topmost sky to unify the red with the foreground.

Note the color of the horse changes from brown to black.

I am now nearing the stage I call presentation. Glaze sky with thalo and begin to spend time detailing, edging etc. Remember this painting is not only about art, it is also a narrative about lateral thinking - and about communicating that idea. The construction of the painting is pitched to the exotic, to sentiments of heroes and villians.

'Turn him to any cause of policy,
The Gordian Knot of it he will unloose,
Familiar as his garter' ....Shakespear (HenryV, 1.i)

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