Theory and Practice of Perspective (Illustrated)
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Theory and Practice of Perspective (Illustrated) Overview
PREFACE
It is much easier to understand and remember a thing when a reason is given for it, than when we are merely shown how to do it without being told why it is so done; for in the latter case, instead of being assisted by reason, our real help in all study, we have to rely upon memory or our power of imitation, and to do simply as we are told without thinking about it. The consequence is that at the very first difficulty we are left to flounder about in the dark, or to remain inactive till the master comes to our assistance.
Now in this book it is proposed to enlist the reasoning faculty from the very first: to let one problem grow out of another and to be dependent on the foregoing, as in geometry, and so to explain each thing we do that there shall be no doubt in the mind as to the correctness of the proceeding. The student will thus gain the power of finding out any new problem for himself, and will therefore acquire a true knowledge of perspective.
vii
CONTENTS
BOOK I
page
The Necessity of the Study of Perspective To Painters, Sculptors, and Architects 1
What Is Perspective? 6
The Theory of Perspective: I.
Definitions 13
II.The Point of Sight, the Horizon, and the Point of Distance. 15
III. Point of Distance 16
IV. Perspective of a Point, Visual Rays, &c. 20
V.Trace and Projection 21
VI.Scientific Definition of Perspective 22
Rules:
VII.The Rules and Conditions of Perspective 24
VIII. A Table or Index of the Rules of Perspective 40
BOOK II The Practice of Perspective:
IX. The Square in Parallel Perspective 42
X. The Diagonal 43
XI. The Square 43
XII. Geometrical and Perspective Figures Contrasted 46
XIII.Of Certain Terms made use of in Perspective 48
XIV. How to Measure Vanishing or Receding Lines 49
XV.How to Place Squares in Given Positions 50
XVI.How to Draw Pavements, &c. 51
XVII. Of Squares placed Vertically and at Different Heights, or the Cube in Parallel Perspective 53
XVIII.The Transposed Distance 53
XIX.The Front View of the Square and of the Proportions of Figures at Different Heights 54
XX. Of Pictures that are Painted according to the Position they are to Occupy 59
XXI.Interiors 62
XXII. The Square at an Angle of 45° 64
XXIII. The Cube at an Angle of 45° 65
XXIV. Pavements Drawn by Means of Squares at 45° 66
XXV. The Perspective Vanishing Scale 68
viii XXVI. The Vanishing Scale can be Drawn to any Point on the Horizon 69
XXVII. Application of Vanishing Scales to Drawing Figures 71
XXVIII. How to Determine the Heights of Figures on a Level Plane 71
XXIX. The Horizon above the Figures 72
XXX. Landscape Perspective 74
XXXI. Figures of Different Heights. The Chessboard 74
XXXII. Application of the Vanishing Scale to Drawing Figures at an Angle when their Vanishing Points are Inaccessible or Outside the Picture 77
XXXIII.The Reduced Distance. How to Proceed when the Point of Distance is Inaccessible 77
XXXIV.How to Draw a Long Passage or Cloister by Means of the Reduced Distance 78
XXXV. How to Form a Vanishing Scale that shall give the Height, Depth, and Distance of any Object in the Picture 79
XXXVI.Measuring Scale on Ground 81
XXXVII. Application of the Reduced Distance and the Vanishing Scale to Drawing a Lighthouse, &c. 84
XXXVIII. How to Measure Long Distances such as a Mile or Upwards 85
XXXIX.Further Illustration of Long Distances and Extended Views.87
XL. How to Ascertain the Relative Heights of Figures on an Inclined Plane 88
XLI. How to Find the Distance of a Given Figure or Point from the Base Line 89
XLII.How to Measure the Height of Figures on Uneven Ground 90
XLIII. Further Illustration of the Size of Figures at Different Distances and on Uneven Ground 91
XLIV. Figures on a Descending Plane 92
XLV. Further Illustration of the Descending Plane 95
XLVI. Further Illustration of Uneven Ground 95
XLVII.The Picture Standing on the Ground 96
XLVIII. The Picture on a Height 97
BOOK III
XLIX. Angular Perspective 98
L.How to put a Given Point into Perspective 99
LI. A Perspective
Theory and Practice of Perspective (Illustrated) Specifications
PREFACE
It is much easier to understand and remember a thing when a reason is given for it, than when we are merely shown how to do it without being told why it is so done; for in the latter case, instead of being assisted by reason, our real help in all study, we have to rely upon memory or our power of imitation, and to do simply as we are told without thinking about it. The consequence is that at the very first difficulty we are left to flounder about in the dark, or to remain inactive till the master comes to our assistance.
Now in this book it is proposed to enlist the reasoning faculty from the very first: to let one problem grow out of another and to be dependent on the foregoing, as in geometry, and so to explain each thing we do that there shall be no doubt in the mind as to the correctness of the proceeding. The student will thus gain the power of finding out any new problem for himself, and will therefore acquire a true knowledge of perspective.
vii
CONTENTS
BOOK I
page
The Necessity of the Study of Perspective To Painters, Sculptors, and Architects 1
What Is Perspective? 6
The Theory of Perspective: I.
Definitions 13
II.The Point of Sight, the Horizon, and the Point of Distance. 15
III. Point of Distance 16
IV. Perspective of a Point, Visual Rays, &c. 20
V.Trace and Projection 21
VI.Scientific Definition of Perspective 22
Rules:
VII.The Rules and Conditions of Perspective 24
VIII. A Table or Index of the Rules of Perspective 40
BOOK II The Practice of Perspective:
IX. The Square in Parallel Perspective 42
X. The Diagonal 43
XI. The Square 43
XII. Geometrical and Perspective Figures Contrasted 46
XIII.Of Certain Terms made use of in Perspective 48
XIV. How to Measure Vanishing or Receding Lines 49
XV.How to Place Squares in Given Positions 50
XVI.How to Draw Pavements, &c. 51
XVII. Of Squares placed Vertically and at Different Heights, or the Cube in Parallel Perspective 53
XVIII.The Transposed Distance 53
XIX.The Front View of the Square and of the Proportions of Figures at Different Heights 54
XX. Of Pictures that are Painted according to the Position they are to Occupy 59
XXI.Interiors 62
XXII. The Square at an Angle of 45° 64
XXIII. The Cube at an Angle of 45° 65
XXIV. Pavements Drawn by Means of Squares at 45° 66
XXV. The Perspective Vanishing Scale 68
viii XXVI. The Vanishing Scale can be Drawn to any Point on the Horizon 69
XXVII. Application of Vanishing Scales to Drawing Figures 71
XXVIII. How to Determine the Heights of Figures on a Level Plane 71
XXIX. The Horizon above the Figures 72
XXX. Landscape Perspective 74
XXXI. Figures of Different Heights. The Chessboard 74
XXXII. Application of the Vanishing Scale to Drawing Figures at an Angle when their Vanishing Points are Inaccessible or Outside the Picture 77
XXXIII.The Reduced Distance. How to Proceed when the Point of Distance is Inaccessible 77
XXXIV.How to Draw a Long Passage or Cloister by Means of the Reduced Distance 78
XXXV. How to Form a Vanishing Scale that shall give the Height, Depth, and Distance of any Object in the Picture 79
XXXVI.Measuring Scale on Ground 81
XXXVII. Application of the Reduced Distance and the Vanishing Scale to Drawing a Lighthouse, &c. 84
XXXVIII. How to Measure Long Distances such as a Mile or Upwards 85
XXXIX.Further Illustration of Long Distances and Extended Views.87
XL. How to Ascertain the Relative Heights of Figures on an Inclined Plane 88
XLI. How to Find the Distance of a Given Figure or Point from the Base Line 89
XLII.How to Measure the Height of Figures on Uneven Ground 90
XLIII. Further Illustration of the Size of Figures at Different Distances and on Uneven Ground 91
XLIV. Figures on a Descending Plane 92
XLV. Further Illustration of the Descending Plane 95
XLVI. Further Illustration of Uneven Ground 95
XLVII.The Picture Standing on the Ground 96
XLVIII. The Picture on a Height 97
BOOK III
XLIX. Angular Perspective 98
L.How to put a Given Point into Perspective 99
LI. A Perspective
