DOI Page / Citation link:
https://doi.org/10.11588/diglit.18826#0029
lect. i.] on perspective.
part of the fteeple of a great church, may be diftincr,
while the body of the fame church, is fcarcely vifible.
This one great caufe, branches out into numberlefs
variations, producing effects correfponding to the fea-
fons, and the weather; to climates, and to regions.
A certain Englifh traveller in Spain tells us, (and the
cafe is the fame in other warm countries, in very clear
weather) that the outlines of diftant hills, trees, &c.
are defined with furprizing accuracy, and fharpnefs:
elfewhere, this effecl is reverfed, and the outlines of
diftant objects are mellowed, foftened, and rendered
indeterminate.
Such are the natural principles of Perfpeclive, the
diminution of objecls, and the weakening of their
power on the eye, by diftance: thefe are fo obvious
as to be undeniable, yet are they fo powerful as
to controul the whole of Perfpeclive: if befide this
the obliquity, declination, or bearing of objecls, their
contours, and their forms be underftood, the fcience
mould appear to be complete. This latter article will
fpeedily engage our attention, for having thus, briefly,
noticed the leading principles of natural Perfpeclive, I
proceed to offer a few hints in explanation of that
foundation on which we mean to erecl the Art of
Perspective : we have already difclaimed the uni-
verfality of the powers, or of the application of this
Art: I hope, therefore, that by taking up our ideas
with modefty, and moderation, we mail attain greater
accuracy, and certitude, in what we attempt.
The feat of Perfpeclive is the Eye j one eye if you
pleafe; for it is undeniable, that by opening, or (hutting,
either eye, the pofition, and general appearance of an
d2 objecl
part of the fteeple of a great church, may be diftincr,
while the body of the fame church, is fcarcely vifible.
This one great caufe, branches out into numberlefs
variations, producing effects correfponding to the fea-
fons, and the weather; to climates, and to regions.
A certain Englifh traveller in Spain tells us, (and the
cafe is the fame in other warm countries, in very clear
weather) that the outlines of diftant hills, trees, &c.
are defined with furprizing accuracy, and fharpnefs:
elfewhere, this effecl is reverfed, and the outlines of
diftant objects are mellowed, foftened, and rendered
indeterminate.
Such are the natural principles of Perfpeclive, the
diminution of objecls, and the weakening of their
power on the eye, by diftance: thefe are fo obvious
as to be undeniable, yet are they fo powerful as
to controul the whole of Perfpeclive: if befide this
the obliquity, declination, or bearing of objecls, their
contours, and their forms be underftood, the fcience
mould appear to be complete. This latter article will
fpeedily engage our attention, for having thus, briefly,
noticed the leading principles of natural Perfpeclive, I
proceed to offer a few hints in explanation of that
foundation on which we mean to erecl the Art of
Perspective : we have already difclaimed the uni-
verfality of the powers, or of the application of this
Art: I hope, therefore, that by taking up our ideas
with modefty, and moderation, we mail attain greater
accuracy, and certitude, in what we attempt.
The feat of Perfpeclive is the Eye j one eye if you
pleafe; for it is undeniable, that by opening, or (hutting,
either eye, the pofition, and general appearance of an
d2 objecl