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The Artist's Repository, Or, Encyclopedia of the Fine Arts (Band 2): Perspective, Architecture — London, 1808

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[lect. ii. on perspective. 53

A fimilar mode of reafoning greatly enforces the im-
portance of this article in relation to fubjecis not fo clofely
approximated, but of larger dimenfions, leen directly
forward*, and, if we advert to fubjecis feen laterally,
we fhall find, that by a bad diftance, the confufion of
rays admitted Tideways into the eye is very much in-
creafed, and what " being remote from the center, is
naturally difordered and indeterminate," now becomes
infufferable.

Permit me by a familiar example to illuftrate this
matter. When two perfons ftand converfing clofe to-
gether, they naturally look at each other about the
height of the eye, and, confequently, fee very little
more of each other than the face ; as is evident, from
the neceffity, if their converfation mould happen to have
any reference to the foot, for a motion of the head to
infpect it: which motion of the head be it remem-
bered, deranges totally the former fyftem of perfpec-
tive, as it changes entirely the field of view. But,
if a perfon wifhed to furvey another from head to
foot, it would require a fpace between them of at
leaft double the height of the beholder. And the fame
is true of latitude, as of altitude. It is certain, that if
a very precife infpe£lion of every part was defired, this
diftance is not calculated for that purpofe, but, for a
general, complete, view of a perfon's whole figure,
this is the leaft diftance at which the angle of virion
could receive, and contain, fuch an object.

To the choice of a judicious diftance, which is a
principal care of intelligent artifts, the following hints
may contribute.

vol. in. Edit, 7. h If
 
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