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

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https://doi.org/10.11588/diglit.18826#0177
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LECT. IV.] ON PERSPECTIVE* 125

our recreation, and our ftudy. Happy the Genius,
whofe enlightened fkill attains to an agreeable imi-
tation of them ! Happy the Artift, whofe works,
inftead of tedious fimilarity, prefent thofe finking,
and energetic, compofitions, which arevifible alone
to the ingenious, and to the well-informed !

This may be a proper place to enquire by what
principle fome objects, or fome parts of an object
appear to advance, and others to retire. It is, be-
caufe the light from that part of a furface neareft:
to the eye, has fo much greater force than that from
the further end of the fame furface: this effect, al-
though dependent on the principles of perfpe£tive,
is yet very much changed by the obliquity of a
furface, by the fituation of a luminary, or by the
nature of an object; all which caufes vary the de-
gree, and the force of reflection.

In looking at this mahogany table, the hither part
of its furface, that adjoining the edge neareft to us9
feems enlightened ; this light at a very fmall diftance
indeed, becomes moderated; a little further off, it
is yet more decreafed, and, as we advance toward
the other extremity, it ceafes to be light, and may
lather be denominated a flight fhade. This effect
as very gradual, regular, and ccnftanr, becaufe
the furface is uniform; and, confequently, its obli-
quity or declination from the eye is uniform alfo:
but, if in any part of the table we place a furface
fomevvhat more elevated in its pofition (as this draw-
ing-board) the neareft edge of that furface does not
perfectly correfpond in its degree of light with that
vol. in. Edit. 7. p. part
 
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