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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#0184
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132 ON PERSPECTIVE. [LECT. IV.

the foot feems, gradually, to leffen, and leffen ; till,
at laft, the further parts are greatly concealed by
the nearer parts: or, at leaft, they appear reced-
ing, and, as it were, flying off.—This is evidently
an effect of Perfpective ; but this is reducible to
no laws, whofe application is determinable, fmce
what may apply to one member, or to one attitude
of a member, may not fuit another member, or an-
other attitude.

Forefhortening is, perhaps, of the greateft confe-
quence, where, only, this flying off, or receffion, is
to be reprefented : and fuch inftances are perpe-
tually occurring; no attitude can be without them
in fome of its parts : the principle runs through
every member of the figure, and, according to the
dimenfions of a member is more, or lefs, apparent.
Thus, the arm laid on the table, is forefhortened
{to a fpectator) from the writt to the elbow; the
fingers are forefhortened in fome refpect, or other,
be the pofition of the hand what it may. In our
imitation of this effect, befide accuracy of outline,
the application of that retiring (hade we have no-
ticed, is principally to be depended on: for, by its
influence in moderating the brilliancy of the parts
forefhortened, it feems to increafe the vivacity, and
the force, of thofe where the light firikes; as, the
front, principally: or, wherever the parts receive
another direction, as in the already exhibited cafe of
the drawing-board ; fo that, it appears, forefliort-
ning and the retiring made are fo clofely allied, that
where one acls as a caufe, the otl^er follows as an
effeQ.

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