DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.25683#0081
PRACTICAL PERSPECTIVE,
51
Of the last example it need not only be observed that the sun is before the spectator,
and very much elevated. The solar point is S P on the horizontal line, and the point of
the sun is marked Sun 2. The shadow of the obelisk over the fallen pillar takes the cur-
vature ot the pillar. The shadow of the arch is obtained by finding the shadows of
perpendicular lines drawn from points in the arch, as in the preceeding instructions.
To obtain every shadow perspectively would certainly be attended with considerable
trouble, and it is not supposed that the artist will submit continually to such a tedious
task. It is not required of him: the art, or rather the science of perspective, must be
cultivated with such attention at first, by the landscape painter, that his judgment with
respect to the form, dimensions, inclination and shadow of objects may be perfected, and
then he will have no need to recur to the actual practice of it, except upon particular
occasions. It is merely an introductory study: we cannot become acquainted with painting
without its assistance, but when once introduced, we find other subjects more tasteful anc
more pleasing : yet, while engaged in the more agreeable labours of the pencil, we must
carefully retain in mind the principles of perspective, and its rules must always be
attended to, although they need not always be executed with the exactness of the ruler
and compasses.
ESSAY
51
Of the last example it need not only be observed that the sun is before the spectator,
and very much elevated. The solar point is S P on the horizontal line, and the point of
the sun is marked Sun 2. The shadow of the obelisk over the fallen pillar takes the cur-
vature ot the pillar. The shadow of the arch is obtained by finding the shadows of
perpendicular lines drawn from points in the arch, as in the preceeding instructions.
To obtain every shadow perspectively would certainly be attended with considerable
trouble, and it is not supposed that the artist will submit continually to such a tedious
task. It is not required of him: the art, or rather the science of perspective, must be
cultivated with such attention at first, by the landscape painter, that his judgment with
respect to the form, dimensions, inclination and shadow of objects may be perfected, and
then he will have no need to recur to the actual practice of it, except upon particular
occasions. It is merely an introductory study: we cannot become acquainted with painting
without its assistance, but when once introduced, we find other subjects more tasteful anc
more pleasing : yet, while engaged in the more agreeable labours of the pencil, we must
carefully retain in mind the principles of perspective, and its rules must always be
attended to, although they need not always be executed with the exactness of the ruler
and compasses.
ESSAY