XXII
The Square at an Angle of 45°
When the square is at an angle of 45° to the base line, then its sides are drawn respectively to the points of distance, DD, and one of its diagonals which is at right angles to the base is drawn to the point of sight S, and the other ab, is parallel to that base or ground line.
Fig. 70.
To draw a pavement with its squares at this angle is but an amplification of the above figure. Mark off on base equal distances, 1, 2, 3, &c., representing the diagonals of required squares, and from each of these points draw lines to points of distance DD´. These lines will intersect each other, and so form the squares of the pavement; to ensure correctness, lines should also be drawn from these points 1, 2, 3, to the point of sight S, and also horizontals parallel to the base, as ab.
Fig. 71.
XXIII
The Cube at an Angle of 45°
Having drawn the square at an angle of 45°, as shown in the previous figure, we find the length of one of its sides, dh, by drawing a line, SK, through h, one of its extremities, till it cuts the base line at K. Then, with the other extremity d for centre and dK for radius, describe a quarter of a circle Km; the chord thereof mK will be the geometrical length of dh. At d raise vertical dC equal to mK, which gives us the height of the cube, then raise verticals at a, h, &c., their height being found by drawing CD and CD´ to the two points of distance, and so completing the figure.
Fig. 72.
XXIV
Pavements Drawn by Means of Squares at 45°
| Fig. 75. |
The square at 45° will be found of great use in drawing pavements, roofs, ceilings, &c. In Figs. 73, 74 it is shown how having set out one square it can be divided into four or more equal squares, and any figure or tile drawn therein. Begin by making a geometrical or ground plan of the required design, as at Figs. 73 and 74, where we have bricks placed at right angles to each other in rows, a common arrangement in brick floors, or tiles of an octagonal form as at Fig. 75.
Fig. 73.
Fig. 74.
XXV
The Perspective Vanishing Scale
The vanishing scale, which we shall find of infinite use in our perspective, is founded on the facts explained in Rule 10. We there find that all horizontals in the same plane, which are drawn to the same point on the horizon, are perspectively parallel to each other, so that if we measure a certain height or width on the picture plane, and then from each extremity draw lines to any convenient point on the horizon, then all the perpendiculars drawn between these lines will be perspectively equal, however much they may appear to vary in length.
Fig. 76.
Let us suppose that in this figure (76) AB and A·B· each represent 5 feet. Then in the first case all the verticals, as e, f, g, h, drawn between AO and BO represent 5 feet, and in the second case all the horizontals e, f, g, h, drawn between A·O and B·O also represent 5 feet each. So that by the aid of this scale we can give the exact perspective height and width of any object in the picture, however far it may be from the base line, for of course we can increase or diminish our measurements at AB and A·B· to whatever length we require.
As it may not be quite evident at first that the points O may be taken at random, the following figure will prove it.
XXVI
The Vanishing Scale can be Drawn to any Point on the Horizon
| Fig. 77. |
From AB (Fig. 77) draw AO, BO, thus forming the scale, raise vertical C. Now form a second scale from AB by drawing AO· BO·, and therein raise vertical D at an equal distance from the base. First, then, vertical C equals AB, and secondly vertical D equals AB, therefore C equals D, so that either of these scales will measure a given height at a given distance.
(See axioms of geometry.)
XXVII
Application of Vanishing Scales to Drawing Figures
In this figure we have marked off on a level plain three or four points a, b, c, d, to indicate the places where we wish to stand our figures. AB represents their average height, so we have made our scale AO, BO, accordingly. From each point marked we draw a line parallel to the base till it reaches the scale. From the point where it touches the line AO, raise perpendicular as a, which gives the height required at that distance, and must be referred back to the figure itself.
Fig. 78.
XXVIII
How to Determine the Heights of Figures on a Level Plane
First Case.
This is but a repetition of the previous figure, excepting that we have substituted these schoolgirls for the vertical lines. If we wish to make some taller than the others, and some shorter, we can easily do so, as must be evident (see Fig. 79).
Fig. 79. Schoolgirls.
Note that in this first case the scale is below the horizon, so that we see over the heads of the figures, those nearest to us being the lowest down. That is to say, we are looking on this scene from a slightly raised platform.
Second Case.
To draw figures at different distances when their heads are above the horizon, or as they would appear to a person sitting on a low seat. The height of the heads varies according to the distance of the figures (Fig. 80).
Fig. 80. Cavaliers.
Third Case.
How to draw figures when their heads are about the height of the horizon, or as they appear to a person standing on the same level or walking among them.
Fig. 81.
In this case the heads or the eyes are on a level with the horizon, and we have little necessity for a scale at the side unless it is for the purpose of ascertaining or marking their distances from the base line, and their respective heights, which of course vary; so in all cases allowance must be made for some being taller and some shorter than the scale measurement.
XXIX
The Horizon above the Figures
In this example from De Hoogh the doorway to the left is higher up than the figure of the lady, and the effect seems to me more pleasing and natural for this kind of domestic subject. This delightful painter was not only a master of colour, of sunlight effect, and perfect composition, but also of perspective, and thoroughly understood the charm it gives to a picture, when cunningly introduced, for he makes the spectator feel that he can walk along his passages and courtyards. Note that he frequently puts the point of sight quite at the side of his canvas, as at S, which gives almost the effect of angular perspective whilst it preserves the flatness and simplicity of parallel or horizontal perspective.
Fig. 82. Courtyard by De Hoogh.
XXX
Landscape Perspective
In an extended view or landscape seen from a height, we have to consider the perspective plane as in a great measure lying above it, reaching from the base of the picture to the horizon; but of course pierced here and there by trees, mountains, buildings, &c. As a rule in such cases, we copy our perspective from nature, and do not trouble ourselves much about mathematical rules. It is as well, however, to know them, so that we may feel sure we are right, as this gives certainty to our touch and enables us to work with freedom. Nor must we, when painting from nature, forget to take into account the effects of atmosphere and the various tones of the different planes of distance, for this makes much of the difference between a good picture and a bad one; being a more subtle quality, it requires a keener artistic sense to discover and depict it. (See Figs. 95 and 103.)
If the landscape painter wishes to test his knowledge of perspective, let him dissect and work out one of Turner's pictures, or better still, put his own sketch from nature to the same test.
XXXI
Figures of Different Heights
The Chessboard
In this figure the same principle is applied as in the previous one, but the chessmen being of different heights we have to arrange the scale accordingly. First ascertain the exact height of each piece, as Q, K, B, which represent the queen, king, bishop, &c. Refer these dimensions to the scale, as shown at QKB, which will give us the perspective measurement of each piece according to the square on which it is placed.
Fig. 83. Chessboard and Men.
This is shown in the above drawing (Fig. 83) in the case of the white queen and the black queen, &c. The castle, the knight, and the pawn being about the same height are measured from the fourth line of the scale marked C.
Fig. 84.
XXXII
Application of the Vanishing Scale to Drawing Figures at an Angle when their Vanishing Points are Inaccessible or Outside the Picture
This is exemplified in the drawing of a fence (Fig. 84). Form scale aS, bS, in accordance with the height of the fence or wall to be depicted. Let ao represent the direction or angle at which it is placed, draw od to meet the scale at d, at d raise vertical dc, which gives the height of the fence at oo·. Draw lines bo·, eo, ao, &c., and it will be found that all these lines if produced will meet at the same point on the horizon. To divide the fence into spaces, divide base line af as required and proceed as already shown.
XXXIII
The Reduced Distance. How to Proceed when the Point of Distance is Inaccessible
It has already been shown that too near a point of distance is objectionable on account of the distortion and disproportion resulting from it. At the same time, the long distance-point must be some way out of the picture and therefore inconvenient. The object of the reduced distance is to bring that point within the picture.
Fig. 85.
In Fig. 85 we have made the distance nearly twice the length of the base of the picture, and consequently a long way out of it. Draw Sa, Sb, and from a draw aD to point of distance, which cuts Sb at o, and determines the depth of the square acob. But we can find that same point if we take half the base and draw a line from ½ base to ½ distance. But even this ½ distance-point does not come inside the picture, so we take a fourth of the base and a fourth of the distance and draw a line from ¼ base to ¼ distance. We shall find that it passes precisely through the same point o as the other lines aD, &c. We are thus able to find the required point o without going outside the picture.
Of course we could in the same way take an 8th or even a 16th distance, but the great use of this reduced distance, in addition to the above, is that it enables us to measure any depth into the picture with the greatest ease.
It will be seen in the next figure that without having to extend the base, as is usually done, we can multiply that base to any amount by making use of these reduced distances on the horizontal line. This is quite a new method of proceeding, and it will be seen is mathematically correct.
XXXIV
How to Draw a Long Passage or Cloister by means of the Reduced Distance
Fig. 86.
In Fig. 86 we have divided the base of the first square into four equal parts, which may represent so many feet, so that A4 and Bd being the retreating sides of the square each represents 4 feet. But we found point ¼ D by drawing 3D from ¼ base to ¼ distance, and by proceeding in the same way from each division, A, 1, 2, 3, we mark off on SB four spaces each equal to 4 feet, in all 16 feet, so that by taking the whole base and the ¼ distance we find point O, which is distant four times the length of the base AB. We can multiply this distance to any amount by drawing other diagonals to 8th distance, &c. The same rule applies to this corridor (Fig. 87 and Fig. 88).
| Fig. 87. | Fig. 88. |
XXXV
How to Form a Vanishing Scale that shall give the Height, Depth, and Distance of any Object in the Picture
If we make our scale to vanish to the point of sight, as in Fig. 89, we can make SB, the lower line thereof, a measuring line for distances. Let us first of all divide the base AB into eight parts, each part representing 5 feet. From each division draw lines to 8th distance; by their intersections with SB we obtain measurements of 40, 80, 120, 160, &c., feet. Now divide the side of the picture BE in the same manner as the base, which gives us the height of 40 feet. From the side BE draw lines 5S, 15S, &c., to point of sight, and from each division on the base line also draw lines 5S, 10S, 15S, &c., to point of sight, and from each division on SB, such as 40, 80, &c., draw horizontals parallel to base. We thus obtain squares 40 feet wide, beginning at base AB and reaching as far as required. Note how the height of the flagstaff, which is 140 feet high and 280 feet distant, is obtained. So also any buildings or other objects can be measured, such as those shown on the left of the picture.
Fig. 89.
XXXVI
Measuring Scale on Ground
A simple and very old method of drawing buildings, &c., and giving them their right width and height is by means of squares of a given size, drawn on the ground.
Fig. 90.
In the above sketch (Fig. 90) the squares on the ground represent 3 feet each way, or one square yard. Taking this as our standard measure, we find the door on the left is 10 feet high, that the archway at the end is 21 feet high and 12 feet wide, and so on.
Fig. 91 is a sketch made at Sandwich, Kent, and shows a somewhat similar subject to Fig. 84, but the irregularity and freedom of the perspective gives it a charm far beyond the rigid precision of the other, while it conforms to its main laws. This sketch, however, is the real artist's perspective, or what we might term natural perspective.
Fig. 91. Natural Perspective.
XXXVII
Application of the Reduced Distance and the Vanishing Scale to Drawing a Lighthouse, &c.
In the drawing of Honfleur (Fig. 92) we divide the base AB as in the previous figure, but the spaces measure 5 feet instead of 3 feet: so that taking the 8th distance, the divisions on the vanishing line BS measure 40 feet each, and at point O we have 400 feet of distance, but we require 800. So we again reduce the distance to a 16th. We thus multiply the base by 16. Now let us take a base of 50 feet at f and draw line fD to 16th distance; if we multiply 50 feet by 16 we obtain the 800 feet required.
Fig. 92. Honfleur.
The height of the lighthouse is found by means of the vanishing scale, which is 15 feet below and 15 feet above the horizon, or 30 feet from the sea-level. At L we raise a vertical LM, which shows the position of the lighthouse. Then on that vertical measure the height required as shown in the figure.
Perspective of a lighthouse 135 feet high at 800 feet distance.
Fig. 93. Key to Fig. 92, Honfleur.
The 800 feet could be obtained at once by drawing line fD, or 50 feet, to 16th distance. The other measurements obtained by 8th distance serve for nearer buildings.
XXXVIII
How to Measure Long Distances such as a Mile or Upwards
The wonderful effect of distance in Turner's pictures is not to be achieved by mere measurement, and indeed can only be properly done by studying Nature and drawing her perspective as she presents it to us. At the same time it is useful to be able to test and to set out distances in arranging a composition. This latter, if neglected, often leads to great difficulties and sometimes to repainting.
To show the method of measuring very long distances we have to work with a very small scale to the foot, and in Fig. 94 I have divided the base AB into eleven parts, each part representing 10 feet. First draw AS and BS to point of sight. From A draw AD to ¼ distance, and we obtain at 440 on line BS four times the length of AB, or 110 feet × 4 = 440 feet. Again, taking the whole base and drawing a line from S to 8th distance we obtain eight times 110 feet or 880 feet. If now we use the 16th distance we get sixteen times 110 feet, or 1,760 feet, one-third of a mile; by repeating this process, but by using the base at 1,760, which is the same length in perspective as AB, we obtain 3,520 feet, and then again using the base at 3,520 and proceeding in the same way we obtain 5,280 feet, or one mile to the archway. The flags show their heights at their respective distances from the base. By the scale at the side of the picture, BO, we can measure any height above or any depth below the perspective plane.
Fig. 94.
larger view
Note.—This figure (here much reduced) should be drawn large by the student, so that the numbering, &c., may be made more distinct. Indeed, many of the other figures should be copied large, and worked out with care, as lessons in perspective.
XXXIX
Further Illustration of Long Distances and Extended Views
An extended view is generally taken from an elevated position, so that the principal part of the landscape lies beneath the perspective plane, as already noted, and we shall presently treat of objects and figures on uneven ground. In the previous figure is shown how we can measure heights and depths to any extent. But when we turn to a drawing by Turner, such as the ‘View from Richmond Hill’, we feel that the only way to accomplish such perspective as this, is to go and draw it from nature, and even then to use our judgement, as he did, as to how much we may emphasize or even exaggerate certain features.
Fig. 95. Turner's View from Richmond Hill.
Note in this view the foreground on which the principal figures stand is on a level with the perspective plane, while the river and surrounding park and woods are hundreds of feet below us and stretch away for miles into the distance. The contrasts obtained by this arrangement increase the illusion of space, and the figures in the foreground give as it were a standard of measurement, and by their contrast to the size of the trees show us how far away those trees are.
XL
How to Ascertain the Relative Heights of Figures on an Inclined Plane
The three figures to the right marked f, g, b (Fig. 96) are on level ground, and we measure them by the vanishing scale aS, bS. Those to the left, which are repetitions of them, are on an inclined plane, the vanishing point of which is S·; by the side of this plane we have placed another vanishing scale a·S·, b·S·, by which we measure the figures on that incline in the same way as on the level plane. It will be seen that if a horizontal line is drawn from the foot of one of these figures, say G, to point O on the edge of the incline, then dropped vertically to o·, then again carried on to o·· where the other figure g is, we find it is the same height and also that the other vanishing scale is the same width at that distance, so that we can work from either one or the other. In the event of the rising ground being uneven we can make use of the scale on the level plane.
Fig. 96.
XLI
How to Find the Distance of a Given Figure or Point from the Base Line
Let P be the given figure. Form scale ACS, S being the point of sight and D the distance. Draw horizontal do through P. From A draw diagonal AD to distance point, cutting do in o, through o draw SB to base, and we now have a square AdoB on the perspective plane; and as figure P is standing on the far side of that square it must be the distance AB, which is one side of it, from the base line—or picture plane. For figures very far away it might be necessary to make use of half-distance.
Fig. 97.
XLII
How to Measure the Height of Figures on Uneven Ground
In previous problems we have drawn figures on level planes, which is easy enough. We have now to represent some above and some below the perspective plane.
Fig. 98.
Form scale bS, cS; mark off distances 20 feet, 40 feet, &c. Suppose figure K to be 60 feet off. From point at his feet draw horizontal to meet vertical On, which is 60 feet distant. At the point m where this line meets the vertical, measure height mn equal to width of scale at that distance, transfer this to K, and you have the required height of the figure in black.
For the figures under the cliff 20 feet below the perspective plane, form scale FS, GS, making it the same width as the other, namely 5 feet, and proceed in the usual way to find the height of the figures on the sands, which are here supposed to be nearly on a level with the sea, of course making allowance for different heights and various other things.
XLIII
Further Illustration of the Size of Figures at Different Distances and on Uneven Ground
Let ab be the height of a figure, say 6 feet. First form scale aS, bS, the lower line of which, aS, is on a level with the base or on the perspective plane. The figure marked C is close to base, the group of three is farther off (24 feet), and 6 feet higher up, so we measure the height on the vanishing scale and also above it. The two girls carrying fish are still farther off, and about 12 feet below. To tell how far a figure is away, refer its measurements to the vanishing scale (see Fig. 96).
Fig. 99.
XLIV
Figures on a Descending Plane
In this case (Fig. 100) the same rule applies as in the previous problem, but as the road on the left is going down hill, the vanishing point of the inclined plane is below the horizon at point S·; AS, BS is the vanishing scale on the level plane; and A·S·, B·S·, that on the incline.
Fig. 100.
Fig. 101. This is an outline of above figure to show the working more plainly.
Note the wall to the left marked W and the manner in which it appears to drop at certain intervals, its base corresponding with the inclined plane, but the upper lines of each division being made level are drawn to the point of sight, or to their vanishing point on the horizon; it is important to observe this, as it aids greatly in drawing a road going down hill.
XLV
Further Illustration of the Descending Plane
In the centre of this picture (Fig. 102) we suppose the road to be descending till it reaches a tunnel which goes under a road or leads to a river (like one leading out of the Strand near Somerset House). It is drawn on the same principle as the foregoing figure. Of course to see the road the spectator must get pretty near to it, otherwise it will be out of sight. Also a level plane must be shown, as by its contrast to the other we perceive that the latter is going down hill.
Fig. 102.
XLVI
Further Illustration of Uneven Ground
An extended view drawn from a height of about 30 feet from a road that descends about 45 feet.
Fig. 103. Farningham.
In drawing a landscape such as Fig. 103 we have to bear in mind the height of the horizon, which being exactly opposite the eye, shows us at once which objects are below and which are above us, and to draw them accordingly, especially roofs, buildings, walls, hedges, &c.; also it is well to sketch in the different fields figures of men and cattle, as from the size of these we can judge of the rest.
XLVII
The Picture Standing on the Ground
Let K represent a frame placed vertically and at a given distance in front of us. If stood on the ground our foreground will touch the base line of the picture, and we can fix up a standard of measurement both on the base and on the side as in this sketch, taking 6 feet as about the height of the figures.
Fig. 104. Toledo.
XLVIII
The Picture on a Height
If we are looking at a scene from a height, that is from a terrace, or a window, or a cliff, then the near foreground, unless it be the terrace, window-sill, &c., would not come into the picture, and we could not see the near figures at A, and the nearest to come into view would be those at B, so that a view from a window, &c., would be as it were without a foreground. Note that the figures at B would be (according to this sketch) 30 feet from the picture plane and about 18 feet below the base line.
Fig. 105.
BOOK THIRD
XLIX
Angular Perspective
Hitherto we have spoken only of parallel perspective, which is comparatively easy, and in our first figure we placed the cube with one of its sides either touching or parallel to the transparent plane. We now place it so that one angle only (ab), touches the picture.
Fig. 106.
Its sides are no longer drawn to the point of sight as in Fig. 7, nor its diagonal to the point of distance, but to some other points on the horizon, although the same rule holds good as regards their parallelism; as for instance, in the case of bc and ad, which, if produced, would meet at V, a point on the horizon called a vanishing point. In this figure only one vanishing point is seen, which is to the right of the point of sight S, whilst the other is some distance to the left, and outside the picture. If the cube is correctly drawn, it will be found that the lines ae, bg, &c., if produced, will meet on the horizon at this other vanishing point. This far-away vanishing point is one of the inconveniences of oblique or angular perspective, and therefore it will be a considerable gain to the draughtsman if we can dispense with it. This can be easily done, as in the above figure, and here our geometry will come to our assistance, as I shall show presently.
L
How to put a Given Point into Perspective
Let us place the given point P on a geometrical plane, to show how far it is from the base line, and indeed in the exact position we wish it to be in the picture. The geometrical plane is supposed to face us, to hang down, as it were, from the base line AB, like the side of a table, the top of which represents the perspective plane. It is to that perspective plane that we now have to transfer the point P.
Fig. 107.
From P raise perpendicular Pm till it touches the base line at m. With centre m and radius mP describe arc Pn so that mn is now the same length as mP. As point P is opposite point m, so must it be in the perspective, therefore we draw a line at right angles to the base, that is to the point of sight, and somewhere on this line will be found the required point P·. We now have to find how far from m must that point be. It must be the length of mn, which is the same as mP. We therefore from n draw nD to the point of distance, which being at an angle of 45°, or half a right angle, makes mP· the perspective length of mn by its intersection with mS, and thus gives us the point P·, which is the perspective of the original point.
LI
A Perspective Point being given, Find its Position on the Geometrical Plane
| Fig. 108. |
To do this we simply reverse the foregoing problem. Thus let P be the given perspective point. From point of sight S draw a line through P till it cuts AB at m. From distance D draw another line through P till it cuts the base at n. From m drop perpendicular, and then with centre m and radius mn describe arc, and where it cuts that perpendicular is the required point P·. We often have to make use of this problem.