The Theory and Practice of Perspective | Page 3

Standing on a Cylinder 163 CIV. Section of a Dome or Niche 164 CV.
A Dome 167 CVI. How to Draw Columns Standing in a Circle 169
CVII. Columns and Capitals 170 CVIII. Method of Perspective
Employed by Architects 170 CIX. The Octagon 172 CX. How to Draw
the Octagon in Angular Perspective 173 CXI. How to Draw an
Octagonal Figure in Angular Perspective 174 CXII. How to Draw
Concentric Octagons, with Illustration of a Well 174 CXIII. A
Pavement Composed of Octagons and Small Squares 176 CXIV. The
Hexagon 177 CXV. A Pavement Composed of Hexagonal Tiles 178
CXVI. A Pavement of Hexagonal Tiles in Angular Perspective 181
CXVII. Further Illustration of the Hexagon 182 CXVIII. Another View
of the Hexagon in Angular Perspective 183 CXIX. Application of the
Hexagon to Drawing a Kiosk 185 CXX. The Pentagon 186 CXXI. The
Pyramid 189 CXXII. The Great Pyramid 191 CXXIII. The Pyramid in
Angular Perspective 193 CXXIV. To Divide the Sides of the Pyramid
Horizontally 193 CXXV. Of Roofs 195 CXXVI. Of Arches, Arcades,
Bridges, &c. 198 CXXVII. Outline of an Arcade with Semicircular

Arches 200 CXXVIII. Semicircular Arches on a Retreating Plane 201
CXXIX. An Arcade in Angular Perspective 202 CXXX. A Vaulted
Ceiling 203 CXXXI. A Cloister, from a Photograph 206 CXXXII. The
Low or Elliptical Arch 207 CXXXIII. Opening or Arched Window in a
Vault 208 CXXXIV. Stairs, Steps, &c. 209 CXXXV. Steps, Front
View 210 CXXXVI. Square Steps 211 CXXXVII. To Divide an
Inclined Plane into Equal Parts--such as a Ladder Placed against a Wall
212 CXXXVIII. Steps and the Inclined Plane 213 CXXXIX. Steps in
Angular Perspective 214 CXL. A Step Ladder at an Angle 216 CXLI.
Square Steps Placed over each other 217 CXLII. Steps and a Double
Cross Drawn by Means of Diagonals and one Vanishing Point 218
CXLIII. A Staircase Leading to a Gallery 221 CXLIV. Winding Stairs
in a Square Shaft 222 CXLV. Winding Stairs in a Cylindrical Shaft 225
CXLVI. Of the Cylindrical Picture or Diorama 227
BOOK IV
CXLVII. The Perspective of Cast Shadows 229 CXLVIII. The Two
Kinds of Shadows 230 CXLIX. Shadows Cast by the Sun 232 CL. The
Sun in the Same Plane as the Picture 233 CLI. The Sun Behind the
Picture 234 CLII. Sun Behind the Picture, Shadows Thrown on a Wall
238 CLIII. Sun Behind the Picture Throwing Shadow on an Inclined
Plane 240 CLIV. The Sun in Front of the Picture 241 CLV. The
Shadow of an Inclined Plane 244 CLVI. Shadow on a Roof or Inclined
Plane 245 CLVII. To Find the Shadow of a Projection or Balcony on a
Wall 246 CLVIII. Shadow on a Retreating Wall, Sun in Front 247
CLIX. Shadow of an Arch, Sun in Front 249 CLX. Shadow in a Niche
or Recess 250 CLXI. Shadow in an Arched Doorway 251 CLXII.
Shadows Produced by Artificial Light 252 CLXIII. Some Observations
on Real Light and Shade 253 CLXIV. Reflection 257 CLXV. Angles of
Reflection 259 CLXVI. Reflections of Objects at Different Distances
260 CLXVII. Reflection in a Looking-glass 262 CLXVIII. The Mirror
at an Angle 264 CLXIX. The Upright Mirror at an Angle of 45° to the
Wall 266 CLXX. Mental Perspective 269

BOOK FIRST

THE NECESSITY OF THE STUDY OF PERSPECTIVE TO
PAINTERS, SCULPTORS, AND ARCHITECTS
Leonardo da Vinci tells us in his celebrated Treatise on Painting that
the young artist should first of all learn perspective, that is to say, he
should first of all learn that he has to depict on a flat surface objects
which are in relief or distant one from the other; for this is the simple
art of painting. Objects appear smaller at a distance than near to us, so
by drawing them thus we give depth to our canvas. The outline of a ball
is a mere flat circle, but with proper shading we make it appear round,
and this is the perspective of light and shade.
'The next thing to be considered is the effect of the atmosphere and
light. If two figures are in the same coloured dress, and are standing
one behind the other, then they should be of slightly different tone, so
as to separate them. And in like manner, according to the distance of
the mountains in a landscape and the greater or less density of the air,
so do we depict space between them, not only making them smaller in
outline, but less distinct.'[1]
[Footnote 1: Leonardo da Vinci's Treatise on Painting.]
Sir Edwin Landseer used to say that in looking at a figure in a picture
he liked to feel that he could walk round it, and this exactly expresses
the impression that the true art of painting should make upon the
spectator.
There is another observation of Leonardo's that it is