| 383 | 384 | 385 | 386 | 387 |
| 1 | 306 | 613 | 919 | 1225 |
|
pictures on one and the same wall, I answer that you must set out
the foreground with its point of sight on a level with the eye of
the spectator of the scene, and upon this plane represent the more
important part of the story large and then, diminishing by degrees
the figures, and the buildings on various hills and open spaces, you
can represent all the events of the history. And on the remainder of
the wall up to the top put trees, large as compared with the
figures, or angels if they are appropriate to the story, or birds or
clouds or similar objects; otherwise do not trouble yourself with it
for your whole work will be wrong.
5
43.
A PICTURE OF OBJECTS IN PERSPECTIVE WILL LOOK MORE LIFELIKE WHEN
SEEN FROM THE POINT FROM WHICH THE OBJECTS WERE DRAWN.
If you want to represent an object near to you which is to have the
effect of nature, it is impossible that your perspective should not
look wrong, with every false relation and disagreement of proportion
that can be imagined in a wretched work, unless the spectator, when
he looks at it, has his eye at the very distance and height and
direction where the eye or the point of sight was placed in doing
this perspective. Hence it would be necessary to make a window, or
rather a hole, of the size of your face through which you can look
at the work; and if you do this, beyond all doubt your work, if it
is correct as to light and shade, will have the effect of nature;
385
Page
Quick Jump
|