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theory and practice of perspective

theory and practice of perspective



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The Theory and Practice of Perspective, by
George Adolphus StoreyThis eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You maycopy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook oronline at www.gutenberg.orgTitle: The Theory and Practice of PerspectiveAuthor: George Adolphus StoreyRelease Date: December 22, 2006 [eBook #20165]Language: EnglishCharacter set encoding: ISO-8859-1***START OF THE PROJECT GUTENBERG EBOOK THE THEORY AND PRACTICE OFPERSPECTIVE***E-text prepared by Louise Hope, Suzanne Lybarger, Jonathan Ingram, and the Project Gutenberg OnlineDistributed Proofreading Team (http://www.pgdp.net/c/)Transcriber's Note:
The Theory and Practice of Perspective, by1
The html version (see above) is strongly recommended to the reader because of its explanatory illustrations. Inchapters LXII and later, the numerals in V1, V2, M1, M2 were printed as superscripts. Other letter-numberpairs represent lines.Points and lines were printed either as lower-case italicized letters, or as small uppercase letters. Most will beshown here with
representing italics.Words and phrases in bold face have been enclosed between + signs (+this is bold face+)Henry Frowde, M.A. Publisher to the University of Oxford London, Edinburgh, New York Toronto andMelbourneTHE THEORY AND PRACTICE OF PERSPECTIVEbyG. A. STOREY, A.R.A.Teacher of Perspective at the Royal Academy[Illustration: 'QUÎ FIT?']Oxford At the Clarendon Press 1910Oxford Printed at the Clarendon Press by Horace Hart, M.A. Printer to the UniversityDEDICATED toSIR EDWARD J. POYNTER BaronetPresident of the Royal Academyin Token of Friendship and RegardPREFACEIt is much easier to understand and remember a thing when a reason is given for it, than when we are merelyshown how to do it without being told why it is so done; for in the latter case, instead of being assisted byreason, our real help in all study, we have to rely upon memory or our power of imitation, and to do simply aswe are told without thinking about it. The consequence is that at the very first difficulty we are left to flounderabout in the dark, or to remain inactive till the master comes to our assistance.Now in this book it is proposed to enlist the reasoning faculty from the very first: to let one problem grow outof another and to be dependent on the foregoing, as in geometry, and so to explain each thing we do that thereshall be no doubt in the mind as to the correctness of the proceeding. The student will thus gain the power of finding out any new problem for himself, and will therefore acquire a true knowledge of perspective.CONTENTSBOOK I Page THE NECESSITY OF THE STUDY OF PERSPECTIVE TO PAINTERS, SCULPTORS,AND ARCHITECTS 1 WHAT IS PERSPECTIVE? 6 THE THEORY OF PERSPECTIVE: I. Definitions 13II. The Point of Sight, the Horizon, and the Point of Distance. 15 III. Point of Distance 16 IV. Perspective of a
The Theory and Practice of Perspective, by2
Point, Visual Rays, &c. 20 V. Trace and Projection 21 VI. Scientific Definition of Perspective 22 RULES:VII. The Rules and Conditions of Perspective 24 VIII. A Table or Index of the Rules of Perspective 40BOOK IITHE PRACTICE OF PERSPECTIVE: IX. The Square in Parallel Perspective 42 X. The Diagonal 43 XI. TheSquare 43 XII. Geometrical and Perspective Figures Contrasted 46 XIII. Of Certain Terms made use of inPerspective 48 XIV. How to Measure Vanishing or Receding Lines 49 XV. How to Place Squares in GivenPositions 50 XVI. How to Draw Pavements, &c. 51 XVII. Of Squares placed Vertically and at DifferentHeights, or the Cube in Parallel Perspective 53 XVIII. The Transposed Distance 53 XIX. The Front View of the Square and of the Proportions of Figures at Different Heights 54 XX. Of Pictures that are Paintedaccording to the Position they are to Occupy 59 XXI. Interiors 62 XXII. The Square at an Angle of 45° 64XXIII. The Cube at an Angle of 45° 65 XXIV. Pavements Drawn by Means of Squares at 45° 66 XXV. ThePerspective Vanishing Scale 68 XXVI. The Vanishing Scale can be Drawn to any Point on the Horizon 69XXVII. Application of Vanishing Scales to Drawing Figures 71 XXVIII. How to Determine the Heights of Figures on a Level Plane 71 XXIX. The Horizon above the Figures 72 XXX. Landscape Perspective 74XXXI. Figures of Different Heights. The Chessboard 74 XXXII. Application of the Vanishing Scale toDrawing Figures at an Angle when their Vanishing Points are Inaccessible or Outside the Picture 77 XXXIII.The Reduced Distance. How to Proceed when the Point of Distance is Inaccessible 77 XXXIV. How to Drawa Long Passage or Cloister by Means of the Reduced Distance 78 XXXV. How to Form a Vanishing Scalethat shall give the Height, Depth, and Distance of any Object in the Picture 79 XXXVI. Measuring Scale onGround 81 XXXVII. Application of the Reduced Distance and the Vanishing Scale to Drawing a Lighthouse,&c. 84 XXXVIII. How to Measure Long Distances such as a Mile or Upwards 85 XXXIX. Further Illustrationof Long Distances and Extended Views. 87 XL. How to Ascertain the Relative Heights of Figures on anInclined Plane 88 XLI. How to Find the Distance of a Given Figure or Point from the Base Line 89 XLII.How to Measure the Height of Figures on Uneven Ground 90 XLIII. Further Illustration of the Size of Figuresat Different Distances and on Uneven Ground 91 XLIV. Figures on a Descending Plane 92 XLV. FurtherIllustration of the Descending Plane 95 XLVI. Further Illustration of Uneven Ground 95 XLVII. The PictureStanding on the Ground 96 XLVIII. The Picture on a Height 97BOOK IIIXLIX. Angular Perspective 98 L. How to put a Given Point into Perspective 99 LI. A Perspective Point beinggiven, Find its Position on the Geometrical Plane 100 LII. How to put a Given Line into Perspective 101 LIII.To Find the Length of a Given Perspective Line 102 LIV. To Find these Points when the Distance-Point isInaccessible 103 LV. How to put a Given Triangle or other Rectilineal Figure into Perspective 104 LVI. Howto put a Given Square into Angular Perspective 105 LVII. Of Measuring Points 106 LVIII. How to Divide anyGiven Straight Line into Equal or Proportionate Parts 107 LIX. How to Divide a Diagonal Vanishing Lineinto any Number of Equal or Proportional Parts 107 LX. Further Use of the Measuring Point O 110 LXI.Further Use of the Measuring Point O 110 LXII. Another Method of Angular Perspective, being that Adoptedin our Art Schools 112 LXIII. Two Methods of Angular Perspective in one Figure 115 LXIV. To Draw aCube, the Points being Given 115 LXV. Amplification of the Cube Applied to Drawing a Cottage 116 LXVI.How to Draw an Interior at an Angle 117 LXVII. How to Correct Distorted Perspective by Doubling the Lineof Distance 118 LXVIII. How to Draw a Cube on a Given Square, using only One Vanishing Point 119 LXIX.A Courtyard or Cloister Drawn with One Vanishing Point 120 LXX. How to Draw Lines which shall Meet ata Distant Point, by Means of Diagonals 121 LXXI. How to Divide a Square Placed at an Angle into a GivenNumber of Small Squares 122 LXXII. Further Example of how to Divide a Given Oblique Square into aGiven Number of Equal Squares, say Twenty-five 122 LXXIII. Of Parallels and Diagonals 124 LXXIV. TheSquare, the Oblong, and their Diagonals 125 LXXV. Showing the Use of the Square and Diagonals inDrawing Doorways, Windows, and other Architectural Features 126 LXXVI. How to Measure Depths byDiagonals 127 LXXVII. How to Measure Distances by the Square and Diagonal 128 LXXVIII. How byMeans of the Square and Diagonal we can Determine the Position of Points in Space 129 LXXIX. Perspective
The Theory and Practice of Perspective, by3

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