IT is much easier to understand andremember a thing when a reason is given for it, than when we are merely shown howto do it without being told why it is so done; for in the latter case, insteadof being assisted by reason, our real help in all study, we have to rely uponmemory or our power of imitation, and to do simply as we are told withoutthinking about it.
The consequence is that at the very first difficulty we areleft to flounder about in the dark, or to remain inactive till the master comesto our assistance. Now in this book it is proposed to enlist the reasoning faculty from the veryfirst: to let one problem grow out of another and to be dependent on theforegoing, as in geometry, and so to explain each thing we do that there shallbe no doubt in the mind as to the correctness of the proceeding.
The studentwill thus gain the power of finding out any new problem for himself, and willtherefore acquire a true knowledge of perspective. George Adolphus Storey Book First The Necessity of the Study of Perspective to Painters, Sculptors, andArchitects LEONARDO DA VINCI tells us in his celebrated Treatise on Painting that theyoung artist should first of all learn perspective, that is to say, he shouldfirst of all learn that he has to depict on a flat surface objects which are inrelief 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 thuswe give depth to our canvas.
The outline of a ball is a mere flat circle, butwith proper shading we make it appear round, and this is the perspective oflight and shade. 'The next thing to be considered is the effect of the atmosphere and light.
Iftwo figures are in the same coloured dress, and are standing one behind theother, 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 landscapeand 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.' Sir Edwin Landseer used to say that in looking at a figure in a picture heliked to feel that he could walk round it, and this exactly expresses theimpression that the true art of painting should make upon the spectator. There is another observation of Leonardo's that it is well I should heretranscribe; he says: 'Many are desirous of learning to draw, and are very fondof it, who are notwithstanding void of a proper disposition for it.
This may beknown by their want of perseverance; like boys who draw everything in a hurry,never finishing or shadowing.' This shows they do not care for their work, andall instruction is thrown away upon them.
At the present time there is too muchof this 'everything in a hurry', and beginning in this way leads only tofailure and disappointment.
These observations apply equally to perspective asto drawing and painting. Unfortunately, this study is too often neglected by our painters, some of themeven complacently confessing their ignorance of it; while the ordinary studenteither turns from it with distaste, or only endures going through it with aview to passing an examination, little thinking of what value it will be to himin working out his pictures.
Whether the manner of teaching perspective is thecause of this dislike for it, I cannot say; but certainly most of our Englishbooks on the subject are anything but attractive. All the great masters of painting have also been masters of perspective, forthey knew that without it, it would be impossible to carry out their grandcompositions.
In many cases they were even inspired by it in choosing theirsubjects.
When one looks at those sunny interiors, those corridors andcourtyards by De Hooghe, with their figures far off and near, one feels thattheir charm consists greatly in their perspective, as well as in their lightand tone and colour...
