touch; and beyond where they touch they cover each other, till the last column projects but very little beyond the last but one.  Thus the spaces between the columns are by degrees entirely lost.  So, if your method of perspective is good, it will produce the same effect; this effect results from standing near the line in which the columns are placed.  This method is not satisfactory unless the objects seen are viewed from a small hole, in the middle of which is your point of sight; but if you proceed thus your work will be perfect and will deceive the beholder, who will see the columns as they are here figured.

Here the eye is in the middle, at the point a and near to the columns.

[Footnote:  The diagram which stands above this chapter in the original with the note belonging to it:  “a b e la ripruova” (a b is the proof) has obviously no connection with the text.  The second sketch alone is reproduced and stands in the original between lines 22 and 23.]

545.

If you cannot arrange that those who look at your work should stand at one particular point, when constructing your work, stand back until your eye is at least 20 times as far off as the greatest height and width of your work.  This will make so little difference when the eye of the spectator moves, that it will be hardly appreciable, and it will look very good.

If the point of sight is at t you would make the figures on the circle d b e all of one size, as each of them bears the same relation to the point t.  But consider the diagram given below and you will see that this is wrong, and why I shall make b smaller than d e [Footnote 8:  The second diagram of this chapter stands in the original between lines 8 and 9.].

It is easy to understand that if 2 objects equal to each other are placed side by side the one at 3 braccia distance looks smaller than that placed at 2 braccia.  This however is rather theoretical than for practice, because you stand close by [Footnote 11:  Instead of ‘se preso’ (=_sie presso_) M. RAVAISSON reads ‘sempre se’ which gives rise to the unmeaning rendering:  ’parceque toujours ...’].

All the objects in the foreground, whether large or small, are to be drawn of their proper size, and if you see them from a distance they will appear just as they ought, and if you see them close they will diminish of themselves.

[Footnote 15:  Compare No. 526 line 18.] Take care that the vertical plan on which you work out the perspective of the objects seen is of the same form as the wall on which the work is to be executed.

546.

OF PAINTING.

The size of the figures represented ought to show you the distance they are seen from.  If you see a figure as large as nature you know it appears to be close to the eye.

547.

WHERE A SPECTATOR SHOULD STAND TO LOOK AT A PICTURE.