A treatise on painting . thofeof the airs through which they are viewed;and that the talleft, and the fhadieft, will excelthe reft in the beauty of their a painter To enable yourfelf to manage the perfpe6livemay put ill Qf colours, and to make their changes, weak-perfpeflivt of cnings, and degradations, correipond to na-ture, take the following method:—In fomeopen champagne, chufe out feveral objedtsplaced at the diftance of one or two hundredfathoms from each other; be they men, trees,houfes, or the like. Now, if, for inftance, yourlirft object be a tree, place a glafs ovcr-againfk
A treatise on painting . thofeof the airs through which they are viewed;and that the talleft, and the fhadieft, will excelthe reft in the beauty of their a painter To enable yourfelf to manage the perfpe6livemay put ill Qf colours, and to make their changes, weak-perfpeflivt of cnings, and degradations, correipond to na-ture, take the following method:—In fomeopen champagne, chufe out feveral objedtsplaced at the diftance of one or two hundredfathoms from each other; be they men, trees,houfes, or the like. Now, if, for inftance, yourlirft object be a tree, place a glafs ovcr-againfkit, and holding your eyes fteadily in the famepofition, defign your tree upon the glafs; trac-ing out the contour from the image before youreye: having done this, retire backwards tillfuch time as the natural tree appears nearlyequal with that you have dcligncd; here youmay colour the figure, taking your meafuresfrom the object appearing at a diftance; andtouching it with Qare and attention, till at . ^ length BY LEONARDO DA VINCI. 9^ length it be brought to refemble the naturaltree, both in form and colour; infomuch that,by fhutting one eye, they may appear bothpainted alike, and both equally diftant. Con-tinue the fame courfe, with regard to the otherobjecfts, at the fecond and third diftance ; trea-furing up fuch pieces as you perform in thisway, and confulting them on all occafions, asguides and rules for your conducl. By the ex-periments 1 have made in this kind, it appears,that the fecond obje<^, at the diftance of twentyfathoms beyond thefirft, diminiihcs four fifthsof its bignefs. There is ftill another kind of perfpecflive, Qfti^e.^r^aicalled the aerial one; which, by the of the air, fhews the different diftancesof feveral objects placed in the fame line. Forinftance, if, in feeing a number of buildingsrifmg behind a wall, which appear of the famebignefs, and ranged in the ^me line, you havea delire to paint them in fu^ rn^nn
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