. An encyclopaedia of architecture, historical, theoretical, & practical. New ed., rev., portions rewritten, and with additions by Wyatt Papworth. ting , by holding it before the eye in anhorizontal direction, we shall obtain thedifferent parts of the model that lie beforethe eye in the same horizontal line. Bydegrees we shall thus soon find the eye be-come familiarised with the model it con-templates ; judgment in arranging the partssupervenes; the hand becomes bold andunhesitating, and the leading forms arequickly transferred to the paper or canvasto be subdivided to such extent as
. An encyclopaedia of architecture, historical, theoretical, & practical. New ed., rev., portions rewritten, and with additions by Wyatt Papworth. ting , by holding it before the eye in anhorizontal direction, we shall obtain thedifferent parts of the model that lie beforethe eye in the same horizontal line. Bydegrees we shall thus soon find the eye be-come familiarised with the model it con-templates ; judgment in arranging the partssupervenes; the hand becomes bold andunhesitating, and the leading forms arequickly transferred to the paper or canvasto be subdivided to such extent as is re-quired by the degree of finish intended to bebestowed upon the drawing. 2393. The process that we have consi-dered more with relation to the bust ise(]ually applicable to the whole figure. Infiff. 814. we have more particularly shownby the dotted lines the horizontal and verti-cal use of the port crayon; but the pre-vious adjustment of some measure of unityfor proportioning the great divisions to eachother is also applied to it as already the figure, EE is the line of the hori-zon, or that level with the eye; it will be ^ *. 808 THEORY OF ARCHITECTURE. Book II. Beon passing through the knee of that leg upon which tlie principal weiglit of the body isthrown. 2394. Though our object in this section is to give only a notion of the way of trans-ferring to paper or canvas such objects as present themselves, we think it proper to hint ata few matters which the student will do well to consider, and these relate to thebalance and motion of the human figure. Geometry and arithmetic were with the paintersof anti(]uity of such importance that Pam])hilus the master of Apelles declared, withoutthem art could not be perfected. Vitruvius particularly tells us the same thing, and, asfollows, gives the proportions of the human figure: — * From the chin to the top of theforehead, or to the roots of the hair, is a tenth part of the height of the whole body ; fromthe ch
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