s varies according to the distance of the figures
(Fig. 80).

_Third Case._

How to draw figures when their heads are about the height of the
horizon, or as they appear to a person standing on the same level or
walking among them.

In this case the heads or the eyes are on a level with the horizon, and
we have little necessity for a scale at the side unless it is for the
purpose of ascertaining or marking their distances from the base line,
and their respective heights, which of course vary; so in all cases
allowance must be made for some being taller and some shorter than the
scale measurement.

[Illustration: Fig. 81.]

XXIX

THE HORIZON ABOVE THE FIGURES

In this example from De Hoogh the doorway to the left is higher up than
the figure of the lady, and the effect seems to me more pleasing and
natural for this kind of domestic subject. This delightful painter was
not only a master of colour, of sunlight effect, and perfect
composition, but also of perspective, and thoroughly understood the
charm it gives to a picture, when cunningly introduced, for he makes the
spectator feel that he can walk along his passages and courtyards. Note
that he frequently puts the point of sight quite at the side of his
canvas, as at _S_, which gives almost the effect of angular perspective
whilst it preserves the flatness and simplicity of parallel or
horizontal perspective.

[Illustration: Fig. 82. Courtyard by De Hoogh.]

XXX

LANDSCAPE PERSPECTIVE

In an extended view or landscape seen from a height, we have to consider
the perspective plane as in a great measure lying above it, reaching
from the base of the picture to the horizon; but of course pierced here
and there by trees, mountains, buildings, &c. As a rule in such cases,
we copy our perspective from nature, and do not trouble ourselves much
about mathematical rules. It is as well, however, to know them, so that
we may feel sure we are right, as this gives certainty to our touch and
enables us to work with freedom. Nor must we, when painting from nature,
forget to take into account the effects of atmosphere and the various
tones of the different planes of distance, for this makes much of the
difference between a good picture and a bad one; being a more subtle
quality, it requires a keener artistic sense to discover and depict it.
(See Figs. 95 and 103.)

If the landscape painter wishes to test his knowledge of perspective,
let him dissect