HOW TO DETERMINE THE HEIGHTS OF FIGURES ON A LEVEL PLANE
This is but a repetition of the previous figure, excepting that we have substituted these schoolgirls for the vertical lines. If we wish to make some taller than the others, and some shorter, we can easily do so, as must be evident (see Fig. 79).
Note that in this first case the scale is below the horizon, so that we see over the heads of the figures, those nearest to us being the lowest down. That is to say, we are looking on this scene from a slightly raised platform.
To draw figures at different distances when their heads are above the horizon, or as they would appear to a person sitting on a low seat. The height of the heads varies according to the distance of the figures (Fig. 80).
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.
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.]
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.)