[2] Nouveau Traité Élémentaire de Perspective. Bachelier, 1823. THE ELEMENTS OF PERSPECTIVE. INTRODUCTION. When you begin to read this book, sit down very near the window, and shut the window. I hope the view out of it is pretty; but, whatever the view may be, we shall find enough in it for an illustration of the first principles of perspective (or, literally, of “looking through”). Every pane of your window may be considered, if you choose, as a glass picture; and what you see through it, as painted on its surface. And if, holding your head still, you extend your hand to the glass, you may, with a brush full of any thick color, trace, roughly, the lines of the landscape on the glass. But, to do this, you must hold your head very still. Not only you must not move it sideways, nor up and down, but it must not even move backwards or forwards; for, if you move your head forwards, you will see _more_ of the landscape through the pane; and, if you move it backwards, you will see _less_: or considering the pane of glass as a picture, when you hold your head near it, the objects are painted small, and a great many of them go into a little space; but, when you hold your head some distance back, the objects are painted larger upon the pane, and fewer of them go into the field of it. But, besides holding your head still, you must, when you try to trace the picture on the glass, shut one of your eyes. If you do not, the point of the brush appears double; and, on farther experiment, you will observe that each of your eyes sees the object in a different place on the glass, so that the tracing which is true to the sight of the right eye is a couple of inches (or more, according to your distance from the pane,) to the left of that which is true to the sight of the left. Thus, it is only possible to draw what you see through the window rightly on the surface of the glass, by fixing one eye at a given point, and neither moving it to the right nor left, nor up nor down, nor backwards nor forwards. Every picture drawn in true perspective may be considered as an upright piece of glass,[3] on which the objects seen through it have been thus drawn. Perspective can, therefore, only be quite right, by being calculated for one fixed position of the eye of the observer; nor will it ever appear _deceptively_ right unless seen precisely from the point it is calculated for. Custom, however, enables us to feel the rightness of the work on using both our eyes, and to be satisfied with it, even when we stand at some distance from the point it is designed for. Supposing that, instead of a window, an unbroken plate of crystal extended itself to the right and left of you, and high in front, and that you had a brush as long as you wanted (a mile long, suppose), and could paint with such a brush, then the clouds high up, nearly over your head, and the landscape far away to the right and left, might be traced, and painted, on this enormous crystal field.[4] But if the field were so vast (suppose a mile high and a mile wide), certainly, after the picture was done, you would not stand as near to it, to see it, as you are now sitting near to your window....