that the foreshortening of his figures and accessory objects does not appear strangely deformed to the view.

CHAPTER II.

On the Size of Figures in a Picture.

THE figures may be:

1st. Larger or smaller than nature; 2nd. Of the natural size.

(Fig. I.)-Let us suppose that the horizontal line HH' has, first of all, been drawn upon the canvas. Let us admit, to fix one's ideas, 1st, that the height of a man is 1 metre 75 centimetres;* 2nd, that the head of a man is comprised eight times in the length of his body.†

Example: It is desired to have figures a fifth of the natural size, measured on one of the sides of the canvas.

The fifth part of 1.75 metre being 0.35 metre (35 centimetres), I take this length on the measure,

* This measurement is represented decimally by 1·75 metre, and is equal to about 5 feet 10 inches. It has been thought best not to render it into English yards, feet, &c., as this would only tend to mutilate the arguments of the author, and would not give any real assistance to the reader. The word part may be substituted for metre. + "L'Art de Desseigner," by Jean Cousin.

and carry it from T to A with the figure o, o o at the point T, and 1.75 metre at the point A.

1.75 metre equals one metre and three-quarters, or seven-fourths of a metre; the length, TA, is equal to 35 centimetres of the true metre, and represents the seven-fourths of the metre of the picture. I divide TA in seven equal parts, and I write on the canvas, by the side of the divisions, the numbers (.25-0.50 The triangle AH'T

thus divided is named the SCALE OF PROPORTION

for figures standing.

The part of the canvas, which the perspective outline will make appear plane to the eye, is the space THH'T', which is called the perspective ground.

(Fig. II.)-Suppose that the figure A walks; the greatest distance it can pass over is contained in the triangle TH' A, because when arrived at the point H' it will be reduced to a mere speck.

Let EE', GG, II, LL' be four successive positions.

If you admit that these figures move parallel to each other, they will be comprised, the first in the rectangle E E' PP', the second in the rectangle GG FF; and so on for the others as indicated in fig. II.

Rule. We see then (fig. III.) that, to find the height of a figure standing at a point Z of the

picture, it suffices to carry a line parallel to the base-line through the point chosen, till it meets the line T H' of the scale of proportion, to elevate the vertical line E E' till it meets the line A H', and to draw the parallel E' Z' till it vertical line elevated at the point Z.

meets the

This rule gives implicitly (fig. IV.) the means of finding every vertical height at any given point of the picture, inasmuch as it will suffice to join with the point H' the division of the scale indicating the required height, and to complete the outline as above.

The scale of proportion for figures lying down is founded on the same principles: one of the divisions of the vertical scale is carried to the base-line as many times as it may be contained in the figure required; we then join the seventh division with the point H, and the scale of proportion is thus obtained for every figure or length on the horizontal plan of the picture.

Example: The scale being supposed to be traced (fig. V.), to find at the point Z the length of a figure lying down, I draw a line parallel to T Tat Z, the reposing figure at the point Z will evidently be equal to E F; and I transfer this length with the compass to Z' Z, which resolves the question.

The most General Case.-It often happens that the

painter makes a previously arranged sketch of the real size of the principal figure of his composition, with the intention of transferring it just as it is to the canvas, and to subordinate the other figures to this one. In this case, to find the scale of proportion of the figures, we operate in the following

manner:

1st. The tracing of the drawing is placed on the canvas at the point chosen, Z (fig. III.); 2nd, the vertical line Z Z is drawn; 3rd, the parallel to the base-line of the drawing (see page 6) is then drawn, which will be the horizontal line of the picture; 4th, the line T H', and the line E Z, which is parallel to T T', are then brought forward; 5th, a vertical line is elevated at the point E, which cuts the parallel Z' E' at E'; 6th, E' is joined to the point H', and prolonged as far as A.

The length T A represents the dimension of the figure sketched, taken as at the outer edge of the

canvas.

· Then measuring T A with the metre,* I divide it as pointed out by the rule at page 8.

Particular Cases. It will be readily understood that what has been said for figures standing is equally applicable to every other attitude. In this

*This may be done with the English yard, and divided decimally as given in the rule referred to.

case it suffices (fig. IV.): 1st, to find at the point chosen the length of the figure standing; 2nd, to take vertically from the ground a height proportionally equal to that taken on the model, from the highest point of its body, and to effect the sketch of the figure by means of these data.

We see from this that if, for the wants of the composition, it is desired to have at such or such point of the picture a figure not exceeding a certain height, but, at the same time, of a required size, we shall be able to satisfy these various conditions.

For the figures of women and children, it suffices to join to the point H' the division of the scale ad hoc, and to operate exactly as above.

Of Figures Larger than Nature, or of the Natural Size.

The scales of proportion are constructed on the same principles: dimensions greater than the metre, or of equal size, are placed on the edge of the canvas, and the rules before enunciated are applied.

It will be observed, however, that in a picture the figures will not appear to be of the natural size, so long as the scale of proportion shall have been established for figures larger than nature.

For paintings of large dimensions, it is usual to