150 . THE FINE ARTS. 
21, figs. 18-21) ; but if it be an angular object having lateral surfaces (pl. 19, 
jig. 40) he selects a point at either side of the axis. If a group of several 
objects is to be drawn, the point of view is taken opposite its vertical axis ; 
especially in historical compositions of human figures and in open landscapes. 
An exception from this rule is made in the case of avenues and streets, of 
rooms, churches, and similar bounded spaces in which the objectg on 
the two sides are mostly parallel, their lines receding at right angles from 
the transparent plane. If in such a case the point of view were taken 
opposite the vertical axis a perspective symmetry would be the result, 
making the impression of monotony or stiffness (pl. 19, figs. 48, 44). It is 
therefore preferable to choose a point of view on either side of the vertical 
axis, thus avoiding the unpleasant effects of perspective symmetry (pl. 19, 
Jig. 45). 
In conclusion, we call attention to the necessity of placing finished natural 
drawings in a certain position to the eye of the beholder, in order that the 
images of the objects may appear to him as real objects im space. This 
one true position of the drawing is that in which its plane has the same 
angle of intersection with his line of sight, and the same distance from his 
point of view, which the transparent plane had with the line of sight, and 
Jrom the point of view of the draughtsman. The drawing must therefore 
be held before the beholder in such a manner that his eye shall be precisely 
opposite the point of sight m the drawing, and at a distance precisely 
equalling the distance in the drawing. Thus the cross of cubes (pl. 19, jig. 
40) must be held a certain distance to the left from the eye; the rooms (jigs. 
43, 44) straight before the eye; and the group of buildings (jig. 45) a little 
to the right of the eye; in all three cases at such an elevation that the 
horizon marked in the figures be in the horizontal plane of the eye. If in 
these drawings the points of sight were not indicated, they would be found 
by prolonging the receding horizontal lines. In drawings that are destitute 
of such receding horizontal lines, the determination of the horizon and point 
of sight requires elaborate constructions, but a practised eye very easily 
discovers the right point of view for the inspection of a good drawing, with- 
-out such construction, by means of a well developed sense of beauty. 
These remarks about the right position for viewing a drawing are of 
even greater importance for making a correct copy of a finished drawing. 
It is therefore of little use, and even absurd, to let pupils draw from finished 
patterns before they are thoroughly acquainted with the rules of perspective 
and their application. 
In order to show how necessary is a strict attention to general and special 
morphology, and to the rules of perspective, even in drawing single 
natural forms, we subjoin an outline of the rules for drawing the human 
figure. 
C. Drawing of the Human Figure. 
In the following remarks reference is had throughout to a purely ideal 
human figure, forming, as it were, a medium between the innumerable 
individual figures produced by nature, from the normal proportions of which 
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