CHAPTER XI
Measuring and Perspective
THERE is no general way of doing things," says a great writer on art. "No recipe can be given for doing as much as the drawing of a bunch of grapes."
If there are no known recipes for drawing things successfully, there are, nevertheless, several methods by which the young artist is helped out of difficulties and started on the right path.
The application of a few rules of perspective, the use of plumb and parallel lines, the measurement and comparison of one part of a drawing with another part—all these things contribute toward the training of the eye and the quickening of the brain.
Provided that you honestly desire advice, there is nothing to be ascertained but the direction in which that advice should be followed.
In short, what do you wish to know? What is the special difficulty that perplexes your mind? Does your drawing look out of proportion? Is it too bulky for its height, too short, too thin, or too tall?
Then we will measure one part against another part.
Perhaps it seems to you that the object or objects in your drawing are falling forward or inclining backward.
Then we will apply a plumb-line.
If you have embarked on an ambitious subject as the drawing of a house, or a street, and you cannot 'make it look right'—"It won't go back," or (equally possible) "It won't come forward"—then we must delve into the mysteries of perspective and apply common sense and plain argument.
Perspective is sometimes called the grammar of art because
