Page 40 [40]
18 LIGHT AND WATER
character of their own, and that the bank is one thing
and the water another. It is by not making this change
manifest, and giving underneath a mere duplicate of
what is seen above, that artists are apt to destroy the
essence and substance of water, and to drop us through
i be
Since the image is to be regarded as a solid object
beneath the water, it must (when the water is still)
be so represented. To find the position of the image
of any point, we have only to apply the rule, given
on page 7, that any point and its image lie on the
same vertical line and at equal distances above and
below the level of the water. The image of a straight
line is determined by the images of its extreme
points, and soon. And if we have to apply the rules
of perspective to the drawing of a building, we must
not entirely neglect them when we come to the re¬
flexion. The vertical lines of the image are continua¬
tions of the corresponding lines of the object, and
must be drawn as such; the horizontal lines of the
image are parallel to the corresponding lines of the
object and must in the picture be made to converge
to the same vanishing points if seen in ‘angular
perspective,’ or be drawn parallel to them if seen in
“parallel perspective.” A further hint with regard
to the perspective of reflected gables is given on the
Opposite page (Fig. 9)" and may be found useful,
* Modern Painters, Vol. I, Part II, Sec. V, Chap. III, § 7.
* The horizontal lines A, B, C, D of the object are drawn to
meet in the vanishing point VP. The corresponding lines a, ő, c, d
in the image, which are parallel to them (assuming the image to have
an actual existence), will therefore also meet in the same point VP.
In the same manner all horizontal lines at right angles to these,