The Horizon above the Figures
In this example from De Hoogh the doorway to the left is higher up than the figure of the lady, and the effect seems to me
more pleasing and natural for this kind of domestic subject. This delightful painter was not only a master of colour, of sunlight effect, and perfect composition, but also of perspective, and thoroughly understood the charm it gives to a picture, when cunningly introduced, for he makes the spectator feel that he
can walk along his passages and courtyards. Note that he frequently puts the point of sight quite at the side of his canvas, as at S, which gives almost the effect of angular perspective whilst it preserves the flatness and simplicity of parallel or horizontal perspective.
Fig. 82. Courtyard by De Hoogh.
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Landscape Perspective
In an extended view or landscape seen from a height, we have to consider the perspective plane as in a great measure lying above it, reaching from the base of the picture to the horizon; but of course pierced here and there by trees, mountains, buildings, &c. As a rule in such cases, we copy our perspective from nature, and do not trouble ourselves much about mathematical rules. It is as well, however, to know them, so that we may feel sure we are right, as this gives certainty to our touch and enables us to work with freedom. Nor must we, when painting from nature, forget to take into account the effects of atmosphere and the various tones of the different planes of distance, for this makes much of the difference between a good picture and a bad one; being a more subtle quality, it requires a keener artistic sense to discover and depict it. (See [Figs. 95] and [103].)