personnel (personel)

[F., perspective as toro. Many species are cultivated under gla , chiefly for the brilliant yellow flowers. Per so onieæ (pėr-sö-ni'ē-ē), n. pl. [NL. (Endlicher, 1836), Galilæus, a worthy astrologer,.. by the help of per spective gla es hath found in the stars many things unknown to the ancients. Raleigh , Hist. World, I. 193. God's perspective gla , his spectacle, is the whole world. Donne, Sermons, ii. A Cane with a Silver Head and a Black Ribbon in it, the top of it Amber, crack'd in two or three places, part of the Head to turn round, and in it a Perspective Gla . Quoted in Ashton's Social Life in Reign of Queen Anne, [I. 158. 2. Of or pertaining to the art of representing solid objects upon a flat surface.--3. Represented in perspective; thoroughly and duly proportioned in its parts; not anamorphous or distorted; true: as, a perspective perspective plan. See II. To recommend this system to the people, a perspective view of the court, gorgeously painted and finely illuminated from within, was exhibited to the gaping multitude. Burke , Present Discontents. Perspective gla t. See def. 1.- Perspective shell, a ptenoglo ate gastropod, Solarium perspectivum ; the sundial shell. II. n. 11. A reflecting gla or combination of gla es producing some kind of optical delusion or anamorphous effect when viewed in one way, but presenting objects in their true forms when viewed in another. Like perspectives , which, rightly gazed upon, Show nothing but confusion, eyed awry Distinguish form. Shak., Rich. II., ii. 2. 18. IMG:content-2762.jpg:[graphic] IMG:content-2763.png:[blocks in formation] Two embroidered suits, a pocket perspective , a dozen pair of red-heeled shoes, three pair of red silk stockings, and an amber-headed cane. Steele, Tatler, No. 118. 3. The art of representing solid objects on a flat surface so that when they are viewed the eye is affected in the same manner as it would be by viewing the objects themselves from a given point. By perspective, in common language, is meant linear perspective, or the art of delineating the outlines of objects, of their shadows, and of their reflections. The theory is that the positions of the delineated points in the picture are such that if rays, or straight lines, were drawn from the corresponding original points in the natural objects to the eye of the spectator, and if the picture were then interposed in the right position, it would be pierced by these rays at the points of delineation. It follows that perspective supposes that a picture is to be looked at with one eye placed in a particular position; and if it be otherwise looked at, the perspective nece arily appears false. This position of the eye, called the station IMG:content-2764.png:[blocks in formation] JBCK , an original plane; KCDL , another original plane; CK . their intersection, an original line: ABCD , plane of delineation; E , station-points EFGH, directing plane; EADH, vanishing plane of original plane JBCK; BC, its intersecting line; AD, its vanishing line; FG, its directing line; EABF, vanishing plane of original plane KCDL; DC, its intersecting line; AB, its vanishing line; HG. its directing line: C, intersecting point of line CK ; A , its vanishing point; G, its directing point; EG , its director; AC , its delineation. point , or point of sight (which phrase with old writers has, however, another meaning), is, according to the directions of most treatises, placed much too near the picture to represent the mean position of a person looking at it. Ar perspective tists consequently find it nece ary to modify the forms which strict perspective would prescribe. To ascertain how an original line or plane (that is, a line or plane in nature) is to be delineated, we have to consider, first, the intersecting point or line, also called the intersection of the original line or plane (that is, the point or line where the original line or plane, extended if nece ary, cuts the plane of delineation, or the plane of the picture extended to infinity); and, second, the vanishing point of the original line, or the vanishing line of the original plane (that is, the point or line where the plane of delineation is cut by a line or plane pa ing through the eye parallel to the original line or plane). An original line is represented by some portion of the line from its intersecting point to its vanishing point; and every line in a given original plane has its intersecting point on the intersecting line and its vanishing point on the vanishing line of that plane. It is also proper to consider the directing plane, or plane through the eye parallel to the picture; the directing line, or line in which the directing plane cuts an original plane; the directing point, or point in which the directing plane is pierced by an original line; and the director, or line from the eye to a directing point. It is further nece ary to take account of the direct radial, or principal visual ray, being the perpendicular let fall from the eye upon the plane of delineation; the center of the picture, or center of vision (called by old writers the point of sight ), being the foot of that perpendicular; and the principal distance, or distance of the picture, being the perpendicular of the plane of delineations to the he distance plane is the level plane on which the spectator is supposed to stand. The horizontal line, or horizon, is the line in which the level plane through the eye cuts the picture, pa ing ordinarily through the center. This would better be termed the horizontal line at infinity, for, owing to the dip of the horizon (which see, under dip ), it differs sensi bly from the delineation of the true horizon. Linear perspective is merely a branch of descriptive geometry, itself an application of projective geometry. Perspective is in timately connected with the arts of design, and is particularly nece ary in the art of painting, as without a correct observance of perspective no picture can have truth. Perspective is illustrated in the correct delineation of even the simplest positions of objects. 4. A drawing or representation in perspective; specifically, a painting so placed at the end of an alley, a garden, or the like, like, as to present the appearance of continuing it, and thus produce the impre ion ion of greater length or extent. Stage scenic painting is of this nature. Towards his study and bedchamber joynes a little garden, which, tho' very narrow, by the addition of a well painted perspective is to appearance greatly enlarged. Evelyn, Diary, March 1, 1644. 5. Prospect; view; vista. Perspectives of pleasant glades. I saw a long perspective of felicity before me. 4417