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 sible to distinguish the parts minutely. If you wish to know by demonstration the diminution of the above figure, hold your finger up before your eye at about nine inches distance, so that the top of your finger corresponds with the top of the head of the distant figure: you will perceive that your finger covers, not only its head, but part of its body; which is an evident proof of the apparent diminution of that object. Hence it often happens, that we are doubtful, and can scarcely, at some distance, distinguish the form of even a friend.   custom, which has been generally adopted by painters, on the front and sides of chapels, is much to be condemned. They begin with an historical picture, its landscape and buildings, in one compartment. After which, they raise another compartment, and execute another history with other buildings upon another level; and from thence they proceed to a third and fourth, varying the point of sight, as if the beholder was going up steps, while, in fact, he must look at them all from below, which is very ill judged in those matters.

We know that the point of sight is the eye of the spectator; and if you ask, how is a series of subjects, such as the life of a saint, to be represented, in different compartments on the same wall? I answer, that you are to place the principal event in the largest compartment, and make the point of Rh