In a real view our
eyes are directed successively at every object, which we then see
clearly and with distinct outlines, everything else--nearer and
farther--being indistinct; but being able to change the focal angle of
our two eyes and their angle of direction with great rapidity, we are
enabled to glance rapidly at each object in succession and thus obtain a
general and detailed view of the whole. A house, a tree, a spire, the
leaves of a shrub in the foreground, are each seen (while we direct our
eyes to them) with perfect definition and sharpness of outline. Now a
monocular photo gives the clearness of outline and accuracy of
definition, and thus represents every individual part of a landscape
just as we see it when looking at that part. Now I maintain that this is
_right_, because no painting can represent an object both distinct and
indistinct. The only question is, Shall a painting show us objects as we
see them when looking at them, or as we see them when looking at
_something else_ near them? The only approach painters can make to this
varying effect of binocular vision, and what they often do, is to give
the most important and main feature of their painting _distinct_ as we
should see it when looking at it in nature, while all around has a
subdued tone and haziness of outline like that produced by seeing the
real objects when our vision is not absolutely directed to them.
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