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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 reflexion. The vertical lines of the image are continuations 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,
