Nothing ought to be more familiar to a Painter than Perspective; for it is the only thing that can make the Judgment correct, and will help the Fancy to invent with ten times the ease that it could do without it.

[Perspectiva communis was written to] compress into concise summaries the teachings of perspective, which [in existing treatises] are presented with great obscurity.

Perspective is that part of a poem, novel, or play which a writer never puts directly upon paper. It is that fixed point in intellectual space where a writer stands to view the struggles, hopes, and sufferings of his people. There are times when he may stand too close and the result is a blurred vision. Or he may stand too far away and the result is a neglect of important things.

When he is sufficiently perfect in these, I would have him learn Perspective. And when he has made some progress in this, so as to have prepared his Judgment with the right Notions of the Alterations that Figures must undergo, when they come to be drawn on a Flat, he may then be put to Drawing by View, and be exercised in this along with Perspective, till he comes to be sufficiently perfect in both.

Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the surface and edges of each object, converge from a distance and meet in a single point.

Considering how few, and how simple the Principles are, upon which the whole Art of <small>PERSPECTIVE</small> depends, and withal how useful, nay how absolutely necessary this Art is to all forts of Designing; I have often wonder'd, that it has still been left in so low a degree of Perfection, as it is found to be, in the Books that have been hitherto wrote upon it.

The Art Perspective is necessary to all Arts, where there is any occasion for Designing... but it is more particularly necessary to the Art Painting...

The thing about perspective is:
something happens.
it means nothing.
we make up a story about what it means based on what we feel.
this story becomes our truth.
this story creates our reality, our world, what is possible and what is not.

Writing has laws of perspective, of light and shade, just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.

The whole Renaissance tradition is antipathic to me. The hard-and-fast rules of perspective which it succeeded in imposing on art were a ghastly mistake which it has taken four centuries to redress; Cézanne and after him Picasso and myself can take a lot of credit for this.. ..scientific perspective forces the objects in a picture to disappear away from the beholder instead of bringing them within his reach as painting should.

We are all the heroes of our own stories, and on of the arts of perspective is to see yourself small on the stage of another's story, to see the vast expanse of the world that is not about you, and to see your power, to make your life, to make others, or break them, to tell stories rather that be told by them.

Writing has laws of perspective, of light and shade just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.

Dominated as we are by graphic vistas in perspective, we hardly remember the philosophers’ arguments against this “perspective” way of seeing the world. Plato, who had his own way of looking at everything, objected to the very same “deception” of the senses that Vitruvius had praised as a way of giving a “faithful representation of the appearance of buildings in painted scenery.” If two objects or two persons were really the same size, Plato argued, the honest artist should make them so in his picture, and not depict one smaller than the other simply because it was seen at a greater distance.

perspective shapes our reality.