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The reason of this is not so easy to demonstrate as many others. Still I will endeavour to accomplish it, if not wholly, at any rate in part. The perspective of diminution demonstrates by reason, that objects diminish in proportion as they are farther from the eye, and this reasoning is confirmed by experience. Hence, the lines of sight that extend between the object and the eye, when they are directed to the surface of a painting are all intersected at uniform limits, while those lines which are directed towards a piece of sculpture are intersected at various limits and are of various lengths. The lines which are longest extend to a more remote limb than the others and therefore that limb looks smaller. As there are numerous lines each longer than the others--since there are numerous parts, each more remote than the others and these, being farther off, necessarily appear smaller, and by appearing smaller it follows that their diminution makes the whole mass of the object look smaller. But this does not occur in painting; since the lines of sight all end at
the same distance there can be no diminution, hence the parts not being diminished the whole object is undiminished, and for this reason painting does not diminish, as a piece of sculpture does.