Texas Heritage, Volume 19, Number 1, Winter 2001 Page: 46
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yond the margins of the print. Most city
view artists laid out the grid with two vanishing
points, one for the vertical axis and
one for the horizontal. There are distant
vanishing points in Drie's print, but other
characteristics of an axonometric projection
are present as well, such as the lack of
foreshortening. Houses in the distance are
virtually the same size as those in the foreground.22
Despite the clumsiness of this
effort, Drie went on to produce the most
ambitious work of all American city view
artists, a 110-sheet view of St. Louis, Missouri,
The ultimate veracity of these distinctive
bird's-eye views was recently upheld
when staff members of the Historical
Department of the Mormon Church painstakingly
compared Augustus Koch's 1870
view of Salt Lake City with dozens of historic
photographs and other physical evidence.
The team researched more than a
square mile of central Salt Lake City on a
block-by-block basis. They found that
Koch had disposed of some of the outbuildings
and other small items, but that on the
whole the view was "highly accurate" insofar
as they could determine.24 My research
also suggests that the same is true of
most of the Texas prints.
Ron Tyler, director of the Texas State Historical
Association, is professor of history at The
University of Texas at Austin. He would like
to acknowledge William Pugsley of Austin for
his research assistance on this article.
HERITAGE * 46 * WINTER 2001
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Texas Historical Foundation. Texas Heritage, Volume 19, Number 1, Winter 2001, periodical, Winter 2001; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth45384/m1/46/: accessed August 17, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas Historical Foundation.