One-point perspective

When you look straight down a lane, a wynd, a cathedral nave or a railway line, the walls on either side recede toward a single point on the eye-level line directly in front of you. Every edge that runs away from you (the tops of walls, the bases, the sills, the cornices, the lines of the pavement) aims at that point. Every edge that is vertical stays vertical. Every edge that crosses from side to side stays horizontal.

Set it up: eye-level line, vanishing point on it, then the near corners of the two walls as verticals of the right height. Connect their tops and bottoms to the vanishing point. Everything else sits inside those lines. Windows get narrower and closer together as they recede, which the dividing-bays method handles.

This is Forrest's Old College Wynd, Meryon's narrow Paris streets, and every abbey interior. It is the simplest perspective and it makes the strongest pictures, because the eye is pulled into the depth.