Booksubjectperspective hi-res stock photography and images

$A treatise on painting . nearer the dark body, whence they have theirfhadow, or the luminous body that gives themlight. The furface of every opake body partakesmore or lefs of the colour ot us objedl, as that• object is more or Icfs removed, or as it makesits imprcHion with a greater or lefs force. Thofe things which are ietvi between lightand darknefs, appear with a greater relievo^than thofe which are ittn entirely either inlight or darknefs. When, in reprefenting any difiant fcene, youpaint your figures bold and diilir.ct, thefe, in-ftead of appearing far removed, will be {e:ennear at hand. Stock Photo$

RM2AWHBKH–A treatise on painting . nearer the dark body, whence they have theirfhadow, or the luminous body that gives themlight. The furface of every opake body partakesmore or lefs of the colour ot us objedl, as that• object is more or Icfs removed, or as it makesits imprcHion with a greater or lefs force. Thofe things which are ietvi between lightand darknefs, appear with a greater relievo^than thofe which are ittn entirely either inlight or darknefs. When, in reprefenting any difiant fcene, youpaint your figures bold and diilir.ct, thefe, in-ftead of appearing far removed, will be {e:ennear at hand.

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . nit, lying on G.P. directly in front. 14. Represent a hexagon, side 3, half buried vertically inthe ground, one side parallel to G.P.; hexagon | to P.P.and 3 within it, 4^ to left. 54 DRAWINv The Octagon. The drawing of an octagon diflfers but little from that ofthe hexagon, we shall, therefore, merely show the plan. Thefollowing are methods of drawing the plan:— C A OS D H v% v^ P K <) N i L Af^ F Fig. 31. Let AB = given side (on B.L.); bisect AB in O, and drawOG J Stock Photo

RM2AJG5RB–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . nit, lying on G.P. directly in front. 14. Represent a hexagon, side 3, half buried vertically inthe ground, one side parallel to G.P.; hexagon | to P.P.and 3 within it, 4^ to left. 54 DRAWINv The Octagon. The drawing of an octagon diflfers but little from that ofthe hexagon, we shall, therefore, merely show the plan. Thefollowing are methods of drawing the plan:— C A OS D H v% v^ P K <) N i L Af^ F Fig. 31. Let AB = given side (on B.L.); bisect AB in O, and drawOG J

La prospettiua pratica . e A J>. XXII. che ft monti da, due parti « 6S85®SB la la Pianta dcfla fcala A, pofta ili Ifcorcio ; Il punto del Concorfo F; la linea del Piano B C; la§ S § paralclla toccante il punto del concorlo D F i b linea tiaucrlale ad angoli retti con cfle due li-^JsS® nec B D^ Il punto dellaltezza Ej laltezza delTa icala B G,compartita in cinque icalini vguali ;& la linea C F,pcrpend icolare alla linea del piano,pcr pigliare le miiìire della pianta. Siano poi formate le Imee L M, & M I, adangoli retti fra di loro ; & prefa la milìira dalla linea.C F,al punto legnato n.i o, Stock Photo

RM2AJ5AP1–La prospettiua pratica . e A J>. XXII. che ft monti da, due parti « 6S85®SB la la Pianta dcfla fcala A, pofta ili Ifcorcio ; Il punto del Concorfo F; la linea del Piano B C; la§ S § paralclla toccante il punto del concorlo D F i b linea tiaucrlale ad angoli retti con cfle due li-^JsS® nec B D^ Il punto dellaltezza Ej laltezza delTa icala B G,compartita in cinque icalini vguali ;& la linea C F,pcrpend icolare alla linea del piano,pcr pigliare le miiìire della pianta. Siano poi formate le Imee L M, & M I, adangoli retti fra di loro ; & prefa la milìira dalla linea.C F,al punto legnato n.i o,

$Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . AN^^mkV.VV. sV^t^)!&S.>Wv..v.. ,. ^If otf. iri j ?a^. int. 1 l/J-^;^**^ - t?on btv Pönderation, mb Beivegimg. iQbcnc £a|T, burcl) unterlcf)tcbene Q5ctveöunöfn unrcifu^et. ?D?an fan biefeöin bcr bet)ftef)en Figur »om Hercale fc{)en,tec bcn ^liefen Antaeum, nad)f %f»b Stock Photo$

RM2AX9B6E–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . AN^^mkV.VV. sV^t^)!&S.>Wv..v.. ,. ^If otf. iri j ?a^. int. 1 l/J-^;^**^ - t?on btv Pönderation, mb Beivegimg. iQbcnc £a|T, burcl) unterlcf)tcbene Q5ctveöunöfn unrcifu^et. ?D?an fan biefeöin bcr bet)ftef)en Figur »om Hercale fc{)en,tec bcn ^liefen Antaeum, nad)f %f»b

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 70. Let AB be the given line and C the external point; at anypoint B and distance BC describe an arc to cut AB; with Cas centre and CB as distance describe an arc, and with B ascentre and distance equal to AC describe an arc cuttingformer arc in D; join CD, which will be parallel to AB.(Fig. 70.) (b) To divide a line into any number of equal parts. C. Fig. 71. Let AB be the given line; draw DE parallel to AB oneither side, and on this line set off the required number of Stock Photo

RM2AJFRF3–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 70. Let AB be the given line and C the external point; at anypoint B and distance BC describe an arc to cut AB; with Cas centre and CB as distance describe an arc, and with B ascentre and distance equal to AC describe an arc cuttingformer arc in D; join CD, which will be parallel to AB.(Fig. 70.) (b) To divide a line into any number of equal parts. C. Fig. 71. Let AB be the given line; draw DE parallel to AB oneither side, and on this line set off the required number of

La prospettiua pratica . però ricicano vni-formi. Et perche prima è necelTario ricercare la verità del fatto percauarne la prona,.qual ceiii duemodi Ila il perfetto, farà ciò da me dimoftrato con la feguente figura . Sia il piano dvna Tauola, ò daltro A B-C D, lopr-a laqu^le fia formato il quadrato E F G H, & de ^terminali quanto dilcoilo fi voglia rimirare il quadrato, èc (apponiamo quanto è da E à O, & quan-to dallaltra parte fia veduto il lato delfo quadrato E F> & fia quanto è da E à M . Siano tirate le lineeOI, &: M I, ad angoli retti fra loro ; 3c douc quelle due linee formeranno lang Stock Photo

RM2AJ5PKW–La prospettiua pratica . però ricicano vni-formi. Et perche prima è necelTario ricercare la verità del fatto percauarne la prona,.qual ceiii duemodi Ila il perfetto, farà ciò da me dimoftrato con la feguente figura . Sia il piano dvna Tauola, ò daltro A B-C D, lopr-a laqu^le fia formato il quadrato E F G H, & de ^terminali quanto dilcoilo fi voglia rimirare il quadrato, èc (apponiamo quanto è da E à O, & quan-to dallaltra parte fia veduto il lato delfo quadrato E F> & fia quanto è da E à M . Siano tirate le lineeOI, &: M I, ad angoli retti fra loro ; 3c douc quelle due linee formeranno lang

Elementi di prospettiva : per uso degli architetti, e pittori . loMLQLO, JDC. H ::;:: n t / C S / X - > - - , e ^v. 3 ^^ - ., 1- Stock Photo

RM2AJMAK5–Elementi di prospettiva : per uso degli architetti, e pittori . loMLQLO, JDC. H ::;:: n t / C S / X - > - - , e ^v. 3 ^^ - ., 1-

La prospettiua pratica . ti 3 .& 4. & poi tolta laltezza, cioè dalla linea B D, al primo numero legnato 3.4.& portata dalla linea M L, a tagliai t ii icgìii 3 A 4. §c continuando a pigliare laltre milure dalla dettalinea C F,alli numeri 5 .6 .y.cvi K .t?c r!! i=it^ dalla linea M I à fare legnonellipunti j.6.7.&: 8. Prenden-do poi laltezze , cicè dalla nominala linea B D, alli numeri $.6.-j.d>L 8. pure della Prima linea ; & por-tate dalla linea LM à tagliare glilici]! numeri 5.C..7.6C 8. Tirando polle linee dalli .al 1. dal i.al4.dal 4.al 6. dal ^1 .all8. dallS .ai 7. dal 7.al ^ .dal j .al 3 Stock Photo

RM2AJ59PW–La prospettiua pratica . ti 3 .& 4. & poi tolta laltezza, cioè dalla linea B D, al primo numero legnato 3.4.& portata dalla linea M L, a tagliai t ii icgìii 3 A 4. §c continuando a pigliare laltre milure dalla dettalinea C F,alli numeri 5 .6 .y.cvi K .t?c r!! i=it^ dalla linea M I à fare legnonellipunti j.6.7.&: 8. Prenden-do poi laltezze , cicè dalla nominala linea B D, alli numeri $.6.-j.d>L 8. pure della Prima linea ; & por-tate dalla linea LM à tagliare glilici]! numeri 5.C..7.6C 8. Tirando polle linee dalli .al 1. dal i.al4.dal 4.al 6. dal ^1 .all8. dallS .ai 7. dal 7.al ^ .dal j .al 3

A treatise on painting . parts.Of buii.!mgs In buildings which are feen from afar, ei-feen in the fj^^j. ^ j-j-j^, jjiominfi or cveninp;, the weather inorninsoreve- , c . <-. 1 ,- ,- 1 nin? through a Dcmg lOggv, or the au vcrv grois ; thole lides groisair. alonc bccome vifiblc, which are turned towards the horizon, and illumined by the fun : the other parts of the buildings, unillumined by the fun, rem.aining almofr of the colour of the fog, and fcarcely to be diftinguiflied from it. The h.gheftob- Amjong bodics feen in a fog, a cloud, denfe ££ncind.n ^Ir, vapour, fmokc, or only at a great Stock Photo

RM2AWHCC1–A treatise on painting . parts.Of buii.!mgs In buildings which are feen from afar, ei-feen in the fj^^j. ^ j-j-j^, jjiominfi or cveninp;, the weather inorninsoreve- , c . <-. 1 ,- ,- 1 nin? through a Dcmg lOggv, or the au vcrv grois ; thole lides groisair. alonc bccome vifiblc, which are turned towards the horizon, and illumined by the fun : the other parts of the buildings, unillumined by the fun, rem.aining almofr of the colour of the fog, and fcarcely to be diftinguiflied from it. The h.gheftob- Amjong bodics feen in a fog, a cloud, denfe ££ncind.n ^Ir, vapour, fmokc, or only at a great

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . by rectangular planes, A pyramid is a solid formed by joining the angles of atriangle, square, etc, with some external point. If the exter-nal point be vertically above the centre of the pyramid, thepyramid is said to be right; if in any other position, oblique, A frustum of a pyramid is the part remaining after asmaller pyramid is cut off loj a plane parallel to the base. Of solids with convex surfaces:— A sphere is formed by the revolution of a semicircle aroundthe diamete Stock Photo

RM2AJG2T7–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . by rectangular planes, A pyramid is a solid formed by joining the angles of atriangle, square, etc, with some external point. If the exter-nal point be vertically above the centre of the pyramid, thepyramid is said to be right; if in any other position, oblique, A frustum of a pyramid is the part remaining after asmaller pyramid is cut off loj a plane parallel to the base. Of solids with convex surfaces:— A sphere is formed by the revolution of a semicircle aroundthe diamete

. Arte da pintura, symmetria, e perspectiva. O olho he o A, os ray os fÃ£o AR,eAC, os quaes fazem o angulo B A C,e as grandezas diverfas fÃ£o D E F GH I K L , as quaes fÃ£o differentes , cdefiguaes -0 e porque fÃ£o viftas em hummefmo angulo, que igualmente ferve atodas, parecem iguaes. Outro principio. Aquellas coufas, que fe vem debai-XO*de angulo mayor apparecem mayo-tÃ§s, o que fe declara na figura feguinte. Vedes 22 Arte Ã£a Pintura. a, 7a. Vedes duas grandezas Ã-guaes AB,e C D em diverfos Ã¢ngulos, das quaeshumÃ apparccerÃ¡ mayor que a outra ,como C D apparccerÃ¡ mayor que A B,porque o an Stock Photo

RM2AG68PB–. Arte da pintura, symmetria, e perspectiva. O olho he o A, os ray os fÃ£o AR,eAC, os quaes fazem o angulo B A C,e as grandezas diverfas fÃ£o D E F GH I K L , as quaes fÃ£o differentes , cdefiguaes -0 e porque fÃ£o viftas em hummefmo angulo, que igualmente ferve atodas, parecem iguaes. Outro principio. Aquellas coufas, que fe vem debai-XO*de angulo mayor apparecem mayo-tÃ§s, o que fe declara na figura feguinte. Vedes 22 Arte Ã£a Pintura. a, 7a. Vedes duas grandezas Ã-guaes AB,e C D em diverfos Ã¢ngulos, das quaeshumÃ apparccerÃ¡ mayor que a outra ,como C D apparccerÃ¡ mayor que A B,porque o an

Elementi di prospettiva : per uso degli architetti, e pittori . ^...^^.^kl D Stock Photo

RM2AJM9CN–Elementi di prospettiva : per uso degli architetti, e pittori . ^...^^.^kl D

A treatise on painting . rapery, will be the more obfcure as the cavity,or indenture, where the fnadovv is produced,is more diredly oppofed to the eye which viewsit: with this limitation, however, that the fi-tuation of the eye be between the illumined,and the fhadowed part of the figure.Thcfoidsofthe In whatever adtion your figures are engaged,refpSto the ^^•^ ^^^^^ drapctics be feen m a difpofiticn cor-attitude of the fcfpondcnt; ftill making the folds, and con-*^ ioursy confpirc together, and accommodating thefe fo perfectly to the poilure, as that therebe no room for doubt, or uncertainty, Stock Photo

RM2AWH658–A treatise on painting . rapery, will be the more obfcure as the cavity,or indenture, where the fnadovv is produced,is more diredly oppofed to the eye which viewsit: with this limitation, however, that the fi-tuation of the eye be between the illumined,and the fhadowed part of the figure.Thcfoidsofthe In whatever adtion your figures are engaged,refpSto the ^^•^ ^^^^^ drapctics be feen m a difpofiticn cor-attitude of the fcfpondcnt; ftill making the folds, and con-*^ ioursy confpirc together, and accommodating thefe fo perfectly to the poilure, as that therebe no room for doubt, or uncertainty,

Trattato della pittura . .?V ?^5 ? ; ^^ì^ i^ m m. FIRENZE MDCCXCIL ( GIOVACCIIINO PAGANI LibraioPresso ( k ( IACOPO GRAZIOLI STAMPAToaE. Co/7 Afproyar^ione. Artibus ingenuis quaesica est gloria miiltis . OvjD. Vìtae hrevttatem posteritatis memoria consolantur. ClCER. A SUA ALTEZZA REVERENDISSIMA MONSIGNOR GIROLAMO GIUSEPPE DE PRINCIPI COLLOREDO in WALDSEC e MELS ic. PRINCIPE DEL S. R. IMPERO , ARCIVESCOVO DI SALISBURGO ,LEGATO NATO DELLA S. SEDE APOSTOLICA, PRIMATE DI GERMANIA ec. ce. CHc nel riprodurre alla luce lOpera insigne diLionardo da Vinci io abbia desiderato di fre-giarla dellautorevo Stock Photo

RM2AN5P2A–Trattato della pittura . .?V ?^5 ? ; ^^ì^ i^ m m. FIRENZE MDCCXCIL ( GIOVACCIIINO PAGANI LibraioPresso ( k ( IACOPO GRAZIOLI STAMPAToaE. Co/7 Afproyar^ione. Artibus ingenuis quaesica est gloria miiltis . OvjD. Vìtae hrevttatem posteritatis memoria consolantur. ClCER. A SUA ALTEZZA REVERENDISSIMA MONSIGNOR GIROLAMO GIUSEPPE DE PRINCIPI COLLOREDO in WALDSEC e MELS ic. PRINCIPE DEL S. R. IMPERO , ARCIVESCOVO DI SALISBURGO ,LEGATO NATO DELLA S. SEDE APOSTOLICA, PRIMATE DI GERMANIA ec. ce. CHc nel riprodurre alla luce lOpera insigne diLionardo da Vinci io abbia desiderato di fre-giarla dellautorevo

La prospettiua pratica . GAP. XXI. COME SI METT^i /N PtOS^PETTIV^ 7)VE OTTWHCOLI Uno fopra laltro , ^®S^ la la Pianta deflì due Ottangoli A,polì:a in licorcìo , Il punto del Concorlo E; la lìnea del pia-^ S p no B C ; la linea paralclla toccante il punto del Concoilo DE; la linea traueifante ad angoli^®2S9 retti con cfle linee B D ; Il punto dellocchio F; & la linea perpendicolare vicino alla pianta CE ; laltezze dcllì Ottangoli poftc (opra la linea del Piano lvna B Gy&c laltra G H ; & le linee paralellcalla linea del piano toccante glangoli della Pianta A, fono quelle legnate di punti. Siano Stock Photo

RM2AJ5BMW–La prospettiua pratica . GAP. XXI. COME SI METT^i /N PtOS^PETTIV^ 7)VE OTTWHCOLI Uno fopra laltro , ^®S^ la la Pianta deflì due Ottangoli A,polì:a in licorcìo , Il punto del Concorlo E; la lìnea del pia-^ S p no B C ; la linea paralclla toccante il punto del Concoilo DE; la linea traueifante ad angoli^®2S9 retti con cfle linee B D ; Il punto dellocchio F; & la linea perpendicolare vicino alla pianta CE ; laltezze dcllì Ottangoli poftc (opra la linea del Piano lvna B Gy&c laltra G H ; & le linee paralellcalla linea del piano toccante glangoli della Pianta A, fono quelle legnate di punti. Siano

Trattato della pittura . i , è che abbiano attenzione alle loro ope-razioni ; le quali sieno fatte con prontirudine , secondo i gradi deiloro operatori, cosi in pigrizia, come in sollectudine .• e che la prontitu- dinc di ferocità sia della somma qualità che sirichiede all operatore di quella . Come quandouno debba gettar dardi , o sassi , o altre similicose, che la Jìgura dimostri sua somma disposi-zione in tale azione , ed in potenza : ed il pri-mo in valetudine è la figura A , la seconda èil movimento B , ma T A rimoverà più da seJa cosa gettata, che non farà la B perchè anco-ra che r uno e Stock Photo

RM2AN5K93–Trattato della pittura . i , è che abbiano attenzione alle loro ope-razioni ; le quali sieno fatte con prontirudine , secondo i gradi deiloro operatori, cosi in pigrizia, come in sollectudine .• e che la prontitu- dinc di ferocità sia della somma qualità che sirichiede all operatore di quella . Come quandouno debba gettar dardi , o sassi , o altre similicose, che la Jìgura dimostri sua somma disposi-zione in tale azione , ed in potenza : ed il pri-mo in valetudine è la figura A , la seconda èil movimento B , ma T A rimoverà più da seJa cosa gettata, che non farà la B perchè anco-ra che r uno e

Trattato della pittura . za quella parepiìj oscura che campeggia inpiù oscura nebbia , come ac-cade air occhio h che veden-do cz vi allumina il cielo H K ed in e il cielo G K ed in d il cieloF K integralmente. Adunque il petto sarà di pari chiarézza della fron-te , naso , e mento. Ma quello che io ti ho a ricordare de* volti , èche tu consideri in quegli come in diverse distanze, si perchè diverse qualità. DI LIONARDO DA VINCI 7ì Stock Photo

RM2AN5G6A–Trattato della pittura . za quella parepiìj oscura che campeggia inpiù oscura nebbia , come ac-cade air occhio h che veden-do cz vi allumina il cielo H K ed in e il cielo G K ed in d il cieloF K integralmente. Adunque il petto sarà di pari chiarézza della fron-te , naso , e mento. Ma quello che io ti ho a ricordare de* volti , èche tu consideri in quegli come in diverse distanze, si perchè diverse qualità. DI LIONARDO DA VINCI 7ì

A treatise on painting . i^K. 1 BY LEONARDO DA VINCI. 123 ing all his force, he lets it fly ; and difchargesit on the body that he hits, with a compoundmotion, formed out of that of the arm, and ofthe weapon that he holds. The two mufcies which ferve to move the of the force oflarger/«r//of the arm, have their origin near *^^ ^^s-the middle of the bone named ndjutorium, onebehind the other; the office of the hindmoftbeing to llretch the arm, and that of the otherto contrad it. Now, to find which is the greateft force,whether that wherewith a man pulls towardshim,or that wherewith he thrurts fr Stock Photo

RM2AWHGWF–A treatise on painting . i^K. 1 BY LEONARDO DA VINCI. 123 ing all his force, he lets it fly ; and difchargesit on the body that he hits, with a compoundmotion, formed out of that of the arm, and ofthe weapon that he holds. The two mufcies which ferve to move the of the force oflarger/«r//of the arm, have their origin near *^^ ^^s-the middle of the bone named ndjutorium, onebehind the other; the office of the hindmoftbeing to llretch the arm, and that of the otherto contrad it. Now, to find which is the greateft force,whether that wherewith a man pulls towardshim,or that wherewith he thrurts fr

Elementi di prospettiva : per uso degli architetti, e pittori . lojjjola. mJL. Stock Photo

RM2AJME4G–Elementi di prospettiva : per uso degli architetti, e pittori . lojjjola. mJL.

Trattato della pittura . le è in occidente le nebbie che ricadono ingrossano 1aria, e le cose che non sono vedute dal sole restano oscure e confuse,e quelle che dal sole fiano alluminate rosseggiano e gialleggiano, se-condo che il sole si dimostra all orizzonte . Ancora le cose che da que-sto sono alluminate sono forte evidenti , e massime gli edifizi e casedella città e ville , perche le loro ombre sono oscure , e pare che taleloro certa dimostrazione nasca di confusi ed incerti fondamenti , perchèogni cosa è dun colore , se non è veduta da esso sole. La cosa alluminata dal sole è ancora allu Stock Photo

RM2AN5G0C–Trattato della pittura . le è in occidente le nebbie che ricadono ingrossano 1aria, e le cose che non sono vedute dal sole restano oscure e confuse,e quelle che dal sole fiano alluminate rosseggiano e gialleggiano, se-condo che il sole si dimostra all orizzonte . Ancora le cose che da que-sto sono alluminate sono forte evidenti , e massime gli edifizi e casedella città e ville , perche le loro ombre sono oscure , e pare che taleloro certa dimostrazione nasca di confusi ed incerti fondamenti , perchèogni cosa è dun colore , se non è veduta da esso sole. La cosa alluminata dal sole è ancora allu

Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . Ci.i: xKKir. .^^S^--.—T?^l^ f^n^a*I*onclcfation uib Bewcttitntj» 4^ genunb fottö^^cn.52. OBSERVATIO. (Cap.268.) ff3ct>oüiöeobet9ro|leJ5i5^ebermerfu(fiöen^^to,med^fettmetivbc9 F.g.f4.AJ ob m[(i)t 9cl)en/ ahs bct) benen foflillc ftel)en;unt) 5war um fo t)iel me()irot)ei- iveniger Stock Photo

RM2AX92DN–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . Ci.i: xKKir. .^^S^--.—T?^l^ f^n^a*I*onclcfation uib Bewcttitntj» 4^ genunb fottö^^cn.52. OBSERVATIO. (Cap.268.) ff3ct>oüiöeobet9ro|leJ5i5^ebermerfu(fiöen^^to,med^fettmetivbc9 F.g.f4.AJ ob m[(i)t 9cl)en/ ahs bct) benen foflillc ftel)en;unt) 5war um fo t)iel me()irot)ei- iveniger

RM2AX9191–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . ^enfd) beuget, unb auf bie leicl)tere @eite bie nidbt befd)n?eret ijly mit fo»leler ^iegung nemet,alö biefe @eite t)onberjufnüigen Iajlfoer traget,?ln4tbeil nimmt. £ö fan fid) fold;eö fluc(?tvieber nic^t ereignen, o^ne t>/!:/:*XXKV3. I^ <atf. 4-f.

Elementi di prospettiva : per uso degli architetti, e pittori . i^ B c D Stock Photo

RM2AJM4YJ–Elementi di prospettiva : per uso degli architetti, e pittori . i^ B c D

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 84. GEOMETRICAL DRAWING. 117 Let BCD be given circle; at any point A in the circumfer-ence, with distance equal to radius, describe an arc, cuttingcircle in B and C; with centre C, and same distance describean arc, cutting circle in D; describe similar arcs with centresB and D; these arcs intersect in points E, F and G; jointhese, completing the triangle required. (Fig. 84.) JVo. 16.—About a given circle to construct a triangle simlar to a given triangle.. Fig. 86. Let Stock Photo

RM2AJFK93–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 84. GEOMETRICAL DRAWING. 117 Let BCD be given circle; at any point A in the circumfer-ence, with distance equal to radius, describe an arc, cuttingcircle in B and C; with centre C, and same distance describean arc, cutting circle in D; describe similar arcs with centresB and D; these arcs intersect in points E, F and G; jointhese, completing the triangle required. (Fig. 84.) JVo. 16.—About a given circle to construct a triangle simlar to a given triangle.. Fig. 86. Let

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . of vision, but at a point to the right or left of it,and at a distance from it, depending on the angle which thesides make with the P.P. Now, in parallel perspective wedeal with only one vanishing point—the centre of vision; butthere are really two: for all lines parallel to the P.P., if pro-duced to an infinitely great distance, will appear to meet at apoint to right or left. Hence in parallel perspective only onevanishing point is of practical utility. However, when thecub Stock Photo

RM2AJFW12–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . of vision, but at a point to the right or left of it,and at a distance from it, depending on the angle which thesides make with the P.P. Now, in parallel perspective wedeal with only one vanishing point—the centre of vision; butthere are really two: for all lines parallel to the P.P., if pro-duced to an infinitely great distance, will appear to meet at apoint to right or left. Hence in parallel perspective only onevanishing point is of practical utility. However, when thecub

A treatise on painting . /y jr. i^K Stock Photo

RM2AWHH62–A treatise on painting . /y jr. i^K

La prospettiua pratica . H N O P. Stock Photo

RM2AJ5DMX–La prospettiua pratica . H N O P.

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . ides of the square are 3 and 6 respectively. 2. Draw a pyramidal frustum same as No. 1, 3^ to left, and3 within P.P. 3. Draw a triangular frustum (equilateral), sides of base5 and 3 respectively, height 4^; on G.P. 4 to right and 4within P.P., vertex away, one edge parallel to P.P. 4. Draw a square pyramidal frustum, height 4^, sides ofsquare 2 and 4 respectively, standing on G.P. reversed,directly in front, V within P.P. 5. Draw a conical frustum, height 5, diameters 5 and Stock Photo

RM2AJFX32–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . ides of the square are 3 and 6 respectively. 2. Draw a pyramidal frustum same as No. 1, 3^ to left, and3 within P.P. 3. Draw a triangular frustum (equilateral), sides of base5 and 3 respectively, height 4^; on G.P. 4 to right and 4within P.P., vertex away, one edge parallel to P.P. 4. Draw a square pyramidal frustum, height 4^, sides ofsquare 2 and 4 respectively, standing on G.P. reversed,directly in front, V within P.P. 5. Draw a conical frustum, height 5, diameters 5 and

Elementi di prospettiva : per uso degli architetti, e pittori . *. Stock Photo

RM2AJM7NH–Elementi di prospettiva : per uso degli architetti, e pittori . *.

RM2AX8CYD–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . (einer ober geringer an ber 6jr6bfer a(ö ber (^dyamn ijl. S^iefen folgen t)or^ bvitte bic J^^^upt^(glatten:unb enblic^ bleibet nidjt^ alö eine mitte(md(fig« nnb unbewtlicbe 5Duncfe(heit«brig, lßonS>enenjeniöen/tt)cIcl)c in ber SSor jJeHuna f i^ mt> fuT^m ge(t)e^/tt)eit entfernte

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . ^^^ Fig. 94. Let the axes, AB and CD, be placed centrally, at rightangles to each other; then measure from C the distance fromA to D, and describe arc cutting AB in F and F: these arethe foci. Between O and F, take any number of points, 1, 2,etc.—the more the better; then with centre F (left) and dis- 124 DRAWING. tance equal to distance from 1 to B, describe arcs E, E; andwith centre F (right) and same distance describe arcs E, E.Then with centre F (left) and distance equal Stock Photo

RM2AJFH5T–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . ^^^ Fig. 94. Let the axes, AB and CD, be placed centrally, at rightangles to each other; then measure from C the distance fromA to D, and describe arc cutting AB in F and F: these arethe foci. Between O and F, take any number of points, 1, 2,etc.—the more the better; then with centre F (left) and dis- 124 DRAWING. tance equal to distance from 1 to B, describe arcs E, E; andwith centre F (right) and same distance describe arcs E, E.Then with centre F (left) and distance equal

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 43. 74 DRAWING. Draw the plan in proper situation, as already explained;then draw the hexagons, one on G.P., the other 4 above it;then join similar angles in each, forming the required hexagon.(Fig. 43.) THE CYLINDER. 75 TThe C^rlinder. The drawing of the cylinder differs from that of the prism,only in the plan. Draw the circles, forming the ends, in theproper positions, and then draw tangents to them, formingthe cylinder. Example 1,—Draw a cylinder, length M and diamet Stock Photo

RM2AJG0W0–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 43. 74 DRAWING. Draw the plan in proper situation, as already explained;then draw the hexagons, one on G.P., the other 4 above it;then join similar angles in each, forming the required hexagon.(Fig. 43.) THE CYLINDER. 75 TThe C^rlinder. The drawing of the cylinder differs from that of the prism,only in the plan. Draw the circles, forming the ends, in theproper positions, and then draw tangents to them, formingthe cylinder. Example 1,—Draw a cylinder, length M and diamet

RM2AX9960–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . »*. tjon 5ei* Pondcration lm^ 23ev»e^nöt* ^5 t)er bebcr^ten 5(uöbrüchm9,berma|Ten bcfc^affen fet),a(ö tjonbcm/cwicjen ttfo^tertmrt), berftc^ in einer fold)enAa:ion bepnbet^gum^et^fpiel/njenn einer ei^tten ^>fei(/@teinober anbere bergleid^enS^inge, t)on|td) tverffenfolte/fo mu^tiefe

Elementi di prospettiva : per uso degli architetti, e pittori . ^...^^.^kl D. D Tao. ola. y.l/ Stock Photo

RM2AJM96N–Elementi di prospettiva : per uso degli architetti, e pittori . ^...^^.^kl D. D Tao. ola. y.l/

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 40. Here take A, i to right of E, and B 4^ to right of A; onAB describe square ABDC, and divide it into sixteen equalsquares; join each angle, as shown in figure, with the C.Y.;join also E MP, cutting A C. V. in P; draw FG parallel toAC, GS J to GF, etc. Then FG - AK = 1, tmd GS = KJST= r, etc.; and AF = AE = AB = 4. (Fig. 40.) 70 DRAWING. Example S,—Draw same, with ends perpendicular to P.P.,one step being coincident with it and i to left.. Fig. 41. Draw H.L., B.L., a Stock Photo

RM2AJG1Y6–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 40. Here take A, i to right of E, and B 4^ to right of A; onAB describe square ABDC, and divide it into sixteen equalsquares; join each angle, as shown in figure, with the C.Y.;join also E MP, cutting A C. V. in P; draw FG parallel toAC, GS J to GF, etc. Then FG - AK = 1, tmd GS = KJST= r, etc.; and AF = AE = AB = 4. (Fig. 40.) 70 DRAWING. Example S,—Draw same, with ends perpendicular to P.P.,one step being coincident with it and i to left.. Fig. 41. Draw H.L., B.L., a

La prospettiua pratica . ,, 1 I — - f ^T *n^f« ±A che fono veuali ; quello nafcente dal 78. con lin-FaT™ SP con SuaL d:U 8o7al 3.. o 55. che in quefto modo àvO-uràleffccco defìderato o N.XXVI.. N XXVII. Stock Photo

RM2AJ57X3–La prospettiua pratica . ,, 1 I — - f ^T *n^f« ±A che fono veuali ; quello nafcente dal 78. con lin-FaT™ SP con SuaL d:U 8o7al 3.. o 55. che in quefto modo àvO-uràleffccco defìderato o N.XXVI.. N XXVII.

Trattato della pittura . r trattato. CCVII. Tanto quanto luno delati dcrnembripiegabili si farà più lungo, tanto la sua parte op-posta sarà diminuita . La linea centrale estrinsecadelati che non si piegano , ne membri piegabili,Mai diminuisce o cresce di sua lunghezza. CCViU. Sempre la figura che sostiene jx-sofuor di se e della linea centrale della sua quanti- rtà, dee gettar tanto peso naturale o accidentaledall opposta parte , che faccia equiponderanza de pesi intorno alla linea centrale che si parte dalcentro dalla parte del pie che si posa , e partaper tutta la soma del peso sopra essa pa Stock Photo

RM2AN5HP7–Trattato della pittura . r trattato. CCVII. Tanto quanto luno delati dcrnembripiegabili si farà più lungo, tanto la sua parte op-posta sarà diminuita . La linea centrale estrinsecadelati che non si piegano , ne membri piegabili,Mai diminuisce o cresce di sua lunghezza. CCViU. Sempre la figura che sostiene jx-sofuor di se e della linea centrale della sua quanti- rtà, dee gettar tanto peso naturale o accidentaledall opposta parte , che faccia equiponderanza de pesi intorno alla linea centrale che si parte dalcentro dalla parte del pie che si posa , e partaper tutta la soma del peso sopra essa pa

RM2AWHE0T–A treatise on painting .

RM2AX8MJ0–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . met einen f leinen £6|feL SBelger ^^eil ber garöe in bem SSieberfcfiein not^tven&ig am fdE)6n|len fci)n|oa.15. OBSERVATIO. (Cap.117.) (In Ab ad^id)t ü^,,unb B xmtre in geraber iifnie üon felbicjem2i(i)t erleud)tet;E aber ift bie•Sßanb bie be^fagteö£ic^tnid)tfel)enfan, fon^bern nur aüe

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 97. JTo. 25.—To draw a tangent to an ellipse (a) from a pointin the circumference.. Fig. 98. GEOMETRICAL DRAWING. 127 Let B, C be the foci and A, given point on the curve; joinBA and CA and produce them to D and F; bisect the angleBAD by AK, and the angle DAF by AG. Then will KA bea tangent and GA a perpendicular or normal to it, at thepoint of contact, A. (Fig. 98.) (b) From an external point. Stock Photo

RM2AJFF2C–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 97. JTo. 25.—To draw a tangent to an ellipse (a) from a pointin the circumference.. Fig. 98. GEOMETRICAL DRAWING. 127 Let B, C be the foci and A, given point on the curve; joinBA and CA and produce them to D and F; bisect the angleBAD by AK, and the angle DAF by AG. Then will KA bea tangent and GA a perpendicular or normal to it, at thepoint of contact, A. (Fig. 98.) (b) From an external point.

RM2AX99X4–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . fn^. O/^ Tr ^^^ ja. 3:-.

$Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . BOG Fig. 81. Let AD be the given altitude ; through A, draw EAF per- GEOMETRICAL DEAWING. 115 pendicular to AD; with centre A describe any semicircleEGHF, and with centre F and distance FA, describe arc tocut arc GH in H; also with centre E and same distance de-scribe arc to cut GH in G. Join AG and AH, and producethem to meet BC in B and C: then ABO will be the equi-lateral triangle required. (Fig. 81.) No. 1^.—{a) To draw, from a given point in a straight line,an angle equ Stock Photo$

RM2AJFM46–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . BOG Fig. 81. Let AD be the given altitude ; through A, draw EAF per- GEOMETRICAL DEAWING. 115 pendicular to AD; with centre A describe any semicircleEGHF, and with centre F and distance FA, describe arc tocut arc GH in H; also with centre E and same distance de-scribe arc to cut GH in G. Join AG and AH, and producethem to meet BC in B and C: then ABO will be the equi-lateral triangle required. (Fig. 81.) No. 1^.—{a) To draw, from a given point in a straight line,an angle equ

La prospettiua pratica . z y. e A P. X V- CQJWE^ SI Mr^TTU m ?%0STBTT1V^ IL COZTO CVBO. eSdBSMB la la pianta del corpo cubo A B C D, pofta in ifcorcio per le regole dimoftrate, col punto del^ S P concorfo H, e fi prolonghi b linea del piano fino in E,& fia fatta vna linea paralclta alla detta^®®É> toccante il punto, dei concorfo H Taglianfi dette due lince con vna linea ad-angoli retti,eonelle linee, & fia E (sy6c |altezza,daHa quale fi douerà rimirare effo Corpo,farà G M. Pongali laltezzadelfo corpo fopra la linea del piano,&; fia E N , Tiranfi le lince E M, & N M i & faecianfi per ognan Stock Photo

RM2AJ5H2F–La prospettiua pratica . z y. e A P. X V- CQJWE^ SI Mr^TTU m ?%0STBTT1V^ IL COZTO CVBO. eSdBSMB la la pianta del corpo cubo A B C D, pofta in ifcorcio per le regole dimoftrate, col punto del^ S P concorfo H, e fi prolonghi b linea del piano fino in E,& fia fatta vna linea paralclta alla detta^®®É> toccante il punto, dei concorfo H Taglianfi dette due lince con vna linea ad-angoli retti,eonelle linee, & fia E (sy6c |altezza,daHa quale fi douerà rimirare effo Corpo,farà G M. Pongali laltezzadelfo corpo fopra la linea del piano,&; fia E N , Tiranfi le lince E M, & N M i & faecianfi per ognan

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 102. Let AC and BC be the given lines; place them in astraight line AB; bisect AB in D, and on AB describe 130 DRAWING. semicircle AEB; through C draw CE at right angles to ABthen will AC: CE:: CE: CB. (Fig. 102.) (b) To draw a third proportional to two given lines. Let AB and BC be the given lines; draw AE, making anyangle with AC; make AD = BC; join BD, and through Cdraw CE parallel to BD, meeting AD produced : then willAB:BC::BC:DE. (Fig. 103.) If BC be greater than Stock Photo

RM2AJFDGC–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 102. Let AC and BC be the given lines; place them in astraight line AB; bisect AB in D, and on AB describe 130 DRAWING. semicircle AEB; through C draw CE at right angles to ABthen will AC: CE:: CE: CB. (Fig. 102.) (b) To draw a third proportional to two given lines. Let AB and BC be the given lines; draw AE, making anyangle with AC; make AD = BC; join BD, and through Cdraw CE parallel to BD, meeting AD produced : then willAB:BC::BC:DE. (Fig. 103.) If BC be greater than

RM2AX8PKG–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . ju, a(^ (te an ber Q3ro|Te zugenommen l)at^^cm$ m bem anbcren 35ud; t)on meiner Perfpediv betviefen tvirb. S3on bem ©cfjattcn t^et t)on einet SStucfe auf ba^aSBaffei: gemalt mh.23. OBSERVATIO. (Cap.348.) ^3e(gcf)attent)Cttben^ri4cfen/tverben niemal)(ö auf bem barunter bc^t-%J finbhcfe

A treatise on painting . yy--6-. M.2J. BY LEONARDO DA VINCI. 189 feveral garments, there appear a body of a rea-fonable bulk underneath. The folds of the drapery, wherewith anymember is covered, ought to fall off, and dimi-nilh towards the extremes of the part whichthey cncompafs. The length of thofe folds which fet theclofert to the body, mufl be feen wrinkled onthat fide, whereon any member bends and isIhortened, and diflcnded on the fide oppofite. From the fixth propofition of our treatifeof perfpedtive, it appears, that the horizon of the homonwill be feen exhibited as in a mirror, on that Stock Photo

RM2AWH548–A treatise on painting . yy--6-. M.2J. BY LEONARDO DA VINCI. 189 feveral garments, there appear a body of a rea-fonable bulk underneath. The folds of the drapery, wherewith anymember is covered, ought to fall off, and dimi-nilh towards the extremes of the part whichthey cncompafs. The length of thofe folds which fet theclofert to the body, mufl be feen wrinkled onthat fide, whereon any member bends and isIhortened, and diflcnded on the fide oppofite. From the fixth propofition of our treatifeof perfpedtive, it appears, that the horizon of the homonwill be feen exhibited as in a mirror, on that

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Let KLMO = given square, draw diameters and diagonals,and inscribe circle cutting the diagonals in A, C, G, E;join AC and GE, and produce them to meet KL in S, S; join THE CIRCLE. 59 K C.Y., S C.Y.,. etc.; also mafe KIl = KB and RX^BO or KB. Join X MP and B MP, and where they meet K C.Y.draw parallels to KL : then hf will represent the diameterBF, and it will be easily seen that a, 5, c, d^ e^f^ g^ h will cor-respond with A, B, C, D, E, F, G, H respectively, and thecurve tra Stock Photo

RM2AJG51W–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Let KLMO = given square, draw diameters and diagonals,and inscribe circle cutting the diagonals in A, C, G, E;join AC and GE, and produce them to meet KL in S, S; join THE CIRCLE. 59 K C.Y., S C.Y.,. etc.; also mafe KIl = KB and RX^BO or KB. Join X MP and B MP, and where they meet K C.Y.draw parallels to KL : then hf will represent the diameterBF, and it will be easily seen that a, 5, c, d^ e^f^ g^ h will cor-respond with A, B, C, D, E, F, G, H respectively, and thecurve tra

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . e to an ob-long. Triangles are equilateral, withthree equal sides; Isosceles, with two equal sides; Scalene, with unequal sides. Right angled, or containing aright angle; Obtuse angled, or containingan obtuse angle; Acute angled, or containingthree acute angles. To draw a triangle we firstdraw a plan^ showing the tri-angle and its bounding oblong. Thus, 1 would be a plan foran equilateral triangle ABC, inwhich D A = AE = BF = FC. 2 would be a plan for a right-angled triangle Stock Photo

RM2AJG8X7–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . e to an ob-long. Triangles are equilateral, withthree equal sides; Isosceles, with two equal sides; Scalene, with unequal sides. Right angled, or containing aright angle; Obtuse angled, or containingan obtuse angle; Acute angled, or containingthree acute angles. To draw a triangle we firstdraw a plan^ showing the tri-angle and its bounding oblong. Thus, 1 would be a plan foran equilateral triangle ABC, inwhich D A = AE = BF = FC. 2 would be a plan for a right-angled triangle

A treatise on painting . hich isfeen nearer the eye, and whofe dimenfions areconfidcrably larger; juft as a little finger heldnear the eye, is found to cover a large m.oun-tain, when further removed.Mifceiianeous Among bodics of cqual obfrurity, bignefs,iXa^TZ^S^^^ and diftance from the eye, that willcolours, appear the fmallcft which is i^ecn on the whitcft ground, or in the moft linnuious place: thismay be obferved in looking at a tree ftrjppedof its leaves, and illumined by the fun, on thefide oppolite to that whereon you look; forin that cafe, thofe branches of the tree whichface the fun, Stock Photo

RM2AWHCYJ–A treatise on painting . hich isfeen nearer the eye, and whofe dimenfions areconfidcrably larger; juft as a little finger heldnear the eye, is found to cover a large m.oun-tain, when further removed.Mifceiianeous Among bodics of cqual obfrurity, bignefs,iXa^TZ^S^^^ and diftance from the eye, that willcolours, appear the fmallcft which is i^ecn on the whitcft ground, or in the moft linnuious place: thismay be obferved in looking at a tree ftrjppedof its leaves, and illumined by the fun, on thefide oppolite to that whereon you look; forin that cafe, thofe branches of the tree whichface the fun,

$Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . e)lebenben Corper, ahs wn einemßroffen empfdn.Qt, ber rocit entfernet i ; .gleicb n?ie icl) in beraten Propoii-tioniH^nberPerfpediv bar9etabn,ba id) ^efagct: a>ie bie groffen (^acbeiteinen fo weiten 5lbftanb {)aben Tonnen, t)a^ fte eben fo ßrog^alö bie fleinen,in ber ^dl)e evfc^e Stock Photo$

RM2AX8MWW–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . e)lebenben Corper, ahs wn einemßroffen empfdn.Qt, ber rocit entfernet i ; .gleicb n?ie icl) in beraten Propoii-tioniH^nberPerfpediv bar9etabn,ba id) ^efagct: a>ie bie groffen (^acbeiteinen fo weiten 5lbftanb {)aben Tonnen, t)a^ fte eben fo ßrog^alö bie fleinen,in ber ^dl)e evfc^e

Elementi di prospettiva : per uso degli architetti, e pittori . PJoelementidiprospe00cost Stock Photo

RM2AJMGFG–Elementi di prospettiva : per uso degli architetti, e pittori . PJoelementidiprospe00cost

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . 8 106 DRAWING. join DB, which will be perpendicular to AB, at B. (Figs. 63and 64.) (6) From a point above or below AB, ^ Fig. 65. Let AB be the given line and C given point above; withcentre C describe an arc to cut AB in D and E; with centreD and distance greater than half of DE describe an arc; withcentre E and same distance describe an arc to cut former arc inF; join CF, which will cut AB at right angles at G. (Fig. 65.) iVb. ^.—To describe a square (a) on a given line.. Stock Photo

RM2AJFTCD–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . 8 106 DRAWING. join DB, which will be perpendicular to AB, at B. (Figs. 63and 64.) (6) From a point above or below AB, ^ Fig. 65. Let AB be the given line and C given point above; withcentre C describe an arc to cut AB in D and E; with centreD and distance greater than half of DE describe an arc; withcentre E and same distance describe an arc to cut former arc inF; join CF, which will cut AB at right angles at G. (Fig. 65.) iVb. ^.—To describe a square (a) on a given line..

Elementi di prospettiva : per uso degli architetti, e pittori . Jotto/a /y. Stock Photo

RM2AJMCME–Elementi di prospettiva : per uso degli architetti, e pittori . Jotto/a /y.

Trattato della pittura . li figure, ma la carne insieme con quelle, ed i panni ve-stimento della carne, con tanta grossezza qual si richiede alla molti-plicazione de suoi gradi . Le pieghe de* panni che circondano le membra debbono diminuiredella loro grossezza verso gli estremi della cosa circondata . La lunghezza delle pieghe che sono più strette alle membra debbo-no ac^arinzarsi da quel lato che il membro per le sue piegature dimi-nuisce^ e tirarsi dallopposta parte della sua piegatura. CCCLXXII. Specchierassi lorizzonte per la sesta di questo nel la-to veduto dall orizzonte e dall occhio, Stock Photo

RM2AN5FNW–Trattato della pittura . li figure, ma la carne insieme con quelle, ed i panni ve-stimento della carne, con tanta grossezza qual si richiede alla molti-plicazione de suoi gradi . Le pieghe de* panni che circondano le membra debbono diminuiredella loro grossezza verso gli estremi della cosa circondata . La lunghezza delle pieghe che sono più strette alle membra debbo-no ac^arinzarsi da quel lato che il membro per le sue piegature dimi-nuisce^ e tirarsi dallopposta parte della sua piegatura. CCCLXXII. Specchierassi lorizzonte per la sesta di questo nel la-to veduto dall orizzonte e dall occhio,

La prospettiua pratica . cora la dillanza dalla Ioddetta linea F Hjallangolo B,& portata parimente dallalinea Y Z, à far legno in 3 .& poi tolta laltezza dalla linea G E,al punto L,& portata dalla linea Y X àtagliare il legno 3 .nel qual luogo farà ritrouato il fito dellangulo B. Sia ancora prefa la diflan^a dallalopradetta linea F H al terrò angolo A, & ancheffa portata, dalla linea Y Z a far legno in i. & toltalaltezza dalla linea G E,al punto L,& portata dalla linea X Y,à tagliare il legno i .qual denoterà il ter-zo angolo A . Sia di nouo tolta vnaltra diflan^a dalla ioddetta linea F H al p Stock Photo

RM2AJ5J0F–La prospettiua pratica . cora la dillanza dalla Ioddetta linea F Hjallangolo B,& portata parimente dallalinea Y Z, à far legno in 3 .& poi tolta laltezza dalla linea G E,al punto L,& portata dalla linea Y X àtagliare il legno 3 .nel qual luogo farà ritrouato il fito dellangulo B. Sia ancora prefa la diflan^a dallalopradetta linea F H al terrò angolo A, & ancheffa portata, dalla linea Y Z a far legno in i. & toltalaltezza dalla linea G E,al punto L,& portata dalla linea X Y,à tagliare il legno i .qual denoterà il ter-zo angolo A . Sia di nouo tolta vnaltra diflan^a dalla ioddetta linea F H al p

A treatise on painting . re. Thisciofeof theday ^qq^^ f^om what wc havc already iTiewn, viz. appear azure. • That the furface of every opake body partakesof the colour of its objedt; whence, the vvhite-nefs of the wall, being altogether dellitute ofcolour, muft afiume thofe of its objedts;which, in this cafe, arc the fun and the hea-vens : and fince the fun in his evenings vilitto the horizon, appears reddifh, and the hea-vens azure; and lince thofe places where thefhadows are found, are out of the reach of thefun ; we having elfewhere proved, that no lu-minous body has ever feen the fliadow Stock Photo

RM2AWHBYA–A treatise on painting . re. Thisciofeof theday ^qq^^ f^om what wc havc already iTiewn, viz. appear azure. • That the furface of every opake body partakesof the colour of its objedt; whence, the vvhite-nefs of the wall, being altogether dellitute ofcolour, muft afiume thofe of its objedts;which, in this cafe, arc the fun and the hea-vens : and fince the fun in his evenings vilitto the horizon, appears reddifh, and the hea-vens azure; and lince thofe places where thefhadows are found, are out of the reach of thefun ; we having elfewhere proved, that no lu-minous body has ever feen the fliadow

La prospettiua pratica . e fatto concorrere lince al piinto del centro deffi circoli A: &-doLtequelle taglicranno il circolo picciolo, ouero prolongate , taglierebberoil grande, ini fi ritroueranfÃ¬ioancora le diuifioni dellaltro circolo . Siano poi mandate mtt adangoli retti con la linea Ã cÃ¬ piano,che fi partano da ognuna delle diitifioni defli circoli fino-al toccare defTa linea v&: pollo il punto delconcorfo D, & quello della diftanza E,fiano fatte concorrere tutte effe linee Ã punto del concixrio D,& tirata la Diagonale C E, ofleruando linterlecatioue delTa linea con le linee teixlenti Stock Photo

RM2AJ5KKG–La prospettiua pratica . e fatto concorrere lince al piinto del centro deffi circoli A: &-doLtequelle taglicranno il circolo picciolo, ouero prolongate , taglierebberoil grande, ini fi ritroueranfÃ¬ioancora le diuifioni dellaltro circolo . Siano poi mandate mtt adangoli retti con la linea Ã cÃ¬ piano,che fi partano da ognuna delle diitifioni defli circoli fino-al toccare defTa linea v&: pollo il punto delconcorfo D, & quello della diftanza E,fiano fatte concorrere tutte effe linee Ã punto del concixrio D,& tirata la Diagonale C E, ofleruando linterlecatioue delTa linea con le linee teixlenti

RM2AX97A9–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . m //«^^V«^. ilScYi //^dri-

RM2AX8CJT–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . UK , y*»» n^^

A treatise on painting . BY LEONARDO DA VINCI. IO5 ble to the aclion it is about, whether that beflow and heavy, or whether it require a greaterfhare of adlivity and fire: thus to throw adart, a ftone, or any the like projcdile, letyour figure be fcen in fuch an altitudey andhave fuch a difpofition in all its members, thatits intention may plainly appear. The two ad-joining figures furnifh you with inftances ofthis kind; where their different attitudes doplainly (hew them engaged in very differentadlions. A fhews the greatcfi: zeal and earneft-nefs, and aims a dart; B appears more cool andlang Stock Photo

RM2AWHKP8–A treatise on painting . BY LEONARDO DA VINCI. IO5 ble to the aclion it is about, whether that beflow and heavy, or whether it require a greaterfhare of adlivity and fire: thus to throw adart, a ftone, or any the like projcdile, letyour figure be fcen in fuch an altitudey andhave fuch a difpofition in all its members, thatits intention may plainly appear. The two ad-joining figures furnifh you with inftances ofthis kind; where their different attitudes doplainly (hew them engaged in very differentadlions. A fhews the greatcfi: zeal and earneft-nefs, and aims a dart; B appears more cool andlang

RM2AX8XB1–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . •. von t>evPönderation,im623evt>ectimg, 47 SSon }tt sufammcngefc^tcn 6tdr(fc te^ 3Äen* fdeii unl> atli^ bon b«tt Sterne». 41. OBSERVATIO.(Cap.2$4.) (TV 3e Mufculrt t?e(cl)ebie srofTc Üvo^re t)ön bem ^lm,m bec ^^u^ftfccfun^ pig. 1,;ric) 11^ €imiel)ung betvegcn, cntfpringen

La prospettiua pratica . me fi moftrcrà nella feguente figura. Sia dunque il quadrato A B C D, la linea del piano E F,il punto del concorlo della prima altezza N,& qviello della dillanza M: fia pollo per le regole antecedenti elfo quadrato in ilcorcio,che iàrà A O PB : fiano poi prolongatc le Hiice N F, & M E, vgualmente, & fia pollo il punto de] concorlo in H, &quello della dillanza in G ; visualmente alciati. Mettafi di nuouo con detti due punti H (^ G , il lod-detto quadrato in ilcorcio,che farà A BI L ; che fi dimollra chiaramente, tanto efler lo sfiigico del pri-mo quadrato pollo in iicor Stock Photo

RM2AJ5JR0–La prospettiua pratica . me fi moftrcrà nella feguente figura. Sia dunque il quadrato A B C D, la linea del piano E F,il punto del concorlo della prima altezza N,& qviello della dillanza M: fia pollo per le regole antecedenti elfo quadrato in ilcorcio,che iàrà A O PB : fiano poi prolongatc le Hiice N F, & M E, vgualmente, & fia pollo il punto de] concorlo in H, &quello della dillanza in G ; visualmente alciati. Mettafi di nuouo con detti due punti H (^ G , il lod-detto quadrato in ilcorcio,che farà A BI L ; che fi dimollra chiaramente, tanto efler lo sfiigico del pri-mo quadrato pollo in iicor

La prospettiua pratica . nto fegnato 3. &:13, &: portata dalla linea ^i]^ ^B, à tagliare eili punti 3 ,& i 3 .& fimilmence tolta la milura dalla lod-detta linea B D, alli angoli legnati 4.6,: 1 z. & portata dalla linea Z Y,à far legno nelli punti 4.&: 11 .&poi tolta laltezza dalla linea C E, al punto fegnato 4,& 11. & portata dalla linea ^^^B ^-/B, a tagliare idetti numeri 4.&: 12,. & parimente prefa la mifura dalla foddetta linea B D,alli angoli legnati j .& 1 i.che fono anchelfi vgualmcnte dillanti da elfa linea j & portata dalla linea Z Y, à fare legno nelli puntij.^: I I ,&! tolta laltezr Stock Photo

RM2AJ5D7P–La prospettiua pratica . nto fegnato 3. &:13, &: portata dalla linea ^i]^ ^B, à tagliare eili punti 3 ,& i 3 .& fimilmence tolta la milura dalla lod-detta linea B D, alli angoli legnati 4.6,: 1 z. & portata dalla linea Z Y,à far legno nelli punti 4.&: 11 .&poi tolta laltezza dalla linea C E, al punto fegnato 4,& 11. & portata dalla linea ^^^B ^-/B, a tagliare idetti numeri 4.&: 12,. & parimente prefa la mifura dalla foddetta linea B D,alli angoli legnati j .& 1 i.che fono anchelfi vgualmcnte dillanti da elfa linea j & portata dalla linea Z Y, à fare legno nelli puntij.^: I I ,&! tolta laltezr

La prospettiua pratica . ra la hnea delpiano B N, & parimenti laltra milura fino allangolo B, portata anchella lopra la detta linea del pia-llo B E 5 & poi li tirino le lince Diagonali N F, & E F 5 &: doue elle uiteriècheranno la linea B G , lianotirate linee paralellc alla linea del piano, come li vedono formate di punti ; che doue dette interlcchc-ranno le lince tendenti in G,iuiiaranno glangoli del triangolo pollo in ifcorcio : cioè doue la lineaDiagonale E F, interlecheià x B G, in O, iui li ritroucrà langolo^che corri!pc>nde allaltro della piantadel Triangolo B : & limilmcnte ouc la p Stock Photo

RM2AJ5NCT–La prospettiua pratica . ra la hnea delpiano B N, & parimenti laltra milura fino allangolo B, portata anchella lopra la detta linea del pia-llo B E 5 & poi li tirino le lince Diagonali N F, & E F 5 &: doue elle uiteriècheranno la linea B G , lianotirate linee paralellc alla linea del piano, come li vedono formate di punti ; che doue dette interlcchc-ranno le lince tendenti in G,iuiiaranno glangoli del triangolo pollo in ifcorcio : cioè doue la lineaDiagonale E F, interlecheià x B G, in O, iui li ritroucrà langolo^che corri!pc>nde allaltro della piantadel Triangolo B : & limilmcnte ouc la p

RM2AX8R9K–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . htte i^recGEoüp.e ( Q3ccfamm(ung viclecLeiber) befinben, füllen fie boc^anfic^felbtlauö einer Jarbe be^flel)en. ^öiefe^ folget nobtmen^big barau5, n?eil nic^t fo üiel £icl)ti)on bcm vg)inimel, alö bcr£^ue(#le beö £icf)t^, m bem nicbrigenengen fKaum pifcbcn ber bcfa vten Croupe einbrin

La prospettiua pratica . Eq R. Stock Photo

RM2AJ5CRT–La prospettiua pratica . Eq R.

A treatise on painting . nd tinge even thofe which are ob- fcure with their brighcnefs ; the only dark partsremaining, being thofe which are found be-tween the interruptions of the faid rays of thefun.ofotjefts fecn By how much the air i=; nearer the earth orthick aTr.^ ° water, by fo much it is the more grofs; thisfollows from a propolition which I have elfe-Mhere demonftrated, viz. that a heavy bodyraifes itfclf lefs than a light one ; whence, bythe rule of contraries, it follows, that a lightbody raifes itfclf higher than a heavy one.Of buildings That part of a building which is found in th Stock Photo

RM2AWHCH3–A treatise on painting . nd tinge even thofe which are ob- fcure with their brighcnefs ; the only dark partsremaining, being thofe which are found be-tween the interruptions of the faid rays of thefun.ofotjefts fecn By how much the air i=; nearer the earth orthick aTr.^ ° water, by fo much it is the more grofs; thisfollows from a propolition which I have elfe-Mhere demonftrated, viz. that a heavy bodyraifes itfclf lefs than a light one ; whence, bythe rule of contraries, it follows, that a lightbody raifes itfclf higher than a heavy one.Of buildings That part of a building which is found in th

Trattato della pittura . dipinte ,cccL. Precetto.cccLi. Del figurar le pani del mondo.cccm. Del figurar le quattro parti de tempi deW anao , o parteci-^panti di quelli.cccLiii. Del verno dipinto.CCCL IV. Del principio d una pioggia . cccLV. Deir ombre fatte da ponti sopra le loro acque,cccLTi. Preceni di pittura, .CCCLVII. Precetti.cccLviii. Della statua. CCCLIX. Del far una pittura d^ eterna vernice. cccLx. Modo di colorir in tela .cccLxi. Precetto della prospettiva, in pittura.cccLxil. De^U obietti.cccLxili. Della di minutatone de colori e corpi,cccLxir. Deir interposit^ione de corpi traspar Stock Photo

RM2AN5F51–Trattato della pittura . dipinte ,cccL. Precetto.cccLi. Del figurar le pani del mondo.cccm. Del figurar le quattro parti de tempi deW anao , o parteci-^panti di quelli.cccLiii. Del verno dipinto.CCCL IV. Del principio d una pioggia . cccLV. Deir ombre fatte da ponti sopra le loro acque,cccLTi. Preceni di pittura, .CCCLVII. Precetti.cccLviii. Della statua. CCCLIX. Del far una pittura d^ eterna vernice. cccLx. Modo di colorir in tela .cccLxi. Precetto della prospettiva, in pittura.cccLxil. De^U obietti.cccLxili. Della di minutatone de colori e corpi,cccLxir. Deir interposit^ione de corpi traspar

Trattato della pittura . rà da essi lumialluminato , quando lo spazio che resta intorno a due lumi sarà degual colore e oscurità e chiarezza : disuguali saranno, quando essispazi intorno a due lumi saranno in oscurità . CLVni. Spesse volte accade T ombra de corpi ombrosi non essercompagna decolori delumi, e saranverdeggianti lombre, ed i lumi ros-seggianti, ancora che il corpo sia dicolore eguale . Questo accade cheil lume verrà d oriente sopra V o-bictto , ed alluminerà 1 obietto deicolore del suo splendore, e dall oc-cidente sarà un altro obietto dalmedesimo lume alluminato , il qua-le sarà Stock Photo

RM2AN5MMR–Trattato della pittura . rà da essi lumialluminato , quando lo spazio che resta intorno a due lumi sarà degual colore e oscurità e chiarezza : disuguali saranno, quando essispazi intorno a due lumi saranno in oscurità . CLVni. Spesse volte accade T ombra de corpi ombrosi non essercompagna decolori delumi, e saranverdeggianti lombre, ed i lumi ros-seggianti, ancora che il corpo sia dicolore eguale . Questo accade cheil lume verrà d oriente sopra V o-bictto , ed alluminerà 1 obietto deicolore del suo splendore, e dall oc-cidente sarà un altro obietto dalmedesimo lume alluminato , il qua-le sarà

RM2AJMBHM–Elementi di prospettiva : per uso degli architetti, e pittori . (.

RM2AX8G9G–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . er!ur|te be^ bem Q5la)jF G,juQ5efic!?ttfo trete entfernetjufa?nfc&einct,ba(tte auf bie Sißanb B C ein ^aug , Hi eine ?i5Zale^ weit 90 ^v&kbtnbcZ)tlf. tveitfd)emen»%•)«• (olte,unbid> ein ivurcfli* iur ©eiten, ba^ in Ut ^f)at eine sÖ^cile tveit »OHmi2i|^,fo fmb biefe J^dufec Utf ge

RM2AX9HWM–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . ^ Sri SSerleäuns ffWü^pö SBeifl* Äimff? .&Ä»W«rß« ,/ m ) o c g» Sorktic^tdesvortreflichen00leon

RM2AX8X6F–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . v^n berPonclerationimbSewe^ntitj* 49 SSon M eigenen SSetDepngen/bie mitt>m2Ber* (feu &eö ?9Jenf(^cii übereittfontmen.44. OBSERVATIO. (Cap.a4iO fr^«J^eti)eaimoen 3on euren Figuren,mtijfettburd[) >it ©rpffe ber (gtar^rD dt m cwcifcn fcpn, bie ju untcrfdjicbenen Adionenc^eboreit

Elementi di prospettiva : per uso degli architetti, e pittori . loMLQLO, JDC. H ::;:: n t / C S / X - > - - , e ^v. 3 ^^ - ., 1-. TSu,. Xf f E Stock Photo

RM2AJMA87–Elementi di prospettiva : per uso degli architetti, e pittori . loMLQLO, JDC. H ::;:: n t / C S / X - > - - , e ^v. 3 ^^ - ., 1-. TSu,. Xf f E

RM2AX8J8K–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . ?al)Ier feine eber auf biegbene nod) krümme üon berfelben ^^b^il^n 5(dS)^tiiug ^u öebeH/fonDern nur allem auf i>k ^in^e noel^d)e auf ber (Reiten fi>lcl)er ^anb, al^burd) unter«?fd)icblicl)e Cmtt ccbid)tetcr ^anbfdfafften ooti^VKpellen fvim* 5lbcr cm bcfrcn trerben fid) bercjlei^

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 83. iTo. 15,—To construct an equilateral triangle about a givencircle.. Fig. 84. GEOMETRICAL DRAWING. 117 Let BCD be given circle; at any point A in the circumfer-ence, with distance equal to radius, describe an arc, cuttingcircle in B and C; with centre C, and same distance describean arc, cutting circle in D; describe similar arcs with centresB and D; these arcs intersect in points E, F and G; jointhese, completing the triangle required. (Fig. 84.) JVo. 16.—About a gi Stock Photo

RM2AJFKF0–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 83. iTo. 15,—To construct an equilateral triangle about a givencircle.. Fig. 84. GEOMETRICAL DRAWING. 117 Let BCD be given circle; at any point A in the circumfer-ence, with distance equal to radius, describe an arc, cuttingcircle in B and C; with centre C, and same distance describean arc, cutting circle in D; describe similar arcs with centresB and D; these arcs intersect in points E, F and G; jointhese, completing the triangle required. (Fig. 84.) JVo. 16.—About a gi

A treatise on painting . ground. on a dark ground; if it be both bright and ob- fcure, let the bright p-irr be found on a darkground, and the part that is obfcure, on a groundthat is bright.The different A iittlc light illuinining 3 body, occafionslfthcy°are dii- ^^^ fliadows On the uniliumined fide to be large,ferentiy large, and Very bold in their extremes ; as, on the con-trary, a large light makes the fliadows on thelame llde of the body, fmaller and lefs diftinclin their bounds. When a little, but ftronglight is inclofed in another more large, butmore feeble withal, as the fun in the air, Stock Photo

RM2AWHEK0–A treatise on painting . ground. on a dark ground; if it be both bright and ob- fcure, let the bright p-irr be found on a darkground, and the part that is obfcure, on a groundthat is bright.The different A iittlc light illuinining 3 body, occafionslfthcy°are dii- ^^^ fliadows On the uniliumined fide to be large,ferentiy large, and Very bold in their extremes ; as, on the con-trary, a large light makes the fliadows on thelame llde of the body, fmaller and lefs diftinclin their bounds. When a little, but ftronglight is inclofed in another more large, butmore feeble withal, as the fun in the air,

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 26. Let B.L. =base line, and AB given side of hexagon, and ingiven position. Bisect AB in C, make AD and BE each equalBC; on DE describe equilateral triangle DFE, and constructoblong DL. Bisect DK in G ; draw GH parallel to KL; joinAG, GM, BH and HN. With centre D and distances DGand DK describe arcs to cut B.L. in X and P respectively.Like triangles, hexagons may lie flat on the ground, with aside parallel to the P.P. or to L.D., or they may be drawnperpendicular to th Stock Photo

RM2AJG7B6–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 26. Let B.L. =base line, and AB given side of hexagon, and ingiven position. Bisect AB in C, make AD and BE each equalBC; on DE describe equilateral triangle DFE, and constructoblong DL. Bisect DK in G ; draw GH parallel to KL; joinAG, GM, BH and HN. With centre D and distances DGand DK describe arcs to cut B.L. in X and P respectively.Like triangles, hexagons may lie flat on the ground, with aside parallel to the P.P. or to L.D., or they may be drawnperpendicular to th

RM2AJM81G–Elementi di prospettiva : per uso degli architetti, e pittori . *

RM2AX841J–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . c^eine, tt?e(($e^ )it einfacl^ett Corpei-^ lei) 15 unb boppeIten^7/ tt)o fie am em? 3iel)enbe i^^i9uren,wie jteiuseic|)ne rfinbhct)ftcn fet)n 80, ftnb feiten 4. , »on bei- Jacbe beö Corper^, m fie Sorniöec .?Q?iiifc& ^ ivie et cfb^iubilb^ T <tct )erembatren .. • 74 .u.4.,.,..» l,

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 99. Let A be an external point; draw major axis BC, and onit describe the semi-circle BFC; draw a tangent AF to thecircle at F; draw FE perpendicular to BC, cutting curve inG; join AG, which will be a tangent, to the curve. (Fig. 99.) No, 26.—To draw an oval of a given width. Let AB be the given width; bisect it in C, and on it describethe circle ADB; draw CD at right angles to AB; with centreB and distance BA describe curve AE; similarly describe us DRAWING. curve BI; Stock Photo

RM2AJFE7X–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . Fig. 99. Let A be an external point; draw major axis BC, and onit describe the semi-circle BFC; draw a tangent AF to thecircle at F; draw FE perpendicular to BC, cutting curve inG; join AG, which will be a tangent, to the curve. (Fig. 99.) No, 26.—To draw an oval of a given width. Let AB be the given width; bisect it in C, and on it describethe circle ADB; draw CD at right angles to AB; with centreB and distance BA describe curve AE; similarly describe us DRAWING. curve BI;

A treatise on painting . ?X<:r. LEOMARDO DA VINCI JFu/>!is>usiiyI&J.TmltrKj!fiejIyhffM3-i.ijf. T REATI S E ON PAI N T IN G, BY LEONARDO DA VINCI, TRANSLATED FROM THE ORIGINAL ITALIAN. ILLUSTRATED WITH A GREAT NUMBER OF CUTS, TO WHICH IS ADDED The life of the AUTHOR, And a Portrait from a Picture in theDUKE OF TUSCANYs GALLERY AT FLORENCE. A NEW EDITION. Quam multa vident Piftores in Umbris, et in Eminentia, Cicero, L O N D O N:PRINTED FOR I. AND J. TAYLOR, At the Architectcj<AL Library, High Holbo^a. 1796, ADVERTISEMENT. 1 HE Publilhers of this Edition of Leonardqda Vincis Treatife Stock Photo

RM2AWHNNR–A treatise on painting . ?X<:r. LEOMARDO DA VINCI JFu/>!is>usiiyI&J.TmltrKj!fiejIyhffM3-i.ijf. T REATI S E ON PAI N T IN G, BY LEONARDO DA VINCI, TRANSLATED FROM THE ORIGINAL ITALIAN. ILLUSTRATED WITH A GREAT NUMBER OF CUTS, TO WHICH IS ADDED The life of the AUTHOR, And a Portrait from a Picture in theDUKE OF TUSCANYs GALLERY AT FLORENCE. A NEW EDITION. Quam multa vident Piftores in Umbris, et in Eminentia, Cicero, L O N D O N:PRINTED FOR I. AND J. TAYLOR, At the Architectcj<AL Library, High Holbo^a. 1796, ADVERTISEMENT. 1 HE Publilhers of this Edition of Leonardqda Vincis Treatife

Trattato della pittura . la ponderazione dell uomo sopra ili suo piede sostentacelo del tutto, come si mo-I srra in quello che con le braccia aperte va so-pra la corda senza altro bastone . CCf. Queir animale avrà il centro delle I gambe suo sostentacolo tanto più v>cino al pei>- pendicelo del centro della gravità , il quale sa-rà di più tardi movimenti , e cosi e converso ,J quello ayrà il centro desostentaceli più remoto«Jal perpendicolo del centro della gravità sua , il quale fia di più ve-loce moto . CCIi. Sempre la spalla dell uomo che sostiene il peso è più altache la spalla senza Stock Photo

RM2AN5J1R–Trattato della pittura . la ponderazione dell uomo sopra ili suo piede sostentacelo del tutto, come si mo-I srra in quello che con le braccia aperte va so-pra la corda senza altro bastone . CCf. Queir animale avrà il centro delle I gambe suo sostentacolo tanto più v>cino al pei>- pendicelo del centro della gravità , il quale sa-rà di più tardi movimenti , e cosi e converso ,J quello ayrà il centro desostentaceli più remoto«Jal perpendicolo del centro della gravità sua , il quale fia di più ve-loce moto . CCIi. Sempre la spalla dell uomo che sostiene il peso è più altache la spalla senza

RM2AX8C4B–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . tion ber garbe; womitbie £ufft bie ^()eile be^ ^^urmö B unb F färbet, oon groffertr Proportion:.Ut),o,U obbefagte Proportion, ^enn bie^inie N F, n>elct)eof)ne bemmellanger olö bie£inie S B ifl, erjlrecfet ftc^ nacl) burcl& eine Mt/beren^VcEe auö einer gleichen Ungleid^^eit beileget

A treatise on painting . of the whole body,amafs, and gather the parts of the drapery to-gether. Above all, obferve, that in hiftories,or in pieces conliiting of feveral figures, youihew a variety in the draperies; fo that if thefolds of fome appear grofs and ftiff, as if thecloth were thick and flubborn, let the foldsof others fit clofer and more neatly, as confift-ing of a finer thread; the fides and edges ofthe one being llraighter, and thofe of the othermore indented.Of the different Molf paintcrs chufc to fliew their draperieswajsoi rep.e- p^u^h rufflcd, thclr turns and angles very fud- f Stock Photo

RM2AWHBBE–A treatise on painting . of the whole body,amafs, and gather the parts of the drapery to-gether. Above all, obferve, that in hiftories,or in pieces conliiting of feveral figures, youihew a variety in the draperies; fo that if thefolds of fome appear grofs and ftiff, as if thecloth were thick and flubborn, let the foldsof others fit clofer and more neatly, as confift-ing of a finer thread; the fides and edges ofthe one being llraighter, and thofe of the othermore indented.Of the different Molf paintcrs chufc to fliew their draperieswajsoi rep.e- p^u^h rufflcd, thclr turns and angles very fud- f

$Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . UK , y*»» n^^. t><^n^erPcr^pe(^:lV. 97 »en empfan(it,a(öbiebünne/ m{ bie @tra^(en berfelben mefer ^OBibeifont)«ntrejfen, Unb n^ennfic^ bec»g)immel in eurem ^efid)t mit ber €bene bec€ibe enbiget/fo ttirb btefei: (e|te ^(}ci( bcö^immelö, burd^ einet)iel bic^tcrctinb fel)r mcife ^ Stock Photo$

RM2AX8C93–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . UK , y*»» n^^. t><^n^erPcr^pe(^:lV. 97 »en empfan(it,a(öbiebünne/ m{ bie @tra^(en berfelben mefer ^OBibeifont)«ntrejfen, Unb n^ennfic^ bec»g)immel in eurem ^efid)t mit ber €bene bec€ibe enbiget/fo ttirb btefei: (e|te ^(}ci( bcö^immelö, burd^ einet)iel bic^tcrctinb fel)r mcife ^

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . oin C C. Y. From C measure off CB = 2^, andfrom B mark off BA=3 (length of line) ; join B RMP andA RMP, to cut C C.Y. in E, D. ED is the line required, forDE is parallel to LD, and therefore perpendicular to BL.EC = BC and DC = AC, then DE = AB, and point E is thesame distance from L.D. that C is. (Fig. 12.) Example Jf.—Draw a line 3^ in length parallel to P.P. and4 within it, and parallel to G.P., and 4 above it, line tobe drawn with near extremity 2 to left. 11 = 6, LD = 4 Stock Photo

RM2AJGBJD–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . oin C C. Y. From C measure off CB = 2^, andfrom B mark off BA=3 (length of line) ; join B RMP andA RMP, to cut C C.Y. in E, D. ED is the line required, forDE is parallel to LD, and therefore perpendicular to BL.EC = BC and DC = AC, then DE = AB, and point E is thesame distance from L.D. that C is. (Fig. 12.) Example Jf.—Draw a line 3^ in length parallel to P.P. and4 within it, and parallel to G.P., and 4 above it, line tobe drawn with near extremity 2 to left. 11 = 6, LD = 4

RM2AX8PAB–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . r:c Angulus incidentiae ( (?infall^ ^ ^iUCfel) bem Angulo ^eflexioois (Dvucffaü^.SIGincfeDölei* (epUt ; 3 Se^ 66 ^cvGed)fteZbcil/ Ci tf* lutig am meinen ^ette iü)n mb.5. OBSERVATIO.(Cap8:.). - ^^ ?i^^*/n/in Mt unter fc)v Qkid)m ^incedn empfangt, ^i fc» mmQ)ci;fpiclbaöCentrumt)Dm^ic()

A treatise on painting . ! motion pro- All iiiotion procccds from a lofs o^ i^quilibri^tohtu^T.l^t^^^^ that is, of equality, or ballance: this muftilbrium. always ceafe ere motion cart commence; and ever the further any body is removed from its eqiiili^^r///w,theq^uicker and more violent is its motion.Of the equiu- A figure itanding on olie of its feet, will al-kriumofafi. i^yays huvc the (houlder of that lide lower than.^^^^ the other ; and the hole of the neck, at the fame lime, perpendicularly over the middle of theleg which fupports the body. This will be thecafe, in whatever iinc the figu Stock Photo

RM2AWHHN8–A treatise on painting . ! motion pro- All iiiotion procccds from a lofs o^ i^quilibri^tohtu^T.l^t^^^^ that is, of equality, or ballance: this muftilbrium. always ceafe ere motion cart commence; and ever the further any body is removed from its eqiiili^^r///w,theq^uicker and more violent is its motion.Of the equiu- A figure itanding on olie of its feet, will al-kriumofafi. i^yays huvc the (houlder of that lide lower than.^^^^ the other ; and the hole of the neck, at the fame lime, perpendicularly over the middle of theleg which fupports the body. This will be thecafe, in whatever iinc the figu

RM2AX87NK–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . ijntt ein buttcFelcr <livHt ftcf) in einem $^elbe üon bcHen imb ctlm^tuten Scitben enbiget, fo tvirb er nolK^venbicj üonfo(c^cm5*^lbc erhobenunbt)a)on^ab9efönbert ju fctjn fc^einem §^ (;ef^icl)et biefeöbarum,tveil bieieni^en Körper bk aueJ einer frummcn Oberpidcbe be(iel)en , in

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . 84 DRAWING. Example 1.—5)raw the frustum of a square pyramid, whosebases are 6^ and 4 square, respectively; the frustum touchesP.P. 4^ to right, height 4. (Fig. 49.) Prom the above the method of drawing may be easilyunderstood. Example 2.—A pyranaid with square base, each side ofwhich is 4, stands on the ground plane 4^ to the left, touch-ing P.P. The pyramid is 8 in height; 3^ from the vertexthe pyramid passes through a square plinth 4 x 4 x^l placedparallel to the ground p Stock Photo

RM2AJFXBY–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . 84 DRAWING. Example 1.—5)raw the frustum of a square pyramid, whosebases are 6^ and 4 square, respectively; the frustum touchesP.P. 4^ to right, height 4. (Fig. 49.) Prom the above the method of drawing may be easilyunderstood. Example 2.—A pyranaid with square base, each side ofwhich is 4, stands on the ground plane 4^ to the left, touch-ing P.P. The pyramid is 8 in height; 3^ from the vertexthe pyramid passes through a square plinth 4 x 4 x^l placedparallel to the ground p

Trattato della pittura . ssaidi bellezza. XXXVI. Questa abitazione vuolessere scuoperra allaria, con lepareti di colore incarnato, ed i ritratti si. facciano di -estate, quando linuvoli cuoprono il sole: o veramente farai le parc;ti meridionali tantalte, che-i raggi riHessi non guastino lombre. XXXVll. tempre il pittore deve considerare nella parere , li qua-le ha da istoriare, laltezza del sito dove vuole coUocaje le sue figu-ra, e ciò che egli ritrae di naturale a detto proposito , e star tanto conr occhio più basso che la cosa che egli ritrae , quanto detta cosa siamessa in opera più aka ch Stock Photo

RM2AN5N6G–Trattato della pittura . ssaidi bellezza. XXXVI. Questa abitazione vuolessere scuoperra allaria, con lepareti di colore incarnato, ed i ritratti si. facciano di -estate, quando linuvoli cuoprono il sole: o veramente farai le parc;ti meridionali tantalte, che-i raggi riHessi non guastino lombre. XXXVll. tempre il pittore deve considerare nella parere , li qua-le ha da istoriare, laltezza del sito dove vuole coUocaje le sue figu-ra, e ciò che egli ritrae di naturale a detto proposito , e star tanto conr occhio più basso che la cosa che egli ritrae , quanto detta cosa siamessa in opera più aka ch

Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . ned on an imaginaryaxis it will assume the form of an ellipse. The height ordiameter of the hoop corresponding to the imaginary axis willremain the same, while the diameter at right angles to it, orthe revolving axis, will diminish, till at length it is a merepoint. Hence, to know the appearance of a circle not vieweddirectly, we must know the angle the eye makes with itsplane, or its appearance in relation to some figure easy ofrepresentation, contained by straight lines. N Stock Photo

RM2AJG5BC–Perspective and geometrical drawing adapted to the use of candidates for second and third-class teachers' certificates . ned on an imaginaryaxis it will assume the form of an ellipse. The height ordiameter of the hoop corresponding to the imaginary axis willremain the same, while the diameter at right angles to it, orthe revolving axis, will diminish, till at length it is a merepoint. Hence, to know the appearance of a circle not vieweddirectly, we must know the angle the eye makes with itsplane, or its appearance in relation to some figure easy ofrepresentation, contained by straight lines. N

La prospettiua pratica . C H, fia poi prefa la di-ftanza dallangolo B alla linea del piano, & portata fopra efla linea C E, tii*ail la linea Diagonale E G,& doue quella taglierà li linea C H, nel punto L, iui fia formata la linea I L, paralella alla linea delpiano : iìano por tirate le linee I F, & F L, che iarà pqllo elTo Triangolo in iicorcio , come fi vede dagì angoli I L F. Et per ritiouare anco il punto della iiia mczaria, lìa prima tirata la linea, che fi parta dallangoloA j & vadi a capitare alla mezaria dei iato B C, & doue detta interiècherà la linea B F, in N, iui faràla mezaria dell Stock Photo

RM2AJ5NP9–La prospettiua pratica . C H, fia poi prefa la di-ftanza dallangolo B alla linea del piano, & portata fopra efla linea C E, tii*ail la linea Diagonale E G,& doue quella taglierà li linea C H, nel punto L, iui fia formata la linea I L, paralella alla linea delpiano : iìano por tirate le linee I F, & F L, che iarà pqllo elTo Triangolo in iicorcio , come fi vede dagì angoli I L F. Et per ritiouare anco il punto della iiia mczaria, lìa prima tirata la linea, che fi parta dallangoloA j & vadi a capitare alla mezaria dei iato B C, & doue detta interiècherà la linea B F, in N, iui faràla mezaria dell

RM2AX83WT–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . y* r ^- - ^--5. • - / - . 6 -^ «V.

Trattato della pittura . 89 INDICE DE CAPITOLI DI QUESTO TRATTATO. Q Cat. I. y^ Vello che dee prima imparare il giovane. Quale studio debbe essere né giovani.III. Qual regola si deve dare aputti pittori,IV. Noti:^ia del giovane disposso alla pit:ura . V. Precetto al Pittore.TI. In che modo dee il giovane procedere nel suo stud^ l,TU. Del modo di studiare .VITI. Avvertimtnto al pittore , IX. Precetto al pittore universale,X. Come il pittore debbe essere universale.XI. Precetto al pittare.XII. Precetto come sopra .XIII. Precetto dello schi:^-^ixre istorie e figure:XIV. Del correggere gli errori Stock Photo

RM2AN5FAF–Trattato della pittura . 89 INDICE DE CAPITOLI DI QUESTO TRATTATO. Q Cat. I. y^ Vello che dee prima imparare il giovane. Quale studio debbe essere né giovani.III. Qual regola si deve dare aputti pittori,IV. Noti:^ia del giovane disposso alla pit:ura . V. Precetto al Pittore.TI. In che modo dee il giovane procedere nel suo stud^ l,TU. Del modo di studiare .VITI. Avvertimtnto al pittore , IX. Precetto al pittore universale,X. Come il pittore debbe essere universale.XI. Precetto al pittare.XII. Precetto come sopra .XIII. Precetto dello schi:^-^ixre istorie e figure:XIV. Del correggere gli errori

. Arte da pintura, symmetria, e perspectiva. Pintura. cos entre as columnas parecerào malapequenos, por eftarem mais longe doolho , de modo, que as coufas altasparecerão abaixar-fe , e as baixas le-vantar-íe; tudo iílo nafce dos ângulos,com que fe vem as coufas. Donde, quando fizeres alguma Ar-chite&ura em algum painel, haveis detomar o ponto do meyo da quadratu-ra, ou circunferência, fendo redondo,e dahi haveis de lançar as linhas direi-tas ás partes de fora, e por onde ellasborne arem , por ahi ficarão lançadosos filetes, aíTim dos frizos altos , co-mo dos pedeílaes baixos , entendo osdas il Stock Photo

RM2AG6849–. Arte da pintura, symmetria, e perspectiva. Pintura. cos entre as columnas parecerào malapequenos, por eftarem mais longe doolho , de modo, que as coufas altasparecerão abaixar-fe , e as baixas le-vantar-íe; tudo iílo nafce dos ângulos,com que fe vem as coufas. Donde, quando fizeres alguma Ar-chite&ura em algum painel, haveis detomar o ponto do meyo da quadratu-ra, ou circunferência, fendo redondo,e dahi haveis de lançar as linhas direi-tas ás partes de fora, e por onde ellasborne arem , por ahi ficarão lançadosos filetes, aíTim dos frizos altos , co-mo dos pedeílaes baixos , entendo osdas il

$Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . % 4«- boc^ unmog*lict), baße^foecbabcn fd)ci?r.ct, alöc^in bcf i|l / tuennfD(cl)eö naturaJid)^c )^i(t) 7 nitin einem grcpfcn 5tbftanb,nirr mit einem5{uße gefeitenn)iri).3um (Exffmpel, eö fei)n^ie klugen BA,n)eld)eb«ö ^s^i^r?; }^ tiew Sufammenfauf Dcn ber ?(}^ittel . £mie ber ^fugen A Stock Photo$

RM2AX8DRD–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . % 4«- boc^ unmog*lict), baße^foecbabcn fd)ci?r.ct, alöc^in bcf i|l / tuennfD(cl)eö naturaJid)^c )^i(t) 7 nitin einem grcpfcn 5tbftanb,nirr mit einem5{uße gefeitenn)iri).3um (Exffmpel, eö fei)n^ie klugen BA,n)eld)eb«ö ^s^i^r?; }^ tiew Sufammenfauf Dcn ber ?(}^ittel . £mie ber ^fugen A

RM2AX8WB3–Des vortreflichen Florentinischen Mahlers Lionardo da Vinci höchst-nützlicher Tractat von der Mahlerey : aus dem Italiänischen und Frantzöischen in das Teutsche übersetzet : auch nach dem Original mit vielen Kupfern und saubern Holtzschnitten versehen : und mit beygefügten Leben des Auctoris zum Druck befördert . hocbile ^rämmung bie ein ?0?enfcl) inber ^enbutt(;f)interficl)maj Fig, «iieben fan, beliebet barinnen, ha^ a x>on binten feine Jetfe (ebe, unb >af©efichtsuöleic!) in bie Sinken falle, :^iefeö fan aber obne ©^mengfeittiicbtaefcbebemfonbernet: mu^ bieq3eine biegen, unb bie e*u(te

. Arte da pintura, symmetria, e perspectiva. ílesrayos fe fazem os ângulos no centro doolho , pelos quaes fão as coufas diffe-rentemente reprefentadas. E chamãoos Latinos a eííe ver defte modo, Prof-pcdlo , donde vem perfpedtiva , e osGregos lhe chamão Optica,por fer humver confiderado; porque o ver ílmplez-mente não he outra coufa mais, quereceber naturalmente na Tirtude do ver a fór- Arte da Tintura. t$ a forma , e femelhança da coufa viíla ;mas o ver do Perfpe&ivo he hum verconfiderado, e advertido ; porque nãofomente vê naturalmente, como o fim-plez ver, mas confidera, e bufca o mo-do como Stock Photo

RM2AG69MX–. Arte da pintura, symmetria, e perspectiva. ílesrayos fe fazem os ângulos no centro doolho , pelos quaes fão as coufas diffe-rentemente reprefentadas. E chamãoos Latinos a eííe ver defte modo, Prof-pcdlo , donde vem perfpedtiva , e osGregos lhe chamão Optica,por fer humver confiderado; porque o ver ílmplez-mente não he outra coufa mais, quereceber naturalmente na Tirtude do ver a fór- Arte da Tintura. t$ a forma , e femelhança da coufa viíla ;mas o ver do Perfpe&ivo he hum verconfiderado, e advertido ; porque nãofomente vê naturalmente, como o fim-plez ver, mas confidera, e bufca o mo-do como

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