图书简介
A year after the second edition of his famous translation and commentary on Vitruvius, Daniele Barbaro published The Practice of Perspective, a text he had begun working on many years before. Barbaro was the first to publish a formal treatise entirely dedicated to the science of geometric perspective. In an informal style especially addressed to practicing artists and architects, Barbaro begins by drawing on and expanding the manuscript treatise of Piero della Francesca with regards to basics of perspective constructions for representing three-dimensional solids on two-dimensional media, and then goes on to show that perspective is a particularly suitable instrument for other scientific and artistic applications as well, including cartography, cosmology, stage set design, and anamorphosis. Here for the first time Barbaro’s The Practice of Perspective is made available to contemporary scholars in an English translation, augmented by annotations relating the printed treatise to the three unpublished manuscripts in Italian and Latin of the work now conserved in Venice’s Biblioteca Nazionale Marciana. A foreword by Philip Steadman sets the stage for this book. In-depth essays by authors Kim Williams and Cosimo Monteleone situate the treatise within the editorial panorama of the Cinquecento, outline the innovations that Barbaro brought to the study of perspective, and focus particularly on his creative explorations of geometric solids and the construction of clocks. Sometimes dismissed in recent studies as a compilation of known principles, the aim of this present book is to reveal the truly innovative nature of Barbaro’s experiments and results and restore him to his rightful place as an original scholar of Renaissance perspective theory.
Preface.- Translators’ Note.- Acknowledgements.- Daniele Barbaro and the Geometric Solids.- Daniele Barbaro’s Innovations in Perspective Studies.- Dedication to Matteo Macigni.- Foreword.- Part I, setting up a perspective.- The Ordering of the principles.- On the eye.- On the way of seeing.- On the thing seen.- On distance.- On the division of planes.- Where the eye must be placed.- On the distance.- Of the size that figures must be made in the painting.- Part II, in which are treated ichnographia, that is, the description of the plan.- The practice of describing figures.- The way of describing plans.- The way to degrade a given plane.- The way to reduce the degraded plane into a square.- Division of the degraded square according to the perfect square.- The way to add to or take away from the degraded square.- How to cut a square from a quadrangular surface that is wider than it is long.- How to respond to those who, in dividing the plane into braccia, come to have a foreshortening that is larger than the perfect.- The plan of the triangle, and how the degraded is made from the perfect form.- How to form the plan of a cube.- Other ways of making plans.- Part III, which treats the ways of raising the body from the plan.- Three ways of raising bodies from the plans.- Unfolding, raising and shadowing the pyramid.- Unfolding, raising and shadowing the cube.- Unfolding, raising and shadowing the body called ‘octahedron’.- Unfolding, raising and shadowing the dodecahedral body.- Unfolding, raising and shadowing the body called ‘icosahedron’.- Description of the irregular bodies that are born from the regular bodies [truncated tetrahedron].- Description of a body that is born from the cube and from the octahedron, and its unfolding [cubocatahedron].- Description of another irregular body that is born from the cube [truncated cube].- Description and unfolding of another body that is born from the cube [small rhombicuboctahedron].- Unfolding and description of a body that is born from the octahedron [truncated octahedron].- Unfolding and description of a body that is born from the dodecahedron and from the icosahedron [icosidodecahedron].- Unfolding and description of another body that is born from the dodecahedron [truncated dodecahedron].- Unfolding and description of another body that is born from the icosahedron [truncated icosahedron].- Unfolding and description of another body that is born from a composite body [great rhombicuboctahedron].- Unfolding and description of another body that is born from a composite body [rectified truncated octahedron].- Unfolding and description of another body composite body [small rhombicosidodecahedron].- Unfolding and description of another body [rectified truncated icosahedron].- Unfolding of some other bodies [truncated pentakis dodecahedron].- Unfolding of another irregular body [truncated truncated icosahedron].- Unfolding of some other bodies [great rhombicosidodecahedron].- Unfolding of another irregular body [truncated truncated octahedron].- Unfolding of another irregular body [great rhombicosidodecahedron augmented with pentagonal cupolas].- Unfolding of another irregular body [great rhombicuboctahedron augmented with square cupolas].- Unfolding of another irregular body.- Unfolding of some bodies based on the surfaces of bodies both regular and irregular, and first that which is based on the pyramid [elevated tetrahedron].- Unfolding of a body based on the cube [elevated cube].- Unfolding of a body based on the octagon [elevated octahedron].- Unfolding of a body based on the dodecahedron [elevated dodecahedron].- Unfolding of a body based on the icosahedron [elevate
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