دانلود کتاب Daniele Barbaro’s Perspective of 1568

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Contents
Foreword
Notes on the Translation
The use of language
The approach to the translation
Vocabulary
The treatment of errors in the treatise
The use of symbols
The role of the authors
Conclusion
References
Acknowledgements
Daniele Barbaro and the Geometric Solids
Introduction
A visual survey of depictions of the solids in manuscripts and printed books
Barbaro’s Solids
A classification of Barbaro’s solids
Barbaro’s methods for obtaining solids
Material Bodies
Artistic depictions of material bodies
Mathematical studies based on material bodies
Studies on solids after Barbaro
References
Appendix A: Catalogue of the solids presented by Barbaro
Appendix B: Comparison of studies of polyhedra
Appendix C: The ‘family tree’ of Barbaro’s solids
Daniele Barbaro’s Innovations in Perspective Studies
Introduction
The giusta distanza and the unicity of the viewing point
The representation of polyhedra
The creation of theatrical scenes according to the method of Pompeo Pedemonte
Anamorphosis and the tabula scalata
Perspective machines
The horario universale
Conclusions
References
The Practice of Perspective
To the Very Magnificent and Excellent Mr. Matheo Macigni
Daniel Barbaro, Patriarch Elect of Aquileia
Foreword
[Part I, setting up a perspective]
The Division of the Treatment of Perspective
Chap. I. The ordering of the principles and foundations of perspective
Chap. II. On the eye
Chap. III. On the way of seeing
Chap. IV. On the thing seen
Chap. V. On distance
Chap. VI. On the division of planes
Chap. VII. Where the eye must be placed
Chap. VIII. On the distance
Chap. IX. 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
Chap. I. The practice of describing figures of many angles in a circle
Chap. II. The way of describing plans
Chap. III. The way to degrade a given plane in the prosposed termination according to the eye and the distance
Chap. IV. The way to reduce the degraded plane into a square
Chap. V. Division of the degraded square according to the perfect square
Chap. VI. The way to add to or take away from the degraded square
Chap. VII. How to cut a square from a quadrangular surface that is wider than it is long
Chap. VIII. How to respond to those who, in dividing the plane into braccia, come to have a foreshortening that is larger than the perfect
Chap. IX. The plan of the triangle, and how the degraded is made from the perfect
Chap. X. How to form the plan of a cube in the perfect and degraded squares
Chap. XI. Other ways of making plans
Part III, which treats the ways of raising the body from the plan
Chap. I. Three ways of raising bodies from the plans
Chap. II. Unfolding, raising and shadowing the pyramid
Chap. III. Unfolding, raising and shadowing the cube
Chap. IV. Unfolding, raising and shadowing the body called ‘octahedron’
Chap. V. Unfolding, raising and shadowing the dodecahedral body
Chap. VI. Unfolding, raising and shadowing the body called ‘icosahedron’
Chap. VII. Description of the irregular bodies that are born from the regular bodies [truncated tetrahedron]
Chap. VIII. Description of a body that is born from the cube and from the octahedron, and its unfolding [cuboctahedron]
Chap. IX. Description of another irregular body that is born from the cube [truncated cube]
Chap. X. Description and unfolding of another body that is born from the cube [small rhombicuboctahedron]
Chap. XI. Unfolding and description of a body that is born from the octahedron [truncated octahedron]
Chap. XII. Unfolding and description of a body that is born from the dodecahedron and from the icosahedron [icosidodecahedron]
Chap. XIII. Unfolding and description of another body that is born from the dodecahedron [truncated dodecahedron]
Chap. XIV. Unfolding and description of another body that is born from the icosahedron [truncated icosahedron]
Chap. XV. Unfolding and description of another body that is born from a composite body [great rhombicuboctahedron]
Chap. XVI. Unfolding and description of another body that is born from a composite body [rectified truncated octahedron]
Chap. XVII. Unfolding and description of another composite body [small rhombicosidodecahedron]
Chap. XVIII. Unfolding and description of another body [rectified truncated icosahedron]
Chap. XIX. Unfolding of some other bodies [truncated pentakis dodecahedron]
Chap. XX. Unfolding of another irregular body [truncated truncated icosahedron]
Chap. XXI. Unfolding of another irregular body [great rhombicosidodecahedron]
Chap. XXII. Unfolding of another irregular body [truncated truncated octahedron]
Chap. XXIII. Unfolding of another irregular body [great rhombicosidodecahedron augmented with pentagonal cupolas]
Chap. XXIV. Unfolding of another irregular body [great rhobicuboctahedron augmented with square cupolas]
Chap. XXV. Unfolding of another irregular body
Chap. XXVI. 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]
Chap. XXVII. Unfolding of a body based on the cube [elevated cube]
Chap. XXVIII. Unfolding of a body based on the octahedron [elevated octahedron]
Chap. XXIX. Unfolding of a body based on the dodecahedron [elevated dodecahedron]
Chap. XXX. Unfolding of a body based on the icosahedron [elevated icosahedron]
Chap. XXXI. Unfolding of a body based on an irregular body [elevated cuboctahedron]
Chap. XXXII. Unfolding of a body resting on an underlying body [elevated small rhombicuboctahedron]
Chap. XXXIII. Unfolding of another body [elevated icosidodecahedron]
Chap. XXXIV. Description of some of the previous bodies with pyramids
Chap. XXXV. Some easy and quick ways to draw plans and bodies
Chap. XXXVI. How to degrade many circles drawn on the same centre and divided into several parts
Chap. XXXVII. An easy way to degrade without rulers
Chap. XXXVIII. Description of the torchio, or mazzocchio
Chap. XXIX. The perfect description of the mazzocchio
Part IV, in which will be treated scenographia, that is, the description of scenes
Chap. I. The manners of scenes
Chap. II. Description and shading of the Tuscan base
Chap. III. Description and shading of the Attic base
Chap. IV. Description and shading of the Ionic base
Chap. V. Description and degradation of columns
Chap. VI. Description and degradation of the Tuscan capital
Chap. VII. Description and degradation of the Doric capital
Chap. VIII. Description and degradation of the Ionic capital
Chap. IX. Description and degradation of the Corinthian capital
Chap. X. Description of the Doric architrave
Chap. XI. Description of the Ionic architrave and the pediment
Chap. XII. Rules for the heights of the architraves and ways to transpose them from one size to another
Chap. XIII. The description and degradation of stairs
Chap. XIV. Of arches, vaults and doors
Chap. XV. Plan, elevation and profile of a temple
Chap. XVI. Description of the Tragic scene
Chap. XVII. Description of the Comic scene
Chap. XVIII. Description of the Satiric scene
Part V, in which is set forth a fine and secret part of perspective
Chap. I. [Distorting images]
Chap. II. The first practice of these things
Chap. III. The second practice of these things
Part VI, which is called Planispherio
Chap. I. Unfolding, description and degradation of the sphere
Chap. II. Projection of the sphere onto the plane according to the ancients
Chap. III. How to make projections of oblique circles
Chap. IV. The projection of the circles of the heights onto the plane
Part VII, which treats lighting, shadows and colours
Chap. I. [The importance of light, colour and chiaroscuro]
Chap. II. On the projection of shadows
Part VIII, in which are treated the measures of the human body
Chap. I. Measurement of the human body
Chap. II. The way to describe the plan of the human head
Chap. III. How to describe heads that are neither in profile nor straight on
Chap. IV. The way to make heads that look either up or down
Part IX, in which are described many instruments and ways of rendering and transporting things in perspective
Chap. I. The author’s instrument for making clocks in every climate, on every plane and for every sort of hour
Chap. II. The use of the universal clock
Chap. III. Albrecht Dürer’s instrument for making perspectives
Chap. IV. Building another instrument by Baldassarre Lanci
Chap. V. Natural manners of rendering things in perspective
[Appendix] How with a new instrument it is possible to know the inclination of scarps of walls, according to the invention of Giacomo Castriotto
References
Index of Names