Modus reticulandi & pingendi scenas theatri.
Postquam in pavimento exactissimè disposueris tum poscenium, tum ex ordine scenas reliquas, unam alteri incumbentem, ut figurâ septuagesimaquintâ declaravimus, fiet linea horizontalis, in qua notanda sunt tria puncta perspectivæ, unum in O usui futurum in pingendo poscenio, ac duo reliqua hinc inde, singula videlicet pro scenis partis oppositæ. Jam supponendo quòd in parvo exemplari A primæ scenæ facta fuerit reticulatio per quadrata perfecta; proportionalis divisio fiet tum in recta HI primæ scenæ B, tum in recta CD. Postea ex puncto E, per singula puncta divisionum rectæ HI, fient visuales, adhibendo funiculum colore nigro imbutum; earumque ope, ut figura ostendit, reticulare oportebit scenam B, tum remotâ ea scenam illi subjectam, & eodem modo aliam & aliam; ac demum per divisiones quas in recta LM faciunt visuales ex puncto E, absolvetur reticulatio poscenii, cujus quadrata esse debent perfecta, secus quadrata scenarum. In parte inferiori paginæ, duæ scenæ G & F ostendunt ornamenta quæ in scenis depingi possunt. Velim autem observes, tum lineas transversas coronicum, quæ non sunt invicem parallelæ, tum visuales, quæ tendunt ad puncta opposita. Nam ejusmodi lineæ continent duas peculiares difficultates projectionum theatralium; easque ut superes, exactè servandæ sunt regulæ quas declaravimus.
The Seventy-seventh FIGURE.
The Manner of making the Net-work or Squares, and painting the Scenes of Theaters.
After you have with great Exactness dispos’d the Poscene on the Pavement, and the others in order one upon another, as was mention’d in the Seventy-fifth Figure; draw the horizontal Line, and mark therein three Points of Sight: That in O, for the Use of the Poscene; and the Points on the Sides, for the Service of the opposite Scenes respectively. Then, supposing that the Net-work of the small Draught of the first Scene A, consists of perfect Squares; transport the same Divisions both on the Lines HI and CD of the first Scene B; and with a black Line strike the Visuals from the Point E, by the Points of the Divisions of HI; and by the Help of those Visuals make the Net-work of the Scene B, as is done in the Figure. When that’s done, lay it aside; and do the next in the same manner; and so of the others. Lastly, by the Divisions, which the Visuals from the Point E make on the Perpendicular LM, finish the Net-work on the Poscene, which consists of perfect Squares, though that of the Scenes does not. The two Scenes of the lower part of the Plate, G and F, shew what Diversity of Ornament the Painter may introduce. I would have you also take particular Notice, both of the transverse Lines of the Cornice, which are not Parallels to each other; and of the Visuals which are directed to their opposite Points: because in these two Particulars lies the greatest Difficulty of describing Theatrical Designs; for the surmounting which, it’s absolutely necessary, that you carefully regard the Rules hitherto deliver’d.
FIG. LXXVIII.