An Answer to the Objection made about the Point of Sight in Perspective.
Every one does not approve, that in a Perspective of great Extent one Point of Sight only should be assign’d the whole Work; as for Example, In the whole Length of the Nave, Cupola, and Tribune, express’d in the Ninety-third Figure, they will by no means allow of one single Point, but insist upon several.
I answer, This Objection may be understood two ways; either that one Point alone is not sufficient for that whole Length, and in this sense ’tis true; for that Space being very long, it ought to be divided into Parts, and proper Points assign’d to the Tribune, Cupola, and Vault of the Nave; as is commonly taught, where the Situation is of a great Length, and not very high. Or it may be understood of any One of the said Parts, and so is altogether false. First, Because in the Vaults of Halls or Churches painted by the greatest Masters, if they consist of one Piece only, we find but one Point of Sight assign’d. Secondly, Since Perspective is but a Counterfeiting of the Truth, the Painter is not oblig’d to make it appear real when seen from Any part, but from One determinate Point only. Thirdly, Because, if in a Vault, for Example, where you would paint one entire Design of Architecture and Figures, you assign several Points of Sight, you will find no place whence you may take a perfect View of the Whole, and at best you can only view each Part from its proper Point. From all which Reasons I conclude, that the Introduction of many Points into the same Piece, is more injurious to the Work, than making use of one only: Wherefore ’tis absolutely necessary in a regular Situation, and where the Work is all of a piece, so to place the same, as that the Figures and Architecture may from every part of the Design have respect thereto. This suppos’d, I confess that I myself make use of one Point of Sight only, in very large Vaults that consist of one Design, such as that of the Nave of the Church of S. Ignatius. If therefore through the Irregularity of the Place, the Architecture appear with some Deformity, and the Figures intermix’d therewith seem any thing lame and imperfect when view’d out of the proper Point, besides the Reasons just now given, it’s so far from being a Fault, that I look upon it as an Excellency in the Work, that when view’d from the Point determin’d, it appear, with due Proportion, streight, flat, or concave; when in reality it is not so.
INDEX.
| INSTRUMENTA paranda, | [Fig.] | UTENSILS for Drawing. |
| Explicatio linearum plani & horizontis, ac punctorum oculi & distantiæ, | [I.] | Explication of the Lines of the Plan and Horizon, and of the Points of the Eye and of the Distance. |
| Modus delineandi opticè quadratum, | [II.] | The Manner of delineating a Square in Perspective. |
| Optica delineatio rectanguli, alterâ parte longioris, | [III.] | The Delineation of an oblong Square in Perspective. |
| Optica descriptio quadrati duplicis, | [IV.] | The Optical Delineation of a double Square. |
| Vestigia quadratorum cum elevationibus, | [V.] | Plans of Squares with their Elevations. |
| Modus opticæ delineationis absque lineis occultis, | [VI.] | The Manner of designing in Perspective without occult Lines. |
| Aliud exemplum vestigii geometrici, cum elevatione longitudinis, | [VII.] | Another Example of a Geometrical Plan and Upright put into Perspective. |
| Optica projectio stylobatæ, | [VIII.] | The Projection of a Pedestal in Perspective. |
| Optica delineatio Architecturæ Jacobi Barozzii, & primum de stylobata Ordinis Etrusci, | [IX.] | The Architecture of Vignola in Perspective, and first of his Pedestal of the Tuscan Order. |
| Optica deformatio stylobatæ Dorici; ubi de modo vitandi confusionem in vestigiis delineandis, | [X.] | A Dorick Pedestal in Perspective, with the Manner of avoiding Confusion in designing the Plans. |
| Stylobatæ Ionici deformatio; ubi de vitanda confusione in elevationibus, | [XI.] | The Ionick Pedestal in Perspective, with the Manner of avoiding Confusion in Elevations. |
| Deformatio stylobatæ Corinthii, cum duabus pilis, | [XII.] | The Corinthian Pedestal, with its Pilasters, in Perspective. |
| Projectio stylobatæ Ordinis Compositi, | [XIII.] | The Projection of a Pedestal of the Composite Order. |
| Deformatio circulorum, | [XIV.] | Circles in Perspective. |
| Optica delineatio columnæ, | [XV.] | A Column in Perspective. |
| Optica projectio basis Etruscæ, | [XVI.] | The Tuscan Base in Perspective. |
| Deformatio basis Doricæ, | [XVII.] | The Dorick Base in Perspective. |
| Optica delineatio basis Ionicæ, | [XVIII.] | The Ionick Base in Perspective. |
| Optica imminutio basis Corinthiæ, | [XIX.] | The Corinthian Base in Perspective. |
| Basis Atticurga opticè imminuta, | [XX.] | The Attick Base in Perspective. |
| Optica imminutio capitelli Etrusci, | [XXI.] | The Tuscan Capital in Perspective. |
| Optica projectio capitelli Dorici, | [XXII.] | The Projection of a Dorick Capital in Perspective. |
| Deformatio capitelli Ionici, | [XXIII.] | The Ionick Capital in Perspective. |
| Optica projectio capitelli Corinthii, | [XXIV.] | The Corinthian Capital in Perspective. |
| Optica descriptio capitelli Compositi, | [XXV.] | The Composite Capital in Perspective. |
| Deformatio coronicis Etruscæ, | [XXVI.] | The Tuscan Entablature in Perspective. |
| Optica delineatio coronicis Doricæ, | [XXVII.] | The Dorick Entablature in Perspective. |
| Præparatio figuræ sequentis, | [XXVIII.] | Preparatory to the following Figure. |
| Optica projectio ædificii Dorici, | [XXIX.] | A Projection of the Dorick Order in Perspective. |
| Optica projectio ædificii Ionici; ubi de modo jungendi fictum cum vero, | [XXX.] | An Ionick Work in Perspective, with the Manner of reconciling the fictitious to the solid Architecture. |
| Optica projectio coronicis Corinthiæ, cum capitello & summitate columnæ, | [XXXI.] | The Optick Projection of a Corinthian Cornice, with the Capital and part of the Column. |
| Delineatio geometrica coronicis Ordinis Compositi, | [XXXII.] | The Geometrical Design of a Cornice of the Composite Order. |
| Deformatio coronicis Compositæ, | [XXXIII.] | A Composite Cornice in Perspective. |
| Præparatio ad figuram trigesimamquintam, | [XXXIV.] | Preparatory to the Thirty-fifth. |
| Deformatio coronicis Compositæ ad latus inspectæ, | [XXXV.] | A Side-View of the Composite Cornice in Perspective. |
| Præparatio ad figuram trigesimamseptimam, | [XXXVI.] | Preparatory to the Thirty-seventh. |
| Deformatio columnæ Etruscæ, | [XXXVII.] | A Tuscan Column in Perspective. |
| Præparatio ad figuram trigesimamnonam, | [XXXVIII.] | Preparatory to the Thirty-ninth. |
| Deformatio ædificii Dorici, | [XXXIX.] | A Piece of Dorick Architecture in Perspective. |
| Vestigium geometricum ædificii Ordinis Dorici, | [XL.] | The Geometrical Plan of a Design of the Dorick Order. |
| Elevatio geometrica ædificii Dorici, | [XLI.] | The Geometrical Elevation of the foregoing Design. |
| Modus vitandi confusionem in contractione vestigiorum & elevationum, | [XLII.] | The Manner of avoiding Confusion in reducing Plans and Elevations into Perspective. |
| Contractio vestigii figuræ quadragesimæ, | [XLIII.] | The Plan of the Fortieth Figure in Perspective. |
| Contractio elevationis figuræ quadragesimæprimæ, | [XLIV.] | The Elevation of the Forty-first Figure in Perspective. |
| Dimidium ædificii Dorici opticè deformati, | [XLV.] | One half of the Dorick Design in Perspective. |
| Alterum dimidium ejusdem ædificii, | [XLVI.] | The other half of the same Design. |
| Vestigia ædificii Ionici, | [XLVII.] | The Plan of an Ionick Building. |
| Elevatio geometrica ædificii Ionici, | [XLVIII.] | Geometrical Upright of the foregoing Ionick Design. |
| Deformatio elevationis ædificii Ionici, | [XLIX.] | The Elevation of the Ionick Design in Perspective. |
| Architectura Ionica, | [L.] | A Design of Ionick Architecture. |
| Ordo Corinthius, | [LI.] | A Corinthian Design in Perspective. |
| Delineatio columnæ spiralis Ordinis Compositi, | [LII.] | The Description of a wreath’d Column of the Composite Order. |
| Ordines Architecturæ desumpti ex Palladio & Scamozzio, | [LIII. A.] | The Orders of Architecture taken from Palladio and Scamozzi. |
| Modus triplex delineandi columnas spirales, | [LIII. B.] | Three different ways of delineating wreath’d Columns. |
| Vestigia ædificii Ordinis Corinthii, | [LIV.] | The Plan of a Design of the Corinthian Order. |
| Elevatio ædificii Ordinis Corinthii, | [LV.] | The Geometrical Elevation of a Corinthian Work. |
| Deformatio vestigiorum & elevationis ædificii Corinthii, | [LVI.] | The Perspective-Plans and Upright of the Corinthian Design foregoing. |
| Adumbratio figuræ sequentis, | [LVII.] | The rough Draught of the following Figure. |
| Ædificium Ordinis Corinthii octangulare, | [LVIII.] | Part of an Octangular Work of the Corinthian Order. |
| Vestigia Tabernaculi octangularis, | [LIX.] | The Plans of an Octangular Tabernacle. |
| Tabernaculum octangulare, | [LX.] | An Octangular Tabernacle in Perspective. |
| Modus erigendi machinas quæ constant pluribus ordinibus telariorum, | [LXI.] | The Manner of erecting Machines that consist of several Ranges of Frames. |
| De reticulandis telariis, quæ repræsentent ædificia solida, | [LXII.] | Of making the Net-work on Frames, for representing the Architecture as solid. |
| Vestigia ædificii quadrati, | [LXIII.] | The Plan of a square Design. |
| Ædificium quadratum, | [LXIV.] | A square Design in Perspective. |
| Vestigium ædificii rotundi opticè imminutum, | [LXV.] | The Plan of a Circular Work in Perspective. |
| Projectio ædificii rotundi, | [LXVI.] | A Circular Design in Perspective. |
| Vestigium geometricum, ac prima præparatio ad figuram septuagesimamprimam, | [LXVII.] | The Geometrical Plan, and first Preparation to the Seventy-first Figure. |
| Elevatio geometrica vestigii præcedentis, & secunda præparatio ad figuram septuagesimamprimam, | [LXVIII.] | The Geometrical Elevation of the foregoing Plan, and second Preparation to the Seventy-first Figure. |
| Deformatio vestigii figuræ sexagesimæseptimæ, & præparatio tertia ad figuram septuagesimamprimam, | [LXIX.] | The Plan of the Sixty-seventh Figure in Perspective, and third Preparation to the Seventy-first Figure. |
| Deformatio elevationis figuræ sexagesimæoctavæ, & præparatio quarta ad figuram septuagesimamprimam, | [LXX.] | The Perspective of the Elevation of the Sixty-eighth Figure, and fourth Preparation to the Seventy-first. |
| Theatrum repræsentans nuptias Canæ Galilææ, constructum Romæ anno 1685, in expositione Ven. Sacramenti, in templo Farnesiano Societatis Jesu, | [LXXI.] | A Theater representing the Marriage of Cana in Galilee, erected in the Jesuits Church at Rome, 1685, for the Solemnity of exposing the Holy Sacrament. |
| De theatris scenicis, | [LXXII.] | Of Scenes for the Stage. |
| Aliud vestigium theatri; ubi de modo inveniendi ejus punctum, | [LXXIII.] | Another Plan of a Theater, with the Method of finding the Point of Sight therein. |
| Sectio scenarum theatri, | [LXXIV.] | The Section or Profile of Scenes for Theaters. |
| Elevatio scenarum coram inspectarum; ubi docetur artificium, ut scenæ obliquæ appareant rectæ, | [LXXV.] | The Elevation of Scenes in Front, and how the oblique Scenes are made to appear direct. |
| Modus delineandi exemplar scenarum, | [LXXVI.] | The Manner of delineating the Designs of Scenes. |
| Modus reticulandi & pingendi scenas theatri, | [LXXVII.] | The Manner of making the Net-work or Squares, and painting the Scenes of Theaters. |
| De projectionibus horizontalibus, | [LXXVIII.] | Of horizontal Projections. |
| Projectiones vestigii & elevationis mutuli, | [LXXIX.] | The Plan and Elevation of a Corbel in Perspective. |
| Horizontalis projectio mutuli inumbrati, | [LXXX.] | The horizontal Projection of a shaded Corbel. |
| Stylobatæ Corinthii horizontaliter contracti, | [LXXXI.] | Corinthian Pedestals in an horizontal Perspective. |
| Columna Corinthia horizontaliter deformata, | [LXXXII.] | A Corinthian Column in horizontal Perspective. |
| Capitella Corinthia horizontaliter contracta, | [LXXXIII.] | A Corinthian Capital in horizontal Perspective. |
| Coronix Corinthia, | [LXXXIV.] | A Corinthian Cornice. |
| Coronix Corinthia horizontaliter contracta, | [LXXXV.] | A Corinthian Cornice in horizontal Perspective. |
| Horizontalis projectio columnæ, | [LXXXVI.] | A Column in horizontal Perspective. |
| Præparatio necessaria ad sequentem figuram, & ad projectiones horizontales in laquearibus vel testudinibus, | [LXXXVII.] | The Preparation necessary to the following Figure, and to all other horizontal Perspectives, whether on flat or vaulted Ceilings. |
| Horizontalis projectio balustiorum figuræ octogesimæseptimæ, cum brevi distantia, | [LXXXVIII.] | The horizontal Projection of the Balustrade of the Eighty-seventh Figure, view’d at a small Distance. |
| Horizontalis projectio Architecturæ in laqueari quadrato, | [LXXXIX.] | A horizontal Piece of Architecture in a square Ceiling. |
| Horizontalis projectio tholi, | [XC.] | A Cupola in horizontal Perspective. |
| Tholus figuræ nonagesimæ, cum luminibus & umbris, | [XCI.] | The Cupola of Fig. 90, with its Lights and Shades. |
| Tholus octangularis, | [XCII.] | An Octangular Cupola. |
| Vestigium templi Ludovisiani S. Ignatii almæ urbis, | [XCIII.] | The Geometrical Plan of S. Ignatius’s Church at Rome. |
| Orthographia templi Ludovisiani, | [XCIV.] | The Orthography of S. Ignatius’s Church. |
| Aliæ præparationes ad figuras 98 & 99, | [XCV.] | Other Preparations to the 98th and 99th Figures. |
| Aliæ præparationes ad figuras 98 & 99, | [XCVI.] | Other Preparations to the 98th and 99th Figures. |
| Alia præparatio ad figuras 98 & 99, | [XCVII.] | Another Preparation to the 98th and 99th Figures. |
| Quadrans Architecturæ horizontalis in fornice, cum luminibus & umbris, | [XCVIII.] | Fourth-part of the Architectonical Design on the Vault of S. Ignatius’s Church, with its Lights and Shades. |
| Alter quadrans totius operis, | [XCIX.] | Another Quarter of the whole Design. |
| Modus reticulationis faciendæ in testudinibus, | [C.] | The Method of drawing the Net-work on Vaults. |
FINIS.