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perspective shown upon it is artificial since it nowhere agrees with
the true diminution of the said plane. Whence it follows, that when
the eye is somewhat removed from the [station point of the]
perspective that it has been gazing at, all the objects represented
look monstrous, and this does not occur in natural perspective,
which has been defined above. Let us say then, that the square a b
c d figured above is foreshortened being seen by the eye situated
in the centre of the side which is in front. But a mixture of
artificial and natural perspective will be seen in this tetragon
called el main [Footnote 20: el main is quite legibly written in
the original; the meaning and derivation of the word are equally
doubtful.], that is to say e f g h which must appear to the eye of
the spectator to be equal to a b c d so long as the eye remains in
its first position between c and d. And this will be seen to
have a good effect, because the natural perspective of the plane
will conceal the defects which would [otherwise] seem monstrous.
III.
Six books on Light and Shade.
Linear Perspective cannot be immediately followed by either the
"prospettiva de' perdimenti" or the "prospettiva de' colori" or
the aerial perspective; since these branches of the subject
presuppose a knowledge of the principles of Light and Shade. No
apology, therefore, is here needed for placing these immediately
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