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the wall, of which the vertical plane gives a likeness, and you will
have all the [relative] heights and prominences of the figure. And
the breadth or thickness which are on the upright wall m n are to
be drawn in their proper form, since, as the wall recedes the figure
will be foreshortened by itself; but [that part of] the figure which
goes into the cove you must foreshorten, as if it were standing
upright; this diminution you must set out on a flat floor and there
must stand the figure which is to be transferred from the vertical
plane r n[Footnote 17: che leverai dalla pariete r n. The
letters refer to the larger sketch, No. 3 on Pl. XXXI.] in its real
size and reduce it once more on a vertical plane; and this will be a
good method [Footnote 18: Leonardo here says nothing as to how the
image foreshortened by perspective and thus produced on the vertical
plane is to be transferred to the wall; but from what is said in
Nos. 525 and 523 we may conclude that he was familiar with the
process of casting the enlarged shadow of a squaring net on the
surface of a wall to guide him in drawing the figure.
Pariete di rilieuo; "sur une parai en relief" (RAVAISSON). "Auf
einer Schnittlinie zum Aufrichten" (LUDWIG). The explanation of
this puzzling expression must be sought in No. 545, lines 15-17.].
[Footnote: See Pl. XXXI. 3. The second sketch, which in the plate is
incomplete, is here reproduced and completed from the original to
illustrate the text. In the original the larger diagram is placed
between lines 5 and 6.
373
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