Gravesande, Willem Jacob 's, An essay on perspective

Table of figures

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[11] Plate 4.Page 24.Fig. 10.f F O G g V D N L a P E H I M A
[12] Plate 5.page 26.Fig. 11.O Y b X a E Z A B
[13] Fig. 12.M O Y F S C L D X a E B Z A
[14] Plate 6.page 28.Fig. 13.O D c b a g E G B A C
[15] Fig. 14.O b 1 2 3 a c 1 2 3 g D A C 3 1 2 2 1 3 B G
[16] page 28.Plate. 7Fig. 16Fig. 15O G F I Vl d c e m n b a h B A H M N C E P D L
[17] page 36.Plate 8Fig. 17O G F c d b a A B D C
[18] Page 36.Plate 9Fig. 18.G F C S V I E B A
[19] Fig. 19.O i M X L D @ b a
[20] Fig. 20.S x G n H S V D l R f Q m P t
[21] Fig. 21.I X f T L B N A C l M E F
[22] page 38Plate 10.Fig. 22.V F I N a G H M P D E B C L A
[23] Fig. 23.O F I H a G D E B C L A M
[24] Fig. 24.@ o f X a e A
[25] page 42Plate 11.Fig. 25.S F V M I N P H a L D E G C A B
[26] Fig. 26.Fig. 27.S V P Q R n l g h G H B N I A C M L
[27] page 46Plate 12.Fig. 28.
[28] Fig. 29.F S V q q q E L p p p I G H q D P n n n T R m m m C B Q A
[29] Fig. 30.O X E L N M G Z Y D
[30] Fig. 31.f 3 c l n m g 4
[31] page 48.Plate 13.Fig. 32.V S R L P B D Q T M I F A E Y C G O H Z N
[32] page 52.Plate. 14.Fig. 34D C F G A B H L E
[33] Fig. 33S X 8 1 h 6 g 3 z q 9 m 2 4 m a 5 Y
[34] Fig. 35O M D P T Q R m p q B A S C
[35] page 56.Plate. 15F H O Z D G
[36] Fig. 36T N M L a R Q E I A C P B
[37] Fig. 37F S V T I E M A N X P C B
[38] page 58.Plate. 16Fig. 39Fig. 38F Q O p l r s 1 2 3 4 G
[39] page 60.Plate. 17F V
[40] Fig. 40c θ b e a F G H I K L A B E C D
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          <pb o="iii" file="0011" n="11" rhead="The PREFACE."/>
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            <s xml:id="echoid-s56" xml:space="preserve">Some content themſelves with the bare
              <lb/>
            Explication of the Theory, and have left to
              <lb/>
            the Reader the Trouble of applying the ſame
              <lb/>
            to Practice; </s>
            <s xml:id="echoid-s57" xml:space="preserve">or elſe have given only ſome of
              <lb/>
            the common Operations, and entertain us
              <lb/>
            with general Reflections on Painting; </s>
            <s xml:id="echoid-s58" xml:space="preserve">which
              <lb/>
            are indeed curio{us}, but foreign to my Pur-
              <lb/>
            poſe: </s>
            <s xml:id="echoid-s59" xml:space="preserve">For I intend not to make a Man a
              <lb/>
            Painter, but to render the Uſe and Exerciſe
              <lb/>
            of Perſpective eaſy to him.</s>
            <s xml:id="echoid-s60" xml:space="preserve"/>
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            <s xml:id="echoid-s61" xml:space="preserve">Other Authors, which (according to the
              <lb/>
            Bulk of their Works) might be thought to
              <lb/>
            have more carefully treated of the practical
              <lb/>
            Part of Perſpective, do indeed at firſt lay
              <lb/>
            down ſome general Rules, common to them
              <lb/>
            all; </s>
            <s xml:id="echoid-s62" xml:space="preserve">but are nothing the eaſier for having
              <lb/>
            paſs’d thro’ ſo many Hands; </s>
            <s xml:id="echoid-s63" xml:space="preserve">and that, in-
              <lb/>
            deed, becauſe they have not endeavour’d to
              <lb/>
            make them ſo. </s>
            <s xml:id="echoid-s64" xml:space="preserve">They thought that all Ob-
              <lb/>
            jects might be thrown into Perſpective by
              <lb/>
            theſe Rules, and therefore it would be uſe-
              <lb/>
            leſs to ſearch after others; </s>
            <s xml:id="echoid-s65" xml:space="preserve">and judg’d it
              <lb/>
            more neceſſary to ſhew Painters the Applica-
              <lb/>
            tion of them to an infinite Number of parti-
              <lb/>
            cular Examples; </s>
            <s xml:id="echoid-s66" xml:space="preserve">tho’ that Application, at
              <lb/>
            moſt, is but repeating over again the Uſe of
              <lb/>
            the Rules already preſcrib’
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            d. </s>
            <s xml:id="echoid-s67" xml:space="preserve">But what Ad-
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            vantage can Painters gain from hence, if
              <lb/>
            they do not well underſtand general Opera-
              <lb/>
            tions? </s>
            <s xml:id="echoid-s68" xml:space="preserve">And if they do, I cannot conceive </s>
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