Gravesande, Willem Jacob 's, An essay on perspective

Table of contents

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[11.] Corollary I.
[12.] Corollary II.
[13.] Corollary III.
[14.] Theorem II.
[15.] Corollary I.
[16.] Corollary II.
[17.] Theorem III.
[18.] Theorem IV.
[19.] Corollary I.
[20.] Corollary II.
[21.] Corollary III.
[22.] Corollary IV.
[23.] Theorem V.
[24.] Theorem VI.
[25.] Corollary.
[26.] CHAP. III.
[27.] Problem I.
[28.] Operation.
[29.] Demonstration.
[30.] Remarks.
[31.] Method II.
[32.] Operation.
[33.] Demonstration.
[34.] Remarks.
[35.] Method III.
[36.] Operation.
[37.] Demonstration.
[38.] Remark.
[39.] Method. IV.
[40.] Operation, Without Compaſſes.
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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
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            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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          <p style="it">
            <s xml:id="echoid-s61" xml:space="preserve">Other Authors, which (according to the
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            Bulk of their Works) might be thought to
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            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
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            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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