Cardano, Girolamo, De subtilitate, 1663

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            <p type="main">
              <s id="s.011503">
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              cipum effigies referunt. </s>
              <s id="s.011504">Cælare, quum
                <lb/>
              excauamus velut in gemmarum ſigillis at­
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              que aliis, quæ ceram comprimendo imagi­
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              nes exprimunt.
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                <arrow.to.target n="marg1602"/>
              </s>
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            <p type="margin">
              <s id="s.011505">
                <margin.target id="marg1602"/>
              Cælare
                <expan abbr="quã">quam</expan>
                <lb/>
              ſculpure
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              difficilius.</s>
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            <p type="main">
              <s id="s.011506">Difficilius eſt hoc non parum, quàm ſcul­
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              pere. </s>
              <s id="s.011507">Nam qui ſculpunt, quod vident agunt:
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              qui cælant, aliud vident, aliud agunt: &
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              dum vident, non agunt: dum agunt, non
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              vident. </s>
              <s id="s.011508">Similiter neque mente concipere
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              poſſunt quid facturi ſint dum cælant, vt qui
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              ſculpunt: ignota enim eſt tum natura, tum
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              vſu cauitas illa. </s>
              <s id="s.011509">Et ſi dum auges in cera
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              quod prominere debet, paululum aberraue­
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              ris, in gemma cauitate aucta errorem effi­
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              cies, qui non niſi toto ſubuerſo opere po­
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              teris emendari. </s>
              <s id="s.011510">At in ſculptura, opereque
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              toreumatico primum facilius eſt non ni­
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              mis adimere, ſed relinquere, quàm cælan­
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              do non implere: deinde ſi etiam nimio plus
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              adimas, facilius in opere exuberante, quàm
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              cauo totum opus reſtaurare atque commo­
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              dius. </s>
              <s id="s.011511">Cælando quoque dextra ſiniſtris, ſini­
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              ſtra dextris referuntur, quod difficillimum
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              eſt in hoc opere, dum totam effigiem cæ­
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              lare volumus, cùm in ſculptura, dextra re­
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              maneant dextra, ac ſiniſtra, ſiniſtra. </s>
              <s id="s.011512">Ob tot
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              cauſas longè difficilius eſt cælare, quàm ſcul­
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              pere. </s>
              <s id="s.011513">Difficillimum verò ac ſingularis exem­
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              pli opus faciem totam cælare, atque id etiam
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              magis in parua gemma. </s>
              <s id="s.011514">Eam ob cauſam
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              imagines meas multis in gemmis cælatas,
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              chryſolitho, hyacintho, atque aliis, cum no­
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              mine ac prænomine dimidium faciei, aut
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              certè ſeſquidimidium repræſentare feci. </s>
              <s id="s.011515">Seſ­
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              quidimidium qui pingunt aut cælant, ſcul­
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              punt, aut formant, alterius oculi partem ad­
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                <arrow.to.target n="marg1604"/>
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              iungunt. </s>
              <s id="s.011516">Hic modus ad confuſam quandam
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              hominis
                <expan abbr="cognitionẽ">cognitionem</expan>
              faciliorem præſtantior
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              eſt eo, qui dimidiam faciem ſolùm refert: ſed
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              tantò inferior exquiſita repræſentatione,
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              quantò melior facillitate cognoſcendi. </s>
              <s id="s.011517">Nam
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              in medio facie, & næui, & rugæ, & lineæ
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              etiam, ac puncta, ac quicquid à latere illo
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                <arrow.to.target n="marg1605"/>
                <lb/>
              eſt exprimere ad vnguem licet: in ſeſquime­
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              dia exquiſitè non licet, quoniam ſecun­
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              dum nullum aſpectum eſt. </s>
              <s id="s.011518">Plaſticè verò
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              pura omnium eſt difficillima præter pi­
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              cturam: nec tamen illa inferior, niſi à
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              ſcultura iuuetur. </s>
              <s id="s.011519">Nam quicquid difficultatis
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              habet qui cælat, id totum, & præter id &
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              materiæ diſpoſitionem, & ſcientiam tem­
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              peramenti ignis, & multorum caſuum pe­
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              riculum, imò innumerabilium, qui fingit,
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              habet. </s>
              <s id="s.011520">Ex cælatis enim prius figuris fingun­
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              tur humore infuſo ſtatuæ. </s>
              <s id="s.011521">Quamobrem qui
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              non rectè celauerit, quomodo rectè finget?
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              </s>
              <s id="s.011522">Refert Munſterus, in Vormacia quinque eſ­
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              ſe columnas plaſtici operis mirifici. </s>
              <s id="s.011523">Hoc vo­
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              lui adieciſſe, quoniam ſi non decipitur,
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              ſcribendo fictas pro ſculptis, egregiæ artis
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              non leue hoc argumentum eſt, laudiſque
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              artificis. </s>
              <s id="s.011524">Siquidem plaſtica inuentio in ma­
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              ximis operibus, & in minimis parem fermè
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              atque maximam habet difficultatem: ſed ta­
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              men adhuc longè maiorem in maximis
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              quàm minimis. </s>
              <s id="s.011525">In mediocribus verò longè
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              minorem, adeò vt facilia dici poſſint. </s>
              <s id="s.011526">Non
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              paucos vidimus qui cùm ſe egregios exiſti­
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              marent artifices, quòd ſibi in mediocris
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              magnitudine ſtatuis placuiſſent, dum im­
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              menſas cogitant, ſuæ inſcitiæ & diſcrimi­
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              nis operum his relictis imperfectis exem­
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              plum dederunt. </s>
              <s id="s.011527">Quid modò exiſtimas futu­
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              rum, ſi magno operi ſubtilis delineationum,
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              & particularum expreſſio adiungatur? </s>
              <s id="s.011528">non­
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              ne hoc opus propè vltra humanitatis vires
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              ac ſolertiæ exempla accedet? </s>
              <s id="s.011529">Itaque quin­
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              que columnarum, ſi modò, ( vt dixi ) pla­
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                <arrow.to.target n="marg1606"/>
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              ſtici ſint operis, non alterius, non abs re me­
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              mini. </s>
              <s id="s.011530">In minimis verò non tantum indu­
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              ſtriæ, modò materia admodum tenuis non
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              deſit. </s>
              <s id="s.011531">Olim ars erat qua maximæ columnæ,
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              tum coloſſi aliaque eiuſcemodi fabricaren­
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              tur? </s>
              <s id="s.011532">Memini me Lugduni legiſſe librum
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              Græcè ſcriptum, qui docebat Rhodios ma­
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              xima opera hac induſtria conſtruxiſſe. </s>
              <s id="s.011533">Re­
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              ferunt etiam quatuor illas prægrandes co­
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              lumnas quibus templi Athenæi pinnaculum
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              Lugduni ſuſtinetur, ex hoc genere eſſe. </s>
              <s id="s.011534">Et
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              certè ſunt cruſtatæ. </s>
              <s id="s.011535">Artem hanc quidam
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              fuiſſe perhibent, vt ex ſpuma ferri & lapi­
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              dibus duriſſimis, qui in fundo fluuiorum in­
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              ueniuntur, tum marmore duriore in polli­
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              nem redactis, & oui candido, formentur
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              opere plaſtico columnæ & vaſa, ſepeliantur­
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              que in multos annos. </s>
              <s id="s.011536">Exiſtimo artis eſſe, vt
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              diu tundantur, & vt perfectè in tenuiſſimum
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              puluerem redacta ſint. </s>
              <s id="s.011537">Quæ verò ignè exa­
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                <arrow.to.target n="marg1607"/>
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              ctius formantur, ſunt gypſum ac ſulphur.
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              </s>
              <s id="s.011538">Sine igne etiam ex charta alba natura aquæ
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              immiſta, opera fiunt pulchra, ſed parui pre­
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              cij. </s>
              <s id="s.011539">At ex calce & lapidibus ſuis ſubtiliſſi­
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              mè tritis, genus cæmenti fit
                <emph type="italics"/>
              (
                <emph.end type="italics"/>
              Stuchum vo­
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              cant noſtri ) quod in lapidis marmorei can­
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              dorem, ac duritiem concreſcit. </s>
              <s id="s.011540">Cuiuſvis pre­
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              ti ( capax hæc materia fingendi arte: nam
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              nemora & venationes adeò tenuiter fin­
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              gunt, tum alia quæque, vt etiam additis
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              coloribus talentorum magnorum præmia
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              meretur. </s>
              <s id="s.011541">Quiſdam eoſdem lapides recenti
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                <arrow.to.target n="marg1608"/>
                <lb/>
              ſanguine bouino ſubigunt. </s>
              <s id="s.011542">Eſcreſcit his to­
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              phus ad eam duritiem, vt nihilo à natiuo
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              lapide differat quiſque eius cuius fruſtis tri­
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              tis confectus fuerit. </s>
              <s id="s.011543">Vidimus hæc omnia. </s>
              <s id="s.011544">Sed
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              nihil mirabilius quàm cum mortuos, aut
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              etiam viuentes ſuperfuſo gypſo frigido ta­
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                <arrow.to.target n="marg1609"/>
                <lb/>
              men ita cælamus, vt oleo illito atque gyp­
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              ſo, vel charta, aut ſulphure, ſic hominem
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              fingimus, vt nulla in partè præterquàm co­
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              lore, & quòd non ſpiret, imago ab homine
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              ipſo differat. </s>
              <s id="s.011545">Qui verò rem hanc diligentius
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              curant, deraſam barbam, detonſoſque capil­
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              los à mortuo imagini agglutinant, inde ad­
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              iecto colore viuam imaginem efficiunt. </s>
              <s id="s.011546">Hu­
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              iuſcemodi vidi dum in Gallia diuerſarer, nu­
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              per mortui Franciſci primi Gallorum regis,
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              in domo ſplendidiſſimi Cardinalis Turno­
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              nenſis. </s>
              <s id="s.011547">Nihil enim ſimilius ars homini fa­
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              cere potuit ea imagine: nec nix viui. </s>
              <s id="s.011548">Porrò
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              ea delata fuerat in funere. </s>
              <s id="s.011549">Inuentus præte­
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              rea eſt è magnis imaginibus in paruas breui
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              tempore traducendi modus. </s>
              <s id="s.011550">Quis? </s>
              <s id="s.011551">niſi vt ex­
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              cepta à typo ſe contrahat ſtatim dum ſicca­
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              tur Hæc efficere poteſt quòd humidum eſt,
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              ac molle, tenuiumque partium, quod ta­
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              men dum ſiccatur, ſtringitur. </s>
              <s id="s.011552">Medulla igi­
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              tur panis calidi dum pingitur, in paſtam de­
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              nuò redit. </s>
              <s id="s.011553">Hac excipiuntur imagines, & ſic­
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              cantur, inde ſuperfuſo gypſo atque ſiccato
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              ſenſim in minorem formam tranſit. </s>
              <s id="s.011554">Fit </s>
            </p>
          </chap>
        </body>
      </text>
    </archimedes>
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