
audiobook
by Andrea Pozzo
Transcriber’s Note:
TO Her most Sacred Majesty, Queen ANNE.
PREFACE TO THIS TRANSLATION.
MONITA ad TYRONES.
ADVICE to BEGINNERS.
AD Lectorem Perspectivæ studiosum.
TO The Lovers of Perspective.
THE Approbation of this Edition.
FIGURA PRIMA.
The First Figure.
A late‑17th‑century manual opens with a courteous address to the English court, then moves swiftly into a practical guide for anyone who must draw buildings or figures in true depth. Written in both English and Latin, the work promises an “easy and expeditious” method to dodge the tangled lines that have plagued painters, architects, and sculptors for generations. Its copper‑plate illustrations, reproduced as detailed thumbnails in the audio notes, let listeners picture each step as the author sketches horizons, vanishing points and scaled forms.
The narration follows the author’s seasoned experience, breaking down the geometry of perspective into clear, sequential instructions that avoid the usual confusion of intersecting lines. Listeners will hear vivid explanations of how to align the eye, set the horizon, and render complex architectural designs with confidence. The combination of historical flavor and hands‑on technique makes this a rare, accessible glimpse into the foundations of modern visual art.
Full title
Rules and Examples of Perspective proper for Painters and Architects, etc. In English and Latin: Containing a most easie and expeditious method to delineate in perspective all designs relating to architecture In English and Latin: Containing a most easie and expeditious method to delineate in perspective all designs relating to architecture
Language
en
Duration
~4 hours (241K characters)
Publisher of text edition
Project Gutenberg
Credits
Produced by Chris Curnow and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
Release date
2018-01-05
Rights
Public domain in the USA.

1642–1709
Best known for dazzling Baroque ceilings that seem to open into the sky, this Jesuit artist turned painting into a grand optical illusion. His frescoes, architecture, and writing on perspective helped define the theatrical spirit of the Counter-Reformation.
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