Perspective in the Visual Culture of Classical Antiquity.

Print version record.

This book investigates theories of linear perspective in classical antiquity.

Cover; PERSPECTIVE IN THE VISUAL CULTURE OF CLASSICAL ANTIQUITY; Dedication; Title; Copyright; CONTENTS; FIGURES; ACKNOWLEDGMENTS; INTRODUCTION; CHAPTER ONE: THE ANCIENTS AND MIRRORS; 1. THE IMITATION OF NATURE; 2. THE DOUBLE; 3. THE MIRROR AS AN INSTRUMENT FOR LOOKING AT ONESELF; 4. THE FIXING OF THE IMAGE UPON THE MIRROR; 5. THE IMAGES OF SOCRATES AND PLATO; 6. IMAGES REFLECTED IN WATER; 7. MONSTROUS IMAGES; 8. MIRRORS AS A FACTOR IN EDUCATION; 9. MIRRORS IN SCIENCE; 10. MIRRORS IN EUCLID; 11. THE FIRST POSTULATE; 12. THE POSTULATE OF DISTANCE; 13. THE CONCEPT OF THE INFINITY POINT.

14. THE SYMMETRY OF INVERSION15. THE LENGTHS PLACED TRANSVERSALLY; 16. THE IMAGE OF A POINT; 17. THE VIRTUAL OBJECT; 18. THE IMAGE OF THE VIRTUAL OBJECT: THE IDOLUM; 19. THE THEORY OF APPEARANCES; 20. MIRRORS, ARCHIMEDES, AND THE ROMANS; 21. MIRRORS AND ARCHITECTS' SCENOGRAPHY; CHAPTER TWO: LUCRETIUS; 1. LUCRETIUS AND EPICUREANISM; 2. IMAGES AND DIMINUTION IN CONFORMITY WITH LAYERS OF AIR; 3. THE BLOCK OF IMAGES UPON THE MIRROR; 4. THE VEIL AND THE MIRROR; 5. THE DOOR AND THE MIRROR; 6. VISUAL PHENOMENA; 7. THE PORTICO; 8. UNIFORMITY AND PERPETUITAS; 9. THE SLOPES OF A DELIMITED CONE.

10. THE HORIZON LINE AND THE VERTICAL VANISHING LINE11. THE VANISHING POINT OR THE VERTEX WHERE EVERYTHING ENDS; 12. CICERO'S QUASI PUNCTUM; 13. AGAIN ON SPACE WITHOUT LIMITS; 14. PANOFSKY'S LUCRETIUS; CHAPTER THREE: VITRUVIUS; 1. THREE WAYS TO DRAFT A PROJECT IN ARCHITECTURE; 2. PLAN; 3. ELEVATION; 4. SCENOGRAPHY; 5. OTHER INTERPRETATIONS OF CIRCINI AND CENTRUM; 6. THE FIXED POINT OF THE COMPASS; 7. THE CIRCLE OF DISTANCE; 8. VITRUVIUS'S SCENOGRAPHY ACCORDING TO PANOFSKY; 9. APPEARANCES AND DISTANCE; 10. INCONGRUOUSNESS IN PANOFSKY'S SPHERICAL PERSPECTIVE.

11. SPHERICAL PERSPECTIVE AND FLAT (PLANAR) PERSPECTIVE COINCIDE12. THE PROJECTION OF THE PROJECTION; 13. SUNDIALS AND THE MEASUREMENT OF TIME; 14. NOT ONLY THE MARK OF THE INTELLECT; 15. APPEARANCE AD MANUM; 16. MURAL PAINTING AND MIRRORS; 17. FROM THE FIRST TO THE SECOND STYLE; 18. THE EXCAVATING OF THE COVERING SURFACES; 19. THE MIRROR PANELS; 20. THE ORIGINS OF PERSPECTIVE SCENE; CHAPTER FOUR: PERSPECTIVE AT THE CENTER OF POWER; 1. IN THE HOUSE OF AUGUSTUS; 2. HOW TO OBSERVE THE IMAGES; 3. AUGUSTUS'S EYE-LEVEL IN A STANDING POSITION.

4. THE RENDERING AND DIFFERENTIATION OF LIGHT AND SHADOWSCHAPTER FIVE: PERSPECTIVE IN THE AREA OF VESUVIUS; 1. THE SECOND POMPEIAN STYLE (CA. 50 B.C.-A.D. 50); 2. POMPEII, OPLONTIS, BOSCOREALE; CHAPTER SIX: PTOLEMY; 1. FROM THE GREEK INTO ARABIC AND FROM ARABIC INTO LATIN; 2. THE THREE PRINCIPLES RELATIVE TO THE SCIENCE OF MIRRORS; 3. THE FUNDAMENTAL OPERATIONS OF EXPERIMENTATION; 4. THE FIVE GEOMETRIC DEDUCTIONS; 5. MONOCULAR VISION AS CONDITIO SINE QUA NON; 6. THE DOUBLE AND OPPOSITE VIEW, THE NECESSITY OF A SIGN.

Includes bibliographical references and index.

English.

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