CHAPTER ONE. 
What I} need to know for a hand job.
YEAR before coming to the effete practice of the hand, it is necessary to have several chofcs that I put in this Chapter, which are partly as I said in my first Volume of the practice of the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfectof the Perfecto:  The first of these is that of the Perfpeel: yew, to be recognized and corrected by a quantity of faults, which many famous practitioners trade in their works; and the cost is well fouvenc, fans penfcr ny f�avoir les commecm:, ny avoir commil�s.
11 It is therefore necessary to note first of all that, as far as handmade works are concerned, when one wants to hear them in depth, there are three choices to be made in order to define the "uuc de J'aime", so as not to misunderstand it.
take.
The first one, this is what we have to do. 
The second, the means to do it. 
And the third, to do it and do it well. 
0 r cc that one has to do, efi indubitablymcm or choice or obJigation.
And the means of doing it come either by dint of searching while rafiffing, or by dint of rafiffing with conrioiffancc of caufc. 
And that fFor doing it effe8ively, it conlifl:e in the ael:uellc operation of the hand. nd what one has to do and what one is obliged to do, there is nothing that seems to me to be determined. 
And when it comes to choice, I don't see that it's a matter of choice... rir, il y a encore des rles inviolables, puis que ce qui agrŽe a l'un n'agrŽe pas fouvcm :d'aune; l:t qu'en maticredede plaire au fcns, les gouts ou fcmimens font bien differens, & l'ac4'oil.tumance ˆ une mode on a uJˆge dt une grande p iccc. 
But since I do not want to deal with these chofes in the Acadcmie, there are many particularities that go into my first Perfpetitive Li VIC' I just told them that most of them, & of those who are not able to practice Pedpeeti ve or Poumaiture, even though it is a very difficult thing to do, are not able to do. 
there are two ways to do it. 
The nnc, by dint of tilting in tall:onner to the veil of the natural or modal, fans other conduct than the eye that cll: strong fujec to fe deceive, & fans fpvoir la raifon Jemonftrative de l' effet que l' ouvrage pourra faire dl:ant achevŽ, & que cette mani�re fc nomme de Pratique.
The other, cn working by rule with condnite & connoilfancc of caufc or raifon of the effect that the work will have, which in this way is called working in Perjpec1ive. 
Ec il y a pas beaucoup de fŸjc, d'Žtonnement de ce que ces maniercs de pratique de Pourrraicure foiem both en ufage, m'ais bien de cc qu'elles ne fom foment pas Žgalement familie- 1-cs ˆ chaque Peintre & autres Delfeignateurs, ˆ caufe qu' clicks font enfcmble tel lemenr nectlfaircs pour avoir moyen d'amener une repn: fcmation de quelque chofe que cc puill� ell:re au plus pr�s du poffibk, qu'a vcc l'une d'une d'elles tant excellente qu'on f�auroic imaginer, & fans l'aucrc on n'cll: avancŽ qu'en par
tion in cŽc Art, & l'on n'y f�auroic exceller aucanc qu'il fc peur. For unless one is well cxcrc in the practice of the 
I can't say CJ.u'aucun aye jamai5 had I eye & hand, drellcz & shape a- femblable 
the work, & one can boldly say there dclt "us , that there is no 
point d'ouvrier en cet Art, fans un grand exercice dans cette pratique; Et d'ailleurs il cil: crcs-con!lant, que fi l'on n'a prcss prccnc conceived comme j'ay die, ce q11c l'o,z, 11e1't fa.ire, &. f�avoir le moyen de s'y prendre pour y parvenir; & de plus, f�avoir la raifon de l'effet qu'on vcur que l'ouvrage fall�: ˆ 
the a:il , we only call:onner to the a vencurcj fans can ell:re a!fcurŽ du lucccz d-no chofc, so we can boldly pronounce it dc! lus, qu'il n'y a pas d'excellent Maill:rc en cŽt Art, cane foie il grand Praticien de routine, fi plus il n'a l'intelligence des moyens d'y proccdcr, & de la raifon de l'effet de Con ou vxage, en un mot, s'il ne !aie & ne foie fa Perspective. And it is important to all those who are interested in the development of the knowledge and the use of it, that they should be confident that everything can be taken care of: uique de routine fauroic faire qu'i foit bien en cet Art par quelque moyen que cc foit, cft infallibly frlon ces rcglcs, & que tout ce qui eft fait hors & contre ces rcgles, dl: abfolumcnt mal, ainli qu'il fc verra en fuicce. 
It is therefore reassuring that there would be no skillful worker in the Perrtraicurc, if he did not have the practice of clfce:ivc, no excellent Master in this field, if he did not do & flee from the Pcrfpeel: i vc; Il eft aiG: de conclure, que pour y devenir auffi excellent qu'il cfi pofiable ˆ chacun par ion naturel; il faut qu'il a cnt�mblc, & cette pratique cffcŽl:ivc, & la PcrfpcŽl:ive en main. 
For when one has the most excellent practice of the world, as long as it does not make the i!)telligcnce of the Pcrfpeel:i vc accomplished, one will never avoid. never miss a very-grau<! number of places. 

CHAPTER II. 
On the Jig,nification of Goometral's Words 
& de P er[pe[fif. 
IE judged therefore eftre about to give to these Emdians or E!eves cc that lignin in my Traitez de PerfpeŽl:ivc 
the words of Geomctral & P-erfpcfŸf, the nature of the one & of the other, & what do they do that are only efpeccs d - a 1;1 efmc gender, & not two genders <li vers. 
It has been noted that I have said that the name Perfpeel:ive, Perfecta, Perraicurus, or Reercfcntation platte, all lignify a same woman chofc. 
Or on reprcfcntc les objcs en I.>ourtraicure platte par deux: moyens; L'un, par autant de figures diffcrcntcs qu'on y confidcre d- Žtendues pJattes pour le mcfurer; & ces figures peu
The wind and fire do, attached or detached fi ol) want to enter them, as in the 18. & 19. Planches.de ce TraitŽ. 
The "fire-eye" is not a fire, but a fire, and it is easy to see it from a glance. l'on mefure commommonnement un corps par ces Žtendu‘s plattcs en trois fcns di vers, L'on rcprefcnte aufii d'ordinaire un corps par les figures de fes Žtcndu‘s en trois fens divers, Icfqucllcs on nomme d' . Jfittte or pl11,n, de Profil & d'Ele1Jation, & that fans to see in appearance no e(gard ˆ l' aŽtion de l' oeil envers cc corps, ny a lien qui concerne la forte de vifion qu'il en peut en avoir. 
It should be noted that an eye does not usually see from one eye or at the same time, a panic or portion of the furface of the outside of a body, the 9uclle portion cft tož days less than the diameter of the fi elle eft round. 
the rcprcfenration of a body by three figures < the affiettc, < the profile, & elevation as in the plates:z. o. & :z. y. & autres, cft celle qu'on appelle Geometrale ,ou en petit 
Geometral foot. 
And the representation of the mcfmme body by a portion of a treacherous eyelet; cft cc which is called in PcrfpeŽl:i vc, or else the perimeter of cc body, as in plates 38. 50. yz. 54. ff- 56. &c. 
de tout temps on a fait les traits, lineaments & contours qui forment l'Žtendue�:: des figures de rcprefemat_ion Geomctralc d'un corps, fur un fimple devis ou dŽnombrement, de ccttaines de Ces mc!i.tres en di vers (cns; Et par le moyen d'une Echelle ou Thoifc pour y prendre fes mefŸres par com_com_pte, & s'en fcrvir tout de me.fine qiie quand on met ce corps effcŽtivcment en relief, planche 2.1. & fui vantes. 
Mais il faut bien remarquer, que l'on n'a pas voir auffi fait de tout temps les traits,lineaments & contours qui forment l'Žtendue‘ de la figure de reprefenration d'un corps en Perfp'eŽlive, fur un devis ou dŽnombrement de ce naines mcfures en di
vets fens, by means of a Scale, to take them into account, & to make sure that we don't mind if we put this body into the 
effetely in relief, as in plates 44. 4 f. 
_ the practice of this line in PerfpeŽtive has been jufques ˆ prcfent fi dilferente de celle du trait en Geomecral on petit 
foot - that after one has learned the Geomctral's, it is more difficult for him to go on to learn the Perfector's, than one has had to learn the Gcomctral's. And there are only a few women, who after having learned the practice of the Geomecral, wanted to give the effort that they needed to learn the PcrfpeŽti ve, so much they find it difficult; & those women who have learned what,.... que chofc, ne pas la mettre fouvcm en ufage; & qu'un grand pombre d'Onvricrs de plufieurs fortes d'Ans, & dont les ouvrages font en relief; Par exemple, Charpentiers, Mcnufiers, Maffons & femblablcs, ˆ qui la pratique du trait Geometral dl: neceflˆirc, la f�avoicnt & s'enjoiioient. 
Mais toutes ces difficultŽstcz font ˆ prcfent levŽes par nofrrc mani�re, qui fait voir la conformitŽ de la pratique du crfpeŽl:if avec celle du Geometral, & en Žtablir la facilitŽ.
J'on l'avantage on l'ucilitŽc1u'on re�oit de cette maniere de pratiquer la PerfpeŽl:ivc ˆ la fa�on du Geometral dl:; que toutes chol�s demeurant pareil, un Praticien qui la po'ifcde ˆ fond, peut faire autant d'onvrageen un Jour, qu'en quinze par les manieres anciennes; & cela pour beaucoup de raifons <JU'on pourra mieux comprendre, en dŽfi�fier les figures que par difi: The first one is the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important, the one who is the most important; 
so that coutfiijct vifible eft oupoinŽl, or line, onfuperfiže, auffi toute Perfpc:el:i vc dl: ou poinŽl:, ou ligue, ou fopcrficicic. 
The ti1jet or Geometral object dl:ant a poinc1, the percentage or the PcrfpeŽl:ive eu eft un poinil-. 
The !ujet or Geometral object defining a line, the percentage or the Perfpeel:ive in a line. 
The fujec or Geomctral efring a ff,,per.ficie,,the percent or the PerfpeŽl:i vc in efr a fficie. 
And as in the Goometral, in volume line there are uombl'e de poinŽl:s, & moreover that this line is limited or ended by a poinŽl: at each goat, & that to draw a line it begins with one of these poinŽl: and to draw a line one begins with one of these points, and ends it with another; all the same in Perfpeel, any line with a number of points, delqucls marking the place of the juleps, or can describe it or crack more cleverly than by not marking it. 
Similarly, any Geometralc area ending in clc lines, fi 011 was in the place of jeurs excrcmitcz & other confidendible places, can be drawn more accurately than by not crossing it. 
don't make her angry & by confequent form more a!fcurŽmc:ut the Figure. De mcžne peut-on alfcurcr qu'en PcdpcŽl:i ve, toute fupcrfide cftant contenu‘ ou crminŽc de lignes, {i l'on f�ait auffi la place de leurs extremitei., & autres endroits confiderables, oi peut venir ˆ les tracer bien plus alferŽment que fi on ne la f� la f� vois pas, & .linfi en former plus alleurŽment la figure. 
Et pour conclurefion, comme les corps ou objets fol ides on mallifs,font tenninei. de forfaces ou fŸperficics, placŽes & cour, bes, & aulli l'endroit de leurs jours ombres & ombrages; L'on sees that marking their places, or can more aptly trace them than not marking them1 & that the mime in dl-it of He practices Perfpeel:ive. 
Re refiie donc pour faire que la repreflection de as objets tant tant que Geometraux que PerfpeŽbfs, fafl�nt ˆ l'cril la fenfacion de relief, d'en fravoir affaiblir & fortifier les touches teimes ou couleurs, con;me il fc peut voir vers la fin de ma premi�re Pat- tic de la PerfpcŽlive;& en la fecondc,& un peu en celle-cy pour d':tbord en d':tbord en donner quelque lwnicre.

C HA p I T RE I I.
Sur ce que l'on nomme &que l'on entend en /11, PerjpeŽlivc par TA :BLE Au, D1sTANCE, ELEVATION D1OEIL ,ET RAYONS VISUELS,
you, 
for quo y on defire ddfeigner & peindre, ne traiter encore que des Tableaux plats, en attendant que mon TraitŽ pour les Tableaux courbes, & autres irreguliers foft fait, comme il eft ;,, prt [mt.
Besides this name of Table l it is necessary to know auffi the Difta1:ce, the Station, & Elevation of the eye, the Angle of the vifion, & aurrcs circumfianccs of these practices, & moreover the fcimation of cc T ab/water between the eye & the objtt; ainli qu'il efi amplcJJ1ent expli<juŽ: in my first Treatise to Chapter 1 X. & aux Planches 4 ... p. & 41... thencn celuy-cy au? 50. & 51. 
le leur fis aulli remarquer, qu'en prenant une difiance trop courte: rour cmbralkr facilement & convcnaWcmcnt d'imc: (eu e oillade le modelle ou objet qu'ils ddiroieni: reprefenter ou det1ci "ner, qu'ils faifoicnc tres--mal, puis que cela les obliv;coic de ? aire plulicurs poinŽls de ven‘s 011 il n'en faloit qu'un; Et plus plus qu'ils prati'}UOient fans y penfer , la pretendu‘ bonne rcglc enfeignŽc enfeignŽc dans laPerfpŽŽtive prariqne du :F.[!.B .1. 
<He saw that he wanted to create a real leader against the demon! l:rauon, as it is explained in a few figures of my two Treatise & in this one, which is! I have to diminish the parts of the objects and their colours to the extent that they are raised more or less at the edge of the eye; and by confequencenc to the delfous and to the side of the iceluy, which can only be done in a plane or plumb bob or 
vertical. 
the advcrtis auffi that did not rncfme the bulk of the l>erfpceli ve for the dabbling of the touches, tints or colours, they varied the plum of the a: The first thing that I have seen is the prccife fenfation or vilion, liver of white, liver of black, or of more or less light and brown tufted diyerfes, I have reconnoitred by their delfcins or acadcmies, that they do not get accustomed early on to affixing the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints, I have seen the half-tints: their shadows and shadows, and their highlights of white, 9ui rcprefcmenc the days or parts lit in proportion that they fcmbloire or move away from the bottom of their paper, which I name! 'Fundamental scale or lead of sling, otherwise the bottom of the Table. 
Mais comme je dcli dcli redonner ˆ entendre toue prcmieremcnt la pratique clc faire les traits ou contours de l'objet, & la placr de ces i?urs ombres & ombrages, j'ai remis la n-gle de ces affo1bliflcmcns & fortificmens de couches, gintes ou coulcms 
for the end, ainli u'il c!l: convenable, & fclon the order of my first Treaty Olt ccl:i cfi trcs-amplcmcnt explained, cane by 
d1f�ours que par nombre de ficrures, immcd1accmem apr�s la raifon des Jours ombres & ombagc ˆ coures forces de lumie1c & de rdlexions. Dauancage, il c!l: nccelfaire d'en l'ndre que la foperficie autrcmcm le Tableau o� ils vol,[loiq1c f.ure la reprefcntation de ce 9u'ils dcliroicnc dcliroicnc dcffcigner & peindre, devo1t tOjours c! l:rc heard placed: between the eye of the regardam & the modcllc, liver pri:s, J 1c far from one or the aucrc,lc conceiving cranfparanc,& corn- e un verre trcs-mincc, & que cane plus cc Tableau i�:roic pro":he clu mode lie ou ŽloignŽ del' a:il , d'autant plus iˆ rcprcli:11- ration luy appareaitroit grande; & au contraire plus ce Tablm feroit pr�s de l' a:il, & par confcquenr ŽloignŽ du modelle Oil objet , cmc reprcfentation luy appareaitroit petit. I'adjoC1tŽauffi qu'il faut fe figurer, que si il y avoit des filet! 
Attach to the main parts of the modellc, & that these vinffem threads to be laid in a straight line through the glass or Ti
The place where they paficroient or auroie111 pafi� dans le verre ou Tableau, feroit les precifcs apparenrn ou poinfrs perfpell: ifs de ces principaux endroits des panics de leur objet, qui eft ce qu'on doit trouver par la rle de h PerfpeŽtive; Cc qui fe can better see & hear by figure, in my first Volume planche 41. & still at the Olympics. JI, 59, & 61. de ccluy-cy. 
Il cft donc certain que ces chofes eftant bien conceptu‘s, & qucl<jucs autres que nous metrons en foitte; l'on Žuitera quan- titŽ d'erreurs qui [e commettent en de/feignant ˆ veu‘ d' Ïil d' aprŽs Ic Relief, cc que je fait remarquer pluficurs fois ˆ nos El�ves, & celles qu'ils faifoient en ddfeignam les parties de leur modelle comme ils les voyoient.

 CHAPTER IV.
Sur la confarmitJ des Echelles Geometrales 
& PerJPeElives, & their ufage. 
He is confident that the practice of the erfpefŸve that I enfei- gne dl: as I have said at all femblablc to that of the Geome- 
tral ,n'y avoir rien plus qu'ˆ f�avoir fuivant les fojctions requifes, couper ou divi [er ce qui fe nomme !'Echelle fonda- memale fuyante. 
But the effect of this is to hear beforehand a part of the Geometral's scale & the use of the Rule & Compass, otherwise known as the Geomctric pr: This forced me, having realized that most of our students are unaware of it, to make them aware of the need they have seen for it to be used for their own purposes, and to show them that it is not so: It's not difficult to learn, since as I've already seen, the Charpcmicrs, Mcnuficrs, Malfons... 
like some Arcifans in the f�avŽt some chofc: & practice it. And wanting, moreover, to make them know the advantage that this practice had run the others; I made them cut first Jcs Echelles fondamcmales, to make the front & fleeing pipes pcrfpcdivcs ; so that he can see on plates 2.8 & 2. 9 of my first Volume with their ufage, & to practice Perfection in an extraordinary way, that those who made the most abrupt & easy ancient practices, were conuaincs of advoŸer that by means of these Ladders, one saw waxed afterwards that of this Art. 
le fait donc en mon particulier le devis Gcomccral par mefure, d'une Croix folide inclinŽe au plan dafficttc ou ˆ J'horifon, & pofŽc fur l'un de ces-angles, croifant diagonnalcmcnt J'Echelle de conduite fuyante, qui a!loic aboutir au poinŽl: de vou‘ en la ligne du plan de 1' oeil. 
A vcc ce devis, je fut donner le�on aux Ecudians en leur faire(ant mettre en PerfpcŽlivc cette croix, fans qu'ils eull�nc fait aucuncafliette ou plan Geomeual ny PerfpeŽlif, mais feulement pour leur a voir ku cc devis; Ce qui fut comme j'ai dit trouvŽ trcs extraordinaire de ceux qui en [a voir d'autres pratiques, & fur cout par des perfonncs entendui::s en la All Jcf9uelles cho[cs fe can see clearly in plate 52. of this Treaty, as well as in those 58, 59, 61, 6 i, 9 5, & :mcrcs of my first Volume. 
l'advcrciray icy d'advamagc particulier ˆ nofŸe manicrc, ( qui cfi ) que la multiplicitŽ des objets ne rend l:i. pratique du Geometral & du PerfpeŽlif plus difficile, mais i�u!cment plus longue. 
So I will explain it by explaining J:i fujeŽtion & I can cut the scales of f1ont & fleeing Gcotnecra! e & PerfpeŽlive, fuivanc les divcrfes di fiances & fcimations d' oeil, cam dedans que dehors le Tableau, & fans en forcir, foit en gros de diftance en di fiance, ou de thoifes en choi[es, & en dŽtail de pieds, poulccs & lignes; bref en telles parties que l'on delirera, cane Žgales 9ue inŽgales encr- elles, ! oit aufli en creillilfanc ou non Je plan d'affictce,& autres cnclroits<llll champ de l'ouvrage par quarrci. tam Gcomecraux que Perfpcehfs; je rcnvove pour cela aux fi-gures de mon premier Livr, & aux 51, 5;, & 5 4 de c:elu_r-q 0 r quand on fpit la mao1ere de couper ces Elchelles a tll", 
tes occa/ions & leur ufagc; il eft aifŽ par cc moyen de faire. rcprefemation de di vers corps fol ides , foit regulari ou imguliers, tant compris ou formez de fuperficies plattc, que cow bes; Comme auffi de leurs jours, ombres & ombrages, ˆ t<>'. tes forces de lumiercs, cc qui fc voit par plulieurs exemplcsq je clonne ex prŽs dans mon premier TraitŽ , & far tout par h Geometral en ce!uy-cy. 
After that one comes to the fundamental reason for the fortification & aifoiblilfement of the keys, tcintcs or colours, by I moyc: from these cuts, from defaults to parallel defaults! to the plan of the Ta- b! <'au , ffa voir en gros de diftance en diftance, ou de thoif: en thoi[.:, & cri. dŽtail de pieds en pieds, pou!ccs & lignes; auffi par telles proportions les couleurs ou teintes des [upcrfici plattes ou moins fuyantes, & les courbes ou tournantes plus o. moins precipitŽcs; comme les di vilions de pieds ou autres me- fores des Echelles de front [e trouvent plus 0lf moins graodes,l me litre qu'elles s'Žloigner afi de coupe en coupe de leur fon, damemale de front ou bazc du TableaufŸivant leur endroit et place trouvŽes fus !'Echelle de conduite fayance fondamentale 
From this fort, one will make well the repre[cntation in PerfpeŽl:ivt of several bodies or objects, & the Efieves I make afi, but it is always when I give them some I estimate Geomecral by cfcritJou par dell�in avec fon Echelle de mefure; Cc que je ne y a pas trouvŽ propos de rcpre[cncever] en ce lieu, ellam . amply explained in my first Volume for the fopedicies planes & regltliercs, & in my [econd pour les coubcs & irregulieres. 
CH API r R. E V. 
Conjiderahles avi4 far several faultsJ nota6/,; 
qtte l'on commet aux Deffeins, T a6leaux e!, 6ar Reliefi , quand on ignores the Perfpe/ive rule.
The majority of this rule:: who works only routinely may not have the advantage, but they are not made aware of the details of the crrems that they put on and do not make them. It's the doctor who forced me to make this chapter. 
I will say there first of all, therefore, that by doing the PerfpcŽl:iue & fcs cpcndances, one can be affeurcr de travailler avec connoil'iance dc- caufe, & pouvoir rendre raifon de fon ouvrage, & reconnoill:re fi cc!uy des autres cil: bien ou mal fait, parce que: la R�gle cil: fondŽe en demonfl:ration Geornctriquc. 
Second, that one must beware of the error committed by most Painters in making perimetres & au-trc works, which is: to establish two or three poi11Žl:sde veuUs; as for example, one for tcfic, the other for Je corps, & mefrnc: un And if they do it, they are bitter for the Achiteel:ure & heathen if they do it; which is first against the rule, so that I will be known there after. 
It cil: by the way at the place of dcfabufci- those who believe that the Peri'peŽti vc n - efi useful only to rcprefcntcr de l' ArchitcŽl:ure; Because as the PcrfpcŽl:ive n'dt 9ue to find cc who fc meets objects in the anv. lc de la vi!ion, & leurs fcicuations ˆ J'elgard de la 1-olition de l'oeil qui les regarde, il n'y a pas d'apparence que l' ArchiteŽture a ye feule J'advantage de la Rcgle,puis que les autres objets tomber auili bien qu'elle 
fou la vilion, & ain!i on voit que puis 9u'cn vn Tableau un feu) angle de vifion fu.lfŸ, il cil: ridicule d'y admettre pluficurs points de vcu‘s. The first thing we must do to examine a Table a c:11:Ž made with Reglc cil: to find the place where JI must c! hc looked at, who usually calls it the point of life, & to approach it & move back little by little a little elevation of eye, to find fa diftance; by looking at pre 111iercmcnt, fi the contests or chalk of various bodies or objects that make the Tableau do in their place, when they faithfully fitucz. au dellous ou au dcll�s du poinŽt de vcui: ou de la ligne dn plan de l' a:il nommŽe d' ordinaire horifomale, examinant pren icrcmcnt clc: pos en gros, fui vant le nombre des clc ront paralelks a bas du Tableau, fi ces objets paralcls ait pl n d'a! Tictte mntrent r;ufonnablemcm leur dcffus,c/lans more or less at dc!lous de ce poinŽt de J'oeil, & leur dclfous cfians de mefme plus <"U moins au deffus; Et par rndinc proporcicn 
other lupcdicic fu1 before clks do more at lead or in-dined at the horifon or afiiette plane, & auffi more or less: diagonal poll�es. 
De rne/ine, il faut aulli con/idercr fi ces divers endroits o: places des jours, ombres & ombrags caufcz par lerncycndr Soleil ou autres lurnieres, apparoillent conven•! >lernent Žclai- 1-cz, en faifant ue chaque ŽlŽvation d'objets plus ou rnoim ŽlŽvcz, faffent par proportion entre' eux, aulli plus ou rnoiru d'ombre fŸr les fuperficies; premierement fur celle du plan d'allictte, & fur les autres qui Juy font paralelks, puis fur lˆrorps ŽlŽvez ˆ plomb & incliner qui les re�oivent; Et finale-ment examiner en recul reculte ain/i, & rcapprochanr petit ˆ petir. fi chague fol ide ou objet fait bien la fenfation ˆ I' oeil de rclict & force de couleur,dc front & dcfuyant pour les fupedicics pla
The curves, use the turn for the curves; so that by confiding in them, apart from the fans who have no regard to the shape of their outline, we can judge how they make between them the strong colour and the strong colour of the fleeing and turning.
And by adventure these works are to be interpreted as the light of a day of different eyelashes: when the sun is hidden by the clouds, as well as in various occalions cxccl- Jens Peintres; it is not necessary to have a single eye on the sun, but only a single eye on the clouds, and it is not necessary to have a single eye on the sun. The only thing to be considered is the dazzling of colours flowing through the cuts, & the fact that the day also comes from all the coasts & mainly from the mountains & the mountains, by the more or less strong rdllexions.
I'ai encore vcu encore depuis peu de ces Tabkaux d'hifioires o� fc ttouvoit bien un poin8: de veu‘ [cul pour toute l' ArchiteŽlure, qui paroilloit en quelque fa�on a/fez bien exccmec ˆ la reforve qu'elle eftoit plus propre ˆ y loger des PigmŽesquequequeque que les f\gurcs de l'Hiftoire: For J.C. noticed that there were some whose legs seemed to be oiled feet long, - & young arm five or six, & the body in proportion, as the intetion of the full-blooded painter: that these figures are no more than five & last in all their height; Others who are standing, & in such a way that my feet, which should not be paroid, are more than half a foot apart, are more than four or five inches apart; and those who are standing are in ael: And for the illumination, that: each tigure has seen 8c shadow parriculic1-, quoy quoy quoy il pa111ft ven1; cle me(mc coftee; which obliges me to say that to see that a Painter has attached a fillct to a painting for the purpose of dctcrminer le poinŽt de veu‘, cc n-eft vn argument certain that he hears well the Perfective. 
But I have judged that it is not necessary to list all these errors, {i.e., it is not possible to see who made them, and I have a way to deal with them. The majority of the P raticicns fall there, to see with their own eyes in their Aftelicr or place of Work, their ligures apart from each other; And if it comes to me at all, they fall there in view of their principal point of life and the difficulty they have seen in falling into the field of the Table, of their Architecture and of their Pa•fage. 
In some cc main point not finding dl:re HevŽ at the dell�s of the Table of two feet or so, fur a difl:ancc of the eye to iccluy of ten or twelve. c, makes believe that they have to see dcll�ignŽ Jeurs figmes ˆ vcu‘ d' Ïil of a much shorter difiance;And on the contrary to some others, this point of vcu‘ efl:anc placed forr at the top, & at the dclfos of the figures, which by confequent of see efl:re vcu‘s par de/fus, one sees some I of! fous, ˆ caufe qu'en dell�ign<1nt ˆ parc ils s-efioient fans y fonger affis bas, & par confequent placŽ leur point de vou‘ trop bas; cc qui fait voir qu'ils y ont travaillŽ fans bon ordre; ny bonne rcg!e, 
I have noticed it again in the femblablcs ouvrages, foperficies or plans of alliccces dcgradez par carrez. ou treillis, qui faifoient voir ˆ plein ces extraordinaires longueurs de figures & de membres les uns uns uns. 
Neammoins je f�ay qu'une partie des Praticiens qui ont commis & commettrnt encore tous les jours de telles fauces, neammoins je f�ay qu'une partie des Praticiens qui ont commis & commettrnt encore tous les jours de telles fauces, ne pas dire qu'ils ignorent les rcles de PedpeŽtivc, mais au contraire, croiront les bien poll�dcr, qui n'cf1: pas un moyen ,de fe corriger, & ne faire pas a11ffi d'eux mefmes reflexion, 
that crazy wind they plunder or steal of a cofl:Ž & anchor figures, then in compofent of the Tables of hifioircs, the(queHes) cannot fc bring back to their true fŸuacion or place. Et uffi pour les Tableaux des Peintres que l'on appelle d'or�1na1Ie pa•fagifrcs, d'amant que leur principal calent efl: d'y rcprcfcntcr des portions de la terre, &c. fout ordinairement ompofcz. The most important thing is that they have a greater number of objects than those I have just spoken of, and they are more inclined to make these mistakes than the Painters of the Periphery when they ignore the rules of the law. 
The ordinary study is therefore to copy at a glance in various places of the earth, the most beautiful and agreeable parts which can be found there, according to their tastes, in rock formations, mountains, valleys, woods, countryside, rivers, seas, baftimens, fi. gures human, & other animated & inanimate, sky, clouds, then the gencral & particular air, some having made a good heap, as I said by dclfcin & peinture as well as in the i- rnagination, in order to rely on them at the occasion to compose a Painting, they will choose for this purpose five or fix of these parties & da vancagc fi bcfoin eft, lefquels they have ddfcigne1. Each one apart, with different eye elevations & diftances, fans confident that each of these parties will have different points of experience, some higher, some lower, & on different days & when they have chosen those who have the day of the same event. And when they come to add figures and ani-mals, which they have in the name of Jfcinez infi ned to wax, it comes to the same chofe, having recognized to an infinitc 9ue I have seen, & who nevertheless do as I have said in very high esteem, that these figures and animals be seen by everyone, from the front & by tooth, instead of the decel!lion.1 s & des cofte1 ; & rne(mes les jours, ombres & ombrages diffens, comme si il y a voit <li vers Soleils, & apres une defuniongenerale dela force & foiblell� des touches. 
And speaking of di vers Soleils, it still happens that this meeting usually tranc. in ! In the air of the clouds, 9 which sometimes make pleasant effects to the eye by the light of the Sun, panickingly when he dl: close to the horifon as in Con rising or setting that these Practitioners copy them, to be frrrrrrrrr in their Table to the fans confidercr that for the objects they want to reprcfcnter, they light them of another Sun on day gui eft still a chofe trcs-abfurde. 
The y vm of the painters who have delineated various objects in the light of the lamp are very enthusiastic about it! The first of these was a Crucifix, of which the Autheur was astonished to see that it had been recognized as having been copied from the 11th century in the smoke of a John the Baptist, and that this knowledge had been drawn out: ince that those higher panics, such as the Celts, the shoulders, the arms and the loin, are brighter than the spoons, and the legs and the feet are brighter than the feet, and the feet are brighter than the earth. it was 
The same woman chofe saw the great day coming, which lightened him on the mountain, and then he was more concerned about faith than about the refusal, when he was told that he had seen an excellent wish, to conclude the same chofe with a single light, like a lamp; and then he was jailed in this error, which he has since abandoned. 
La plupart part des Praticiens tant Ancients ˆ nofire Žgard que Modernes [e font fer vis; & fo fci: vem d'ordinaire du naturel en coppiant ˆ veŸe d'Ïil, & au jour dc dcndhcde leur afielicr, ou lieu de travail; fans conlidercr que cc jour n' eft pas pareil ˆ ceuy du fujet qu'ils dddir reprci�nter, qui peut fŸivant l'occalion efire de campagne ˆ la Jumicre du Soleil plus ou moins clair & nette, & d'un air plus ou moins denuŽ de vapeur & mefinc lavŽ de pluye & fesobjcts, what has forced me to move forward, that it would be easy to determine by seeing the places of the days, shadows, & shadows of these objects, how much these windows had width & height, & defined the quality & cau[e of the reflex ions. 
And as for what is of the light less clear by the interpofition of the clouds, where by conferring the rays of the Sun do not wall, I Relief must express itself by the regulation of the affoiblifl�ment of the colors, clear colors, brown liver, as it seems to see in the following Chapter, & more amply in my two TraiŽl:ez de PerfpeŽl.ive. 
He finds Practitioners, who, thinking about these parts, believe they have found a way to remedy it by reducing their subject in small parts by model, to proportion it. 
en quelque fa�onon au jour d'une fenefire ouverte, mais c'efi fc donner de la fatigue pour peu de chofc, & qui ne fatisfait pas; au lieu que par la rcle ain ain't dit in mes Trairez, on 
acqirte avec facilitŽ, & oh fe garentit d'un nombre in fin y de faulles rdlexions qui peuvent arriver de la diverfitŽ des 
lights. 
Davantae in most of the Pa•fages, & antres Tableaux ou l,e �icl eft rcprcfcntŽ, j'eft rcprcfcntŽ, j'ai remarquŽ: qu'il ne me fa. ifeither point to eye, the vilion of a stone & vafl:e in vcllopr: curved or concave, very /: The first thing that I have noticed is that it does not make me look like a flat curtain, well stretched out, with a tiff of different colours, like a taffeta from China, which I have touched behind the earth, or the extremity that the eye can see from the sea, which is: I Orizon. -¥ 
Others who think they have refined it, make it look like a funnel or a horn with a large opening in it, which is not yet the real thing, but well, as I have explained on page 13. 9, & en fa fiampe ou fiuJ:e, & d'abondant en la 151 de mon premier TraitŽ; au bas, & ˆ fon di [cours page H 7. Tot,chttnt the htt1 Reliefs.
THOSE who pretend to trust me to make Rdiefs stockings, fans favour b Perfpellive, y foot auffi de grandes mepri!es , ne difccrnan: 
not the parts that the eye must, or must not see, cc which cc so commtm, that it is pitiful to see that one practises chofcs, fleeing a traditional routine, whose opening, does not give any relevant raifon, which y quellc liver of a nature to cc:rc dcmonfirmed. 
Those who practise these cl10Ccs by rule or otherwise, fpvem that these works are two strong, one by application of material: The first one is by application of material: earth or wax liver, on a flat bottom, coming in front, it is called modelling or elbaucher. 
The other, in crcufam jufques ˆ. fon fond, oitant de la matiere ain/i qne for le Bois, le Marbre & autre piene, qu'on nomrne tailler, couper, ou [culpcr. 
I-ay want these Antiques & other works to be moulded from, which should only be taken as bas-reliefs, if you name them. for veritablcs figures of Relief or of round holfe , applied against a flat background, or mefrne enclaved, engaged, or sunk in more or less, &which may look at different volumes and show off to the eye, but real bas-reliefs should not be used! he con/idercz ou veŸs <lue d'un feul en-ft comme en ne pas facher les beaux effets des rc rules de !'Optique & PerfptfŸve, !'Ouvrier croit que faifant ainfi fon fon ouvrage elle ne fcroic pas ˆ l'a:il aller d'effet de relief, il pretcnd y !�pplŽer pour en donner beaucoup aux premiers objets, & am/i il vient ˆ faire fans y pcnfcr du Geometral ou ronde 
bolfc in front, & erfpeebf in the distance, or pedpell:if d pifforme relief. 
M,1is those who [avent le moyen de faire paroHl:rc ˆ l'a:il vn obJet d'un derny pouce de faillie, compofŽ de lignes courbes- en auoir trois ou quatre ˆ mefure 9u'il s'en Žloigner & de faire les Echelles PcrfpeŽtives pour prati9uer ces deux fortes cle travail par Žbauche & au cikau, & auffi les Plangcomecraux &: perfpcfŸfs comme aux tableaux, fuivant le peu d'efpaiffeur qu'on doit donner au Bas-Relief, ainfi qu'il fera explique aux Planches 66 & 67, font bien plus all�ur<:z & mieUJt. melt. 
CHAPTER VI. 
Des erreurs qtti (e commettent au Coloris, en 
fan affoi6li/Jement & en [es reflexes. 
AP1us having dealt with the Enlightenment, I thought I had to give a few avc1tifi�:mcns touching the Colour & fonts. 
affo1blifi�mem, ayant voulfieurs Pounraits & autres Tabl aux o� j'y a remar9uŽ qu'cncore qu'en leur trait ils fulfenc a!fc-i corrcllcment deilelez pour refilemcr ˆ leur original ou modclc, Je Colori ncantmoins leur efioit li peu conforme que n'c:u! l: dH: their vcfiemcns, they have been taken to fire the rc.:prefcncation of pcrfonncs that have been fired or blackened; of udqu tncfiy if jcc these accidcns, when they are washed, they are washed groggy; all the more so as there is no approach, or any close to their flesh, except the elc. parts. The most scrubbed parts of their flesh are seen, the rcfic c!l:ant of pltlS in more grey-brown that it approached the hollows or conca vices of the v i!ˆgc; & for the works of the Painters which alfcŽtrnr de rcprefcntcr the tints & half girdled a little v -ncs, one sees there at the! li la couleur de leur chair comme aux autres, cc qw faifoit qu parmy ce peu de couleur de chair on cun dit. qne le vifage efioic comme d'une Agace verdatre, l'entendre bien la Jaifon de l'affoibli!Tement de la couleurpo: 
les parties qui Žchapent de l'Ïil plus promptement, com11 les l�perficies pl1m:s, (don qu'elles font plus ou moins de biai & les rondes & tournantes, c:!lcs ne faiioicnt pas y la fenfatia de relief, 
Those who are fervent in nˆturcl, not having always been able to find all the objects they want to make up their own m1 Painting, to make and paint as you wish, are usually satisfied with it.
to imitate them feparently, in quo y they commit the faults we have cy-dcvant noticed, & by this raifon can't see the rdlexion produced by the color of these ecb bodies, 
1cz one against the other, fclon they make them more ot1 moist, close & polished, as you can see if they can avo. The first is that they make them more or less close and polished, as one can see if they can get to all these bodies: So in the Pictures where a lot of Bucket Hours are repn iated, like those painted by nature, they cannot be repn ereded together for lack of knowing their re llection; the way to find them is to find them in their crescent-necc! The manic:re de les trou_vcr leurs eft cres-necc! faire, encore qu'ˆ bi, prendre ces rellcxions elles ne font qu'vne parcicul‰ritŽ deb i-cglc: generale de la PcrfpeŽl:ive, qui peut eftre cmendu‘ eftre cmendu‘ et peu de temps avec cc fort & foible toucher & colorer. . 
And again after these rellculations one will notice that it is necessary, as I said, to see the more or less polished fŸperficies, pu'. <The ones that are rough or rough make a rellcxion that is more or less polished. va fou vent d'un autre coftŽ lJU'elle ne fcroit fur celles qui fon: polies; c'cll pourq noy il dl: bon pour l� confirmer dans la rc- gle, de conliderer le naturel , & <le ttouvcr l'endroit qui caufr cette rdkxion; cftant certain que tant fur les fuperficics plattCI & polies que pour les brutes & martes, l'angle de rellcxion cl; to”1jours Žgal ˆ cc! uy of incidence; cc qui doit cftre aulli cmcn- dn de la rdlexion des objets for )'Eau & aux Miroirs, comme cela cil cil expliquŽ aux Planches 40 & +1 de cc 'TraitŽ. 
Plulicurs Peintres, & others, still believe that the days & shadows, & for all the shadows & shadows, make the lips! caufes de la fenfation qu'a J'oeil du relief de la pcimme, ne vopns pas que la mežne vilion ou fenfation d'un angle faillam & rentrant on fuym, Žgalement Žclairez chacun en kurl deux faces, fubfifie coti Jours, fans qu'il foit befoin des ombrages; & ombrages qu'ils fŸppofcnt, & que c'eft l'affoibliifcmenc dela 
I explained in my first Volume towards the end, where it says that this strong touch or coloring that they do not know, and that they would not know that mistake.
ri" has noticed a peculiarity in it, touching the affoibl itfc-rncnc of the bodies or objt ts_ fuyans & tournans , that many painters practice it a!lei. patfablement aux rncnui:s parties rlrr du corps humain, & telles autres chofes tenant du rond ou cl t0urnant, & de rnefme en cc qui regarde les petits plis des draql pcrics, mais ils ne le pratiquent pas de la forte en la mafŸ: ou grqs de l'objet, ou si ils Je font, c'eft li peu, qu'ˆ peine en voitb, on J'obfervacion, encore qu'il foit ait aite de Juger qu'une grande rnalfe rournante a plus de fuyanc dans le Tableau qu'une pe-titc, & par confequem que le plus ŽloignŽ de fa Baz. c doit efŸe ,n le plus alfoibli, & je toue fuivant qu'il cft plus ou moins fuissant q: & tournant precipitŽ.
And vericablernent ce qui m'eftonnc in cela, dl: que la plufpart des Praticiens ˆ lequel ces chofcs ont cf cfc cfu-ic blcnt expliquer, i�m-ic blcnt ne les avoir conceu‘squ'apr�s s'en cfhc railed; ce qui =h me fait croire que si ils pou voir changer & dŽguifcr les ouvrages :" qu'ils on one fait avant ces a vis, de mcfrne qu'ils ont changŽ !car
The process, they [believe in it, in order to be able to say boldly to me: their ordinary, that they have seen these shocks well before, & U: that they have thoroughly changed the rules: but my works have this good, or better to say evil, that they cannot disguise like them, & remain always perfect witnesses of the truth. 5on cc fojcc I warn our Breeders by seeing them dctfeigncr d-after their rnodcle, that they are infenfiblemcnc mating with a rnanierc so they do not dcfcroicnt li easily, which eft to have no pcnfee in de! feigning, to express well the clear & ob(cur) of each color, & to affoiblir them convena- blement fui vanc the cournans & fu y years to the eye, affcacaant de donner des coups de crayon forts dans ics ombres, & par confequenc bien noirs ou brnns, foie avec pierre noire ou fanguine, & le mdine pour les jours par du crayon blanc, fans beware li ces t0uches ou coups clairs & bruns ne font pas trop tores & peu cficndus, pour faire quicft l'ordinaire gris, ils fafi�nc union, tant de force & foiblefi'e couleur ˆ l'Ïil, <]Ue leur effet de relief doit produire.