Paradoxes to practice perspective without knowing it
FLOWERS, TO FACILITATE INTELLIGENCE,
FRUITS, TO DO NOT OPERATE IN THE CIRCUIT

I didn't want to refuse to make it clear to the world (and in particular to VVs. Eccel.) in order to fertilize my inclinations to the common good, and with such a chance animated again by theriueri.tifsimi commandi of VVs. EcceJ. I have finished well the addition.gerui the precepts, and the practices of the Prof. pettiua, which, by many illusionary breaths, do not seem to me anything less (as d1fsi) reduced to that ease, with which I was forced to (bend them; making mafsime with so beautiful occ.ftonc to conform to the genius of both 's excellence. VV. for Ja dilet. tatione, and 'have ncll' Architecture Military, Ciuile, and Profpettiua. If you haven't confiscated the Intent, I'm going to kill you.} VV. to blame 11 talent, but not already the soul, which, as fuddito, well conofco well as it should turta f ua Ec.cellentifsima Cafa, d1 which the Benignitˆ fempre in act makes me to do, that will not be worthy_qucfi-o small attitude; for.per.che, fe nothing else, will hurt to make conoicere to the Century how much
ego fta 
Of Ecceilcnze Vofire 
Bologna li 24 Febraro 1671... 


. I say of the painting, seen in the middle as a vnlato, perangulum, is taken from the fortune of the Yifualc Cone, and of the 
I've made a few Geometry practichc, which is to pull the square, and form some Figures, and this is done so as not to oblige many L1br1, which parhnodtffulamcncc. 
4 Doppo h princip,j, which are the same as the Profpcttiua with the other Mathematical paru�clla, I speak of those, which are their own, which are confused in the efp!icarc alcuai terQiini, cotne dell'altc.altc.za of the eye of the Horizontal line, of the point of the eye on the side, & in the face, and the moving away the point of the di- 0anza , d. The line dt tla Tcrr:i, e dellclince competitors &c. $ The rule for the minor dtffaoza is the practice, how to touch with hand the reasons of the! 'Opti ca ; in 6ne fi eone hiudc the first part with the operationi of the Veil, Vctro, and Grati,ola,,o'quali li pra "ica the Pfo ... lpettiua, fcnza faperla &c. 


The Angle of the Pfano, and Jeue !i rrncontrano by hnce not parallel, that 6 cochrno, n vn rncdclimo point oucro two oblique lines pulled to vn mede fimo point, like the two lynx AB. & BCm, figure 1- which meet the vnam, and the other, and make the angleB, therefore the ang?lo pt. The lynx's inclination, not from the lormlongbczza, as shown in the lines p1cc1ole AB, &BC, which make the aogoloB, has made you aware of the angle, of which it speaks to you for the lettcre, which is in the middle of the tr�, which 6 rrouano 10 all the deformities of the angles, the angle ABC, is intcodc the point, which makes the corner B, and so all the others1; all the angles of the forcim, Rctto, Accuto, & Ouulom, the right angle F..PG, takes a fourth>of the 9th grade circle. the Ortufo angle is qucllo,chc is greater than the Rctrod1 Degrees 10. as the angle HLM, figure+ the ango- the Accuto is that, which is less than the Rectus of degrees �o as H1K, oc Ila medefiraa figure. 
There are two other angles, which, in this case, are taken away from the other angles, which are not right, but are 01111{0, which is the greater right angle, as shown in the following figure. HLM, figure 4... the other. AcHto, which is less than rectum, like HlK, 


PRACTICAL xxiv 
.. 
Effects of the diuerfa Conftitucis,,and of the Ork ..onti - 
Erchedalla diuerfa withRitutione of the eye, diuerfamcnte appear objects, per- che ocl confiituirc detta linea Orizootale , b1togoa hauere graoJ'.tuertcnza <11 ooncadcre in... - those errors, that by many Painters I make Rati commitcffi, could be those iu vn.adro douc J-Ori- zoote . 6tuato moustache, they will have made to see the superior polrtt dc'Corpi, & to other douc the Ori-.zonte . high, haucranoo made (cover the inferior parts, cofe that ponoo bring much k'giuditio to the fame of who comettc, but cl cl strive to give here some auertimcnu, so there 

Aucrta6 dunquee, that when the eye is not in the eye, it is the horizontal line in the team is the chicken, and I leave Sister-in-law, as she sees in the first, and fertile figure of the objects, I must hurl them in such a way, that their part is weakened, and that the bafc, is the inferior part, and I was covered, as in the Cubes prefers.

PRACTICAL XLV. 
For Pro[pettiue, who ft see itJ up. 
And Profpcttiuc, views of fuck I up, phono of two strong, some fi paint in the Flat Attics al. tte in the Vaults coocaue, ˜ other {surface, primieramentc par par we will make Ji those, that make them in the Ria ne Attics, to eficrc easier to make them, attcfochc fl potfono farntuttc con regola, comi: fdi lauorail'c in the flat attics, and perpendicular, 11 that cannot make them in the Vaults, for the “rrc golaritˆ loro, carne direrr, o pi� auami. Therefore, if he wants to make Profpeui11a in a pious attic. 
na , will put them the main point of the view nc:J half of attic efia, as D, and: for the point of the di.
B, flaoaaa B, will take them thatan, which is between the Attic, and the eye of the one who aims, as the point of the corner A, not being able to see, neither more of apprehension, nor more from afar, than standing in the middle of the Room, there. rica DE, fcrucconic makes the Horizontal line in the ordinary Profpettiue, in the rdlo you vfaraono the rules: ordi ..nmarie, making in ciafcun side of So fl“tta voa flat line, which {eruira, as the line of the Earth, from here. nli fi will pull the perpendiculars to the point of the ve<!uta D folamente li aucrt1!ce, that when the Attic is close to the eye, and that with that little diftanza nalcdie, that the degraded fotfe greater than the perfect, then bifognareqbe do 1I point of the d1ftanza farthest, at least, as the nofira adjusting the sheet 3l-- of the first part, the degraded does not get more than perfect. And with everything, that J-oc-nc:h“o can't see!!!! all the Soffi tea in vn look, fiando oe I centro, ad comunque girandofi, ii potrˆnvedere ˆ parre i parte, perchŽ, fe fe bene la Prolpemua della soffitta e vna (ola, con vn fol punt(), ha ncndi.
I will show you as many parts as the faces of the Room, & 1 lat1 of the Attic, and if<one of them is on its own, and the point, click: and in the middle, where all the parallclees go to compete, and share all the parallclees, and each can by itself ftc!Ta effer villa compitamente, fcnza hauerc il punto della veduta I). Zenit fopra )a Te!la, because we are not obliged to keep our eye on the tip of the P,rarnide, when we aim at the point of the P,rarnide, when we aim at the face in the ma1;iera, which aimed at those, which are made, by the side. Auertendo, that.., <Juando vnando vnn side of the Soffi tea non p!!ñ elle re villo dall'occhio, in vna fola sguardo, per la vna fola foa, per la troppo vicinan- za foa, pigliandoli la dillanza con la regola fopranominata, che c1 will make the llanza appear higher than that. I, who is she, will make the d1 llanza appear higher than that one, which from the villa is more fertile, by taking the point of the d1fianza as much as it is lonta.no, as the said Ca in era doueua efiere alta, conforming to your width2:a, totally deceives the eye, which seems to be a Room much higher than that one, which she is. J)cr-effcmpio the triangle BCD, is part of the four of the Attic, and the line BC, is the width of said pam:, which {i:“ :ntaccata to the wall of the Room, fe detta parte insane so much batfa, that tlaQdo in pie.di in the Room, facelle them to the eye, or the angle QCB, of the triangle QBC, sure is, that we will fall into the degradation. data greater than your perfetro, two, which are free to take more dif\aoza, & abbal'Jare the said triangleBAG,cheque! laroedefimadiftanza da A,al pumo,F della soffitta,l habb1amo trafportata frˆ D, & E, e qua rido quello ancora non foffc ˆ luff“cieoza, fi pu˜ abbalfare tino al Pauimeoto, come fa fa l'an- golo-Bc,& ancora fotto Il Pauim,11to, conforme f:id giudicato bene, per fare appare p;� ˆira la Stanza. Therefore, wanting to degrade this 1th line with the ordinary rule, let us say, that the BC line, the Earth's line ampoule, and the HD line, the line to be used for lynxes, is the height of the coffers. Fact, that this is the Geometric plan of the Pillars, as follows! Make the notes X, and pull your parts to the point of the view D, you have done the pro "1, as you see it:a iinifira part Gl, and pull the parallels to the EP line, making them {your projections, as I note them with the numbers, then that: - Note the scythe on the pedestal, 2,. the scythe on the pedestal, 3. the scythe on the Bafe, 4. the scythe on the third part of the column, and so on all the other parts of the column, and all those parts of the column are brought up to the line BC, as you see for the line BC, against the numbers, which are pulled to the point of the difference. fi hauera every part of your partceffat1ffimamentc over the line BD, the occult line EL, gives us the height of all the Fabrica in pointH, then pulling them from ruui punui. The lynx parallel to the line BC, will have a figure in Profpernua of fuck up, similar to the figure MN, which is from the deflra part, from which fi understand, that with the mcdefima ease fi do the Prolpctt1uc of fuck up, as fi do I vna foperficie pcrprndicolace, as: MN. 

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