Dr. Kim H. Veltman
Indexes
1. Figures in Text
2. Plates
3. Index of Names
4. Index of Places
5. Index of Subjects
FIGURES IN TEXT
1. Parallels between concepts of space, object, and scale, periods in art history and cosmological world view from the time of the Greeks to Impressionism according to Blatt and Blatt (1984).
2. Key events in the history of perspective with corresponding origins.
3. Examples of different media that used perspective and related dates.
4. Some of the different media and functions of perspective favoured in Italy, Burgundy, France, Netherlands, and Germany.
5. Dates when perspective was first introduced into major European countries.
6. Line drawings of Cryptoporticus, Pompeii, with reconstructions according to Little, (1971), fig. 2.
7. The same with extensions by the author of some of the other converging lines.
8. Map of major developments in perspective in the period 1200-1700 by Harnest (1971).
9. Dates, authors of bibliographies and number of books listed.
III. Vision and Representation
10. Key figures in debates between nativists and empiricists according to Hagen (1980).
11. Dichotomies implied by the Leipzig and Berlin schools and reflected in Gibson’s work according by Boring (1952).
12. Comparison of basic terms in Mach, Gibson and Gombrich.
13. Schema of three basic aspects of vision from Margaret Livingstone, "Art, illusion and the visual system", Scientific American, New York, Januqary 1988, p. 85.
14. Model of the human eye and location of the three basic aspects of human vision, in ibid., p. 80.
15. List of cities, churches with marquetry work and authors of studies.
16. A classification of trompe l’oeil figures from Kubovy (1986, 68).
17. Classification of nine types of ceiling painting by Sjöström (1978).
18. Seven stages in the development of optical recording devices according to Ganz (1994).
19. Dick Termes, patent for a dodecahedral camera with twelve co-ordinated images.
20. List of extant perspective boxes from Koslow (1967).
21. William M.Newman, Robert F. Sproull, Principles of interactive computer graphics, Tokyo: McGraw-Hill Kogakusha, Ltd., 1973, p. 236.
22. Ibid.
23. Ibid., p. 270
24. Ibid., p. 271
25. Equivalents of lens sizes available in AutoCAD’s 3-D Studio.
26. Diagrams from Autodesk’s 3-D Studio illustrating the principles of adding and subtracting objects or parts of objects from Elliott, Miller and Pyros (1994, 275).
27. Assigning the lofter’s path to a camera in 3-D Studio from Elliott, Miller and Pyros (1994, 818). This illustrates how one can change viewpoints systematically to produce the equivalent of motion perspective.
28. Different co-ordinate systems used in the Silicon Graphics Inc. Open GL.
29. Scheme of the camera function in same.
30. Another scheme of the same function in same.
31. Example of perspectival principles being applied to contemporary ray tracing. From Robert Lansdale (1991, 14).
32. Another example from same.
33. An example of anamorphic principles of perspective being used in contemporary ray tracing. From Robert Lansdale (1991, 33).
34. The xyz co-ordinates system based on the observer’s eye position from Ivan E. Sutherland, "A head mounted three-dimensional display," Fall Joint Computer Conference, 1968, p.761.
35. A computer displayed perspective view of the room as seen outside from Sutherland, as in note 27, p.763.
36. Main commands of the World Editor from Dimension International in Gigore Burdea, Philippe Coifet, La réalité virtuelle, Paris, 1994, pl. 19.
37. Six types of literary history outlined by Wellek (1946).
38. Twelve combinations of perspectival structure from Füger (1972).
39. Lindemann’s (1987,19) diagram to illustrate three worlds of literature in connection with his distinction between authorial and actorial narration.
40. Alphabetical list of some authors who have been studied in terms of literary perspective, and their works.
41. One outline of some of the influences leading to Cultural Studies from the 1920’s to the 1990’s.
42. Fifteen ways in which Kant used the concept of space according to Gehler (1912).
43. Five kinds of nexus according to Gehler (1912, 243).
44. Four forms of the manifestation of consciousness and their relationship to a sense of space and time according to P. D. Ouspensky.
45. Three kinds of space according to Becker (1923).
46. Basic categories in the philosophical system of Graf Yorck.
47. Gebser’s (1972,368) five structures of consciousness and their consequences.
48. Pyramidal thought structures described by Gebser.
49. Perspective applied to history from Kosellek
50. Six kinds of drawing used by Haaland (1976).
51. Different means of creating stereoscopic depth from single pictures according to Schlosberg (1941).
52. Wallin’s (1905) classes of the chief theories.
53. Wallin’s eight classes of illusions.
54. List of thirteen reasons cited by Wallin (1905) in favour of the physiological theory of illusions.
55. Methods of observation and output according to Weale.
56. Motion perspective of objects on earth for a person moving straight down a country road and fixating at the horizon from Ralph Norman Haber, Maurice Hershenson, The psychology of visual perception, London: Holt, Rinehart and Winston, 1973, p. 321.
57. Motion perspective of objects on earth for a person moving from right to left along a country road and fixating at the horizon from Haber (1973), as in figure 5, p. 322.
58. Motion perspective of objects on earth for an airbourne person from the focus of expansion on the horizon in J. J. Gibson, The ecological approach to visual perception, Boston: Houghton and Mifflin, 1979, p. 124.
59. Motion perspective of objects on earth for an airbourne person in a landing glide in J. J. Gibson, The ecological approach to visual perception, Boston: Houghton and Mifflin, 1979, p. 124.
60. Drawings of tables by blind children showing some spatial sense from John M. Kennedy, Drawing and the blind, New Haven: Yale University Press, 1993, pp. 110, 111, 109, 115.
61. A classification of theories of perceptual learning according to E. J. Gibson (1969, 74).
62. Piaget’s stages of cognitive development, corresponding spatial relations and ages.
63. Parallels between social perspective taking and moral judgment at different ages according to Selman (1973, 1977).
64. Four stages in the development of perspective taking according to Susswein (1977).
65. Oppenheimer’s model of perspective taking as outlined in Geulen (1982, 304).
66. Properties of propositional and quasi-pictorial formats in Kosslyn (1980, 31).
67. Four categories and twenty three types of images as classed by Horowitz (1983, 6).
68. Basic differences between traditional perspective and so called social perspective in its new form.
69. Graph of publications on perspective in the twentieth century.
70. A series of recent titles reflecting the anti-visual appproach.
71. Individuals and chapter themes reflecting an anti-visual approach in Jay (1993).
72. Adjectives linked with vision in contemporary French criticism according to Jay (1993).
73. Basic distinctions between Italian and Northern art according to Alpers (1983).
74. Films with an emphasis on mirrors collected in Roman Gubern’s documentary on Mirrors and virtual space in the cinema (1927-1953).
75. Parallels between Renaissance painting and digital film with contrast to analogue film. according to Spielmann (1993).
76. Basic methods and the technologies required for their production and viewing.
77. Cultural differences in approaches to virtual reality
78. Some examples of correspondences and non-correspondences between actions in the physical and the virtual world.
79. Pedigree of an image defined in terms of numbers of generations between the original and its digital version.
80. Levels of abstraction seen in relation to the media used to record knowledge of the physical world.
PLATES
Rome
1.1 Wall from the: Casa della Caccia antica, Pompeii, Helbig 1301 (After Raoul-Rochette, Choix des peintres, Plate 12).
1.2
2.1 Reconstruction of: Upper part of back wall of alcove a in Cubicle N. 16 showing central perspective according to Gioseffi (1957), p. 34.
2.2 Photograph of same (Naples, Soprintendenza).
3.1 Painted wall of the second style of salon n. 15, in La villa Romana di Oplontis, ed. De Franciscis, Recklinghausen: Bongers, 1975, p.37.
3.2. Detail of same, p.39.
4.1 Painted wall top section of central sector of decoration on a wall of triclinium n. 14, in La villa Romana di Oplontis, p. 35..
4.2 Painted wall in room n. 23, in La villa Romana di Oplontis, p. 25..
Europe
5.1 Villard de Honnecourt, Sketchbook, Paris, Bibliothèque Nationale, Ms. 19093, fol. C.XL.
5.2 Filarete, Trattato di architettura, Florence, Codice Magliabechiano, fol. 177v.
5.3 Filarete, Trattato di architettura, Florence, Codice Magliabechiano, fol. 178r*.
6.1 Leon Battista Alberti, De pictura, Lucca, Biblioteca statale, n. 1048, fol.
6.2 Leon Battista Alberti, De pictura, Ravenna, Biblioteca Classense, Cod. 146 with sketch by Battista Panetti from Cecil Grayson, "L. B. Alberti’s ‘Costruzione legittima’, Italian studies, vol. 19, 1964, p. 26.
6.3 Johannes Peckham, Prospectiva communis, ed. Facius Cardanus, Milan: Petrus de
Cornero, 1482-1483, A.c.2r. (copy in Milan, Biblioteca Ambrosiana, Inc. 1105).
6.4 Francesco di Giorgio Martini, Trattati di architettura ingegneria e arte militare, Turin, Codice Torinese Saluzziano 148, fol. 33r.
7.1 Giotto, Prayer for the miracle of the rods, Padua, Scrovegni Chapel, 1304-1306.
7.2 Reconstruction of same, showing linear perspective according to Gioseffi (1957), p.65.
7.3 Ambrogio Lorenzetti, Annunciation, Siena, Pinacoteca, 1344 with central vanishing point according to Panofsky (1927), Pl. 22.
7.4 Detail of pavement of same painting.
8.1 Masaccio, Trinity, Florence, Santa Maria Novella, 1427.
8.2 Tracing of sinopia of same painting from Sanpaolesi (1962), pl. 24.
8.3 Reconstruction of the Trinity by Sanpaolesi (1962), pl. B.
8.4 Detail from the vault in the fresco.
9.1 Alhazen, Perspectiva, Vatican, Vat. Lat. 4595, fol. 30v.
9.2 Attributed to Stefano della Bella, Camera obscura with a view of Florence, Washington, Library of Congress, Rosenwald Collection.
10.1 Reconstruction of Brunelleschi’s first perspectival demonstration from Parronchi (1964).
10.2 Graphic reconstruction of Brunelleschi’s first panel by Vagnetti (1979), p. 200.
11.1 Leonardo da Vinci, Manuscript A, Paris, Institut de France, fol. 38v.
11.2 Ibid., fol. 39r.
11.3 Ibid., fol. 39v.
11.4 Ibid., fol. 40r.
12.1 Ibid., fol. 40v.
12.2 Ibid., fol. 41r.
12.3 Ibid., fol. 41v.
12.4 Ibid., fol. 42r.
13.1 Reconstruction by Sinisgalli, 1993, p.129 of a diagram from Federico Commandino, Commentary on the planisphere of Ptolemy, (1558).
13.2 Federico Commandino, Commentary on the planisphere of Ptolemy, (1558), 1993, ed. Sinisgalli, p. 111.
13.3 Guidobaldo del Monte, Perspectivae libri sex, Pesaro, 1600, p. 256.
13.4 Guidobaldo del Monte, Perspectivae libri sex, Pesaro, 1600, p. 273.
14.1 Girard Desargues, Exemple de l’une des manieres universelles du S.G.D.L., Paris, 1636.
Other Cultures
15.1 Anonymous, Sacrifice of Abel and Melchisedech, Ravenna, San Vitale.
15.2 Reconstruction of same according to Gioseffi (1957), p. 57.
16.1 Reconstruction by Shegin, (1980), p. 91 of detail from: Novgorod School, Burial of Christ, End of fifteenth century.
16.2 Novgorod School, Detail from: Burial of Christ, End of fifteenth century, from Shegin (1980), fig. 6.
17.1 Anonymous, Palace scene with female orchestra, China, Sixteenth century, Innsbruck, Schloss Ambras.
18.1 Anonymous, "The Emperor makes an offering at the temple of Yu the great", in: Journey to the South by the Emperor Kangxi, Scroll no. 9, 1691-1698.
18.2 Anonymous, "Theatre at Keqiao", in: Ibid.
19.1 Journey to the South by the Emperor Kangxi, Scroll no. 12, 1691-1698.
19.2 Ibid.
20.1 Ibid.
20.2 Ibid.
21.1 Hieronymus Wierx after Bernardino Passari, Annunciation, Engraving in J. Nadal, Adnotationes et meditationes in Evangelia, Antwerp, 1595.
21.2 Anonymous, Annunciation, Woodcut in: G. Aleni, Life of the Lord from the Book expressed in images, Quanzou, 1637 (6/8).
21.3 Isidoro Stanislas Helman, The Emperor reads poems in honour of his ancestors, Paris, 1788.
22.1 Ta Shui Fu (Great fountains) from: Xi Yang Lou, Series of 20 Views, Beijing, 1783, plate 15.
22.2 Detail of the actual Ta shui fu (Great fountains), from
23.1 Anonymous, Sights in and around Kyoto. Pair of six-fold screens, color on paper, Muromachi period, Sixteenth century, National Museum of Japanese history.
23.2 Detail of same.
24.1 Anonymous, Sights in and around Kyoto. Pair of six-fold screens, color on paper, Muromachi period, Sixteenth century, National Museum of Japanese history.
24.2 Detail of same.
25.1 Masanobo Okumura, Large Uki-e, All star cast of a Kyogen stage, Woodblock print, hand coloured, Kobe, City Museum.
25.2 Toyoharu Utagawa, Uki-e, A Kyogen stage, woodblock colour print, Kobe, City Museum.
26.1 Masanobo Okumura, Megane-e, Theatre in Shijo, Colour on paper.
26.2 Toyoharu Utagawa, Uki-e, Party for the harvest moon, Woodblock colour print, Tokyo, National Museum.
27.1 Giuseppe Zocchi, "Veduta di una parte di Firenze presa fuori della porta alla croce presso al fiume Arno", in: Vues de Florence et de Toscane d’apres Giuseppe Zocchi, 1744.
27.2 Japanese copy of Zocchi from an: Album of prints, Zurich, Ganz Collection, Early eighteenth century.
28.1 Canaletto, The Canal grande as seen from Santa Croce to San Geremia,
28.2 Toyoharu Utagawa, Uki-e based on Visentini’s engraving of the above painting by Canaletto.
29.1 Kokan Shiba, View of Mimeguri, Kobe, City Museum, 1783.
29.2 Kokan Shiba, View of Mimeguri, Kobe, City Museum, 1787.
29.3 Toyoharu Utagawa, Uki-e, View of Mimeguri, Tokyo, National museum.
30.1 Masanobu Okumura, Megane-e, Uji, Colour on paper.
30.2 Masanobu Okumura, Megane-e, Kinkaju-ji, Colour on paper.
30.3 Masanobu Okumura, Megane-e, Seta-bashi Bridge, Colour on paper.
31.1 Katsushika Hokusai, Mount Mishima in Thirty six views of Mount Fuji, Tokyo, National Museum from: Shigemi Inaga, "La réinterprétation de la perspective linéaire au japon 1740-1830 et son retour en France, 1860-1910", Actes de la recherche en sciences sociales, Paris, 1983, p. 37.
31.2 Katsushika Hokusai, Hodogaya in Thirty six views of Mount Fuji, Tokyo, National Museum from: Inaga, 1983, p. 38.
31.3 Hiroshige, Kyobashi: The bamboo yards, 1857. Number 76 of One hundred famous views of Edo, from:.
32.1 Paul Cézanne, Mount Sainte Victoire, New York: Metropolitan Museum of Art, from: Inaga, 1983, p. 38.
32.2 Paul Cézanne, Marronniers au Jas de Bouffan, Paris, Collection Wildenstein, from: Inaga, 1983, p. 38.
32.3 James Abbott McNeill Whistler, Nocturne: blue and gold- old Battersea bridge, 1872-1873.
Reconstructions
33.1 Corinthian oecus, Pompeii, Casa del Laberinto.
33.2 Perspectival reconstruction by Curtius (1929), fig. 94b.
34.1 Terracotta relief with imitation of a Roman scaenae frons.
34.2 Perspectival reconstruction by Curtius (1929), fig. 22b.
35.1 Nielsen, Den Venetianske Skole, Copenhagen, 1898, fig. 4.
35.2 Nielsen, Den Venetianske Skole, Copenhagen, 1898, fig. 8.
36.1 Reconstruction of Jan van Eyck, Madonna and the Chancellor Rolin, from: Guido Josef Kern, Die Grundzüge der Linear-Perspektivischen Darstellung in der Kunst der Gebrüder van Eyck und ihrer Schule, Leipzig: Verlag von E. A. Seeman, 1904, Tafel IX.
36.2. Reconstruction of Petrus Christus from Kern, 1904, pl. XIII.
36.3 Reconstruction of Jan Van Eyck, Das Reisealtärchen, Dresden, Königliche Gallerie, in Karl Doehlemann, Die Entwicklung der Perspective in der Altniederländischen Kunst, 1904, fig. 2.
37.1 Jean Pélerin, De artificiali perspectiva, 1509, fol. 21v with reconstruction by Hernest 1981, p. 351.
37.2 Albrecht Dürer, Presentation of Christ in the Temple, 1504, with reconstruction by Hernest 1981, p. 351.
37.3 Albrecht Dürer, Adoration of the Magi with reconstruction by Karl Rapke, 1902, Taf. 8.
37.4 Albrecht Dürer, Christ before Pilate, with reconstruction by Karl Rapke, 1902, Taf. 8.
38.1 Albrecht Dürer, Rest on the Flight to Egypt, Woodcut, 1504.
38.2 The same woodcut with a reconstruction by Harnest (1970), pl. 28.
38.3 The same woodcut with a reconstruction by Schröder (1980), p. 49.
39.1 Reconstruction of Leonardo, Last Supper by Kemp, 1990, p. 48
39.2 Leonardo da Vinci, Last Supper, Milan, Santa Maria delle Grazie, 1495-1497.
40.1 Reconstruction of Leonardo, Last Supper by Brachert, 1971, p. 363.
40.2 Reconstruction of Leonardo, Last Supper by Polzer, 1980, p. 243.
40.3 Reconstruction of Leonardo, Last Supper, by Möller, 19**, fig. 50.
41.1 Filippo Lippi, Stories of the Virgin (Tondo Bartolini), Florence, Galleria Palatina di Palazzo Pitti, c. 1453.
41.2 Reconstruction of same by Giovanni degl’Innocenti.
41.3 Ibid.
42.1 Ibid.
42.2 Ibid.
42.3 Ibid.
43.1 Simone Martini, "Child attacked by a wolf", from: Blessed Augustine, Novel and stories, Siena, Chiesa di Sant’Agostino, 1328.
43.2-13 Reconstructions by Soddu (1986).
44.1-18 Reconstructions by Soddu (1986).
45.1 Demonstration of the costruzione legittima from: Giacomo Barozzi, il Vignola, Le due regole della prospettiva pratica, ed. Egnazio Danti, Venice, 1743, opposite p. 40, fig. 5.
45.2 Identification of components from Rocco Sinisgalli, Il contributo di Simon Stevin allo sviluppo scientifico della prospettiva pratica, Rome: Bretschneider, 1978, p.69.
45.3 Reconstruction of same from Sinisgalli, 1978, p.70
45.4 Another reconstruction of same Sinisgalli, 1978, p.71.
46.1 Guidobaldo del Monte, Perspectivae libri sex, Pesaro, 1600, p. 53 with reconstruction of same from Sinisgalli, 1978, p.107.
46.2 Guidobaldo del Monte, Perspectivae libri sex, Pesaro, 1600, p. ** with reconstruction of same from Sinisgalli, 1978, p.105.
46.3 Simon Stevin, De sciagraphia, Leiden, 1605, p. ** with reconstruction of same from Sinisgalli, 1978, p.128.
46.4 Simon Stevin, De sciagraphia, Leiden, 1605, p. ** with reconstruction of same from Sinisgalli, 1978, p.129.
III. Vision and Representation
47.1 Curved image perceived as straight when seen from nearby in Hermann von Helmholtz, Physiological Optics, 1896, p. .
47.2 Grids showing distortion in the eye. The barrel-shaped grid shows the amount of distortion the rectilinear grid suffers when viewed by the eye, from A. E. Ames, Jr., C. A. Proctor, "Vision and the eye", Journal of the Optical Association of America, 1921, p. 84.
47.3 Examples of spherical perspective from Albert Flocon, André Flocon, Curvilinear perspective, trans. Robert Hansen, Berkeley: University of California Press, 1987, p. 196.
47.4 Ibid., p. 197.
48.1 Interior view in spherical perspective from Ivan Jobin, Ligne droite ou ligne courbe? Cône ou sphère optique, nouvelles théories de perspective artistique, Montreal: A Lévesque, 1939, p. .
48.2 Aerial view of Montreal using spherical perspective from Jobin, 1939, p.
49.1 Ernst Mach, Analysis of Sensations, New York: Dover, 1959 (1986), p.19, fig. 1.
49.2 J. J. Gibson, The Ecological Approach to Visual Perception, Boston: Houghton and Mifflin, 1979, p. 113.
50.1 Example of curvilinear perspective in Luis G. Serrano, En el interior de un tranvia, in Perspectiva curvilinea, Mexico, 1934.
50.2 Curvilinear perspective in Jacqueline Lima, The world is round, 1979, in The world is round, ed. Marcia Clark, New York: The Hudson River Museum, 1987, p. 34.
51.1-2 Occlusion demonstrated by three schematic trees and their shadows (constructed by H. King), from Sir E. H. Gombrich, "Review lecture: Mirror and the map," Philosophical transactions of the Royal Society of London, B. Biological sciences, vol. 270, no. 903, 1975, pl. 17
51.4-6 Occlusion demonstrated by tracings of an image of Senate House on a window of the Warburg Institute from Gombrich, 1979, pl 19.
52.1 Importance of context for perspectival size from Ralph M. Evans, An introduction to color, New York: Wiley, 1948.
52.2 The same problem using lines and railroad tracks from Richard L Gregory, Eye and Brain. The psychology of seeing, London: Weidenfeld and Nicolson, 1966, p. 150.
52.3 The same problem using cylindrical columns in a perspectival hall from J. J. Gibson, The Perception of the visual world, Ithaca: Cornell Universaity Press, 1950..
53.1 Perceptual effects of looking at objects from the side from Giuseppe Ovio, "Die Perspektive in ihre Beziehungen zur Sehschärfe und zum Lesen", Archiv für Ophthalmologie, Leipzig, Bd. LXXV, 1910, Taf. VI.
53.2 Another example from the same, Taf. VII.
53.3 British rail poster photographed frontally and from the side from E. H. Gombrich, "The ‘what’ and the ‘how’: perspective representation and the perceptual world, Logic and art. Essays in honor of Nelson Goodman, ed. R. Rudner and I. Scheffler, New York: Bobbs-Merrill, 1973, pp. 146-147.
54.1 Hobbema, The Avenue, London: National Gallery.
54.2 Side view of same from E. H. Gombrich, "Illusion and art", in: Illusion in nature and art, ed. R.L. Gregory and E.H. Gombrich, London: Duckworth, 1973, pp. 230.
54.3 Another side view of same in Ibid p. 231.
55.1 Comparisons between different media and their intelligibility by illiterate persons in Nepal from Anne Haaland, Communicating with pictures in Nepal, Kathmandu, 1976, p. 14.
56.1 Ibid., p. 15.
Scenography
57.1 Reconstruction by Architect Cesare Lisi (1975) of Brunelleschi’s theatrical device (ingegno) for the church of San Felice in Piazza.
57.2 Angels in the cupola, Sant’Eustorgio, Milan, thought to be based on the configuration in the above from Oskar Fischel, "Eine Florentiner Theateraufführung in der Renaissance", Zeitschrift fur bildende Kunst, Leipzig, Jg. 55 (N.F. 31), 1919-1920, p. 15.
57.3 Reconstruction by Architect Cesare Lisi (1975) of Brunelleschi’s theatrical device (ingegno) for the church of Santa Maria del Carmine for the representation of the Ascension (1439) based on the account of the Bishop Abraham of Souzdal.
57.4 Reconstruction by Architect Cesare Lisi (1975) of Brunelleschi’s theatrical device (ingegno) for the church of SS. Annunziata (1439).
58.1 Ghirlandaio, Saint Francis, Florence, Santa Trinita.
58.2 Lionardo Salviati, Scene for Il Granchio, 1566.
59.1 Bartolommeo Ammanati and Giulio Parigi, View of the Cortile of the Palazzo Pitti and the Amphitheatre of the Boboli Gardens, 1570-1634.
59.2 Marco di Credo (from Francesco de’Cocchi), Cortile of the Pitti Palace (aquaforte).
60.1 Accursio Baldi and Sebastiano Marsili, The cortile of the Pitti with the apparatus for the Sbarra of 1579.
60.2 Orazio Scarabelli, (from Bernardo Buontalenti), The Naumachia in the cortile of the Pitti, 1589.
Trompe L’Oeil
61.1 Domenico Ghirlandaio, Life of Saint Francis, in The frescoes of the rear wall, Cappella Sassetti, Santa Trinita, Florence, from Sven Sandström, Levels of unreality, Uppsala: Almqwist and Wiksell, 1963, p. 218.
61.2 Analysis by Sandström, p 52..
62.1 Pintoricchio, Death of Saint Thomas Aquinas, Main fresco of the left wall, Cappella Bufalini, Santa Maria in Aracoeli, Rome, in from Sandström, Levels of unreality, p. 214.
62.2 Analysis by Sandstrom, p.45 .
63.1 Warehouse at South street and Peck Slip, New York, 1978.
63.2 Richard Haas, Wall painting on Warehouse at South street and Peck Slip, New York, 1978.
64.1 Illusionistic Wall, Flat Iron Building, Toronto.
64.2 Illusionistic Wall, Yorkville, Toronto.
Quadratura
65.1 Classification of the nine basic types of fictive ceiling from Ingrid Sjöström, Quadratura i italienskt Takmalerei, Lidingö: Acoprint, 1972, pl. 3-5.
66.1 Ibid.
Architecture
67.1 Bramante, View of the Perspective Altar after the restoration of 1937-1939, Santa Maria Presso San Satiro from La prospettiva Bramantesca di Santa Maria presso San Satiro, ed. Rosa Auletta Marrucci, Milan: Banca Agricola Milanese, 1985, p. 33.
67.2 Reconstruction of Bramante’s altar from Eros Robbiani, "La verifica costruttiva del finto coro di Santa Maria presso San Satiro a Milano, in: La prospettiva rinascimentale, Florence: Centro Di, 1980, p.217
68.1 Ibid..
68.2 Ibid., p. 216.
69.1 Michelangelo, Piazza del Campidoglio, from Letarouilly, Edifices de Rome moderne,1840-1857.
70.1-4 The Piazza of the Capitol in Rome with diagrams of the perspective effects from Maurice H. Pirenne, Optics Painting and Photography, Cambridge: Cambridge University press, 1970 pp. 155, 157.
71.1 Planning with Photography from König,
72.1 Planning with Photography from Jensen,
73.1 Computer Planning for Museum of Civilization
74.1 Computer Planning" "
Gardens and the Environment
75.1 LeNotre
76.1 LeNotre
77.1 Map of Richelieu from Piet Lombaerde, Verschuivingen binnen het planinsdenken over de ruimte, Ph.D.Thesis, Louvain, 1982, p.220.
78.1 Geometric reconstruction of the trompe-l’oeil at Richelieu from Lombaerde, 1982, p. 222.
78.2 Photographs showing the trompe l’oeil at Richelieu from the two gates of the city from Lombaerde, 1982, p. 221.
Instruments
79.1 Giuseppe Galli Bibbiena, Royal garden, Engraving by J. A. Pfeiffel, Milan, Biblioteca Braidense.
79.2 Nian Xiyao, Instruction in Sight (Perspective) based on: Andrea Pozzo, Perspectiva pictorum et architectorum, China, 1735, now: Oxford, Bodleian Library, Douce Chinese b.2.
80.1 Anonymous, Reunion of players and smokers, Coloured engraving, Milan, collezione Milano.
80.2 Same scene viewed obliquely from above.
81.1 Anonymous, View of the Palace of Saint James, Eighteenth century print for use with a zograscope.
81.2 G. F. Cavenave based on Louis Leopold Boilly, Portrait of future wife of Jean Paul Marat, Zurich, Ganz Collection.
81.3 Edward Nairne, Optical Machine for viewing perspective prints (Zograscope), London, Science Museum.
82.1 Anonymous, Confluence of the upper and lower Rhine at Reichenau, early nineteenth century.
82.2 Anonymous, Open version of a Peep show of nut tree wood, Zurich, Ganz Collection.
83.1 Kokan Shiba, Ryogoku-bashi Bridge (Tweelandbruk), Kobe, City Museum.
83.2 Anonymous, Peep Show, Early Eighteenth century, Zurich, Ganz Collection.
84.1 Masanobu Okumara, Megane-e, Takao, Colour on paper.
84.2 Takano, "Mother and daughter with a zograscope", from the series : Six views of Tamagawa, Zurich, Ganz Collection.
85.1 "Perspective instrument" in: Ronalds, Mechanical perspective, London, 1828.
85.2 Second kind of perspective instrument in: Ronalds, Mechanical perspective, London, 1828.
85.3 Anonymous, Means of drawing a landscape or of copying a panel without knowing how to draw and without seeing what one is doing.
85.4 Robert Boyle, "Pantograph", Philosophical Transactions, London, 21 July 1673.
86.1 Guido Hauck, "Perspective Apparatus", Festschrift der königlichen technischen Hochschule zu Berlin zur Feier der erweihung ihres neues Gebäudes, Berlin, 1884, Pl. 1.
86.2 Guido Hauck- E. Brauer, "Perspective Drawing Apparatus", Zeitschrift des Vereins deutscher Ingenieure, 1891, fig. 1.
86.3 Ing. Camotti,
87.1 Ch. von Ziegler, "Perspecteur méchanique", Le Globe, Geneva, 1899, fig. 2.
87.2 Ibid, fig. 8: Partial reproduction of "Map no. 30 (Vernier)" from the Siegfried atlas.
87.3 Ibid, fig. 7: Photo of same landscape.
88.1 Map showing the ETH in Zürich from Brandenberger (1985), p. 173.
88.2 Transformation of same with a bispline interpolation on a monofocal net.
88.3 Transformation of same with a bispline interpolation on a polyfocal net.
88.4 Transformation of same with a bispline interpolation on a monofocal net. The focal point has been moved to the lower right hand corner of the image.
89.1 Plotting from a single photograph, in Photogrammetry of monuments and sites, UNESCO, 1972, p. 7.
90.1 Plotting from a pair of metric photographs, in Photogrammetry of monuments and sites, UNESCO, 1972, p.8.
91.1 Satellite image and its transformation
92.1 " "
93.1 GIS
94.1 GIS
95.1 AM/FM
96.1 AM/FM
97.1 GIS and Geo-positioning devices
98.1 " "
Computers
99.1-4 20. Early examples of computer imagery from: William M.Newman, Robert F. Sproull, Principles of interactive computer graphics, Tokyo: McGraw-Hill Kogakusha, Ltd., 1973, p. 285-287.
100.1 Computer graphics version of an architectural mockup showing the proposed addition to the campus at Cornell from Greenberg (197*, p.*).
100.2 Another view of the same from Greenberg (197*, p.*).
101.1 Four points of view in Autodesk’s 3-D Studio from Elliott, Miller and Pyros (1994, 275).
101.2 Three kinds of spheroid with 12, 24 and 60 Lsphere sides from Elliott, Miller and Pyros (1994, 275).
101.3 Spheroid and toroid from four view from: Elliott, Miller and Pyros (1994, 541).
101.4 Tesselated versions of the spheroid and toroid from: Elliott, Miller and Pyros (1994, 542).
102.1 Cityscape viewed with a level camera using 3-D Studio from: Elliott, Miller and Pyros (1994, 702).
102.2 The same view with tilted camera to produce parallax or keystoning in three-point perspective using 3-D Studio from: Elliott, Miller and Pyros (1994, 701).
102.3 The same view as above using a greater distance,a very wide angle view indicating a section to be blown up in 3-D Studio from: Elliott, Miller and Pyros (1994, 703).
102.4 A rendered version of this detail from: Elliott, Miller and Pyros (1994, 703).
103.1-2 Two preliminary stages in image using wireframe and hidden surfaces removed from Richard Mark Friedhoff, The second computer revolution:Visualization, New York: Harry Abrams,1989, pp. 96-97.
104.1-6 Six further stages in image using Lambert, Gouraud, Phong shading, texture mapping, bump-mapping, and transparent rendering from Friedhoff, 1989, pp. 98-99.
105.1 Room with a cabinet using Alias software.
105.2 Imaginary room using Alias software
106.1 Interior of the Pantages Theatre using Alias software.
106.2 Ontario Legislative Building, Lightscape Graphics Software, Donald Schmitt and Co., 1993.
107.1 Design for the colonnade of the new BCE Centre prior to its construction using Alias software (Design Centre, Toronto).
108.1 Photograph of the same hall ().
109.1-2 Reconstruction of the Abbey of Cluny (IBM France, IBM Visualization Power Series), from L. Casey Larijani, The virtual reality primer, New York: McGraw Hill, 1994, pl. 2.
110.1 Futuristic
110.2 Futuristic
111.1 Four C’s
112.1 Four C’s
113.1 Projecting a stained glass bitmap in 3-D Studio from: Elliott, Miller and Pyros (1994, 694).
113.2 Simulating a suncast lightbeam in 3-D Studio from: Elliott, Miller and Pyros (1994, 698).
113.3 Simulation of lamp haloes in 3-D Studio from: Elliott, Miller and Pyros (1994, 700).
113.4 Fog to fade out a scene to a cool grey in 3-D Studio from: Elliott, Miller and Pyros (1994, 708).
114.1 Radiosity principles applied to a simple room using **** by Stuart Feldman (Toronto).
114.2 Radiosity principles in a complex interior using **** by Stuart Feldman (Toronto).
115.1 Projection of a regular image onto an irregular surface in order to determine its distortion such that one can create a deliberately anamorphic image which will appear correct when projected on this same irregular surface by **** O’****.(Cornell).
116.1 Resulting image which eliminates the usual effects of keystoning.
117.1 Optical corrections using a head mounted display
118.1 " "
Windows
119.1 René Magritte, Free to roam (La clef des champs), 1933, Lugano, Thyssen Bornemisza Collection.
119.2 Ibid, The human condition (La condition humaine), 1933, Private Collection.
119.3 Ibid, Unexpected answer (La réponse imprévue), Brussels,Musées royaux des beaux arts, 1933.
119.4 Ibid, The amorous prospect (La perspective amoureuse), Private collection, Switzerland, 1935.
120.1 Ibid., Personal values (Les valeurs personelles),
120.2 Philippe de Gobert, Photograph of a box representing Personal values (Les valeurs personelles).
121.1 Earl Lam, Solving Living Puzzles, Miami, Killiam High School (1990).
121.2 Jim Gaines, Crooked House, Farnborough (1992).
122.1 House in Toronto (x Beverly Street, just North of Dundas Street).
122.2 Robert Gonsalves, Puzzle (1992), Toronto.
123.1 Ibid., Balcony, Lithograph, 1945.
123.2 Ibid., Sketch for Balcony prior to deformation of central portion, c.1945.
123.3 Maurits Escher, Senglea, Woodcut, 1935.
124.1 Ibid., Preparatory sketch for the Picture Gallery, c. 1956.
124.2 Ibid., Picture gallery, 1956.
125.1 Holograms
125.2 " "
126.1 Holograms
126.2 "
127.1 "
128.1
Cameras
129.1-3 Video cameras confirming the principles of linear perspective from the Education department at the Museum für bildende Künste (Munich).
130.1-3 Further examples of the same principle.
130.1 David Hockney, Drawing of Ossie Clark, 1970.
131.2 Ibid., Photograph of Ossie Clark at home, 1970.
131.3 Ibid., Study for Mr. and Mrs Clark and Percy, 1970.
131.4 Ibid., Mr. and Mrs. Clark and Percy, 1970.
132.1 Ibid., Terrace with Shadows, Photographic collage, 1985.
132.2 Ibid., Pearblossom Highway, Photographic collage, 1986.
133.1 Dick Termes
134.1 Ibid
Alternative Methods
135.1 Dick Termes, Spheres
135.2 Ibid., Two Spheres
136.1 Termes, One Sphere from six Viewpoints
136.2 Termes, Six Spheres
137.1 Termes, Polygons
138.1 Termes, Polygons
Virtual Reality
139.1 Virtual world by Superscape.
139.2 Another view by moving the simulated figure.
140.1 An endogenous view from inside an automobile in the virtual world by Superscape.
140.2 An exogenous view " "
141.1-2 Two simulations of real places using fractals with Vistapro software
142.1 A landscape rendered by Vistapro used as a background for an image of a balloon rendered in 3-D Studio.
142.2 A Martian landscape rendered by Vistapro, to which a robot created in 3-D Studio was added before being completed in Vistapro.
143.1 An actor (***)whose lip and other movements are being recorded in real time for use in Softimage software in preparing Twenty Thousand Leaguers Under the Sea (1995), the first full length computer animated film..
144.1 The resulting motions transposed to the animated version of the protagonist in the same film.
145.1 Simulated view of the Nevada desert using Defense Mapping Agency (DMA) terrain elevation data and photographs from Ken Pimentel and Kevin Teixeira, Virtual reality. Through the new looking glass, New York: Intel, Windcrest, McGraw Hill, 1993, p. 142 .
145.2 Simulated underwater scene in Anti-submarine war in Gigore Burdea, Philippe Coifet, La réalité virtuelle, Paris, 1994, pl. 19.
146.1 Perspectival view of alien landscape.
146.2 Computer generated view of Valles Marineris (Mariner Valleys) from Pimentel and Teixeira, as in plate 137.
Last Update: August 3, 1998