Die Vorbereitung, die für die folgende Figur und für alle anderen horizontalen Perspektiven notwendig ist, sei es auf flachen oder gewölbten Decken.

Related Artworks

• Elevation of the Ionick design in perspective. Andrea Pozzo 1707
• The composite capital in perspective Andrea Pozzo 1707
• Self-Portrait Andrea Pozzo 1703
• A side-view of the composite cornice, in perspective. Andrea Pozzo 1707
• Preparatory to the thirty-seventh. [Outline and perspective lines.] Andrea Pozzo 1707
• An octangular tabernacle in perspective. Andrea Pozzo 1707
• The Dorick base in perspective. Andrea Pozzo 1707
• The horizontal projection of the ballustrade of the eighty-seventh figure, view’d at a small distance. Andrea Pozzo 1707
• A piece of Dorick architecture in perspective. Andrea Pozzo 1707
• The geometrical upright of the foregoing Ionick design. Andrea Pozzo 1707
• The plan of the fortieth figure in perspective. Andrea Pozzo 1707
• Preparatory to the thirty-ninth. [Outline and perspective lines.] Andrea Pozzo 1707
• The Corinthian capital in perspective Andrea Pozzo 1707
• The manner of avoiding confusion, in reducing plans and elevations into perspective. Andrea Pozzo 1707
• The delineation of an oblong square in perspective. Andrea Pozzo 1707
• The geometrical elevation of the foregoing plan, and second preparation to the seventy-first figure. Andrea Pozzo 1707
• Rules and examples of perspective, proper for painters and architects, etc - Frontispiece Andrea Pozzo 1707
• A Corinthian cornice in horizontal perspective. Andrea Pozzo 1707
• The Corinthian pedestal, with its pilasters, in perspectives. Andrea Pozzo 1707
• The plan of a circular work in perspective. Andrea Pozzo 1707
• The attick base in perspective. Andrea Pozzo 1707
• The architecture of Vignola in perspective; and first, of the pedestal of the Tuscan order. Andrea Pozzo 1707
• The geometrical elevation of a Corinthian work. Andrea Pozzo 1707
• A Tuscan column in perspective. Andrea Pozzo 1707
• The Four Stages of Cruelty; The Reward of Cruelty (Anatomy Theatre) William Hogarth 1751
• Sankatsu Hanshichi no bosetsu – The maternal love of Sankatsu and Hanshichi Kitagawa Utamaro 1793-1804
• Venus and Cupid Lucas Cranach the Elder ca. 1525-27
• The Kitchen Carl Larsson
• Jeanne; Spring Édouard Manet 1882
• Saint Jerome in Penitence Lucas Cranach the Elder 1509
• An Iron Forge Joseph Wright of Derby 1773
• Milton, a poem in 2 books Pl.38 William Blake 19th century
• Enoshima Island (Figure on an ox, waves) Utagawa Hiroshige 19th century
• The Alchemist Joseph Wright of Derby 1775
• Milton, a poem in 2 books Pl.07 William Blake 19th century
• Tôji san bijin – Three beauties of the present day Kitagawa Utamaro 1793-1804
• Hamlet and Polonius (Act II, scene ii) Eugène Delacroix 1864
• After the Bath Edgar Degas 1891-92
• Pl. 25 – The Little Black Boy William Blake 1789
• Various Types of Torii Arch Katsushika Hokusai 1816
• Bacco adolescente Caravaggio from 1595 until 1597
• The Windmill at Wijk bij Duurstede Jacob van Ruisdael c. 1668 - c. 1670
• Landscape with a Windmill Jacob van Ruisdael 1646
• The Crucifixion Annibale Carracci
• The Coronation of Marie de Médicis, May 13, 1610 Peter Paul Rubens
• Saint Sebastian Guido Reni 1615
• Interior with Women beside a Linen Cupboard Pieter De Hooch 1663
• Self-portrait Rembrandt van Rijn 1633
• Houses Charles Demuth 1918
• Reading Stand E. Boyd 1935-1942
• Mosaik-Bäuder am Dom zu Frorenz Friedrich Maximilian Hessemer 1842
• Headfort House Great Room Door and Panel Robert Adam between 1771 and 1775
• Design for Coffered Ceiling, Mme Païva’s Chateau at Neudeck Jules-Edmond-Charles Lachaise 19th Century
• Mosaik-Fussböden aus der Kirche Or’ San Michele zu Florenz 2 Friedrich Maximilian Hessemer 1842
• Tourelle.‎ ‎—‎ ‎Structure‎ ‎de‎ ‎briques‎ ‎émaillées‎ Eugène-Emmanuel Viollet-le-Duc 1877
• Mosaik-Fussböden in der Kirche S. Giovanni battista zu Florenz 2 Friedrich Maximilian Hessemer 1842
• Contemptuous of the Insults Francisco de Goya 1816-1820
• Euclid Jusepe de Ribera about 1630-1635
• The Daughters of Zelophehad Frederick Richard Pickersgill 1865[-]81
• Dr. David Hayes Agnew Thomas Eakins a. 1889
• The Tribute Money Titian circa 1485
• Tempest, act I, scene II, Prospero; by accident most strange, bountiful fortune, now my dear lady, hath mine enemies brought to this shore Walter Crane