Preface -- Translators' Note -- Acknowledgements -- Daniele Barbaro and the Geometric Solids -- Daniele Barbaro's Innovations in Perspective Studies -- Dedication to Matteo Macigni -- Foreword -- Part I, setting up a perspective -- The Ordering of the principles -- On the eye -- On the way of seeing -- On the thing seen -- On distance -- On the division of planes -- Where the eye must be placed -- On the distance -- Of the size that figures must be made in the painting -- Part II, in which are treated ichnographia, that is, the description of the plan -- The practice of describing figures -- The way of describing plans -- The way to degrade a given plane -- The way to reduce the degraded plane into a square -- Division of the degraded square according to the perfect square -- The way to add to or take away from the degraded square -- How to cut a square from a quadrangular surface that is wider than it is long -- How to respond to those who, in dividing the plane into braccia, come to have a foreshortening that is larger than the perfect -- The plan of the triangle, and how the degraded is made from the perfect form -- How to form the plan of a cube -- Other ways of making plans -- Part III, which treats the ways of raising the body from the plan -- Three ways of raising bodies from the plans -- Unfolding, raising and shadowing the pyramid -- Unfolding, raising and shadowing the cube -- Unfolding, raising and shadowing the body called 'octahedron' -- Unfolding, raising and shadowing the dodecahedral body -- Unfolding, raising and shadowing the body called 'icosahedron' -- Description of the irregular bodies that are born from the regular bodies [truncated tetrahedron] -- Description of a body that is born from the cube and from the octahedron, and its unfolding [cubocatahedron] -- Description of another irregular body that is born from the cube [truncated cube] -- Description and unfolding of another body that is born from the cube [small rhombicuboctahedron] -- Unfolding and description of a body that is born from the octahedron [truncated octahedron] -- Unfolding and description of a body that is born from the dodecahedron and from the icosahedron [icosidodecahedron] -- Unfolding and description of another body that is born from the dodecahedron [truncated dodecahedron] -- Unfolding and description of another body that is born from the icosahedron [truncated icosahedron] -- Unfolding and description of another body that is born from a composite body [great rhombicuboctahedron] -- Unfolding and description of another body that is born from a composite body [rectified truncated octahedron] -- Unfolding and description of another body composite body [small rhombicosidodecahedron] -- Unfolding and description of another body [rectified truncated icosahedron] -- Unfolding of some other bodies [truncated pentakis dodecahedron] -- Unfolding of another irregular body [truncated truncated icosahedron] -- Unfolding of some other bodies [great rhombicosidodecahedron] -- Unfolding of another irregular body [truncated truncated octahedron] -- Unfolding of another irregular body [great rhombicosidodecahedron augmented with pentagonal cupolas] -- Unfolding of another irregular body [great rhombicuboctahedron augmented with square cupolas] -- Unfolding of another irregular body -- Unfolding of some bodies based on the surfaces of bodies both regular and irregular, and first that which is based on the pyramid [elevated tetrahedron] -- Unfolding of a body based on the cube [elevated cube] -- Unfolding of a body based on the octagon [elevated octahedron] -- Unfolding of a body based on the dodecahedron [elevated dodecahedron] -- Unfolding of a body based on the icosahedron [elevated icosahedron] -- Unfolding of a body based on an irregular body [elevated cuboctahedron] -- Unfolding of a body resting on an underlying body [elevated small rhombicuboctahedron] -- Unfolding of another body [elevated icosidodecahedron] -- Description of some of the previous bodies with pyramids -- Some easy and quick ways to draw plans and bodies -- How to degrade many circles drawn on the same centre and divided into several parts -- An easy way to degrade without rulers -- Description of the torchio, or mazzocchio -- The perfect description of the mazzocchio -- Part Four, in which will be treated scenographia, that is, the description of scenes -- The manners of scenes -- Description and shading of the Tuscan base -- Description and shading of the Attic base -- Description and description of the Ionic base -- Description and degradation of columns -- Description and degradation of the Tuscan capital -- Description and degradation of the Doric capital -- Description and degradation of the Ionic capital -- Description and degradation of the Corinthian capital -- Description of the Doric architrave -- Description of the Ionic architrave and the pediment -- Rules for the heights of the architraves and ways to transpose them from one size to another -- The description and degradation of stairs -- Of arches, vaults and doors -- Plan, elevation and profile of a temple -- Description of the Tragic scene -- Description of the Comic scene -- Description of the Satiric scene -- Part V, in which is set forth a fine and secret part of perspective -- [Distorting images] -- Part VI, which is called Planispherio -- Unfolding, description and degradation of the sphere -- Projection of the sphere onto the plane according to the ancients -- How to make projections of oblique circles -- The projection of the circles of the heights onto the plane -- Part VII, which treats lighting, shadows and colours -- [The importance of light, colour and chiaroscuro] -- On the projection of shadows -- Part VIII, in which are treated the measures of the human body -- Measurement of the human body -- The way to describe the plan of the human head -- How to describe heads that are neither in profile nor straight on -- The way to make heads that look either up or down -- Part IX, in which are described many instruments and ways of rendering things in perspective and transporting them -- The author's instrument for making clocks in every climate, on every plane and for every sort of hour -- The use of the universal clock -- Albrecht Dürer's instrument for making perspectives -- Building another instrument by Baldassarre Lanci -- Natural manners of rendering things in perspective -- [Appendix] How with a new instrument it is possible to know the inclination of scarps of walls, according to the invention of Giacomo Castriotto -- Index.