【旷世杰作的秘密】圣罗马诺的战役25
《圣罗马诺的战役：契阿尔达被杀下马》表现了锡耶纳指挥官契阿尔达被佛罗伦萨的军官杀下马的情形；《圣罗马诺的战役：抵抗米切雷托·达·勾提尼欧拉.》表现的是佛罗伦萨城解围，佛罗伦萨军队在锡耶纳军队在度阿诺河时发起反攻，大败锡耶纳军队。
❤ HITNS：
Uccello
Battle of San Romano
Niccolo da Tolentino
全文听写，英式拼法
http://t1.g.hjfile.cn/listen/201305/201305230856406024651.mp3To construct the three-dimensional space of the Battle of San Romano, Uccello would have begun with his plain white prepared board. Then he would have sketched in a horizon, and drawn lines meeting at a central vanishing point. Sketching in two diagonal lines across the painting would then have allowed him to construct a regular series of horizontal lines at the intersections. And it is this grid or "ghost pavement" that allowed him to scale his figures with mathematical precision.
The great advantage of the ghost pavement is it acts as a sort of sliding scale. Anything you know the size of you can push back so that they gradually get smaller and smaller and smaller, and there's every indication in this picture that he's done exactly that.
Uccello could use the squares of the ghost pavement to determine the height of his figures. Niccolo da Tolentino in the foreground is four squares high. If Uccello had wanted to move him further back into the painting, the figure would have remained four squares high. But as the squares become smaller, so to does Tolentino.想要创造“圣罗马诺的战役”的空间感，乌切罗必须从空白的画板着手。首先定出地平线，并以中央消失点为中心，拉出一系列直线。他在画板上画出两条交叉对角线，再沿着交叉点拉一连串横线，这种被称为“鬼魅铺面”的格状图让他得以用数学般的精确绘制画中的人物。
鬼魅铺面的好处是它有点像计算尺，任何已知尺寸的食物都可以往后拉，觉得越来越小，这正是他绘制这件作品时用的技巧。乌切罗利用这幅画的鬼魅铺面确定画中人物的高度，前景中的塔伦提诺有四格高，若乌切罗想把他的位置后移，高度仍然维持四格，所以塔伦提诺的尺寸会随着格子而缩小。
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