| 1. | But hockney ' s theory would push the earliest date a quarter of a millennium earlier still
但霍克尼的理论把这种技术更往前推了250年有馀。 |
| 2. | According to hockney , the chandelier “ is in perfect perspective , ” as it would be if drawn under projection
据霍克尼的说法，这盏吊灯具有完美的透视，如果它是用投射法画成的，也理当如此。 |
| 3. | Among the lost artworks were paintings by pablo picasso , david hockney ( ph ) and roy lichtenstein , photographs by cindy sherman
损失的艺术品中有毕加索、大卫?霍克尼和李奇登斯坦的绘画，辛迪、谢尔曼的摄影作品。 |
| 4. | My finding about the unlikely focal length of the putative projection mirror has a second implication , even more constraining to the hockney theory
既然设想中投射镜的焦距不太可能实现，我的发现还延伸出第二个推论，更使霍克尼的理论受限。 |
| 5. | Van eyck ' s portrait of giovanni arnolfini and his wife ( 1434 ) ? one of the earliest masterpieces in the northern renaissance ? is a key exhibit in hockney ' s theory
范艾克的阿诺菲尼的婚礼（ 1434 ，北欧文艺复兴最早的杰作之一）在霍克尼的理论中居关键地位。 |
| 6. | Given the surviving records for all manner of other optical systems and mechanical drawing aids , the absence of evidence for the hockney projector is difficult to explain
其他光学系统与绘图辅助工具的记录，到今天都还留存了不少，为何唯独缺乏霍克尼投影设备的证据，显然很难解释。 |
| 7. | It is hard to reconcile this requirement with the manifestly indirect indoor illumination in the arnolfini portrait and in many early renaissance paintings adduced as evidence by hockney
这就与霍克尼引证的阿诺菲尼肖像及诸多文艺复兴早期绘画不一致了，他们的照明显然是室内的间接光线。 |
| 8. | And so important are these optical instruments and techniques to his theory that hockney says the history of art from that time is intimately linked with the history of optics itself
由于光学设备和技术对他的理论来说至为重要，因此霍克尼认为，艺术史从那时起就已经与光学的发展史息息相关。 |
| 9. | The artist would then either trace the contours of the image and apply paint or perhaps even paint directly under the image , although , as hockney acknowledges , painting under optical projections is extremely difficult
然后画家可以描下影像的轮廓，之后再上色，或是甚至直接就著影像作画；不过霍克尼本人也了解，在投射的影像上直接作画其实非常困难。 |
| 10. | Hockney and falco explain this shift as follows : van eyck traced part of the image projected in an epidiascope , then accidentally bumped the silverpoint , the oil or the mirror , and finally traced the remaining , now shifted , image
霍克尼与法柯对此位移的解释如下：范艾克用幻灯机描了部份的影像后，不小心碰到银尖笔、油画、或者镜子，然后继续描完剩下已经位移的影像。 |
