Detail of a sketch “Dance to the Berdache” by George Catlin (1796-1872).

详细素描画请见由乔治·卡特林(1796-1872)艺术作品“面向童子舞蹈”。

A concave mirror would project a real inverted image of the silverpoint onto the panel, which van Eyck would trace.

凹面镜把实像投射到木板上，于是范艾克便可以在板子上描画。

In chapter thirteen, Aristotle outlines an ideal of the central character of tragedy, the so-called tragic hero, and identifies the source of the character's downfall with something called hamartia.

在第十三章，里斯多德描画了一个悲剧中心--悲剧主人公理想，并指出该堕落是因为一种叫“悲剧性缺陷”（hamartia）东西。

Detail of a sketch “Dance to the Berdache” by George Catlin (1796-1872).

详细素描画请见由乔治·卡特林(1796-1872)艺术作品“面向童子舞蹈”。

A concave mirror would project a real inverted image of the silverpoint onto the panel, which van Eyck would trace.

凹面镜把实像投射到木板上，于是范艾克便可以在板子上描画。

In chapter thirteen, Aristotle outlines an ideal of the central character of tragedy, the so-called tragic hero, and identifies the source of the character's downfall with something called hamartia.

在第十三章，里斯多德描画了一个悲剧中心--悲剧主人公理想，并指出该堕落是因为一种叫“悲剧性缺陷”（hamartia）东西。

Detail of a sketch “Dance to the Berdache” by George Catlin (1796-1872).

详细的素描画请见由乔治·卡特林(1796-1872)的艺术作品“面向童子的舞蹈”。

A concave mirror would project a real inverted image of the silverpoint onto the panel, which van Eyck would trace.

凹面镜把颠倒的实像投射到木板上，于是范艾克便可以在板子上描画。

In chapter thirteen, Aristotle outlines an ideal of the central character of tragedy, the so-called tragic hero, and identifies the source of the character's downfall with something called hamartia.

在第十三章，里斯多德描画了一个悲剧中心角色--悲剧主人公的理想，并指出该角色的堕落是因为一种叫“悲剧性缺陷”（hamartia）的东西。

Detail of a sketch “Dance to the Berdache” by George Catlin (1796-1872).

详细素描画请见由乔治·卡特林(1796-1872)艺术作品“面向童子舞蹈”。

A concave mirror would project a real inverted image of the silverpoint onto the panel, which van Eyck would trace.

凹面镜把颠倒实像投射到，于是范艾克便可以在子描画。

In chapter thirteen, Aristotle outlines an ideal of the central character of tragedy, the so-called tragic hero, and identifies the source of the character's downfall with something called hamartia.

在第十三章，里斯多德描画了一个悲剧中心角色--悲剧主人想，并指出该角色堕落是因为一种叫“悲剧性缺陷”（hamartia）东西。

Detail of a sketch “Dance to the Berdache” by George Catlin (1796-1872).

详细的素描画请见·卡特林(1796-1872)的艺术作品“面向童子的舞蹈”。

A concave mirror would project a real inverted image of the silverpoint onto the panel, which van Eyck would trace.

凹面镜把颠倒的实像投射到木板，于是范艾克便可以在板子描画。

In chapter thirteen, Aristotle outlines an ideal of the central character of tragedy, the so-called tragic hero, and identifies the source of the character's downfall with something called hamartia.

在第十三章，里斯多德描画了一个悲剧中心角色--悲剧主人公的理想，并指出该角色的堕落是因为一种叫“悲剧性缺陷”（hamartia）的东西。

Detail of a sketch “Dance to the Berdache” by George Catlin (1796-1872).

详细的素描画请见由乔治·卡特林(1796-1872)的艺术作品“面向童子的舞蹈”。

A concave mirror would project a real inverted image of the silverpoint onto the panel, which van Eyck would trace.

凹面镜把颠倒的实像投射到木板上，于是范可以在板子上描画。

In chapter thirteen, Aristotle outlines an ideal of the central character of tragedy, the so-called tragic hero, and identifies the source of the character's downfall with something called hamartia.

在第十三章，里斯多德描画了一个剧中心--剧主人公的理想，并指出该的堕落是因为一种叫“剧性缺陷”（hamartia）的东西。

Detail of a sketch “Dance to the Berdache” by George Catlin (1796-1872).

详细的素描画请见由乔治·卡特林(1796-1872)的艺术作品“面向童子的舞蹈”。

A concave mirror would project a real inverted image of the silverpoint onto the panel, which van Eyck would trace.

凹面镜把颠倒的实像投射到木板上，于是范艾克便可以在板子上描画。

In chapter thirteen, Aristotle outlines an ideal of the central character of tragedy, the so-called tragic hero, and identifies the source of the character's downfall with something called hamartia.

在章，里德描画了一个悲剧中心角色--悲剧主人公的理想，并指出该角色的堕落是因为一种叫“悲剧性缺陷”（hamartia）的东西。

Detail of a sketch “Dance to the Berdache” by George Catlin (1796-1872).

详细的素描画请见由乔治·卡特林(1796-1872)的艺术作品“面向童子的舞蹈”。

A concave mirror would project a real inverted image of the silverpoint onto the panel, which van Eyck would trace.

凹面镜把颠倒的实像投板上，于是范艾克便可以在板子上描画。

In chapter thirteen, Aristotle outlines an ideal of the central character of tragedy, the so-called tragic hero, and identifies the source of the character's downfall with something called hamartia.

在第十三章，里斯多德描画了一个悲剧中心角色--悲剧主人公的，指出该角色的堕落是因为一种叫“悲剧性缺陷”（hamartia）的东西。

Detail of a sketch “Dance to the Berdache” by George Catlin (1796-1872).

详细的素描画请见由乔治·卡特林(1796-1872)的艺术作品“面的舞蹈”。

A concave mirror would project a real inverted image of the silverpoint onto the panel, which van Eyck would trace.

凹面镜把颠倒的实像投射到木板上，于是范艾克便可以在板上描画。

In chapter thirteen, Aristotle outlines an ideal of the central character of tragedy, the so-called tragic hero, and identifies the source of the character's downfall with something called hamartia.

在第十三章，里斯多德描画了一个中心角色--主人公的理想，并指出该角色的堕落是因为一种“性缺陷”（hamartia）的东西。