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Now, although this method may seem complicated,
雖然這種方法看上去有些復雜，
artists since antiquity have used anatomical observations to try to get the proportions of the human figure as accurate as possible,
但畫家們從古代起就使用了解剖觀察來試著盡可能精準地弄清人類的身材比例，
though obviously not to the degree that Alberti was recommending.
雖然顯然沒有達到Alberti推薦的那種程度。
Now, in addition to characters, the setting is extremely important, especially when attempting to tell a story realistically.
除了人物之外，環境也極其重要，尤其是在試圖逼真地講述一個故事的時候。
Renaissance artists essentially needed to create a three-dimensional scene on a two-dimensional surface.
文化復興藝術家們本質上需要在一個二維的表面上創作出一個三維的景象。
They accomplished this by the use of perspective, a relatively new idea for artists at the time.
他們通過運用透視法實現了這一點，這對當時的藝術家來說是一個相對較新的概念。
In particular, the type of perspective that Alberti advocated was called “Linear One-point Perspective”.
尤其是Alberti提倡的這種透視法被稱為“線性一點透視法”。
In fact, Alberti was one of the artists who developed the geometry behind linear one-point perspective.
事實上，Alberti是開發出了線性一點透視法背后的幾何結構的藝術家之一。
Linear perspective basically consists of drawing straight lines that extend from the forefront of the painting into the background,
線性透視法主要由畫從畫的最前部延伸到后面的直線組成，
lines that seem to be paralleled to each other, but which actually converge on a single point in the horizon, called the vanishing point.
這些直線似乎是互相平行的，但實際上匯聚到了水平線上的一個單獨的點，這個點叫做沒影點。
By drawing figures and objects smaller and smaller, as the lines get closer together, the artist is able to create depth in a painting.
通過把人物和物體畫得越來越小，隨著這些線條離彼此越來越近，畫家能夠在畫上創造出深度。
This gives the illusion of a third dimension, and makes the work of art more realistic.
這產生了一種第三維度的錯覺，并且把這個藝術品變得更逼真了。
