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POWER ELECTRONIC
SYSTEM DESIGN
Linking Differential
Equations, Linear Algebra,
and Implicit Functions
KENG C. WU
Switching Power, Inc. Ronkonkoma, NY, United States
POWER ELECTRONIC
SYSTEM DESIGN
Linking Differential
Equations, Linear Algebra,
and Implicit Functions
Elsevier
Radarweg 29, PO Box 211, 1000 AE Amsterdam, Netherlands
The Boulevard, Langford Lane, Kidlington, Oxford OX5 1GB, United Kingdom 50
Hampshire Street, 5th Floor, Cambridge, MA 02139, United States
No part of this publication may be reproduced or transmitted in any form or by any means,
electronic or mechanical, including photocopying, recording, or any information storage
and retrieval system, without permission in writing from the publisher. Details on how to
seek permission, further information about the Publisher’s permissions policies and our
arrangements with organizations such as the Copyright Clearance Center and the
Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions.
This book and the individual contributions contained in it are protected under copyright
by the Publisher (other than as may be noted herein).
Notices
Knowledge and best practice in this field are constantly changing. As new research and
experience broaden our understanding, changes in research methods, professional practices,
or medical treatment may become necessary.
Practitioners and researchers must always rely on their own experience and knowledge in
evaluating and using any information, methods, compounds, or experiments described
herein. In using such information or methods they should be mindful of their own safety
and the safety of others, including parties for whom they have a professional responsibility.
To the fullest extent of the law, neither the Publisher nor the authors, contributors, or
editors, assume any liability for any injury and/or damage to persons or property as a matter
of products liability, negligence or otherwise, or from any use or operation of any methods,
products, instructions, or ideas contained in the material herein.
ISBN: 978-0-323-88542-3
2 First-order circuits 19
2.1 RC network with periodic drive source 19
2.2 Sawtooth (triangle ramp) generator 30
2.3 Full-wave rectifier with RC load 33
2.4 A brushless DC Motor with permanent magnets rotor 38
2.5 A BLDC motor speed detector 45
References 47
3 Current source 49
3.1 Semiconductor diode equation 49
3.2 Simple current source 50
3.3 Bob Widlar current source 54
3.4 Improved current source 58
3.5 Source impedance 60
3.6 555 timer 64
3.7 Precision current loop 70
3.8 Current-mode laser driver 74
3.9 LED array driver 76
3.10 JFET current source 77
3.11 MOSFET current source 78
vii
viii Contents
4 Second order 81
4.1 Form 81
4.2 Root 83
4.3 Time domain 85
4.4 Frequency domain 89
4.5 Parallel and serial resonance 92
4.6 Eigen value approach 103
4.7 RC filters and Sallen–Key filters 104
4.8 Power filters 111
4.9 Oscillator 113
4.10 Implicit function 120
xi
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Preface
Years ago, Prof. Emeritus Chi-Tsong Chen, the author of Linear System
Theory and Design, a very successful textbook (Oxford University Press), met
the author at his Flushing, New York residence. In the meeting, and in the
preface of Signals and Systems – A Fresh Look his last publication (PDF form
free to all globally), Prof. Chen lamented that “Feedbacks from graduates
that what they learned in university is not used in industry prompted me to
ponder what to teach in signals and systems.”
Sadly,and based on long professional career serving RCA/GE/Lockheed
Martin space sector, the author can definitively confirm the fact Prof.
Chen was sad about. The less-than-desirable state had existed, and is still
present,in the form that many degree-holding engineers including electrical,
electronic, mechanical, and other specialties are falling short in applying
mathematical tools they were taught in college. Given electrical schematic
drawings, they were unable to formulate and express systems’ dynamics in
state variables and state transition using the first-order differential equations
and linear algebra technique. As a result, they were unable to boost their
productivity using software such as MATLAB.
This book intends to bridge the gap—what is taught in college and how
it is being applied in industry. In essence, this writing shall be considered
didactic.
It begins with Chapter one giving capacitors and inductors, two indis-
pensable energy storage components, an in-depth examination from the
view point of the first-order derivative, its corresponding integral form,
and its physical implications. Chapter two covers RC- and RL-type net-
works governed by a single differential equation. Key steps moving system
differential equations to Laplace transform in a frequency domain and to
a state-space transition form are introduced. Along the way, unconven-
tional approaches deriving Fourier series, explaining orthogonal property,
or treating boundary value problems are also explored. Chapter three covers
current sourcing circuits including current mirror, the workhorse of analog
integrated circuits, and precision current generator loops critical to instru-
mentation. Chapter four extends Chapter two to networks of second order
governed by two first-order differential equations. Procedures transforming
multiple differential equations to Laplace form, to state-transition form, and
to state-transition solution are shown. Chapter five examines circuit blocks
xiii
xiv Preface
was said true in the past may not be true in the future when new discoveries
see the daylight.
On the backdrop of the above conviction, this author took additional
efforts to make this writing also available in Chinese language;thanks to pub-
lisher Elsevier for granting such translation right. Thanks are also extended
to Mr. , at ITRI (Industrial Technology Research Institute, Hsinchu Taiwan),
who had performed the translation, a very demanding task considering the
limitations of Chinese language in handling technical subjects.
With the advance of miniaturized electronic hardware and supercom-
puter equipped with mathematical co-processors, engineering design tasks
are now mostly carried out by the simulation and computation. The
implementation of both always requires design formulation in the form
of analytical expressions based on, in most cases, systems of differential
equations with coefficients depending on components/parts values.
In the course of almost four decades‘Ł‘™professional career in aerospace
industries, the author had definitely derived significant benefits from follow-
ing the path outlined above.
You, readers, can certainly do the same.
Keng C. Wu
Princeton, NJ.
Dec. 2020
CHAPTER 1
i
dv(t ) +v
i(t ) C (1.1)
dt
Power electronic system design. Copyright © 2021 Elsevier Inc.
DOI: 10.1016/B978-0-32-388542-3.00004-2 All rights reserved. 1
2 Power electronic system design
v
i
t
t
v
By the same token, inductor and its electrical symbol was always intro-
duced by the following
i
di(t ) +v
v(t ) L (1.4)
dt
In this form, one important property of inductor stands out. That is, the
device allows a DC current, IDC , which however does not contribute to its
voltage.
3. The allowed DC current is however constrained within a limit; the
magnetic core saturation and winding wire Ampere rating.
i1 i2
v1 v2
N1 N2
B-H curve
0.4 0.4
0.2
B( H)
Tesla
0 0
−0.2
−0.4
−0.4
−400 −200 0 200 400
−400 H 400
Oersted
N1 i1 Aw1
λ1 = N1 1 = N1 Aw1 B = N1 Aw1 μoμr = N12 μoμr i1 = L1 i1
Lm Lm
(1.7)
where Aw1 stands for winding 1 cross-sectional area.
Under the same driving condition, Eq. (1.8), a cross-coupled flux linkage,
holds for winding 2, assuming Aw2 < Aw1 .
N1 i1 Aw2
λ2 = N2 2 = N2 Aw2 B = N2 Aw2 μoμr = N2 N1 μoμr i1
Lm Lm (1.8)
λ2 = M21 i1
Capacitor and inductor 7
B-H curve
0.4 0.4
0.2
B(H, 50)
Tesla 0
0
B(H, −50)
−0.2
−0.4
−0.4
−400 −200 0 200 400
−400 H 400
Oersted
Va
flux
−Va
Va Va
0
−Va −Va
(a) (b)
Fig. 1.8 Lumped model of real (a) capacitors and (b) inductors.
i1 M i2
v1 v2
N1 N2
1:1
i1 L 1 - M L2 - M i2
v1 M v2
Ideal
1:1
i1
(L1L2 - M 2 )/ i2
v1 M
v2
(L1L2 - M 2 )/ (L1L2 - M 2 )/ Ideal
(L2-M ) (L1-M )
Taking Laplace transform for the left most parts of Eqs. (1.21) and (1.22),
we reach a new equation set
v1 = sL1 I1 (s) + sMI2 (s) v2 = sMI1 (s) + sL2 I2 (s) (1.23)
Eq. (1.23) enables us to express I1 and I2 in terms of v1 and v2 .
v1 sM
v2 sL2 sL2 v1 − sMv2 (L2 − M )v1 + M (v1 − v2 )
I1 = = 2 =
sL1 sM s L 1 L2 − M 2 s L 1 L2 − M 2
sM sL2 (1.24)
v1 (v1 − v2 )
= +
−M
s L1 L2M−M
2 2
s L1LL22−M
sL1 v1
sM v2 sL1 v2 − sMv1 (L1 − M )v2 + M (v2 − v1 )
I1 = = 2 =
sL1 sM s L 1 L2 − M 2 s L 1 L2 − M 2
sM sL2 (1.25)
v2 (v2 − v1 )
= +
L1 L2 −M 2
s L1 L2M−M
2
s L1 −M
1:1
i1 (1-k 2)L 1 i2
v1 k 2L 1 v2
Ideal
Ac
Aw
Fig. 1.13 Half of a ferrite core; Ac = center post core area; Aw . (dotted line) = winding
window area, small filled circles = coil wires.
Here, Bmax is often chosen to be less than Bsat . Kf is a scaling factor relating
the RMS value of a periodic voltage and its time-domain magnitude.
Next, for each winding with peak current ij , a winding area (Aw )j is
conceptually assigned. Due to wire shape and unavoidable stacking in actual
build, only k(Aw )j is utilized. Given a desired inverse current density J [unit,
length2 /Amp],the winding peak current and its corresponding winding area
is associated by
k · (Aw ) j
ij = (1.28)
JN j
Eqs. (1.27) and (1.28) allow, for jth winding, its area product
(Vrms ) j JN j i j J (Vrms ) j i j
Ac (Aw ) j = · = (1.29)
K f f N j Bmax k kK f f Bmax
The total core cross-sectional area and winding area product covering all
winds is then
J
Ac A w = A c (Aw ) j = (Vrms ) j i j (1.30)
j
kK f f Bmax j
The summation on the right-hand side hints the total power handling
capacity of the device. The mathematical formulation may not be exactly
right, but it does give the flavor.
Therefore, referring to Fig. 1.13 and ignoring unit discrepancy, the
volumetric size of a magnetic device, in numerical term, may be considered
Capacitor and inductor 15
almost twice of Eq. (1.30). Designers must check with core manufacturers
as to the accounting of the area2 number to avoid over, or under, count;
therefore over, or under, sizing a device.
1.11.1 Capacitor
A c B–L m H curve
0.4
Weber(volt.second)=AcB
Ψ(H, 50∙500)
Ψ(H, −50∙500)
−0.4
−2×105 H 2×105
AmpereTurn=LmH
1.11.2 Inductor
The intricacy for specifying magnetic devices is, in this writer’s view, orders
of magnitude harder than that for capacitors. Here, we will begin with an
important reexamination of the B-H curves given in Fig. 1.4 and Fig. 1.5.
As far as this writer has been able to reach, the most existing literature
including journalistic articles and textbooks dealing with the subject cover
it solely in terms of B(flux density)-H(field strength) parameters. What was
not clearly mentioned in those presentations is the underlying significance
of presenting in B-H form. In a single statement, we proclaim that the
curve in B-H parameter form is “material specific.” It is characterizing a
specific ferrous material in terms of per unit volume. In other words, it is
independent of core geometry.
Therefore, those material property curves can be easily modified to be
“core specific,” Fig. 1.14, in which core geometry is now included; Ac core
cross-sectional area and Lm magnetic path length. The plot x-axis coordinate
is HLm (Ampere) while the y-axis is Ac B (flux, per turn, in Weber) (Readers
should ignore numerical figures in Fig. 1.14. It just shows that the inclusion
of core geometry will alter plot coordinate scales.)
By the same token, it can be further modified to be “device specific” or
“winding specific,” “terminal specific” in which the winding turn number,
N, is included. With that, the plot x-axis coordinate is Ni (Ampere turn)
while the y-axis is NAc B (total flux linkage in volt-second = ∫vdt).
In summary, three aspects are involved in specifying a magnetic device:
core material B-H, core geometry Ac B–HLm , and winding terminal NAc B-
Ni.
Capacitor and inductor 17
“Rarus,” it is true, can also mean thin; but here it means only rare,
seldom appearing, and is applied to Fidelity herself, not to her
clothing. Spence would have been right, had the poet said, “Fides
raro velata panno.” Thirdly, Horace is said to have elsewhere called
faith or honesty transparent, in the sense in which friends protest to
one another, “I wish you could read my heart.” This meaning is said
to be found in the line of the eighteenth ode of the First Book:
Arcanique Fides prodiga, pellucidior vitro.
Caylus recommends this idea to the painter, but adds: “It is a pity
that Homer has given us no account of the attributes under which
Sleep was represented in his day. We recognize the god only by his
act, and we crown him with poppies. These ideas are modern. The
first is of service, but cannot be employed in the present case, where
even the flowers would be out of keeping in connection with the
figure of Death.” (Tableaux tirés de l’Iliade, de l’Odyssée d’Homère,
et de l’Enéide de Virgile, avec des observations générales sur le
costume, à Paris, 1757–58.) That is requiring of Homer
ornamentations of that petty kind most at variance with the nobility
of his style. The most ingenious attributes he could have bestowed on
Sleep would not have characterized him so perfectly, nor have
brought so vivid a picture of him before us, as the single touch which
makes him the twin brother of Death. Let the artist seek to express
this, and he may dispense with all attributes. The old artists did, in
fact, make Sleep and Death resemble each other, like twin-brothers.
On a chest of cedar, in the Temple of Juno at Elis, they both lay as
boys in the arms of Night. One was white, the other black; one slept,
the other only seemed to sleep; the feet of both were crossed. For so I
should prefer to translate the words of Pausanias (Eliac. cap. xviii. p.
422, edit. Kuhn), ἀμφοτέρους διεστραμμένους τοὺς πόδας, rather
than by “crooked feet,” as Gedoyn does, “les pieds contrefaits.” What
would be the meaning of crooked feet? To lie with crossed feet is
customary with sleepers. Sleep is thus represented by Maffei.
(Raccol. Pl. 151.) Modern artists have entirely abandoned this
resemblance between Sleep and Death, which we find among the
ancients, and always represent Death as a skeleton, or at best a
skeleton covered with skin. Caylus should have been careful to tell
the artists whether they had better follow the custom of the ancients
or the moderns in this respect. He seems to declare in favor of the
modern view, since he regards Death as a figure that would not
harmonize well with a flower-crowned companion. Has he further
considered how inappropriate this modern idea would be in a
Homeric picture? How could its loathsome character have failed to
shock him? I cannot bring myself to believe that the little metal
figure in the ducal gallery at Florence, representing a skeleton sitting
on the ground, with one arm on an urn of ashes (Spence’s Polymetis,
tab. xli.), is a veritable antique. It cannot possibly represent Death,
because the ancients represented him very differently. Even their
poets never thought of him under this repulsive shape.
Note 30, p. 76.
Richardson cites this work as an illustration of the rule that the
attention of the spectator should be diverted by nothing, however
admirable, from the chief figure. “Protogenes,” he says, “had
introduced into his famous picture of Ialysus a partridge, painted
with so much skill that it seemed alive, and was admired by all
Greece. But, because it attracted all eyes to itself, to the detriment of
the whole piece, he effaced it.” (Traité de la Peinture, T. i. p. 46.)
Richardson is mistaken; this partridge was not in the Ialysus, but in
another picture of Protogenes called the Idle Satyr, or Satyr in
Repose, Σάτυρος ἀναπαυόμενος. I should hardly have mentioned
this error, which arose from a misunderstanding of a passage in
Pliny, had not the same mistake been made by Meursius. (Rhodi. lib.
i. cap. 14.) “In eadem tabula, scilicet in qua Ialysus, Satyrus erat,
quem dicebant Anapauomenon, tibeas tenens.”
Something of the same kind occurs in Winkelmann. (Von der
Nachahm. der Gr. W. in der Mal. und Bildh. p. 56.) Strabo is the only
authority for this partridge story, and he expressly discriminates
between the Ialysus and the Satyr leaning against a pillar on which
sat the partridge. (Lib. xiv.) Meursius, Richardson, and Winkelmann
misunderstood the passage in Pliny (lib. xxxv. sect. 36), from not
perceiving that he was speaking of two different pictures: the one
which saved the city, because Demetrius would not assault the place
where it stood; and another, which Protogenes painted during the
siege. The one was Ialysus, the other the Satyr.
Note 31, p. 79.
This invisible battle of the gods has been imitated by Quintus
Calaber in his Twelfth Book, with the evident design of improving on
his model. The grammarian seems to have held it unbecoming in a
god to be thrown to the ground by a stone. He therefore makes the
gods hurl at one another huge masses of rock, torn up from Mount
Ida, which, however, are shattered against the limbs of the immortals
and fly like sand about them.
... οἱ δὲ κολώνας
χερσὶν ἀποῤῥήξαντες ἀπ’ οὔρεος Ἰδαίοιο
βάλλον ἐπ’ ἀλλήλους· αἳ δὲ ψαμάθοισιν ὁμοῖαι
ῥεῖα διεσκίδναντο θεῶν περὶ δ’ ἄσχετα γυῖα
ῥηγνύμενα διὰ τυτθά....
A conceit which destroys the effect by marring our idea of the size of
the gods, and throwing contempt on their weapons. If gods throw
stones at one another, the stones must be able to hurt them, or they
are like silly boys pelting each other with earth. So old Homer
remains still the wiser, and all the fault-finding of cold criticism, and
the attempts of men of inferior genius to vie with him, serve but to
set forth his wisdom in clearer light. I do not deny that Quintus’s
imitation has excellent and original points; but they are less in
harmony with the modest greatness of Homer than calculated to do
honor to the stormy fire of a more modern poet. That the cry of the
gods, which rang to the heights of heaven and the depths of hell,
should not be heard by mortals, seems to me a most expressive
touch. The cry was too mighty to be grasped by the imperfect organs
of human hearing.
Note 32, p. 80.
No one who has read Homer once through, ever so hastily, will
differ from this statement as far as regards strength and speed; but
he will not perhaps at once recall examples where the poet attaches
superhuman size to his gods. I would therefore refer him, in addition
to the description of Mars just quoted, whose body covered seven
hides, to the helmet of Minerva, κυνέην ἑκατὸν πολίων πρυλέεσσ’
ἀραρυῖαν (Iliad, v. 744), under which could be concealed as many
warriors as a hundred cities could bring into the field; to the stride of
Neptune (Iliad, xiii. 20); and especially to the lines from the
description of the shield, where Mars and Minerva lead the troops of
the beleaguered city. (Iliad, xviii. 516–519.)
ἦρχε δ’ ἄρά σφιν Ἄρης καὶ Παλλὰς Ἀθήνη,
ἄμφω χρυσείω, χρύσεια δὲ εἵματα ἕσθην,
καλὼ καὶ μεγάλω σὺν τεύχεσιν, ὥς τε θεώ περ,
ἀμφὶς ἀριζήλω· λαοὶ δ’ ὑπ’ ὑπολίζονες ἦσαν.
Judging from the explanations they feel called upon to give of the
great helmet of Minerva, Homer’s commentators, old as well as new,
seem not always sufficiently to have borne in mind this wonderful
size of the gods. (See the notes on the above-quoted passage in the
edition of Clarke and Ernesti.) But we lose much in majesty by
thinking of the Homeric deities as of ordinary size, as we are
accustomed to see them on canvas in the company of mortals.
Although painting is unable to represent these superhuman
dimensions, sculpture to a certain extent may, and I am convinced
that the old masters borrowed from Homer their conception of the
gods in general as well as the colossal size which they not
infrequently gave them. (Herodot. lib. ii. p. 130, edit. Wessel.)
Further remarks upon the use of the colossal, its excellent effect in
sculpture and its want of effect in painting, I reserve for another
place.
Note 33, p. 82.
Homer, I acknowledge, sometimes veils his deities in a cloud, but
only when they are not to be seen by other deities. In the fourteenth
book of the Iliad, for instance, where Juno and Sleep, ἠέρα
ἐσσαμένω, betake themselves to Mount Ida, the crafty goddess’s
chief care was not to be discovered by Venus, whose girdle she had
borrowed under pretence of a very different journey. In the same
book the love-drunken Jupiter is obliged to surround himself and his
spouse with a golden cloud to overcome her chaste reluctance.
πῶς κ’ ἔοι, εἴ τις νῶϊ θεῶν αἰειγενετάων
εὕδοντ’ ἀθρήσειε....
She did not fear to be seen by men, but by the gods. And although
Homer makes Jupiter say a few lines further on,—
Ἥρη, μήτε θεῶν τόγε δείδιθι μήτε τιν’ ἀνδρῶν
ὄψεσθαι· τοῖόν τοι ἐγὼ νέφος ἀμφικαλύψω,
χρύσεον.
“Fear thou not that any god or man will look upon us,” that does not
prove that the cloud was needed to conceal them from the eyes of
mortals, but that in this cloud they would be as invisible to the gods
as they always were to men. So, when Minerva puts on the helmet of
Pluto (Iliad, v. 485), which has the same effect of concealment that a
cloud would have, it is not that she may be concealed from the
Trojans, who either see her not at all or under the form of Sthenelus,
but simply that she may not be recognized by Mars.
Note 34, p. 87.
Tableaux tirés de l’Iliade, Avert. p. 5. “On est toujours convenu,
que plus un poëme fournissait d’images et d’actions, plus il avait de
supériorité en poésie. Cette réflexion m’avait conduit à penser que le
calcul des différens tableaux, qu’ offrent les poëmes, pouvait servir à
comparer le mérite respectif des poëmes et des poëtes. Le nombre et
le genre des tableaux que présentent ces grands ouvrages, auraient
été une espèce de pierre de touche, ou, plutôt, une balance certaine
du mérite de ces poëmes et du génie de leurs auteurs.”
Note 35, p. 88.
What we call poetic pictures, the ancients, as we learn from
Longinus, called “phantasiæ;” and what we call illusion in such
pictures, they named “enargia.” It was therefore said by some one, as
Plutarch tells us (Erot. T. ii. edit. Henr. Steph. p. 1351), that poetic
“phantasiæ” were, on account of their “enargia,” waking dreams: Αἱ
ποιητικαὶ φαντασίαι διὰ τὴν ἐνάργειαν ἐγρηγορότων ἐνύπνια
εἰσίν. I could wish that our modern books upon poetry had used this
nomenclature, and avoided the word picture altogether. We should
thus have been spared a multitude of doubtful rules, whose chief
foundation is the coincidence of an arbitrary term. No one would
then have thought of confining poetic conceptions within the limits
of a material picture. But the moment these conceptions were called
a poetic picture, the foundation for the error was laid.
Note 36, p. 89.
Iliad, iv. 105.
αὐτίκ’ ἐσύλα τόξον ἐΰξοον
καὶ τὸ μὲν εὖ κατέθηκε τανυσσάμενος, ποτὶ γαίῃ
ἀγκλίνας·...
αὐτὰρ ὁ σύλα πῶμα φαρέτρης, ἐκ δ’ ἕλετ’ ἰὸν
ἀβλῆτα πτερόεντα, μελαινέων ἕρμ’ ὀδυνάων·
αἶψα δ’ ἐπὶ νευρῇ κατεκόσμει πικρὸν ὀϊστὸν,
ἕλκε δ’ ὁμοῦ γλυφίδας τε λαβὼν καὶ νεῦρα βόεια·
νευρὴν μὲν μαζῷ πέλασεν, τόξον δὲ σίδηρον.
αὐτὰρ ἐπειδὴ κυκλοτερὲς μέγα τόξον ἔτεινεν,
λίγξε βιὸς, νευρὴ δὲ μέγ’ ἴαχεν ἆλτο δ’ ὀϊστὸς
ὀξυβελὴς, καθ’ ὅμιλον ἐπιπτέσθαι μενεαίνων.
Ibid. 148.
... Who could take offence
While pure description held the place of sense?
“All the description of his future race from Ascanius, and the battles,
in the order in which they should occur.” It would have been
impossible for the poet, in the same short space of time occupied by
Vulcan in his work, to mention by name the long line of descendants,
and to tell of all their battles in the order of their occurrence. That
seems to be the meaning of Servius’s somewhat obscure words:
“Opportune ergo Virgilius, quia non videtur simul et narrationis
celeritas potuisse connecti, et opus tam velociter expedire, ut ad
verbum posset occurrere.” Since Virgil could bring forward but a
small part of “the unnarratable text of the shield,” and not even that
little while Vulcan was at work, he was obliged to reserve it till the
whole was finished. For Virgil’s sake, I hope that this argument of
Servius is baseless. My excuse is much more creditable to him. What
need was there of putting the whole of Roman history on a shield?
With few pictures Homer made his shield an epitome of all that was
happening in the world. It would almost seem that Virgil, despairing
of surpassing the Greek in the design and execution of his pictures,
was determined to exceed him at least in their number, and that
would have been the height of childishness.
Note 40, p. 118.
“Scuto ejus, in quo Amazonum prœlium cælavit intumescente
ambitu parmæ; ejusdem concava parte deorum et gigantum,
dimicationem.”
“Her shield, on the convex side of which he sculptured a battle of
the Amazons, and on the concave side the contest of the gods and
giants.” (Plinius, lib. xxxvi. sect. 4.)
Note 41, p. 122.
The first begins at line 483 and goes to line 489; the second
extends from 490 to 509; the third, from 510 to 540; the fourth, from
541 to 549; the fifth, from 550 to 560; the sixth, from 561 to 572; the
seventh, from 573 to 586; the eighth, from 587 to 589; the ninth,
from 590 to 605; and the tenth, from 606 to 608. The third picture
alone is not so introduced; but that it is one by itself is evident from
the words introducing the second,—ἐν δὲ δύω ποίησε πόλεις,—as
also from the nature of the subject.
Note 42, p. 123.
Iliad, vol. v. obs. p. 61. In this passage Pope makes an entirely false
use of the expression “aerial perspective,” which, in fact, has nothing
to do with the diminishing of the size according to the increased
distance, but refers only to the change of color occasioned by the air
or other medium through which the object is seen. A man capable of
this blunder may justly be supposed ignorant of the whole subject.
Note 43, p. 128.
Constantinus Manasses Compend. Chron. p. 20 (edit. Venet).
Madame Dacier was well pleased with this portrait of Manasses,
except for its tautology. “De Helenæ pulchritudine omnium optime
Constantinus Manasses; nisi in eo tautologiam reprehendas.” (Ad
Dictyn Cretensem, lib. i. cap. 3, p. 5.) She also quotes, according to
Mezeriac (Comment. sur les Epîtres d’Ovide, T. i. p. 361), the
descriptions given by Dares Phrygius, and Cedrenus, of the beauty of
Helen. In the first there is one trait which sounds rather strange.
Dares says that Helen had a mole between her eyebrows: “notam
inter duo supercilia habentem.” But that could not have been a
beauty. I wish the Frenchwoman had given her opinion. I, for my
part, regard the word “nota” as a corruption, and think that Dares
meant to speak of what the Greeks called μεσόφρυον, and the Latins,
“glabella.” He means to say that Helen’s eyebrows did not meet, but
that there was a little space between them. The taste of the ancients
was divided on this point. Some considered this space between the
eyebrows beauty, others not. (Junius de Pictura Vet. lib. iii. cap. 9, p.
245.) Anacreon took a middle course. The eyebrows of his beloved
maiden were neither perceptibly separated, nor were they fully
grown together: they tapered off delicately at a certain point. He says
to the artist who is to paint her (Od. 28):—
τὸ μεσόφρυον δὲ μή μοι
διάκοπτε, μήτε μίσγε,
ἐχέτω δ’ ὅπως ἐκείνη
τὸ λεληθότως σύνοφρυν
βλεφάρων ἴτυν κελαινήν.
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