1. OF F the Beautiful *** III. Of the Subject * Page 30 33 34 INVENTION, the first part of Painting** 35 IV. Disposition, or œconomy of the whole 35 V. The Subject to be treated faithfully 36 VI. Every foreign Ornament to be rejected *** VII. DESIGN, or POSITION, the second 36 38 41 IX. Conformity of the Limbs and Dra pery to the Head * X. Action of Mutes to be imitated * XI. The principal Figure XII. Groups of Figures. * XIII. Diversity of Attitude in Groups * 43 XIV.A Balance to be kept in the Picture p.44 XV. Of the Number of Figures ** XVI. The Joints and Feet 44 45 46 the Distribution of the Piece 46 XIX.Nature to be accommodated toGenius*, 47 XX. The Antique the Model to be copied 48 proper Place 53 XXX. Gothick Ornament to be avoided COLOURING, the third part of Painting*56 XXXII. Dense and opake Bodies with translucent ones. 61 62 64 65 65 67 XXXV. The Reflection of Colours 68 never to be joined . XLII. Diversity of Tints and Colours 69 XLIII. The Choice of Light...69 XLIV. Of certain Things relating to the こ best Master XLVIII. The Picture to be of one Piece XLIX. The Looking-glass the Painter's L. An half Figure, or a whole one before 72 72 LIV. The Quantity of Light and Shade to be adapted to the Place of the Picture VOL. III. 74 LV. Things which are disagreeable in Painting to be avoided. P. 74 75 LVI. The prudential part of a Painter 75 and the Copy on the Cloth . 77 78 79 LXII. The Compass to be in the Eyes* LXIII. Pride, an Enemy to good Painting* 79 LXIV. Know thyself LXV. Perpetually practise, and do easily what you have conceived 80 81 LXVI. The Morning most proper for Work 81 LXVII. Every Day do something LXIX. Of the Table-Book ** LXX. The Method of Studies for a young Painter **** Art * LXXI. Nature and Experience perfect 82 82 83 87 90 |