A TABLE OF THE RULES CONTAINED IN THE FOREGOING POEM. 1. OF the Beautiful *** Page 30 33 • 34 II. Of Theory and Practice * 36 VII. DESIGN, or POSITION, the second VIII. Variety in the Figures X. Action of Mutes to be imitated * 36 4I 41 XI. The principal Figure * * 42 XII. Groups of Figures . 42 XIII. Diversity of Attitude in Groups * 43 38 41 XIV.A Balance to be kept in the Picture p.44 XV. Of the Number of Figures ** 44 45 46 XVII. The Motion of the Hands with XVIII. What things are to be avoided in the Distribution of the Piece 46 XIX.Nature to be accommodated to Genius*47 XX. The Antique the Model to be copied 48 XXI. How to paint a single Figure * XXIII. Of picturesque Ornament XXIV. Ornament of Gold and Jewels * XXVIII. Every Thing in its proper Place 53 54 * XXX. Gothick Ornament to be avoided COLOURING, the third part of Painting*56 XXXI. The Conduct of the Tints of P. 64 65 65 67 XXXIV. Of White and Black · XLII. Diversity of Tints and Colours XLIV. Of certain Things relating to the practical part XLV. The Field of the Picture * XLVI. Of the Vivacity of Colours XLVII. Of Shadows 72 XLVIII. The Picture to be of one Piece XLIX. The Looking-glass the Painter's best Master 72 L. An half Figure, or a whole one before others * LI. A Portrait LII. The Place of the Picture . LIII. Large Lights 68 69 169 70 71 72 73 73 74 LIV. The Quantity of Light and Shade to be adapted to the Place of the Picture 74 VOL. III. LV. Things which are disagreeable in · · P. 74 LVI. The prudential part of a Painter 75 80 LXV. Perpetually practise, and do easily what you have conceived 81 LXVI. The Morning most proper for Work 81 LXVII. Every Day do something 82 LXVIII. The Method of catching natural Passions. LXIX. Of the Table-Book ** LXX. The Method of Studies for a young LXXI. Nature and Experience perfect 82 83 87 90 |
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