PROLEGOMENA AND GENERAL INTRODUCTION TO THE BOOK ON PAINTING

best light for painting (513—520).—On various helps in preparing a picture (521—530).—On the management of works (531. 532).—On the limitations of painting (533—535).—On the choice of a position (536. 537).—The apparent size of figures in a picture (538. 539).—The right position of the artist, when painting and of the spectator (540—547).—III. THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE.—Gradations of light and shade (548).—On the choice of light for a picture (549—554).—The distribution of light and shade (555—559).—The juxtaposition of light and shade (560. 561).—On the lighting of the background (562—565).—On the lighting of white objects (566).—The methods of aerial perspective (567—570).—IV. OF PORTRAIT AND FIGURE PAINTING.—Of sketching figures and portraits (571. 572).—The position of the head (573).—Of the light on the face (574—576).—General suggestions for historical pictures (577—581).—How to represent the differences of age and sex (582. 583).—Of representing the emotions