CONTENTS OF VOLUME I

Clavis Sigillorum and Index of Manuscripts.—The author's intention to publish his MSS.(1)—The preparation of the MSS. for publication(2)—Admonition to readers(3)—The disorder in the MSS.(4)—Suggestions for the arrangement of MSS. treating of particular subjects(5—8)—General introductions to the book on painting(9—13)—The plan of the book on painting(14—17)—The use of the book on painting(18)—Necessity of theoretical knowledge(19,20)—The function of the eye(21—23)—Variability of the eye(24)—Focus of sight(25)—Differences of perception by one eye and both eyes(26—29)—The comparitive size of the image depends on the amount of light(30—39)

General remarks on perspective(40—41)—The elements of perspective:—of the point(42—46)—Of the line(47—48)—The nature of the outline(49)—Definition of perspective(50)—The perception of the object depends on the direction of the eye(51)—Experimental proof of the existence of the pyramid of sight(52—55)—The relations of the distance point to the vanishing point(55—56)—How to measure the pyramid of vision(57)—The production of the pyramid of vision(58—64)—Proof by experiment(65—66)—General conclusions(67)—That the contrary is impossible(68)—A parallel case(69)—The function of the eye, as explained by the camera obscura(70—71)—The practice of perspective(72—73)—Refraction of the rays falling upon the eye(74—75)—The inversion of the images(76)—The intersection of the rays(77—82)—Demonstration of perspective by means of a vertical glass pane(83—85)—The angle of sight varies with the distance(86—88)—Opposite pyramids in juxtaposition(89)—On simple and complex perspective(90)—The proper distance of objects from the eye(91—92)—The relative size of objects with regard to their distance from the eye(93—98)—The apparent size of objects denned by calculation(99—106)—On natural perspective(107—109)

GENERAL INTRODUCTION.--Prolegomena (110).--Scheme of the books on light and shade (111).--Different principles and plans of treatment (112--116).--Different sorts of light (117--118).--Definition of the nature of shadows (119--122).--Of the various kinds of shadows (123--125).--Of the various kinds of light (126--127).--General remarks (128--129).--FIRST BOOK ON LIGHT AND SHADE.--On the nature of light (130--131).--The difference between light and lustre (132--135).--The relations of luminous to illuminated bodies (136). --Experiments on the relation of light and shadow within a room (137--140).--Light and shadow with regard to the position of the eye (141--145).--The law of the incidence of light (146--147).--SECOND BOOK ON LIGHT AND SHADE.--Gradations of strength in the shadows (148--149).--On the intensity of shadows as dependent on the distance from the light (150--152).--On the proportion of light and shadow (153--157).--THIRD BOOK ON LIGHT AND SHADE.--Definition of derived shadow (158--159).--Different sorts of derived shadows (160--162).--On the relation of derived and primary shadow (163--165).--On the shape of derived shadows (166--174).--On the relative intensity of derived shadows (175--179).--Shadow as produced by two lights of different size (180--181).--The effect of light at different distances (182).--Further complications in the derived shadows (183--187).--FOURTH BOOK ON LIGHT AND SHADE.--On the shape of cast shadows (188--191).--On the outlines of cast shadows (192--195).--On the relative size of cast shadows (196. 197).--Effects on cast shadows by the tone of the back ground (198).--A disputed proposition (199).--On the relative depth of cast shadows (200--202).--FIFTH BOOK ON LIGHT AND SHADE.--Principles of reflection (203. 204).--On reverberation (205).--Reflection on water (206. 207).--Experiments with the mirror (208--210).--Appendix:--On shadows in movement (211--212).--SIXTH BOOK ON LIGHT AND SHADE.--The effect of rays passing through holes (213. 214).--On gradation of shadows (215. 216).--On relative proportion of light and shadows (216--221).

Definition (222. 223).--An illustration by experiment (224).--A guiding rule (225).---An experiment (226).--On indistinctness at short distances (227--231).--On indistinctness at great distances (232--234).--The importance of light and shade in the Prospettiva de' perdimenti (235--239).--The effect of light or dark backgrounds on the apparent size of objects (240--250).--Propositions on Prospettiva de' perdimenti from MS. C. (250--262).

The reciprocal effects of colours on objects placed opposite each other (263--271).--Combination of different colours in cast shadows (272).--The effect of colours in the camera obscura (273. 274).--On the colours of derived shadows (275. 276).--On the nature of colours (277. 278).--On gradations in the depth of colours (279. 280).--On the reflection of colours (281--283).--On the use of dark and light colours in painting (284--286).--On the colours of the rainbow (287--288).

General rules (289--291).--An exceptional case (292).--An experiment (293).--The practice of the Prospettiva de' colori (294).--The rules of aerial perspective (295--297).--On the relative density of the atmosphere (298--299).--On the colour of the atmosphere (300--307).

Preliminary observations (308. 309).--Proportions of the head and face (310--318).--Proportions of the head seen in front (319--321).--Proportions of the foot (322--323).--Relative proportions of the hand and foot (324).--Relative proportions of the foot and of the face (325--327).--Proportions of the leg (328--331).--On the central point of the whole body (332).--The relative proportions of the torso and of the whole figure (333).--The relative proportions of the head and of the torso (334).--The relative proportions of the torso and of the leg (335. 336).--The relative proportions of the torso and of the foot (337).--The proportions of the whole figure (338--341).--The torso from the front and back (342).--Vitruvius' scheme of proportions (343).--The arm and head (344).--Proportions of the arm (345--349).--The movement of the arm (350--354).--The movement of the torso (355--361).--The proportions vary at different ages (362--367).--The movement of the human figure (368--375).--Of walking up and down (375--379).--On the human body in action (380--388).--On hair falling down in curls (389).--On draperies (390--392).

Classification of trees (393).--The relative thickness of the branches to the trunk (394--396).--The law of proportion in the growth of the branches (397--402).--The direction of growth (403--407).--The forms of trees (408--411).--The insertion of the leaves (412--419).--Light on branches and leaves (420--422).--The proportions of light and shade in a leaf (423--426).--Of the transparency of leaves (427--429).--The gradations of shade and colour in leaves (430--434).--A classification of trees according to their colours (435).--The proportions of light and shade in trees (436--440).--The distribution of light and shade with reference to the position of the spectator (441--443).--The effects of morning light (444--448).--The effects of midday light (449).--The appearance of trees in the distance (450--451).--The cast shadow of trees (452. 453).--Light and shade on groups of trees (454--457).--On the treatment of light for landscapes (458--464).--On the treatment of light for views of towns (465--469).--The effect of wind on trees (470--473).--Light and shade on clouds (474--477).--On images reflected in water (478).--Of rainbows and rain (479. 480).--Of flower seeds (481).

I. MORAL PRECEPTS FOR THE STUDENT OF PAINTING.--How to ascertain the dispositions for an artistic career (482).--The course of instruction for an artist (483--485).--The study of the antique (486. 487).--The necessity of anatomical knowledge (488. 489).--How to acquire practice (490).--Industry and thoroughness the first conditions (491--493.)--The artist's private life and choice of company (493. 494).--The distribution of time for studying (495-- 497).--On the productive power of minor artists (498--501).--A caution against one-sided study (502).--How to acquire universality (503--506).--Useful games and exercises (507. 508).--II. THE ARTIST'S STUDIO.--INSTRUMENTS AND HELPS FOR THE APPLICATION OF PERSPECTIVE.--ON JUDGING OF A PICTURE.--On the size of the studio (509).--On the construction of windows (510--512).--On the 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 ~pxxiv 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 (584).--Of representing imaginary animals (585).--The selection of forms (586--591).--How to pose figures (592).--Of appropriate gestures (593--600).--V. SUGGESTIONS FOR COMPOSITIONS.--Of painting battle-pieces (601--603).--Of depicting night-scenes (604).--Of depicting a tempest (605. 606).--Of representing the deluge (607--609).--Of depicting natural phenomena (610. 611).--VI. THE ARTIST'S MATERIALS.--Of chalk and paper (612--617).--On the preparation and use of colours (618--627).--Of preparing the panel (628).--The preparation of oils (629--634).--On varnishes (635-- 637).--On chemical materials (638--650).--VII. PHILOSOPHY AND HISTORY OF THE ART OF PAINTING.--The relation of art and nature (651. 652).--Painting is superior to poetry (653. 654).--Painting is superior to sculpture (655. 656).--Aphorisms (657--659).--On the history of painting (660. 661).--The painter's scope (662).

On pictures of the Madonna (663).--Bernardo di Bandino's portrait (664).--Notes on the Last Supper (665--668).--On the battle of Anghiari (669).--Allegorical representations referring to the duke of Milan (670--673).--Allegorical representations (674--678).--Arrangement of a picture (679).--List of drawings (680).--Mottoes and Emblems (681--702).