Part 1 (2/2)

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 vanis.h.i.+ng 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 gla.s.s plane (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).

III.

SIX BOOKS ON LIGHT AND SHADE

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 l.u.s.tre (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 pa.s.sing through holes (213. 214).-On gradation of shadows (215. 216).-On relative proportion of light and shadows (216-221).

IV.

PERSPECTIVE OF DISAPPEARANCE

Definition (222. 223).-An ill.u.s.tration 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).

V.

THEORY OF COLOURS

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).

VI.

PERSPECTIVE OF COLOUR AND AERIAL PERSPECTIVE

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).

VII.

ON THE PROPORTIONS AND ON THE MOVEMENTS OF THE HUMAN FIGURE

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).

VIII.

BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING

Cla.s.sification 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 cla.s.sification 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).

IX.

THE PRACTICE OF PAINTING

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 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 s.e.x (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).

X.

STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS

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