A Treatise on Painting
Printed by S. Gosnell,
Little Queen Street, Holborn, London.
LEONARDO DA VINCI.
From a picture in the Florentine Museum
London Published by J Taylor 59 High Holborn
A
TREATISE
ON
PAINTING,
BY
FAITHFULLY TRANSLATED FROM THE
ORIGINAL ITALIAN,
AND NOW FIRST DIGESTED UNDER PROPER HEADS,
By JOHN FRANCIS RIGAUD, Esq
ACADEMICIAN OF THE ROYAL ACADEMY OF PAINTING AT LONDON, AND
ALSO OF THE ACADEMIA CLEMENTINA AT BOLOGNA, AND THE
ROYAL ACADEMY AT STOCKHOLM.
![](http://upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Rule_Segment_-_Lozenge_5px_-_60px.svg/60px-Rule_Segment_-_Lozenge_5px_-_60px.svg.png)
Illustrated with twenty-three Copper-plates, and other Figures.
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TO WHICH IS PREFIXED
A NEW LIFE OF THE AUTHOR,
DRAWN UP FROM AUTHENTIC MATERIALS TILL NOW INACCESSIBLE,
By JOHN SIDNEY HAWKINS, Esq. F.A.S.
ARISTOT. ETHIC. LIB. 6.
London:
PRINTED FOR J. TAYLOR,
AT THE ARCHITECTURAL LIBRARY, HIGH HOLBORN.
M.DCCC.II.
TABLE OF CHAPTERS.
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The Number at the End of each Title refers to the corresponding Chapter
in the original Edition in Italian.
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DRAWING.
PROPORTION.
ANATOMY.
MOTION AND EQUIPOISE OF FIGURES.
LINEAR PERSPECTIVE.
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INVENTION or COMPOSITION.
EXPRESSION AND CHARACTER.
165. | Of expressive Motions. | 50. |
166. | How to paint Children. | 61. |
167. | How to represent old Men. | 62. |
168. | How to paint old Women. | 63. |
169. | How to paint Women. | 64. |
170. | Of the Variety of Faces. | 244. |
171. | The Parts of the Face, and their Motions. | 187. |
172. | Laughing and Weeping. | 257. |
173. | Of Anger. | 255. |
174. | Despair. | 256. |
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LIGHT and SHADOW.
CONTRASTE AND EFFECT.
207. | A Precept. | 343. |
208. | Of the Interposition of transparent Bodies between the Eye and the Object. | 357. |
209. | Of proper Back-grounds for Figures. | 283. |
210. | Of Back-grounds. | 160. |
REFLEXES.
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COLOURS and COLOURING.
COLOURS.
COLOURS IN REGARD TO LIGHT AND SHADOW.
249. | Of the Light proper for painting Flesh Colour from Nature. | 36. |
250. | Of the Painter's Window. | 296. |
251. | The Shadows of Colours. | 101. |
252. | Of the Shadows of White. | 104. |
253. | Which of the Colours will produce the darkest Shade. | 105. |
254. | How to manage, when a White terminates upon another White. | 138. |
255. | On the Back-grounds of Figures. | 140. |
256. | The Mode of composing History. | 92. |
257. | Remarks concerning Lights and Shadows. | 302. |
258. | Why the Shadows of Bodies upon a white Wall are blueish towards the Evening. | 328. |
259. | Of the Colour of Faces. | 126. |
260. | A Precept relating to Painting. | 284. |
261. | Of Colours in Shadow. | 158. |
262. | Of the Choice of Lights. | 28. |
COLOURS IN REGARD TO BACK-GROUNDS.
CONTRASTE, HARMONY, AND REFLEXES, IN REGARD TO COLOURS.
PERSPECTIVE OF COLOURS.
AERIAL PERSPECTIVE.
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MISCELLANEOUS OBSERVATIONS.
LANDSCAPE.
323. | Of Objects seen at a Distance. | 313. |
324. | Of a Town seen through a thick Air. | 314. |
325. | How to draw a Landscape. | 33. |
326. | Of the Green of the Country. | 129. |
327. | What Greens will appear most of a blueish Cast. | 130. |
328. | The Colour of the Sea from different Aspects. | 145. |
329. | Why the same Prospect appears larger at some Times than at others. | 307. |
330. | Of Smoke. | 331. |
331. | In what Part Smoke is lightest. | 329. |
332. | Of the Sun-beams passing through the Openings of Clouds. | 310. |
333. | Of the Beginning of Rain. | 347. |
334. | The Seasons are to be observed. | 345. |
335. | The Difference of Climates is to be observed. | 344. |
336. | Of Dust. | 330. |
337. | How to represent the Wind. | 346. |
338. | Of a Wilderness. | 285. |
339. | Of the Horizon seen in the Water. | 365. |
340. | Of the Shadow of Bridges on the Surface of the Water. | 348. |
341. | How a Painter ought to put in Practice the Perspective of Colours. | 164. |
342. | Various Precepts in Painting. | 332. |
343. | The Brilliancy of a Landscape. | 133. |
MISCELLANEOUS OBSERVATIONS.