Page:A Treatise on Painting.djvu/366

Chap.

159.	The Representation of an Orator and his Audience.	254.
160.	Of demonstrative Gestures.	243.
161.	Of the Attitudes of the By-standers at feme remarkable Event.	219.
162.	How to represent Night.	65.
163.	The Method of awakening the Mind to a Variety of Inventions.	16.
164.	Of Composition in History.	93.

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.

LIGHT and SHADOW.

175.	The Course of Study to be pursued.	2.
176.	Which of the two is the most useful Knowledge, the Outlines of Figures or that of Light and Shadow.	56.
177.	Which is the most important, the Shadow or Outlines, in Painting.	277.
178.	What is a Painter's first Aim and Object.	305.