| 179.
|
The Difference of Superficies in regard to Painting.
|
278.
|
| 180.
|
How a Painter may become universal.
|
10.
|
| 181.
|
Accuracy ought to be learnt before Dispatch in the Execution.
|
18.
|
| 182.
|
How the Painter is to place himself in regard to the Light, and his Model.
|
40.
|
| 183.
|
Of the best Light.
|
41.
|
| 184.
|
Of drawing by Candle-light.
|
34.
|
| 185.
|
Of those Painters who draw at Home from one Light, and afterwards adapt their Studies to another Situation in the Country, and a different Light.
|
46.
|
| 186.
|
How high the Light should be in drawing from Nature.
|
27.
|
| 187.
|
What Light the Painter must make use of to give most Relief to his Figures.
|
55.
|
| 188.
|
Advice to Painters.
|
26.
|
| 189.
|
Of Shadows.
|
60.
|
| 190.
|
Of the Kind of Light proper for drawing from Relievos, or from Nature.
|
29.
|
| 191.
|
Whether the Light should be admitted in Front or sideways; and which is the most pleasing and graceful.
|
74.
|
| 192.
|
Of the Difference of Light? according to the Situation.
|
289.
|
| 193.
|
How to distribute the Light on Figures.
|
279.
|
| 194.
|
Of the Beauty of Faces.
|
191.
|
| 195.
|
How, in drawing a Face, to give it Grace, by the Management of Light and Shade.
|
35.
|
| 196.
|
How to give Grace and Relief to Faces.
|
287.
|
| 197.
|
Of the Termination of Bodies upon each other.
|
294.
|
| 198.
|
Of the Back-grounds of painted Objects.
|
154.
|
| 199.
|
How to detach and wring forward Figures out of their Background.
|
288.
|
