href="@public@vhost@g@gutenberg@html@files@46915@[email protected]#Chap_CLXXXIX" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">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 Lights 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 bring forward Figures out of their Back-ground. 288. |
| 200. |
Of proper Back-grounds. 141. |
| 201. |
Of the general Light diffused over Figures. 303. |
| 202. |
Of those Parts in Shadows which appear the darkest at a Distance. 327. |
| 203. |
Of the Eye viewing the Folds of Draperies surrounding a Figure. 363. |
| 204. |
Of the Relief of Figures remote from the Eye. 336. |
| 205. |
Of Outlines of Objects on the Side towards the Light. 337. |
| 206. |
How to make Objects detach from their Ground, that is to say, from the Surface on which they are painted. 342. |
| 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. |
| 211. |
Of Objects placed on a light Ground, and why such a Practice is useful in Painting. 159. |
| 212. |
Of the different Effects of White, according to the Difference of Back-grounds. 139. |
| 213. |
Of Reverberation. 75. |
| 214. |
Where there cannot be any Reverberation of Light. 76. |
| 215. |
In what Part the Reflexes have more or less Brightness. 79. |
| 216. |
Of the reflected Lights which surround the Shadows. 78. |
| 217. |
Where Reflexes are to be most apparent. 82. |
| 218. |
What Part of a Reflex is to be the lightest. 80. |
| 219. |
Of the Termination of Reflexes on their Grounds. 88. |
| 220. |
Of double and treble Reflexions of Light. 83. |
| 221. |
Reflexes in the Water, and particularly those of the Air. 135. |
|
| COLOURS and COLOURING. |
| COLOURS. |
| 222. |
What Surface is best calculated to receive most Colours. 123. |
| 223. |
What Surface will shew most perfectly its true Colour. 125. |
| 224. |
On what Surface the true Colour is least apparent. 131. |
| 225. |
What Surfaces shew most of their true and genuine Colour. 132. |
| 226. |
Of the Mixture of Colours. 121. |
| 227. |
Of the Colours produced by the Mixture of other Colours, called secondary Colours. 161. |
| 228. |
Of Verdegris. 119. |
| 229. |
How to increase the Beauty of Verdegris. 120. |
| 230. |
How to paint a Picture that will last almost for ever. 352. |
| 231. |
The Mode of painting on Canvass, or Linen Cloth. 353. |
| 232. |
Of lively and beautiful Colours. 100. |
| 233. |
Of transparent Colours. 113. |
| 234. |
In what Part a Colour will appear in its greatest Beauty. 114. |
| 235. |
How any Colour without Gloss, is more beautiful in the Lights than in the Shades. 115. |
| 236. |
Of the Appearance of Colours. 116. |
| 237. |
What Part of a Colour is to be the most beautiful. 117. |
| 238. |
That the Beauty of a Colour is to be found in the Lights. 118. |
| 239. |
Of Colours. 111. |
| 240. |
No Object appears in its true Colour, unless the Light which strikes upon it be of the same Colour. 150. |
| 241. |
Of the Colour of Shadows. 147. |
| 242. |
Of Colours. 153. |
| 243. |
Whether it be possible for all Colours to appear alike by means of the same Shadow. 109. |
| 244. |
Why White is not reckoned among the Colours. 155. |
| 245. |
Of Colours. 156. |
| 246. |
Of the Colouring of remote Objects. 339. |
| 247. |
The Surface of all opake Bodies participates of the Colour of the surrounding Objects. 298. |
| 248. |
General Remarks on Colours. 162. |
| 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. |
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