| 124. |
Why Objects in Painting can never detach as natural Objects do. 53. |
| 125. |
How to give the proper Dimension to Objects in Painting. 71. |
| 126. |
How to draw accurately any particular Spot. 32. |
| 127. |
Disproportion to be avoided, even in the accessory Parts. 290. |
|
| INVENTION or COMPOSITION. |
| 128. |
Precept for avoiding a bad Choice in the Style or Proportion of Figures. 45. |
| 129. |
Variety in Figures. 21. |
| 130. |
How a Painter ought to proceed in his Studies. 6. |
| 131. |
Of sketching Histories and Figures. 13. |
| 132. |
How to study Composition. 96. |
| 133. |
Of the Attitudes of Men. 216. |
| 134. |
Variety of Positions. 217. |
| 135. |
Of Studies from Nature for History. 37. |
| 136. |
Of the Variety of Figures in History Painting. 94. |
| 137. |
Of Variety in History. 97. |
| 138. |
Of the Age of Figures. 252. |
| 139. |
Of Variety of Faces. 98. |
| 140. |
A Fault in Painters. 44. |
| 141. |
How you may learn to compose Groups for History Painting. 90. |
| 142. |
How to study the Motions of the human Body. 95. |
| 143. |
Of Dresses, and of Draperies and Folds. 358. |
| 144. |
Of the Nature of Folds in Draperies. 359. |
| 145. |
How the Folds of Draperies ought to be represented, Plate XVIII. 360. |
| 146. |
How the Folds in Draperies ought to be made. 361. |
| 147. |
Fore-shortening of Folds, Plate XIX. 362. |
| 148. |
Of Folds. 364. |
| 149. |
Of Decorum. 251. |
| 150. |
The Character of Figures in Composition. 253. |
| 151. |
The Motion of the Muscles, when the Figures are in natural Positions. 193. |
| 152. |
A Precept in Painting. 58. |
| 153. |
Of the Motion of Man, Plate XX. and XXI. 182. |
| 154. |
Of Attitudes, and the Motions of the Members. 183. |
| 155. |
Of a single Figure separate from an historical Group. 212. |
| 156. |
On the Attitudes of the human Figure. 218. |
| 157. |
How to represent a Storm. 66. |
| 158. |
How to compose a Battle. 67. |
| 159. |
The Representation of an Orator and his Audience. 254. |
| 160. |
Of demonstrative Gestures. 243. |
| 161. |
Of the Attitudes of the By-standers at some 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. |
| 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. |
|
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