distinguished in proportion as they are farther removed from the Eye. 319.
| 316. |
Why Faces appear dark at a Distance. 320. |
| 317. |
Of Towns and other Buildings seen through a Fog in the Morning or Evening. 325. |
| 318. |
Of the Height of Buildings seen in a Fog. 324. |
| 319. |
Why Objects which are high, appear darker at a Distance than those which are low, though the Fog be uniform, and of equal Thickness. 326. |
| 320. |
Of Objects seen in a Fog. 323. |
| 321. |
Of those Objects which the Eye perceives through a Mist or thick Air. 311. |
| 322. |
Miscellaneous Observations. 308. |
|
| 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. |
| 344. |
Why a painted Object does not appear so far distant as a real one, though they be conveyed to the Eye by equal Angles. 333. |
| 345. |
How to draw a Figure standing upon its Feet, to appear forty Braccia high, in a Space of twenty Braccia, with proportionate Members. 300. |
| 346. |
How to draw a Figure twenty-four Braccia high, upon a Wall twelve Braccia high. Plate XXII. 301. |
| 347. |
Why, on measuring a Face, and then painting it of the same Size, it will appear larger than the natural one. 297. |
| 348. |
Why the most perfect Imitation of Nature will not appear to have the same Relief as Nature itself. 341. |
| 349. |
Universality of Painting. A Precept. 9. |
| 350. |
In what Manner the Mirror is the true Master of Painters. 275. |
| 351. |
Which Painting is to be esteemed the best. 276. |
| 352. |
Of the Judgment to be made of a Painter’s Work. 335. |
| 353. |
How to make an imaginary Animal appear natural. 286. |
| 354. |
Painters are not to imitate one another. 24. |
| 355. |
How to judge of one’s own Work. 274. |
| 356. |
Of correcting Errors which you discover. 14. |
| 357. |
The best Place for looking at a Picture. 280. |
| 358. |
Of Judgment. 15. |
| 359. |
Of Employment anxiously wished for by Painters. 272. |
| 360. |
Advice to Painters. 8. |
| 361. |
Of Statuary. 351. |
| 362. |
On the Measurement and Division of Statues into Parts. 39. |
| 363. |
A Precept for the Painter. 11. |
| 364. |
On the Judgment of Painters. 273. |
| 365. |
That a Man ought not to trust to himself, but ought to consult Nature. 20. |
