IX.
The Practice of Painting
I. MORAL PRECEPTS FOR THE STUDENT OF PAINTING.—How to ascertain the dispositions for an artistic career (482).—The course of instruction for an artist (483—485).—The study of the antique (486. 487).—The necessity of anatomical knowledge (488. 489).—How to acquire practice (490).—Industry and thoroughness the first conditions (491—493.)—The artist's private life and choice of company (493. 494).—The distribution of time for studying (495— 497).—On the productive power of minor artists (498—501).—A caution against one-sided study (502).—How to acquire universality (503—506).—Useful games and exercises (507. 508).—II. THE ARTIST'S STUDIO.—INSTRUMENTS AND HELPS FOR THE APPLICATION OF PERSPECTIVE.—ON JUDGING OF A PICTURE.—On the size of the studio (509).—On the construction of windows (510—512).—On the best light for painting (513—520).—On various helps in preparing a picture (521—530).—On the management of works (531. 532).—On the limitations of painting (533—535).—On the choice of a position (536. 537).—The apparent size of figures in a picture (538. 539).—The right position of the artist, when painting and of the spectator (540—547).—III. THE PRACTICAL METHODS OF LIGHT AND SHADE AND AERIAL PERSPECTIVE.—Gradations of light and shade (548).—On the choice of light for a picture (549—554).—The distribution of light and shade (555—559).—The juxtaposition of light and shade (560. 561).—On the lighting of the background (562—565).—On the lighting of white objects (566).—The methods of aerial perspective (567—570).—IV. OF PORTRAIT AND FIGURE PAINTING.—Of sketching figures and portraits (571. 572).—The position of the head (573).—Of the light on the face (574—576).—General suggestions for historical pictures (577—581).—How to represent the differences of age and sex (582. 583).—Of representing the emotions (584).—Of representing imaginary animals (585).—The selection of forms (586—591).—How to pose figures (592).—Of appropriate gestures (593—600).—V. SUGGESTIONS FOR COMPOSITIONS.—Of painting battle-pieces (601—603).—Of depicting night-scenes (604).—Of depicting a tempest (605. 606).—Of representing the deluge (607—609).—Of depicting natural phenomena (610. 611).—VI. THE ARTIST'S MATERIALS.—Of chalk and paper (612—617).—On the preparation and use of colours (618—627).—Of preparing the panel (628).—The preparation of oils (629—634).—On varnishes (635— 637).—On chemical _materials (638—650).—VII. PHILOSOPHY AND HISTORY OF THE ART OF PAINTING.—The relation of art and nature (651. 652).—Painting is superior to poetry (653. 654).—Painting is superior to sculpture (655. 656).—Aphorisms (657—659).—On the history of painting (660. 661).—The painter's scope (662).