AT THE ARCHITECTURAL LIBRARY, HIGH HOLBORN.
M.DCCC.II.
TABLE OF CHAPTERS.
The Number at the End of each Title refers to the corresponding Chapter in the original Edition in Italian.
| DRAWING. | |
| PROPORTION. | |
| Chap. | |
| [1.] | What the young Student in Painting ought in the first Place to learn. Chapter 1. |
| [2.] | Rule for a young Student in Painting. 3. |
| [3.] | How to discover a young Man’s Disposition for Painting. 4. |
| [4.] | Of Painting, and its Divisions. 47. |
| [5.] | Division of the Figure. 48. |
| [6.] | Proportion of Members. 49. |
| [7.] | Of Dimensions in general. 173. |
| [8.] | Motion, Changes, and Proportion of Members. 166. |
| [9.] | The Difference of Proportion between Children and grown Men. 169. |
| [10.] | The Alterations in the Proportion of the human Body from Infancy to full Age. 167. |
| [11.] | Of the Proportion of Members. 175. |
| [12.] | That every Part be proportioned to its Whole. 250. |
| [13.] | Of the Proportion of the Members. 185. |
| [14.] | The Danger of forming an erroneous Judgment in regard to the Proportion and Beauty of the Parts. 42. |
| [15.] | Another Precept. 12. |
| [16.] | The Manner of drawing from Relievos, and rendering Paper fit for it. 127. |
| [17.] | Of drawing from Casts or Nature. 31. |
| [18.] | To draw Figures from Nature. 38. |
| [19.] | Of drawing from Nature. 25. |
| [20.] | Of drawing Academy Figures. 30. |
| [21.] | Of studying in the Dark, on first waking in the Morning, and before going to sleep. 17. |
| [22.] | Observations on drawing Portraits. 188. |
| [23.] | The Method of retaining in the Memory the Likeness of a Man, so as to draw his Portrait, after having seen him only once. 189. |
| [24.] | How to remember the Form of a Face. 190. |
| [25.] | That a Painter should take Pleasure in the Opinion of every Body. 19. |
| ANATOMY. | |
| [26.] | What is principally to be observed in Figures. 213. |
| [27.] | Mode of Studying. 7. |
| [28.] | Of being universal. 22. |
| [29.] | A Precept for the Painter. 5. |
| [30.] | Of the Measures of the human Body, and the bending of Members. 174. |
| [31.] | Of the small Bones in several Joints of the human Body. 229. |
| [32.] | Memorandum to be observed by the Painter. 57. |
| [33.] | The Shoulders. 171. |
| [34.] | The Difference of Joints between Children and grown Men. 168. |
| [35.] | Of the Joints of the Fingers. 170. |
| [36.] | Of the Joint of the Wrist. 176. |
| [37.] | Of the Joint of the Foot. 177. |
| [38.] | Of the Knee. 178. |
| [39.] | Of the Joints. 179. |
| [40.] | Of the Naked. 220. |
| [41.] | Of the Thickness of the Muscles. 221. |
| [42.] | Fat Subjects have small Muscles. 222. |
| [43.] | Which of the Muscles disappear in the different Motions of the Body. 223. |
| [44.] | Of the Muscles. 226. |
| [45.] | Of the Muscles. 224. |
| [46.] | The Extension and Contraction of the Muscles. 227. |
| [47.] | Of the Muscle between the Chest and the lower Belly. 230. |
| [48.] | Of a Man’s complex Strength, but first of the Arm. 234. |
| [49.] | In which of the two Actions, Pulling or Pushing, a Man has the greatest Power, Plate II. 235. |
| [50.] | Of the bending of Members, and of the Flesh round the bending Joint. 236. |
| [51.] | Of the naked Body. 180. |
| [52.] | Of a Ligament without Muscles. 228. |
| [53.] | Of Creases. 238. |
| [54.] | How near behind the Back one Arm can be brought to the other. Plate III. and IV. 232. |
| [55.] | Of the Muscles. 225. |
| [56.] | Of the Muscles. 194. |
| [57.] | Of the bending of the Body. 204. |
| [58.] | The same Subject. 205. |
| [59.] | The Necessity of anatomical Knowledge. 43. |
| MOTION AND EQUIPOISE OF FIGURES. | |
| [60.] | Of the Equipoise of a Figure standing still. 203. |
| [61.] | Motion produced by the Loss of Equilibrium. 208. |
| [62.] | Of the Equipoise of Bodies, Plate V. 263. |
| [63.] | Of Positions. 192. |
| [64.] | Of balancing the Weight round the Centre of Gravity in Bodies. 214. |
| [65.] | Of Figures that have to lift up, or carry any Weight. 215. |
| [66.] | The Equilibrium of a Man standing upon his Feet, Plate VI. 201. |
| [67.] | Of Walking, Plate VII. 202. |
| [68.] | Of the Centre of Gravity in Men and Animals. 199. |
| [69.] | Of the corresponding Thickness of Parts on each Side of the Body. 269. |
| [70.] | Of the Motions of Animals. 249. |
| [71.] | Of Quadrupeds and their Motions. 268. |
| [72.] | Of the Quickness or Slowness of Motion. 267. |
| [73.] | Of the Motion of Animals. 299. |
| [74.] | Of a Figure moving against the Wind, Plate VIII. 295. |
| [75.] | Of the Balance of a Figure resting upon its Feet. 266. |
| [76.] | A Precept. 350. |
| [77.] | Of a Man standing, but resting more upon one Foot than the other. 264. |
| [78.] | Of the Balance of Figures, Plate IX. 209. |
| [79.] | In what Manner extending one Arm alters the Balance. 198. |
| [80.] | Of a Man bearing a Weight on his Shoulders, Plate X. 200. |
| [81.] | Of Equilibrium. 206. |
| [82.] | Of Motion. 195. |
| [83.] | The Level of the Shoulders. 196. |
| [84.] | Objection to the above answered, Plate XI. and XII. 197. |
| [85.] | Of the Position of Figures, Plate XIII. 89. |
| [86.] | Of the Joints. 184. |
| [87.] | Of the Shoulders. 172. |
| [88.] | Of the Motions of a Man. 207. |
| [89.] | Of the Disposition of Members preparing to act with great Force, Plate XIV. 233. |
| [90.] | Of throwing any Thing with Violence, Plate XV. 261. |
| [91.] | On the Motion of driving any Thing into or drawing it out of the Ground. 262. |
| [92.] | Of forcible Motions, Plate XVI. 181. |
| [93.] | The Action of Jumping. 260. |
| [94.] | Of the three Motions in jumping upwards. 270. |
| [95.] | Of the easy Motions of Members. 211. |
| [96.] | The greatest Twist which a Man can make, in turning to look at himself behind, Plate XVII. 231. |
| [97.] | Of turning the Leg without the Thigh. 237. |
| [98.] | Postures of Figures. 265. |
| [99.] | Of the Gracefulness of the Members. 210. |
| [100.] | That it is impossible for any Memory to retain the Aspects and Changes of the Members. 271. |
| [101.] | The Motions of Figures. 242. |
| [102.] | Of common Motions. 248. |
| [103.] | Of simple Motions. 239. |
| [104.] | Complex Motions. 240. |
| [105.] | Motions appropriated to the Subject. 241. |
| [106.] | Appropriate Motions. 245. |
| [107.] | Of the Postures of Women and young People. 259. |
| [108.] | Of the Postures of Children. 258. |
| [109.] | Of the Motion of the Members. 186. |
| [110.] | Of mental Motions. 246. |
| [111.] | Effect of the Mind upon the Motions of the Body, occasioned by some outward Object. 247. |
| LINEAR PERSPECTIVE. | |
| [112.] | Of those who apply themselves to the Practice, without having learnt the Theory of the Art. 23. |
| [113.] | Precepts in Painting. 349. |
| [114.] | Of the Boundaries of Objects called Outlines or Contours. 291. |
| [115.] | Of linear Perspective. 322. |
| [116.] | What Parts of Objects disappear first by Distance. 318. |
| [117.] | Of remote Objects. 316. |
| [118.] | Of the Point of Sight. 281. |
| [119.] | A Picture is to be viewed from one Point only. 59. |
| [120.] | Of the Dimensions of the first Figure in an historical Painting. 91. |
| [121.] | Of Objects that are lost to the Sight, in Proportion to their Distance. 292. |
| [122.] | Errors not so easily seen in small Objects as in large ones. 52. |
| [123.] | Historical Subjects one above another on the same Wall to be avoided. 54. |
| [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. |
| [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. |
| [252.] | Of the Shadows of White. 104. |
| [253.] | Which of the Colours will produce the darkest Shade. 105. |
| [254.] | How to manage, when a White terminates upon another White. 138. |
| [255.] | On the Back-grounds of Figures. 140. |
| [256.] | The Mode of composing History. 92. |
| [257.] | Remarks concerning Lights and Shadows. 302. |
| [258.] | Why the Shadows of Bodies upon a white Wall are blueish towards the Evening. 328. |
| [259.] | Of the Colour of Faces. 126. |
| [260.] | A Precept relating to Painting. 284. |
| [261.] | Of Colours in Shadow. 158. |
| [262.] | Of the Choice of Lights. 28. |
| COLOURS IN REGARD TO BACK-GROUNDS. | |
| [263.] | Of avoiding hard Outlines. 51. |
| [264.] | Of Outlines. 338. |
| [265.] | Of Back-grounds. 334. |
| [266.] | How to detach Figures from the Ground. 70. |
| [267.] | Of Uniformity and Variety of Colours upon plain Surfaces. 304. |
| [268.] | Of Back-grounds suitable both to Shadows and Lights. 137. |
| [269.] | The apparent Variation of Colours, occasioned by the Contraste of the Ground upon which they are placed. 112. |
| CONTRASTE, HARMONY, AND REFLEXES, IN REGARD TO COLOURS. | |
| [270.] | Gradation in Painting. 144. |
| [271.] | How to assort Colours in such a Manner as that they may add Beauty to each other. 99. |
| [272.] | Of detaching the Figures. 73. |
| [273.] | Of the Colour of Reflexes. 87. |
| [274.] | What Body will be the most strongly tinged with the Colour of any other Object. 124. |
| [275.] | Of Reflexes. 77. |
| [276.] | Of the Surface of all shadowed Bodies. 122. |
| [277.] | That no reflected Colour is simple, but is mixed with the Nature of the other Colours. 84. |
| [278.] | Of the Colour of Lights and Reflexes. 157. |
| [279.] | Why reflected Colours seldom partake of the Colour of the Body where they meet. 85. |
| [280.] | The Reflexes of Flesh Colours. 81. |
| [281.] | Of the Nature of Comparison. 146. |
| [282.] | Where the Reflexes are seen. 86. |
| PERSPECTIVE OF COLOURS. | |
| [283.] | A Precept of Perspective in regard to Painting. 354. |
| [284.] | Of the Perspective of Colours. 134. |
| [285.] | The Cause of the Diminution of Colours. 136. |
| [286.] | Of the Diminution of Colours and Objects. 356. |
| [287.] | Of the Variety observable in Colours, according to their Distance or Proximity. 102. |
| [288.] | At what Distance Colours are entirely lost. 103. |
| [289.] | Of the Change observable in the same Colour, according to its Distance from the Eye. 128. |
| [290.] | Of the blueish Appearance of remote Objects in a Landscape. 317. |
| [291.] | Of the Qualities in the Surface which first lose themselves by Distance. 293. |
| [292.] | From what Cause the Azure of the Air proceeds. 151. |
| [293.] | Of the Perspective of Colours. 107. |
| [294.] | Of the Perspective of Colours in dark Places. 148. |
| [295.] | Of the Perspective of Colours. 149. |
| [296.] | Of Colours. 152. |
| [297.] | How it happens that Colours do not change, though placed in different Qualities of Air. 108. |
| [298.] | Why Colours experience no apparent Change, though placed in different Qualities of Air. 106. |
| [299.] | Contrary Opinions in regard to Objects seen afar off. 142. |
| [300.] | Of the Colour of Objects remote from the Eye. 143. |
| [301.] | Of the Colour of Mountains. 163. |
| [302.] | Why the Colour and Shape of Objects are lost in some Situations apparently dark, though not so in Reality. 110. |
| [303.] | Various Precepts in Painting. 340. |
| AERIAL PERSPECTIVE. | |
| [304.] | Aerial Perspective. 165. |
| [305.] | The Parts of the smallest Objects will first disappear in Painting. 306. |
| [306.] | Small Figures ought not to be too much finished. 282. |
| [307.] | Why the Air is to appear whiter as it approaches nearer to the Earth. 69. |
| [308.] | How to paint the distant Part of a Landscape. 68. |
| [309.] | Of precise and confused Objects. 72. |
| [310.] | Of distant Objects. 355. |
| [311.] | Of Buildings seen in a thick Air. 312. |
| [312.] | Of Towns and other Objects seen through a thick Air. 309. |
| [313.] | Of the inferior Extremities of distant Objects. 315. |
| [314.] | Which Parts of Objects disappear first by being removed farther from the Eye, and which preserve their Appearance. 321. |
| [315.] | Why Objects are less 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. |