VII. DESIGN or POSITION, the second part of Paint ing ** 32 VIII. Variety in the figures 34 IX. Conformity of the limbs and drapery to the head * 34 X. Action of mutes to be imitated * 34 XI. The principal figure * XII. Groups of figures XIII. Diversity of Attitude in Groups * 34 35 35 XIV. A balance to be kept in the Picture XV. Of the number of figures ** XVI. The joints and feet XVII. The motion of the hands with the head page 36 37 38 38 XVIII. What things are to be avoided in the Distribu XXXI. The conduct of the Tints of Light and Shadow 48 XXXII. Dense and opaque bodies with translucent ones 50 XXXIII. There must not be two equal lights in the XXXVIII. The relation of distances XXXIX. Of bodies which are distanced page 55 56 XL. Of contiguous and separated bodies ,56 XLI. Colours very opposite to each other never to be XLIX. The Looking-glass the Painter's best master 59 L. A half Figure or a whole one before others * 59 LIV. The quantity of light and shade to be adapted LXI. The Original must be in the head, and the LXII. The Compass to be in the eyes LXIII. Pride an enemy to good painting * LXIV. Know thyself. page 65 65 65 66 LXV. Perpetually practise, and do easily what you LXX. The method of Studies for a young Painter **** 71 LXXI. Nature and Experience perfect Art * 74 |