The Precepts which Sir JOSHUA REYNOLDS has illustrated, are marked in the following Table with one or more Asterisks, according to the number of his Notes.

IV. Disposition, or œconomy of the whole 35 V. The subject to be treated faithfully *..... 36 VI. Every foreign ornament to be re

.... 41

41

42

IX. Conformity of the Limbs and Drapery

to the head *.

X. Action of Mutes to be imitated *.

XI. The principal Figure *.

XIII. Diversity of Attitude in Groups *..... 42

XIV. A Balance to be kept in the Picture Page43 XV. Of the Number of Figures **

XVI. The Joints and Feet...

....

.... 44

..... 45

XVII. The Motion of the Hands with the

Head.....
XVIII. What things are to be avoided in

45

the Distribution of the Piece....... 45 XIX. Nature to be accommodated to Genius* 46 XX. The Antique the Model to be copied 47 XXI. How to paint a single Figure * ..... 48 XXII. Of Drapery *....

49

XXIII. Of picturesque Ornament............ 51 XXIV. Ornament of Gold and Jewels *..... 51 XXV. Of the Model ....

XXVI. Union of the Piece

XXVII. Grace and Majesty *.

51.

51

...: 52

53

XXVIII. Every thing in its proper Place... 52
XXIX. The Passions ***
XXX. Gothick Ornament to be avoided 54

COLOURING, the third Part of Painting * 56 XXXI. The Conduct of the Tints of Light

and Shadow.....

XXXII. Dense and Opaque Bodies with translucent ones ......

57

... 60

XXXIII. There must not be two equal
Lights in the Picture **.

XXXIV. Of White and Black

.....

61

63

XXXV. The Reflection of Colours .......... 64 XXXVI. The Union of Colours *............. 64

...

P. 66

XXXVII. Of the Interposition of Air XXXVIII. The Relation of Distances ...... 66 XXXIX. Of Bodies which are distanced... 67 XL. Of contiguous and separated Bodies..... 67 XLI. Colours very opposite to each other

never to be joined .......

67

XLII. Diversity of Tints and Colours...... 68 XLIII. The Choice of Light

XLIV. Of certain Things relating to the

practical part

XLV. The Field of the Picture *

XLVI. Of the Vivacity of Colours *

XLVII. Of Shadows

..... 68

XLVIII. The Picture to be of one Piece 71 XLIX. The looking-glass the Painter's best

Master

L. An half figure, or a whole one before

71

71

72

72

73

LIV. The Quantity of Light and Shade to be adapted to the Place of the Picture 73 LV. Things which are disagreeable in Painting to be avoided

.....

.......

......

73

74

LVI. The prudential part of a Painter 74.
LVII. The idea of a beautiful Picture ...
LVIII. Advice to a young Painter * *
LIX. Art must be subservient to the Painter 76

LX. Diversity and Facility are pleasing * p. 76
LXI. The Original must be in the Head,

77

and the Copy on the Cloth LXII. The Compass to be in the Eyes* 78 LXIII. Pride, an Enemy to good Painting * 78 LXIV. Know thyself

LXV. Perpetually practise, and do easily what you have conceived

79

80

LXVI. The Morning most proper for Work 80 LXVII. Every day do something

LXVIII. The Method of catching natural

Passions .....

LXIX. Of the Table-Book **

LXX. The method of Studies for a young

Painter ****

81

81

82

86

LXXI. Nature and Experience perfect Art* 89

2