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).

X.

STUDIES AND SKETCHES FOR PICTURES AND DECORATIONS

On pictures of the Madonna (663).--Bernardo di Bandino's portrait
(664).--Notes on the Last Supper (665--668).--On the battle of
Anghiari (669).--Allegorical representations referring to the duke
of Milan (670--673).--Allegorical representations
(674--678).--Arrangement of a picture (679).--List of drawings