colour in leaves (430--434).--A classification of trees according to
their colours (435).--The proportions of light and shade in trees
(436--440).--The distribution of light and shade with reference to
the position of the spectator (441--443).--The effects of morning
light (444--448).--The effects of midday light (449).--The
appearance of trees in the distance (450--451).--The cast shadow of
trees (452. 453).--Light and shade on groups of trees
(454--457).--On the treatment of light for landscapes
(458--464).--On the treatment of light for views of towns
(465--469).--The effect of wind on trees (470--473).--Light and
shade on clouds (474--477).--On images reflected in water (478).--Of
rainbows and rain (479. 480).--Of flower seeds (481).

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