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1. OF

F the Beautiful ***
II. Of Theory and Practice **

III. Of the Subject *

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Page 30

33

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INVENTION, the first part of Painting** 35 IV. Disposition, or œconomy of the whole 35 V. The Subject to be treated faithfully 36 VI. Every foreign Ornament to be rejected ***

VII. DESIGN, or POSITION, the second

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36

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IX. Conformity of the Limbs and Dra

pery to the Head *

X. Action of Mutes to be imitated *

XI. The principal Figure

XII. Groups of Figures.

*

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XIII. Diversity of Attitude in Groups *

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43

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64 65

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XXXV. The Reflection of Colours
XXXVI. The Union of Colours
XXXVII. Of the Interposition of Air
XXXVIII. The Relation of Distances 67
XXXIX. Of Bodies which are distanced 68
XL. Of contiguous and separated Bodies 68
XLI. Colours very opposite to each other

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68

never to be joined . XLII. Diversity of Tints and Colours 69 XLIII. The Choice of Light...69 XLIV. Of certain Things relating to the

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こ best Master

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XLVIII. The Picture to be of one Piece

XLIX. The Looking-glass the Painter's

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L. An half Figure, or a whole one before

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72

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LIV. The Quantity of Light and Shade to

be adapted to the Place of the Picture

VOL. III.

74

LV. Things which are disagreeable in

Painting to be avoided.

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P. 74

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75

LVI. The prudential part of a Painter 75
LVII. The idea of a beautiful Picture
LVIII. Advice to a young Painter** 76
LIX. Art must be subservient to the Painter 77
LX. Diversity and Facility are pleasing *
LXI. The Original must be in the Head,

and the Copy on the Cloth .

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LXII. The Compass to be in the Eyes* LXIII. Pride, an Enemy to good Painting* 79 LXIV. Know thyself

LXV. Perpetually practise, and do easily

what you have conceived

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LXVI. The Morning most proper for Work 81 LXVII. Every Day do something

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LXIX. Of the Table-Book **

LXX. The Method of Studies for a young

Painter ****

Art *

LXXI. Nature and Experience perfect

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APPENDIX.

02

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