no little mischief with his heels.  Some maimed warrior may be seen fallen to the earth, covering himself with his shield, while the enemy, bending over him, tries to deal him a deathstroke.  There again might be seen a number of men fallen in a heap over a dead horse.  You would see some of the victors leaving the fight and issuing from the crowd, rubbing their eyes and cheeks with both hands to clean them of the dirt made by their watering eyes smarting from the dust and smoke.  The reserves may be seen standing, hopeful but cautious; with watchful eyes, shading them with their hands and gazing through the dense and murky confusion, attentive to the commands of their captain.  The captain himself, his staff raised, hurries towards these auxiliaries, pointing to the spot where they are most needed.  And there may be a river into which horses are galloping, churning up the water all round them into turbulent waves of foam and water, tossed into the air and among the legs and bodies of the horses.  And there must not be a level spot that is not trampled with gore.

603.

OF LIGHTING THE LOWER PARTS OF BODIES CLOSE TOGETHER, AS OF MEN IN
BATTLE.

As to men and horses represented in battle, their different parts will be dark in proportion as they are nearer to the ground on which they stand.  And this is proved by the sides of wells which grow darker in proportion to their depth, the reason of which is that the deepest part of the well sees and receives a smaller amount of the luminous atmosphere than any other part.

And the pavement, if it be of the same colour as the legs of these said men and horses, will always be more lighted and at a more direct angle than the said legs &c.

604.

OF THE WAY TO REPRESENT A NIGHT [SCENE].

That which is entirely bereft of light is all darkness; given a night under these conditions and that you want to represent a night scene,—­arrange that there shall be a great fire, then the objects which are nearest to this fire will be most tinged with its colour; for those objects which are nearest to a coloured light participate most in its nature; as therefore you give the fire a red colour, you must make all the objects illuminated by it ruddy; while those which are farther from the fire are more tinted by the black hue of night.  The figures which are seen against the fire look dark in the glare of the firelight because that side of the objects which you see is tinged by the darkness of the night and not by the fire; and those who stand at the side are half dark and half red; while those who are visible beyond the edges of the flame will be fully lighted by the ruddy glow against a black background.  As to their gestures, make those which are near it screen themselves with their hands and cloaks as a defence against the intense heat, and with their faces turned away as if about to retire.  Of those farther off represent several as raising their hands to screen their eyes, hurt by the intolerable glare.