of A picture.—­On the size of the studio (509).—­On the construction of windows (510—­512).—­On the best light for painting (513—­520).—­On various helps in preparing a picture (521—­530).—­On the management of works (531. 532).—­On the limitations of painting (533—­535).—­On the choice of a position (536. 537).—­The apparent size of figures in a picture (538. 539).—­The right position of the artist, when painting and of the spectator (540—­547).—­III.  The practical methods of light and shade and aerial perspective.—­Gradations of light and shade (548).—­On the choice of light for a picture (549—­554).—­The distribution of light and shade (555—­559).—­The juxtaposition of light and shade (560. 561).—­On the lighting of the background (562—­565).—­On the 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 (680).—­Mottoes and Emblems (681—­702).

The author’s intention to publish his MSS.

1.

How by a certain machine many may stay some time under water.  And how and wherefore I do not describe my method of remaining under water and how long I can remain without eating.  And I do not publish nor divulge these, by reason of the evil nature of men, who would use them for assassinations at the bottom of the sea by destroying ships, and sinking them, together with the men in them.  Nevertheless I will impart others, which are not dangerous because the mouth of the tube through which you breathe is above the water, supported on air sacks or cork.