of the head and of the torso (334).—­The relative proportions of the torso and of the leg (335. 336).—­The relative proportions of the torso and of the foot (337).—­The proportions of the whole figure (338—­341).—­The torso from the front and back (342).—­Vitruvius’ scheme of proportions (343).—­The arm and head (344).—­Proportions of the arm (345—­349).—­The movement of the arm (350—­354).—­The movement of the torso (355—­361).—­The proportions vary at different ages (362—­367).—­The movement of the human figure (368—­375).—­Of walking up and down (375—­379).—­On the human body in action (380—­388).—­On hair falling down in curls (389).—­On draperies

(390—­392).

VIII.

BOTANY FOR PAINTERS, AND ELEMENTS OF LANDSCAPE PAINTING

Classification of trees (393).—­The relative thickness of the branches to the trunk (394—­396).—­The law of proportion in the growth of the branches (397—­402).—­The direction of growth (403—­407).—­The forms of trees (408—­411).—­The insertion of the leaves (412—­419).—­Light on branches and leaves (420—­422).—­The proportions of light and shade in a leaf (423—­426).—­Of the transparency of leaves (427—­429).—­The gradations of shade and 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