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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--
4
97).--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
1
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