Index to Part Two: Light, Shadow, and Attitudes (chs. 91-109)
Tavola entries on drawing by lamplight, flesh tones, attitudes, and the figure
A further page of the index (Tavola) to Part Two, running-head 'Secunda,' listing chapters 91-109 with folio references. The entries concern where to draw landscapes, drawing shadows by candle- or lamplight, giving a face grace through shadow and light, simple and compound shadow, and rendering flesh tones. A second group treats attitudes, drawing the nude, the measures of the statue, knowing the intrinsic form of man, and the defect of repeating the same facial attitudes.
On this page
Drawing shadows by candlelight and grace of a face
Early entries (chs. 92-95) concern light and shadow in drawing. Headings cover drawing the shadows of bodies by candle- or lamplight, in what limit a face is drawn to give it grace of shadows and lights, the way of drawing both simple and compound shadow, and the light for the flesh-tints of faces and nudes.
Attitudes, the nude, and the intrinsic form of man
A central cluster (chs. 96-106) addresses the figure. Headings include drawing figures for histories, learning a posed figure, the attitudes, drawing a nude from nature, the measures and composition of the statue, deception in judging the limbs, and the need for the painter to know the intrinsic form of man.
Defects of masters in repeating attitudes
The closing entries (chs. 107-109) warn of painters' failings. They treat the defect masters have in repeating the same attitudes of faces, the greatest defect of painters, and a precept that the painter not deceive himself in the choice of the figure on which he sets the costume.