[110] Defect of painters who draw a thing in relief at home in one light, and then put it in the countryside or another place in another light. at fol. 45
[111] Of painting and its division. at fol. 45
[112] Figure and its division.
[113] Proportion of limbs.
[114] Of avoiding the calumnies of the various judges that the practitioners of painting face. at fol. 46
[115] Of the movements and the various opinions.
[116] Flee the profiles, that is, the sharp contours of things.
[117] How in small things errors are not perceived as in large ones.
[118] Why painting can never appear as detached as natural things.
[119] Why the piling of figures one above another is a work to be avoided. at fol. 47
[120] Which painting is better to use in making things appear detached.
[121] Which is of more discourse and utility, the lights and shadows of bodies, or their lineaments.
[122] Which is of greater importance, the movement created by the various accidents of animals, or their shadows and lights. at fol. 48
[123] Which is of more importance, that the figure abound in beauty of colours, or in demonstration of great relief.
[124] Which is more difficult, the shadows and lights, or rather good drawing.