Treatise on the Art of Painting (1584) - Page 19


On direct light, chapter IX.	on page 222.
On reflected light, chapter X.	on page 222.
On refracted light, chapter XI.	on page 223.
How all bodies receive light, whether a little or a lot, chapter XII.	on page 223.
On the effects that light produces in bodies in general, chapter XIII.	on page 226.
On the effects that light produces in earthy bodies In the science of the time, "earthy bodies" referred to solid, opaque objects made of the element of Earth., chapter XIIII.	on page 226.
On the effects that light produces in watery bodies, chapter XV.	on page 229.
On the effects that light produces in aerial bodies This refers to the way light interacts with the atmosphere, smoke, or mist., chapter XVI.	on page 231.
On the effects that light produces in fiery bodies, chapter XVII.	on page 232.
On the effects light has on colors, chapter XVIII.	on page 233.
On the effects light has on any surface, chapter XIX.	on page 235.
How bodies should have one light source that is principal over the others, chapter XX.	on page 237.
How lights are applied to bodies, chapter XXI.	on page 238.
On sciography (sciografica): the art of shading or the study of shadows in a drawing, chapter XXII.	on page 242.
On the shadows of bodies according to the anoptic (anottica) view: an upward-looking perspective, chapter XXIII.	on page 242.
On the shadows of bodies according to the optic (ottica) view: a direct, straight-ahead perspective, chapter XXIIII.	on page 243.
On the shadows of bodies according to the catoptic (catottica) view: a perspective looking downward, or one involving reflections, chapter XXV.	on page 244.

TABLE OF THE FIFTH BOOK.


Preface, Chapter first.	on page 245.
On the power of perspective (prospettiua): the mathematical method of representing three-dimensional space on a flat surface, Chapter II.	on page 251.
Definition of perspective, chapter III.	on page 254.
On the logic of seeing in general, chapter IIII.	on page 256.
On the logic of seeing in detail, chapter V.	on page 257.
On the rays of sight Renaissance theory often treated sight as physical "rays" traveling between the eye and the object., chapter VI.	on page 259.
On the eye as the instrument for seeing rays, chapter VII.	on page 261.
On distances, chapter VIII.	on page 263.
On the object, chapter IX.	on page 267.
On the Anoptic or first view, otherwise known as the real and superior line, chapter X.	on page 268.
On the Optic or second view, otherwise known as the real and middle straight line, chapter XI.	on page 268.
On the Catoptic or third view, otherwise known as the low real line, chapter XII.	on page 269.
On the first false view (vista mentita): a deceptive or illusory perspective, often used in theatrical staging or to correct for a viewer's specific angle, the supreme perpendicular, chapter XIII.	on page 269.
On the second false view, the oblique, chapter XIIII.	on page 270.
On the third false view, the superior, chapter XV.	on page 271.
On the fourth false view, the middle, chapter XVI.	on page 271.