OF THE CHAPTERS.

On the fifth deceptive view from below, Chapter XVII. at page 272.
On the sixth deceptive deep or receding view, chapter XVIII. at page 272.
On inflections In this context, "inflections" refers to the bending or curving of forms in space as they relate to perspective., chapter XIX. at page 273.
On the elevations of bodies above the ground line, chapter XX. at page 274.
On perspective in general according to Bramantino Bartolomeo Suardi (c. 1465–1530), known as Bramantino, was an influential Milanese painter and architect renowned for his mastery of complex perspective., painter, perspectivist, and architect, chapter XXI. at page 274.
First perspective method of Bramantino, chapter XXII. at page 275.
Second mode of perspective of Bramantino, chapter XXIII. at page 276.
Third mode of perspective of Bramantino, chapter XXIIII. at page 276.

TABLE OF THE SIXTH BOOK.

On the power of practice Here, "practice" (prattica) refers to the practical application of artistic theory and the manual skill developed through experience., Chapter one. at page 279.
On the necessity of practice, chapter II. at page 281.
Rules of proportion concerning the human body, chapter III. at page 285.
Rules of the motion of the human body, chapter IIII. at page 292.
Rules of the motions of the horse, chapter V. at page 296.
On the rule of color, chapter VI. at page 299.
How colors are distributed in narrative paintings The term "histories" (historie) refers to narrative artworks depicting specific historical, mythological, or biblical events., chapter VII. at page 306.
Which types of colors are particularly suitable for different kinds of people, chapter VIII. at page 309.
On the colors of the four humors The "four humors" (blood, phlegm, black bile, and yellow bile) were believed in Renaissance medicine to dictate both temperament and the physical coloring of the skin., and how from them the flesh is composed in the human body of every kind, chapter IX. at page 310.
How shadows should follow the color of the flesh, chapter X. at page 311.
How flesh tones are composed according to the motions of bodies, chapter XI. at page 312.
On the rules of light, chapter XII. at page 314.
Rules of perspective, chapter XIII. at page 315.
A way to show natural proportions according to the sight of the eye, chapter XIIII. at page 317.
The reason for the aforementioned frame A telaro or frame was a perspective tool—often a wooden frame with a grid of threads—used by artists to accurately transcribe proportions from life to a flat surface., chapter XV. at page 321.
Geometric proportions to be transferred to the sight, chapter XVI. at page 324.
On the art of making figures in full and half-relief Relief refers to sculpture where forms project from a flat background., chapter XVII. at page 328.
On the way to draw colossi Gigantic statues or figures. for the viewer, and all other proportions, chapter XVIII. at page 331.
Ways to make inverse perspective that appears true when seen through a single aperture This refers to anamorphosis, a distorted projection that requires the viewer to occupy a specific vantage point or use a special device to see the image correctly., chapter XIX. at page 335.
On some universal rules of painting, chapter XX. at page 336.
Which paintings should be placed in tombs, cemeteries, underground churches, and other melancholic and funerary places, chapter XXI. at page 338.