⚠Significant bleed-through from the text on the reverse side of the page is visible, though the foreground text remains legible.

OF THE MAIN SUBJECTS

Entry	Page
Diana, and her statue.	575
Diana, and her ancient statues.	577
Difference and agreement between painting and sculpture.	3
Difficulty of creating Colossi. Colossi are statues of enormous size, requiring specific mathematical adjustments to account for the viewer's perspective from below.	33
The God of the Sea [Neptune] in anger upon his chariot.	373
Design must not be mutilated. In the Renaissance sense, disegno (design/drawing) was the intellectual foundation of art; a "mutilated" design implies a lack of structural or anatomical integrity.	252
Design must be primarily understood by the painter.	412
Discourse on the shadows upon bodies.	242
Discord represented in the temple of Diana of Ephesus.	662
Distances proportioned to sight. A reference to the laws of linear perspective.	264
Diversity of climate, colors, and customs of the peoples of the world.	454
Divine emotions shown by painters and by poets. The term affetti refers to the outward expression of internal emotions or the "motions of the soul."	486
Of illuminated unity from the second primary light. A technical term regarding lighting theory and how secondary light sources affect the harmony of a composition.	219
Instructions for painting facades that recede inward, and those that project outward.	316
Learned painters of ancient times.	341
A dragon in combat with a lion, and its movements.	178
Duke of Saxony, by whom he was accurately portrayed. Likely referring to the Electors of Saxony, famously painted by Lucas Cranach the Elder.	186

Entry	Page
Excellence of ancient painting.	288
Excellence of symmetry and of sight.	327
Buildings, and those who have illustrated the art of making them.	650
Buildings painted at a time when they did not [yet] exist. This entry likely discusses anachronisms, such as painting classical Roman architecture into biblical scenes.	286
Buildings all derived from the form of man. Refers to the Vitruvian principle that architectural proportions should mirror those of the human body.	96
Germanic buildings and their qualities.	655
Edict of Alexander the Great to painters and sculptors. Historical tradition holds that Alexander the Great decreed only Apelles could paint him and only Lysippos could cast him in bronze.	433
Diverse effects of colors.	201
Natural effects of animals represented in painting.	461
Divine effigy painted by the Divinity itself. This refers to acheiropoieta, images believed to have been created miraculously rather than by human hands, such as the Shroud of Turin.	435
What the effigies of the ancient Caesars were like.	729
Egypt, full of everything excellent that could be found in painting.	444
Hercules overturned human sacrifices.	487
Marble Hercules killing Cacus. A popular subject in Renaissance sculpture, most notably the colossal group by Baccio Bandinelli in Florence.	622
Hercules represented in a statue.	624
Heroes arranged in other forms cannot delight our eyes. Suggests that if heroic figures do not follow accepted canons of proportion, they fail to please the viewer.	621
Error perceived from a painted fleece.	197
Errors that would be made in Colossi, and warnings about them.	6