Chapter IV: (xi.)

How Models for large and small Bronze Figures are made, with the Moulds for casting them and their Armatures of iron; and how they are cast in metal and in three sorts of Bronze; and how after they are cast they are chased and refined; and how, if they lack pieces that did not come out in the cast, these are grafted and joined in the same bronze, 158

§ 55. _The Full-sized Model for Bronze_ (158). § 56. _The Piece-Mould in Plaster_ (158). § 57. _The Construction of the Core_ (159). § 58. _The Piece-Mould lined with a Skin of Wax_ (160). § 59. _This Skin of Wax applied over the Core_ (160). § 60. _The fire-resisting Envelope applied over the Wax_ (161). § 61. _The External Armature_ (162). § 62. _The Vents_ (162). § 63. _The Wax melted out_ (162). § 64. _The Mould in the Casting-pit_ (163). § 65. _The Composition of the Bronze_ (163). § 66. _Making up Imperfections_ (164). § 67. _A simpler Method of Casting small Figures and Reliefs_ (165). § 68. _Chasing the Cast and Colouring the Bronze_ (165). § 69. _Modern Tours de Force in small Castings_ (166).

CHAPTER V. (XII.)

Concerning Steel Dies for making Medals of bronze or other metals and how the latter are formed from these metals and from Oriental Stones and Cameos, 167

§ 70. _The Fabrication of Matrices for Medals_ (167). § 71. _The
Cutting of Intaglios and Cameos_ (168).

CHAPTER VI. (XIII.)

How works in White Stucco are executed, and of the manner of preparing the Wall underneath for them, and how the work is carried out, 170

§ 72. _Modelled and stamped Plaster Work_ (170).

CHAPTER VII. (XIV.)

How Figures in Wood are executed and of what sort of Wood is best for the purpose, 173

§ 73. _Wood Carving_ (173).

NOTES ON ‘INTRODUCTION’ TO SCULPTURE, 177

THE NATURE OF SCULPTURE, 179

SCULPTURE TREATED FOR POSITION, 180

WAXEN EFFIGIES AND MEDALLIONS, 188

PROPORTIONATE ENLARGEMENT, 190

THE USE OF FULL-SIZED MODELS, 192

ITALIAN AND GREEK RELIEFS, 196

THE PROCESSES OF THE BRONZE FOUNDER, 199

OF PAINTING, 203

CHAPTER I. (XV.)

What Design is, and how good Pictures are made and known, and concerning the invention of Compositions, 205

§ 74. _The Nature and Materials of Design or Drawing_ (205). § 75. _Use of Design (or Drawing) in the various Arts_ (206). § 76. _On the Nature of Painting_ (208).

CHAPTER II. (XVI.)

Of Sketches, Drawings, Cartoons, and Schemes of Perspective; how they are made, and to what use they are put by the Painters, 212

§ 77. _Sketches, Drawings, and Cartoons of different kinds_ (212). § 78. _The Use of Cartoons in Mural and Panel Painting_ (215).

CHAPTER III. (XVII.)

Of the Foreshortening of Figures looked at from beneath, and of those on the Level, 216

§ 79. _Foreshortenings_ (216).

CHAPTER IV. (XVIII.)

How Colours in oil painting, in fresco, or in tempera should be blended: and how the Flesh, the Draperies and all that is depicted come to be harmonized in the work in such a manner that the figures do not appear cut up, and stand out well and forcibly and show the work to be clear and comprehensible, 218

§ 80. _On Colouring_ (218).

CHAPTER V. (XIX.)

Of Painting on the Wall, how it is done, and why it is called Working in Fresco, 221

§ 81. _The Fresco process_ (221).

CHAPTER VI. (XX.)

Of Painting in Tempera, or with egg, on Panel or Canvas, and how it is employed on the wall which is dry, 223

§ 82. _Painting in Tempera_ (223).

CHAPTER VII. (XXI.)

Of Painting in Oil on Panel or on Canvas, 226

§ 83. _Oil Painting, its Discovery and Early History_ (226). § 84. _How to Prime the Panel or Canvas_ (230). § 85. _Drawing, by transfer or directly_ (231).

CHAPTER VIII. (XXII.)

Of Painting in Oil on a Wall which is dry, 232

§ 86. _Mural Painting in Oil_ (232). § 87. _Vasari’s own Method_
(233).

CHAPTER IX. (XXIII.)

Of Painting in Oil on Canvas, 236

§ 88. _Painting on Canvas_ (236).

CHAPTER X. (XXIV.)

Of painting in Oil on Stone, and what stones are good for the purpose, 238

§ 89. _Oil Painting on Stone_ (238).

CHAPTER XI. (XXV.)

Of Painting on the wall in Monochrome with various earths: how objects in bronze are imitated: and of groups for Triumphal Arches or festal structures, done with powdered earths mixed with size, which process is called Gouache and Tempera, 240

§ 90. _Imitative Paintings for Decorations_ (240).

CHAPTER XII. (XXVI.)

Of the Sgraffiti for house decoration which withstand water; that which is used in their production; and how Grotesques are worked on the wall, 243

§ 91. _Sgraffito-work_ (243). § 92. _Grotesques, or Fanciful
Devices, painted or modelled on Walls_ (244).

CHAPTER XIII. (XXVII.)

How Grotesques are worked on the Stucco, 246

CHAPTER XIV. (XXVIII.)

Of the manner of applying Gold on a Bolus, or with a Mordant, and other methods, 248

§ 93. _Methods of Gilding_ (248).

CHAPTER XV. (XXIX.)

Of Glass Mosaic and how it is recognized as good and praiseworthy, 251

§ 94. _Glass Mosaics_ (251). § 95. _The Preparation of the
Mosaic Cubes_ (253). § 96. _The Fixing of the Mosaic Cubes_ (255).

CHAPTER XVI. (XXX.)

Concerning the Compositions and Figures made in Inlaid Work on Pavements in imitation of objects in Monochrome, 258

§ 97. _Pavements in Marble Mosaic and Monochrome_ (258). § 98. _Pavements in Variegated Tiles_ (260). § 99. _Pavements in Breccia Marble_ (261).

CHAPTER XVII. (XXXI.)

Of Mosaic in Wood, that is, of Tarsia; and of the Compositions that are made in Tinted Woods, fitted together after the manner of a picture, 262

§ 100. _Inlays in Wood_ (262).

CHAPTER XVIII. (XXXII.)

On Painting Glass Windows and how they are put together with Leads and supported with Irons so as not to interfere with the view of the figures, 265

§ 101. _Stained Glass Windows, their Origin and History_ (265).
§ 102. _The Technique of the Stained Glass Window_ (268).

CHAPTER XIX. (XXXIII.)

Of Niello, and how by this process we have Copper Prints; and how Silver is engraved to make Enamels over Bas-relief, and in like manner how Gold and Silver Plate is chased, 273

§ 103. _Niello Work_ (273). § 104. _The Origin of Engraving_
(274). § 105. _Enamels over Reliefs_ (276).

CHAPTER XX. (XXXIV.)

Of Tausia, that is, work called Damascening, 279

§ 106. _Metal Inlays_ (279).