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Chap. CCXLIX.—Of the Light proper for painting Flesh Colour from Nature. Your window must be open to the sky, and the walls painted of a reddish colour. The summertime is the best, when the clouds conceal the sun, or else your walls on the south side of the room must be so high, as that the sun-beams cannot strike on the opposite side, in order that the reflexion of those beams may not destroy the shadows. Chap. CCL.—Of the Painter’s Window. The window which gives light to a painting-room, ought to be made of oiled paper, without any cross bar, or projecting edge at the opening, or any sharp angle in the inside of the wall, but should be slanting by degrees the whole thickness of it; and the sides be painted black. Chap. CCLI.—The Shadows of Colours. The shadows of any colour whatever must participate of that colour more or less, as it is nearer to, or more remote from the mass of shadows; and also in proportion to its distance from, or proximity to the mass of light. Chap. CCLII.—Of the Shadows of White. To any white body receiving the light from the sun, or the air, the shadows should be of a blueish cast; because white is no colour, but a receiver of all colours; and as by the fourth proposition we learn, that the surface of any object participates of the colours of other objects near it, it is evident that a white surface will participate of the colour of the air by which it is surrounded.