Introduction . . ix 
Illustrations . . xxvii 

Sacred Painting . . 3

Book I
1. The Subject and Arrangement of the Book . . 3 
2. Decorum . . 5
3. The Errors of the Ancient Pagans . . 11
4. Historical Falsehoods . . 11
5. Pagan Myths . . 17
6. Nudity . . 21
7. Clothing . . 23
8. Age . . 27
9. The Compositional Field of the Painting . . 31
10. How Difficult It Is to Express the Emotions . . 37
11. Piety, Above All Else, Is Necessary for the Painter . . 45
12. Athletic Figures . . 51
13. Lascivious Figures . . 55

Book II
1. The Appearance of the Most Holy Trinity . . 61
2. The Portrayal of the Savior . . 65
3. Representations of the Crucifixion . . 77
4. The Mysteries of the Savior . . 83
5. The Appearance of the Most Blessed Virgin . . 91
6. Images of Angels . . 95
7. Sacred Symbols . . 99
8. Images Copied from Life . . 103
9. Portraits of St. Gregory the Great and Charlemagne . . 111
10. In Which Various Knotty Problems Concerning Portraits of the Saints Are Solved . . 117
11. The Clothing and Attributes of the Saints . . 125
12. The Various Uses of Images by Christians . . 133
13. The Ancient Forms of Sacred Buildings . . 137

Museum . . 145

Appendix: Rules of the Accademia del Disegno . . 207 

Note on the Texts and Translation . . 217 
Notes to the Texts . . 225
Notes to the Translation . . 227 
Bibliography . . 277 
Index . . 279