| 1. The secret of the five different movements of the five types of brushes. |
| 2. The secret of the springboard to be used for blending. |
| 3. "The secret of the "slumber with a key." |
| 4. The secret of the sea-urchin slumber. |
| 5. The secret of the sleep with three sea-perched eyes. |
| 6. The secret of sleeping while awake. |
| 7. The secret of the sympathies and antipathies of the painter's retina. |
| 8. The secret of the favorable vegetations which the painter should plant around his house. |
| 9. The secret of the periods of carnal abstinence and indulgence to be observed by the painter. |
| 10. "The secret of the painter's calendar, in accordance with which every important work may be realized in six days." |
| 11. The secret of a telescope constructed with the Aristotle's lantern of a sea urchin by virtue of which the painter may know when he must stop working at his picture. |
| 12. The secret of the painter's marriage. |
| 13. The secret of why Gala loves Painting and why Painting loves Gala. |
| 14. The secret of the form of an olive by virtue of which the painter may be guided in choosing the woman he must marry. |
| 15. The secret for constructing an aranearium. |
| 16. The secret of the retrospective utilization of araneariums. |
| 17. "The secret, very simple but important, of a small roof to protect the picture from dust." |
| 18. The secret of the painter's pointed mustaches. |
| 19. The secret of learning to paint before knowing how to draw. |
| 20. The secret of learning to draw models in reverse by the use of a mirror. |
| 21. "The secret of the nine crutches serving to "fix" the most beautiful aesthetic poses of nude models." |
| 22. The secret of oil-soaked strings serving to mark the geodesic curves of a turgescent nude. |
| 23. The secret of the reason why a great draughtsman should draw while completely naked. |
| 24. The secret for transferring the most immaculate tracings by means of oil paint. |
| 25. The secret for becoming a great colorist by utilizing solely blacks and whites. |
| 26. The secret of Naples yellow. |
| 27. "The secret that a painting should dry slowly and naturally, without dryers of any kind." |
| 28. The secret of using ivory black for the underpainting and blue black for the song. |
| 29. "The secret of the maulstick glued to the "Achilles callosity" of the painter's hand by means of pitch." |
| 30. The secret of banishing burnt umber from the palette. |
| 31. The secret of blanc d'argent. |
| 32. The secret of Venetian red. |
| 33. The secret of the Mars colors. |
| 34. The secret of Veronese green. |
| 35. The secret of the cadmiums. |
| 36. The secret of vermilion. |
| 37. The secret of the incompatibility of ultramarine blue with the other colors. |
| 38. The secret of cobalt blue. |
| 39. The secret of cobalt violet. |
| 40. "The secret of "dream-veil" imprimaturas." |
| 41. "The secret of the "wasp" medium." |
| 42. "The secret of artificially pigmented cowrie shells, extremely useful for refining the painter's ret |
| 43. "The secret whereby a painter may become a very rich man, that is to say, whereby he may produce gold with his colors." |
| 44. The secret of the hanging egg of Piero della Francesca. |
| 45. The secret of the sea urchin which the painter must have beside him for his meditations. |
| 46. The secret of utilizing the golden section in perspective in order to obtain very unique and excellent melancholy effects. |
| 47. The secret of the compass for projecting the golden section. |
| 48. "The secret of the frames for the painter's models, excellent for guiding the composition of his pictures." |
| 49. "The secret of obtaining the most beautiful models of curves, exceeding in harmony the logarithmic spirals of the nautilus." |
| 50. The secret of the angel. |