Vasari on technique

For buildings and permanent monuments at Florence, Rome, etc., see under the names of the respective cities.

The references are to pages. The upright numerals refer to the text, the sloping ones to the commentary.

• Aachen, minster at, crown-light in, 275.
• Abbozza, l’, 231.
• ‘Abundance,’ see ‘Donatello, Dovizia.’
• ‘Adoration of the Lamb,’ by van Eyck, 296.
• ‘Agias,’ the, by Lysippus, 146.
• ‘Alberese,’ 57.
• Alberti, Leon Battista: 1, 7, 8, 10, 11, 12, 13, 25, 30, 66:
  • his writings;
    • De Re Aedificatoria, 6, 13, 26, 34, 65, 232;
    • Della Pittura, 6, 11, 12, 13;
    • Della Scultura, 6, 192;
    • Tract on the Orders, 66.
• Alcamenes, his competition with Pheidias, 181, 186.
• Aldovrandi, 104.
• Alexander VI, 260.
• Alexandria, 102, 300.
• Alfonso of Naples, 226.
• Amalgam, for niello work, 274.
• Amiens, portals at, 199.
• Ammanati, 46, 125, 139.
• Anastatius IV, 27.
• Ancona, arch at, 79.
• Andrea dal Castagno, 229.
• Anio, the, 51.
• Antiques, collections of, 102 f.
• Antonello da Messina, 229, 297.
• ‘Apollo’;
  • ‘Belvedere,’ 116;
  • ‘Choisseul Gouffier,’ 146;
  • at Naples, 42, 104.
• ‘Applied ornament,’ 22.
• Arabesques, 303.
• Arch of Discharge, 70.
• Arches: ancient;
  • at Ancona, 79;
  • at Pola, 79;
  • at Rome, 76, 82, 132, 184, 197:
  • temporary, 240.
• Architectural forms, significance of, 68.
• Architectural practice, mediaeval and modern, 207.
• Architecture;
  • Gothic, 83, 132, 133 f.;
  • ideal, 18, 96, 138;
  • mediaeval, Vasari on, 83, 133 f.;
  • Renaissance, 133, 138 f.,
    • books on, 72, 74;
  • Roman, see ‘Rome,’ and passim.
• ‘Architettura Tedesca,’ 134.
• Archivio della R. Società Romana di Storia Patria, 103.
• Armatures;
  • in models of clay or wax, 149, 150, 195;
  • in moulds for bronze casting, 160 f., 201;
  • in modelled plaster work, 171.
• Aretine vases, 156.
• Arezzo, 267, 309;
  • Cathedral, 267;
  • Museum, 157;
  • S. Francesco, 267;
  • Vasari’s house, 291.
• Armenini, 7.
• Armour, arms, inlaid, 279 f.
• ‘Ascension’ by Melozzo da Forlì, 217.
• Ashlar work, 50, 63.
• Assisi;
  • S. Francesco, 134;
  • Roman Temple, 75.
• Athens;
  • Acropolis, 300;
  • Museums, 239;
  • Olympeion, 132;
  • Pentelicus quarries, 44, 194.
• Bacchus, Temple of, at Rome, 27, 93.
• Bacon, Francis, his Essay on Building, 139.
• Baldinucci;
  • his Notizie, 110, 113, 114;
  • his Vocabolario, 57, 231.
• Bandinello, 46.
• Bardiglio, grey marble, 45, 49, 125.
• Basalt, 104, 117.
• Bassae, sculpture from, 184.
• Bathroom pictures, 227.
• Beccafumi, Domenico, 258.
• Bekleidungstheorie, Semper’s, 303.
• Bell earths, 230.
• Bellini;
  • Gentile, 236;
  • Giovanni, 297;
  • Jacopo, Vasari’s Life of, 237.
• Bells, casting of, 164, 199.
• Belvedere, Cortile di, see ‘Rome, Vatican.’
• Bérard, Dictionnaire des Artistes Français, 130.
• ‘Bernward’ pillar, the, 164.
• Bertolotti, Artisti Francesi in Roma, etc., 130.
• Biacca (white lead), 221, 230, 236, 288.
• ‘Bianco Sangiovanni,’ 221, 288.
• Birmingham, its School of Art, 22.
• Boccaccio, his Commentary on Dante, 35.
• Bocchi, Francesco, on Donatello, 195.
• Boetheus, de Arithmetica, 236.
• Bollettino d’ Arte del Ministero della Pubblica Istruzione, quoted, 233.
• Bole Armeniac, Bolus, 248.
• Bologna;
  • John of, 38;
  • S. Domenico, 306.
• Bonanni, Numismata, etc., 116.
• Borghini, 7.
• Botticelli, as tempera painter, 292, 294.
• Box wood;
  • for carving, 174;
  • for wood-cuts, 281.
• Braccio, as measure of length, viii.
• Bramante, 116, 135, 266.
• Breccia, 37, 38, 45, 49, 57, 125, 261.
• Brenner, the, 134.
• Brick;
  • pounded, 232, 234;
  • variegated, for pavements, 260.
• British Museum, 313.
• Bronze;
  • casting in, see ‘Sculpture, in Bronze’;
  • composition of, 163 f.;
  • incised designs in, 275.
• Brunelleschi, 25, 46, 58, 196, 197, 262, 305.
• Brussels, Town Hall at, 236.
• Buddhist stucco work, 301.
• ‘Building,’ relief on Giotto’s Campanile, 207.
• Bulletin Monumental, 136.
• Bulls’ eyes, 265.
• Buonarroti, the Casa, 46, 195.
• Buonarroti, Michelangelo, personal references to, 5, 15, 25, 33, 108.
• Buonarroti, his work;
  • at Florence, 46, 80, 110;
  • at the marble quarries, 120 f.;
  • at Rome, 14, 36, 53, 81, 116, 153;
  • as architect, 53 f., 80 f.;
  • as decorative designer, 53, 81, 116;
  • as draughtsman, 216;
  • as restorer of antiques, 32, 116;
  • as sculptor, 90, 153, 192, 194, 195, 199;
  • as writer, 179, 180, 197.
• Buontalenti, 90.
• Burgkmair, 282.
• ‘Burin,’ or graver, 165, 273.
• Burlington;
  • House, see ‘Exhibitions’;
  • Magazine, 227.
• Burnishing of gold, 249.
• Busts, Roman, in coloured wax, 188.
• Byzantine;
  • mosaics, 136;
  • mural paintings, 225;
  • temperas, 223;
  • misuse of the word, 302.
• ‘Calcagnuolo’ (toothed chisel), 48, 152.
• Camaldoli, monastery of, 233.
• Cameos, 157, 169.
• ‘Campanini,’ marbles, 45, 50.
• Campiglia, 50, 127.
• Cancellieri, Lettera ... intorno la ... Tazza, 109.
• Cannon, casting of, 164, 200.
• Canopy, in the Carmine, Florence, 43, 118.
• Cantini, Legislazione Toscana, 58.
• Canvas;
  • as painting ground, 236 f.;
  • mural painting on, 234;
  • as used in Egypt, 236;
  • at Rome, 236;
  • at Venice, 236 f.;
  • by Mantegna, 236;
  • by Netherland painters, 236.
• Carborundum, 29.
• Careggi, 33.
• Carfagnana, or Garfagnana, a district of Italy, 45.
• Carpi, Ugo da, 281.
• Carrara, 42, 119 f., 259.
• Carteggio, the, of Gaye, 16, 32, 266, 308 f.
• Cartoons;
  • how made, 213;
  • how used, 215 f., 259, 289;
  • for glass, 268.
• Castagno, Andrea dal, 229.
• Casting-pit, the, 163.
• Cellini, Benvenuto; 7, 45, 116, 160, 164, 199 f.;
  • his Autobiography, 116, 302;
  • his Trattati, 7, 18, 41, 57, 111, 113, 168, 191, 275, 276, 277, 278;
  • on the use of full-sized models, 194;
  • his process of bronze casting, 201.
• Cennini, Cennino, 9, 10, 11, 88;
  • his Trattato, 6, 8, 11, 136 f., 173, 224, 237, 290, 292, 295.
• Cesare Cesariano, 134 f.
• Chalk;
  • black, 213;
  • red, 212;
  • tailors’ white, 231;
  • as ‘whitening,’ 242.
• Chambers, Sir William, 68.
• Charcoal;
  • for darkening mixtures, 240;
  • for drawing, 213, 231;
  • for transferring, 215.
• Charles V, 108.
• Chartres, sculpture at, 183.
• Chasing; 200, 273;
  • tools for, 165.
• Chavenier (Chiavier), Jean, of Rouen, 130, 175.
• Chemical analysis of painting media, 225.
• Chiaroscuri;
  • decorative paintings, 240 f., 298;
  • wood engravings, 20, 281 f.
• Choir stalls, 305.
• Christ;
  • by Donatello at Padua, 188;
  • ‘At the pillar’ by del Piombo, 234;
  • Head of, by Tadda, 33, 113, 115.
• Christa, Christus (the painter), see ‘Crista.’
• ‘Chunam,’ 301.
• ‘Church Triumphant,’ the, at Reims, 184.
• Cicero, de Divinatione, 180.
• Cimabue, 223, 252.
• ‘Cipollaccio,’ 36.
• Cipollino, 36, 45, 49.
• ‘Cire Perdue,’ 202.
• Cista, Ficeronian, the, 273.
• Cividale, S. Maria in Valle, 301.
• Claude (worker in glass), 266.
• Clement;
  • VII, 36, 46, 58, 89, 109, 110, 116, 311;
  • XI, 108;
  • XII, 28;
  • XIV, 108.
• ‘Cleopatra,’ the, 116.
• Coats of Arms, see ‘Stemmi.’
• Coins, technique of, 157, 168.
• ‘Colantonio del Fiore’ (apocryphal artist), 227.
• Colonna;
  • Ascanio, 32, 108;
  • Vittoria, 108.
• Colouring; 218 f.;
  • Florentine, North Italian, 208;
  • in three shades, 209;
  • printing in, 281;
  • of woods for tarsia, 262;
  • of wax, 148, 188 f.
• Columns: see ‘Orders of Architecture’:
  • at Constantinople, 102:
  • at Florence;
    • Baptistry, 34;
    • Mercato Vecchio, 59;
    • S. Trinità, 41, 66, 110:
  • at Pisa, Baptistry, 41:
  • at Rome;
    • Aurelian, 183 f.;
    • Basilica of Constantine, 79;
    • Pantheon, 41;
    • St. Peter’s, 39;
    • Trajanic, 183 f.:
  • rustication of, 65.
• ‘Commesso, lavoro di,’ 262.
• Composition, in a picture, its meaning, 209.
• Conche (antique bathing urns used for sepulchral purposes or fountains), 27, 38, 39, 108 f.
• Conglomerate, see ‘Breccia.’
• Coningsburgh Castle, 72.
• Constantine, 27, 102.
• Constantinople;
  • porphyry at, 101;
  • S. Sophia, 102, 254.
• Correggio, 208, 217.
• Corsi, delle Pietre antiche, 37, 41, 49.
• Cortona, 156, 267.
• Corundum (emery), 29.
• Cosimo, see ‘Medici, dei.’
• Cosmati-work, 304.
• Cranach, 282.
• Crista, Pietro, 228.
• Crowe and Cavalcaselle; Early Flemish Painters, 227;
  • History of Painting in North Italy, 226.
• Dalman, Dalmau, Ludovicus, 228.
• Damascening, 279.
• Damiano, Fra, of Bergamo, 263, 306.
• Dante; 307;
  • quoted, 258 f.;
  • referred to, 35.
• Danti, Vincenzio, 123.
• Daremberg et Saglio, Dictionnaire des Antiquités, 273.
• Davanzati, on Donatello, 181.
• ‘David,’ the, by Michelangelo, 44, 45, 194.
• De l’Orme, 139.
• De Mayerne MS., 297.
• Design;
  • how it should be studied, 210;
  • as basis of the decorative arts, 284.
• Dienecker, 282.
• Dierich, Dirick;
  • Bouts, 228;
  • of Haarlem, 228.
• ‘Disegno,’ Vasari’s use of the term, 205.
• Dissection, value of, 210.
• Djebel Duchan, porphyry quarries, 102.
• Dome of St. Peter’s, 81.
• Donatello: personal references, 12, 197, 199:
  • his treatment of relief, 18, 145, 156:
  • his treatment of the proportions of the figure, 181 f.:
    • his works; ‘Abraham and Isaac,’ 182,
    • ‘Beheading of John Baptist,’ 196,
    • ‘Cantoria,’ 182,
    • ‘Christ’ of S. Antonio, Padua, 188,
    • ‘David,’ 188,
    • ‘Dovizia,’ 57, 59,
    • ‘St. George,’ 45, 195,
    • ‘Niccolo da Uzzano,’ 188,
    • ‘Pietà,’ 156,
    • ‘Zuccone,’ 182.
• ‘Doryphorus,’ the, at Naples, 146.
• ‘Dovizia,’ by Donatello, 57, 59.
• Drapery, its treatment in sculpture, 144, 150, 175.
• Drawing;
  • its use in the various arts, 206 f.;
  • materials of, 212.
• Drawings, Florentine and Venetian, 212.
• Drills, 49.
• Duccio of Siena, 258.
• Dürer, Albrecht; 1;
  • • as tempera painter, 292.
• Dussieux, Artistes Français à l’Étranger, 130.
• Egg, as a tempera, 222, 223, 224, 234, 249, 293.
• Egg-shell mosaic, 93, 136 f.
• Egypt, as source of supply for stones, 26, 36, 38, 39, 40, 41, 42, 101, 111.
• Egyptians;
  • their bronze casting, 163;
  • their painting methods, 224;
  • their silver work, 273;
  • their use of wooden stamps for bricks, 275.
• Elba, granite from, 40, 111.
• ‘Electron’ metal, 164.
• Elsa, river of Tuscany, 88.
• Emery; 27 f.;
  • point for cutting glass, 269;
  • veins (smerigli), 47.
• Enamels;
  • different kinds of, 312 f.;
  • vitreous pastes for, 311;
  • effect of tin in, 277, 311;
  • Cellini on, 276 f.;
  • Labarte on, 313;
  • Theophilus on, 276, 312;
  • over reliefs, 276 f.;
  • over different metals, 277;
  • firing of, 278;
  • fluxes for, 277;
  • polishing of, 278;
  • ruby colour in, 277;
  • Venetian, 278.
• Encaustic painting, 190, 292.
• Encyclopédie, the French, 18, 152, 158, 191.
• Engraving, on metal, 273 f.;
  • on wood, 281 f.
• Etruscan;
  • incised designs, 273:
  • reliefs, 197;
  • see also ‘Orders of Architecture, Tuscan’ and ‘Tuscan style.’
• Eugenius IV, 28.
• Eustatius, 181.
• Evonimus Europaeus, see ‘Silio.’
• Exhibitions;
  • at Burlington House, 227, 293;
  • at the Salon, 293;
  • International, of 1851, 21;
  • of 1862, 41, 55, 60, 119;
  • ‘Toison d’Or,’ at Bruges, 227.
• Eyck, van; 10, 19, 294 f.;
  • Hubert, 226;
  • Jan, 226 f., 230,
    • bath room pictures by, 227.
• Ezechiel, his visionary temple, 139.
• Facio, De Viris Illustribus, 227, 296.
• Falda, G. F., Vedute delle Fabbriche, 28.
• Farnese Collection of Antiques, 28, 104.
• Federico of Urbino, 227.
• Ferrara;
  • as an artistic centre, 227;
  • Palazzo dei Diamanti, 132.
• Fichard, Frankfurtisches Archiv, 106.
• Ficorini, Francesco dei, Le Vestigia, etc., 108.
• Fiesole; 57, 58, 60, 132;
  • S. Girolamo, tomb in, 111.
• Fig tree, milk of, as a tempera, 224.
• Filarete, Trattato, 135, 139 f., 146, 296.
• ‘Filiera’ (wire-drawing plate), 280.
• Fineschi, on S. Maria Novella, 30.
• Finiguerra, Maso, 274, 275.
• Fireplaces, mediaeval, 72.
• Firing;
  • of enamels, 278;
  • of glass, 271;
  • of cire perdue moulds, 162 f.
• ‘Flashing,’ in glass staining, 270.
• Flemings, as glass workers, 267, 309.
• Flemish;
  • correspondents of Vasari, 1;
  • painting, 226 f., 236.
• Florence:
  • Baptistry; 34, 252, 274;
    • gates of, 34, 155, 183, 196:
  • Bargello, see ‘Museum, National’:
  • Boboli Gardens, 29, 38, 39, 41, 90, 107:
  • Borgo degli Albizzi, 298:
  • Campanile;
    • materials of, 118, 128;
    • relief on, 207;
    • statues on, 182, 187:
  • ‘Centro,’ the, 60:
  • Churches;
    • Annunziata, 18, 175, 253;
    • Carmine, 42, 118;
    • Cathedral, see ‘Duomo’;
    • Duomo, 43, 61, 112, 118, 128, 253, 306, 308;
    • S. Giovanni, see ‘Baptistry’;
    • S. Lorenzo, 58, 112, 122, 156, (Cappella dei Principi, 59, Façade, 46, 124, Library, 58, 80, 81, 261, 310, Sacristy, 58, 80, 110, 194, 305);
    • S. Maria del Fiore, see ‘Duomo’;
    • S. Maria Novella, 30;
    • S. Maria Nuova, 228, 229;
    • Or San Michele, 60, 61;
    • S. Miniato a Monte, 28, 43, 118;
    • S. Spirito, 58:
  • Citadel, fortress, see ‘Fortezza’:
  • Fortezza;
    • Belvedere, 66;
    • da Basso, 61, 66, 133:
  • Fountains, 32, 38, 46, 88, 90, 113:
  • Loggia dei Lanzi, 61:
  • Manufactory of Mosaics, 109, 118:
  • Mercato;
    • Nuovo, 59;
    • Vecchio, 59:
  • Museum;
    • of S. Marco, 60;
    • National, 113, 136, 274:
  • Opera del Duomo, 136, 182, 307:
  • Palazzo;
    • Alessandri, 132;
    • Medici, 68, 133;
    • Montalvo, 298;
    • Pitti, 42, 60, 61, 66, 68, 109, 114, 133;
    • Riccardi, 133;
    • Strozzi, 61, 68;
    • Vecchio (dei Signori, Ducal, Duke Cosimo’s, etc.), 3, 15, 19, 33, 45, 61, 113, 132, 233, 306, 307:
  • Piazza;
    • S. Trinità, 66, 110;
    • Vittorio Emanuele, 59:
  • Ponte S. Trinità, 46, 139:
  • Strada dei Magistrati, see ‘Uffizi’:
  • Uffizi, 5, 59, 70 f., 106, 112, 113, 136:
  • Via dei Magistrati, see ‘Uffizi.’
• Flour;
  • baked, mixed with clay to keep it moist, 150;
  • in paste for priming canvas, 236;
  • for mucilage, 213.
• Fluxes, for enamels, 277.
• Foggini, Giov. Batt., 60.
• Fontainebleau, stucco work at, 171, 183, 302.
• Foreshortening;
  • in painting, 216 f.;
  • in sculpture, 145.
• Fornarina, Raphael’s, her reputed house, 103.
• Fountains, 32, 36, 38, 40, 46, 87 f., 110, 113, 116.
• François I of France, 130, 171.
• ‘Frassinella’ (sharpening stone), 278.
• Frederick II, Emperor, 112.
• French School at Rome, 53.
• French, the, as glass workers, 267.
• Fresco painting, see ‘Painting, fresco.’
• Gaddi;
  • Agnolo, 10, 137;
  • Gaddo, 136;
  • Taddeo, 10.
• Galluzzi, History of the Grand Dukes, 15, 112.
• ‘Ganymede,’ the Florentine, 106.
• Garfagnana or Carfagnana;
  • a district of Italy, 45.
• Garnier, M., on Michelangelo, 81.
• Gaye, Carteggio, 16, 32, 266, 308 f.
• Gazette des Beaux Arts, referred to, 81.
• Genoa;
  • Doria Palace, 247;
  • its flagstones or slates, 55, 238.
• German carving in hard materials, 174.
• ‘German work,’ 63, 83, 133 f.
• Germans, the, in connection with engraving, 275, 282.
• Gesso;
  • as painting ground, 223 f., 230, 236, 249, 293;
  • reliefs in, 224.
• Ghiberti, 18, 183, 199.
• Gian, Maestro, 52, 128 f., 175.
• Giornale d’ Italia, 130.
• Giotto, 10, 225, 290, 304.
• Giovanni, Fra, of Verona, 262, 305.
• Girardon, his statue of Louis XIV, 18, 158.
• Giulio, a silver coin, 276.
• Giusto, S., near Florence, 37.
• Glass;
  • ‘crown,’ 265;
  • stained, 265 f., 308 f.;
  • Venetian, 268;
  • see also ‘Mosaic.’
• Glue;
  • from cheese, 173;
  • from parchment shreds, 173;
  • see also ‘Size.’
• Gori, Thesaurus Vet. Diptychorum, 136.
• Gossets, the, workers in wax, 189.
• Gothic Art, 16, 17, 60, 83, 133 f., 184.
• Goths, the, 60, 63, 83, 134.
• Gotti, Aurelio;
  • on the length of the ‘braccio,’ viii;
  • Le Gallerie ... di Firenze, 113.
• Gozbert of Tegernsee, 310.
• ‘Gradina’ (toothed chisel), 48, 152.
• Granite, 39 f.
• Granito;
  • del foro, 41;
  • di Prato, 118.
• Greece, as source of supply for stones, 35, 36, 38, 42, 43.
• Greek;
  • bronzes, 164;
  • incised designs, 273;
  • reliefs, 179, 196 f.;
  • statues, 146;
  • technique of marble sculpture, 192;
  • technique of bronze casting, 202;
  • tempera paintings, see ‘Byzantine’;
  • wood inlays, 304.
• Gregorovius, Geschichte der Stadt Rom, 102 f.
• Gregory XII, 227.
• ‘Grisatoio’ (a tool), 269.
• Grotesques; 244 f., 299 f.;
  • meaning of term, 302.
• Grottoes, 87, 302.
• ‘Grozing iron’ (a tool), 269.
• Guasti, edition of Michelangelo’s poems, 180.
• Guglielmo da Marcilla, 266, 268, 311.
• Guicciardini, on early Flemish painters, 226.
• Gum, as a tempera, 222, 223, 250, 267, 283.
• Haematite, 269.
• Hair, the, its treatment in sculpture, 144.
• Hampton Court, 236.
• Hare, Days near Rome, 88.
• ‘Heads,’ as measures of columns, 65.
• Heemskerck, drawing of Michelangelo’s fountain, 116.
• Helena, mother of Constantine, 27.
• Hermeneia (Mount Athos Handbook), 295.
• ‘Hermes,’ the, of Praxiteles, 44.
• Herrmann, Steinbruchindustrie, 49.
• Hildesheim;
  • bronze doors at, 164;
  • St. Michael’s, 302.
• ‘Historic Ornament,’ 22.
• Honey, as a tempera, 223, 250.
• Hugo of Antwerp (van der Goes), 229.
• Humanism, 11, 25, 138 f.
• Ideal Architecture, 18, 96, 138.
• Ilg, Dr Albert, 6, 92.
• Impruneta, Hill of the, 37, 127.
• Industrial Arts, the; 21;
  • in Britain, 22;
  • in France, 21;
  • in Italy, passim.
• Inlays:
  • breccia, 38:
  • marble, 92 f., 258 f.:
  • metal;
    • damascening, 279 f.;
    • niello, 273 f.:
  • rustic, for fountains and grottoes, 87 f.:
  • of coloured stones for pavements, etc., 57, 91:
  • wood, 262 f., 303 f.
• Intaglios, technique of, 168 f.
• Intarsia, 279;
  • see also ‘Tarsia.’
• Iron;
  • armatures, ties, etc., 25, 74, 161 f., 271;
  • see also ‘Armatures’;
  • damascening in, 279 f.;
  • scale or scum of, 234, 269.
• Istrian Stone, 56.
• Jahrbuch d. k. deutschen Archeologischen Instituts, 104, 105, 107, 115.
• Janni, Maestro, 128, 174.
• Jervis, I Tesori Sotterranei dell’ Italia, 41, 119 f.
• Joggled lintels, 72.
• John of Bruges, see ‘Eyck, van, Jan.’
• ‘Jonah,’ by Michelangelo, 216.
• Julius;
  • II, 108, 260, 266, 267, 276, 308;
  • III, 32, 108.
• ‘Justice,’ statue by Francesco del Tadda, 110.
• Justus of Ghent, 229.
• Labarte, Histoire des Arts Industriels, 258, 276, 313.
• ‘Lacedaemonium viride,’ 35.
• ‘Laocoon,’ the, 116.
• ‘Last Supper’;
  • Leonardo’s, 233;
  • in Flemish glass, 311.
• Lavagna, slates of, 55.
• Laws, against use of particular materials, etc., 58.
• Leads, for glass windows, 271.
• Leo;
  • III, 310;
  • X, 15, 44, 46, 106, 122, 260.
• Leonardo da Vinci, 12, 14, 15, 139, 230, 233.
• Leopardi, Alessandro, 199.
• Liber Pontificalis, 310.
• Libergier, Hughes, of Reims, 207.
• Light and shade, treatment of, 220.
• Lime;
  • from marble chips, 86;
  • from travertine, 86, 221;
  • its behaviour in connection with fresco, 288.
• Lime-white, see ‘Bianco Sangiovanni.’
• Limewood, for carving, 173.
• Linen cloth, over panels, 224.
• Linlithgow Palace, 72.
• Lippmann, The Art of Wood Engraving, 281.
• Lomazzo, 231.
• Lorenzetto, the sculptor, 107.
• Lotto, 208.
• Louis:
  • XIV, age of, 21;
    • statue of, 158:
  • XV, style of, 89.
• Louvre, the, 44, 107, 116, 194, 201.
• ‘Luano, Ludovico da’ (apocryphal painter), 228.
• Lübeck, 308.
• Luini, 290.
• Luni, 119.
• Lysistratus, 188.
• Maccari, Graffiti e Chiaroscuri, 298.
• ‘Macigno,’ 57.
• Majano;
  • Benedetto da, 262, 306;
  • Giuliano da, 306.
• Manganese, its use in fluxes, 277.
• ‘Manner,’ its meaning in sculpture, 144.
• Mantegna, 236;
  • as tempera painter, 292.
• Manufactory of Mosaics, Tuscan, 109, 118.
• Manufacture des Meubles de la Couronne, 21.
• Marangoni, Delle Cose Gentilesche, 28.
• Marble;
  • coloured, 153;
  • Italian, ch. I passim, 117 f., 152, 259;
  • for mosaic, 91 f., 258;
  • Parian, Pentelic, 44;
  • polish of, 49, 152, 153;
  • transparent, 43, 265.
• Marcilla, Guglielmo da, 266, 267, 268, 311.
• Maremma, the Tuscan, its quarries, 128.
• Mariotti, Legislazione delle Belle Arti, 59, 61.
• Marqueterie, 264.
• Martin, painters named, 229.
• ‘Mary of the Visitation,’ Reims, 184.
• Massa, its quarries, 126.
• Massi, Museo Pio-Clementino, 27, 108.
• Medals, technique of, 167 f.
• Mediaeval;
  • sculpture, 144;
  • decorative art, 284;
  • see also ‘Gothic.’
• Medici;
  • arms of the, 61, 67;
  • porphyry portraits of the, 33, 113 f.;
  • tombs of the, 194.
• Medici, dei:
  • Alessandro, 66:
  • Cosimo (Pater Patriae), 33, 113 f.:
  • Cosimo I, Duke;
    • personal references, 14, 15, 32, 33, 47, 70, 110, 112, 228;
    • portrait in porphyry, 33, 113;
    • connection with the marble quarries, 120, 124, 261;
    • his interest in Pisa, 50, 126;
    • works connected with his name at Florence, (Palazzo Vecchio), 32, 33, 37;
    • (Pitti), 38, 41;
    • (Uffizi), 59, 70;
    • (elsewhere), 59, 88:
  • Ferdinando, 105:
  • Francesco, 33, 123:
  • Giovanni, 112:
  • Giuliano, 15:
  • Giulio (Clement VII), 15:
  • Ippolito, 103:
  • Leonora, Duchess, 33:
  • Lorenzo;
    • the Magnificent, 227;
    • Duca d’ Urbino, 15:
  • Piero, 112.
• Mélanges Nicole, 194.
• Melozzo da Forlì, 217.
• Memling, Hans, 227.
• ‘Meridiana,’ in the Pitti, 114.
• Merrifield, Mrs, 3, 6.
• Michelagnolo, Michelangelo, see ‘Buonarroti.’
• Michelozzo, 199.
• Milan;
  • S. Ambrogio, 302;
  • Cathedral, 135.
• Millar, Plastering, 150.
• Mischiato, Mischio, see ‘Breccia.’
• Mitteilungen d. k. deutschen Archeologischen Instituts, 78.
• Modelling in clay, 149 f., 198.
• Models:
  • for sculpture;
    • full-sized, 150 f., 158, 190, 192 f., 194, 202;
    • small, 148, 194:
  • for wood carving, 173:
  • of wood for architecture, 207:
  • for studying shadows, 214, 216.
• Monochromes, see ‘Chiaroscuri.’
• Monsummano, quarries of, 128.
• Monte, monti;
  • Albano, 128;
  • Altissimo, 120 f.;
  • Ceceri, 57;
  • Ferrato, 127;
  • S. Giuliano, 50, 126;
  • Martiri, 37;
  • Morello, 88;
  • Pisani, 50, 126;
  • Rantoli, 37;
  • Ripaldi, 60;
  • Sagro, 120;
  • Spertoli, 242.
• Monumenti del Istituto, 76.
• Morris, William, 3, 22.
• Morto da Feltro, 302.
• Mosaic;
  • antique, 91 f., 93, 257, 263;
  • derivation of word, 91;
  • Early Christian, 27, 252 f.;
  • egg-shell, 93, 136;
  • glass, 93, 251;
  • marble, 37, 92 f., 258 f.;
  • pictorial, for walls, 93, 251 f.;
  • rustic, for fountains and grottoes, 89, 90;
  • technique of, 253 f.;
  • Tuscan manufactory of, 109, 118;
  • for variegated pavements (Cosmati-work), 91, 304;
  • vitreous pastes for, 311 f.;
  • of window glass, 266, 309;
  • wood, 262 f., 303 f.
• Mosque;
  • lamps from, 268;
  • windows in, 309.
• Mother of Pearl, 93.
• Mothes, Baukunst ... in Italien, 135.
• Moulds, plaster, from the life, 188.
• Mucilage, see ‘Glue.’
• ‘Muffle’ furnace, 271, 277.
• Müntz, Eugène;
  • Les Arts à la Cour des Papes, 130;
  • on Byzantine mosaics, 136.
• Mural decoration:
  • decorative processes, 19, 240 f., 287 f.:
  • fresco, 10, 213 f., 221 f., 287 f.:
  • mosaic, 93, 251 f.:
  • oil, 232 f., 236, 237, 294 f.;
    • on stone, 239:
  • stucco, 53, 170 f., 244 f., 299 f.:
  • sgraffito, 243, 298 f.:
  • tempera, 224, 291 f.
• Naples:
  • Museum, antiques at, 43, 104;
  • pictures at, 227:
  • S. Barbara, 226:
  • S. Giacomo, tomb in, 47:
  • Vasari’s paintings at, 233.
• Nature, study of, at the Renaissance, 12, 14.
• Net, the, for enlarging, 214.
• Niello, 273 f.
• Niké, from Samothrace, 107.
• ‘Nile,’ Statue of the, 36, 44, 116.
• Nola, Giovanni da, 47.
• ‘Nonsuch,’ Palace of, stuccoes at, 302.
• Nose, the, in Greek and Florentine sculpture, 45.
• ‘Nymph of Fontainebleau,’ Cellini’s, 201.
• Octavianus, Cardinal, 227.
• Oil;
  • linseed, 230, 234;
  • walnut, 230, 236.
• Oil colour, for printing from wood blocks, 283.
• Oil painting, 225, 226 f.;
  • its first discovery, 226;
  • its artistic advantages, 230;
  • on stone, 55, 239.
• Olmo, by Castello, 88.
• Orders of Architecture, 63;
  • Composite, 80 f.;
  • Corinthian, 79 f.;
  • Doric, 68 f.;
  • Ionic, 78 f.;
  • Italic, 82;
  • Latin, 82;
  • Rustic, 65 f.;
  • Tuscan, 65 f., 132.
• Oseri, Osoli, the river, 50, 126.
• Pacheco, 7;
  • on tempera, 292.
• Painting:
  • definition of, 208:
  • comparison of with sculpture, 179:
  • history of, 225, 226 f., 287, 290, 292, 294 f.:
    • Florentine and Italian compared with modern, 208:
    • Greek, 239:
  • painting grounds;
    • canvas, 236 f.;
    • glass, 267 f., 308 f.;
    • ivory, 190;
    • panels, 223 f., 230, 237;
    • plaster, 221 f., 223, 287 ff.;
    • stone, 55, 239:
  • materials, 225,
    • and ‘Introduction’ to Painting, passim:
  • pigments, 221, 224, 242:
  • processes;
    • encaustic, 190, 292;
    • fresco, 4, 10, 19, 221 f., 287 f.;
    • oil, 10, 19, 226 ff., 294 f.;
    • tempera, 19, 223 f., 240 f., 291 f.
• Palazzo;
  • dei Diamanti, Ferrara, 132;
  • see also ‘Florence,’ ‘Rome,’ etc.
• Palermo, Cathedral, 111.
• Palissy, 139.
• Palladio, 66.
• Palmo, as measure of length, viii.
• Palomino, 7.
• Panels;
  • as painting grounds, 223 f., 230, 237;
  • disadvantages of, 237, 239;
  • woods used for, 237.
• Paragon (touchstone), 42 f., 104, 117 f.
• Parione, see ‘Rome.’
• Paris;
  • as an art centre, 21;
  • Sainte Chapelle, 311.
• Parthenon, sculpture of, 183, 199.
• Pasiteles, 194.
• Pastes;
  • coloured for rustic work, 89;
  • for first priming of canvas, 236.
• Pastorino of Siena, 189.
• Patina, artificial;
  • for bronze, 166;
  • for silver, 273.
• Paul;
  • II, 40;
  • III, 40, 108, 260;
  • V, 39.
• Pavements;
  • breccia, 261;
  • mosaic, 90 f., 258;
  • tiled, 90, 260.
• Paxes, 274 f.
• Pear-tree wood, for wood-cuts, 281.
• Pedestals, to columns; 65, 75, 78, 79, 82;
  • architectural use of them, 75.
• Pentelicus, Mount, quarries at, 44, 194.
• Peperigno, Peperino, 51, 55, 238.
• ‘Per forza di levare,’ ‘per via di porre’ (methods of sculpture), 179 f., 197 f.
• Pergamon, smaller frieze from altar base, 197.
• Perino del Vaga, 14, 53.
• ‘Perseus,’ by Cellini, 164, 201 f.
• Perspective, its study, 12, 264.
• Perspectives, 214, 264, 305.
• Perugino, Pietro, 230.
• Peruzzi, 78.
• Petersburg, St., 304.
• Petrarch, figure of in tarsia, 307.
• Pheidias, 11, 181, 186.
• Piè di Lupo (Lugo), 87 f.
• Piece-mould, 158 f., 202.
• Pier Maria da Pescia, 112.
• Pietà;
  • by Donatello, 156;
  • by Michelangelo, 153.
• Pietra forte, 57, 60 f.
• Pietra del fossato (fossataccio), 58.
• Pietra morta, 57.
• Pietra serena, 57 f.
• Pietrasanta, 46, 50, 120 f., 261.
• Pigments; 221, 224, 230, 242;
  • for glass-painting, 269, 310.
• Pinturicchio, 303.
• Piombino, 127.
• Piperno, see ‘Peperigno.’
• Pisa:
  • Duke Cosimo’s care for, 50 f., 126:
  • Baptistry, 41:
  • Camposanto, 50:
  • Duomo; 50, 252;
  • ‘Cimabue’ at, 252.
• Pisan mountains, 50, 126.
• Pisano, Nicola, 197.
• Pistolesi, Il Vaticano Descritto, 53, 108.
• Pius;
  • IV, 110;
  • VI, 27, 108, 109.
• Plaster work, see ‘Stucco.’
• Plato, Sophist, 181.
• Pliny, Historia Naturalis, 34, 35, 44, 51, 91, 93, 101, 117, 225, 236, 237, 273, 291.
• Podium, of Roman temples, 75, 78.
• Pointing machine, 191.
• Pola, arch at, 79.
• Polishing;
  • breccias, 38;
  • bronze, 165;
  • enamels, 278;
  • marble mosaics, 260;
  • marble, statuary, 45, 47, 49, 152, 153;
  • niellos, 274;
  • pietra serena, 58;
  • porphyry, 31, 34;
  • stucco, 171;
  • ‘touchstones,’ 42 f.
• Pollaiuolo, A., 199, 275.
• Polvaccio quarry, 46, 120.
• Pompeian;
  • style in ornament, 302;
  • wall paintings, 225.
• Pomponius Gauricus, 199.
• Popes, see the individual names, ‘Clement,’ etc.
• Porphyry; 26 ff., 101 ff.;
  • green, at S. Nicola in Carcere, Rome, 28.
• Porta, Giacomo della, 52.
• Portinari, the, 227 f.
• ‘Pot-metal,’ 270, 311.
• Potters’;
  • clay, 240;
  • ‘soap,’ 277.
• Pouncing, as method of transfer, 289.
• Pozzuoli, Pozzuolo, 66, 303.
• Prato, 42, 127.
• Praxiteles; 180;
  • his ‘Hermes,’ 44.
• Presses, decorated, 305.
• Primaticcio, 171, 183.
• Priming, directions for, 230 ff.
• ‘Prisoners,’ porphyry figures in Boboli Gardens, 29.
• Probert, History of Miniature Art, 190.
• Proceedings of Huguenot Society, 189.
• Proportions of the human figure, 146, 180 f.
• Pulvinated frieze, 79.
• Pumice stone, for polishing;
  • bronze, 165;
  • marble, 49, 152;
  • niellos, 274.
• ‘Puntelli,’ for measuring statues, 194.
• Quellenschriften, the Vienna, 2, 6, 92.
• Rabelais, his Abbey of Theleme, 139.
• Raffaello da Urbino, see ‘Raphael.’
• Ragionamenti, see ‘Vasari, his writings.’
• Rags covered with clay, for drapery, 150, 208.
• Raimondi, Marc Antonio, 274, 275.
• Raphael; 14, 15, 134, 188, 220, 230, 260;
  • the Report on Roman Monuments, 134.
• Ravello, 111.
• Ravenna;
  • mosaics, 252;
  • stuccoes in Baptistry, 301.
• Recipes: 6, 20:
  • black;
    • filling for marble monochromes, 260;
    • for niellos, 274;
    • for transferring, 215:
  • bronzes and metal alloys, 163:
  • keeping clay soft, 150:
  • core for a bronze casting, 159:
  • ‘egg-shell’ mosaic, 137:
  • enamels, fluxes for, 277:
  • envelope for a bronze casting, 161, 166:
  • gesso, ‘grosso’ and ‘sottile,’ 249:
  • gilding, 248 f.:
  • glass;
    • gilding, 254;
    • painting on (burnt in), 269, 310, (unburnt), 267;
    • yellow stain for, 270, 311:
  • ink, drawing, 213:
  • preparing mosaic cubes, 254:
  • mucilages, 173, 213:
  • oil paint, mixing, 230, 295 f.:
  • patina, artificial;
    • for bronze, 166;
    • for silver, 273:
  • priming, 230 ff.:
  • polishing, see ‘Polishing’:
  • retouching media for fresco, 222, 289:
  • sgraffito, 243 f.:
  • stone, painting on, 238:
  • stucco;
    • for enriched vaults and ‘grotesques,’ 86, 170;
    • for setting glass mosaic, 255 f., 256;
    • for setting mosaic pavements, 92;
    • for preparing a wall for oil painting, 232 f.;
    • retarding its setting, 150:
  • temperas, for painting, 224, 293 f.;
    • for decorative painting, etc., 240 f.:
  • tempering-baths for steel, 30, 32, 112:
  • tiles, variegated, 260:
  • ‘verdaccio,’ 242:
  • vitreous pastes, coloured, 311:
  • preparing walls for oil painting, 232 f.:
  • wax;
    • for bronze casting, 160;
    • for coloured effigies, 189;
    • for modelling, 148:
  • white lime, (bianco Sangiovanni) 221:
  • colouring woods for tarsia work, 262 f.
• Reliefs;
  • origin of, 154;
  • influence of painting and perspective on, 196 f.;
  • terminology of, 154;
  • antique, 154, 196;
  • flat (stiacciati), 156 f.;
  • low (bassi), 156;
  • pictorial or perspective, 154 f., 196 f.;
  • in cast bronze, 197 f.;
  • in baked clay, 197 f.;
  • in marble, 197 f.;
  • in metal repoussé, 198;
  • Andrea Pisano’s, 199;
  • Donatello’s, 156, 196;
  • Etruscan, 197;
  • Ghiberti’s, 196;
  • Greek, 197 f.;
  • Hellenistic, 197, 301;
  • mediaeval, 196, 199;
  • Roman, 197.
• St. Rémy, tomb of Julii at, 197.
• Renaissance;
  • the, 7, 11, 21;
  • the man of the, 138;
  • marbles, 153;
  • the ‘proto-,’ 197.
• Repetti, Dizionario, 118, 119 f.
• Repoussé process, 179, 198.
• Restoration of antiques, 106, 107, 116.
• Retouching, on frescoes, 222, 289.
• Ring, the, at Vienna, 56.
• Robbia, della;
  • the, 114, 260;
  • Luca, 182.
• Robinson, G. T., 3, 150.
• Rocaille, Rococo, style, 18, 87, 89.
• Rocco, S., statue of, 18, 174.
• Roger, ‘of Bruges,’ ‘of Brussels,’ ‘van der Weyden,’ 227, 236.
• Romans, the;
  • their bronzes, 164;
  • their reliefs, 197;
  • their use of rustication, 132;
  • their wooden stamps for bricks, 275.
• Rome:
  • Arch;
    • of Septimius Severus, 76;
    • of Titus, 82, 184, 197;
    • Arco dei Pantani, 132:
  • S. Angelo, Castle of, 260:
  • Basilica;
    • Aemilia, 76;
    • of Constantine, 79:
  • Bocca della Verità, 76:
  • Campo;
    • di Fiore, 78, 299;
    • Vaccino, 76:
  • Capitol, 81:
  • Carcer Mamertinus, 76:
  • Churches;
    • S. Bernardo, 130;
    • Ss. Cosma e Damiano, 52;
    • S. Costanza, 27, 252;
    • S. Giovanni in Laterano, 27;
    • S. Luigi dei Francesi, 41, 52, 54, 175;
    • S. Marco, 39;
    • S. Maria,
      • (in Araceli) 76,
      • (Maggiore) 79,
      • (del Popolo) 267,
      • (Sopra Minerva) 44;
    • S. Nicola in Carcere, 28, 78;
    • S. Pietro in Montorio, 234;
    • S. Pietro in Vaticano,
      • (the Constantinian basilica) 39, 263, 310,
      • (the present church) 28, 39, 54, 81, 86, 217;
    • S. Pietro in Vincola, 39, 40;
    • S. Salvadore del Lauro, 39;
    • S. Stefano, 40;
    • S. Tommaso in Parione, 103:
  • Colosseum, 51, 53, 74, 82:
  • Column;
    • of Marcus Aurelius, 183 f.;
    • of Trajan, 183 f.:
  • Corso Vittorio Emanuele, 103, 105:
  • Forum;
    • of Augustus, 132;
    • Boarium, 76;
    • Olitorium, 78;
    • Romanum, 49, 76;
    • Trajanic, 41, 185:
  • Monte Cavallo, Colossi of, 44:
  • Museum, Terme, 301:
  • Palazzo;
    • dei Conservatori, 81;
    • Farnese, 28, 53, 78, 81, 104, 131;
    • la Valle, 28;
    • Madama, 52, 131;
    • Massimi, 298;
    • Ricci, 298;
    • Spada, 299:
  • Pantheon, 28, 41, 79, 80:
  • Parione, 42, 93, 102:
  • Piazza;
    • Campo di Fiore, 78, 299;
    • Farnese, 40;
    • S. Luigi dei Francesi, 128 f.;
    • di S. Marco, 40;
    • dei Massimi, 298;
    • Navona, 52, 102;
    • della Rotonda, 27, 28:
  • Plan of Rome, 105:
  • Ritonda, Rotonda, see ‘Pantheon’:
  • Temple;
    • of Bacchus, 27, 93;
    • of Peace, 79:
  • Templum Sacrae Urbis, 52:
  • Theatre;
    • of Marcellus, 76, 79;
    • of Pompeius, 102:
  • Thermae;
    • of Agrippa, 106;
    • of Caracalla, 110;
    • of Constantine, 44;
    • of Diocletian, 130;
    • of Nero, 41, 130;
    • of Titus, 108, 302:
  • Tombs on Via Latina, 301:
  • Torre Pignattara, 27:
  • ‘Treasury,’ the, 52:
  • Tullianum, 76:
  • Vatican;
    • Appartamento Borgia, 53, 260, 303;
    • Belvedere, Cortile di, 36, 44, 108, 115 f.;
    • Braccio Nuovo, 116;
    • Chapel of Nicholas V, 234;
    • coloured windows, 266;
    • Museo Pio-Clementino, 108;
    • Museum of Sculpture, 115;
    • Sala di Costantino, 233;
    • Sala a Croce Greca, 27, 116;
    • Sala Regia, 53, 267;
    • Sala Rotonda, 32, 108;
    • Sistine Chapel, 53, 216:
  • Via;
    • de’ Banchi Vecchi, 299;
    • del Governo Vecchio, 103;
    • Latina, 301;
    • Maschera d’Oro, 298, 299;
    • Parione, 103;
    • Pellegrino, 298:
  • Villa;
    • Farnesina, 171, 301;
    • Madama, 89;
    • Medici, 40, 105, 107, 109;
    • Papa Giulio, 108:
  • Wall of Servius Tullius, 55.
• Royal Institute of British Architects, Transactions of, 29, 35, 38, 101, 102, 265.
• Ruby red, in glass, 270.
• Rucellai, the family, 30.
• Runkelstein, Schloss, 227.
• Rustication, rustic work, 52, 56, 65, 67, 87, 132.
• Rye dough, mixed with plaster to retard its setting, 150.
• Salamander, carved, at S. Luigi, Rome, 130 f.
• ‘Saligni’ marbles, 45, 50.
• Salting collection, 189.
• Salviati, Francesco, 311.
• San Gallo;
  • Antonio da, 53, 76;
  • Giuliano da, 76.
• Sansovino, Jacopo, 56.
• Sarcophagi, Sarcophagus;
  • of Hadrian, 28;
  • the Marsuppini, 16;
  • of the Medici, 112;
  • of Nectanebes I, 38;
  • at Palermo, 111;
  • Roman, 197;
  • of L. C. Scipio Barbatus, 55;
  • of Piero Soderini, 42, 118;
  • in Sala a Croce Greca, Vatican, 27, 109.
• Sassi, the family, 102 f.
• Sasso, Egidio e Fabio, 28, 93, 102 f.
• Scaling, of glass, 270.
• Schedula Diversarum Artium, see ‘Theophilus.’
• Schools of Art, 22, 199.
• Science and Art Department, 22.
• Scopas, his sculpture at Tegea, 184.
• Sculpture:
  • its nature and conditions, 143 f., 179–188:
  • compared with painting, 179:
  • processes of, 148–153, 190–195:
  • use of drawing in, 207:
  • imitated in painting, 240 f.:
  • relief sculpture, see ‘Reliefs’:
  • in bronze;
    • beaten, 179, 198;
    • cast, 4, 7, 18, 158 f., 199 f.;
    • chased, 276, 313;
    • stamped, 167 f.:
  • in free stone, 52, 59, 61, 131, 299:
  • in marble; 43 f.;
    • technique of, 48, 151 f.:
  • in porphyry and hard materials, 33, 42, 110 f., 117 f., 174:
  • in wood, 173 f.
• Seccatives, 230.
• Semper, Gottfried, 244, 303.
• Seravezza, 46, 50, 120 f.
• Serpentine, 35, 113, 118, 127.
• Sgraffiato, 243.
• Sgraffito, 19, 243 f., 298 f.
• ‘Sicilian’ marble, 49.
• Siena;
  • Duomo, pavement in, 94, 258;
  • Baptistry, Donatello’s relief in, 196.
• Silio, a white wood, 263.
• Silver;
  • as ground for enamels, 276 f.;
  • for glass staining, 270, 311;
  • for niello work, 273;
  • work, antique, 273.
• Sixtus IV, 53.
• Size;
  • meaning of the word, 248;
  • in grounds for gilding, 248, 249;
  • as priming, 224, 230, 237, 238;
  • as a tempera, 222, 223, 224, 241, 242, 289, 294.
• Sketches, 212.
• Slate, 54, 238.
• ‘Slave,’ the, of the Louvre, 195.
• ‘Smerigli’ (emery veins), 47.
• Soderini, Piero, his tomb, 42, 118.
• Springer, Anton, 112.
• Stalactites, 87 f.
• Stamps, wooden, for bricks, 275.
• Stazzema, 125, 261.
• Steel, damascened, 279.
• Stemmi, 61, 299.
• ‘Stiacciato’ relief, 156, 182.
• Stockholm;
  • Museum at, 30;
  • Parliament buildings at, 72.
• Stone;
  • its hardening by exposure, 26, 41;
  • as painting ground, 55, 238;
  • and passim.
• Stucco; 171;
  • antique, 287;
  • as fresco ground, 288;
  • over travertine, 53;
  • enriched vaults in, 85;
  • (recipes) 86;
  • modelled and stamped enrichments and grotesques (recipes), 170 f., 244 f., 299 ff.;
  • for fixing panels of slate, 239;
  • for preparing a wall for oil paint (recipes), 232, 234;
  • for piece-moulding, 158;
  • for rustic grottoes, etc., 89 f.;
  • for setting marble mosaic pavements (recipe), 92;
  • for setting glass mosaics, 255;
  • for sgraffito-work (recipe), 243.
• Stylus, use of the;
  • in niello work, 273;
  • for sharpening lines in tempera, 293;
  • in sgraffito-work, 243;
  • for transferring, 215, 231, 289.
• ‘Subbia’ (tool for stone-working), 48, 152.
• Sulphur;
  • in amalgam for niellos, 274;
  • for casting niellos, 275.
• Symonds, J. A., his translation of Michelangelo, 180.
• Tadda, Francesco del, 32 f., 66, 110 ff.
• Targioni Tozzetti, Viaggi in Toscana, 126.
• Tarsia work, 196, 262 f., 303 f.
• Tausia work, 279.
• ‘Tedesco,’ its meaning to the Italians, 134.
• Tempera;
  • meanings of the term, 223;
  • advantages of tempera process, 224, 291 f.;
  • its disadvantages, 293 f.;
  • see also ‘Painting, tempera.’
• Terminal figures, 82.
• Terni, 88.
• ‘Terre da Campane,’ 230.
• Teverone, the, 51, 79, 87.
• Text, Vasari’s printed, possible mistakes in, viii, 79, 88, 228, 276, 283.
• Theophilus, his Schedula, 6, 8, 20, 92, 173, 268, 270, 271, 276, 280, 284, 295.
• Theophrastus, Περὶ Λίθων, 34, 117.
• Theseum, sculpture of, 184.
• ‘Three block’ wood engraving, 281 f.
• ‘Tiber,’ statue of the, 36, 44, 116.
• ‘Tigris,’ statue of the, 36, 116.
• Tiles, glazed, 90, 260.
• ‘Times, The,’ referred to, 29.
• Tin;
  • effect of on enamels, 277, 311;
  • as ingredient in bronze, 164.
• Tintoretto, 214, 234.
• Tivoli, 51, 66, 79, 87, 303.
• Toledo, don Pietro di, 47.
• Tools;
  • for working bronze, 165;
  • for glass cutting, 269;
  • for granite, etc., 41;
  • for marble, 48, 152;
  • for porphyry, 32;
  • for wax, 149.
• ‘Topo,’ a tool, 269.
• Torcello, mosaics at, 255.
• ‘Torso,’ the, 116.
• Touchstone, see ‘Paragon’;
  • of Prato, 43.
• Trajan, sculpture connected with him, 197.
• Transactions, R.I.B.A., see ‘Royal Institute of British Architects.’
• Transparency in glass, 267, 308.
• Travertine; 51;
  • carving in, 52 f., 131, 299.
• Triangle, equilateral, in Gothic architecture, 135.
• Tribolo, 42, 88, 260.
• Tripoli earth, for polishing, 153, 278.
• Tuscan style, 56, 87.
• Tzetzes, 181, 186.
• Udine, Giovanni da, 89.
• Urns, bathing or sepulchral, see ‘Conche.’
• Valle, della;
  • family, collection, palace, etc., 28, 104 f.;
  • Cardinal Andrea, 106 f.
• Varchi, Benedetto, 179, 197.
• Varnish, 232, 239, 249, 293, 294 f., 309.
• ‘Vasajo,’ origin of Vasari family name, 156.
• Vasari, the family, 156.
• Vasari, Giorgio, the elder (‘Vasajo’), 156 f.
• Vasari, Giorgio:
  • his character and gifts, 4, 15 f.:
  • his life and art, 5, 7, 33, 59, 106, 291:
  • his visits, 56, 103, 237:
  • his method of mural painting in oil, 233 f.:
  • his writings;
    • Letters, 3, 6, 111;
    • Lives of the Artists, 1, 2, 5, 7, and passim;
    • Ragionamenti, 3;
    • Editions of, 1, 2, 7;
    • Translations of, 2 f.;
    • Text, printed, possible mistakes in, see ‘Text.’
• Vaults;
  • brick, 86;
  • stucco, 85, 170;
  • in St. Peter’s, 54.
• Vellino, river, 88.
• Venetians, the, 14, 212.
• Venice:
  • colour printing, 281:
  • enamels of, 278:
  • frescoes at, 234:
  • glass work at, 268:
  • mosaics at, 252, 254, 268:
  • Ducal Palace, 236, 237:
  • Church of S. Marco, 111, 112;
    • mosaics at, 252:
  • Library of S. Marco, 56, 237:
  • Palace of S. Marco, see ‘Ducal Palace’:
  • Panattiera, 56:
  • Piazza di S. Marco, 56:
  • Piazzetta, 56:
  • Scuola di S. Rocco, 234:
  • Zecca (Mint), 56, 65.
• Veniziano, Domenico, 229.
• ‘Venus’;
  • crouching, in Louvre, 194;
  • Medici, 105;
  • of Milo, 195;
  • and Cupid, 112.
• ‘Verdaccio,’ 242.
• ‘Verde’;
  • ‘Antico,’ 35;
  • ‘di Prato,’ 35, 118, 127.
• Verdun, 266.
• Verhaecht, 227.
• Verona;
  • marble, 39;
  • S. Maria in Organo, 306.
• Verrocchio, 199;
  • his ‘Boy with a Dolphin,’ 33;
  • his sarcophagus in S. Lorenzo, 112;
  • his Colleoni statue, 200.
• Versiglia, the, 125.
• ‘Via dei Magistrati,’ see ‘Florence,’ ‘Uffizi.’
• Victoria and Albert Museum, 136, 156, 189, 311, 313.
• Vignola, 81.
• Villa;
  • Careggi, 33, 228;
  • Farnesina, 301, 171;
  • of Hadrian, 303;
  • Madama, 89;
  • Medici, 40, 105, 107, 109;
  • Papa Giulio, 108;
  • Poggio Imperiale, 114.
• Villani, Chronicle, 34, 35.
• Vitreous pastes, coloured, 277, 311 f.
• Vitruvius, 25, 51, 65, 66, 68, 75, 79, 80, 135, 146, 171, 220, 225, 287, 291.
• Volterra, Daniele da, 53.
• ‘Volterrano’ (Volterra gypsum plaster), 249.
• Walnut oil, see ‘Oil, nut.’
• Walnut wood;
  • for carving, 174;
  • as ground for inlays, 262.
• Wax;
  • its use by the modeller, 148, 188 f.;
  • by the bronze founder, 160 f.;
  • coloured, its preparation and use, 148 f., 188 f.;
  • as setting for portable mosaics, 136.
• Westminster Abbey, waxen effigies at, 188.
• Wheel, the, for working hard stones, 112, 167, 168.
• White;
  • of egg, 234, 249;
  • for fresco (bianco Sangiovanni), 221;
  • lead white (biacca), 221, 230, 236;
  • for tempera, 224.
• Whitening, 241, 242, 294.
• Wilkinson, Sir Gardner, 102.
• Wilson, Charles Heath, Life of Michelangelo, 310.
• Winckelmann, 104.
• Wire-drawing plate, 280.
• Wolf, porphyry, 28, 107.
• Wood;
  • carving, 173 f.;
  • engraving, 281 f.;
  • inlaying, see ‘Tarsia.’
• Yellow stain for glass, 270, 311.
• ‘Zeus,’ of Pheidias, 181.
• Zinc, ingredient in bronze, 164.
• Zirkel, Petrographie, 49.
• Zobi, Notizie ... dei Lavori ... in Pietre Dure, 109, 114 f.