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• Madonna del Sacco (Sarto), 107
• “Madonna della Gran Duca” (Raphael), 108
• “Madonna di San Francesco” (Correggio), 134
• “Madonna di San Francesco” (Sarto), 107
• “Madonna Enthroned” (Cimabue), 62
• Madonnas of Fra Bartolommeo, 93
• Madonnas of Raphael, 110
• Madonnas of Elisabetta Sirani, 148
• “Maids of Honor” (Velasquez), 218
• Mannerists, 139-140
• Mansfield, Lord, portrait by Copley, 263
• Mantegna, Andrea, 82, 132
• Mantua, Duke of, a patron of Rubens, 162-164
• Manuscripts. See Illumination
• Margaritone of Arezzo, 64
• Marochetti, Baron, portrait of Landseer, 301
• “Marriage at Cana” (Veronese), 131
• “Marriage à la Mode” (Hogarth), 252
• “Marriage of St. Catharine” (Coello), 210
• “Mars, Venus, and Vulcan” (Copley), 259-260
• “Martyrdom of St. Andrew” (Utande), 212
• “Martyrdom of St. Lawrence” (Titian), 127
• Masaccio, 78-79
• Maso, 69
• Masolino, 78-79
• “Massacre of the Innocents” (Volterra), 104
• Matsys, Quintin, 161
• Maximilian, Emperor, and Dürer, 198-199
• Mazzuoli, Francesco, 139
• Mediæval painting, 41-71
• Medici, Lorenzo de, patron of Michael Angelo, 96-97
• “Medusa’s Head” (Vinci), 86
• Meire, Gerard van der, 158
• Memling, Hans, 160-161
• Memorial windows, origin of, 58
• Mengs, Raphael, 153
• “Meniñas, Las” (Velasquez), 218
• Metsu, Gabriel, 181
• “Meyer Madonna” (Holbein), 192
• Michael Angelo, 94-104;
  • his frescoes of Sistine Chapel, 112;
  • and Raphael, 115;
  • and Piombo, 120-121
• Middle Ages. See Mediæval
• Mignard, Pierre, 238-239
• Milan, Academia Leonardi Vinci, 87
• Miniaturists in England, 249.
  • See also Illumination
• “Miracle of St. Mark” (Tintoretto), 130
• Miranda, Juan Carreño de, 211-212
• Modena school, 71
• “Modern Rome” (Turner), 287
• “Mona Lisa” (Vinci), 89-90
• Morales, Luis de, 209-210
• More, Sir Thomas, portraits by Holbein, 189
• Morland, George, 268
• “Morning Among the Corriston Fells” (Turner), 277
• Moro, Antonio, 162
• Mosaics, found in ancient Italy, 34-36;
  • of the Middle Ages, 41, 45-46;
  • none by early Germans or Celts left, 49;
  • transparent, 51
• “Moses,” 42-44
• Mountfort, Dr. de, portrait by Copley, 259
• “Mouth of the Seine” (Turner), 284
• Mural paintings, Egyptian, 3;
  • Assyrian, 9;
  • Oriental, 13;
  • Pompeian, 15;
  • ancient Greek, 20;
  • of Ludius, 21;
  • ancient Italian, 23-24;
  • mosaics as, 35;
  • in catacombs, 44-45;
  • no early German or Celtic left, 49;
  • in Middle Ages, 60-61
• Murillo, 220-228

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• “Napoleon and the Pope at Fontainebleau” (Wilkie), 293
• Napoleon III., portrait by Horace Vernet, 247
• “Nativity” (Navarrete), 211
• “Nativity of the Saviour” (Correggio), 135
• “Nativity of the Virgin” (Murillo), 224
• Naturalists of the seventeenth century, 140, 150
• Navarrete, Juan Fernandez, 211
• “Navicella” (Giotto), 66
• “Nest of Cupids,” 34
• Nicholas V., epitaph on Fra Angelico, 78
• Nikias, 17-18
• Nikomachos, 17
• “Nile Mosaic (The),” 36
• “Niobe,” 36
• Noort, Adam van, instructor of Rubens, 162;
  • of Jordaens, 167
• “Notte” (Correggio), 135
• Nude paintings forbidden by Spanish Inquisition, 208
• Nuremburg school, 193

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• “Old Téméraire” (Turner), 287-288
• Ophem, Anna van, and Vandyck, 169
• Oppert, J., quoted, 9, 11
• Orcagna, Andrea, 70-71
• “Orestes and Pylades” (West), 265
• Oriental nations more advanced in architecture and sculpture than in painting, 2
• Oriental origin of mosaics, 34
• Orsay, Count d’, portrait of Landseer, 301
• Ostades, Van, 178
• Outline drawing the best part of Egyptian painting, 7

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• Pacheco, Francisco, 208, 214, 216
• Palma, Jacopo, 121
• Panel-pictures, 23, 50-51, 60, 61
• Papyrus rolls, Egyptian illustrations in, 8
• “Paradise” (Tintoretto), 130
• Pareja, Juan de, 220
• Parmigianino, 139
• Parrhasius, 14-15
• “Parting of Hero and Leander” (Turner), 287
• Paul III., portrait by Titian, 126
• Pausias, 17
• Pavement mosaics, 35-36
• “Peep-o’-Day Boy’s Cabin” (Wilkie), 293
• Pelham, Charles, portrait by Copley, 259
• Pembroke, Earl of. See Wilton Family
• Perkins, A. T., quoted, 260
• Perkins, C. C., quoted, 70
• Perkins, Mrs. Edmund, portrait by Copley, 260
• Perspective, unknown to Egyptians, 5;
  • and to Oriental nations, 13;
  • first used by Apollodorus, 14;
  • its use in Middle Ages, 58;
  • Turner’s lectures on, 280-281
• Perugino, Pietro, 82, 84, 107
• Petrus, Christus, 158
• Philip I., and Berreguette, 209;
  • employs Coxie to copy Van Eyck’s altar-piece, 156
• Philip II., and Titian, 127;
  • and Morales, 209;
  • and Coello, 210;
  • and Navarrete, 211
• Philip IV., and Carreño, 212;
  • and Zurbaran, 215;
  • and Herrera, 215;
  • and Velasquez, 216-218;
  • and Cano, 231
• Philip of Burgundy, employs Jan van Eyck, 156
• Philip of Macedon, portraits by Apelles, 18
• “Phryne Going to the Public Baths as Venus” (Turner), 287
• “Pietà, La” (Michael Angelo), 99
• Pirkheimer, Willibald, and Dürer, 195
• “Plague at Jaffa” (Gros), 242
• Pliny, quoted, 14, 21-23
• “Pointers, To-ho!” (Landseer), 295
• Pollajuolo, Antonio, 79
• Ponte, Da, family, 132
• “Portrait of Dante” (Giotto), 64-66
• “Portrait of a Young Woman” (Rembrandt), 186
• “Ports of England” (Turner), 282
• Potter, Paul, 187
• Pourbus, Frans, 162
• Pourbus, Peter, 162
• Poussin, Nicholas, 175, 234-236
• “Presentation in the Temple” (Titian), 123
• “Presentation of Christ in the Temple” (Cammuccini), 154
• “Prodigal Son” (Teniers), 180
• Protogenes, 19-20
• “Provincial Antiquities of Scotland,” illustrated by Turner, 282
• “Purisima, La” (Joanes), 229

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• “Raising of Lazarus” (Piombo), 115
• “Rake’s Progress” (Hogarth), 252
• Raphael, 107-118
• Razzi, or Bazzi, 118
• “Reading Magdalen” (Correggio), 135, 139
• Redgrave, quoted, 277
• “Regulus Leaving Rome to Return to Carthage” (Turner), 287
• “Rejected Christ” (West), 266
• Religious influence, upon Egyptian artists, 8-9;
  • in Romanesque period, 50;
  • in Gothic period, 56;
  • upon Spanish painters, 207
• Rembrandt, 181-186
• Renaissance, 41, 72
• “Rent Day” (Wilkie), 292
• “Repulse and Defeat of the Spanish Floating Batteries at Gibraltar” (Copley), 262
• Reynolds, Sir Joshua, 251-258;
  • and Angelica Kauffman, 204;
  • portrait of, 250;
  • and Romney, 267
• Ribalta, Francisco de, 230
• Ribera, Giuseppe, 150-151
• Ribera, Josef de, 230
• Rigaud, Hyacinthe, 238, 239
• Rincon, Antonio del, 207
• Ritchie, Leitch, on Ruskin, 286-287
• “Rivers of England” (Turner), 282
• Robusti, Jacopo, 130
• Robusti, Marietta, 130-131
• Rogers’s “Poems,” illustrated by Turner, 286
• Roman painting, ancient. See Italian
• Roman school, 107
• Romanesque period of Middle Ages, 42, 50-54
• Romano, Giulio, 116, 118
• Romney, George, 266-268
• Rosselli, Cosimo, 80
• Rossi, de, quoted, 204
• “Rotello del Fico” (Vinci), 86
• “Rotterdam Ferry-boat” (Turner), 284
• Rubens, 162-167;
  • and Vandyck, 168, 169;
  • as an alchemist, 175;
  • in England, 249
• Rubrics, 47
• Rupert, Prince, portraits by Vandyck, 174
• Ruskin, on Turner, 280-281, 282, 283-284, 288
• Ruysdael, Jacob, 187-188

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• Sacchi, Andrea, instructor of Poussin, 234
• “Sacrifice of Iphigenia” (Timanthes), 15
• “St. Anthony Adoring the Virgin and Child” (Sirani), 149
• “St. Anthony of Padua” (Murillo), 224
• “St. Cecilia” (Raphael), 118
• “St. Clara of Assisi” (Murillo), 223
• “St. Diego of Alcalá” (Murillo), 223
• “St. Francis” (Murillo), 223
• “St. George Slaying the Dragon” (Raphael), 108, 110
• “St. Hermengild” (Herrera), 215
• “St. Margaret” (Titian), 212
• “St. Margaret Overcoming the Dragon” (Raphael), 114
• “St. Martin” (Vandyck), 170
• “St. Michael” (Guido Reni), 147
• “St. Michael Attacking Satan” (Raphael), 108
• “St. Peter Martyr” (Titian), 129
• St. Peter’s, Michael Angelo the architect of, 103;
  • supervision of building by Raphael, 114
• “St. Sebastian” (Coello), 210
• “St. Sebastian” (Vinci), 90
• Salvator Rosa, 151-152
• Sarto, Andrea del, 104-107
• Savonarola, 94-97
• Saxony, school of, 202
• “Scene at Abbotsford” (Landseer), 295
• “Scene in the Lower World,” 38
• “School of Anatomy” (Rembrandt), 182-184
• Scott, Walter, “Poems” and “Life of Napoleon” illustrated by Turner, 284;
  • portrait by Leslie, 295;
  • and Landseer, 295-296
• “Scourging of St. Andrew” (Domenichino), 141
• Sculpture, more advanced than painting among Oriental nations, 112;
  • Greek, developed from Egyptian and Assyrian, 13
• Sebastian del Piombo, 115, 120-121
• Segnier, Chancellor, and Le Brun, 238
• Seneca, head by Cespedes, 214
• Seville in time of Murillo, 221
• Seville Academy of Art, founded by Murillo, 225
• Seville school of painting, 208, 213
• Shakespeare’s characters, painted by Romney, 268
• “Shepherd Boy in a Shower” (Gainsborough), 258
• “Shepherds Adoring the Infant Saviour” (Correggio), 135-137
• “Shrine of St. Ursula” (Memling), 160-161
• “Sibyl (The) and the Emperor” (Van der Weyden), 158-159
• Siddons, Mrs., portrait by Reynolds, 255
• Signorelli, Luca, 76, 80
• Sikyon school, 15-17
• Simone, Martini, 69-70
• Sirani, Elisabetta, 148-150
• “Sistine Madonna” (Raphael), 114
• “Slave Ship” (Turner), 288-289
• Smith, Sydney, and Landseer, 299
• Snyders, Frans, 167
• Solario, Andrea, 93
• Sosos, 34
• Spain, painting in, 207-233
• “Sposalizio, Lo” (Raphael), 107-108
• “Staffa Madonna” (Raphael), 108
• Steen, Jan, 178
• Still-life, Dutch excellence in painting, 177
• Stirling, quoted, 215, 218, 228
• Stone, paintings on, 36
• Strada, portrait by Marietta Robusti, 130
• Strafford, Earl of. See Wentworth, Thomas
• Studius. See Ludius
• Suckling, Sir John, portrait by Vandyck, 174
• Suger, Abbot, 53
• Sunder, Lucas, 202
• “Surrender of Arundel Castle” (Landseer), 293
• Swanenburg, J. J. van, instructor of Rembrandt, 181

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• Tadius. See Ludius
• Tafi, A., 64
• Tasso, portrait by Bassano, 132
• “Temporal Generation of Our Lord” (Vargas), 213
• Teniers, David, 178-180
• Terburg, Gerhard, 181
• Thackeray’s (Miss) “Miss Angel” the story of Angelica Kauffman, 203
• Thornbury, quoted, 283
• Thornhill, Sir James, 252
• “Three Graces” (Palma), 121
• “Three Graces” (Raphael), 110
• Thurlow, Lord Chancellor, portrait by Romney, 267
• Tile-painting, Assyrian, 9-11;
  • Babylonian, 11-12
• Timanthes, 15
• Tintoretto, 130
• Titian, 121-130;
  • and Correggio, 135;
  • his “Last Supper,” 211;
  • instructor of Navarrete, 211;
  • Carreño’s copy of his “St. Margaret,” 212
• Tobar, Alonzo Miguel de, 213, 229
• Toledo, Coello painter to the Cathedral of, 213
• Torrigiano, Piètro, 98
• “Tragic Muse” (Reynolds), 255
• “Transfiguration” (Raphael), 115
• Transitional period, 61
• “Trattato della Pittura” (Vinci), 93
• “Triumphal Arch of Maximilian” (Dürer), 199
• Tulp, Professor, portrait by Rembrandt, 184
• Turner, Charles, 280
• Turner, J. M. W., 271-292
• “Turner’s Annual Tour,” 286

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• Uccello, Paolo, 79
• “Ulysses Dividing Polyphemus” (Turner), 283
• “Ulysses in the Under-world” (Nikias), 17
• Umbrian school, 82
• Urban VIII. and Claude Lorraine, 236
• Utande, Gregorio, 212

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• Vænius, Otto, instructor of Rubens, 162
• Velde, Adrian van de, 186
• Valencia school, 208, 229
• Vandyck, Anthony, 168-176;
  • in England, 249
• Vargas, Luis de, 213
• Varnish, improvements by the Van Eycks in the use of, 156
• Vasari, quoted, 75
• Vase-painting by the ancients, 36-40
• Vatican, decoration by Raphael of the halls of, 111
• Vega, Lope de, on Coello, 210;
  • on Navarrete, 211
• Velasquez, 215-220;
  • and Murillo, 222, 227
• “Venice from the Salute Church” (Turner), 287
• Venetian school, 80-82, 118
• “Venus” (Titian), 124
• “Venus Anadyomene” (Apelles), 19
• Vernet, Carle, 245
• Vernet, Claude Joseph, 240
• Vernet, Horace, 245-248
• Veronese, Paul, 131
• Verrocchio, Andrea, 79, 84
• Vescovi, Marco dei, portrait by Marietta Robusti, 130
• Victoria, Queen, and Landseer, 298-299
• Vien, Joseph Marie, 240
• “Vierge, La, au Panier” (Correggio), 137-139
• “View of Rome from the Aventine Hill” (Turner), 287
• “Village Festival” (Wilkie), 292
• “Village Politicians” (Wilkie), 292
• Vincent, instructor of Horace Vernet, 245
• Vinci, Leonardo da, 84-93, 99
• Virgin, pictures by Murillo of, 227;
  • by Joanes, 229
• “Virgen de la Sevilletá” (Murillo), 225
• “Vision of St. Jerome” (Parmigianino), 139
• Vitruvius, quoted, 20
• Volterra, Daniele de, 104
• “Von Tromp Returning from Battle” (Turner), 284

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• Waagen, Dr., on Turner, 290
• Walls. See Mural
• Washington, George, portrait by Copley, 260
• Water, Egyptian painting of, 5
• “Water Carrier of Seville” (Velasquez), 216
• Watson, Elkanah, portrait by Copley, 262-263
• “Watson and the Shark” (Copley), 262
• Watteau, Antoine, 239
• “Way to Calvary” (Morales), 210
• Wellington, Duke of, portrait by Lawrence, 270
• Wells and Turner, 278
• Welsteed, Rev. William, portrait by Copley, 259
• Wentworth, Thomas, portrait by Vandyck, 174
• Wentworth, Lady, and Angelica Kauffman, 204
• West, Benjamin, 265-266;
  • and Copley, 261
• Weyden, Rogier van der, 158-159
• Weyden, Rogier van der, the younger, 159-160
• Wilkie, Sir David, 292-293
• Williams, quoted, 270
• Wilson, Richard, 254
• "Wilton Family, The" (Vandyck), 174
• Winckelmann and Angelica Kauffman, 204
• “Wind-Mills” (Hobbema), 188
• Window-painting. See Glass
• Wohlgemuth, Michael, instructor of Dürer, 194
• “Woodman and Dog in a Storm” (Gainsborough), 258
• Wornum, on Turner, 290
• Wouverman, Philip, 187
• “Wreck of the Medusa” (Géricault), 244
• Wynants, Jan, 187

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• Zeuxis, 14-15
• Zuccaro, on Cespedes, 214
• Zuccato, Sebastian, instructor of Titian, 123
• Zurbaran, Francisco, 215

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