• Ranghiasci, Ab. Sebastiano. Catalogue of the Eugubine Professors in the Arts of Design. It is inserted in the fourth volume of the Sienese edition of Vasari. ii. 13.
• Ranza. On the Antiquities of the Chiesa Maggiore of S. Maria di Vercelli. ib. 1784, 4to. i. 83.
• Ratti, Cav. Carlo Giuseppe. Genuine Historical Notices respecting the Life and Works of the celebrated Painter Antonio Allegri da Coreggio. Finale, 1781, 8vo. Cited, iv. 79, and often in the school of Parma.
• —— The same. Lives of the Painters, Sculptors, and Architects of Genoa. See Soprani. See also Guida di Genova.
• —— The same. Life of the Cav. Raffaello Mengs, 1779. ii. 318.
• —— Defence of the same; or a Letter to a Friend, which contains an account of Cav. Carlo Giuseppe Ratti. Without date of place or year. Pref. xxxvi. ii. 141, 314, 316, v. 444.
• Renaldis, de, Co. Canon. Girolamo. Historical Essay on the Paintings of Friuli. Udine, 1796, 8vo. and 1798, 4to. iii. 5, and other places in the Venetian school.
• Reply to the Critical Reflections upon the different Schools of Painting of M. Argens. (By the March. Ridolfino Venuti) Lucca, 1755, 8vo. ii. 291.
• Requeno, Ab. D. Vincenzo. Essays on the Restoration of the ancient Art of the Greek and Roman Painters. Venice, 1784, 8vo.; with additions, at Parma, 1787, 2 vols. 8vo. ii. 343, v. 352, 355.
• Resta, P. Sebastiano, Prete dell'Oratorio. Portable Gallery; MS. in the Ambrosian collection, iv. 101, 117, 256, et seq.
• —— The same. Letters on Painting. ii. 391, iv. 255. His credulity, ii. 391.
• Reynolds, Sir Joshua. Discourses on the Arts of Design. Florence, 1778, 12mo. iii. 97, 140.
• Richa, Giuseppe, of the Comp. of Jesus. Historical Account of the Florentine Churches, &c. 10 tom. 4to. 1762. i. 149.
• Richardson. Treatise on Painting and Sculpture. Amsterdam, 1728, 3 vols. 8vo. Pref. viii. xxvi. xxxii. and i. 78, 178, 192.
• Ridolfi, Cav. Carlo. The Wonders of the Art; or Lives of the illustrious Painters of Venice and of the State. Venice, 1648, 2 vols. 4to. Merit of the work, iii. 286. Cited in the first epochs of the Venetian school, and throughout the Index. Not approved, iii. 34, 62, 73, 163, 185, iv. 218.
• Rosa, Giuseppe, see Imperial Gallery.
• Rosa, Salvatore. His Satires. Amsterdam, 1788, 8vo. i. 175. ii. 255.
• Roscoe, William. Life of Lorenzo de' Medici, translated from the English. Pisa, 1799, 4 vols. 8vo. iii. 250.
• Rossi, de, Gio. Gherardo. Articles on Painting, in the Memoirs of the Fine Arts. ii. 294, 302.
• —— The same. Flights, poetical and pictorial. Parma, 1795, 8vo. ii. 311.
• Rossi. The same. Life of Antonio Cavallucci. Venice, 1796, 8vo. ii. 325.

• Sandrart, Joachimi. Academia Artis Pictoriæ. Nuremburgh, 1683, folio. Noticed, i. 127. Cited, iii. 163, and in Index I.
• Sansovino, Francesco. Venice described. 1571, 4to. iii. 74.
• —— The same book. Edition augmented by Giustiniano Martinioni. Venice, 1663, 4to. iii. 257.
• Santos, (de los,) Francisco. Description del Monasterio de S. Lorenzo de l'Escorial. Madrid, 1698, folio, v. 383.
• Scannelli, Francesco. The Microcosm of Painting. Cesena, 1657, 4to. Cited, i. 175, iv. 46, 58, 156, 229, 246, 267, v. 42, 306, 369.
• Scaramuccia, Luigi. (He calls himself Girupeno, that is, Perugino.) The Refinement of Italian Art. Pavia, 1674, 4to. iv. 173, 292.
• Series of illustrious Characters in Painting, Sculpture, and Architecture, with their Eulogies and Portraits. Florence, 12 vols. 4to. concluded in 1775. i. 149, 307, 342, et seq.
• Serlio, Sebastiano. General Rules of Architecture. Venice, 1537, 1544, folio. i. 424, 425, ii. 112, v. 207.
• Signorelli. Vicende della Coltura delle due Sicilie. Naples, 1787, 5 vols. 8vo., and 3 supplementary vols. 8vo. 1791. ii. 359. I have not had an opportunity of consulting this excellent work, from which I might have derived information for the history of the Neapolitan school.
• Soprani, Raffaello. Lives of the Painters, Sculptors, and Architects of Genoa. 1674, 4to. A posthumous work. The author continued it up to the year 1667, that of the decease of Torre. I have made use of the second edition, corrected and enlarged, with Annotations of the Cav. Ratti, Genoa, 1768, 4to. Annexed to it is the continuation of the work, by the same Ratti, which forms the second volume, 1769, 4to. Merit of these writers, v. 364, 444. Cited through the whole of the Genoese school.
• State of the Lateran Church in the Year 1723. See Baldeschi.
• Superbi, P. Agostino. Account of illustrious Men in the City of Ferrara, &c. Ib. 1620, 4to. v. 326.

• Valle, della, P. M. Guglielmo, M. C. Lettere Senesi. Venice, 3 vols. 4to. Afterwards at Rome from 1782 to 1786. Their merit, i. 373. Cited throughout the Sienese school. Not approved in some points, i. 376, 379.
• —— The same. Corrections and Additions to Vasari. Inserted in the Sienese edition, from 1791 to 1794, 11 vols. 8vo. Opinion upon them, i. 242. Cited, v. 449, and elsewhere. Not approved, i. 436, ii. 32, iv. 99.
• —— The same. Index of the Artists employed in the Cathedral of Orvieto; extracted from the History of that Cathedral; by the same author. Rome, 1791, 4to. with plates, fol. It is inserted in the second volume of Vasari, Sienese edition. Cited, i. 39, ii. 13, and other parts of Book III.
• —— The same. Discourse recited in Arcadia, the 4th day of March, 1784. It is inserted in the Giornale de' Letterati Pisani, vol. liii. p. 241. i. 175.
• Vannetti, Count Clementino. Anecdotes respecting the Painter Gasparantonio Baroni Cavalcabò di Sacco. Verona, 1781, 8vo. In Index I.
• Varchi, Benedetto. Funeral Oration on the Obsequies of Mich. Buonaroti. Florence, 1564, 4to. i. 170.
• Vasari. Lives of the most excellent Painters, Sculptors, and Architects. Florence, 1550, 2 vols. 8vo. i. 240.
• —— And newly corrected and augmented by the author, with the addition of those living and deceased from the year 1550 to 1567. Florence, 1568, 3 vols. 4to. Subsequent editions. i. 241. Vasari is cited in every book from the last Florentine edition, with notes. History and merit of this work, i. 238. Its author accused of injustice to several artists, i. 7, 17, 219, 246, 249, 373, 409, ii. 34, 69, 90, 115, 375, 381, iii. 2, 30, 98, 100, 104, 161, 192, 204, 244, iv. 79, 83, 156, 163, 262, 270, v. 4, 35, 54, 287, 303, 371. Exculpated in some of the pages cited, and i. 7, 51, 242, 395, ii. 381, iv. 80, v. 35, and elsewhere. Corrected in his nomenclature, or in the epochs, i. 59, 136, 183, 389, 409, 421, ii. 33, 72, 90, 115, 375, 381, iii. 33, 41, 60, 62, 65, 68, 166, 178, 252, iv. 76, 220, 224, 259, v. 14, 30, 46, 64, 296, 299, 314.
• Vasari. Manuscript Notes on the Lives of the Painters, written by Federigo Zuccaro. See Zuccaro.
• —— Notes by one of the Caracci, supposed to be Agostino. i. 244. See also Bottari and Della Valle.
• —— The same. Introduction to the three Arts of Design. It is prefixed to the first volume. i. 224, 237, iv. 56.
• —— The same. Opuscoli. i. 238, 267, 268.
• Vedriani, Lodovico. Lives of the Painters, Sculptors, and Architects of Modena. Modena, 1662, 4to. iv. 32, 83, 114.
• Venuti, see Risposta.
• Verci, Gio. Batista. Anecdotes respecting the Lives and Works of the Painters, Sculptors, and Engravers of Bassano. Venice, 1775, 8vo. iii. 4, 200.
• Vernazza of Fresnoy, Barone Giuseppe. Eulogy of Gio. Molinari. Turin, 1793, 8vo. National Anecdotes relating to the Arts of Design. ib. 1792, 8vo. v. 449, 454, 474, 487.
• Verri, Count ... History of Milan. Milan, 1783, 1 vol. 4to. i. 7.
• Vignola, see Danti.
• Vinci, Gio. Bat. Historical Eulogy on the celebrated Painter Antonio Cavallucci. Rome, 1795, 8vo.
• —— Lionardo. Treatise on Painting, with the Eulogy of the Ab. Fontani. Florence, 1792, 4to. i. 1, iv. 239.
• —— Another Eulogy of the Dottore Durazzini, in vol. iii. of Illustrious Tuscans. i. 150.
• —— The same. MSS. placed in the Ambrosian Library, and Observations on them by the Ab. Amoretti. iv. 247.
• Visconti. Museo Pio Clementino. Rome, 1782, et seq. 6 vols. fol. ii. 317.
• Volpati, Gio. Batista. La Verità Pittoresca. MS. in the possession of Count Giuseppe Remondini. iii. 315.
• Volta, Camillo Leopoldo, Prefect of the Museum, and Member of the Academy of Mantua. Notices of Mantuan Professors. They are inserted in the Mantuan Diary for 1777, 24. iv. 31.

• Walpole, Horace. Anecdotes of Painting in England. 1762, 4 vols. 4to. i. 317.
• Winkelman, Gio. History of the Arts of Design among the Ancients. I have cited the Roman edit. with notes by the Sig. Avv. Fea. Rome, 1783, 1784, 3 vols. 4to. ii. 6, 265.
• —— Gemme del Barone Stochs, 4to. i. 166.

• Zaccolini, P. Matteo, a Theatine. Treatises on Perspective. MS. ii. 239, 260, v. 95.
• Zaist, Gio. Batista. Historical Notices of the Painters, Sculptors, and Architects of Cremona; with a Supplement and Life of the Author written by Anton Maria Panni. Cremona, 1774, 2 vols. 4to. Cited, iv. 148, and throughout the school of Cremona.
• Zamboni, Baldassare. Account of the most celebrated public Buildings in the City of Brescia. ib. 1778, fol. In Index I.
• Zannelli, Ippolito. Life of the great Painter Carlo Cignani. Bologna, 1772, 4to. v. 253.
• Zannetti, Antonio Maria (see Letter Z, in Index I.). On Venetian Painting, and the public Works of the Venetian Masters. Five books, Venice, 1771, 8vo. Its merit, preface, x. and iii. 1. Cited in the pages which follow, throughout the first book of the same volume. Corrected, iii. 15, 21, 55, 291.
• Zani, D. Pietro. Materials for the History of the Origin and Progress of Engraving in Copper and on Wood. Parma, 1802, 8vo. i. 134.
• Zanotti, Zampietro. History of the Clementine Academy of Bologna. ib. 1739, 2 vols. 4to. Praised in vol. v. 217, 235. Cited throughout the fourth epoch of the Bolognese school.
• —— The same. Directions for the Progress of Youth in Painting. Bologna, 1756, 8vo. v. 237.
• —— The same. Description and Illustration of the Pictures of Pellegrino, Tibaldi, and Niccolo Abbati, in the Institute of Bologna. Venice, 1756, folio, v. 60.
• —— The same. Preface to the Lives of Baruffaldi. MS. v. 282.
• Zuccaro, Cav. Federigo. Idea of Painters, Sculptors, and Architects. Turin, 1607, folio. It is found inserted also in the sixth vol. of Lett. Pittor. ii. 102.
• —— The same. Opuscoli, edited in Mantua, 1604, 4to., and in Bologna, 1608, 4to. ib.
• —— The same. Manuscript Annotations on the Lives of Vasari. See Bottari, tom. v. of the foregoing Lives, p. 326. i. 244, ii. 140, 141.

* * * * *

^*_*^* The MSS. cited in the Index of Artists are pointed out in the work, where the names of the correspondents are given, who have favoured me with information respecting native or foreign painters. Others, either professors or connoisseurs, from whom I have received any account, either oral or written, are noticed in the Preface. I have also availed myself of their intelligence in the nomenclature and epochs of artists.

Of some of the most important Matters contained in the Work.

• Bambocciate.
  • A kind of painting not unknown to the ancients, iv. 215.
  • Promoted by Laer, ii. 254;
  • And by others, ib. v. 80, 235, 442, 443.
• Bassirilievi.
  • Their use in painting since the fifteenth century, i. 404, ii. 364.
  • Artists who thus distinguished themselves, i. 300, ii. 114, v. 432, 433.
• Battle-pieces of Giulio Romano, ii. 108.
  • Of Borgognone and his school, i. 330, ii. 253.
  • Of others, iii. 339, iv. 29, 140, v. 268.
• Beau-ideal.
  • How studied by Raffaello, ii. 91, 92.
  • How by the mannerists, ii. 131.
  • How by Guido Reni, v. 142.
• Bolognese artists.
  • Did not derive the principles of painting from Florence, only its improvement, v. 14.
  • Shewed the best method of imitation, v. 23.
  • Pre-eminent in the art during two centuries, v. 15.
• Borromei. Benefactors of the fine arts at Milan, iv. 284.

• Caricatures, i. 331, ii. 295, iii. 285, iv. 242, v. 115.
• Chambers of Raffaello, of Pietro da Cortona, &c. See their names.
• Characters of the Italian schools. See the first or second epoch of each.
• Cherubs, boys, genii, by whom well drawn, i. 190, ii. 92, 299, iii. 140, 141, iv. 105, 164, v. 54, 130, 134, 189, 312, 403.
• Chiaroscuro.
  • Improved at Florence, i. 73.
  • Brought to perfection in the time of Vinci and of Giorgione, iii. 101, iv. 240.
  • What in Caravaggio, ii. 200.
  • What in Guercino, v. 164.
• Chiariscuri, preparations for colouring them, i. 192, ii. 318.
• —— of Pietre Commesse, or mosaic, i. 428.
• Colouring of the Venetians, iii. 91, 246.
  • Of Raffaello and of the other painters. See their names.
  • Altered, ii. 442, iii. 301, v. 220.
• Column of Trajan designed, ii. 148.
  • Studied by Giulio Campi, iv. 171.
  • By Cortona, i. 336.
• Composition.
  • Crowded in the early times, i. 99.
  • Maxim of Poussin, ii. 237.
  • Of the Caracci, v. 106.
  • Of Cortona, i. 341.
  • Of the Venetians, iii. 71.
  • Of Titian, iii. 115.
• Copies.
  • Retouched by the masters, i. 206, 293, ii. 103, 104, iii. 150, v. 133, and elsewhere.
  • Excellent copies, i. 15, iii. 155, 205, 289, v. 149, 169, 386.
  • Rules to distinguish copies from originals, pref. xxviii.
  • Copies of excellent pictures made in Italy, and transferred into foreign royal collections. See Bonavita Bianchi.
• Costume.
  • Neglected by many Venetian painters, iii. 349. It is often treated of in the characters of the schools and of artists.
• Counsel of learned men listened to by the best painters.
  • By Vinci, iv. 224, 239.
  • By Raffaello, ii. 66.
  • By Poussin, ii. 239.
  • By Coreggio, iv. 97.
  • By Titian, v. 301.
  • By Annibal Caracci, v. 117, 118.
  • By the old Ferrarese, v. 281.
  • By Castello, v. 386.
• Crystals.
  • Well represented, ii. 334.
  • Paintings in them, i. 228.
• Cupolas. See Gaudenzio Ferrari, Coreggio, Zuccari, Reni, Zampieri, Lanfranco, Cignani, De Matteis.

• Death, accelerated by violent passions, iii. 103, iv. 27, and in other places.
  • By defamation, v. 159.
• Design, superior to colouring, but less lucrative, i. 250.
  • Various practical processes in designing from life, ii. 90, 435, v. 144, 186.
• Diligence, a necessary quality in artists, iii. 189.
  • Commended in Barocci, ii. 183; in Titian, iii. 149;
  • In Coreggio, iv. 83;
  • In Cignani, v. 238;
  • And in others, 224, 343, &c.
  • Very remarkable in Lionardo da Vinci, iv. 241;
  • And in Ercole Grandi, v. 295.
  • Particularly requisite in beginners, iv. 290, v. 94.
  • Ought not to be carried too far, v. 67, 140, 231.
  • Abuse of this maxim, iii. 305.
• Drapery, mantles, style of folding.
  • Taste of the ancients, i. 76, ii. 30.
  • Improved greatly by the Venetians, iii. 91;
  • And by the Lombards, iv. 228.
  • Frate contributed much towards its perfection, i. 191.
  • Others praised in this respect, ii. 97, 319, iii. 141, v. 103, 104, 141, 175, 176.

• Emulation, youthful, i. 409, ii. 67, iii. 125, v. 116, 179, 183, 334.
  • How exemplified between Pasinelli and Cignani, v. 218.
  • Want of it injurious to the younger Palma, iii. 255, 256;
  • And perhaps to Raffaello, ii. 85.
• Encaustic, ii. 343, v. 353.
• Engraving on wood, i. 105.
  • On several kinds, and with different colours, pref. xii. iv. 55.
  • On copper, i. 112.
• Envy.
  • Always accompanies merit, ii. 180.
  • Its arts, ib. and 399.
  • Accused of poisoning its rivals, i. 421, ii. 178, v. 305, 336, 375.
  • Enabled to triumph for a time, v. 132, 133.
  • Never succeeds in blinding the public, ii. 180, 400.
  • Noble artists answer it only with meritorious works, i. 190, v. 101,
  • The most bitter reply it can receive, i. 190.
• Epitaphs of painters too extravagant, i. 271, 272, iv. 115, v. 62.
  • Such as are only just, i. 422, v. 278, 457.
• Epochs. Some, though apparently certain, are yet fallacious, iii. 288.
• Expression.
  • The soul of painting, ii. 92, et seq.
  • Diligence requisite to succeed in it, ib. and 58, v. 110, 122.
• Eyes.
  • Painted with admirable effect by Camillo Boccaccino, iv. 165.

• Ferrara.
  • Boasted classic imitators of each classic style, v. 328.
• Florence.
  • Contributed more than any other city to the revival of the fine arts, i. 39, ii. 29.
  • At what time in particular it shone as a new Athens, i. 217.
  • Its school of painting celebrated of old for its design, i. 148.
  • Boasts a series of great masters, and of styles wholly national, i. 365.
• Flower-painters, and of fruits, i. 325, ii. 258, 384, 423, iii. 388, iv. 285, 68, 294, v. 205, 266, 353.
• Foreign painters.
  • Disliked by the natives, i. 223, 406, ii. 396.
  • When judiciously invited to Italian cities, they have advanced their taste, or at least their decoration, i. 405, iii. 251, iv. 144, 286, v. 364, 448, 9, et seq.
• Fore-shortening.
  • Melozzo discovered and enlarged this kind of painting, v. 42.
  • Improved by Mantegna, iii. 71, iv. 10.
  • Perfected by Coreggio, and by others, i. 418, v. 53, 54.
  • Raffaello left examples of it in architecture, ii. 98.
  • See also Perspective.
• Fortune.
  • The merit of artists not to be estimated by it, i. 201, 421.

• Genoa.
  • Its splendor of paintings, both in private and public, v. 372.
• Gilding in paintings much used by the ancients, i. 46.
  • Abandoned by degrees, i. 96.
  • Used by Raffaello, ii. 69.
  • Up to the time of Cav. d'Arpino, ii. 155.
• Goldsmith's art the origin of engraving in copper, i. 112.
• Grace.
  • The gift of some painters, i. 151, 152. ii. 95, iv. 124.
  • Affected by others, iv. 124, 129, 175.
• Grandeur of manner, in what it consists, ii. 74.
• Greeks, ancient.
  • By whom postponed to Michelangiolo, i. 166.
  • Of early times, not wholly uncultivated in painting, i. 3.
  • By them some of our earliest painters were instructed, i. 3, 9, iii. 7, v. 7, 286.
• Grotesques.
  • Origin of, ii. 46.
  • Professors, i. 213, 426, ii. 112, 158, iii. 248, iv. 170, v. 93, 305, 374, 450, 451.

• Haste, when excessive, blamed, i. 235, ii. 130, 434, iii. 98, 255, v. 64.
  • How corrected in Annibal Caracci, v. 100.
• Heads of men, by Raffaello, ii. 92.
  • Of youths, by Guido, in various manners, v. 143, 144, et seq.
  • Of old men, ii. 148, 394, v. 145, 160.
  • Of saints, i. 76, ii. 92, 184.
• History of Painting.
  • Plan laid down by others, pref. viii.
  • That of the author of this work, and on what model, ib.
  • It conveys clearer views of events than Lives or Dictionaries of painters, owing to its connected narratives, pref. iv.
  • Alluded to in the motto, series juncturaque pollet, pref. xvii.

• Illusions, in paintings, well represented.
  • In men, ii. 79, iii. 204, v. 166, 167.
  • In animals, ii. 257, iii. 283, iv. 13, 229, 252, v. 115.
• Imitation.
  • Methods properly observed in this by the Caracci, v. 101.
  • By Guido, v. 138.
  • By others, iii. 302, iv. 117, and in every school.
  • Other methods not to be defended, i. 229, iii. 255, iv. 113, v. 220.
• Imitators.
  • Often confounded with the disciples of the best painters, pref. xix. ii. 123.
• Inlaid work, iii. 87.
• Italy.
  • Never in want of painters, i. 1.
  • Its celebrity in this art, pref. xvii.
  • Rich in great artists little known even there, iv. 258, 302.
  • Other examples in almost every school.

• Landscapes.
  • Various styles, i. 324, ii. 170.
  • Titian opened the true path, iii. 246.
  • How much this art is indebted to Annibal Caracci, v. 120, 201, 202.
  • To Poussin, ii. 240.
  • Three celebrated landscape painters, ii. 242.
  • Others in each school.
  • See the close of their epochs.
• Libraries decorated.
  • The Vatican, ii. 149.
  • Venetian, of St. Mark's, iii. 161, 243, v. 411.
  • Paduan, of the university, iii. 168.
  • Bolognese, of the Padri Scopetini, v. 54.
  • Of the Padri Olivetani, v. 153.
  • Royal, of Turin, v. 484.
• Licentious figures.
  • Caused much remorse in Agostino Caracci, v. 116.
  • Gave the appellation of libertine to Cav. Liberi, iii. 306.
• Light.
  • Its effects admirably exhibited by some artists, ii. 25, 77, 204, 248, iii. 148, 200.
• Loggia of Baffaello, ii. 80.
  • Continued, 146.

• Mannerists, or sectarists, i. 57, ii. 131, iii. 255, iv. 183, 306, v. 219.
• Masters, their various methods, i. 261, ii. 106, iv. 15, v. 99, 183, 184, 395.
  • Liberality in teaching, i. 298, ii. 87.
  • Jealous of their disciples' talents, i. 163, 203, ii. 125, 280, iii. 151, 267, v. 368, 369.
  • Skill in directing them best, i. 325, iv. 21, v. 255, 256, 266, 267.
• Maxims of great masters carried to too great lengths by their schools, ii. 442, iv. 112, v. 2, 3.
• Mediocrity, Artists of, not to be wholly excluded from a history of the arts, pref. xii.
  • Not however to be minutely studied, i. 270, 271, and often throughout the work.
• Miniaturists.
  • Masters of the oldest painters, i. 76, 376, ii. 11, iii. 14, v. 11, 12.
  • Miniatures, i. 60, 99, 328, 376, 391, iii. 80, iv. 5, v. 290, 451, 452.
  • Of Giulio Clovio, iv. 24.
• Misfortunes and passions sometimes occasion decline in the art, ii. 116, v. 184, 188, 381.
• Modena. Inventions made by this school, iv. 73.
• Monuments, ancient.
  • Origin of the best design in Italy, i. 4, iii. 7.
  • Studied by great painters, i. 92, ii. 66, 237, 246, iii. 38, 140, iv. 15, v. 117, 163, 416, 263, 264.
• Mosaic-workers, i. 6, 34.
  • The art improved by them at Venice, iii. 250.
  • Perfected at Rome, ii. 341.

• Naples. Antiquity and talent of this school. ii. 345.
• Native places of painters often contested, and why.
  • See Anselmi, D'Alessi, Amalteo, Ardente, Diana Mantovana, Jacopo da Bologna, Lotto, Menabuoi, &c.
• Naturalists, without taste, ii. 200, et seq. iii. 276.
  • Of some choice, i. 147, 308, iii. 152, v. 164, 165, 371, 372.
• Niello, or Niellatori, i. 110.
• Nobles who assisted students of the fine arts, when deserving, i. 357, iii. 390, v. 346.
• Nuptials, Aldobrandine, observed by Poussin for composition. ii. 238.

• Objects of pictoric history, pref. xvi.
• Oil, commencement of painting in, i. 81, ii. 355, iii. 41.
• Opinions on the same painter different, pref. xxxiv.
  • The historian ought to collect the most authentic and popular, ib.
  • Painters ought to be estimated by their mature labours, conducted with most care, i. 301;
  • As these may be almost termed their second editions, v. 424.
  • More accurately estimated where they painted most, pref. xxxiii.
• Ornamental work of grand palaces, all directed by a single artist, i. 233, ii. 81, iv. 22, 170, v. 369.

• Painting on different kinds of marble, i. 279, 288,
  • with the secret of staining them with colours, i. 432.
  • Another invention of F. Sebastiano del Piombo, iii. 107.
  • Painting on dressed leather, ii. 176,
    • on earthen vases, ii. 171,
    • on glass, i. 224.
• Perspective well understood by the ancients, iii. 48, 249.
  • Particularly cultivated by the Lombards, iv. 217.
  • Excellent professors of it. ib., and tom. i. 215, 274, 425, 426, ii. 24, 335, iii. 48, 249, 270.
  • Its revival at Bologna, v. 205, 206, et seq.
  • See also the end of last epoch of the same school, as well as in other schools.
• Pietre dure, works in commesso, or variegated stone, more particularly conducted at Florence, and sometimes with the minuteness of the mosaic worker, i. 332.
• Plagues in Italy proved injurious to painting, ii. 262, iii. 273, v. 419.
• Play obscured many excellent qualities of Guido, v. 143.
  • Caused the death of Schedone, iv. 59.
• Pleasure renders artists less correct, ii. 402, v. 64.
• Portraits, very excellent, ii. 79, 237, iii. 146.
  • Celebrated portrait painters of the Venetian school; see Titian, Contarino, Morone, Tinelli, Ghislandi.
  • Others of every school, at the close of their respective epochs.

• Quadratura, see Perspective.
• Quattrocentisti.
  • Artists of the fourteenth century, their dry but exact design, i. 103.
  • They professed various arts at once.
  • Simple in their composition, iii. 45, v. 26, and elsewhere.
• Question respecting the superior dignity of painting and sculpture, i. 253.

• Removing of paintings from walls to canvass, v. 350.
• Revival of painting in Italy. Its origin, i. 1.
• Restoration of ancient paintings, when cautiously conducted, highly useful, ii. 84, iii. 294.
  • Recommended by Bonarruoti and by the Caracci, at Bologna and Florence, v. 14.
  • School for such art at Venice, iii. 389.
  • Not successfully applied to the Supper of Vinci, at Milan, iv. 247;
  • To various Venetian pictures, by Bombelli, iii. 294, and elsewhere.
  • Method discovered at Siena, i. 455.
• Rome, dignifies the ideas brought by foreign artists from other parts, ii. 16.
  • Character of the school, ii. 105.
  • Circumstances which there assisted the progress of the art, ii. 341.

• Saloon, royal, in the Vatican, ii. 127.
  • Others at Rome, i. 277, ii. 128, 203, 204.
  • Of the Pitti, at Florence, i. 300.
  • Of the Palazzo Vecchio, i. 192, 248.
  • Of the ducal palace at Venice, iii. 192, 225, &c.
  • In Genoa, v. 243.
• Scagliola, works in, i. 346, iv. 70.
• Sea views, painters of, i. 326, ii. 248, 332, 444, iii. 385, v. 204.
• Slowness of artists, remarked in Ricciarelli, ii. 127.
  • Punished in Laureti, ii. 151.
  • Proverbial with some, i. 161, 416, v. 97.
  • Injurious, 267, 268, 343.
  • Corrected in Agostino Caracci, v. 97.
  • See also Diligence.
• Selection of style to be made according to the genius and disposition of the artist, i. 248, 307, 416.
• Surnames of painters, confounded and altered, see Lamberto, Da Leccio, Sanmartino, &c.
  • Derived by masters from their native place, and sometimes from that of their residence. See Orsi, Lotto, &c.
  • Murati, ii. 41, iii. 120.
• Statues, of Bonarruoti, i. 165, 166.
  • Of Verrocchio, i. 151.
  • Where it may be observed, that the Horse of Venice, which was cast by him, and did not succeed, was newly cast by Alessandro Leopardo, a Venetian. Temanza.
  • Modelled by Vinci, ib.;
  • by Raffaello, ii. 82.
• Symbolical representations of living personages, borrowed from the history of illustrious ancients, i. 257, ii. 68.

• Tastes in painting, laudable, though different, i. 231.
  • A certain taste not to be hastily changed at an advanced age, i. 205, 308, 417, v. 195, 196, and elsewhere.
• Tapestries, i. 45, 6, ii. 82, 343, v. 207, 308.
• Tenebrosi.
  • A sect of painters in Venice, iii. 276, and in Bologna, v. 194.
  • Partly occasioned by the bad priming colours, used also elsewhere, i. 283, iii. 276, v. 108;
  • And the models of Caravaggio badly imitated, iv. 185.
• Theatres. Artists distinguished for decorating them, i. 217, 18. iv. 70.

• Unity of History, neglected by Raffaello, ii. 101;
  • By Coreggio, iv. 108.
  • See also v. 470, 471.
• Urbino, ill provided with aids and conveniences for the art in the time of Raffaello, ii. 53.

• Variety, not studied by Pietro Perugino, nor by Bassano, ii. 31, iii. 201.
  • Neglected by Taddeo Zuccari, ii. 135; and by the mannerists, ii. 264, iii. 207, v. 438, 439.
• Varnish, see Restoration of ancient paintings.
• Virgin, Holy. Ancient Images of, i. 2, 348, ii. 9, 346, iv. 209, v. 67.
  • Some painters celebrated for their Madonnas, i. 198, 310, ii. 95, 220, 278, 284, 315, iii. 52, 59, 116, 117, iv. 96, 261, 315, v. 19, 26, 106, 180, 224, 261, 314, 451, 462.

• Wax, used by the ancients in painting, i. 88.
• Works, connected with painting, considered by historians of the art, pref. xii.
  • Written on painting, criticised by Algarotti, pref. xi.

THE END.

J. M'Creery, Tooks Court,
Chancery-lane, London.

Critical Opinions on

LANZI'S HISTORY OF PAINTING IN ITALY,

TRANSLATED BY THOMAS ROSCOE.