Lives of the most Eminent Painters Sculptors and Architects, Vol. 10 (of 10) / Bronzino to Vasari, & General Index.

by Giorgio Vasari

Twenty-first and Last Car.

The twenty-first and last car, representing the Roman Mount Janiculum, and drawn by two great white rams, was given to the venerable Janus, figured with two heads, one young and the other old, as is the custom, and holding in the hands a great key and a thin wand, to demonstrate the power over doors and streets that is attributed to him. At the foot of the car was seen coming sacred Religion, attired in white linen vestments, with one of the hands open, and carrying in the other an ancient altar with a burning flame; and on either side of her were the Prayers, represented, as they are described by Homer, in the form of two wrinkled, lame, cross-eyed, and melancholy old women, dressed in draperies of turquoise-blue. After these were seen coming Antevorta and Postvorta, the companions of Divinity, of whom it was believed that the first had power to know whether prayers were or were not to be heard by the Gods; and the second, who rendered account only of the past, was able to say whether prayers had or had not been heard; the first being figured in the comely aspect and habit of a matron, with a lamp and a corn-sieve in the hands, and a head-dress covered with ants upon the head; and the second, clothed in front all in white, and figured with the face of an old woman, was seen to be attired at the back in heavy black draperies, and to have the hair, on the contrary, blonde, curling, and beautiful, such as is generally seen in young and love-compelling women. Then followed that Favour which we seek from the Gods, to the end that our desires may have a happy and fortunate end; and he, although shown in the aspect of a youth, blind and with wings, and with a proud and haughty presence, yet at times appeared timid and trembling because of the rolling wheel upon which he was seen standing, doubting that, as is often seen to happen, at every least turn he might come with great ease to fall from it; and with him was seen Success, or, as we would rather say, the happy end of our enterprises, figured as a gay and lovely youth, holding in one of the hands a cup, and in the other an ear of corn and a poppy. Then there followed, in the form of a virgin crowned with oriental palm, with a star upon the brow and with a branch of the same palm in the hand, Anna Perenna, revered by the ancients as a Goddess, believing that she was able to make the year fortunate, and with her were seen coming two Fetiales with the Roman toga, adorned with garlands of verbenæ and with a sow and a stone in the hands, to denote the kind of oath that they were wont to take when they made any declaration for the Roman people. Behind these, then, following the religious ceremonies of war, was seen coming a Roman Consul in the Gabinian and purple toga, and with a spear in the hand, and with him two Roman Senators likewise in the toga, and two soldiers in full armour and with the Roman javelin. And finally, concluding that company and all the others, there followed Money, attired in draperies of yellow, white, and tawny colour, and holding in the hands various instruments for striking coins; the use of which, so it is believed, was first discovered and introduced, as a thing necessary to the human race, by Janus.

Such were the cars and companies of that marvellous masquerade, the like of which was never seen before, and, perchance, will never be seen again in our day. And about it—leaving on one side, as a burden too great for my shoulders, the vast and incomparable praises that would be due to it—there had been marshalled with much judgment six very rich masks in the guise of sergeants, or rather, captains, who, harmonizing very well with the invention of the whole, were seen, according as necessity demanded, running hither and thither and keeping all that long line, which occupied about half a mile of road, advancing in due order with decorum and grace.

Now, drawing near at length to the end of that splendid and most merry Carnival, which would have been much more merry and celebrated with much more splendour, if the inopportune death of Pius IV, which happened a short time before, had not incommoded a good number of very reverend Cardinals and other very illustrious lords from all Italy, who, invited to those most royal nuptials, had made preparations to come; and leaving on one side the rich and lovely inventions without number seen in the separate masks, thanks to the amorous young men, not only in the innumerable banquets and other suchlike entertainments, but wherever they broke a lance or tilted at the ring, now in one place and now in another, and wherever they made similar trial of their dexterity and valour in a thousand other games; and treating only of the last festival, which was seen on the last day, I shall say that although there had been seen the innumerable things, so rare, so rich, and so ingenious, of which mention has been made above, yet this festival, from the pleasing nature of the play, from the richness, emulation and competence shown in it by our craftsmen (some of whom, as always happens, considered themselves surpassed in the things accomplished), and from a certain extravagance and variety in the inventions, some of which appeared beautiful and ingenious, and others ridiculous and clumsy, this one, I say, also displayed an extraordinary and most charming beauty, and likewise gave to the admiring people, amid all that satiety, a pleasure and a delight that were marvellous and perhaps unexpected; and it was a buffalo-race, composed of ten distinct companies, which were distributed, besides those that the Sovereign Princes took for themselves, partly among the lords of the Court and the strangers, and partly among the gentlemen of the city and the two colonies of merchants, the Spanish and the Genoese. First, then, upon the first buffalo that appeared in the appointed place, there was seen coming Wickedness, adorned with great art and judgment, who was shown being chased, goaded and beaten by six cavaliers likewise figured most ingeniously as Scourging, or rather, Scourges. After that, upon the second buffalo, which had the appearance of a lazy ass, was seen coming the old and drunken Silenus, supported by six Bacchants, who were seen striving at the same time to goad and spur the ass; even as upon the third, which had the form of a calf, there was likewise seen coming the ancient Osiris, accompanied by six of the companions or soldiers with whom, it is believed, that Deity travelled over many parts of the world and taught to the still new and barbarous races the cultivation of the fields. Upon the fourth, without any disguise, was placed as on horseback Human Life, likewise chased and goaded by six cavaliers who represented the Years; even as upon the fifth, also without any disguise, was seen coming Fame with the many mouths and with the great wings of desire that are customary, also chased by six cavaliers who resembled Virtue, or the Virtues; which Virtues, so it was said, chasing her, were aspiring to obtain the due and well-deserved reward of honour. Upon the sixth, then, was seen coming a very rich Mercury, who was shown being goaded and urged on no less than the others by six other similar figures of Mercury; and upon the seventh was seen the nurse of Romulus, Acca Laurentia, with six of her Fratres Arvales, who were not only urging her lazy animal to a run with their goads, but seemed almost to have been introduced to keep her company with much fittingness and pomp. Upon the eighth, next, was seen coming with much grace and richness a large and very natural owl, with six cavaliers in the form of bats most natural and marvellously similar to the reality, who with most dexterous horses, goading the buffalo now from one side and now from another, were seen delivering a thousand joyous and most festive assaults. For the ninth, with singular artifice and ingenious illusion, there was seen appearing little by little a Cloud, which, after it had held the eyes of the spectators for some time in suspense, was seen in an instant as it were to part asunder, and from it issued the seafaring Misenus seated upon the buffalo, which at once was seen pursued and pricked by six Tritons adorned in a very rich and most masterly fashion. And for the tenth and last there was seen coming, almost with the same artifice, but in a different and much larger form and in a different colour, another similar Cloud, which, parting asunder in like manner at the appointed place with smoke and flame and a horrible thunder, was seen to have within it infernal Pluto, drawn in his usual car, and from it in a most gracious manner was seen to come forth in place of a buffalo a great and awful Cerberus, who was chased by six of those glorious ancient heroes who are supposed to dwell in peace in the Elysian Fields. All those companies, when they had appeared one by one upon the piazza, and presented the due and gracious spectacle, and after a long breaking of lances, a great caracoling of horses, and a thousand other suchlike games, with which the fair ladies and the multitude of spectators were entertained for a good time, finally made their way to the place where the buffaloes were to be set to race. And there, the trumpet having sounded, and each company striving that its buffalo should arrive at the appointed goal before the others, and now one prevailing and now another, all of a sudden, when they were come within a certain distance of the place, all the air about them was seen filled with terror and alarm from the great and deafening fires that smote them now on one side and now on another, in a thousand strange fashions, insomuch that very often it was seen to happen that one who at the beginning had been nearest to winning the coveted prize, the timid and not very obedient animal taking fright at the noise, the smoke, and the fires above described, which, in proportion as one went ahead, became ever greater and assailed that one with ever greater vehemence, so that the animals turned in various directions, and very often took to headlong flight—it was seen many times, I say, that the first were constrained to return among the last; while the confusion of men, buffaloes, and horses, and the lightning-flashes, noises, and thunderings, produced a strange, novel, and incomparable pleasure and delight. And thus with that spectacle was finally contrived a splendid, although for many perhaps disturbing, conclusion of the joyous and most festive Carnival.

In the first and holy days of the following Lent, with the thought of pleasing the most devout bride, but also with truly extraordinary pleasure for the whole people, who, having been deprived of such things for many years, and part of the fragile apparatus having been lost, feared that they would never be resumed, there was held the festival, so famous and so celebrated in olden days, of S. Felice, so-called from the church where it used formerly to be represented. But this time, besides that which their Excellencies, our Lords, themselves deigned to do, it was represented at the pains and expense of four of the principal and most ingenious gentlemen of the city in the Church of S. Spirito, as a place more capacious and more beautiful, with a vast apparatus of machinery and all the old instruments and not a few newly added. In it, besides many Prophets and Sibyls who, singing in the simple ancient manner, announced the coming of Our Lord Jesus Christ, very notable—nay, marvellous, stupendous, and incomparable, from its having been contrived in those ignorant ages—was the Paradise, which, opening in an instant, was seen filled with all the hierarchies of the Angels and of the Saints both male and female, and with various movements representing its different spheres, and as it were sending down to earth the Divine Gabriel shining with infinite splendour, in the midst of eight other little Angels, to bring the Annunciation to the Glorious Virgin, who was seen waiting in her chamber, all humble and devout; all being let down (and reascending afterwards), to the rare marvel of everyone, from the highest part of the cupola of that church, where the above-described Paradise was figured, down to the floor of the chamber of the Virgin, which was not raised any great height from the ground, and all with such security and by methods so beautiful, so facile, and so ingenious, that it appeared scarcely possible that the human brain was able to go so far. And with this the festivities all arranged by our most excellent Lords for those most royal nuptials had a conclusion not only renowned and splendid, but also, as was right fitting for true Christian Princes, religious and devout.

Many things, also, could have been told of a very noble spectacle presented by the most liberal Signor Paolo Giordano Orsino, Duke of Bracciano, in a great and most heroic theatre, all suspended in the air, which was constructed by him of woodwork in those days with royal spirit and incredible expense; and in it, with very rich inventions of the Knights Challengers, of whom he was one, and of the Knights Adventurers, there was fought with various arms a combat for a barrier, and there was performed with beautifully trained horses, to the rare delight of the spectators, the graceful dance called the Battaglia. But this, being hindered by inopportune rains, was prolonged over many days; and since, seeking to treat of it at any length, it would require almost an entire work, being now weary, I believe that I may be pardoned if without saying more of it I bring this my long—I know not whether to call it tedious—labour, at length to an end.

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GIORGIO VASARI

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DESCRIPTION OF THE WORKS OF GIORGIO VASARI
PAINTER AND ARCHITECT OF AREZZO

Having discoursed hitherto of the works of others, with the greatest diligence and sincerity that my brain has been able to command, I also wish at the end of these my labours to assemble together and make known to the world the works that the Divine Goodness in its grace has enabled me to execute, for the reason that, if indeed they are not of that perfection which I might wish, it will yet be seen by him who may consent to look at them with no jaundiced eye that they have been wrought by me with study, diligence, and loving labour, and are therefore worthy, if not of praise, at least of excuse; besides which, being out in the world and open to view, I cannot hide them. And since perchance at some time they might be described by some other person, it is surely better that I should confess the truth, and of myself accuse my imperfection, which I know only too well, being assured of this, that if, as I said, there may not be seen in them the perfection of excellence, there will be perceived at least an ardent desire to work well, great and indefatigable effort, and the extraordinary love that I bear to our arts. Wherefore it may come about that, according to the law, myself confessing openly my own deficiencies, I shall be in great part pardoned.

To begin, then, with my earliest years, let me say that, having spoken sufficiently of the origin of my family, of my birth and childhood, and how I was set by Antonio, my father, with all manner of lovingness on the path of the arts, and in particular that of design, to which he saw me much inclined, with good occasions in the Life of Luca Signorelli of Cortona, my kinsman, in that of Francesco Salviati, and in many other places in the present work, I shall not proceed to repeat the same things. But I must relate that after having drawn in my first years all the good pictures that are about the churches of Arezzo, the first rudiments were taught to me with some method by the Frenchman Guglielmo da Marcilla, whose life and works we have described above. Then, having been taken to Florence in the year 1524 by Silvio Passerini, Cardinal of Cortona, I gave some little attention to design under Michelagnolo, Andrea del Sarto, and others. But the Medici having been driven from Florence in the year 1527, and in particular Alessandro and Ippolito, with whom, young as I was, I had a strait attachment of service through the said Cardinal, my paternal uncle Don Antonio made me return to Arezzo, where a short time before my father had died of plague; which Don Antonio, keeping me at a distance from the city lest I might be infected by the plague, was the reason that I, to avoid idleness, went about exercising my hand throughout the district of Arezzo, near our parts, painting some things in fresco for the peasants of the countryside, although as yet I had scarcely ever touched colours; in doing which I learned that to try your hand and work by yourself is helpful and instructive, and enables you to gain excellent practice. In the year afterwards, 1528, the plague being finished, the first work that I executed was a little altar-picture for the Church of S. Piero, of the Servite Friars, at Arezzo; and in that picture, which is placed against a pilaster, are three half-length figures, S. Agatha, S. Rocco, and S. Sebastian. Being seen by Rosso, a very famous painter, who came in those days to Arezzo, it came about that he, recognizing in it something of the good taken from Nature, desired to know me, and afterwards assisted me with designs and counsel. Nor was it long before by his means M. Lorenzo Gamurrini gave me an altar-picture to execute, for which Rosso made me the design; and I then painted it with all the study, labour, and diligence that were possible to me, in order to learn and to acquire something of a name. And if my powers had equalled my good will, I would have soon become a passing good painter, so much I studied and laboured at the things of art; but I found the difficulties much greater than I had judged at the beginning.

However, not losing heart, I returned to Florence, where, perceiving that I could not save only after a long time become such as to be able to assist the three sisters and two younger brothers left to me by my father, I placed myself with a goldsmith. But not for long, because in the year 1529, the enemy having come against Florence, I went off with the goldsmith Manno, who was very much my friend, to Pisa, where, setting aside the goldsmith's craft, I painted in fresco the arch that is over the door of the old Company of the Florentines, and some pictures in oils, which were given to me to execute by means of Don Miniato Pitti, at that time Abbot of Agnano without the city of Pisa, and of Luigi Guicciardini, who was then in that city. Then, the war growing every day more general, I resolved to return to Arezzo; but, not being able to go by the direct and ordinary road, I made my way by the mountains of Modena to Bologna. There, finding that some triumphal arches were being decorated in painting for the coronation of Charles V, young as I was I obtained some work, which brought me honour and profit; and since I drew passing well, I would have found means to live and work there. But the desire that I had to revisit my family and other relatives brought it about that, having found good company, I returned to Arezzo, where, finding my affairs in a good state after the diligent care taken of them by the above-named Don Antonio, my uncle, I settled down with a quiet mind and applied myself to design, executing also some little things in oils of no great importance. Meanwhile the above-named Don Miniato Pitti was made Abbot or Prior, I know not which, of S. Anna, a monastery of Monte Oliveto in the territory of Siena, and he sent for me; and so I made for him and for Albenga, their General, some pictures and other works in painting. Then, the same man having been made Abbot of S. Bernardo in Arezzo, I painted for him two pictures in oils of Job and Moses on the balustrade of the organ. And since the work pleased those monks, they commissioned me to paint some pictures in fresco—namely, the four Evangelists—on the vaulting and walls of a portico before the principal door of the church, with God the Father on the vaulting, and some other figures large as life; in which, although as a youth of little experience I did not do all that one more practised would have done, nevertheless I did all that I could, and work which pleased those fathers, having regard for my small experience and age. But scarcely had I finished that work when Cardinal Ippolito de' Medici, passing through Arezzo by post, took me away to Rome to serve him, as has been related in the Life of Salviati; and there, by the courtesy of that lord, I had facilities to attend for many months to the study of design. And I could say with truth that those facilities and my studies at that time were my true and principal master in my art, although before that those named above had assisted me not a little; and there had not gone from my heart the ardent desire to learn, and the untiring zeal to be always drawing night and day. There was also of great benefit to me in those days the competition of my young contemporaries and companions, who have since become for the most part very excellent in our art. Nor was it otherwise than a very sharp spur to me to have such a desire of glory, and to see many who had proved themselves very rare, and had risen to honour and rank; so that I used to say to myself at times: "Why should it not be in my power to obtain by assiduous study and labour some of that grandeur and rank that so many others have acquired? They, also, were of flesh and bones, as I am."

Urged on, therefore, by so many sharp spurs, and by seeing how much need my family had of me, I disposed myself never to shrink from any fatigue, discomfort, vigil, and toil, in order to achieve that end; and, having thus resolved in my mind, there remained nothing notable at that time in Rome, or afterwards in Florence, and in other places where I dwelt, that I did not draw in my youth, and not pictures only, but also sculptures and architectural works ancient and modern. And besides the proficience that I made in drawing the vaulting and chapel of Michelagnolo, there remained nothing of Raffaello, Polidoro, and Baldassarre da Siena, that I did not likewise draw in company with Francesco Salviati, as has been told already in his Life. And to the end that each of us might have drawings of everything, during the day the one would not draw the same things as the other, but different, and then at night we used to copy each other's drawings, so as to save time and extend our studies; not to mention that more often than not we ate our morning meal standing up, and little at that. After which incredible labour, the first work that issued from my hands, as from my own forge, was a great picture with figures large as life, of a Venus with the Graces adorning and beautifying her, which Cardinal de' Medici caused me to paint; but of that picture there is no need to speak, because it was the work of a lad, nor would I touch on it, save that it is dear to me to remember still these first beginnings and many upward steps of my apprenticeship in the arts. Enough that that lord and others gave me to believe that there was in it a certain something of a good beginning and of a lively and resolute spirit. And since among other things I had made therein to please my fancy a lustful Satyr who, standing hidden amid some bushes, was rejoicing and feasting himself on the sight of Venus and the Graces nude, that so pleased the Cardinal that he had me clothed anew from head to foot, and then gave orders that I should paint in a larger picture, likewise in oils, the battle of the Satyrs with the Fauns, Sylvan Gods, and children, forming a sort of Bacchanal; whereupon, setting to work, I made the cartoon and then sketched in the canvas in colours, which was ten braccia long. Having then to depart in the direction of Hungary, the Cardinal made me known to Pope Clement and left me to the protection of his Holiness, who gave me into the charge of Signor Jeronimo Montaguto, his Chamberlain, with letters authorizing that, if I might wish to fly from the air of Rome that summer, I should be received in Florence by Duke Alessandro; which it would have been well for me to do, because, choosing after all to stay in Rome, what with the heat, the air, and my fatigue, I fell sick in such sort that in order to be restored I was forced to have myself carried by litter to Arezzo. Finally, however, being well again, about the 10th of the following December I came to Florence, where I was received by the above-named Duke with kindly mien, and shortly afterwards given into the charge of the magnificent M. Ottaviano de' Medici, who so took me under his protection, that as long as he lived he treated me always as a son; and his blessed memory I shall always remember and revere, as of a most affectionate father. Returning then to my usual studies, I received facilities by means of that lord to enter at my pleasure into the new sacristy of S. Lorenzo, where are the works of Michelagnolo, he having gone in those days to Rome; and so I studied them for some time with much diligence, just as they were on the ground. Then, setting myself to work, I painted in a picture of three braccia a Dead Christ carried to the Sepulchre by Nicodemus, Joseph, and others, and behind them the Maries weeping; which picture, when it was finished, was taken by Duke Alessandro. And it was a good and auspicious beginning for my labours, for the reason that not only did he hold it in account as long as he lived, but it has been ever since in the chamber of Duke Cosimo, and is now in that of the most illustrious Prince, his son; and although at times I have desired to set my hand upon it again, in order to improve it in some parts, I have not been allowed. Duke Alessandro, then, having seen this my first work, ordained that I should finish the ground-floor room in the Palace of the Medici which had been left incomplete, as has been related, by Giovanni da Udine. Whereupon I painted there four stories of the actions of Cæsar; his swimming with the Commentaries in one hand and a sword in the mouth, his causing the writings of Pompeius to be burned in order not to see the works of his enemies, his revealing himself to a helmsman while tossed by fortune on the sea, and, finally, his triumph; but this last was not completely finished. During which time, although I was but little more than eighteen years of age, the Duke gave me a salary of six crowns a month, a place at table for myself and a servant, and rooms to live in, with many other conveniences. And although I knew that I was very far from deserving so much, yet I did all that I could with diligence and lovingness, nor did I shrink from asking from my elders whatever I did not know myself; wherefore on many occasions I was assisted with counsel and with work by Tribolo, Bandinelli, and others. I painted, then, in a picture three braccia high, Duke Alessandro himself in armour, portrayed from life, with a new invention in a seat formed of captives bound together, and with other fantasies. And I remember that besides the portrait, which was a good likeness, in seeking to make the burnished surface of the armour bright, shining, and natural, I was not very far from losing my wits, so much did I exert myself in copying every least thing from the reality. However, despairing to be able to approach to the truth in the work, I took Jacopo da Pontormo, whom I revered for his great ability, to see it and to advise me; and he, having seen the picture and perceived my agony, said to me lovingly: "My son, as long as this real lustrous armour stands beside the picture, your armour will always appear to you as painted, for, although lead-white is the most brilliant pigment that art employs, the iron is yet more brilliant and lustrous. Take away the real armour, and you will then see that your counterfeit armour is not such poor stuff as you think it."

That picture, when it was finished, I gave to the Duke, and the Duke presented it to M. Ottaviano de' Medici, in whose house it has been up to the present day, in company with the portrait of Caterina, the then young sister of the Duke, and afterwards Queen of France, and that of the Magnificent Lorenzo, the Elder. And in the same house are three pictures also by my hand and executed in my youth; in one is Abraham sacrificing Isaac, in the second Christ in the Garden, and in the third His Supper with the Apostles. Meanwhile Cardinal Ippolito died, in whom was centred the sum of all my hopes, and I began to recognize how vain generally are the hopes of this world, and that a man must trust mostly in himself and in being of some account. After these works, perceiving that the Duke was all given over to fortifications and to building, I began, the better to be able to serve him, to give attention to matters of architecture, and spent much time upon them. But meanwhile, festive preparations having to be made in Florence in the year 1536 for receiving the Emperor Charles V, the Duke, in giving orders for that, commanded the deputies charged with the care of those pomps, as has been related in the Life of Tribolo, that they should have me with them to design all the arches and other ornaments to be made for that entry. Which done, there was allotted to me for my benefit, besides the great banners of the castle and fortress, as has been told, the façade in the manner of a triumphal arch that was constructed at S. Felice in Piazza, forty braccia high and twenty wide, and then the ornamentation of the Porta a S. Piero Gattolini; works all great and beyond my strength. And, what was worse, those favours having drawn down upon me a thousand envious thoughts, about twenty men who were helping me to do the banners and the other labours left me nicely in the lurch, at the persuasion of one person or another, to the end that I might not be able to execute works so many and of such importance. But I, who had foreseen the malice of such creatures (to whom I had always sought to give assistance), partly labouring with my own hand day and night, and partly aided by painters brought in from without, who helped me secretly, attended to my business, and strove to conquer all such difficulties and treacheries by means of the works themselves. During that time Bertoldo Corsini, who was then proveditor-general to his Excellency, had reported to the Duke that I had undertaken to do so many things that it would never be possible for me to have them finished in time, particularly because I had no men and the works were much in arrears. Whereupon the Duke sent for me, and told me what he had heard; and I answered that my works were well advanced, as his Excellency might see at his pleasure, and that the end would do credit to the whole. Then I went away, and no long time passed before he came secretly to where I was working, and, having seen everything, recognized in part the envy and malice of those who were pressing upon me without having any cause. The time having come when everything was to be in order, I had finished my works to the last detail and set them in their places, to the great satisfaction of the Duke and of all the city; whereas those of some who had thought more of my business than of their own, were set in place unfinished. When the festivities were over, besides four hundred crowns that were paid to me for my work, the Duke gave me three hundred that were taken away from those who had not carried their works to completion by the appointed time, according as had been arranged by agreement. And with those earnings and donations I married one of my sisters, and shortly afterwards settled another as a nun in the Murate at Arezzo, giving to the convent besides the dowry, or rather, alms, an altar-picture of the Annunciation by my hand, with a Tabernacle of the Sacrament accommodated in that picture, which was placed within their choir, where they perform their offices. Having then received from the Company of the Corpus Domini, at Arezzo, the commission for the altar-piece of the high-altar of S. Domenico, I painted in it Christ taken down from the Cross; and shortly afterwards I began for the Company of S. Rocco the altar-picture of their church, in Florence.

Now, while I was going on winning for myself honour, name, and wealth under the protection of Duke Alessandro, that poor lord was cruelly murdered, and there was snatched away from me all hope of that which I was promising to myself from Fortune by means of his favour; wherefore, having been robbed within a few years of Clement, Ippolito, and Alessandro, I resolved at the advice of M. Ottaviano that I would never again follow the fortune of Courts, but only art, although it would have been easy to establish myself with Signor Cosimo de' Medici, the new Duke. And so, while carrying forward in Arezzo the above-named altar-picture and the façade of S. Rocco, with the ornament, I was making preparations to go to Rome, when by means of M. Giovanni Pollastra—and by the will of God, to whom I have always commended myself, and to whom I attribute and have always attributed my every blessing—I was invited to Camaldoli, the centre of the Camaldolese Congregation, by the fathers of that hermitage, to see that which they were designing to have done in their church. Arriving there, I found supreme pleasure in the Alpine and eternal solitude and quietness of that holy place; and although I became aware at the first moment that those fathers of venerable aspect were beside themselves at seeing me so young, I took heart and talked to them to such purpose, that they resolved that they would avail themselves of my hand in the many pictures in oils and in fresco that were to be painted in their church of Camaldoli. Now, while they wished that before any other thing I should execute the picture of the high-altar, I proved to them with good reasons that it was better to paint first one of the lesser pictures, which were going in the tramezzo,[2] and that, having finished it, if it should please them, I would be able to continue. Besides that, I would not make any fixed agreement with them as to money, but said that if my work, when finished, were to please them, they might pay me for it as they chose, and, if it did not please them, they might return it to me, and I would keep it for myself most willingly; which condition appearing to them only too honest and loving, they were content that I should set my hand to the work. They said to me, then, that they wished to have in it Our Lady with her Son in her arms, and S. John the Baptist and S. Jerome, who were both hermits and lived in woods and forests; and I departed from the hermitage and made my way down to their Abbey of Camaldoli, where, having made a design with great rapidity, which pleased them, I began the altar-piece, and in two months had it completely finished and set in place, to the great satisfaction of those fathers, as they gave me to understand, and of myself. And in that period of two months I proved how much more one is assisted in studies by sweet tranquillity and honest solitude than by the noises of public squares and courts; I recognized, I say, my error in having in the past placed my hopes in men and in the follies and intrigues of this world. That altar-picture finished, then, they allotted to me straightway the rest of the tramezzo[3] of the church—namely, the scenes and other things in fresco-work to be painted there both high and low, which I was to execute during the following summer, for the reason that in the winter it would be scarcely possible to work in fresco at that altitude, among those mountains.

Meanwhile I returned to Arezzo and finished the altar-picture for S. Rocco, painting in it Our Lady, six Saints, and a God the Father with some thunderbolts in the hand, representing the pestilence, which He is in the act of hurling down, but S. Rocco and other Saints make intercession for the people. And in the façade are many figures in fresco, which, like the altar-picture, are no better than they should be. Then Fra Bartolommeo Gratiani, a friar of S. Agostino in Monte Sansovino, sent to invite me to Val di Caprese, and commissioned me to execute a great altar-piece in oils for the high-altar of the Church of S. Agostino in that same Monte Sansovino. And after we had come to an agreement, I made my way to Florence to see M. Ottaviano, where, staying several days, I had much ado to prevent myself from re-entering the service of the Court, as I was minded not to do. However, by advancing good reasons I won the battle, and I resolved that by hook or by crook, before doing anything else, I would go to Rome. But in that I did not succeed until I had made for that same Messer Ottaviano a copy of the picture in which formerly Raffaello da Urbino had portrayed Pope Leo, Cardinal Giulio de' Medici, and Cardinal de' Rossi, for the Duke was claiming the original, which was then in the possession of Messer Ottaviano; and the copy that I made is now in the house of the heirs of that lord, who on my departure for Rome wrote me a letter of exchange for five hundred crowns on Giovan Battista Puccini, which he was to pay me on demand, and said to me: "Use this money to enable you to attend to your studies, and afterwards, when you find it convenient, you can return it to me either in work or in cash, just as you please." Arriving in Rome, then, in February of the year 1538, I stayed there until the end of June, giving my attention in company with Giovan Battista Cungi of the Borgo, my assistant, to drawing all that I had left not drawn the other times that I had been in Rome, and particularly everything that was in the underground grottoes. Nor did I leave anything either in architecture or in sculpture that I did not draw and measure, insomuch that I can say with truth that the drawings that I made in that space of time were more than three hundred; and for many years afterwards I found pleasure and advantage in examining them, refreshing the memory of the things of Rome. And how much those labours and studies benefited me, was seen after my return to Tuscany in the altar-picture that I executed at Monte Sansovino, in which I painted with a somewhat better manner the Assumption of Our Lady, and at the foot, besides the Apostles who are about the sepulchre, S. Augustine and S. Romualdo. Having then gone to Camaldoli, according as I had promised those eremite fathers, I painted in the other altar-piece of the tramezzo[4] the Nativity of Jesus Christ, representing a night illumined by the Splendour of the newborn Christ, who is surrounded by some Shepherds adoring Him; in doing which, I strove to imitate with colours the rays of the sun, and copied the figures and all the other things in that work from Nature and in the proper light, to the end that they might be as similar as possible to the reality. Then, since that light could not pass above the hut, from there upwards and all around I availed myself of a light that comes from the splendour of the Angels that are in the air, singing Gloria in Excelsis Deo; not to mention that in certain places the Shepherds that are around make light with burning sheaves of straw, and also the Moon and the Star, and the Angel that is appearing to certain Shepherds. For the building, then, I made some antiquities after my own fancy, with broken statues and other things of that kind. In short, I executed that work with all my power and knowledge, and although I did not satisfy with the hand and the brush my great desire and eagerness to work supremely well, nevertheless the picture has pleased many; wherefore Messer Fausto Sabeo, a man of great learning who was then custodian of the Pope's Library, and some others after him, wrote many Latin verses in praise of that picture, moved perhaps more by affectionate feeling than by the excellence of the work. Be that as it may, if there be in it anything of the good, it was the gift of God. That altar-picture finished, those fathers resolved that I should paint in fresco on the façade the stories that were to be there, whereupon I painted over the door a picture of the hermitage, with S. Romualdo and a Doge of Venice who was a saintly man on one side, and on the other a vision which the above-named Saint had in that place where he afterwards made his hermitage; with some fantasies, grotesques, and other things that are to be seen there. Which done, they ordained that I should return in the summer of the following year to execute the picture of the high-altar.

Meanwhile the above-named Don Miniato Pitti, who was then Visitor to the Congregation of Monte Oliveto, having seen the altar-picture of Monte Sansovino and the works of Camaldoli, and finding in Bologna the Florentine Don Filippo Serragli, Abbot of S. Michele in Bosco, said to him that, since the refectory of that honoured monastery was to be painted, it appeared to him that the work should be allotted to me and not to another. Being therefore summoned to go to Bologna, I undertook to do it, although it was a great and important work; but first I desired to see all the most famous works in painting that were in that city, both by Bolognese and by others. The work of the head-wall of that refectory was divided into three pictures; in one was to be when Abraham prepared food for the Angels in the Valley of Mamre, in the second Christ in the house of Mary Magdalene and Martha, speaking with Martha, and saying to her that Mary had chosen the better part, and in the third was to be S. Gregory at table with twelve poor men, among whom he recognized one as Christ. Then, setting my hand to the work, I depicted in the last S. Gregory at table in a convent, served by White Friars of that Order, that I might be able to include those fathers therein, according to their wish. Besides that, I made in the figure of that saintly Pontiff the likeness of Pope Clement VII, and about him, among many Lords, Ambassadors, Princes, and other personages who stand there to see him eat, I portrayed Duke Alessandro de' Medici, in memory of the benefits and favours that I had received from him, and of his having been what he was, and with him many of my friends. And among those who are serving the poor men at table, I portrayed some friars of that convent with whom I was intimate, such as the strangers' attendants who waited upon me, the dispenser, the cellarer, and others of the kind; and so, also, the Abbot Serragli, the General Don Cipriano da Verona, and Bentivoglio. In like manner, I copied the vestments of that Pontiff from the reality, counterfeiting velvets, damasks, and other draperies of silk and gold of every kind; but the service of the table, vases, animals, and other things, I caused to be executed by Cristofano of the Borgo, as was told in his Life. In the second scene I sought to make the heads, draperies, and buildings not only different from the first, but in such a manner as to make as clearly evident as possible the lovingness of Christ in instructing the Magdalene, and the affection and readiness of Martha in arranging the table, and her lamentation at being left alone by her sister in such labours and service; to say nothing of the attentiveness of the Apostles, and of many other things worthy of consideration in that picture. As for the third scene, I painted the three Angels—coming to do this I know not how—within a celestial light which seems to radiate from them, while the rays of the sun surround the cloud in which they are. Of the three Angels the old Abraham is adoring one, although those that he sees are three; while Sarah stands laughing and wondering how that can come to pass which has been promised to her, and Hagar, with Ishmael in her arms, is departing from the hospitable shelter. The same radiance also gives light to some servants who are preparing the table, among whom are some who, not being able to endure that splendour, place their hands over their eyes and seek to shade themselves. Which variety of things, since strong shadows and brilliant lights give greater force to pictures, caused this one to have more relief than the other two, and, the colours being varied, they produced a very different effect. But would I had been able to carry my conception into execution, even as both then and afterwards, with new inventions and fantasies, I was always seeking out the laborious and difficult in art. This work, then, whatever it may be, was executed by me in eight months, together with a frieze in fresco, architectural ornaments, carvings, seat-backs, panels, and other adornments over the whole work and the whole refectory; and the price of all I was content to make two hundred crowns, as one who aspired more to glory than to gain. Wherefore M. Andrea Alciati, my very dear friend, who was then reading in Bologna, caused these words to be placed at the foot:

OCTONIS MENSIBUS OPUS AB ARETINO GEORGIO PICTUM, NON TAM PRECIO QUAM AMICORUM OBSEQUIS ET HONORIS VOTO, ANNO 1539 PHILIPPUS SERRALIUS PON. CURAVIT.

At this same time I executed two little altar-pictures, of the Dead Christ and of the Resurrection, which were placed by the Abbot Don Miniato Pitti in the Church of S. Maria di Barbiano, without San Gimignano in Valdelsa. Which works finished, I returned straightway to Florence, for the reason that Treviso, Maestro Biagio, and other Bolognese painters, thinking that I was seeking to establish myself in Bologna and to take their works and commissions out of their hands, kept molesting me unceasingly; but they did more harm to themselves than to me, and their envious ways moved me to laughter. In Florence, then, I copied for M. Ottaviano a large portrait of Cardinal Ippolito down to the knees, and other pictures, with which I kept myself occupied until the insupportable heat of summer. Which having come, I returned to the quiet and freshness of Camaldoli, in order to execute the above-mentioned altar-piece of the high-altar. In that work I painted a Christ taken down from the Cross, with the greatest study and labour that were within my power; and since, in the course of the work and of time, it seemed necessary to me to improve certain things, and I was not satisfied with the first sketch, I gave it another priming and repainted it all anew, as it is now to be seen, and then, attracted by the solitude and staying in that same place, I executed there a picture for the same Messer Ottaviano, in which I painted a young S. John, nude, among some rocks and crags that I copied from Nature among those mountains. And I had scarcely finished these works when there arrived in Camaldoli Messer Bindo Altoviti, who wished to arrange a transportation of great fir-trees to Rome by way of the Tiber, for the fabric of S. Pietro, from the Cella di S. Alberigo, a place belonging to those fathers; and he, seeing all the works executed by me in that place, and by my good fortune liking them, resolved, before he departed thence, that I should paint an alter-picture for his Church of S. Apostolo in Florence. Wherefore, having finished that of Camaldoli, with the façade of the chapel in fresco (wherein I made the experiment of combining work in oil-colours with the other, and succeeded passing well), I made my way to Florence, and there executed that altar-picture. Now, having to give a proof of my powers in Florence, where I had not yet executed such a work, and having many rivals, and also a desire to acquire a name, I resolved that I would do my utmost in that work and put into it all the diligence that I might find possible. And in order to be able to do that free from every vexatious thought, I first married my third sister and bought a house already begun in Arezzo, with a site for making most beautiful gardens, in the Borgo di S. Vito, in the best air of that city. In October, then, of the year 1540, I began the altar-picture for Messer Bindo, proposing to paint in it a scene that should represent the Conception of Our Lady, according to the title of the chapel; which subject presenting no little difficulty to me, Messer Bindo and I took the opinions of many common friends, men of learning, and finally I executed it in the following manner. Having depicted the Tree of the Primal Sin in the middle of the picture, I painted at its roots Adam and Eve naked and bound, as the first transgressors of the commandment of God, and then one by one, bound to the other branches, Abraham, Isaac, Jacob, Moses, Aaron, Joshua, David, and the other Kings in succession, according to the order of time; all, I say, bound by both arms, excepting Samuel and John the Baptist, who are bound by one arm only, because they were blessed in the womb. I painted there, also, with the tail wound about the trunk of the Tree, the Ancient Serpent, who, having a human form from the middle upwards, has the hands bound behind; and upon his head, treading upon his horns, is one foot of the glorious Virgin, who has the other on a Moon, being herself all clothed with the Sun, and crowned with twelve stars. The Virgin, I say, is supported in the air, within a Splendour, by many nude little Angels, who are illumined by the rays that come from her; which rays, likewise, passing through the leaves of the Tree, shed light upon those bound to it, and appear to be loosing their bonds by means of the virtue and grace that they bring from her from whom they proceed. And in the heaven, at the top of the picture, are two children that are holding certain scrolls, in which are written these words: QUOS EVÆ CULPA DAMNAVIT, MARIÆ GRATIA SOLVIT. In short, so far as I can remember, I had not executed any work up to that time with more study or with more lovingness and labour; but all the same, while I may perhaps have satisfied others, I did not satisfy myself, although I know the time, study, and labour that I devoted to it, particularly to the nudes and heads, and, indeed, to every part.

For the labours of that picture Messer Bindo gave me three hundred crowns of gold, besides which, in the following year, he showed me so many courtesies and kindnesses in his house in Rome, where I made him a copy of the same altar-piece in a little picture, almost in miniature, that I shall always feel an obligation to his memory. At the same time that I painted that picture, which was placed, as I have said, in S. Apostolo, I executed for M. Ottaviano de' Medici a Venus and a Leda from the cartoons of Michelagnolo, and in a large picture a S. Jerome in Penitence of the size of life, who, contemplating the death of Christ, whom he has before him on the Cross, is beating his breast in order to drive from his mind the thoughts of Venus and the temptations of the flesh, which at times tormented him, although he lived in woods and places wild and solitary, as he relates of himself at great length. To demonstrate which I made a Venus who with Love in her arms is flying from that contemplation, and holding Play by the hand, while the quiver and arrows have fallen to the ground; besides which, the shafts shot by Cupid against that Saint return to him all broken, and some that fall are brought back to him by the doves of Venus in their beaks. All these pictures, although perhaps at that time they pleased me, and were made by me as best I knew, I know not how much they please me at my present age; but, since art in herself is difficult, it is necessary to take from him who paints the best that he can do. This, indeed, I will say, because I can say it with truth, that I have always executed my pictures, inventions, and designs, whatever may be their value, I do not say only with the greatest possible rapidity, but also with incredible facility and without effort; for which let me call to witness, as I have mentioned in another place, the vast canvas that I painted in six days only, for S. Giovanni in Florence, in the year 1542, for the baptism of the Lord Don Francesco de' Medici, now Prince of Florence and Siena.

Now although I wished after these works to go to Rome, in order to satisfy Messer Bindo Altoviti, I did not succeed in doing it, because, being summoned to Venice by Messer Pietro Aretino, a poet of illustrious name at that time, and much my friend, I was forced to go there, since he much desired to see me. And, moreover, I did it willingly, in order to see on that journey the works of Tiziano and of other painters; in which purpose I succeeded, for in a few days I saw the works of Correggio at Modena and Parma, those of Giulio Romano at Mantua, and the antiquities of Verona. Having finally arrived in Venice, with two pictures painted by my hand from cartoons by Michelagnolo, I presented them to Don Diego di Mendoza, who sent me two hundred crowns of gold. Nor had I been long in Venice, when at the entreaty of Aretino I executed for the gentlemen of the Calza the scenic setting for a festival that they gave, wherein I had as my companions Battista Cungi and Cristofano Gherardi of Borgo a San Sepolcro and Bastiano Flori of Arezzo, men very able and well practised, of all which enough has been said in another place; and also the nine painted compartments in the Palace of Messer Giovanni Cornaro, which are in the soffit of a chamber in that Palace, which is by S. Benedetto. After these and other works of no little importance that I executed in Venice at that time, I departed, although I was overwhelmed by the commissions that were coming to me, on the 16th of August in the year 1542, and returned to Tuscany. There, before consenting to put my hand to any other thing, I painted on the vaulting of a chamber that had been built by my orders in my house which I have already mentioned, all the arts that are subordinate to or depend upon design. In the centre is a Fame who is seated upon the globe of the world and sounds a golden trumpet, throwing away one of fire that represents Calumny, and about her, in due order, are all those arts with their instruments in their hands; and since I had not time to do the whole, I left eight ovals, in order to paint in them eight portraits from life of the first men in our arts. In those same days I executed in fresco for the Nuns of S. Margherita in the same city, in a chapel of their garden, a Nativity of Christ with figures the size of life. And having thus passed the rest of that summer in my own country, and part of the autumn, I went to Rome, where, having been received by the above-named Messer Bindo with many kindnesses, I painted for him in a picture in oils a Christ the size of life, taken down from the Cross and laid on the ground at the feet of His Mother; with Phœbus in the air obscuring the face of the Sun, and Diana that of the Moon. In the landscape, all darkened by that gloom, some rocky mountains, shaken by the earthquake that was caused by the Passion of the Saviour, are seen shivered into pieces, and certain dead bodies of Saints are seen rising again and issuing from their sepulchres in various manners; which picture, when finished, was not displeasing to the gracious judgment of the greatest painter, sculptor, and architect that there has been in our times, and perchance in the past. By means of that picture, also, I became known to the most illustrious Cardinal Farnese, to whom it was shown by Giovio and Messer Bindo; and at his desire I made for him, in a picture eight braccia high and four broad, a Justice who is embracing an ostrich laden with the twelve Tables, and with the sceptre that has the stork at the point, and the head covered by a helmet of iron and gold, with three feathers of three different colours, the device of the just judge. She is wholly nude from the waist upwards, and she has bound to her girdle with chains of gold, as captives, the seven Vices that are opposed to her, Corruption, Ignorance, Cruelty, Fear, Treachery, Falsehood, and Calumny. Above these, upon their shoulders, is placed Truth wholly nude, offered by Time to Justice, with a present of two doves representing Innocence. And upon the head of that Truth Justice is placing a crown of oak, signifying fortitude of mind; which whole work I executed with all care and diligence, according to the best of my ability. At this same time I paid constant attention to Michelagnolo Buonarroti, and took his advice in all my works, and he in his goodness conceived much more affection for me; and his counsel, after he had seen some of my designs, was the reason that I gave myself anew and with better method to the study of the matters of architecture, which probably I would never have done if that most excellent man had not said to me what he did say, which out of modesty I forbear to tell.

At the next festival of S. Peter, the heat being very great in Rome, where I had spent all that winter of 1543, I returned to Florence, where in the house of Messer Ottaviano de' Medici, which I could call my own, I executed in an altar-piece for M. Biagio Mei of Lucca, his gossip, the same conception as in that of Messer Bindo in S. Apostolo, although I varied everything with the exception of the invention; and that picture, when finished, was placed in his chapel in S. Piero Cigoli at Lucca. In another of the same size—namely, seven braccia high and four broad—I painted Our Lady, S. Jerome, S. Luke, S. Cecilia, S. Martha, S. Augustine, and S. Guido the Hermit; which altar-picture was placed in the Duomo of Pisa, where there were many others by the hands of excellent masters. And I had scarcely carried that one to completion, when the Warden of Works of that Duomo commissioned me to execute another, in which, since it was to be likewise of Our Lady, in order to vary it from the other I painted the Madonna with the Dead Christ at the foot of the Cross, lying in her lap, the Thieves on high upon their crosses, and, grouped with the Maries and Nicodemus, who are standing there, the titular Saints of those chapels, all forming a good composition and rendering the scene in that picture pleasing. Having returned again to Rome in the year 1544, besides many pictures that I executed for various friends, of which there is no need to make mention, I made a picture of a Venus from a design by Michelagnolo for M. Bindo Altoviti, who took me once more into his house; and for Galeotto da Girone, a Florentine merchant, I painted an altar-picture in oils of Christ taken down from the Cross, which was placed in his chapel in the Church of S. Agostino at Rome. In order to be able to paint that picture in comfort, together with some works that had been allotted to me by Tiberio Crispo, the Castellan of Castel S. Angelo, I had withdrawn by myself to that palace in the Trastevere which was formerly built by Bishop Adimari, below S. Onofrio, and which has since been finished by the second Salviati; but, feeling indisposed and wearied by my infinite labours, I was forced to return to Florence. There I executed some pictures, and among others one in which were Dante, Petrarca, Guido Cavalcanti, Boccaccio, Cino da Pistoia, and Guittone d'Arezzo, accurately copied from their ancient portraits; and of that picture, which afterwards belonged to Luca Martini, many copies have since been made.

In that same year of 1544 I was invited to Naples by Don Giammateo of Aversa, General of the Monks of Monte Oliveto, to the end that I might paint the refectory of a monastery built for them by King Alfonso I; but when I arrived, I was for not accepting the work, seeing that the refectory and the whole monastery were built in an ancient manner of architecture, with the vaults in pointed arches, low and poor in lights, and I doubted that I was like to win little honour thereby. However, being pressed by Don Miniato Pitti and Don Ippolito da Milano, my very dear friends, who were then Visitors to that Order, finally I accepted the undertaking. Whereupon, recognizing that I would not be able to do anything good save only with a great abundance of ornaments, dazzling the eyes of all who might see the work with a variety and multitude of figures, I resolved to have all the vaulting of the refectory wrought in stucco, in order to remove by means of rich compartments in the modern manner all the old-fashioned and clumsy appearance of those arches. In this I was much assisted by the vaults and walls, which are made, as is usual in that city, of blocks of tufa, which cut like wood, or even better, like bricks not completely baked; and thus, cutting them, I was able to sink squares, ovals, and octagons, and also to thicken them with additions of the same tufa by means of nails. Having then reduced those vaults to good proportions with that stucco-work, which was the first to be wrought in Naples in the modern manner, and in particular the façades and end-walls of that refectory, I painted there six panels in oils, seven braccia high, three to each end-wall. In three that are over the entrance of the refectory is the Manna raining down upon the Hebrew people, in the presence of Moses and Aaron, and the people gathering it up; wherein I strove to represent a variety of attitudes and vestments in the men, women, and children, and the emotion wherewith they are gathering up and storing the Manna, rendering thanks to God. On the end-wall that is at the head is Christ at table in the house of Simon, and Mary Magdalene with tears washing His feet and drying them with her hair, showing herself all penitent for her sins; which story is divided into three pictures, in the centre the supper, on the right hand a buttery with a credence full of vases in various fantastic forms, and on the left hand a steward who is bringing up the viands. The vaulting, then, was divided into three parts; in one the subject is Faith, in the second Religion, and in the third Eternity, and each of these forms a centre with eight Virtues about it, demonstrating to the monks that in that refectory they eat what is requisite for the perfection of their lives. To enrich the spaces of the vaulting, I made them full of grotesques, which serve as ornaments in forty-eight spaces for the forty-eight celestial signs; and on six walls down the length of that refectory, under the windows, which were made larger and richly ornamented, I painted six of the Parables of Jesus Christ which are in keeping with that place; and to all those pictures and ornaments there correspond the carvings of the seats, which are wrought very richly. And then I executed for the high-altar of the church an altar-picture eight braccia high, containing the Madonna presenting the Infant Jesus Christ to Simeon in the Temple, with a new invention. It is a notable thing that since Giotto there had not been up to that time, in a city so great and noble, any masters who had done anything of importance in painting, although there had been brought there from without some things by the hands of Perugino and Raffaello. On which account I exerted myself to labour in such a manner, in so far as my little knowledge could reach, that the intellects of that country might be roused to execute great and honourable works; and, whether that or some other circumstance may have been the reason, between that time and the present day many very beautiful works have been done there, both in stucco and in painting. Besides the pictures described above, I executed in fresco on the vaulting of the strangers' apartment in the same monastery, with figures large as life, Jesus Christ with the Cross on His shoulder, and many of His Saints who have one likewise on their shoulders in imitation of Him, to demonstrate that for one who wishes truly to follow Him it is necessary to bear with good patience the adversities that the world inflicts. For the General of that Order I executed a great picture of Christ appearing to the Apostles as they struggled with the perils of the sea, and taking S. Peter by the arm, who, having hastened towards Him through the water, was fearing to drown; and in another picture, for Abbot Capeccio, I painted the Resurrection. These works carried to completion, I painted a chapel in fresco for the Lord Don Pietro di Toledo, Viceroy of Naples, in his garden at Pozzuolo, besides executing some very delicate ornaments in stucco; and arrangements had been made to execute two great loggie for the same lord, but the undertaking was not carried into effect, for the following reason. There had been some difference between the Viceroy and the above-named monks, and the Constable went with his men to the monastery to seize the Abbot and some monks who had had some words with the Black Friars in a procession, over a matter of precedence. But the monks made some resistance, assisted by about fifteen young men who were assisting me in stucco-work and painting, and wounded some of the bailiffs; on which account it became necessary to get them out of the way, and they went off in various directions. And so I, left almost alone, was unable not only to execute the loggie at Pozzuolo, but also to paint twenty-four pictures of stories from the Old Testament and from the life of S. John the Baptist, which, not caring to remain any longer in Naples, I took to Rome to finish, whence I sent them, and they were placed about the stalls and over the presses of walnut-wood made from my architectural designs in the Sacristy of S. Giovanni Carbonaro, a convent of Eremite and Observantine Friars of S. Augustine, for whom I had painted a short time before, for a chapel without their church, a panel-picture of Christ Crucified, with a rich and varied ornament of stucco, at the request of Seripando, their General, who afterwards became a Cardinal. In like manner, half-way up the staircase of the same convent, I painted in fresco a S. John the Evangelist who stands gazing at Our Lady clothed with the sun and crowned with twelve stars, with her feet upon the moon. In the same city I painted for Messer Tommaso Cambi, a Florentine merchant and very much my friend, the times and seasons of the year on four walls in the hall of his house, with pictures of Sleep and Dreaming over a terrace where I made a fountain. And for the Duke of Gravina I painted an altar-picture of the Magi adoring Christ, which he took to his dominions; and for Orsanca, Secretary to the Viceroy, I executed another altar-piece with five figures around a Christ Crucified, and many pictures.

But, although I was regarded with favour by those lords and was earning much, and my commissions were multiplying every day, I judged, since my men had departed and I had executed works in abundance in one year in that city, that it would be well for me to return to Rome. Which having done, the first work that I executed was for Signor Ranuccio Farnese, at that time Archbishop of Naples; painting on canvas and in oils four very large shutters for the organ of the Piscopio in Naples, on the front of which are five Patron Saints of that city, and on the inner side the Nativity of Jesus Christ, with the Shepherds, and King David singing to his psaltery, DOMINUS DIXIT AD ME, etc. And I finished likewise the twenty-four pictures mentioned above and some for M. Tommaso Cambi, which were all sent to Naples; which done, I painted five pictures of the Passion of Christ for Raffaello Acciaiuoli, who took them to Spain. In the same year, Cardinal Farnese being minded to cause the Hall of the Cancelleria, in the Palace of S. Giorgio, to be painted, Monsignor Giovio, desiring that it should be done by my hands, commissioned me to make many designs with various inventions, which in the end were not carried into execution. Nevertheless the Cardinal finally resolved that it should be painted in fresco, and with the greatest rapidity that might be possible, so that he might be able to use it at a certain time determined by himself. That hall is a little more than a hundred palms in length, fifty in breadth, and the same in height. On each end-wall, fifty palms broad, was painted a great scene, and two on one of the long walls, but on the other, from its being broken by windows, it was not possible to paint scenes, and therefore there was made a pendant after the likeness of the head-wall opposite. And not wishing to make a base, as had been the custom up to that time with the craftsmen in all their scenes, in order to introduce variety and do something new I caused flights of steps to rise from the floor to a height of at least nine palms, made in various ways, one to each scene; and upon these, then, there begin to ascend figures that I painted in keeping with the subject, little by little, until they come to the level where the scene begins. It would be a long and perhaps tedious task to describe all the particulars and minute details of those scenes, and therefore I shall touch only on the principal things, and that briefly. In all of them, then, are stories of the actions of Pope Paul III, and in each is his portrait from life. In the first, wherein are the Dispatchings, so to speak, of the Court of Rome, may be seen upon the Tiber various embassies of various nations (with many portraits from life) that are come to seek favours from the Pope and to offer him divers tributes; and, in addition, two great figures in great niches placed over the doors, which are on either side of the scene. One of these represents Eloquence, and has above it two Victories that uphold the head of Julius Cæsar, and the other represents Justice, with two other Victories that hold the head of Alexander the Great; and in the centre are the arms of the above-named Pope, supported by Liberality and Remuneration. On the main wall is the same Pope remunerating merit, distributing salaries, knighthoods, benefices, pensions, bishoprics, and Cardinal's hats, and among those who are receiving them are Sadoleto, Polo, Bembo, Contarini, Giovio, Buonarroti, and other men of excellence, all portrayed from life, and on that wall, within a great niche, is Grace with a horn of plenty full of dignities, which she is pouring out upon the earth, and the Victories that she has above her, after the likeness of the others, support the head of the Emperor Trajan. There is also Envy, who is devouring vipers and appears to be bursting with venom; and above, at the top of the scene, are the arms of Cardinal Farnese, supported by Fame and Virtue. In the other scene the same Pope Paul is seen all intent on his buildings, and in particular on that of S. Pietro upon the Vatican, and therefore there are kneeling before the Pope Painting, Sculpture, and Architecture, who, having unfolded a design of the ground-plan of that S. Pietro, are receiving orders to execute the work and to carry it to completion. Besides these figures, there is Resolution, who, opening the breast, lays bare the heart; with Solicitude and Riches near. In a niche is Abundance, with two Victories that hold the effigy of Vespasian, and in the centre, in another niche that divides one scene from the other, is Christian Religion, with two Victories above her that hold the head of Numa Pompilius; and the arms that are above the scene are those of Cardinal San Giorgio, who built that Palace. In the other scene, which is opposite to that of the Dispatchings of the Court, is the universal peace made among Christians by the agency of Pope Paul III, and particularly between the Emperor Charles V and Francis, King of France, who are portrayed there; wherefore there may be seen Peace burning arms, the Temple of Janus being closed, and Fury in chains. Of the two great niches that are on either side of the scene, in one is Concord, with two Victories above her that are holding the head of the Emperor Titus, and in the other is Charity with many children, while above the niche are two Victories holding the head of Augustus; and over all are the arms of Charles V, supported by Victory and Rejoicing. The whole work is full of the most beautiful inscriptions and mottoes composed by Giovio, and there is one in particular which says that those pictures were all executed in a hundred days; which, indeed, like a young man, I did do, being such that I gave no thought to anything but satisfying that lord, who, as I have said, desired to have the work finished in that time for a particular purpose. But in truth, although I exerted myself greatly in making cartoons and studying that work, I confess that I did wrong in putting it afterwards in the hands of assistants, in order to execute it more quickly, as I was obliged to do; for it would have been better to toil over it a hundred months and do it with my own hand, whereby, although I would not have done it in such a way as to satisfy my wish to please the Cardinal and to maintain my own honour, I would at least have had the satisfaction of having executed it with my own hand. However, that error was the reason that I resolved that I would never again do any work without finishing it entirely by myself over a first sketch done by the hands of assistants from designs by my hand. In that work the Spaniards, Bizzerra and Roviale, who laboured much in it in my company, gained no little practice; and also Battista da Bagnacavallo of Bologna, Bastiano Flori of Arezzo, Giovan Paolo dal Borgo, Fra Salvadore Foschi of Arezzo, and many other young men.

At that time I went often in the evening, at the end of the day's work, to see the above-named most illustrious Cardinal Farnese at supper, where there were always present, to entertain him with beautiful and honourable discourse, Molza, Annibale Caro, M. Gandolfo, M. Claudio Tolomei, M. Romolo Amaseo, Monsignor Giovio, and many other men of learning and distinction, of whom the Court of that Lord is ever full. One evening among others the conversation turned to the museum of Giovio and to the portraits of illustrious men that he had placed therein with beautiful order and inscriptions; and one thing leading to another, as happens in conversation, Monsignor Giovio said that he had always had and still had a great desire to add to his museum and his book of Eulogies a treatise with an account of the men who had been illustrious in the art of design from Cimabue down to our own times. Enlarging on this, he showed that he had certainly great knowledge and judgment in the matters of our arts; but it is true that, being content to treat the subject in gross, he did not consider it in detail, and often, in speaking of those craftsmen, either confused their names, surnames, birthplaces, and works, or did not relate things exactly as they were, but rather, as I have said, in gross. When Giovio had finished his discourse, the Cardinal turned to me and said: "What do you say, Giorgio? Will not that be a fine work and a noble labour?" "Fine, indeed, most illustrious Excellency," I answered, "if Giovio be assisted by someone of our arts to put things in their places and relate them as they really are. That I say because, although his discourse has been marvellous, he has confused and mistaken many things one for another." "Then," replied the Cardinal, being besought by Giovio, Caro, Tolomei, and the others, "you might give him a summary and an ordered account of all those craftsmen and their works, according to the order of time; and so your arts will receive from you this benefit as well." That undertaking, although I knew it to be beyond my powers, I promised most willingly to execute to the best of my ability; and so, having set myself down to search through my records and the notes that I had written on that subject from my earliest youth, as a sort of pastime and because of the affection that I bore to the memory of our craftsmen, every notice of whom was very dear to me, I gathered together everything that seemed to me to touch on the subject, and took the whole to Giovio. And he, after he had much praised my labour, said to me: "Giorgio, I would rather that you should undertake this task of setting everything down in the manner in which I see that you will be excellently well able to do it, because I have not the courage, not knowing the various manners, and being ignorant of many particulars that you are likely to know; besides which, even if I were to do it, I would make at the most a little treatise like that of Pliny. Do what I tell you, Vasari, for I see by the specimen that you have given me in this account that it will prove something very fine." And then, thinking that I was not very resolute in the matter, he caused Caro, Molza, Tolomei, and others of my dearest friends to speak to me. Whereupon, having finally made up my mind, I set my hand to it, with the intention of giving it, when finished, to one of them, that he might revise and correct it, and then publish it under a name other than mine.

Meanwhile I departed from Rome in the month of October of the year 1546, and came to Florence, and there executed for the Nuns of the famous Convent of the Murate a picture in oils of a Last Supper for their refectory; which work was allotted to me and paid for by Pope Paul III, who had a sister-in-law, once Countess of Pitigliano, a nun in that convent. And then I painted in another picture Our Lady with the Infant Christ in her arms, who is espousing the Virgin-Martyr S. Catharine, with two other Saints; which picture M. Tommaso Cambi caused me to execute for a sister who was then Abbess of the Convent of the Bigallo, without Florence. That finished, I painted two large pictures in oils for Monsignor de' Rossi, Bishop of Pavia, of the family of the Counts of San Secondo; in one of these is a S. Jerome, and in the other a Pietà, and they were both sent to France. Then in the year 1547 I carried to completion for the Duomo of Pisa, at the instance of M. Bastiano della Seta, the Warden of Works, another altar-picture that I had begun; and afterwards, for my very dear friend Simon Corsi, a large picture in oils of Our Lady. Now, while I was executing these works, having carried nearly to completion the Book of the Lives of the Craftsmen of Design, there was scarcely anything left for me to do but to have it transcribed in a good hand, when there presented himself to me most opportunely Don Gian Matteo Faetani of Rimini, a monk of Monte Oliveto and a person of intelligence and learning, who desired that I should execute some works for him in the Church and Monastery of S. Maria di Scolca at Rimini, where he was Abbot. He, then, having promised to have it transcribed for me by one of his monks who was an excellent writer, and to correct it himself, persuaded me to go to Rimini to execute, with this occasion, the altar-picture and the high-altar of that church, which is about three miles distant from the city. In that altar-picture I painted the Magi adoring Christ, with an infinity of figures executed by me with much study in that solitary place, counterfeiting the men of the Courts of the three Kings in such a way, as well as I was able, that, although they are all mingled together, yet one may recognize by the appearance of the faces to what country each belongs and to which King he is subject, for some have the flesh-colour white, some grey, and others dark; besides which, the diversity of their vestments and the differences in their adornments make a pleasing variety. That altar-piece has on either side of it two large pictures, in which is the rest of the Courts, with horses, elephants, and giraffes, and about the chapel, in various places, are distributed Prophets, Sibyls, and Evangelists in the act of writing. In the cupola, or rather, tribune, I painted four great figures that treat of the praises of Christ, of His Genealogy, and of the Virgin, and these are Orpheus and Homer with some Greek mottoes, Virgil with the motto, IAM REDIT ET VIRGO, etc., and Dante with these verses:

Tu sei colei, che l' umana natura
Nobilitasti sì, che il suo Fattore
Non si sdegnò di farsi tua fattura.

With many other figures and inventions, of which there is no need to say any more. Then, the work of writing the above-mentioned book and carrying it to completion meanwhile continuing, I painted for the high-altar of S. Francesco, in Rimini, a large altar-picture in oils of S. Francis receiving the Stigmata from Christ on the mountain of La Vernia, copied from nature; and since that mountain is all of grey rocks and stones, and in like manner S. Francis and his companion are grey, I counterfeited a Sun within which is Christ, with a good number of Seraphim, and so the work is varied, and the Saint, with other figures, all illumined by the splendour of that Sun, and the landscape in shadow with a great variety of changing colours; all which is not displeasing to many persons, and was much extolled at that time by Cardinal Capodiferro, Legate in Romagna.

Being then summoned from Rimini to Ravenna, I executed an altar-picture, as has been told in another place, for the new church of the Abbey of Classi, of the Order of Camaldoli, painting therein a Christ taken down from the Cross and lying in the lap of Our Lady. And at this same time I executed for divers friends many designs, pictures, and other lesser works, which are so many and so varied, that it would be difficult for me to remember even a part of them, and perhaps not pleasing for my readers to hear so many particulars.

Meanwhile the building of my house at Arezzo had been finished, and I returned home, where I made designs for painting the hall, three chambers, and the façade, as it were for my own diversion during that summer. In those designs I depicted, among other things, all the places and provinces where I had laboured, as if they were bringing tributes, to represent the gains that I had made by their means, to that house of mine. For the time being, however, I did nothing but the ceiling of the hall, which is passing rich in woodwork, with thirteen large pictures wherein are the Celestial Gods, and in four angles the four Seasons of the year nude, who are gazing at a great picture that is in the centre, in which, with figures the size of life, is Excellence, who has Envy under her feet and has seized Fortune by the hair, and is beating both the one and the other; and a thing that was much commended at the time was that as you go round the hall, Fortune being in the middle, from one side Envy seems to be over Fortune and Excellence, and from another side Excellence is over Envy and Fortune, as is seen often to happen in real life. Around the walls are Abundance, Liberality, Wisdom, Prudence, Labour, Honour, and other similar things, and below, all around, are stories of ancient painters, Apelles, Zeuxis, Parrhasius, Protogenes, and others, with various compartments and details that I omit for the sake of brevity. In a chamber, also, in a great medallion in the ceiling of carved woodwork, I painted Abraham, with God blessing his seed and promising to multiply it infinitely; and in four squares that are around that medallion, I painted Peace, Concord, Virtue, and Modesty. And since I always adored the memory and the works of the ancients, and perceived that the method of painting in distemper-colours was being abandoned, there came to me a desire to revive that mode of painting, and I executed the whole work in distemper; which method certainly does not deserve to be wholly despised or abandoned. At the entrance of the chamber, as it were in jest, I painted a bride who has in one hand a rake, with which she seems to have raked up and carried away with her from her father's house everything that she has been able, and in the hand that is stretched in front of her, entering into the house of her husband, she has a lighted torch, signifying that where she goes she carries a fire that consumes and destroys everything.

While I was passing my time thus, the year 1548 having come, Don Giovan Benedetto of Mantua, Abbot of SS. Fiore e Lucilla, a monastery of the Black Friars of Monte Cassino, who took infinite delight in matters of painting and was much my friend, prayed me that I should consent to paint a Last Supper, or some such thing, at the head of their refectory. Whereupon I resolved to gratify his wish, and began to think of doing something out of the common use; and so I determined, in agreement with that good father, to paint for it the Nuptials of Queen Esther and King Ahasuerus, all in a picture fifteen braccia long, and in oils, but first to set it in place and then to work at it there. That method—and I can speak with authority, for I have proved it—is in truth that which should be followed by one who wishes that his pictures should have their true and proper lights, for the reason that in fact working at pictures in a place lower or other than that where they are to stand, causes changes in their lights, shadows, and many other properties. In that work, then, I strove to represent majesty and grandeur; and, although I may not judge whether I succeeded, I know well that I disposed everything in such a manner, that there may be recognized in passing good order all the manners of servants, pages, esquires, soldiers of the guard, the buttery, the credence, the musicians, a dwarf, and every other thing that is required for a magnificent and royal banquet. There may be seen, among others, the steward bringing the viands to the table, accompanied by a good number of pages dressed in livery, besides esquires and other servants; and at the ends of the table, which is oval, are lords and other great personages and courtiers, who are standing on their feet, as is the custom, to see the banquet. King Ahasuerus is seated at table, a proud and enamoured monarch, leaning upon the left arm and offering a cup of wine to the Queen, in an attitude truly dignified and regal. In short, if I were to believe what I heard said by persons at that time, and what I still hear from anyone who sees the work, I might consider that I had done something, but I know better how the matter stands, and what I would have done if my hand had followed that which I had conceived in idea. Be that as it may, I applied to it—and this I can declare freely—study and diligence. Above the work, on a spandrel of the vaulting, comes a Christ who is offering to the Queen a crown of flowers; and this was done in fresco, and placed there to denote the spiritual conception of the story, which signified that, the ancient Synagogue being repudiated, Christ was espousing the new Church of his faithful Christians.

At this same time I made the portrait of Luigi Guicciardini, brother of the Messer Francesco who wrote the History, because that Messer Luigi was very much my friend, and that year, being Commissary of Arezzo, had caused me out of love for me to buy a very large property in land, called Frassineto, in Valdichiana, which has been the salvation and the greatest prop of my house, and will be the same for my successors, if, as I hope, they prove true to themselves. That portrait, which is in the possession of the heirs of that Messer Luigi, is said to be the best and the closest likeness of the infinite number that I have executed. But of the portraits that I have painted, which are so many, I will make no mention, because it would be a tedious thing; and, to tell the truth, I have avoided doing them to the best of my ability. That finished, I painted at the commission of Fra Mariotto da Castiglioni of Arezzo, for the Church of S. Francesco in that city, an altar-picture of Our Lady, S. Anne, S. Francis, and S. Sylvester. And at this same time I drew for Cardinal di Monte, my very good patron, who was then Legate in Bologna, and afterwards became Pope Julius III, the design and plan of a great farm which was afterwards carried into execution at the foot of Monte Sansovino, his native place, where I was several times at the orders of that lord, who much delighted in building.

Having gone, after I had finished these works, to Florence, I painted that summer on a banner for carrying in processions, belonging to the Company of S. Giovanni de' Peducci of Arezzo, that Saint on one side preaching to the multitude, and on the other the same Saint baptizing Christ. Which picture, as soon as it was finished, I sent to my house at Arezzo, that it might be delivered to the men of the above-named Company; and it happened that Monsignor Giorgio, Cardinal d'Armagnac, a Frenchman, passing through Arezzo and going to see my house for some other purpose, saw that banner, or rather, standard, and, liking it, did his utmost to obtain it for sending to the King of France, offering a large price. But I would not break faith with those who had commissioned me to paint it, for, although many said to me that I could make another, I know not whether I could have done it as well and with equal diligence. And not long afterwards I executed for Messer Annibale Caro, according as he had requested me long before in a letter, which is printed, a picture of Adonis dying in the lap of Venus, after the invention of Theocritus; which work was afterwards taken to France, almost against my will, and given to M. Albizzo del Bene, together with a Psyche gazing with a lamp at Cupid, who wakens from his sleep, a spark from the lamp having scorched him. Those figures, all nude and large as life, were the reason that Alfonso di Tommaso Cambi, who was then a very beautiful youth, well-lettered, accomplished, and most gentle and courteous, had himself portrayed nude and at full length in the person of the huntsman Endymion beloved by the Moon, whose white form, and the fanciful landscape all around, have their light from the brightness of the moon, which in the darkness of the night makes an effect passing natural and true, for the reason that I strove with all diligence to counterfeit the peculiar colours that the pale yellow light of the moon is wont to give to the things upon which it strikes. After this, I painted two pictures for sending to Ragusa, in one Our Lady, and in the other a Pietà; and then in a great picture for Francesco Botti Our Lady with her Son in her arms, and Joseph; and that picture, which I certainly executed with the greatest diligence that I knew, he took with him to Spain. These works finished, I went in the same year to see Cardinal di Monte at Bologna, where he was Legate, and, dwelling with him for some days, besides many other conversations, he contrived to speak so well and to persuade me with such good reasons, that, being constrained by him to do a thing which up to that time I had refused to do, I resolved to take a wife, and so, by his desire, married a daughter of Francesco Bacci, a noble citizen of Arezzo. Having returned to Florence, I executed a great picture of Our Lady after a new invention of my own and with more figures, which was acquired by Messer Bindo Altoviti, who gave me a hundred crowns of gold for it and took it to Rome, where it is now in his house. Besides this, I painted many other pictures at the same time, as for Messer Bernardetto de' Medici, for Messer Bartolommeo Strada, an eminent physician, and for others of my friends, of whom there is no need to speak.

In those days, Gismondo Martelli having died in Florence, and having left instructions in his testament that an altar-picture with Our Lady and some Saints should be painted for the chapel of that noble family in S. Lorenzo, Luigi and Pandolfo Martelli, together with M. Cosimo Bartoli, all very much my friends, besought me that I should execute that picture. Having obtained leave from the Lord Duke Cosimo, the Patron and first Warden of Works of that church, I consented to do it, but on condition that I should be allowed to paint in it something after my own fancy from the life of S. Gismondo, in allusion to the name of the testator. Which agreement concluded, I remembered to have heard that Filippo di Ser Brunellesco, the architect of that church, had given a particular form to all the chapels to the end that there might be made for each not some little altar-piece, but some large scene or picture which might fill the whole space. Wherefore, being disposed to follow in that respect the wishes and directions of Brunelleschi, and paying regard rather to honour than to the little profit that I could obtain from that commission, which contemplated the painting of a small altar-picture with few figures, I painted in an altar-piece ten braccia in breadth, and thirteen in height, the story, or rather, martyrdom, of the King S. Gismondo, when he, his wife, and his two sons were cast into a well by another King, or rather, Tyrant. I contrived that the ornamental border of that chapel, which is a semi-circle, should serve as the opening of the gate of a great palace in the Rustic Order, through which there should be a view of a square court supported by pilasters and columns of the Doric Order; and I arranged that through that opening there should be seen in the centre an octagonal well with an ascent of steps around it, by which the executioners might ascend, carrying the two sons nude in order to cast them into the well. In the loggie around I painted on one side people gazing upon that horrid spectacle, and on the other side, which is the left, I made some soldiers who, having seized by force the wife of the King, are carrying her towards the well in order to put her to death. And at the principal door I made a group of soldiers that are binding S. Gismondo, who with his relaxed and patient attitude shows that he is suffering most willingly that death and martyrdom, and he stands gazing on four Angels in the air, who are showing to him palms and crowns of martyrdom for himself, his wife, and his sons, which appears to give him complete comfort and consolation. I strove, likewise, to demonstrate the cruelty and fierce anger of the impious Tyrant, who stands on the upper level of the court to behold his vengeance and the death of S. Gismondo. In short, so far as in me lay, I made every effort to give to all the figures, to the best of my ability, the proper expressions and the appropriate attitudes and spirited movements, and all that was required. How far I succeeded, that I shall leave to be judged by others; but this I must say, that I gave to it all the study, labour, and diligence in my power and knowledge.

Meanwhile, the Lord Duke Cosimo desiring that the Book of the Lives, already brought almost to completion with the greatest diligence that I had found possible, and with the assistance of some of my friends, should be given to the printers, I gave it to Lorenzo Torrentino, printer to the Duke, and so the printing was begun. But not even the Theories had been finished, when, Pope Paul III having died, I began to doubt that I might have to depart from Florence before that book was finished printing. Going therefore out of Florence to meet Cardinal di Monte, who was passing on his way to the Conclave, I had no sooner made obeisance to him and spoken a few words, than he said: "I go to Rome, and without a doubt I shall be Pope. Make haste, if you have anything to do, and as soon as you hear the news set out for Rome without awaiting other advice or any invitation." Nor did that prognostication prove false, for, being at Arezzo for that Carnival, when certain festivities and masquerades were being arranged, the news came that the Cardinal had become Julius III. Whereupon I mounted straightway on horseback and went to Florence, whence, pressed by the Duke, I went to Rome, in order to be present at the coronation of the new Pontiff and to take part in the preparation of the festivities. And so, arriving in Rome and dismounting at the house of Messer Bindo, I went to do reverence to his Holiness and to kiss his feet. Which done, the first words that he spoke to me were to remind me that what he had foretold of himself had not been false. Then, after he was crowned and settled down a little, the first thing that he wished to have done was to satisfy an obligation that he had to the memory of Antonio, the first and elder Cardinal di Monte, by means of a tomb to be made in S. Pietro a Montorio; of which the designs and models having been made, it was executed in marble, as has been related fully in another place. And meanwhile I painted the altar-picture of that chapel, in which I represented the Conversion of S. Paul, but, to vary it from that which Buonarroti had executed in the Pauline Chapel, I made S. Paul young, as he himself writes, and fallen from his horse, and led blind by the soldiers to Ananias, from whom by the imposition of hands he receives the lost sight of his eyes, and is baptized; in which work, either because the space was restricted, or whatever may have been the reason, I did not satisfy myself completely, although it was perhaps not displeasing to others, and in particular to Michelagnolo. For that Pontiff, likewise, I executed another altar-picture for a chapel in the Palace; but this, for reasons given elsewhere, was afterwards taken by me to Arezzo and placed at the high-altar of the Pieve. If, however, I had not fully satisfied either myself or others in the last-named picture or in that of S. Pietro a Montorio, it would have been no matter for surprise, because, being obliged to be continually at the beck and call of that Pontiff, I was kept always moving, or rather, occupied in making architectural designs, and particularly because I was the first who designed and prepared all the inventions of the Vigna Julia, which he caused to be erected at incredible expense. And although it was executed afterwards by others, yet it was I who always committed to drawing the caprices of the Pope, which were then given to Michelagnolo to revise and correct. Jacopo Barozzi of Vignuola finished, after many designs by his own hand, the rooms, halls, and many other ornaments of that place; but the lower fountain was made under the direction of myself and of Ammanati, who afterwards remained there and made the loggia that is over the fountain. In that work, however, it was not possible for a man to show his ability or to do anything right, because from day to day new caprices came into the head of the Pope, which had to be carried into execution according to the daily instructions given by Messer Pier Giovanni Aliotti, Bishop of Forlì.

During that time, being obliged in the year 1550 to go twice to Florence on other affairs, the first time I finished the picture of S. Gismondo, which the Duke went to see in the house of M. Ottaviano de' Medici, where I executed it; and he liked it so much, that he said to me that when I had finished my work in Rome I should come to serve him in Florence, where I would receive orders as to what was to be done. I then returned to Rome, where I gave completion to those works that I had begun, and painted a picture of the Beheading of S. John for the high-altar of the Company of the Misericordia, different not a little from those that are generally done, which I set in place in the year 1553; and then I wished to return, but I was forced to execute for Messer Bindo Altoviti, not being able to refuse him, two very large loggie in stucco-work and fresco. One of them that I painted was at his villa, made with a new method of architecture, because, the loggia being so large that it was not possible to turn the vaulting without danger, I had it made with armatures of wood, matting, and canes, over which was done the stucco-work and fresco-painting, as if the vaulting were of masonry, and even so it appears and is believed to be by all who see it; and it is supported by many ornamental columns of variegated marble, antique and rare. The other loggia is on the ground-floor of his house on the bridge, and is covered with scenes in fresco. And after that I painted for the ceiling of an antechamber four large pictures in oils of the four Seasons of the year. These finished, I was forced to make for Andrea della Fonte, who was much my friend, a portrait from life of his wife, and with it I gave him a large picture of Christ bearing the Cross, with figures the size of life, which I had made for a kinsman of the Pope, but afterwards had not chosen to present to him. For the Bishop of Vasona I painted a Dead Christ supported by Nicodemus and by two Angels, and for Pier Antonio Bandini a Nativity of Christ, an effect of night with variety in the invention.

While I was executing these works, I was also watching to see what the Pope was intending to do, and finally I saw that there was little to be expected from him, and that it was useless to labour in his service. Wherefore, notwithstanding that I had already executed the cartoons for painting in fresco the loggia that is over the fountain of the above-named Vigna, I resolved that I would at all costs go to serve the Duke of Florence, and the rather because I was pressed to do this by M. Averardo Serristori and Bishop Ricasoli, the Ambassadors of his Excellency in Rome, and also in letters by M. Sforza Almeni, his Cupbearer and Chief Chamberlain. I transferred myself, therefore, to Arezzo, in order to make my way from there to Florence, but first I was forced to make for Monsignor Minerbetti, Bishop of Arezzo, as for my lord and most dear friend, a lifesize picture of Patience in the form that has since been used by Signor Ercole, Duke of Ferrara, as his device and as the reverse of his medal. Which work finished, I came to kiss the hand of the Lord Duke Cosimo, by whom in his kindness I was received very warmly; and while it was being considered what I should first take in hand, I caused Cristofano Gherardi of the Borgo to paint in chiaroscuro after my designs the façade of M. Sforza Almeni, in that manner and with those inventions that have been described at great length in another place. Now at that time I happened to be one of the Lords Priors of the city of Arezzo, whose office it is to govern that city, but I was summoned by letters of the Lord Duke into his service, and absolved from that duty; and, having come to Florence, I found that his Excellency had begun that year to build that apartment of his Palace which is towards the Piazza del Grano, under the direction of the wood-carver Tasso, who was then architect to the Palace. The roof had been placed so low that all those rooms had little elevation, and were, indeed, altogether dwarfed; but, since to raise the crossbeams and the whole roof would be a long affair, I advised that a series of timbers should be placed, by way of border, with sunk compartments two braccia and a half in extent, between the crossbeams of the roof, with a range of consoles in the perpendicular line, so as to make a frieze of about two braccia above the timbers. Which plan greatly pleasing his Excellency, he gave orders straightway that so it should be done, and that Tasso should execute the woodwork and the compartments, within which was to be painted the Genealogy of the Gods; and that afterwards the work should be continued in the other rooms.

LORENZO THE MAGNIFICENT AND THE AMBASSADORS
(After the fresco by Giorgio Vasari. Florence: Palazzo Vecchio)
Brogi
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While the work for those ceilings was being prepared, having obtained leave from the Duke, I went to spend two months between Arezzo and Cortona, partly to give completion to some affairs of my own, and partly to finish a work in fresco begun on the walls and vaulting of the Company of Jesus at Cortona. In that place I painted three stories of the life of Jesus Christ, and all the sacrifices offered to God in the Old Testament, from Cain and Abel down to the Prophet Nehemiah; and there, during that time, I also furnished designs and models for the fabric of the Madonna Nuova, without the city. The work for the Company of Jesus being finished, I returned to Florence in the year 1555 with all my family, to serve Duke Cosimo. And there I began and finished the compartments, walls, and ceiling of the above-named upper Hall, called the Sala degli Elementi, painting in the compartments, which are eleven, the Castration of Heaven in the air. In a terrace beside that Hall I painted on the ceiling the actions of Saturn and Ops, and then on the ceiling of another great chamber all the story of Ceres and Proserpine; and in a still larger chamber, which is beside the last, likewise on the ceiling, which is very rich, stories of the Goddess Berecynthia and of Cybele with her Triumph, and the four Seasons, and on the walls all the twelve Months. On the ceiling of another, not so rich, I painted the Birth of Jove and the Goat Amaltheia nursing him, with the rest of the other most notable things related of him; in another terrace beside the same room, much adorned with stones and stucco-work, other things of Jove and Juno; and finally, in the next chamber, the Birth of Hercules and all his Labours. All that could not be included on the ceilings was placed in the friezes of each room, or has been placed in the arras-tapestries that the Lord Duke has caused to be woven for each room from my cartoons, corresponding to the pictures high up on the walls. I shall not speak of the grotesques, ornaments, and pictures of the stairs, nor of many other smaller details executed by my hand in that apartment of rooms, because, besides that I hope that a longer account may be given of them on another occasion, everyone may see them at his pleasure and judge of them.

While these upper rooms were being painted, there were built the others that are on the level of the Great Hall, and are connected in a perpendicular line with the first-named, with a very convenient system of staircases public and private that lead from the highest to the lowest quarters of the Palace. Meanwhile Tasso died, and the Duke, who had a very great desire that the Palace, which had been built at haphazard, in various stages and at various times, and more for the convenience of the officials than with any good order, should be put to rights, resolved that he would at all costs have it reconstructed in so far as that was possible, and that in time the Great Hall should be painted, and that Bandinelli should continue the Audience-chamber already begun. In order, therefore, to bring the whole Palace into accord, harmonizing the work already done with that which was to be done, he ordained that I should make several plans and designs, and finally a wooden model after some that had pleased him, the better to be able to proceed to accommodate all the apartments according to his pleasure, and to change and put straight the old stairs, which appeared to him too steep, ill-conceived, and badly made. To which work I set my hand, although it seemed to me a difficult enterprise and beyond my powers, and I executed as best I could a very large model, which is now in the possession of his Excellency; more to obey him than with any hope that I might succeed. That model, when it was finished, pleased him much, whether by his good fortune or mine, or because of the great desire that I had to give satisfaction; whereupon I set my hand to building, and little by little, doing now one thing and now another, the work has been carried to the condition wherein it may now be seen. And while the rest was being done, I decorated with very rich stucco-work in a varied pattern of compartments the first eight of the new rooms that are on a level with the Great Hall, what with saloons, chambers, and a chapel, with various pictures and innumerable portraits from life that come in the scenes, beginning with the elder Cosimo, and calling each room by the name of some great and famous person descended from him. In one, then, are the most notable actions of that Cosimo and those virtues that were most peculiar to him, with his greatest friends and servants and portraits of his children, all from life; and so, also, that of the elder Lorenzo, that of his son, Pope Leo, that of Pope Clement, that of Signor Giovanni, the father of our great Duke, and that of the Lord Duke Cosimo himself. In the chapel is a large and very beautiful picture by the hand of Raffaello da Urbino, between a S. Cosimo and a S. Damiano painted by my hand, to whom that chapel is dedicated. Then in like manner in the upper rooms painted for the Lady Duchess Leonora, which are four, are actions of illustrious women, Greek, Hebrew, Latin, and Tuscan, one to each chamber. But of these, besides that I have spoken of them elsewhere, there will be a full account in the Dialogue which I am about to give to the world, as I have said; for to describe everything here would have taken too long.

For all these my labours, continuous, difficult, and great as they were, I was rewarded largely and richly by the magnanimous liberality of the great Duke, in addition to my salaries, with donations and with commodious and honourable houses both in Florence and in the country, to the end that I might be able the more advantageously to serve him. Besides which, he has honoured me with the supreme magistracy of Gonfalonier and other offices in my native city of Arezzo, with the right to substitute in them one of the citizens of that place, not to mention that to my brother Ser Piero he has given offices of profit in Florence, and likewise extraordinary favours to my relatives in Arezzo; so that I shall never be weary of confessing the obligation that I feel towards that Lord for so many marks of affection.

Returning to my works, I must go on to say that my most excellent Lord resolved to carry into execution a project that he had had for a long time, of painting the Great Hall, a conception worthy of his lofty and profound spirit; I know not whether, as he said, I believe jesting with me, because he thought for certain that I would get it off his hands, so that he would see it finished in his lifetime, or it may have been from some other private and, as has always been true of him, most prudent judgment. The result, in short, was that he commissioned me to raise the crossbeams and the whole roof thirteen braccia above the height at that time, to make the ceiling of wood, and to overlay it with gold and paint it full of scenes in oils; a vast and most important undertaking, and, if not too much for my courage, perhaps too much for my powers. However, whether it was that the confidence of that great Lord and the good fortune that he has in his every enterprise raised me beyond what I am in myself, or that the hopes and opportunities of so fine a subject furnished me with much greater faculties, or that the grace of God—and this I was bound to place before any other thing—supplied me with strength, I undertook it, and, as has been seen, executed it in contradiction to the opinion of many persons, and not only in much less time than I had promised and the work might be considered to require, but in less than even I or his most illustrious Excellency ever thought. And I can well believe that he was astonished and well satisfied, because it came to be executed at the greatest emergency and the finest occasion that could have occurred; and this was (that the cause of so much haste may be known) that a settlement had been concluded about the marriage which was being arranged between our most illustrious Prince and the daughter of the late Emperor and sister of the present one, and I thought it my duty to make every effort that on the occasion of such festivities that Hall, which was the principal apartment of the Palace and the one wherein the most important ceremonies were to be celebrated, might be available for enjoyment. And here I will leave it to the judgment of everyone not only in our arts but also outside them, if only he has seen the greatness and variety of that work, to decide whether the extraordinary importance of the occasion should not be my excuse if in such haste I have not given complete satisfaction in so great a variety of wars on land and sea, stormings of cities, batteries, assaults, skirmishes, buildings of cities, public councils, ceremonies ancient and modern, triumphs, and so many other things, for which, not to mention anything else, the sketches, designs, and cartoons of so great a work required a very long time. I will not speak of the nude bodies, in which the perfection of our arts consists, or of the landscapes wherein all those things were painted, all which I had to copy from nature on the actual site and spot, even as I did with the many captains, generals and other chiefs, and soldiers, that were in the emprises that I painted. In short, I will venture to say that I had occasion to depict on that ceiling almost everything that human thought and imagination can conceive; all the varieties of bodies, faces, vestments, habiliments, casques, helmets, cuirasses, various head-dresses, horses, harness, caparisons, artillery of every kind, navigations, tempests, storms of rain and snow, and so many other things, that I am not able to remember them. But anyone who sees the work may easily imagine what labours and what vigils I endured in executing with the greatest study in my power about forty large scenes, and some of them pictures ten braccia in every direction, with figures very large and in every manner. And although some of my young disciples worked with me there, they sometimes gave me assistance and sometimes not, for the reason that at times I was obliged, as they know, to repaint everything with my own hand and go over the whole picture again, to the end that all might be in one and the same manner. These stories, I say, treat of the history of Florence, from the building of the city down to the present day; the division into quarters, the cities brought to submission, the enemies vanquished, the cities subjugated, and, finally, the beginning and end of the War of Pisa on one side, and on the other likewise the beginning and end of the War of Siena, one carried on and concluded by the popular government in a period of fourteen years, and the other by the Duke in fourteen months, as may be seen; besides all the rest that is on the ceiling and will be on the walls, each eighty braccia in length and twenty in height, which I am even now painting in fresco, and hope likewise to discuss later in the above-mentioned Dialogue. And all this that I have sought to say hitherto has been for no other cause but to show with what diligence I have applied myself and still apply myself to matters of art, and with what good reasons I could excuse myself if in some cases (which I believe, indeed, are many) I have failed.

FRESCO IN THE HALL OF LORENZO THE MAGNIFICENT
(After Giorgio Vasari. Florence: Palazzo Vecchio)
Brogi
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I will add, also, that about the same time I received orders to design all the arches to be shown to his Excellency for the purpose of determining the whole arrangement of the numerous festive preparations already described, executed in Florence for the nuptials of the most illustrious Lord Prince, of which I had then to carry into execution and finish a great part; to cause to be painted after my designs, in ten pictures each fourteen braccia high and eleven broad, all the squares of the principal cities of the dominion, drawn in perspective with their original builders and their devices; also, to have finished the head-wall of the above-named Hall, begun by Bandinelli, and to have a scene made for the other, the greatest and richest that was ever made by anyone; and, finally, to execute the principal stairs of that Palace, with their vestibules, the court and the columns, in the manner that everyone knows and that has been described above, with fifteen cities of the Empire and of the Tyrol depicted from the reality in as many pictures. Not little, also, has been the time that I have spent in those same days in pushing forward the construction, from the time when I first began it, of the loggia and the vast fabric of the Magistrates, facing towards the River Arno, than which I have never had built anything more difficult or more dangerous, from its being founded over the river, and even, one might say, in the air. But it was necessary, besides other reasons, in order to attach to it, as has been done, the great corridor which crosses the river and goes from the Ducal Palace to the Palace and Garden of the Pitti; which corridor was built under my direction and after my design in five months, although it is a work that one might think impossible to finish in less than five years. In addition, it was also my task to cause to be reconstructed and increased for the same nuptials, in the great tribune of S. Spirito, the new machinery for the festival that used to be held in S. Felice in Piazza; which was all reduced to the greatest possible perfection, so that there are no longer any of those dangers that used to be incurred in that festival. And under my charge, likewise, have been the works of the Palace and Church of the Knights of S. Stephen at Pisa, and the tribune, or rather, cupola, of the Madonna dell' Umiltà in Pistoia, which is a work of the greatest importance. For all which, without excusing my imperfection, which I know only too well, if I have achieved anything of the good, I render infinite thanks to God, from whom I still hope to have such help that I may see finished, whenever that may be, the terrible undertaking of the walls in the Hall, to the full satisfaction of my Lords, who already for a period of thirteen years have given me opportunities to execute vast works with honour and profit for myself; after which, weary, aged, and outworn, I may be at rest. And if for various reasons I have executed the works described for the most part with something of rapidity and haste, this I hope to do at my leisure, seeing that the Lord Duke is content that I should not press it, but should do it at my ease, granting me all the repose and recreation that I myself could desire. Thus, last year, being tired by the many works described above, he gave me leave that I might go about for some months to divert myself, and so, setting out to travel, I passed over little less than the whole of Italy, seeing again innumerable friends and patrons and the works of various excellent craftsmen, as I have related above in another connection. Finally, being in Rome on my way to return to Florence, I went to kiss the feet of the most holy and most blessed Pope Pius V, and he commissioned me to execute for him in Florence an altar-picture for sending to his Convent and Church of Bosco, which he was then having built in his native place, near Alessandria della Paglia.

Having then returned to Florence, remembering the command that his Holiness had laid upon me and the many marks of affection that he had shown, I painted for him, as he had commissioned me, an altar-picture of the Adoration of the Magi; and when he heard that it had been carried by me to completion, he sent me a message that to please him, and that he might confer with me over some thoughts in his mind, I should go with that picture to Rome, but particularly for the purpose of discussing the fabric of S. Pietro, which he showed himself to have very much at heart. Having therefore made preparations with a hundred crowns that he sent me for that purpose, and having sent the picture before me, I went to Rome; and after I had been there a month and had had many conversations with his Holiness, and had advised him not to permit any alterations to be made in the arrangements of Buonarroti for the fabric of S. Pietro, and had executed some designs, he commanded me to make for the high-altar of that Church of Bosco not an altar-picture such as is customary, but an immense structure almost in the manner of a triumphal arch, with two large panels, one in front and the other behind, and in smaller pictures about thirty scenes filled with many figures; all which have been carried very near completion.

At that time I obtained the gracious leave of his Holiness, who with infinite lovingness and condescension sent me the Bulls expedited free of charge, to erect in the Pieve of Arezzo a chapel and decanate, which is the principal chapel of that Pieve, under the patronage of myself and of my house, endowed by me and painted by my hand, and offered to the Divine Goodness as an acknowledgment (although but a trifle) of the great obligation that I feel to the Divine Majesty for the innumerable graces and benefits that He has deigned to bestow upon me. The altar-picture of that chapel is in form very similar to that described above, which has been in part the reason that it has been brought back to my memory, for it is isolated and consists likewise of two pictures, one in front, already mentioned above, and one at the back with the story of S. George, with pictures of certain Saints on either side, and at the foot smaller pictures with their stories; those Saints whose bodies are in a most beautiful tomb below the altar, with other principal reliques of the city. In the centre comes a tabernacle passing well arranged for the Sacrament, because it serves for both the one altar and the other, and it is embellished with stories of the Old Testament and the New all in keeping with that Mystery, as has been told in part elsewhere.

I had forgotten to say, also, that the year before, when I went the first time to kiss the Pope's feet, I took the road by Perugia in order to set in place three large altar-pieces executed for a refectory of the Black Friars of S. Piero in that city. In one, that in the centre, is the Marriage of Cana in Galilee, at which Christ performed the Miracle of converting water into wine. In the second, on the right hand, is Elisha the Prophet sweetening with meal the bitter pot, the food of which, spoilt by colocynths, his prophets were not able to eat. And in the third is S. Benedict, to whom a lay-brother announces at a time of very great dearth, and at the very moment when his monks were lacking food, that some camels laden with meal have arrived at his door, and he sees that the Angels of God are miraculously bringing to him a vast quantity of meal.

For Signora Gentilina, mother of Signor Chiappino and Signor Paolo Vitelli, I painted in Florence and sent from there to Città di Castello a great altar-picture in which is the Coronation of Our Lady, on high a Dance of Angels, and at the foot many figures larger than life; which picture was placed in S. Francesco in that city. For the Church of Poggio a Caiano, a villa of the Lord Duke, I painted in an altar-picture the Dead Christ in the lap of His Mother, S. Cosimo and S. Damiano contemplating Him, and in the air an Angel who, weeping, displays the Mysteries of the Passion of Our Saviour; and in the Church of the Carmine at Florence, in the Chapel of Matteo and Simon Botti, my very dear friends, there was placed about this same time an altar-picture by my hand wherein is Christ Crucified, with Our Lady, S. John and the Magdalene weeping. Then I executed two great pictures for Jacopo Capponi, for sending to France, in one of which is Spring and in the other Autumn, with large figures and new inventions; and in another and even larger picture a Dead Christ supported by two Angels, with God the Father on high. To the Nuns of S. Maria Novella of Arezzo I sent likewise in those days, or a little before, an altar-picture in which is the Virgin receiving the Annunciation from the Angel, and at the sides two Saints; and for the Nuns of Luco in the Mugello, of the Order of Camaldoli, another altar-piece that is in the inner choir, containing Christ Crucified, Our Lady, S. John, and Mary Magdalene. For Luca Torrigiani, who is very much my intimate and friend, and who desired to have among the many things that he possesses of our art a picture by my own hand, in order to keep it near him, I painted in a large picture a nude Venus with the three Graces about her, one of whom is attiring her head, another holds her mirror, and the third is pouring water into a vessel to bathe her; which picture I strove to execute with the greatest study and diligence that I was able, in order to satisfy my own mind no less than that of so sweet and dear a friend. I also executed for Antonio de' Nobili, Treasurer-General to his Excellency and my affectionate friend, besides his portrait, being forced to do it against my inclination, a head of Jesus Christ taken from the words in which Lentulus writes of His effigy, both of which were done with diligence; and likewise another somewhat larger, but similar to that named above, for Signor Mandragone, now the first person in the service of Don Francesco de' Medici, Prince of Florence and Siena, which I presented to his lordship because he is much affected towards our arts and every talent, to the end that he might remember from the sight of it that I love him and am his friend. I have also in hand, and hope to finish soon, a large picture, a most fanciful work, which is intended for Signor Antonio Montalvo, Lord of Sassetta, who is deservedly the First Chamberlain and the most trusted companion of our Duke, and so sweet and loving an intimate and friend, not to say a superior, to me, that, if my hand shall accomplish the desire that I have to leave to him a proof by that hand of the affection that I bear him, it will be recognized how much I honour him and how dearly I wish that the memory of a lord so honoured and so loyal, and beloved by me, shall live among posterity, seeing that he exerts himself willingly in favouring all the beautiful intellects that labour in our profession or take delight in design.

For the Lord Prince, Don Francesco, I have executed recently two pictures that he has sent to Toledo in Spain, to a sister of the Lady Duchess Leonora, his mother; and for himself a little picture in the manner of a miniature, with forty figures, what with great and small, according to a very beautiful invention of his own. For Filippo Salviati I finished not long since an altar-picture that is going to the Sisters of S. Vincenzio at Prato, wherein on high is Our Lady arrived in Heaven and crowned, and at the foot the Apostles around the Sepulchre. For the Black Friars of the Badia of Florence, likewise, I am painting an altar-piece of the Assumption of Our Lady, which is near completion, with the Apostles in figures larger than life, and other figures at the sides, and around it stories and ornaments accommodated in a novel manner. And since the Lord Duke, so truly excellent in everything, takes pleasure not only in the building of palaces, cities, fortresses, harbours, loggie, public squares, gardens, fountains, villas, and other suchlike things, beautiful, magnificent, and most useful, for the benefit of his people, but also particularly in building anew and reducing to better form and greater beauty, as a truly Catholic Prince, the temples and sacred churches of God, in imitation of the great King Solomon, recently he has caused me to remove the tramezzo[5] of the Church of S. Maria Novella, which had robbed it of all its beauty, and a new and very rich choir was made behind the high-altar, in order to remove that occupying a great part of the centre of that church; which makes it appear a new church and most beautiful, as indeed it is. And because things that have not order and proportion among themselves can never be entirely beautiful, he has ordained that there shall be made in the side-aisles, between column and column, in such a manner as to correspond to the centres of the arches, rich ornaments of stone in a novel form, which are to serve as chapels with altars in the centre, and are all to be in one of two manners; and that then in the altar-pictures that are to go within these ornaments, seven braccia in height and five in breadth, there shall be executed paintings after the will and pleasure of the patrons of the chapels. Within one of those ornaments of stone, made from my design, I have executed for the very reverend Monsignor Alessandro Strozzi, Bishop of Volterra, my old and most loving patron, a Christ Crucified according to the Vision of S. Anselm—namely, with the Seven Virtues, without which we cannot ascend the Seven Steps to Jesus Christ—and with other considerations by the same Saint. And in the same church, within another of those ornaments, I have painted for the excellent Maestro Andrea Pasquali, physician to the Lord Duke, a Resurrection of Jesus Christ in the manner that God has inspired me, to please that Maestro Andrea, who is much my friend. And a similar work our great Duke has desired to have done in the immense Church of S. Croce in Florence;—namely, that the tramezzo[6] should be removed and that the choir should be made behind the high-altar, bringing that altar somewhat forward and placing upon it a new and rich tabernacle for the most holy Sacrament, all adorned with gold, figures, and scenes; and, in addition, that in the same manner that has been told of S. Maria Novella there should be made there fourteen chapels against the walls, with greater expense and ornamentation than those described above, because that church is much larger than the other. In the altar-pieces, to accompany the two by Salviati and Bronzino, are to be all the principal Mysteries of the Saviour, from the beginning of His Passion to the Sending of the Holy Spirit upon the Apostles; which picture of the Sending of the Holy Spirit, having made the design of the chapels and ornaments of stone, I have in hand for M. Agnolo Biffoli, Treasurer-General to our Lords, and my particular friend, and I finished, not long since, two large pictures that are in the Magistracy of the Nine Conservadori, beside S. Piero Scheraggio; in one is the head of Christ, and in the other a Madonna.

But since I should take too long if I sought to recount in detail the many other pictures, designs without number, models, and masquerades that I have executed, and because this much is enough and more than enough, I shall say nothing more of myself, save that however great and important have been the things that I have continually suggested to Duke Cosimo, I have never been able to equal, much less to surpass, the greatness of his mind. And this will be seen clearly in a third sacristy that he wishes to build beside S. Lorenzo, large and similar to that which Michelagnolo built in the past, but all of variegated marbles and mosaics, in order to deposit there, in tombs most honourable and worthy of his power and grandeur, the remains of his dead children, of his father and mother, of the magnanimous Duchess Leonora, his consort, and of himself; for which I have already made a model after his taste and according to the orders received from him by me, which, when carried into execution, will cause it to be a novel, most magnificent, and truly regal Mausoleum.

This much, then, it must suffice to have said of myself, who am now come after so many labours to the age of fifty-five years, and look to live so long as it shall please God, honouring Him, ever at the service of my friends, and working in so far as my strength shall allow for the benefit and advantage of these most noble arts.

---

THE AUTHOR TO THE CRAFTSMEN OF DESIGN

Honoured and noble craftsmen, for whose profit and advantage, chiefly, I set myself a second time to so long a labour, I now find that by the favour and assistance of the Divine Grace I have accomplished in full that which at the beginning of this my present task I promised myself to do. For which result rendering thanks first to God and afterwards to my lords, who have granted me the facilities whereby I have been able to do this advantageously, I must then give repose to my weary pen and brain, which I shall do as soon as I shall have made some brief observations. If, then, it should appear to anyone that in my writing I have been at times rather long and even somewhat prolix, let him put it down to this, that I have sought as much as I have been able to be clear, and before any other thing to set down my story in such a manner that what has not been understood the first time, or not expressed satisfactorily by me, might be made manifest at any cost. And if what has been said once has been at times repeated in another place, the reasons for this have been two—first, that the matter that I was treating required it, and then that during the time when I rewrote and reprinted the work I broke off my writing more than once for a period not of days merely but of months, either for journeys or because of a superabundance of labours, works of painting, designs, and buildings; besides which, for a man like myself (I confess it freely) it is almost impossible to avoid every error. To those to whom it might appear that I have overpraised any craftsmen, whether old or modern, and who, comparing the old with those of the present age, might laugh at them, I know not what else to answer save that my intention has always been to praise not absolutely but, as the saying is, relatively, having regard to place, time, and other similar circumstances; and in truth, although Giotto, for example, was much extolled in his day, I know not what would have been said of him, as of other old masters, if he had lived in the time of Buonarroti, whereas the men of this age, which is at the topmost height of perfection, would not be in the position that they are if those others had not first been such as they were before us. In short, let it be believed that what I have done in praising or censuring I have done not with any ulterior object, but only to speak the truth or what I have believed to be the truth. But one cannot always have the goldsmith's balance in the hand, and he who has experienced what writing is, and particularly when one has to make comparisons, which are by their very nature odious, or to pronounce judgments, will hold me excused; and I know only too well how great have been the labours, hardships, and moneys that I have devoted over many years to this work. Such, indeed, and so many, have been the difficulties that I have experienced therein, that many a time I would have abandoned it in despair, if the succour of many true and good friends, to whom I shall always be deeply indebted, had not given me courage and persuaded me to persevere, they lending me all the loving aids that have been in their power, of notices, advices, and comparisons of various things, about which, although I had seen them, I was not a little perplexed and dubious. Those aids, indeed, have been such, that I have been able to lay bare the pure truth and bring this work into the light of day, in order to revive the memory of so many rare and extraordinary intellects, which was almost entirely buried, for the benefit of those who shall come after us. In doing which I have found no little assistance, as has been told elsewhere, in the writings of Lorenzo Ghiberti, Domenico Ghirlandajo, and Raffaello da Urbino; but although I have lent them willing faith, nevertheless I have always sought to verify their statements by a sight of the works, for the reason that long practice teaches a diligent painter to be able to recognize the various manners of craftsmen not otherwise than a learned and well-practised chancellor knows the various and diverse writings of his equals, or anyone the characters of his nearest and most familiar friends and relatives.

Now, if I have achieved the end that I have desired, which has been to benefit and at the same time to delight, that will be a supreme satisfaction to me, and, even if it be otherwise, it will be a contentment for me, or at least an alleviation of pain, to have endured fatigue in an honourable work such as should make me worthy of pity among all choice spirits, if not of pardon. But to come at last to the end of this long discourse; I have written as a painter and with the best order and method that I have been able, and, as for language, in that which I speak, whether it be Florentine or Tuscan, and in the most easy and facile manner at my command, leaving the long and ornate periods, choice words, and other ornaments of learned speech and writing, to such as have not, as I have, a hand rather for brushes than for the pen, and a head rather for designs than for writing. And if I have scattered throughout the work many terms peculiar to our arts, of which perchance it has not occurred to the brightest and greatest lights of our language to avail themselves, I have done this because I could do no less and in order to be understood by you, my craftsmen, for whom, chiefly, as I have said, I set myself to this labour. For the rest, then, I having done all that I have been able, accept it willingly, and expect not from me what I know not and what is not in my power; satisfying yourselves of my good intention, which is and ever will be to benefit and please others.

DIE 25 AUGUSTI, 1567.

CONCEDIMUS LICENTIAM ET FACULTATEM IMPUNE ET SINE ULLO PRÆJUDICIO IMPRIMENDI FLORENTIÆ VITAS PICTORUM, SCULPTORUM, ET ARCHITECTORUM, TANQUAM A FIDE ET RELIGIONE NULLO PACTO ALIENAS, SED POTIUS VALDE CONSONAS. IN QUORUM FIDEM ETC.

GUIDO SERVIDIUS, PRÆPOSITUS ET VICARIUS GENERALIS FLORENT.

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INDEX OF NAMES OF THE CRAFTSMEN MENTIONED IN VOLUME X

• Academicians, The, [37]-167
• Agnolo, Baccio d', [23]
• Agnolo Bronzino, Life, [3]-12. [3]-14, [219]
• Alberti, Leon Batista, [40]
• Alessandro Allori (Alessandro del Bronzino), [12], [13]
• Alessandro del Barbiere (Alessandro di Vincenzio Fei), [20]
• Alessandro del Bronzino (Alessandro Allori), [12], [13]
• Alessandro di Vincenzio Fei (Alessandro del Barbiere), [20]
• Alessandro Fortori, [20]
• Alessandro Vittoria, [20]
• Allori, Alessandro (Alessandro del Bronzino), [12], [13]
• Altissimo, Cristofano dell', [13], [14]
• Ammanati, Bartolommeo, [23], [206]
• Andrea Calamech, [23]
• Andrea del Minga, [15]
• Andrea del Sarto, [47], [172]
• Andrea Palladio, [20]
• Andrea Verrocchio, [47]
• Antonio da Correggio, [187]
• Antonio da San Gallo (the younger), [47]
• Antonio di Gino Lorenzi, [30]
• Apelles, [47], [200]

• Bacchiacca, Il (Francesco Ubertini), [8]
• Baccio Bandinelli, [23], [24], [31], [176], [210], [214]
• Baccio d'Agnolo, [23]
• Bagnacavallo, Giovan Battista da, [196]
• Baldassarre Lancia, [33]
• Baldassarre Peruzzi, [174]
• Bandinelli, Baccio, [23], [24], [31], [176], [210], [214]
• Bandini, Giovanni di Benedetto, [31], [32]
• Barbiere, Alessandro del (Alessandro di Vincenzio Fei), [20]
• Barozzi, Jacopo (Vignuola), [206]
• Bartolommeo Ammanati, [23], [206]
• Bastiano Flori, [187], [196]
• Battista Cungi, [181], [187]
• Battista del Cavaliere (Battista Lorenzi), [31]
• Battista del Tasso, [208], [210]
• Battista di Benedetto Fiammeri, [23]
• Battista Farinato, [20]
• Battista Lorenzi (Battista del Cavaliere), [31]
• Battista Naldini, [14], [15]
• Beceri, Domenico (Domenico Benci), [20]
• Benedetto Pagni (Benedetto da Pescia), [9]
• Benozzo Gozzoli, [47]
• Benvenuto Cellini, [21], [22]
• Bernardino di Porfirio, [17]
• Bernardo Timante Buontalenti, [16]-18
• Biagio Pupini, [184]
• Bizzerra, [196]
• Bologna, Giovan, [25], [26]
• Borgo, Giovan Paolo dal, [196]
• Bronzino, Agnolo, Life, [3]-12. [3]-14, [219]
• Bronzino, Alessandro del (Alessandro Allori), [12], [13]
• Brunellesco, Filippo di Ser, [47], [204]
• Buffalmacco, [47]
• Buonarroti, Michelagnolo, [12]-17, [19], [24], [26], [31], [32], [46], [47], [172], [174], [175], [186]-190, [194], [206], [215], [220], [222]
• Buontalenti, Bernardo Timante, [16]-18
• Butteri, Giovan Maria, [13]

• Cadore, Tiziano da (Tiziano Vecelli), [20], [187]
• Calamech, Andrea, [23]
• Camilliani, Francesco, [24], [25]
• Caravaggio, Polidoro da, [174]
• Carlo Portelli (Carlo da Loro), [15]
• Cattaneo, Danese, [20]
• Cavaliere, Battista del (Battista Lorenzi), [31]
• Cellini, Benvenuto, [21], [22]
• Cimabue, Giovanni, [3], [47], [196]
• Cioli, Valerio, [32]
• Clovio, Don Giulio, [16]
• Colle, Raffaello dal, [7]
• Collettaio, Ottaviano del, [33]
• Correggio, Antonio da, [187]
• Cristofano dell' Altissimo, [13], [14]
• Cristofano Gherardi, [183], [187], [208]
• Crocifissaio, Girolamo del, [15], [16]
• Cungi, Battista, [181], [187]

• Danese Cattaneo, [20]
• Danti, Fra Ignazio, [28]-30
• Danti, Vincenzio, [26]-28
• Desiderio da Settignano, [47]
• Domenico Beceri (Domenico Benci), [20]
• Domenico Ghirlandajo, [222]
• Domenico Poggini, [32], [33]
• Don Giulio Clovio, [16]
• Donato (Donatello), [22], [47]

• Faenza, Marco da (Marco Marchetti), [20]
• Fancelli, Giovanni (Giovanni di Stocco), [33]
• Farinato, Battista, [20]
• Federigo di Lamberto, [16]
• Federigo Zucchero, [20]
• Fei, Alessandro di Vincenzio (Alessandro del Barbiere), [20]
• Fiammeri, Battista di Benedetto, [23]
• Filippo di Ser Brunellesco, [47], [204]
• Filippo Lippi, Fra, [47]
• Flori, Bastiano, [187], [196]
• Fontana, Prospero, [20]
• Fortori, Alessandro, [20]
• Foschi, Fra Salvadore, [196]
• Fra Filippo Lippi, [47]
• Fra Giovanni Agnolo Montorsoli, [9], [23], [33]
• Fra Giovanni Vincenzio, [33]
• Fra Ignazio Danti, [28]-30
• Fra Salvadore Foschi, [196]
• Francesco Camilliani, [24], [25]
• Francesco da Poppi (Francesco Morandini), [14]
• Francesco da San Gallo, [22], [23]
• Francesco Morandini (Francesco da Poppi), [14]
• Francesco Moschino, [32]
• Francesco Salviati, [7], [47], [171], [174], [219]
• Francesco Ubertini (Il Bacchiacca), [8]

• Gaddi family, [47]
• Genga, Girolamo, [33]
• Gherardi, Cristofano, [183], [187], [208]
• Ghiberti, Lorenzo, [47], [222]
• Ghirlandajo, Domenico, [222]
• Ghirlandajo, Michele di Ridolfo, [15]
• Ghirlandajo, Ridolfo, [15]
• Giorgio Vasari. See Vasari, Giorgio
• Giotto, [47], [191], [221], [222]
• Giovan Battista da Bagnacavallo, [196]
• Giovan Bologna, [25], [26]
• Giovan Francesco Rustici, [47]
• Giovan Maria Butteri, [13]
• Giovan Paolo dal Borgo, [196]
• Giovanni Agnolo Montorsoli, Fra, [9], [23], [33]
• Giovanni Cimabue, [3], [47], [196]
• Giovanni da Udine, [176]
• Giovanni della Strada (Jan van der Straet), [18], [19]
• Giovanni di Benedetto Bandini, [31], [32]
• Giovanni Fancelli (Giovanni di Stocco), [33]
• Giovanni Vincenzio, Fra, [33]
• Girolamo da Treviso, [184]
• Girolamo del Crocifissaio, [15], [16]
• Girolamo Genga, [33]
• Giuliano da San Gallo, [22], [23]
• Giulio Clovio, Don, [16]
• Giulio da Urbino, [17]
• Giulio Romano, [9], [187]
• Giuseppe Porta (Giuseppe Salviati), [20]
• Gozzoli, Benozzo, [47]
• Guglielmo da Marcilla, [172]

• Ignazio Danti, Fra, [28]-30
• Il Bacchiacca (Francesco Ubertini), [8]
• Il Rosso, [47], [172]
• Ilarione Ruspoli, [24]

• Jacopo Barozzi (Vignuola), [206]
• Jacopo da Pontormo, [3]-5, [7]-10, [12]-14, [47], [176], [177]
• Jacopo Sansovino, [23]
• Jacopo Tintoretto, [20]
• Jacopo Zucchi, [19]
• Jan van der Straet (Giovanni della Strada), [18], [19]

• Lamberto, Federigo di, [16]
• Lancia, Baldassarre, [33]
• Lancia, Pompilio, [33]
• Lastricati, Zanobi, [33]
• Leon Battista Alberti, [40]
• Leonardo da Vinci, [47]
• Lippi, Fra Filippo, [47]
• Lorenzi, Antonio di Gino, [30]
• Lorenzi, Battista (Battista del Cavaliere), [31]
• Lorenzi, Stoldo di Gino, [30], [31]
• Lorenzo della Sciorina, [14]
• Lorenzo Ghiberti, [47], [222]
• Lorenzo Sabatini, [20]
• Loro, Carlo da (Carlo Portelli), [15]
• Luca Signorelli, [171]

• Manno, [173]
• Manzuoli, Maso (Maso da San Friano), [15]
• Marchetti, Marco (Marco da Faenza), [20]
• Marcilla, Guglielmo da, [172]
• Marco Marchetti (Marco da Faenza), [20]
• Martino (pupil of Fra Giovanni Agnolo Montorsoli), [23]
• Masaccio, [47]
• Maso Manzuoli (Maso da San Friano), [15]
• Michelagnolo Buonarroti, [12]-17, [19], [24], [26], [31], [32], [46], [47], [172], [174], [175], [186]-190, [194], [206], [215], [220], [222]
• Michele di Ridolfo Ghirlandajo, [15]
• Minga, Andrea del, [15]
• Mirabello di Salincorno, [15], [16]
• Montorsoli, Fra Giovanni Agnolo, [9], [23], [33]
• Morandini, Francesco (Francesco da Poppi), [14]
• Moschino, Francesco, [32]

• Naldini, Battista, [14], [15]
• Niccolò (Tribolo), [5], [30], [176], [177]

• Orazio Porta, [20]
• Ottaviano del Collettaio, [33]

• Pagni, Benedetto (Benedetto da Pescia), [9]
• Palladio, Andrea, [20]
• Paolo Veronese, [20]
• Parrhasius, [200]
• Perino del Vaga, [47]
• Perugino, Pietro, [192]
• Peruzzi, Baldassarre, [174]
• Pescia, Benedetto da (Benedetto Pagni), [9]
• Pier Francesco di Jacopo di Sandro, [15]
• Pieri, Stefano, [14]
• Pietro Perugino, [192]
• Poggini, Domenico, [32], [33]
• Polidoro da Caravaggio, [174]
• Pompilio Lancia, [33]
• Pontormo, Jacopo da, [3]-5, [7]-10, [12]-14, [47], [176], [177]
• Poppi, Francesco da (Francesco Morandini), [14]
• Porfirio, Bernardino di, [17]
• Porta, Giuseppe (Giuseppe Salviati), [20]
• Porta, Orazio, [20]
• Portelli, Carlo (Carlo da Loro), [15]
• Praxiteles, [47]
• Prospero Fontana, [20]
• Protogenes, [200]
• Pupini, Biagio, [184]

• Raffaello dal Colle, [7]
• Raffaello Sanzio, [174], [180], [181], [192], [211], [222]
• Ridolfo Ghirlandajo, [15]
• Romano, Giulio, [9], [187]
• Rossi, Vincenzio de', [23], [24]
• Rosso, Il, [47], [172]
• Roviale, [196]
• Ruspoli, Ilarione, [24]
• Rustici, Giovan Francesco, [47]

• Sabatini, Lorenzo, [20]
• Salincorno, Mirabello di, [15], [16]
• Salvadore Foschi, Fra, [196]
• Salviati, Francesco, [7], [47], [171], [174], [219]
• Salviati, Giuseppe (Giuseppe Porta), [20]
• San Friano, Maso da (Maso Manzuoli), [15]
• San Gallo, Antonio da (the younger), [47]
• San Gallo, Francesco da, [22], [23]
• San Gallo, Giuliano da, [22], [23]
• Sandro, Pier Francesco di Jacopo di, [15]
• Sansovino, Jacopo, [23]
• Santi Titi, [19], [20]
• Sanzio, Raffaello, [174], [180], [181], [192], [211], [222]
• Sarto, Andrea del, [47], [172]
• Sciorina, Lorenzo della, [14]
• Settignano, Desiderio da, [47]
• Signorelli, Luca, [171]
• Stefano Pieri, [14]
• Stefano Veltroni, [20]
• Stocco, Giovanni di (Giovanni Fancelli), [33]
• Stoldo di Gino Lorenzi, [30], [31]
• Strada, Giovanni della (Jan van der Straet), [18], [19]

• Tasso, Battista del, [208], [210]
• The Academicians, [37]-167
• Tintoretto, Jacopo, [20]
• Titi, Santi, [19], [20]
• Tiziano Vecelli (Tiziano da Cadore), [20], [187]
• Tommaso del Verrocchio, [20]
• Treviso, Girolamo da, [184]
• Tribolo (Niccolò), [5], [30], [176], [177]

• Ubertini, Francesco (Il Bacchiacca), [8]
• Udine, Giovanni da, [176]
• Urbino, Giulio da, [17]

• Vaga, Perino del, [47]
• Valerio Cioli, [32]
• Vasari, Giorgio, Life, [171]-220
• as art-collector, [13]
• as author, [3], [8], [12], [14], [15], [17], [19]-24, [29], [30], [32]-34, [37], [41]-44, [47], [61], [62], [67], [69], [72], [76]-78, [80], [82]-84, [90], [92]-94, [97]-102, [104], [105], [113], [116], [119], [127]-129, [147], [162]-164, [166], [167], [171]-223
• as painter, [12], [14], [16]-20, [27], [105], [171]-221, [223]
• as architect, [10], [26]-28, [31], [171], [174], [177], [178], [181], [184], [189]-193, [202], [206]-216, [218]-221
• Vecelli, Tiziano (Tiziano da Cadore), [20], [187]
• Veltroni, Stefano, [20]
• Veronese, Paolo, [20]
• Verrocchio, Andrea, [47]
• Verrocchio, Tommaso del, [20]
• Vignuola (Jacopo Barozzi), [206]
• Vincenzio, Fra Giovanni, [33]
• Vincenzio Danti, [26]-28
• Vincenzio de' Rossi, [23], [24]
• Vinci, Leonardo da, [47]
• Vittoria, Alessandro, [20]

• Zanobi Lastricati, [33]
• Zeuxis, [200]
• Zucchero, Federigo, [20]
• Zucchi, Jacopo, [19]

END OF VOL. X.

---

GENERAL INDEX OF NAMES OF THE CRAFTSMEN MENTIONED IN VOLUMES I—X

Note.—To bring this Index within as reasonable a compass as possible cross-references, such as Agnolo Bronzino. See Bronzino, Agnolo, are printed Agnolo Bronzino, the italics indicating the name under which the page-numbers will be found.

• Abacco, Antonio L', VI, [113], [114], [130], [136], [137]; VIII, [167]
• Abate, Niccolò dell' (Niccolò da Modena), VIII, [37], [38]; IX, [148]
• Abbot of S. Clemente (Don Bartolommeo della [Gatta])
• Academicians, The, X, [37]-167
• Adone [Doni]
• Aertsen, Pieter, IX, [268]
• Aglaophon, I, [xxxix]
• Agnolo (nephew of Montorsoli), VIII, [144], [147], [151]
• Agnolo (of Siena), Life, I, [97]-105; I, [39], [97]-105; II, [81], [94], [95]; VIII, [53]
• Agnolo, Andrea d' (Andrea del [Sarto])
• Agnolo, Baccio d' (Baccio Baglioni), Life, VI, [65]-68; III, [12]; IV, [101], [204], [267], [270]; V, [91], [98], [102]; VI, [65]-69, [72]; VII, [74]; VIII, [116]; IX, [40], [41], [194]; X, [23]
• Agnolo, Battista d' (Battista d'[Angelo], or del Moro)
• Agnolo, Domenico di Baccio d', VI, [68], [70], [72]
• Agnolo, Filippo di Baccio d', VI, [68], [70]
• Agnolo, Giuliano di Baccio d', Life, VI, [68]-72; VII, [83]-86, [88], [89], [102]
• Agnolo, Marco di Battista d', VI, [27], [28]
• Agnolo [Bronzino]
• Agnolo di [Cristofano]
• Agnolo di [Donnino]
• Agnolo di [Lorenzo] (Angelo di Lorentino)
• Agnolo di [Polo]
• Agnolo [Gaddi]
• Agobbio, Oderigi d', I, [79]
• Agostino (of Siena), Life, I, [97]-105; I, [39], [97]-105; II, [81], [94], [95]; VIII, [53]
• Agostino [Busto] (Il Bambaja)
• Agostino della [Robbia]
• Agostino [Viniziano] (Agostino de' Musi)
• Agresti, Livio (Livio da [Forlì])
• Aholiab, I, [xxxviii]
• Aimo, Domenico (Vecchio of Bologna), V, [28]; VI, [217]; IX, [189]
• Alberti, Leon Batista, Life, III, [43]-48; I, [xli], [179]; II, [227]; III, [43]-48; VI, [45]; IX, [271]; X, [40]
• Alberti, Michele, VIII, [205], [210], [211]
• Albertinelli, Biagio di Bindo, IV, [165]
• Albertinelli, Mariotto, Life, IV, [165]-171; II, [190]; IV, [151], [154], [165]-171; V, [86], [212], [217]; VII, [108], [148]; VIII, [62]
• Albertino, Francesco d' (Francesco [Ubertini], or Il Bacchiacca)
• Alberto, Antonio, V, [13]
• Alberto Monsignori ([Bonsignori])
• Albrecht (Heinrich) [Aldegrever]
• Albrecht [Dürer]
• Aldegrever, Albrecht (Heinrich), VI, [119]
• Aldigieri (Altichiero) da [Zevio]
• Alessandro (Scherano da [Settignano])
• Alessandro [Allori] (Alessandro del Bronzino)
• Alessandro Bonvicini Alessandro [Moretto]
• Alessandro [Cesati] (Il Greco)
• Alessandro del Barbiere (Alessandro di Vincenzio [Fei])
• Alessandro del Bronzino (Alessandro [Allori])
• Alessandro di Vincenzio [Fei] (Alessandro del Barbiere)
• Alessandro [Falconetto]
• Alessandro Filipepi (Sandro [Botticelli], or Sandro di Botticello)
• Alessandro [Fortori]
• Alessandro [Moretto] (Alessandro Bonvicini)
• Alessandro [Vittoria]
• Alessi, Galeazzo, IX, [239]-242
• Alesso [Baldovinetti]
• Alfonso [Lombardi]
• Allori, Alessandro (Alessandro del Bronzino), V, [127]; IX, [133], [138]; X, [12], [13]
• Alonzo [Spagnuolo] (Alonzo Berughetta)
• Altichiero (Aldigieri) da [Zevio]
• Altissimo, Cristofano dell', X, [13], [14]
• Altobello da [Melone]
• Alunno, Niccolò, IV, [18], [19]
• Alvaro di [Piero]
• Amalteo, Pomponio, V, [154], [155]
• Ambrogio [Lorenzetti]
• Amico [Aspertini]
• Ammanati, Bartolommeo, II, [228]; IV, [274]; VII, [95], [96], [99], [100], [203], [206]; VIII, [91], [92], [99], [153], [220]; IX, [69], [70], [73], [118], [125], [126], [129], [207], [208], [223]; X, [23], [206]
• Amsterdam, Lambert of (Lambert [Lombard])
• Andrea, Maestro, VII, [66]
• Andrea [Calamech]
• Andrea [Contucci] (Andrea Sansovino)
• Andrea d' Agnolo (Andrea del [Sarto])
• Andrea da [Fiesole] (Andrea Ferrucci)
• Andrea dal [Castagno] (Andrea degli Impiccati)
• Andrea de' [Ceri]
• Andrea degli Impiccati (Andrea dal [Castagno])
• Andrea del [Gobbo]
• Andrea del [Minga]
• Andrea del [Sarto] (Andrea d' Agnolo)
• Andrea della [Robbia]
• Andrea di Cione [Orcagna]
• Andrea di [Cosimo] (Andrea di Cosimo Feltrini)
• Andrea Ferrucci (Andrea da [Fiesole])
• Andrea [Luigi] (L' Ingegno)
• Andrea [Mantegna]
• Andrea [Palladio]
• Andrea [Pisano]
• Andrea [Riccio]
• Andrea Sansovino (Andrea [Contucci])
• Andrea [Schiavone]
• Andrea [Sguazzella]
• Andrea [Tafi]
• Andrea [Verrocchio]
• Angeli, Don Lorenzo degli (Don Lorenzo [Monaco])
• Angelico, Fra (Fra Giovanni da Fiesole), Life, III, [27]-39; I, [162]; II, [190], [271]; III, [27]-39, [121]; IV, [73], [154], [185]; VI, [246]
• Angelo, Battista d' (Battista d' Agnolo, or del Moro), Life, VI, [27]-28; IV, [61]; VI, [27]-28, [108]; VII, [236]; VIII, [41]
• Angelo, Lorentino d', III, [22], [23]
• Angelo [Ciciliano]
• Angelo di Lorentino (Agnolo di [Lorenzo])
• Anguisciuola, Anna, VIII, [48]
• Anguisciuola, Europa, VIII, [45], [48]
• Anguisciuola, Lucia, VIII, [45], [47], [48]
• Anguisciuola, Minerva, VIII, [45], [46]
• Anguisciuola, Sofonisba, V, [127], [128]; VIII, [45]-48, [261]
• Anichini, Luigi, VI, [85]
• Anna [Anguisciuola]
• Anna [Seghers]
• Annibale da [Carpi]
• Annibale di Nanni di Baccio [Bigio]
• Anselmi, Michelagnolo, VIII, [39], [44]
• Anselmo [Canneri]
• Antignano, Segna d', II, [26]
• Antoine Lafrery (Antonio [Lanferri])
• Antonello da [Messina]
• Antonio (Antoniasso), IV, [6], [7]
• Antonio, Fra, VIII, [32]
• Antonio [Alberto]
• Antonio [Bacchiacca]
• Antonio [Begarelli] (Il Modena)
• Antonio [Campo]
• Antonio d' Andrea [Tafi]
• Antonio da [Carrara]
• Antonio da [Correggio]
• Antonio da [Ferrara]
• Antonio da [San Gallo] (the elder)
• Antonio da [San Gallo] (the younger)
• Antonio da [Trento] (Antonio Fantuzzi)
• Antonio da [Verzelli]
• Antonio del [Ceraiuolo]
• Antonio del Rozzo (Antonio del [Tozzo])
• Antonio di Donnino [Mazzieri] (Antonio di Domenico)
• Antonio di Gino [Lorenzi]
• Antonio di Giorgio [Marchissi]
• Antonio di Giovanni (Solosmeo da [Settignano])
• Antonio di Marco di Giano (Il [Carota])
• Antonio di [Salvi]
• Antonio Fantuzzi (Antonio da [Trento])
• Antonio [Filarete]
• Antonio [Fiorentino]
• Antonio [Floriani]
• Antonio l'[Abacco]
• Antonio [Lanferri] (Antoine Lafrery)
• Antonio [Mini]
• Antonio [Montecavallo]
• Antonio [Particini]
• Antonio (or Vittore) [Pisanello]
• Antonio [Pollaiuolo]
• Antonio [Rossellino] (Rossellino dal Proconsolo)
• Antonio [Salamanca]
• Antonio [Scarpagni] (Scarpagnino or Zanfragnino)
• Antonio [Viniziano]
• Antonio [Vite]
• Antonius [Moor]
• Antwerp, Hugo of, IX, [265]
• Antwerp, Willem van, IX, [269]
• Apelles, I, [xxviii], [xxxix]; II, [80], [120], [191]; III, [36], [254], [286]; IV, [82], [83], [105]; V, [14]; VIII, [28]; IX, [133], [168]; X, [47], [200]
• Apollodorus, I, [xxxix]
• Apollonio, I, [47], [49]
• Arca, Niccolò dell' (Niccolò Bolognese), II, [97]; IX, [11]
• Ardices, I, [xxxix]
• Aretino, Geri, III, [263], [264]
• Aretino, Leone (Leone Lioni), Life, IX, [229]-232; VI, [87]; VIII, [56], [184]; IX, [95], [229]-233
• Aretino, Marchionne, I, [17], [18]
• Aretino, Niccolò (Niccolò d' Arezzo, or Niccolò di Piero Lamberti), Life, II, [101]-104; I, [130]; II, [101]-104, [145], [146], [159], [200]; IV, [55]
• Aretino, Spinello, Life, II, [29]-39; I, [67]; II, [25], [26], [29]-39, [67], [83], [179]
• Aretusi, Pellegrino degli (Pellegrino da [Modena], or de' Munari)
• Arezzo, Niccolò d' (Niccolò [Aretino], Niccolò di Piero Lamberti)
• Aristides, I, [xli]
• Aristotile (Bastiano) da [San Gallo]
• Arnolfo di [Lapo] (Arnolfo Lapi)
• Arrigo (Heinrich [Paludanus])
• Arthus van [Noort]
• Ascanio [Condivi] (Ascanio dalla Ripa Transone)
• Asciano, Giovanni da, II, [5]
• Aspertini, Amico, Life, V, [209]-211; V, [125], [207]-211
• Attavante (or Vante), III, [36]-39, [209], [214], [215]
• Ausse (Hans [Memling])
• Avanzi, Jacopo (Jacopo Davanzo), II, [104]; IV, [51], [55]
• Avanzi, Niccolò, VI, [79], [80]

• Bacchiacca, Antonio, VIII, [20]
• Bacchiacca, Il (Francesco [Ubertini], or d' Albertino)
• Baccio, Giovanni di (Nanni di Baccio [Bigio])
• Baccio Baglioni (Baccio d' [Agnolo])
• Baccio [Baldini]
• Baccio [Bandinelli] (Baccio de' Brandini)
• Baccio [Cellini]
• Baccio d' [Agnolo] (Baccio Baglioni)
• Baccio da [Montelupo]
• Baccio de' Brandini (Baccio [Bandinelli])
• Baccio della Porta (Fra Bartolommeo di [San Marco])
• Baccio [Gotti]
• Baccio [Pintelli]
• Baccio [Ubertino]
• Baglioni, Baccio (Baccio d' [Agnolo])
• Baglioni, Raffaello, VIII, [116]
• Bagnacavallo, Bartolommeo da (Bartolommeo Ramenghi), Life, V, [207]-209; IV, [237]; V, [207]-209; IX, [147]
• Bagnacavallo, Giovan Battista da, V, [201]; VII, [129]; IX, [147], [148]; X, [196]
• Baldassarre da Siena (Baldassarre [Peruzzi])
• Baldassarre [Lancia]
• Baldassarre [Peruzzi] (Baldassarre da Siena)
• Baldinelli, Baldino, III, [233]
• Baldini, Baccio, VI, [91]
• Baldini, Giovanni, VIII, [24], [25]
• Baldino [Baldinelli]
• Baldovinetti, Alesso, Life, III, [67]-70; I, [4], [48]; II, [190]; III, [59], [67]-70, [101], [225]; IV, [82]; V, [88], [92]; IX, [182]
• Bambaja, Il (Agostino [Busto])
• Banco, Nanni d' Antonio di, Life, II, [113]-115; II, [113]-115, [253]; III, [28]
• Bandinelli, Baccio (Baccio de' Brandini), Life, VII, [55]-103; II, [127], [190]; IV, [204], [274]; V, [5], [27], [36], [57], [96]-98, [135]; VI, [69]-71, [103], [105], [111]; VII, [4], [27], [28], [42], [43], [55]-103, [154], [187]; VIII, [113], [141], [142], [146], [152], [163], [191]; IX, [20], [49], [126], [190]; X, [23], [24], [31], [176], [210], [214]
• Bandinelli, Clemente, VII, [77], [94], [95], [98]
• Bandini, Giovanni di Benedetto (Giovanni dell' Opera), IX, [126], [130], [140], [141]; X, [31], [32]
• Barba, Jacopo della, VII, [71]
• Barbara de' [Longhi]
• Barbiere, Alessandro del (Alessandro di Vincenzio [Fei])
• Barbiere, Domenico del, V, [201]; IX, [149]
• Barile, Gian (Giovan), IV, [238]; VI, [177]
• Barile, Gian (of Florence), V, [86]
• Barlacchi, Tommaso, VI, [104], [113]
• Barocci, Federigo, VIII, [227]
• Baronino, Bartolommeo, VIII, [220]
• Barozzi, Jacopo (Vignuola), VI, [114]; VIII, [220], [230], [237]-240, [259]; IX, [102], [146], [147]; X, [206]
• Bartoli, Domenico, II, [63], [64]
• Bartoli, Taddeo, Life, II, [61]-64
• Bartolo di Maestro [Fredi]
• Bartolommeo, Fra (Fra Carnovale da Urbino), IV, [138]
• Bartolommeo [Ammanati]
• Bartolommeo [Baronino]
• Bartolommeo [Bologhini]
• Bartolommeo Bozzato (Girolamo [Bozza])
• Bartolommeo [Clemente]
• Bartolommeo [Coda]
• Bartolommeo da [Bagnacavallo] (Bartolommeo Ramenghi)
• Bartolommeo da [Castiglione]
• Bartolommeo della [Gatta], Don (Abbot of S. Clemente)
• Bartolommeo di Jacopo di [Martino]
• Bartolommeo di [San Marco] (Baccio della Porta), Fra
• Bartolommeo [Genga]
• Bartolommeo [Miniati]
• Bartolommeo [Montagna]
• Bartolommeo [Neroni] (Riccio)
• Bartolommeo [Passerotto]
• Bartolommeo Ramenghi (Bartolommeo da [Bagnacavallo])
• Bartolommeo [Ridolfi]
• Bartolommeo [San Michele]
• Bartolommeo Suardi ([Bramantino])
• Bartolommeo [Torri]
• Bartolommeo [Vivarini]
• Bartoluccio [Ghiberti]
• Basaiti, Marco (Il Bassiti, or Marco Basarini), IV, [52], [58]
• Bassano, Jacopo da, IX, [175], [176]
• Bassiti, Il (Marco [Basaiti], or Basarini)
• Bastianello [Florigorio] (Sebastiano Florigerio)
• Bastiani, Lazzaro (Lazzaro Scarpaccia, or Sebastiano Scarpaccia), IV, [52], [57], [58]
• Bastiano da [Monte Carlo]
• Bastiano (Aristotile) da [San Gallo]
• Bastiano [Flori]
• Bastiano [Mainardi] (Bastiano da San Gimignano)
• Battista, Martino di (Pellegrino da San Daniele, or Martino da [Udine])
• Battista [Borro]
• Battista [Botticelli]
• Battista [Cungi]
• Battista d'[Angelo] (Battista d'Agnolo, or del Moro)
• Battista da [San Gallo] (Battista Gobbo)
• Battista da Verona (Battista [Farinato])
• Battista del Cavaliere (Battista [Lorenzi])
• Battista del [Cervelliera]
• Battista del [Cinque]
• Battista del Moro (Battista d'[Angelo], or d'Agnolo)
• Battista del [Tasso]
• Battista della [Bilia]
• Battista di Benedetto [Fiammeri]
• Battista [Dossi]
• Battista [Farinato] (Battista da Verona)
• Battista [Franco] (Battista Semolei)
• Battista Gobbo (Battista da [San Gallo])
• Battista [Lorenzi] (Battista del Cavaliere)
• Battista [Naldini]
• Battista of Città di Castello, VII, [118], [119]
• Battista [Pittoni] (Battista of Vicenza)
• Battista Semolei (Battista [Franco])
• Battistino, V, [193], [194]
• Baviera, IV, [232], [233]; V, [194]; VI, [100], [101], [109], [209]
• Bazzi, Giovanni Antonio (Il Sodoma), Life, VII, [245]-257; IV, [72], [218]; V, [73]; VI, [236]-238, [247], [249]; VII, [245]-257; VIII, [197]
• Beatricio, Niccolò (Nicolas Beautrizet), VI, [114]
• Beccafumi, Domenico (Domenico di Pace), Life, VI, [235]-251; II, [96]; V, [74], [153], [163]; VI, [108], [213], [215], [223], [235]-251; VII, [252], [255], [256]
• Beceri, Domenico (Domenico Benci), IV, [283]; VII, [141]; X, [20]
• Begarelli, Antonio (Il Modena), VIII, [38]; IX, [113]
• Beham, Hans, VI, [119]
• Bellegambe, Jean, IX, [266]
• Belli, Valerio de' (Valerio [Vicentino])
• Bellini family, V, [262]
• Bellini, Gentile, Life, III, [173]-184; III, [173]-184, [280]; IV, [57], [59], [109]
• Bellini, Giovanni, Life, III, [173]-184; III, [173]-184, [280], [286]; IV, [57], [58], [82], [109]; V, [145], [146], [260], [264]; VI, [173]; VIII, [33]; IX, [159], [160], [162], [163]
• Bellini, Jacopo, Life, III, [173]-175; III, [173]-175, [280]; VI, [11], [35]
• Bellini, Vittore (Belliniano), IV, [52], [59], [60]
• Bello, Raffaello, VIII, [114]
• Bellucci, Giovan Battista (Giovan Battista San Marino), Life, VII, [210]-213; VII, [207], [210]-213
• Bembi, Bonifazio, VIII, [42], [43]
• Bembo, Giovan Francesco (Giovan Francesco Vetraio), V, [180]
• Benci, Domenico (Domenico [Beceri])
• Benedetto (pupil of Giovanni Antonio Sogliani), V, [165]
• Benedetto [Buglioni]
• Benedetto [Buonfiglio]
• Benedetto (Giovan Battista) [Caporali]
• Benedetto [Cianfanini]
• Benedetto [Coda] (Benedetto da Ferrara)
• Benedetto da [Maiano]
• Benedetto da Pescia (Benedetto [Pagni])
• Benedetto da [Rovezzano]
• Benedetto [Diana]
• Benedetto [Ghirlandajo]
• Benedetto [Pagni] (Benedetto da Pescia)
• Benedetto [Spadari]
• Bening, Levina, IX, [269]
• Bening, Simon, IX, [268]
• Benozzo [Gozzoli]
• Benvenuto [Cellini]
• Benvenuto [Garofalo] (Benvenuto Tisi)
• Bergamo, Fra Damiano da, VIII, [169], [237]
• Berna, Life, II, [3]-5
• Bernard of Brussels, IX, [266]
• Bernardetto di [Mona Papera]
• Bernardi, Giovanni (Giovanni da Castel Bolognese), Life, VI, [76]-79; IV, [111]; VI, [76]-79, [83], [84]; IX, [164]
• Bernardino [Brugnuoli]
• Bernardino da [Trevio] (Bernardino Zenale)
• Bernardino del Lupino (Bernardino [Luini])
• Bernardino di [Porfirio]
• Bernardino [India]
• Bernardino [Pinturicchio]
• Bernardino Zenale (Bernardino da [Trevio])
• Bernardo Timante [Buontalenti]
• Bernardo [Ciuffagni]
• Bernardo da [Vercelli]
• Bernardo [Daddi]
• Bernardo de' Gatti (Bernardo [Soiaro])
• Bernardo del [Buda] (Bernardo Rosselli)
• Bernardo di Cione [Orcagna]
• Bernardo Nello di Giovanni [Falconi]
• Bernardo Rosselli (Bernardo del [Buda])
• Bernardo [Rossellino]
• Bernardo [Soiaro] (Bernardo de' Gatti)
• Bernardo [Vasari]
• Bernazzano, Cesare, V, [141]
• Bersuglia, Gian Domenico, VII, [193]
• Bertano, Giovan Battista, VIII, [40], [41]
• Berto [Linaiuolo]
• Bertoldo, II, [249], [253], [254]; IV, [185]; VII, [107]; IX, [8]
• Berughetta, Alonzo (Alonzo [Spagnuolo])
• Betti, Biagio (Biagio da Carigliano), VIII, [210]
• Bezaleel, I, [xxxviii]
• Biagio, Raffaello di, V, [231], [232]
• Biagio (pupil of Botticelli), III, [251], [252]
• Biagio [Betti] (Biagio da Carigliano)
• Biagio [Bolognese] (Biagio Pupini)
• Biagio da Carigliano (Biagio [Betti])
• Biagio di Bindo [Albertinelli]
• Biagio Pupini (Biagio [Bolognese])
• Bianco, Simon, IV, [60]
• Bicci, Lorenzo di, Life, II, [67]-73; III, [20], [213]; V, [5]; VII, [61]
• Bicci di Lorenzo
• Bigio, Annibale di Nanni di Baccio, VIII, [188]
• Bigio, Nanni di Baccio (Giovanni di Baccio), VII, [81]; IX, [69], [76], [100], [101], [113], [239]
• Bilia, Battista della, VII, [118]
• Bizzerra, VII, [129]; VIII, [204]; X, [196]
• Blondeel, Lancelot, IX, [267]
• Boccaccino, Boccaccio, Life, V, [58]-60; VIII, [23], [24], [42]-44
• Boccaccino, Camillo, V, [59], [60]; VIII, [43]
• Boccalino, Giovanni (Giovanni Ribaldi), V, [29]
• Boccardino (the elder), III, [215]
• Bol, Hans, IX, [268]
• Bologhini, Bartolommeo, I, [120]
• Bologna, Galante da, II, [51]
• Bologna, Giovan, VII, [100], [101]; IX, [267], [269]; X, [25], [26]
• Bologna, Orazio da (Orazio [Sammacchini])
• Bologna, Pellegrino da (Pellegrino [Pellegrini], or Tibaldi)
• Bologna, Ruggieri da, IX, [147]
• Bologna, Vecchio of (Domenico [Aimo])
• Bolognese, Biagio (Biagio Pupini), V, [208], [211]; VIII, [32], [33]; X, [184]
• Bolognese, Franco, I, [79]
• Bolognese, Guido, III, [170]
• Bolognese, Marc' Antonio (Marc' Antonio Raimondi, or de' Franci), Life, VI, [95]-96, [99]-106; IV, [232], [233]; VI, [95]-96, [99]-106, [108], [109], [120]; VII, [65]; VIII, [42]
• Bolognese, Niccolò (Niccolò dell' [Arca])
• Boltraffio, Giovanni Antonio, IV, [105]
• Bonaccorso [Ghiberti]
• Bonano, I, [15], [16]
• Bonasone, Giulio, VI, [114]
• Bonifazio (of Venice), IX, [214]
• Bonifazio [Bembi]
• Bonsignori (Monsignori), Alberto, VI, [29]
• Bonsignori (Monsignori), Fra Cherubino, VI, [34]
• Bonsignori (Monsignori), Fra Girolamo, Life, VI, [34]-35; VIII, [42]
• Bonsignori (Monsignori), Francesco, Life, VI, [29]-35; III, [63]; IV, [60]; VI, [29]-35
• Bonvicini, Alessandro (Alessandro [Moretto])
• Bordone, Paris, IX, [178]-182
• Borghese (of Antwerp), IX, [269]
• Borghese, Piero (Piero della [Francesca], or Piero dal Borgo a San Sepolcro)
• Borgo, Giovan Paolo dal, X, [196]
• Borgo, Raffaello dal (Raffaello dal [Colle])
• Borgo a San Sepolcro, Giovan Maria dal, VI, [256]
• Borgo a San Sepolcro, Piero dal (Piero della [Francesca], or Borghese)
• Borro, Battista, IV, [262]; VIII, [178]
• Bosch, Hieronymus, VI, [118]; IX, [267]
• Bosco, Maso dal (Maso [Boscoli])
• Boscoli, Giovanni, IX, [156]
• Boscoli, Maso (Maso dal Bosco), V, [6]; IX, [55]
• Botticelli, Battista, VIII, [169]
• Botticelli, Sandro (Sandro di Botticello, or Alessandro Filipepi), Life, III, [247]-254; II, [190]; III, [86], [87], [188], [222], [247]-254; IV, [3], [4], [82]; VI, [91]
• Botticello, III, [247]
• Boyvin, René (Renato), VI, [115]
• Bozza, Girolamo (Bartolommeo Bozzato), IX, [183]
• Bozzacco (Brazzacco), VIII, [107]
• Bozzato, Bartolommeo (Girolamo [Bozza])
• Bramante da [Milano]
• Bramante da [Urbino]
• Bramantino (Bartolommeo Suardi), III, [18], [19]; IV, [217]; VIII, [52], [53]; IX, [190]
• Brambilari (Brambilla), Francesco, VIII, [55]
• Brandini, Baccio de' (Baccio [Bandinelli])
• Brazzacco ([Bozzacco])
• Brescia, Raffaello da (Raffaello [Brescianino], or de' Piccinelli)
• Brescianino, Girolamo (Girolamo Mosciano, or Muziano), VI, [114]; VIII, [50], [224]
• Brescianino, Raffaello (Raffaello da Brescia, or de' Piccinelli), VIII, [164]
• Bresciano, Gian Girolamo (Gian Girolamo Savoldo), VIII, [50]
• Bresciano, Jacopo (Jacopo de' Medici), IX, [206], [207], [223]
• Bresciano, Vincenzio (Vincenzio di Zoppa, or Foppa), II, [271]; III, [5]; IV, [51], [52], [56]
• Breuck, Jakob, IX, [269]
• Brini, Francesco, III, [214]
• Bronzi, Simone de' (Simone da [Colle])
• Bronzino, Agnolo, Life, X, [3]-12; IV, [179]; V, [127], [163]; VI, [118], [256]; VII, [29], [31], [113], [149], [158], [160], [163], [167], [168], [171], [172], [175], [176], [178], [182], [201]; VIII, [11], [12], [94], [153], [156], [179]; IX, [118], [125], [128], [133], [137], [252]; X, [3]-14, [219]
• Bronzino, Alessandro del (Alessandro [Allori])
• Brueghel, Pieter, IX, [267], [268]
• Bruges, Johann of (Jan van [Eyck])
• Bruges, Roger of (Roger van der [Weyden])
• Brugnuoli, Bernardino, VII, [226], [227], [233], [234]
• Brugnuoli, Luigi, VII, [229], [233]
• Brunelleschi, Filippo (Filippo di Ser Brunellesco), Life, II, [195]-236; I, [lii], [22], [23], [26], [48], [130]; II, [84]-86, [93], [95], [124], [139], [143]-147, [150], [159], [161], [183], [185], [188], [190], [195]-236, [240]-243, [259], [260]; III, [3], [12], [130], [196], [257], [271]; IV, [137], [185], [266]; VI, [68], [71]; VII, [87], [88], [167], [226]; VIII, [48]; IX, [43], [44], [133]; X, [47], [204]
• Bruno di [Giovanni]
• Brusciasorzi, Domenico (Domenico del Riccio), VI, [82]; VII, [236], [237]; VIII, [40], [41]
• Brusciasorzi, Felice (Felice del Riccio), VII, [237]
• Brussels, [Bernard] of
• Buda, Bernardo del (Bernardo Rosselli), V, [116]
• Buda, Girolamo del, VII, [56]
• Buffalmacco, Buonamico, Life, I, [135]-151; I, [50], [51], [135]-151, [170], [190], [191], [211]; II, [68]; X, [47]
• Buggiano, Il, II, [235]
• Bugiardini, Giuliano, Life, VII, [107]-113; II, [138]; IV, [154], [161], [170], [186]; VI, [183]; VII, [107]-113; VIII, [121]-123, [162]; IX, [29], [30], [95]
• Buglioni, Benedetto, III, [276]; IV, [155]
• Buglioni, Santi, III, [276]; VII, [29]; IX, [132]
• Buonaccorsi, Perino (Perino del [Vaga], or de' Ceri)
• Buonaiuti, Corsino, II, [26]
• Buonarroti, Michelagnolo, Life, IX, [3]-141; I, [xxvi], [xxxiv], [87]; II, [159], [162], [187], [190], [191], [221], [255], [261]; III, [86], [110], [140], [233]; IV, [41], [43], [48], [65], [66], [74], [84], [85], [101], [104], [145], [157], [186], [187], [199], [201], [204], [209], [212], [215], [223], [224], [242]-245, [259], [270]; V, [5], [6], [23], [43]-45, [58], [86], [111], [117], [128], [135], [165], [190], [194], [228], [245], [247], [261]; VI, [57], [59], [60], [66], [68], [78], [79], [85], [92], [107], [111], [113], [114], [129], [135], [136], [139], [140], [167], [174]-177, [183], [185], [191], [193], [195], [205], [218], [219], [222], [225], [236], [263]; VII, [10], [11], [14], [16], [28], [32], [44], [46], [48], [49], [57], [58], [61], [66]-68, [71], [72], [75], [77], [81], [98], [99], [107], [108], [110]-113, [151], [172], [173], [179], [194], [235]; VIII, [3]-5, [16], [25], [61], [73], [79], [82], [89], [91], [92], [95], [96], [116], [128], [134], [136]-138, [141], [146], [156], [162], [163], [170], [185], [188], [201]-204, [206]-209, [235], [259]; IX, [3]-141, [145], [153], [162], [170], [171], [187], [193]-195, [215], [216], [224], [231], [235], [236], [239], [246], [250], [251], [259]; X, [12]-17, [19], [24], [26], [31], [32], [46], [47], [172], [174], [175], [186]-190, [194], [206], [215], [220], [222]
• Buonconsigli, Giovanni, IV, [52], [60]
• Buonfiglio, Benedetto, IV, [17], [18]
• Buono, I, [14], [15]
• Buontalenti, Bernardo Timante, IX, [135]-137; X, [16]-18
• Buschetto, I, [liv], [lvi]; II, [80]
• Busto, Agostino (Il Bambaja), IV, [60]; V, [42], [43]; VIII, [54], [55]
• Butteri, Giovan Maria, IX, [131]; X, [13]

• Caccianimici, Francesco, V, [201]
• Caccianimici, Vincenzio, V, [255], [256]
• Cadore, Tiziano da (Tiziano [Vecelli])
• Calamech, Andrea, IX, [129]; X, [23]
• Calamech, Lazzaro, IX, [129]
• Calamis, II, [80]
• Calandrino, I, [135]
• Calavrese, Giovan Piero, VIII, [216]
• Calavrese, Marco (Marco Cardisco), Life, V, [237]-239; VIII, [91]
• Calcagni, Tiberio, VIII, [233]; IX, [83], [84], [98]-100
• Calcar, Johann of (Jan Stephanus van Calcker, or Giovanni Fiammingo), VI, [116]; IX, [178], [266]
• Caldara, Polidoro (Polidoro da [Caravaggio])
• Caliari, Paolo (Paolo Veronese), VI, [22], [27]; VII, [236]-240; VIII, [41], [42], [102]-104, [106], [107]; X, [20]
• Callicrates, III, [55]
• Calzolaio, Sandrino del, V, [161], [165]
• Camicia, Chimenti, Life, III, [92]-93
• Camilliani, Francesco, X, [24], [25]
• Camillo [Boccaccino]
• Camillo [Mantovano]
• Cammei, Domenico de', VI, [76]
• Campagnola, Girolamo, II, [138]; III, [279]; IV, [51], [55], [56]
• Campagnola, Giulio, IV, [51], [56], [57]
• Campi, Fra Ristoro da, I, [59]
• Campo, Antonio, VIII, [44], [45]
• Campo, Galeazzo, VIII, [44]
• Campo, Giulio, VIII, [41], [44], [45], [48], [49]
• Campo, Vincenzio, VIII, [44], [45]
• Canachus, II, [80]
• Canneri, Anselmo, VI, [22]
• Capanna (of Siena), III, [208]; V, [74]
• Capanna, Puccio, I, [85], [89]-91
• Caparra, Il (Niccolò [Grosso])
• Capocaccia, Mario, IX, [233]
• Caporali, Benedetto (Giovan Battista), IV, [48], [75], [76]
• Caporali, Giulio, IV, [48]
• Caradosso, IV, [23], [144]
• Caraglio, Giovanni Jacopo, Life, VI, [109], [110]; V, [194]; VI, [109], [110], [209]
• Caravaggio, Polidoro da (Polidoro Caldara), Life, V, [175]-185; IV, [83], [237]; V, [175]-185; VI, [177], [196]; VIII, [17], [218], [219]; IX, [170]; X, [174]
• Cardisco, Marco (Marco [Calavrese])
• Carigliano, Biagio da (Biagio [Betti])
• Carlo [Portelli] (Carlo da Loro)
• Carnovale da Urbino, Fra (Fra [Bartolommeo])
• Carota, Il (Antonio di Marco di Giano), I, [125]; VI, [213]; VII, [152]; IX, [51]
• Caroto, Giovan Francesco, Life, VI, [15]-21; IV, [60]; VI, [15]-21, [37]
• Caroto, Giovanni, Life, VI, [21]-22; VI, [15], [21]-22; VII, [238]
• Carpaccio (Scarpaccia), Vittore, Life, IV, [51]-61; IX, [210], [211]
• Carpi, Annibale da, VIII, [36]
• Carpi, Girolamo da (Girolamo da Ferrara), Life, VIII, [30]-36; V, [154]; VIII, [28]-36
• Carpi, Giulio da, VIII, [36]
• Carpi, Ugo da, IV, [233]; VI, [106], [107]
• Carrara, Antonio da, V, [8]
• Carrara, Danese da (Danese [Cattaneo])
• Carrucci, Jacopo (Jacopo da [Pontormo])
• Carso, Giovanni dal, VIII, [227]
• Cartoni, Niccolò (Niccolò Zoccolo), IV, [9], [10]
• Caselli ([Castelli]), Cristofano
• Casentino, Jacopo di, Life, II, [23]-26; I, [183], [185]; II, [23]-26, [29], [33], [83]; VIII, [153]
• Casignuola, Jacopo, IX, [238]
• Casignuola, Tommaso, IX, [238]
• Castagno, Andrea dal (Andrea degli Impiccati), Life, III, [97]-105; II, [190]; III, [97]-105, [109], [117], [173], [237], [239], [283]; IV, [82]; V, [116]; VI, [182]
• Castel Bolognese, Giovanni da (Giovanni [Bernardi])
• Castel della Pieve, Pietro da (Pietro [Perugino], or Vannucci)
• Castelfranco, Giorgione da, Life, IV, [109]-114; I, [xxxii]; III, [184]; IV, [82], [109]-114, [125]; V, [149], [228], [262]; VI, [23], [173], [174]; VIII, [29], [73], [74]; IX, [159]-162, [165], [179]
• Castellani, Leonardo, V, [238]
• Castelli (Caselli), Cristofano, VIII, [39]
• Castiglione, Bartolommeo da, VI, [152]
• Castrocaro, Gian Jacopo da, V, [50]
• Catanei, Piero, VI, [250]
• Catena, Vincenzio, IV, [52], [58]
• Catharina van [Hemessen]
• Cattaneo, Danese (Danese da Carrara), V, [135]; VI, [26]-28, [54]; VII, [228]; IX, [176], [204], [208]-210, [214], [223]; X, [20]
• Cavaliere, Battista del (Battista [Lorenzi])
• Cavalieri, Giovan Battista de', VI, [113]
• Cavalieri, Tiberio, VII, [50]
• Cavallini, Pietro, Life, I, [161]-164; I, [92], [161]-164
• Cavalori, Mirabello (Mirabello di [Salincorno])
• Cavazzuola, Paolo (Paolo Morando), Life, VI, [39]-42; VI, [15], [24], [25], [29], [39]-42, [50]
• Cecca, Life, III, [193]-200; III, [69], [193]-200
• Cecca, Girolamo della, III, [263]
• Cecchino del [Frate]
• Cellini, Baccio, III, [92], [263]
• Cellini, Benvenuto, V, [135]; VI, [86], [87]; VII, [93], [94], [96], [97], [99], [100]; VIII, [128]; IX, [51], [118], [125]; X, [21], [22]
• Cenni, Pasquino, II, [26]
• Cennini, Cennino di Drea, I, [177], [221], [222]; II [109]
• Ceraiuolo, Antonio del, IV, [280]; VIII, [65], [66]
• Ceri, Andrea de', VI, [190]-192, [201]
• Ceri, Perino de' (Perino del [Vaga], or Buonaccorsi)
• Cervelliera, Battista del, III, [12]; VI, [214], [247], [248]; VII, [256]
• Cesare [Bernazzano]
• Cesare [Cesariano]
• Cesare da [Sesto] (Cesare da Milano)
• Cesare del [Nebbia]
• Cesariano, Cesare, IV, [138]; IX, [190]
• Cesati, Alessandro (Il Greco), Life, VI, [85]
• Cherubino [Bonsignori] (Monsignori), Fra
• Chimenti [Camicia]
• Christus, Pieter, IX, [265]
• Cianfanini, Benedetto, IV, [162]
• Ciappino, IX, [51]
• Cicilia, Il, V, [8]
• Ciciliano, Angelo, VIII, [55]
• Ciciliano, Jacopo, IX, [98]
• Cicogna, Girolamo, VI, [22]
• Cieco, Niccolò, III, [233]
• Cimabue, Giovanni, Life, I, [3]-10; I, [xxiv], [xxxv], [lix], [3]-10, [20], [21], [29], [47], [50], [55], [56], [58], [63], [72], [74], [89], [94], [113], [117], [145], [174]; II, [25], [82], [161], [202]; III, [59]; IV, [77]; V, [177]; IX, [133]; X, [3], [47], [196]
• Cini, Simone, II, [36]
• Cinque, Battista del, VII, [12]; IX, [51]
• Cinuzzi, Vanni, II, [26]
• Cioli, Simone, V, [30]; VI, [133]; VII, [9], [10], [189]; VIII, [36]
• Cioli, Valerio, VIII, [35]; IX, [129], [140], [141]; X, [32]
• Cione, I, [103], [104]
• Ciuffagni, Bernardo, III, [7]
• Clara [Skeysers]
• Claudio (of Paris), V, [201]
• Claudio, Maestro, IV, [254], [255]
• Cleanthes, I, [xxxix]
• Cleef, Joost van, IX, [266]
• Clemente, Bartolommeo, IV, [60]
• Clemente, Prospero, VIII, [38], [39]
• Clemente [Bandinelli]
• Cleophantes, I, [xxxix]
• Clovio, Don Giulio, Life, IX, [245]-253; VI, [51], [54], [111], [264]; IX, [245]-253; X, [16]
• Cock, Hieronymus, Life, VI, [116]-120; VI, [108], [116]-120; IX, [266]
• Cock, Matthys, IX, [266]
• Coda, Bartolommeo, III, [184]
• Coda, Benedetto (Benedetto da Ferrara), III, [184]; V, [211], [212]
• Cola dalla [Matrice] (Niccola Filotesio)
• Colle, Raffaello dal (Raffaello dal Borgo), V, [140], [195], [196]; VI, [152], [169]; VII, [117], [118], [120], [128], [129], [201]; X, [7]
• Colle, Simone da (Simone de' Bronzi), II, [145], [146], [200]
• Collettaio, Ottaviano del, X, [33]
• Colonna, Jacopo, IX, [202], [203], [223]
• Como, Guido da, I, [48]
• Condivi, Ascanio (Ascanio dalla Ripa Transone), IX, [5], [107]
• Conigliano, Giovan Battista da, IV, [52], [58]
• Consiglio [Gherardi]
• Conte, Jacopo del, V, [119]; VIII, [95], [169], [181]; IX, [95], [152], [258], [260], [261]
• Conti, Domenico, V, [115], [119]; VII, [29]; VIII, [11]
• Contucci, Andrea (Andrea Sansovino), Life, V, [21]-31; III, [243]; IV, [5], [144], [186], [223], [270]; V, [21]-31, [43], [88]; VI, [66], [133]; VII, [5], [9], [61], [62], [187], [189]; VIII, [36], [114]; IX, [15], [40], [41], [187], [202], [216]
• Cordegliaghi, Giovanetto, IV, [52], [58], [59]
• Coriolano, Cristofano, VI, [120]
• Cornelis, Jan, IX, [266]
• Cornelis [Floris]
• Corniole, Giovanni delle, VI, [76], [84]
• Corniole, Nanni di Prospero delle, VIII, [162]
• Correggio, Antonio da, Life, IV, [117]-122; IV, [83], [117]-122, [125]; VIII, [30], [31], [34], [37], [217]; X, [187]
• Corsino [Buonaiuti]
• Corso, Jacopo del, III, [105]
• Cortona, Luca da (Luca [Signorelli])
• Cosimo, Andrea di (Andrea di Cosimo Feltrini), Life, V, [229]-233; III, [189]; IV, [129]; V, [221], [228]-233; VII, [13], [149]-152
• Cosimo, Piero di, Life, IV, [125]-134; III, [189]; IV, [125]-134; V, [86]; VII, [148]
• Cosimo (Jacopo) da [Trezzo]
• Cosimo [Rosselli]
• Cosini, Silvio (Silvio da Fiesole), V, [6]-8; VI, [210]; VIII, [55]
• Cosmè, II, [104]; III, [136]
• Costa, Ippolito, VIII, [41]
• Costa, Lorenzo, Life, III, [161]-164; III, [161]-164, [167]; VIII, [23], [25]
• Costa, Lorenzo (the younger), VIII, [228]
• Cotignola, Francesco da (Francesco de' Zaganelli) Life, V, [265]-266
• Cotignola, Girolamo da (Girolamo Marchesi), Life, V, [211]-212; V, [207], [211]-212
• Cousin, Jean (Giovanni [Cugini])
• Coxie, Michael (Michele), VI, [116], [178]; IX, [266]-268
• Cozzerello, Jacopo, III, [130]
• Crabeth, Wouter, IX, [269]
• Credi, Lorenzo di, Life, V, [49]-52; II, [190]; III, [274]; IV, [153], [186], [280]; V, [49]-52, [159]; VIII, [42], [65], [66]; IX, [190]
• Credi, Maestro, V, [49]
• Cremona, Geremia da, II, [236]; VIII, [48]
• Crescione, Giovan Filippo, V, [238]
• Cristofano, II, [104]; IV, [55]
• Cristofano, Agnolo di, V, [223]; VII, [70]
• Cristofano [Castelli] (Caselli)
• Cristofano [Coriolano]
• Cristofano dell' [Altissimo]
• Cristofano [Gherardi] (Doceno)
• Cristofano Gobbo (Cristofano [Solari])
• Cristofano Lombardi (Tofano [Lombardino])
• Cristofano [Rosa]
• Cristofano [Solari] (Cristofano Gobbo)
• Crocifissaio, Girolamo del (Girolamo [Macchietti])
• Cronaca, Il (Simone del Pollaiuolo), Life, IV, [265]-275; III, [260]; IV, [101], [265]-275; V, [22]; VI, [66], [70]
• Cugini, Giovanni (Jean Cousin), VI, [114]
• Cungi, Battista, VII, [121], [122], [124], [125]; X, [181], [187]
• Cungi, Leonardo, VI, [225]; VIII, [227]
• Cuticello (Giovanni Antonio [Licinio], or Pordenone)

• Daddi, Bernardo, II, [25], [26]
• Dalen, Jan van, IX, [269]
• Dalmasi, Lippo, II, [51]
• Danese [Cattaneo] (Danese da Carrara)
• Daniello da Parma (Daniello [Porri])
• Daniello da Volterra (Daniello [Ricciarelli])
• Daniello [Porri] (Daniello da Parma)
• Daniello [Ricciarelli] (Daniello da Volterra)
• Dante, Girolamo (Girolamo di Tiziano), IX, [183]
• Danti, Fra Ignazio, X, [28]-30
• Danti, Vincenzio, I, [36]; VII, [100]; IX, [128], [139]; X, [26]-28
• Dario da [Treviso]
• Davanzo, Jacopo (Jacopo [Avanzi])
• Davanzo, Jacopo (of Milan), IV, [60]
• David [Fortini]
• David [Ghirlandajo]
• David [Pistoiese]
• Delft, Simon van, IX, [269]
• Della Robbia family, V, [22]
• Dello, Life, II, [107]-110; II, [107]-110, [136]
• Dente, Marco (Marco da Ravenna), Life, VI, [102]-103; IV, [233]; VI, [102]-103, [106]; VII, [63]
• Desiderio da [Settignano]
• Diacceto, VIII, [161]
• Diamante, Fra, III, [83], [85]-87; IV, [3]
• Diana, Benedetto, IV, [52], [60]
• Diana [Mantovana] (Sculptore)
• Dierick Jacobsz [Vellaert]
• Dinant, Hendrik of, IX, [266]
• Dirk of [Haarlem]
• Dirk of [Louvain]
• Dirk van [Staren]
• Dirk [Volkaerts]
• Doceno (Cristofano [Gherardi])
• Domenico, Antonio di (Antonio di Donnino [Mazzieri])
• Domenico [Aimo] (Vecchio of Bologna)
• Domenico [Bartoli]
• Domenico [Beccafumi] (Domenico di Pace)
• Domenico [Beceri] (Domenico Benci)
• Domenico [Brusciasorzi] (Domenico del Riccio)
• Domenico [Conti]
• Domenico da Venezia (Domenico [Viniziano])
• Domenico dal Lago di [Lugano]
• Domenico dal [Monte Sansovino]
• Domenico de' [Cammei]
• Domenico del [Barbiere]
• Domenico del Riccio (Domenico [Brusciasorzi])
• Domenico del [Tasso]
• Domenico di Baccio d'[Agnolo]
• Domenico di [Mariotto]
• Domenico di [Michelino]
• Domenico di Pace (Domenico [Beccafumi])
• Domenico di [Paris]
• Domenico di [Polo]
• Domenico [Ghirlandajo]
• Domenico [Giuntalodi]
• Domenico [Morone]
• Domenico [Panetti]
• Domenico [Pecori]
• Domenico [Poggini]
• Domenico [Pucci]
• Domenico [Puligo]
• Domenico [Romano]
• Domenico [Viniziano] (Domenico da Venezia)
• Domenicus [Lampsonius]
• Don Bartolommeo della [Gatta] (Abbot of S. Clemente)
• Don Giulio [Clovio]
• Don [Jacopo]
• Don Lorenzo [Monaco] (Don Lorenzo degli Angeli)
• Don [Silvestro]
• Donato (Donatello), Life, II, [239]-255; I, [48], [130], [178]; II, [72], [86], [93], [95], [101], [109], [113]-115, [120], [121], [123], [126], [132], [133], [138]-140, [143]-147, [151], [161], [183], [185], [188], [197], [199]-204, [213], [225], [239]-255, [259], [260], [270]; III, [3], [6], [73], [74], [117], [131], [144], [147], [148], [269], [270], [273]; IV, [52], [152], [185]; V, [23]; VI, [220]; VII, [30], [56], [57], [62]; VIII, [113]; IX, [8], [10], [111], [133], [138], [169]; X, [22], [47]
• Doni, Adone, VII, [128]; IX, [261]
• Donnino, Agnolo di, III, [189], [190]; V, [38]; IX, [29], [30]
• Donzello, Piero del, III, [13]
• Donzello, Polito del, III, [13], [14]
• Dossi, Battista, Life, V, [139]-141; VII, [201]; VIII, [25], [26]
• Dossi, Dosso, Life, V, [139]-141; III, [164]; V, [139]-141; VII, [201]; VIII, [25], [26], [33], [56]; IX, [163]
• Duca Tagliapietra, III, [169]
• Duccio, Life, II, [9]-11; III, [6]; VI, [245]
• Durante del [Nero]
• Dürer, Albrecht, Life, VI, [92]-98; III, [214]; IV, [232]; V, [96]; VI, [92]-99, [102], [119], [165]; VII, [163], [164], [166]; IX, [163], [246], [265], [271]

• Eliodoro [Forbicini]
• Enea [Vico]
• Ercole [Ferrarese] (Ercole da Ferrara)
• Erion, II, [80]
• Europa [Anguisciuola]
• Eusebio [San Giorgio]
• Eyck, Hubert van, IX, [265]
• Eyck, Jan van (Johann of Bruges), III, [60]-62, [64]; IX, [265], [266]

• Fabbro, Pippo del, VII, [5]; IX, [192]
• Fabiano di Stagio [Sassoli]
• Fabius, I, [xl]
• Fabriano, Gentile da, Life, III, [109]-113; II, [187]; III, [35], [109]-113, [173]
• Fabrizio [Viniziano]
• Facchino, Giuliano del, III, [239]
• Faenza, Figurino da, VI, [169]
• Faenza, Jacopone da, VIII, [217]; IX, [154]
• Faenza, Marco da (Marco [Marchetti])
• Faenza, Ottaviano da, I, [91]
• Faenza, Pace da, I, [91]
• Fagiuoli, Girolamo, V, [250]; VI, [87], [276]; VIII, [171]
• Falconetto, Alessandro, VI, [47], [48]
• Falconetto, Giovan Maria, Life, VI, [43]-48; VI, [22], [29], [42]-48
• Falconetto, Giovanni Antonio (the elder), VI, [42]
• Falconetto, Giovanni Antonio (the younger), VI, [42], [43]
• Falconetto, Jacopo, VI, [42], [43]
• Falconetto, Ottaviano, VI, [47], [48]
• Falconetto, Provolo, VI, [47], [48]
• Falconi, Bernardo Nello di Giovanni, I, [197]
• Fallaro, Jacopo, IX, [214]
• Fancelli, Giovanni (Giovanni di Stocco), VII, [97]; X, [33]
• Fancelli, Luca, II, [227]; III, [47]
• Fancelli, Salvestro, III, [47]
• Fano, Pompeo da, VIII, [215]
• Fantuzzi, Antonio (Antonio da [Trento])
• Farinato, Battista (Battista da Verona), VII, [237], [238]; VIII, [107]; IX, [214]; X, [20]
• Farinato, Paolo, VII, [236], [240], [241]; VIII, [41]
• Fattore, Il (Giovan Francesco [Penni])
• Federigo [Barocci]
• Federigo di [Lamberto] (Federigo Fiammingo, or Del Padovano)
• Federigo [Zucchero]
• Fei, Alessandro di Vincenzio (Alessandro del Barbiere), X, [20]
• Felice [Brusciasorzi] (Felice del Riccio)
• Feliciano da [San Vito]
• Feltrini, Andrea di Cosimo (Andrea di [Cosimo])
• Feltro, Morto da, Life, V, [227]-229; V, [227]-230
• Fermo [Ghisoni]
• Ferrara, Antonio da, I, [221]
• Ferrara, Benedetto da (Benedetto [Coda])
• Ferrara, Ercole da (Ercole [Ferrarese])
• Ferrara, Girolamo da (Girolamo da [Carpi])
• Ferrara, Stefano da, III, [285], [286]; IV, [56]
• Ferrarese, Ercole (Ercole da Ferrara), Life, III, [167]-170; III, [164], [167]-170; IV, [82]
• Ferrarese, Galasso (Galasso [Galassi])
• Ferrarese, Girolamo (Girolamo [Lombardo])
• Ferrari, Gaudenzio, V, [81]; VIII, [56]
• Ferrucci, Andrea (Andrea da [Fiesole])
• Ferrucci, Francesco (Francesco del [Tadda])
• Ferrucci, Francesco di Simone, III, [273]; V, [3]
• Fiacco (or Flacco), Orlando, Life, VI, [28]
• Fiammeri, Battista di Benedetto, IX, [126]; X, [23]
• Fiammingo, Federigo (Federigo di [Lamberto], or Del Padovano)
• Fiammingo, Giorgio, IX, [269]
• Fiammingo, Giovanni (Johann of [Calcar], or Jan Stephanus van Calcker)
• Fiesole, Andrea da (Andrea Ferrucci), Life, V, [3]-8; V, [3]-8, [11]; VII, [4]; VIII, [133]
• Fiesole, Fra Giovanni da (Fra [Angelico])
• Fiesole, Maestro Giovanni da, VI, [210]
• Fiesole, Mino da (Mino di Giovanni,) Life, III, [153]-157
• Fiesole, Silvio da (Silvio [Cosini])
• Fiesole, Simone da, IX, [15], [16]
• Figurino da [Faenza]
• Filarete, Antonio, Life, III, [3]-7; II, [159], [270]; III, [3]-7, [47], [92]; IV, [56]; VIII, [48]
• Filipepi, Alessandro (Sandro [Botticelli], or di Botticello)
• Filippino (Filippo [Lippi])
• Filippo [Brunelleschi] (Filippo di Ser Brunellesco)
• Filippo di Baccio d'[Agnolo]
• Filippo di Ser Brunellesco (Filippo [Brunelleschi])
• Filippo [Lippi] (Filippino)
• Filippo [Lippi], Fra
• Filippo [Negrolo]
• Filotesio, Niccola (Cola dalla [Matrice])
• Finiguerra, Maso, III, [238]; VI, [91]
• Fiorentino, Antonio, II, [236]
• Fiorentino, Francesco, II, [58]
• Fiorentino, Niccolò, II, [236]
• Fiorini, Giovan Battista, VIII, [229]
• Fivizzano, IV, [29]
• Flacco (or [Fiacco]), Orlando
• Flore, Jacobello de, IV, [51], [55]
• Flori, Bastiano, X, [187], [196]
• Floriani, Antonio, V, [148], [149]
• Floriani, Francesco, V, [148], [149]
• Florigorio, Bastianello (Sebastiano Florigerio), V, [148]
• Floris, Cornelis, IX, [269]
• Floris, Franz (Franz de Vrient), VI, [119], [120]; IX, [267]-270
• Foccora, Giovanni, III, [7]
• Fontana, Prospero, V, [213]; VIII, [220]; IX, [147], [148], [150]-152; X, [20]
• Fonte, Jacopo della (Jacopo della [Quercia])
• Foppa, Vincenzio (Vincenzio di Zoppa, or Vincenzio [Bresciano])
• Forbicini, Eliodoro, VII, [237]
• Forlì, Francesco da (Francesco [Menzochi])
• Forlì, Guglielmo da, I, [92]
• Forlì, Livio da (Livio Agresti), VIII, [188], [229]; IX, [155]
• Forlì, Melozzo da, III, [124]
• Fortini, David, VII, [37]
• Fortori, Alessandro, X, [20]
• Forzore di [Spinello]
• Foschi, Fra Salvadore, X, [196]
• Fra [Angelico] (Fra Giovanni da Fiesole)
• Fra [Antonio]
• Fra [Bartolommeo] (Fra Carnovale da Urbino)
• Fra Bartolommeo di [San Marco] (Baccio della Porta)
• Fra Carnovale da Urbino (Fra [Bartolommeo])
• Fra Cherubino [Bonsignori] (Monsignori)
• Fra Damiano da [Bergamo]
• Fra [Diamante]
• Fra Filippo [Lippi]
• Fra [Giocondo]
• Fra [Giovanni]
• Fra Giovanni Agnolo [Montorsoli]
• Fra Giovanni da Fiesole (Fra [Angelico])
• Fra Giovanni da [Verona]
• Fra Giovanni [Vincenzio]
• Fra Girolamo [Bonsignori] (Monsignori)
• Fra Guglielmo della [Porta] (Guglielmo Milanese)
• Fra Ignazio [Danti]
• Fra Jacopo da [Turrita]
• Fra Paolo [Pistoiese]
• Fra Ristoro da [Campi]
• Fra Salvadore [Foschi]
• Fra Sebastiano Viniziano del [Piombo] (Sebastiano Luciani)
• Francesca, Piero della (Piero Borghese, or Piero dal Borgo a San Sepolcro), Life, III, [17]-23; III, [17]-23, [51], [52], [101], [135]; IV, [71], [82], [216]; VIII, [52]
• Francesco, Maestro, IV, [142]
• Francesco, Mariotto di, V, [231]-233
• Francesco (called di Maestro Giotto), I, [91]
• Francesco [Bonsignori] (Monsignori)
• Francesco [Brambilari] (Brambilla)
• Francesco [Brini]
• Francesco [Caccianimici]
• Francesco [Camilliani]
• Francesco da [Cotignola] (Francesco de' Zaganelli)
• Francesco da Forlì (Francesco [Menzochi])
• Francesco da [Melzo]
• Francesco da Poppi (Francesco [Morandini])
• Francesco da [San Gallo]
• Francesco da [Siena]
• Francesco da [Volterra]
• Francesco dai [Libri] (the elder)
• Francesco dai [Libri] (the younger)
• Francesco d' Albertino (Francesco [Ubertini], or Il Bacchiacca)
• Francesco de' Rossi (Francesco [Salviati])
• Francesco de' Zaganelli (Francesco da [Cotignola])
• Francesco del [Tadda] (Francesco Ferrucci)
• Francesco della [Luna]
• Francesco dell' [Indaco]
• Francesco di [Giorgio]
• Francesco di Girolamo dal [Prato]
• Francesco di [Mirozzo] (Melozzo)
• Francesco di Pesello (Francesco [Peselli], or Pesellino)
• Francesco di Simone [Ferrucci]
• Francesco di [Valdambrina]
• Francesco Ferrucci (Francesco del [Tadda])
• Francesco [Fiorentino]
• Francesco [Floriani]
• Francesco [Francia]
• Francesco [Giamberti]
• Francesco [Granacci] (Il Granaccio)
• Francesco [Marcolini]
• Francesco [Masini], Messer
• Francesco [Mazzuoli] (Parmigiano)
• Francesco [Menzochi] (Francesco da Forlì)
• Francesco Monsignori ([Bonsignori])
• Francesco [Morandini] (Francesco da Poppi)
• Francesco [Morone]
• Francesco [Moschino]
• Francesco of Orleans, V, [201]
• Francesco [Peselli] (Francesco di Pesello, or Pesellino)
• Francesco [Primaticcio]
• Francesco [Ricchino]
• Francesco [Salviati] (Francesco de' Rossi)
• Francesco [Sant' Agnolo]
• Francesco [Traini]
• Francesco [Turbido] (Il Moro)
• Francesco [Ubertini] (Francesco d'Albertino, or Il Bacchiacca)
• Francesco [Verbo] (Verlo)
• Franci, Marc' Antonio de' (Marc' Antonio [Bolognese], or Raimondi)
• Francia ([Franciabigio])
• Francia, Francesco, Life, IV, [23]-29; IV, [23]-29, [82]; VI, [95]; VIII, [23]; IX, [26], [27]
• Francia, Piero, IX, [130]
• Franciabigio (Francia), Life, V, [217]-223; II, [190]; IV, [170]; V, [86]-89, [91], [93], [101], [103], [104], [217]-223, [231], [232]; VII, [70], [157], [171]; VIII, [5]; IX, [20]
• Francione, IV, [191], [192]
• Franco, Battista (Battista Semolei), Life, VIII, [89]-101; VI, [108], [114], [156]; VII, [28], [29], [203]; VIII, [12], [67], [68], [89]-101, [181], [219], [230]; IX, [199], [205], [217]
• Franco [Bolognese]
• Francucci, Innocenzio (Innocenzio da [Imola])
• Franz [Floris] (Franz de Vrient)
• Franz [Mostaert]
• Franzese, Giovanni, IX, [88]
• Frate, Cecchino del, IV, [162]
• Fredi, Bartolo di Maestro, II, [61]
• Fuccio, I, [30], [31]

• Gabriele [Giolito]
• Gabriele [Rustici]
• Gabriello [Saracini]
• Gaddi family, X, [47]
• Gaddi, Agnolo, Life, I, [217]-223; I, [185], [186], [217]-223; II, [15], [25]; IV, [52], [54]
• Gaddi, Gaddo, Life, I, [55]-58; I, [50], [55]-58, [177], [186], [217], [219], [221]
• Gaddi, Giovanni, I, [185], [186], [217], [221]
• Gaddi, Taddeo, Life, I, [177]-186; I, [57], [58], [81], [88], [89], [129], [177]-186, [217], [218], [221], [222]; II, [23], [56], [83], [199], [240]; IX, [133]
• Gaddo [Gaddi]
• Galante da [Bologna]
• Galassi, Galasso (Galasso Ferrarese), Life, III, [135]-136; II, [104]; III, [135]-136; IV, [55]
• Galasso (of Ferrara), VIII, [36]
• Galeazzo [Alessi]
• Galeazzo [Campo]
• Galeazzo [Mondella]
• Galeotto, Pietro Paolo, VI, [87]; VII, [152]; IX, [233]
• Galieno, IV, [179]
• Galle, Philip, IX, [270]
• Gambara, Lattanzio, VIII, [42], [45], [49], [50]
• Garbo, Raffaellino del, Life, IV, [175]-179; IV, [6], [9], [175]-179
• Garofalo, Benvenuto (Benvenuto Tisi), Life, VIII, [24]-29; VIII, [24]-30, [33], [34]; IX, [202]
• Gasparo [Misuroni] (Misceroni)
• Gatta, Don Bartolommeo della (Abbot of S. Clemente), Life, III, [203]-209; III, [188], [203]-209; IV, [41], [82], [216], [217]; VI, [255]
• Gatti, Bernardo de' (Bernardo [Soiaro])
• Gaudenzio [Ferrari]
• Genga, Bartolommeo, Life, VII, [206]-210; VII, [203], [204], [206]-210; VIII, [92], [96]-98
• Genga, Girolamo, Life, VII, [199]-206; V, [15], [16], [140]; VII, [199]-208, [210], [211]; VIII, [140], [171]; X, [33]
• Gensio [Liberale]
• Gentile [Bellini]
• Gentile da [Fabriano]
• Georg [Pencz]
• Gerard, IX, [268]
• Geremia da [Cremona]
• Geri [Aretino]
• Gerino [Pistoiese] (Gerino da Pistoia)
• Ghent, Justus of, IX, [265]
• Gherardi, Consiglio, II, [26]
• Gherardi, Cristofano (Doceno), Life, VII, [117]-143; IX, [261]; X, [183], [187], [208]
• Gherardo (of Florence), Life, III, [213]-215; III, [209], [213]-215, [232]; IV, [36]; VI, [92]; IX, [182]
• Gherardo [Starnina]
• Ghiberti, Bartoluccio, II, [144]-146, [155], [161], [162]; III, [237], [238]
• Ghiberti, Bonaccorso, II, [160]
• Ghiberti, Lorenzo (Lorenzo di Bartoluccio Ghiberti, or Lorenzo di Cione Ghiberti), Life, II, [143]-162; I, [87], [112], [127], [130]; II, [4], [9], [86], [95], [143]-162, [165], [171], [183], [200], [201], [204], [213]-218, [234]; III, [3], [237], [238], [269], [270]; IX, [114]; X, [47], [222]
• Ghiberti, Vittorio, II, [160], [162]
• Ghirlandajo, Benedetto, Life, VIII, [59]-60; III, [222], [229], [233]; VI, [57]; VIII, [59]-60
• Ghirlandajo, David, Life, VIII, [59]-60; III, [222], [225], [229]-231, [233]; VI, [57]; VIII, [59]-60, [63], [64]; IX, [5], [6], [182]
• Ghirlandajo, Domenico, Life, III, [219]-233; I, [112], [126], [189]; II, [190]; III, [69], [70], [188], [213], [215], [219]-233, [248]; IV, [36], [65], [82], [279]; VI, [57], [58], [191]; VII, [108], [147]; VIII, [59]-61, [63], [64], [66]; IX, [5]-9, [182]; X, [222]
• Ghirlandajo, Michele di Ridolfo, V, [165]; VII, [28]; VIII, [66]-69, [153], [156]; IX, [130]; X, [15]
• Ghirlandajo, Ridolfo, Life, VIII, [60]-69; I, [125]; II, [185], [190]; III, [233]; IV, [169], [212], [216], [279]-281; V, [220], [231]; VI, [191], [192]; VII, [28], [31], [155], [156]; VIII, [3], [5], [60]-69, [93]-95; IX, [20]; X, [15]
• Ghirlandajo, Tommaso, III, [219]
• Ghisi (Mantovano), Giorgio, VI, [113], [118]
• Ghisoni, Fermo, III, [164]; VI, [34], [167], [169]; VIII, [40]-42
• Giacomo [Marzone]
• Giamberti, Francesco, IV, [134], [191]
• Gian (Giovan) [Barile]
• Gian [Barile] (of Florence)
• Gian Cristoforo, III, [92]
• Gian Domenico [Bersuglia]
• Gian Girolamo [Bresciano] (Gian Girolamo Savoldo)
• Gian Girolamo [San Michele]
• Gian Girolamo Savoldo (Gian Girolamo [Bresciano])
• Gian Jacopo da [Castrocaro]
• Gian Maria da [Milano]
• Gian Maria [Verdezotti]
• Gian Niccola, IV, [47], [48]
• Giannuzzi, Giulio Pippi de' (Giulio [Romano])
• Giannuzzi, Raffaello Pippi de', VI, [168]
• Giano, Antonio di Marco di (Il [Carota])
• Gilis [Mostaert]
• Giocondo, Fra, Life, VI, [3]-11; IV, [145]; VI, [3]-11, [28], [47], [126]
• Giolfino, Niccolò (Niccolò Ursino), VII, [240]
• Giolito, Gabriele, VI, [115]
• Giomo del [Sodoma]
• Giorgio, Francesco di, Life, III, [129]-131; II, [10], [85]; III, [129]-131
• Giorgio [Fiammingo]
• Giorgio Mantovano ([Ghisi])
• Giorgio [Vasari]
• Giorgio [Vasari] (son of Lazzaro Vasari, the elder)
• Giorgione da [Castelfranco]
• Giottino, Tommaso (or Maso), Life, I, [203]-208; I, [112], [203]-208; II, [83]
• Giotto, Life, I, [71]-94; I, [7]-9, [25], [39], [50], [51], [57], [63], [71]-94, [99], [109], [111]-113, [117], [118], [123]-127, [161], [162], [168], [170], [174], [177], [178], [180], [182], [184]-186, [190], [203]-205, [222]; II, [23], [30], [35], [37], [73], [80]-83, [86], [120], [131], [139], [147], [150], [161], [162], [166], [171], [195], [202], [250], [262]; III, [59], [259]; IV, [80]; V, [21]; VI, [114], [202], [219], [220], [235]; VIII, [82], [153]; IX, [3], [119], [133], [182]; X, [47], [191], [221], [222]
• Giovan (Gian) [Barile]
• Giovan Battista [Bellucci] (Giovan Battista San Marino)
• Giovan Battista [Bertano]
• Giovan Battista (Benedetto) [Caporali]
• Giovan Battista da [Bagnacavallo]
• Giovan Battista da [Conigliano]
• Giovan Battista de' [Cavalieri]
• Giovan Battista de' Rossi (Il [Rosso])
• Giovan Battista [Fiorini]
• Giovan Battista [Grassi]
• Giovan Battista [Ingoni]
• Giovan Battista [Mantovano] (Sculptore)
• Giovan Battista [Peloro]
• Giovan Battista [Rosso] (or Rosto)
• Giovan Battista San Marino (Giovan Battista [Bellucci])
• Giovan Battista Sculptore ([Mantovano])
• Giovan Battista [Sozzini]
• Giovan [Bologna]
• Giovan Filippo [Crescione]
• Giovan Francesco [Bembo] (or Vetraio)
• Giovan Francesco [Caroto]
• Giovan Francesco da [San Gallo]
• Giovan Francesco [Penni] (Il Fattore)
• Giovan Francesco [Rustici]
• Giovan Francesco Vetraio (or [Bembo])
• Giovan Jacomo della [Porta]
• Giovan Maria [Butteri]
• Giovan Maria dal [Borgo a San Sepolcro]
• Giovan Maria [Falconetto]
• Giovan Maria [Pichi]
• Giovan Paolo dal [Borgo]
• Giovan Paolo [Poggini]
• Giovan Paolo [Rossetti]
• Giovan Piero [Calavrese]
• Giovanetto [Cordegliaghi]
• Giovanni (Lo Spagna), IV, [46], [47]
• Giovanni (of Vicenza), IX, [211]
• Giovanni (the Fleming), VIII, [74]
• Giovanni, Antonio di (Solosmeo da [Settignano])
• Giovanni, Bruno di, I, [135], [145], [147], [148], [191]
• Giovanni, Fra, I, [59]
• Giovanni, Maestro, IV, [260]
• Giovanni, Mino di (Mino da [Fiesole])
• Giovanni Agnolo [Montorsoli], Fra
• Giovanni Antonio [Bazzi] (Il Sodoma)
• Giovanni Antonio [Boltraffio]
• Giovanni Antonio de' [Rossi]
• Giovanni Antonio [Falconetto] (the elder)
• Giovanni Antonio [Falconetto] (the younger)
• Giovanni Antonio [Lappoli]
• Giovanni Antonio [Licinio] (Cuticello, or Pordenone)
• Giovanni Antonio [Sogliani]
• Giovanni [Baldini]
• Giovanni Battista [Veronese]
• Giovanni [Bellini]
• Giovanni [Bernardi] (Giovanni da Castel Bolognese)
• Giovanni [Boccalino] (Giovanni Ribaldi)
• Giovanni [Boscoli]
• Giovanni [Buonconsigli]
• Giovanni [Caroto]
• Giovanni [Cimabue]
• Giovanni [Cugini] (Jean Cousin)
• Giovanni da [Asciano]
• Giovanni da Castel Bolognese (Giovanni [Bernardi])
• Giovanni da Fiesole, Fra (Fra [Angelico])
• Giovanni da [Fiesole], Maestro
• Giovanni da [Lione]
• Giovanni da [Milano]
• Giovanni da [Nola]
• Giovanni da [Pistoia]
• Giovanni da [Rovezzano]
• Giovanni da Santo Stefano a Ponte (Giovanni dal [Ponte])
• Giovanni da [Udine] (Giovanni Martini)
• Giovanni da [Udine] (Giovanni Nanni, or de' Ricamatori)
• Giovanni da [Verona], Fra
• Giovanni dal [Carso]
• Giovanni dal [Ponte] (Giovanni da Santo Stefano a Ponte)
• Giovanni de' Ricamatori (Giovanni da [Udine], or Nanni)
• Giovanni de' [Santi]
• Giovanni dell' Opera (Giovanni di Benedetto [Bandini])
• Giovanni della [Robbia]
• Giovanni delle [Corniole]
• Giovanni di Baccio (Nanni di Baccio [Bigio])
• Giovanni di Benedetto [Bandini] (Giovanni dell' Opera)
• Giovanni di [Goro]
• Giovanni [Fancelli] (Giovanni di Stocco)
• Giovanni Fiammingo (Johann of [Calcar], or Jan Stephanus van Calcker)
• Giovanni [Foccora]
• Giovanni [Franzese]
• Giovanni [Gaddi]
• Giovanni Jacopo [Caraglio]
• Giovanni [Mangone]
• Giovanni [Mansueti]
• Giovanni Martini (Giovanni da [Udine])
• Giovanni Nanni (Giovanni da [Udine], or de' Ricamatori)
• Giovanni [Pedoni]
• Giovanni [Pisano]
• Giovanni Ribaldi (Giovanni [Boccalino])
• Giovanni [Rosto] (or Rosso)
• Giovanni [San Michele]
• Giovanni [Speranza]
• Giovanni Strada (Jan van der [Straet])
• Giovanni [Tossicani]
• Giovanni [Turini]
• Giovanni [Vincenzio], Fra
• Girolamo, V, [60]
• Girolamo [Bonsignori] (Monsignori), Fra
• Girolamo [Bozza] (Bartolommeo Bozzato)
• Girolamo [Brescianino] (Girolamo Mosciano, or Muziano)
• Girolamo [Campagnola]
• Girolamo [Cicogna]
• Girolamo da [Carpi] (Girolamo da Ferrara)
• Girolamo da [Cotignola] (Girolamo Marchesi)
• Girolamo da Ferrara (Girolamo da [Carpi])
• Girolamo da Sermoneta (Girolamo [Siciolante])
• Girolamo da [Treviso] (Girolamo Trevigi)
• Girolamo dai [Libri]
• Girolamo dal [Prato]
• Girolamo [Dante] (Girolamo di Tiziano)
• Girolamo del [Buda]
• Girolamo del Crocifissaio (Girolamo [Macchietti])
• Girolamo del [Pacchia]
• Girolamo della [Cecca]
• Girolamo della [Robbia]
• Girolamo di Tiziano (Girolamo [Dante])
• Girolamo [Fagiuoli]
• Girolamo Ferrarese (Girolamo [Lombardo])
• Girolamo [Genga]
• Girolamo [Lombardo] (Girolamo Ferrarese)
• Girolamo [Macchietti] (Girolamo del Crocifissaio)
• Girolamo Marchesi (Girolamo da [Cotignola])
• Girolamo [Mazzuoli]
• Girolamo [Miruoli]
• Girolamo [Misuroni] (Misceroni)
• Girolamo Mocetto (or [Moretto])
• Girolamo Monsignori ([Bonsignori]), Fra
• Girolamo [Moretto] (or Mocetto)
• Girolamo Mosciano (Girolamo Muziano, or [Brescianino])
• Girolamo [Padovano]
• Girolamo [Pironi]
• Girolamo [Romanino]
• Girolamo [Santa Croce]
• Girolamo [Siciolante] (Girolamo da Sermoneta)
• Girolamo Trevigi (Girolamo da [Treviso])
• Giromin [Morzone]
• Giugni, Rosso de', VI, [87]
• Giuliano [Bugiardini]
• Giuliano da [Maiano]
• Giuliano da [San Gallo]
• Giuliano del [Facchino]
• Giuliano del [Tasso]
• Giuliano di Baccio d'[Agnolo]
• Giuliano di Niccolò [Morelli]
• Giuliano [Leno]
• Giulio [Bonasone]
• Giulio [Campagnola]
• Giulio [Campo]
• Giulio [Caporali]
• Giulio [Clovio], Don
• Giulio da [Carpi]
• Giulio da [Urbino]
• Giulio [Mazzoni]
• Giulio [Romano] (Giulio Pippi de' Giannuzzi)
• Giuntalodi, Domenico, VI, [273]-279
• Giuseppe del Salviati (Giuseppe [Porta])
• Giuseppe Niccolò (Joannicolo) [Vicentino]
• Giuseppe [Porta] (Giuseppe del Salviati)
• Giusto, III, [11]
• Giusto (of Padua), IV, [51], [56]
• Gobbo, Andrea del, IV, [122]
• Gobbo, Battista (Battista da [San Gallo])
• Gobbo, Cristofano (Cristofano [Solari])
• Goro, Giovanni di, VI, [206]; VII, [69]
• Gossart, Jean, IX, [267]
• Gotti, Baccio, IV, [280]
• Gozzoli, Benozzo, Life, III, [121]-125; III, [35], [121]-125, [161]; VI, [246]; X, [47]
• Grà, Marco da, VIII, [55]
• Graffione, III, [70]
• Granacci, Francesco (Il Granaccio), Life, VI, [57]-61; II, [190]; III, [233]; IV, [4], [169], [186]; V, [97], [98], [231]; VI, [57]-61, [66]; VII, [108]; VIII, [5], [59], [60], [121]; IX, [5], [6], [8], [20], [29], [30]
• Grassi, Giovan Battista, V, [148]
• Greco, Il (Alessandro [Cesati])
• Grimmer, Jakob, IX, [268]
• Grosso, Nanni, III, [273]
• Grosso, Niccolò (Il Caparra), IV, [268], [269]
• Gualtieri (the Fleming), VIII, [231]
• Guardia, Niccolò della, III, [92]
• Guazzetto, Il (Lorenzo Naldino), V, [201]; VIII, [119], [127]-129
• Gucci, Lapo, II, [26]
• Guerriero da [Padova]
• Guerrini, Rocco, IX, [242]
• Guglielmo, I, [15], [31]
• Guglielmo da [Forlì]
• Guglielmo da [Marcilla] (Guillaume de Marcillac)
• Guglielmo della [Porta], Fra (Guglielmo Milanese)
• Guglielmo [Tedesco]
• Guido [Bolognese]
• Guido da [Como]
• Guido del [Servellino]
• Guido [Mazzoni] (Modanino da Modena)
• Guillaume de Marcillac (Guglielmo da [Marcilla])
• Gyges the Lydian (fable), I, [xxxix]

• Haarlem, Dirk of, IX, [266]
• Haeck, Jan, IX, [269]
• Hans [Beham]
• Hans [Bol]
• Hans [Liefrinck]
• Hans [Memling] (Ausse)
• Heemskerk, Martin, VI, [116]; VIII, [90], [91]; IX, [266]
• Heinrich (Albrecht) [Aldegrever]
• Heinrich [Paludanus] (Arrigo)
• Hemessen, Catharina van, IX, [269]
• Hemessen, Jan van, IX, [266], [269]
• Hendrik of [Dinant]
• Hieronymus [Bosch]
• Hieronymus [Cock]
• Holland, Lucas of (Lucas van [Leyden])
• Horebout, Lucas, IX, [268]
• Horebout, Susanna, IX, [268], [269]
• Hubert van [Eyck]
• Hugo of [Antwerp]

• Ignazio [Danti], Fra
• Il Bacchiacca (Francesco [Ubertini], or d'Albertino)
• Il Bambaja (Agostino [Busto])
• Il Bassiti (Marco [Basaiti], or Basarini)
• Il [Buggiano]
• Il Caparra (Niccolò [Grosso])
• Il [Carota] (Antonio di Marco di Giano)
• Il [Cicilia]
• Il [Cronaca] (Simone del Pollaiuolo)
• Il Fattore (Giovan Francesco [Penni])
• Il Granaccio (Francesco [Granacci])
• Il Greco (Alessandro [Cesati])
• Il [Guazzetto] (Lorenzo Naldino)
• Il Modena (Antonio [Begarelli])
• Il Moro (Francesco [Turbido])
• Il [Pistoia] (Leonardo)
• Il [Rosso] (Giovan Battista de' Rossi)
• Il Sodoma (Giovanni Antonio [Bazzi])
• Ilarione [Ruspoli]
• Imola, Innocenzio da (Innocenzio Francucci), Life, V, [212]-213; IV, [170]; V, [207], [209], [212]-213
• Impiccati, Andrea degli (Andrea dal [Castagno])
• Indaco, Francesco dell', IV, [66], [67]; VI, [126]; VIII, [202]
• Indaco, Jacopo dell', Life, IV, [65]-67; III, [233]; IV, [65]-67; IX, [29], [30]
• India, Bernardino, VII, [237]
• Ingoni, Giovan Battista, VIII, [37], [38]
• Innocenzio da [Imola] (Innocenzio Francucci)
• Ippolito [Costa]
• Irene di [Spilimbergo]

• Jacobello, I, [105]
• Jacobello de [Flore]
• Jacomo [Melighino] (Jacopo Melighini)
• Jacone (Jacopo), V, [119]; VII, [176]; VIII, [16]-19
• Jacopo (pupil of Sandro Botticelli), III, [251], [252]
• Jacopo, Don, II, [57]
• Jacopo [Avanzi] (Jacopo Davanzo)
• Jacopo [Barozzi] (Vignuola)
• Jacopo [Bellini]
• Jacopo [Bresciano] (Jacopo de' Medici)
• Jacopo Carrucci (Jacopo da [Pontormo])
• Jacopo [Casignuola]
• Jacopo [Ciciliano]
• Jacopo [Colonna]
• Jacopo [Cozzerello]
• Jacopo da [Bassano]
• Jacopo da [Montagna]
• Jacopo da [Pontormo] (Jacopo Carrucci)
• Jacopo da [Trezzo]
• Jacopo (Cosimo) da [Trezzo]
• Jacopo da [Turrita], Fra
• Jacopo Davanzo (Jacopo [Avanzi])
• Jacopo [Davanzo] (of Milan)
• Jacopo de' Medici (Jacopo [Bresciano])
• Jacopo del [Conte]
• Jacopo del [Corso]
• Jacopo del [Sellaio]
• Jacopo del [Tedesco]
• Jacopo della [Barba]
• Jacopo della [Quercia] (Jacopo della Fonte)
• Jacopo dell' [Indaco]
• Jacopo di [Casentino]
• Jacopo di Cione [Orcagna]
• Jacopo di [Sandro]
• Jacopo [Falconetto]
• Jacopo [Fallaro]
• Jacopo [Lanfrani]
• Jacopo Melighini (Jacomo [Melighino])
• Jacopo [Palma] (Palma Vecchio)
• Jacopo [Pisbolica]
• Jacopo Robusti (Jacopo [Tintoretto])
• Jacopo [Sansovino] (Jacopo Tatti)
• Jacopo [Squarcione]
• Jacopo Tatti (Jacopo [Sansovino])
• Jacopo [Tedesco] (Lapo)
• Jacopo [Tintoretto] (Jacopo Robusti)
• Jacopo [Zucchi]
• Jacopone da [Faenza]
• Jakob [Breuck]
• Jakob [Grimmer]
• Jan [Cornelis]
• Jan de [Mynsheere]
• Jan der [Sart]
• Jan [Haeck]
• Jan [Scorel]
• Jan Stephanus van Calcker (Johann of [Calcar], or Giovanni Fiammingo)
• Jan van [Dalen]
• Jan van der [Straet] (Giovanni Strada)
• Jan van [Eyck] (Johann of Bruges)
• Jan van [Hemessen]
• Janszoon, Joost, IX, [269]
• Jean [Bellegambe]
• Jean Cousin (Giovanni [Cugini])
• Jean [Gossart]
• Joachim [Patinier]
• Joannicolo (Giuseppe Niccolò) [Vicentino]
• Johann of Bruges (Jan van [Eyck])
• Johann of [Calcar] (Jan Stephanus van Calcker, or Giovanni Fiammingo)
• Johann of [Louvain]
• Joost [Janszoon]
• Joost van [Cleef]
• Joris [Robyn]
• Justus of [Ghent]

• Keur, Willem, IX, [269]
• Key, Willem, IX, [267], [268], [270]
• Koeck, Pieter, IX, [267]

• Lafrery, Antoine (Antonio [Lanferri])
• Lambert [Lombard] (Lambert of Amsterdam)
• Lambert [Suavius] (Lamberto Suave, or Lambert Zutmann)
• Lambert van [Noort]
• Lamberti, Niccolò di Piero (Niccolò d'Arezzo, or [Aretino])
• Lamberto, Federigo di (Federigo Fiammingo, or Del Padovano), IX, [127], [268]; X, [16]
• Lamberto (the Fleming), VIII, [231]
• Lamberto Suave (Lambert [Suavius], or Lambert Zutmann)
• Lampsonius, Domenicus, IX, [268], [270], [271]
• Lancelot [Blondeel]
• Lancia, Baldassarre, VII, [206]; X, [33]
• Lancia, Luca, IX, [223]
• Lancia, Pompilio, X, [33]
• Lanferri, Antonio (Antoine Lafrery), VI, [113]
• Lanfrani, Jacopo, I, [104], [105]
• Lanzilago, Maestro, IV, [6], [7]
• Lapo, Arnolfo di (Arnolfo Lapi), Life, I, [20]-26; I, [8], [13], [14], [20]-26, [29], [30], [33], [39], [65], [113], [126], [170], [174], [180]; II, [80], [202], [203], [262], [264], [265]; IX, [194]
• Lapo (Jacopo [Tedesco])
• Lapo [Gucci]
• Lappoli, Giovanni Antonio, Life, VI, [255]-265; V, [196]-198; VI, [255]-265; VII, [158], [159]
• Lappoli, Matteo, III, [206], [207]; VI, [255]
• Lastricati, Zanobi, VII, [45]; IX, [125], [132]; X, [33]
• Lattanzio [Gambara]
• Lattanzio [Pagani]
• Laurati, Pietro (Pietro Lorenzetti), Life, I, [117]-120; I, [92], [117]-120; II, [18]; III, [55]
• Laureti, Tommaso (Tommaso Siciliano), VI, [186]
• Lazzaro [Calamech]
• Lazzaro Scarpaccia (Sebastiano Scarpaccia, or Lazzaro [Bastiani])
• Lazzaro [Vasari] (the elder)
• Lazzaro [Vasari] (the younger)
• Lendinara, Lorenzo da, III, [285]
• Leno, Giuliano, IV, [147]; VI, [130], [150]; VIII, [4]
• Leon Battista [Alberti]
• Leonardo (Il [Pistoia])
• Leonardo [Castellani]
• Leonardo [Cungi]
• Leonardo da [Vinci]
• Leonardo del [Tasso]
• Leonardo di [Ser Giovanni]
• Leonardo [Milanese]
• Leonardo [Ricciarelli]
• Leonardo (the Fleming), V, [201]
• Leone [Aretino] (Leone Lioni)
• Levina [Bening]
• Leyden, Lucas van (Lucas of Holland), Life, VI, [96]-99; IX, [265], [270]
• Liberale, Life, VI, [11]-15; IV, [54]; VI, [11]-15, [23], [24], [35], [36], [49]
• Liberale, Gensio, V, [149]
• Libri, Francesco dai (the elder), Life, VI, [49]; VI, [29], [49]
• Libri, Francesco dai (the younger), Life, VI, [52]-54
• Libri, Girolamo dai, Life, VI, [49]-52; VI, [29], [37], [49]-52, [54]
• Licinio, Giovanni Antonio (Cuticello, or Pordenone), Life, V, [145]-155; VI, [213], [244], [247]; VIII, [43], [44], [103]; IX, [160], [167], [168]
• Liefrinck, Hans, VI, [117]
• Ligorio, Pirro, VIII, [181], [184], [186], [227]; IX, [84], [94], [95], [102]
• Linaiuolo, Berto, III, [92]
• L'Ingegno (Andrea [Luigi])
• Lino, I, [43]
• Lione, Giovanni da, VI, [152], [169]
• Lioni, Leone (Leone [Aretino])
• Lioni, Pompeo, IX, [232], [233]
• Lippi, Filippo (Filippino), Life, IV, [3]-10; II, [189], [190]; III, [83], [87], [259]; IV, [3]-10, [44], [82], [99], [100], [176], [177]; V, [87]; VI, [66]
• Lippi, Fra Filippo, Life, III, [79]-88; II, [187], [190]; III, [79]-88, [117], [118], [161], [247]; IV, [3], [5], [9], [185]; VI, [246]; VII, [57]; IX, [119], [133]; X, [47]
• Lippi, Ruberto di Filippo, VIII, [118], [119]
• Lippo, Life, II, [49]-51; I, [48], [208]; II, [49]-51, [83]
• Lippo [Dalmasi]
• Lippo [Memmi]
• Livio da [Forlì] (Livio Agresti)
• Lo Spagna ([Giovanni])
• Lodovico (of Florence), IX, [262]
• Lodovico [Malino] (or Mazzolini)
• Lodovico [Marmita]
• Lodovico Mazzolini (or [Malino])
• Lodovico [Rosso]
• Lombard, Lambert (Lambert of Amsterdam), IX, [266]-268, [270]
• Lombardi, Alfonso, Life, V, [131]-136; V, [131]-136, [210]; VII, [77]; IX, [167]
• Lombardino, Tofano (Cristofano Lombardi), VI, [167]; VIII, [45], [55]
• Lombardo, Girolamo (Girolamo Ferrarese), V, [24], [28]-30; VII, [9], [10], [189]; VIII, [36], [37]; IX, [202], [223]
• Lombardo, Tullio, IV, [60]
• Longhi, Barbara de', IX, [155]
• Longhi, Luca de', IX, [154], [155]
• Lorentino, Angelo di (Agnolo di [Lorenzo])
• Lorentino d'[Angelo]
• Lorenzetti, Ambrogio, Life, I, [155]-157
• Lorenzetti, Pietro (Pietro [Laurati])
• Lorenzetto (Lorenzo) [Lotti]
• Lorenzi, Antonio di Gino, VII, [24]; IX, [131]; X, [30]
• Lorenzi, Battista (Battista del Cavaliere), IX, [131], [140], [141]; X, [31]
• Lorenzi, Stoldo di Gino, X, [30], [31]
• Lorenzo (father of Piero di Cosimo), IV, [125]
• Lorenzo, Agnolo di (Angelo di Lorentino), I, [208]; III, [209]
• Lorenzo, Bicci di, II, [72]
• Lorenzo, Neri di, II, [72], [73]
• Lorenzo [Costa]
• Lorenzo [Costa] (the younger)
• Lorenzo da [Lendinara]
• Lorenzo degli Angeli, Don (Don Lorenzo [Monaco])
• Lorenzo della Sciorina (Lorenzo [Sciorini])
• Lorenzo di [Bicci]
• Lorenzo di [Credi]
• Lorenzo [Ghiberti] (Lorenzo di Cione Ghiberti, or Lorenzo di Bartoluccio Ghiberti)
• Lorenzo (Lorenzetto) [Lotti]
• Lorenzo [Lotto]
• Lorenzo [Marignolli]
• Lorenzo [Monaco], Don (Don Lorenzo degli Angeli)
• Lorenzo Naldino (Il [Guazzetto])
• Lorenzo of Picardy, V, [201]
• Lorenzo [Sabatini]
• Lorenzo [Sciorini] (Lorenzo della Sciorina)
• Lorenzo [Vecchietto]
• Loro, Carlo da (Carlo [Portelli])
• Lotti, Lorenzetto (Lorenzo), Life, V, [55]-58; III, [273]; IV, [240]; V, [55]-58; VII, [78]; IX, [20], [239]
• Lotto, Lorenzo, Life, V, [261]-264
• Louis of [Louvain]
• Louvain, Dirk of, IX, [266]
• Louvain, Johann of, IX, [266]
• Louvain, Louis of, IX, [265]
• Louvain, Quentin of, IX, [266]
• Luca da Cortona (Luca [Signorelli])
• Luca de' [Longhi]
• Luca della [Robbia]
• Luca della [Robbia] (the younger)
• Luca di [Tomè]
• Luca [Fancelli]
• Luca [Lancia]
• Luca [Monverde]
• Luca [Penni]
• Luca [Signorelli] (Luca da Cortona)
• Lucas [Horebout]
• Lucas van [Leyden] (Lucas of Holland)
• Lucia [Anguisciuola]
• Luciani, Sebastiano (Fra Sebastiano Viniziano del [Piombo])
• Lucrezia, Madonna, V, [127]
• Lugano, Domenico dal Lago di, II, [236]
• Lugano, Tommaso da, IX, [206]
• Luigi, Andrea (L' Ingegno), IV, [47]
• Luigi [Anichini]
• Luigi [Brugnuoli]
• Luigi [Vivarino]
• Luini, Bernardino (Bernardino del Lupino), V, [60]; VIII, [56]
• Luna, Francesco della, II, [223], [232]
• Lunetti, Stefano ([Stefano] of Florence)
• Lunetti, Tommaso di Stefano, V, [51], [52], [164], [231]
• Lupino, Bernardino del (Bernardino [Luini])
• Luzio [Romano]
• Lysippus, I, [xl]

• Macchiavelli, Zanobi, III, [125]
• Macchietti, Girolamo (Girolamo del Crocifissaio), IX, [126]; X, [15], [16]
• Madonna [Lucrezia]
• Madonna Properzia de' [Rossi]
• Maestro [Andrea]
• Maestro [Claudio]
• Maestro [Credi]
• Maestro [Francesco]
• Maestro [Giovanni]
• Maestro Giovanni da [Fiesole]
• Maestro [Lanzilago]
• Maestro [Mino] (Mino del Regno, or del Reame)
• Maestro [Niccolò]
• Maestro [Salvestro]
• Maestro [Zeno]
• Maglione, I, [34]
• Maiano, Benedetto da, Life, III, [257]-264; I, [94]; III, [13], [14], [149], [257]-264; IV, [36], [151], [266], [267]; V, [5]; VI, [66]
• Maiano, Giuliano da, Life, III, [11]-14; III, [11]-14, [74], [257]-259; IV, [197]; VI, [131]
• Mainardi, Bastiano (Bastiano da San Gimignano), III, [225], [230]-233
• Maini (Marini), Michele, V, [3], [4]
• Malino, Lodovico (or Mazzolini), III, [164]
• Manemaker, Matthaeus, IX, [269]
• Mangone, Giovanni, V, [5]
• Manno, VI, [78]; VIII, [164], [190]; X, [173]
• Mansueti, Giovanni, IV, [52], [59]; V, [260]
• Mantegna, Andrea, Life, III, [279]-286; II, [138]; III, [162], [279]-286; IV, [24], [55], [82]; VI, [15], [29], [30], [91]; VIII, [23]; IX, [211]
• Mantovana (Sculptore), Diana, VIII, [42]
• Mantovano, Camillo, VII, [201]; VIII, [171]
• Mantovano ([Ghisi]), Giorgio
• Mantovano (Sculptore), Giovan Battista, VI, [110], [111], [157], [164], [165], [169]; VIII, [42]
• Mantovano, Marcello (Marcello [Venusti])
• Mantovano, Rinaldo, VI, [155], [156], [160], [161], [169]; VIII, [41]
• Manzuoli, Maso (Tommaso da San Friano), IX, [137]; X, [15]
• Marc' Antonio [Bolognese] (Marc' Antonio Raimondi, or de' Franci)
• Marcello Mantovano (Marcello [Venusti])
• Marchesi, Girolamo (Girolamo da [Cotignola])
• Marchetti, Marco (Marco da Faenza), IX, [155], [156]; X, [20]
• Marchino, III, [105]
• Marchionne [Aretino]
• Marchissi, Antonio di Giorgio, IV, [36]; V, [4]; VI, [126]
• Marcilla, Guglielmo da (Guillaume de Marcillac), Life, IV, [253]-262; III, [53]; IV, [253]-262; VIII, [162]; X, [172]
• Marco, Tommaso di, I, [197]
• Marco [Basaiti] (Il Bassiti, or Marco Basarini)
• Marco [Calavrese] (Marco Cardisco)
• Marco da Faenza (Marco [Marchetti])
• Marco da [Grà]
• Marco da [Montepulciano]
• Marco da Ravenna (Marco [Dente])
• Marco da [Siena] (Marco del Pino)
• Marco del [Tasso]
• Marco [Dente] (Marco da Ravenna)
• Marco di Battista d'[Agnolo]
• Marco [Marchetti] (Marco da Faenza)
• Marco [Oggioni]
• Marco [Palmezzani] (Marco Parmigiano)
• Marco (son of Giovanni Rosto), VIII, [20]
• Marco [Zoppo]
• Marcolini, Francesco, VI, [115]
• Marcone, Piero di, VIII, [172], [173]
• Margaritone, Life, I, [63]-67; I, [38], [63]-67, [118]
• Mariano da [Perugia]
• Mariano da [Pescia]
• Marignolli, Lorenzo, VII, [46]
• Marini ([Maini]), Michele
• Marinus (of Zierickzee), IX, [268]
• Mario [Capocaccia]
• Mariotto, I, [198]
• Mariotto, Domenico di, III, [12]
• Mariotto [Albertinelli]
• Mariotto di [Francesco]
• Marmita, VI, [84]
• Marmita, Lodovico, VI, [84]
• Marten de [Vos]
• Martin [Heemskerk]
• Martin [Schongauer] (Martino)
• Martini, Giovanni (Giovanni da [Udine])
• Martini, Simone (Simone [Memmi], or Sanese)
• Martino (Martin [Schongauer])
• Martino (pupil of Montorsoli), VIII, [144], [147], [151], [156]; X, [23]
• Martino, Bartolommeo di Jacopo di, VII, [147]
• Martino da [Udine] (Pellegrino da San Daniele, or Martino di Battista)
• Marzone, Giacomo, III, [184]
• Masaccio, Life, II, [183]-191; II, [86], [87], [133], [183]-191, [198]; III, [79], [80]; IV, [3], [185], [215]; VI, [202], [203]; IX, [10], [133]; X, [47]
• Masini, Messer Francesco, IV, [227]
• Maso [Boscoli] (Maso dal Bosco)
• Maso [Finiguerra]
• Maso (or Tommaso) [Giottino]
• Maso [Manzuoli] (Tommaso da San Friano)
• Maso (Tommaso) [Papacello]
• Maso [Porro]
• Masolino da [Panicale]
• Matrice, Cola dalla (Niccola Filotesio), V, [238], [239]
• Matteo (brother of Cronaca), IV, [275]
• Matteo (of Lucca), II, [96], [97]
• Matteo dal [Nassaro]
• Matteo [Lappoli]
• Matteo [San Michele]
• Matthaeus [Manemaker]
• Matthys [Cock]
• Maturino, Life, V, [175]-185; IV, [83]; V, [175]-185; VI, [177], [196]; VIII, [17], [218]; IX, [20]
• Mazzieri, Antonio di Donnino (Antonio di Domenico), V, [223]; VII, [29]; VIII, [12]
• Mazzingo, III, [239]
• Mazzolini, Lodovico (or [Malino])
• Mazzoni, Giulio, VIII, [210], [211]
• Mazzoni, Guido (Modanino da Modena), III, [14]; VIII, [38]
• Mazzuoli, Francesco (Parmigiano), Life, V, [243]-256; IV, [83]; V, [243]-256; VI, [107]-109, [114], [259]; VIII, [34], [39], [40], [217]
• Mazzuoli, Girolamo, V, [244], [245], [254], [255]; VIII, [39], [41], [42]
• Medici, Jacopo de' (Jacopo [Bresciano])
• Melighino, Jacomo (Jacopo Melighini), V, [72], [73]; VI, [139], [140]; VIII, [237]
• Melone, Altobello da, VIII, [24], [43]
• Melozzo ([Mirozzo]), Francesco di
• Melozzo da [Forlì]
• Melzo, Francesco da, IV, [99]
• Memling, Hans (Ausse), III, [61]; IX, [265]
• Memmi, Lippo, I, [172]-174
• Memmi, Simone (Simone Martini, or Sanese), Life, I, [167]-174; I, [10], [25], [89], [92], [167]-174, [183]; II, [16], [37], [83]; III, [183]
• Menighella, IX, [114]
• Menzochi, Francesco (Francesco da Forlì), VII, [201], [204]-206; VIII, [171]
• Menzochi, Pietro Paolo, VII, [205], [206]
• Messina, Antonello da, Life, III, [59]-64
• Metrodorus, I, [xxxix], [xl]
• Michael (Michele) [Coxie]
• Michelagnolo [Anselmi]
• Michelagnolo [Buonarroti]
• Michelagnolo da [Siena]
• Michelagnolo di [Viviano]
• Michele (Michael [Coxie])
• Michele [Alberti]
• Michele da [Milano]
• Michele di Ridolfo [Ghirlandajo]
• Michele [Maini] (Marini)
• Michele [San Michele]
• Michelino, I, [208]
• Michelino, VI, [76]
• Michelino, Domenico di, III, [35]
• Michelozzo Michelozzi, Life, II, [259]-271; II, [241], [259]-271
• Milanese, Guglielmo (Fra Guglielmo della [Porta])
• Milanese, Leonardo, IX, [238]
• Milano, Bramante da, III, [18]
• Milano, Cesare da (Cesare da [Sesto])
• Milano, Gian Maria da, VIII, [198]
• Milano, Giovanni da, I, [182], [183], [185]; II, [23]
• Milano, Michele da, I, [221]
• Minerva [Anguisciuola]
• Minga, Andrea del, VII, [97]; IX, [131]; X, [15]
• Mini, Antonio, V, [165]; VIII, [128]; IX, [47]-51, [69], [81], [107], [109]
• Miniati, Bartolommeo, V, [201]
• Minio, Tiziano (Tiziano da Padova), VI, [47]; IX, [203], [223]
• Mino, Maestro (Mino del Regno, or del Reame), Life, III, [91]-92; III, [91]-92, [155]
• Mino da [Fiesole] (Mino di Giovanni)
• Mino del Regno (Maestro [Mino], or Mino del Reame)
• Mino di Giovanni (Mino da [Fiesole])
• Minore, III, [11]
• Mirabello di [Salincorno] (Mirabello Cavalori)
• Mirozzo (Melozzo), Francesco di, V, [140]
• Miruoli, Girolamo, IX, [156]
• Misuroni (Misceroni), Gasparo, IV, [60]; VI, [86]
• Misuroni (Misceroni), Girolamo, IV, [60]; VI, [86]
• Moccio, II, [4], [10], [11], [101]
• Mocetto (or [Moretto]), Girolamo
• Modanino da Modena (Guido [Mazzoni])
• Modena, Il (Antonio [Begarelli])
• Modena, Modanino da (Guido [Mazzoni])
• Modena, Niccolò da (Niccolò dell' [Abate])
• Modena, Pellegrino da (Pellegrino degli Aretusi, or de' Munari), Life, V, [80]-81; IV, [237]; V, [80]-81, [176]; VI, [125]
• Mona Papera, Bernardetto di, II, [248]
• Monaco, Don Lorenzo (Don Lorenzo degli Angeli), Life, II, [55]-58; II, [55]-58, [171]; III, [203]
• Mondella, Galeazzo, VI, [42], [80]
• Monsignori ([Bonsignori]), Alberto
• Monsignori ([Bonsignori]), Fra Cherubino
• Monsignori ([Bonsignori]), Fra Girolamo
• Monsignori ([Bonsignori]), Francesco
• Montagna, Bartolommeo, IV, [52], [60]; IX, [211]
• Montagna, Jacopo da, III, [183]
• Monte Carlo, Bastiano da, IV, [179]
• Monte Sansovino, Domenico dal, V, [30]
• Montecavallo, Antonio, IV, [140]
• Montelupo, Baccio da, Life, V, [41]-45; III, [148]; IV, [186]; V, [41]-45, [97]; VII, [155]; VIII, [54]; IX, [55], [188], [190], [239]
• Montelupo, Raffaello da, Life, V, [41]-45; V, [27], [41]-45, [119]; VI, [133], [222]; VII, [9]-11, [27], [62], [81], [189], [191], [192], [194], [195]; VIII, [89], [91], [137], [147]; IX, [51], [55], [69], [239]
• Montepulciano, Marco da, II, [72], [179]
• Montepulciano, Pasquino da, III, [7]
• Montevarchi, IV, [46]
• Montorsoli, Fra Giovanni Agnolo, Life, VIII, [133]-157; VII, [10], [11], [81], [82]; VIII, [91], [133]-157; IX, [51], [117], [133]; X, [9], [23], [33]
• Monverde, Luca, V, [147]
• Moor, Antonius, IX, [268]
• Morandini, Francesco (Francesco da Poppi), X, [14]
• Morando, Paolo (Paolo [Cavazzuola])
• Morelli, Giuliano di Niccolò, I, [221]; V, [73]; VI, [251]
• Moreto, Niccolò, IV, [57]
• Moretto, Alessandro (Alessandro Bonvicini), IV, [60]; VIII, [49], [50]
• Moretto (or Mocetto), Girolamo, III, [180]
• Moro, Battista del (Battista d'[Angelo], or d'Agnolo)
• Moro, Il (Francesco [Turbido])
• Morone, Domenico, Life, VI, [35]-36; VI, [29], [35], [36], [38]
• Morone, Francesco, Life, VI, [36]-39; VI, [29], [36]-39, [40], [41], [50]
• Morto da [Feltro]
• Morzone, Giromin, IV, [55], [56]
• Mosca, Simone, Life, VII, [185]-195; V, [44]; VI, [133]; VII, [9], [10], [185]-195; VIII, [224]; IX, [69]
• Moschino, Francesco, VII, [192], [194], [195]; X, [32]
• Mosciano, Girolamo (Girolamo Muziano, or [Brescianino])
• Mostaert, Franz, IX, [266]-268
• Mostaert, Gilis, IX, [268]
• Munari, Pellegrino de' (Pellegrino da [Modena], or degli Aretusi)
• Murano, Natalino da, VIII, [104]
• Musi, Agostino de' (Agostino [Viniziano])
• Muziano, Girolamo (Girolamo Mosciano, or [Brescianino])
• Mynsheere, Jan de, IX, [269]
• Myrmecides, III, [55]
• Myron, II, [80]

• Naldini, Battista, VII, [181], [182]; VIII, [233]; IX, [134]; X, [14], [15]
• Naldino, Lorenzo (Il [Guazzetto])
• Nanni, Giovanni (Giovanni da [Udine], or de' Ricamatori)
• Nanni d' Antonio di [Banco]
• Nanni di Baccio [Bigio] (Giovanni di Baccio)
• Nanni di Prospero delle [Corniole]
• Nanni [Grosso]
• Nanni [Unghero]
• Nannoccio da [San Giorgio]
• Nassaro, Matteo dal, Life, VI, [79]-82; VI, [76], [79]-82
• Natalino da [Murano]
• Navarra, Pietro, VI, [126]
• Nebbia, Cesare del, IX, [261]
• Negrolo, Filippo, VI, [86]
• Neri di [Lorenzo]
• Nero, Durante del, VIII, [227]
• Neroccio, I, [172]
• Neroni, Bartolommeo (Riccio), V, [73]; VII, [257]
• Niccola Filotesio (Cola dalla [Matrice])
• Niccola [Pisano]
• Niccola [Viniziano]
• Niccolaio, VIII, [59]
• Niccolò (goldsmith to Pope Innocent VIII), III, [281]
• Niccolò (of Florence), III, [7]
• Niccolò ([Tribolo])
• Niccolò, Maestro, VI, [164]; VII, [177]
• Niccolò [Alunno]
• Niccolò [Aretino] (Niccolò d'Arezzo, or Niccolò di Piero Lamberti)
• Niccolò [Avanzi]
• Niccolò [Beatricio] (Nicolas Beautrizet)
• Niccolò Bolognese (Niccolò dell' [Arca])
• Niccolò [Cartoni] (Niccolò Zoccolo)
• Niccolò [Cieco]
• Niccolò d'Arezzo (Niccolò [Aretino], or Niccolò di Piero Lamberti)
• Niccolò da Modena (Niccolò dell' [Abate])
• Niccolò dalle [Pomarancie]
• Niccolò dell' [Abate] (Niccolò da Modena)
• Niccolò dell' [Arca] (Niccolò Bolognese)
• Niccolò della [Guardia]
• Niccolò di Piero Lamberti (Niccolò d'Arezzo, or [Aretino])
• Niccolò [Fiorentino]
• Niccolò [Giolfino] (Niccolò Ursino)
• Niccolò [Grosso] (Il Caparra)
• Niccolò [Moreto]
• Niccolò [Pizzolo]
• Niccolò Rondinello (Rondinello da [Ravenna])
• Niccolò [Soggi]
• Niccolò Ursino (Niccolò [Giolfino])
• Niccolò Zoccolo (Niccolò [Cartoni])
• Nicolas Beautrizet (Niccolò [Beatricio])
• Nicomachus, II, [80]
• Nicon, III, [209]
• Nino [Pisano]
• Nola, Giovanni da, V, [137]-139
• Noort, Arthus van, IX, [269]
• Noort, Lambert van, IX, [268]
• Nunziata, VIII, [61], [62]
• Nunziata, Toto del, II, [190]; IV, [280]; VI, [191], [196]; VIII, [66]

• Oderigi d' [Agobbio]
• Oggioni, Marco, IV, [105]; VIII, [56]
• Oja, Sebastian van, IX, [269]
• Opera, Giovanni dell' (Giovanni di Benedetto [Bandini])
• Orazio da Bologna (Orazio [Sammacchini])
• Orazio di [Paris]
• Orazio [Pianetti]
• Orazio [Porta]
• Orazio [Sammacchini] (Orazio da Bologna)
• Orazio [Vecelli]
• Orcagna, Andrea di Cione, Life, I, [189]-199; II, [91]; III, [223]
• Orcagna, Bernardo di Cione, I, [189], [190], [193]-195, [197]
• Orcagna, Jacopo di Cione, I, [194], [197], [198]
• Orlando [Fiacco] (or Flacco)
• Orsino, III, [275], [276]
• Ottaviano da [Faenza]
• Ottaviano del [Collettaio]
• Ottaviano della [Robbia]
• Ottaviano [Falconetto]
• Ottaviano [Zucchero]

• Pacchia, Girolamo del, VII, [252]
• Pace, Domenico di (Domenico [Beccafumi])
• Pace da [Faenza]
• Pacuvius, I, [xxxix]
• Padova, Guerriero da, IV, [51], [56]
• Padova, Tiziano da (Tiziano [Minio])
• Padova, Vellano da, Life, III, [73]-75; II, [253]; III, [73]-75, [272]
• Padovano, Federigo del (Federigo di [Lamberto], or Fiammingo)
• Padovano, Girolamo, III, [209]
• Pagani, Lattanzio, V, [212]; VII, [128]
• Pagni, Benedetto (Benedetto da Pescia), VI, [152], [154]-156, [169]; X, [9]
• Pagno di Lapo [Partigiani]
• Palladio, Andrea, VI, [28], [48]; VIII, [233], [234]; IX, [211]-214; X, [20]
• Palma, Jacopo (Palma Vecchio), Life, V, [259]-261; IX, [160]
• Palmezzani, Marco (Marco Parmigiano), VII, [204], [205]
• Paludanus, Heinrich (Arrigo), VIII, [38]; IX, [269]
• Paludanus, Willem, IX, [269]
• Panetti, Domenico, VIII, [24]
• Panicale, Masolino da, Life, II, [165]-167; II, [46], [159], [165]-167, [171], [185], [187]-189; IV, [3]; VI, [203]
• Paolo, I, [103]
• Paolo [Caliari] (Paolo Veronese)
• Paolo [Cavazzuola] (Paolo Morando)
• Paolo da [Verona]
• Paolo [Farinato]
• Paolo [Pistoiese], Fra
• Paolo [Ponzio]
• Paolo [Romano]
• Paolo [San Michele]
• Paolo [Schiavo]
• Paolo [Uccello]
• Paolo Veronese (Paolo [Caliari])
• Papacello, Tommaso (or Maso), IV, [76]; VI, [152]; VII, [128]
• Papino della [Pieve]
• Paris, Domenico di, IV, [47]; V, [195]
• Paris, Orazio di, IV, [47]
• Paris [Bordone]
• Parma, Daniello da (Daniello [Porri])
• Parmigiano (Francesco [Mazzuoli])
• Parmigiano, Marco (Marco [Palmezzani])
• Parrhasius, IX, [133]; X, [200]
• Parri [Spinelli]
• Particini, Antonio, VIII, [16]
• Partigiani, Pagno di Lapo, II, [269], [270]
• Pasquino [Cenni]
• Pasquino da [Montepulciano]
• Passerotto, Bartolommeo, IX, [156]
• Pastorino da [Siena]
• Patinier, Joachim, IX, [266]
• Pecori, Domenico, III, [207]-209; IV, [257]; VI, [255], [258], [271]
• Pedoni, Giovanni, VIII, [48]
• Pellegrini, Pellegrino (Pellegrino da Bologna, or Tibaldi), VIII, [34], [204]; IX, [151]-154, [258]
• Pellegrino da [Modena] (Pellegrino degli Aretusi, or de' Munari)
• Pellegrino da San Daniele (Martino da [Udine], or di Battista)
• Pellegrino [Pellegrini] (Pellegrino da Bologna, or Tibaldi)
• Peloro, Giovan Battista, V, [73]
• Pencz, Georg, VI, [119]
• Penni, Giovan Francesco (Il Fattore), Life, V, [77]-80; IV, [237], [247]; V, [77]-80, [201]; VI, [146]-148, [150], [151], [153], [177], [193], [194], [207], [216]
• Penni, Luca, V, [79], [201]; VI, [115]
• Perino del [Vaga] (Perino Buonaccorsi, or de' Ceri)
• Perugia, Mariano da, V, [263]
• Perugia, Piero da, I, [221]
• Perugino, Pietro (Pietro Vannucci, or Pietro da Castel della Pieve), Life, IV, [33]-48; II, [190]; III, [23], [188], [204], [273]; IV, [13], [15], [18], [33]-48, [82], [159], [169], [210]-212, [236], [242], [243]; V, [49], [50], [87], [230]; VI, [235], [269]; VII, [199], [248], [249]; VIII, [3]; IX, [189]; X, [192]
• Peruzzi, Baldassarre (Baldassarre da Siena), Life, V, [63]-74; IV, [145], [146], [200]; V, [57], [63]-74, [136], [170], [176], [208]; VI, [107], [167], [174], [177], [239]; VII, [253]; VIII, [167], [168], [197], [205], [218]; IX, [65], [196]; X, [174]
• Peruzzi, Salustio, VIII, [205]; IX, [82]
• Pesarese, I, [105]
• Pescia, Benedetto da (Benedetto [Pagni])
• Pescia, Mariano da, VIII, [66]
• Pescia, Pier Maria da, VI, [76]
• Peselli, Francesco (Francesco di Pesello, or Pesellino), Life, III, [117]-118; III, [86], [117]-118
• Pesello, Life, III, [117]-118; III, [59], [117]-118; IV, [82]
• Pesello, Francesco di (Francesco [Peselli], or Pesellino)
• Pheidias, I, [xl]; II, [120]; IV, [105]
• Philip [Galle]
• Philocles, I, [xxxix]
• Pianetti, Orazio, VIII, [206], [207]
• Piccinelli, Raffaello de' (Raffaello da Brescia, or [Brescianino])
• Pichi, Giovan Maria, VII, [158]
• Pier Francesco da [Viterbo]
• Pier Francesco di Jacopo di [Sandro]
• Pier Maria da [Pescia]
• Pieri, Stefano, IX, [137]; X, [14]
• Pierino (Piero) da [Vinci]
• Piero, Alvaro di, II, [64]
• Piero [Catanei]
• Piero da [Perugia]
• Piero da [Sesto]
• Piero (Pierino) da [Vinci]
• Piero da [Volterra]
• Piero del [Donzello]
• Piero della [Francesca] (Piero dal Borgo a San Sepolcro, or Borghese)
• Piero di [Cosimo]
• Piero di [Marcone]
• Piero [Francia]
• Piero [Pollaiuolo]
• Pieter [Aertsen]
• Pieter [Brueghel]
• Pieter [Christus]
• Pieter [Koeck]
• Pieter [Pourbus]
• Pietrasanta, Ranieri da, VII, [9], [10]
• Pietrasanta, Stagio da, V, [162]; VI, [214]; VII, [7], [195]
• Pietro, I, [103]
• Pietro [Cavallini]
• Pietro da Castel della Pieve (Pietro [Perugino], or Vannucci)
• Pietro da [Salò]
• Pietro da [San Casciano]
• Pietro di [Subisso]
• Pietro [Laurati] (Pietro Lorenzetti)
• Pietro [Navarra]
• Pietro Paolo, I, [105]
• Pietro Paolo da [Todi]
• Pietro Paolo [Galeotto]
• Pietro Paolo [Menzochi]
• Pietro [Perugino] (Pietro da Castel della Pieve, or Vannucci)
• Pietro [Rosselli]
• Pietro [Urbano]
• Pietro Vannucci (Pietro [Perugino], or Pietro da Castel della Pieve)
• Pieve, Papino della, VI, [272]
• Piloto, VI, [201], [205], [207]; VII, [56], [58], [69]; VIII, [18]; IX, [42], [43], [47], [48]
• Pino, Marco del (Marco da [Siena])
• Pintelli, Baccio, III, [93]-94
• Pinturicchio, Bernardino, Life, IV, [13]-19; IV, [13]-19, [46], [65], [211], [212]; V, [227]; VI, [195]; IX, [190]
• Piombo, Fra Sebastiano Viniziano del (Sebastiano Luciani), Life, VI, [173]-186; IV, [84], [114], [240]; V, [66]; VI, [108], [139], [148], [173]-186, [217], [259]; VII, [110], [111]; VIII, [82], [84], [92], [182], [201]; IX, [68], [106], [109], [111], [162], [235]
• Pippo del [Fabbro]
• Pironi, Girolamo, IX, [211]
• Pirro [Ligorio]
• Pisanello, Vittore or Antonio, Life, III, [109]-113; II, [187]; III, [105], [109]-113; VI, [35]
• Pisano, Andrea, Life, I, [123]-131; I, [123]-131, [189]; II, [50], [81], [83], [91], [93], [120], [145], [147], [154], [160], [200]; VII, [30]
• Pisano, Giovanni, Life, I, [35]-44; I, [29], [35]-44, [76], [97], [98], [220]; IV, [142]; IX, [11]
• Pisano, Niccola, Life, I, [29]-37; I, [lvi], [29]-37, [40], [41], [43], [44], [76], [97]; II, [97]; IV, [142]
• Pisano, Nino, I, [127], [130], [131]; II, [81], [83]
• Pisano, Tommaso, I, [130]
• Pisbolica, Jacopo, IX, [214], [215]
• Pistoia, Gerino da (Gerino [Pistoiese])
• Pistoia, Giovanni da, I, [164]
• Pistoia, Il (Leonardo), V, [79], [80]
• Pistoiese, David, III, [263]
• Pistoiese, Fra Paolo, IV, [162]
• Pistoiese, Gerino (Gerino da Pistoia), IV, [18], [46]
• Pittoni, Battista (Battista of Vicenza), VI, [108]
• Pizzolo, Niccolò, III, [280]
• Plautilla, V, [126]
• Poggini, Domenico, VI, [87]; IX, [131]; X, [32], [33]
• Poggini, Giovan Paolo, IX, [232], [233]
• Poggini, Zanobi, V, [106]; VIII, [61]
• Poggino, Zanobi di, V, [165]
• Polidoro (of Perugia), IX, [234]
• Polidoro da [Caravaggio] (Polidoro Caldara)
• Polito del [Donzello]
• Pollaiuolo, Antonio, Life, III, [237]-243; I, [xxxiv]; II, [159]; III, [237]-243, [248], [285]; IV, [4], [81], [265]; V, [21]; VI, [182], [246]; VIII, [64]
• Pollaiuolo, Piero, Life, III, [237]-243; III, [105], [237]-243, [248]; VI, [182], [246]
• Pollaiuolo, Simone del (Il [Cronaca])
• Polo, Agnolo di, III, [273], [274]
• Polo, Domenico di, V, [135]; VI, [84]
• Polycletus, I, [xl], [167]; II, [80], [160]
• Polygnotus, I, [xxxix]; II, [80]
• Pomarancie, Niccolò dalle, IX, [261]
• Pompeo da [Fano]
• Pompeo [Lioni]
• Pompilio [Lancia]
• Pomponio [Amalteo]
• Ponte, Giovanni dal (Giovanni da Santo Stefano a Ponte), Life, I, [211]-213; I, [208], [211]-213
• Pontormo, Jacopo da (Jacopo Carrucci), Life, VII, [147]-182; II, [190]; IV, [179], [246], [260]; V, [93], [98], [104], [118], [135], [190], [221], [222], [231], [232]; VI, [60], [255]-257, [273]; VII, [31], [147]-182, [201]; VIII, [18], [65], [92], [154], [179], [180]; IX, [20], [107], [110], [133], [134]; X, [3]-5, [7]-10, [12]-14, [47], [176], [177]
• Ponzio, Paolo, IX, [149]
• Poppi, Francesco da (Francesco [Morandini])
• Pordenone (Giovanni Antonio [Licinio], or Cuticello)
• Porfirio, Bernardino di, X, [17]
• Porri, Daniello (Daniello da Parma), VIII, [217]
• Porro, Maso, IV, [262]
• Porta, Baccio della (Fra Bartolommeo di [San Marco])
• Porta, Fra Guglielmo della (Guglielmo Milanese), VI, [217]; VIII, [84]; IX, [68], [69], [234]-238
• Porta, Giovan Jacomo della, IX, [234], [235]
• Porta, Giuseppe (Giuseppe del Salviati), VI, [115]; VIII, [106], [192], [193], [229], [230]; IX, [214]; X, [20]
• Porta, Orazio, X, [20]
• Porta, Tommaso, IX, [238]
• Portelli, Carlo (Carlo da Loro), VIII, [11], [69], [170], [179]; X, [15]
• Pourbus, Pieter, IX, [268]
• Prato, Francesco di Girolamo dal, V, [135]; VII, [72], [73]; VIII, [162], [173], [190]-192
• Prato, Girolamo dal, VIII, [190], [191]
• Praxiteles, I, xxvi, xl, xli; IX, [133]; X, [47]
• Primaticcio, Francesco, Description of Works, IX, [145]-150; V, [200], [201], [203]; VI, [115], [157]; VIII, [37], [183], [237], [238]; IX, [145]-151, [156]
• Proconsolo, Rossellino dal (Antonio [Rossellino])
• Prometheus (fable), I, [xxxix]
• Properzia de' [Rossi], Madonna
• Prospero [Clemente]
• Prospero [Fontana]
• Protogenes, II, [80]; X, [200]
• Provolo [Falconetto]
• Pucci, Domenico, II, [26]
• Puccio [Capanna]
• Puligo, Domenico, Life, IV, [279]-283; V, [109]; VIII, [119], [120]
• Pupini, Biagio (Biagio [Bolognese])
• Pygmalion, I, [xxviii], [xl]
• Pyrgoteles, I, [xl]
• Pythias, I, [xxxix]

• Quentin of [Louvain]
• Quercia, Jacopo della (Jacopo della Fonte), Life, II, [91]-97; I, [130]; II, [86], [87], [91]-97, [145], [146], [151], [200]; III, [131], [188]; VII, [245]

• Raffaellino del [Garbo]
• Raffaello [Baglioni]
• Raffaello [Bello]
• Raffaello [Brescianino] (Raffaello da Brescia, or de' Piccinelli)
• Raffaello da [Montelupo]
• Raffaello da Urbino (Raffaello [Sanzio])
• Raffaello dal [Colle] (Raffaello dal Borgo)
• Raffaello de' Piccinelli (Raffaello da Brescia, or [Brescianino])
• Raffaello delle [Vivole]
• Raffaello di [Biagio]
• Raffaello Pippi de' [Giannuzzi]
• Raffaello [Sanzio] (Raffaello da Urbino)
• Raggio, IV, [4]
• Raimondi, Marc' Antonio (Marc' Antonio [Bolognese], or de' Franci)
• Ramenghi, Bartolommeo (Bartolommeo da [Bagnacavallo])
• Ranieri da [Pietrasanta]
• Ravenna, Marco da (Marco [Dente])
• Ravenna, Rondinello da (Niccolò Rondinello), Life, V, [264]-265; III, [183], [184]; V, [264]-266; VII, [204], [205]
• Reggio, Sebastiano da, VI, [165]
• Regno, Mino del (Maestro [Mino], or Mino del Reame)
• René [Boyvin] (Renato)
• Ribaldi, Giovanni (Giovanni [Boccalino])
• Ricamatori, Giovanni de' (Giovanni da [Udine], or Nanni)
• Ricchino, Francesco, VIII, [50]
• Ricciarelli, Daniello (Daniello da Volterra), Life, VIII, [197]-211; VI, [113], [219], [224]; VIII, [184]-186, [197]-211, [228], [235]; IX, [95], [100], [101], [103], [107], [121], [122]
• Ricciarelli, Leonardo, VIII, [207]
• Riccio, Andrea, III, [64]
• Riccio (Bartolommeo [Neroni])
• Riccio, Domenico del (Domenico [Brusciasorzi])
• Riccio, Felice del (Felice [Brusciasorzi])
• Ridolfi, Bartolommeo, VI, [48]
• Ridolfo [Ghirlandajo]
• Rinaldo [Mantovano]
• Ripa Transone, Ascanio dalla (Ascanio [Condivi])
• Ristoro da [Campi], Fra
• Robbia, Agostino della, II, [123]-125
• Robbia, Andrea della, II, [125]-127, [175]; III, [276]; V, [90]
• Robbia, Giovanni della, II, [126]; VIII, [116]
• Robbia, Girolamo della, II, [126], [127]; V, [90]
• Robbia, Luca della, Life, II, [119]-128; II, [119]-128, [175], [213]
• Robbia, Luca della (the younger), II, [126], [127]; IV, [237]; V, [90]
• Robbia, Ottaviano della, II, [123]-125
• Robetta, VIII, [119], [120]
• Robusti, Jacopo (Jacopo [Tintoretto])
• Robyn, Joris, IX, [270]
• Rocco [Guerrini]
• Rocco [Zoppo]
• Roger van der [Weyden] (Roger of Bruges)
• Romanino, Girolamo, IV, [60]; VIII, [49]
• Romano, Domenico, VIII, [193]
• Romano, Giulio (Giulio Pippi de' Giannuzzi), Life, VI, [145]-169; III, [19]; IV, [76], [84], [119], [232], [237], [247]; V, [55], [77]-79, [108], [109], [195]; VI, [20], [24], [103]-105, [110], [114], [145]-169, [177], [193], [194], [207], [216], [221], [259]; VII, [117], [236]; VIII, [29], [39]-42, [55], [138], [172]; IX, [146], [168], [245], [257], [258]; X, [9], [187]
• Romano, Luzio, VI, [212], [222]
• Romano, Paolo, Life, III, [91]-92; V, [57]
• Romano, Virgilio, V, [73]
• Rondinello da [Ravenna] (Niccolò Rondinello)
• Rosa, Cristofano, VIII, [50], [51], [104]; IX, [177]
• Rosa, Stefano, VIII, [50], [51], [104]; IX, [177]
• Rosselli, Bernardo (Bernardo del [Buda])
• Rosselli, Cosimo, Life, III, [187]-190; IV, [82], [125], [126], [151], [165]; V, [88], [229]
• Rosselli, Pietro, IV, [159]; VII, [68], [69]
• Rossellino, Antonio (Rossellino dal Proconsolo), Life, III, [139]-144; II, [253]; III, [44], [139]-144, [253]; IV, [275]
• Rossellino, Bernardo, Life, III, [139]-144; III, [44], [139]-144, [268]
• Rossellino dal Proconsolo (Antonio [Rossellino])
• Rossetti, Giovan Paolo, VIII, [204], [210]
• Rossi, Francesco de' (Francesco [Salviati])
• Rossi, Giovan Battista de' (Il [Rosso])
• Rossi, Giovanni Antonio de', VI, [86]
• Rossi, Madonna Properzia de', Life, V, [123]-128; VIII, [45]
• Rossi, Vincenzio de', VII, [94], [98], [101]; VIII, [153]; X, [23], [24]
• Rosso (or Rosto), Giovan Battista, VI, [164]
• Rosso (or [Rosto]), Giovanni
• Rosso, Il (Giovan Battista de' Rossi), Life, V, [189]-203; II, [190]; IV, [84]; V, [97], [189]-203; VI, [109], [111], [115], [257]-261, [273], [274]; VII, [58], [59], [117], [118], [149], [188]; VIII, [167], [183]; IX, [20], [107], [146], [147]; X, [47], [172]
• Rosso, Lodovico, IX, [182]
• Rosso de' [Giugni]
• Rosto (or [Rosso]), Giovan Battista
• Rosto (or Rosso), Giovanni, IV, [46]; VII, [177]; VIII, [20], [179]
• Rovezzano, Benedetto da, Life, V, [35]-38; IV, [155]; V, [35]-38; VII, [4], [63], [64], [187]; IX, [191]
• Rovezzano, Giovanni da, III, [105]
• Roviale, VII, [129]; VIII, [190]; X, [196]
• Rozzo, Antonio del (Antonio del [Tozzo])
• Ruberto di Filippo [Lippi]
• Ruggieri da [Bologna]
• Ruspoli, Ilarione, X, [24]
• Rustici, Gabriele, IV, [162]
• Rustici, Giovan Francesco, Life, VIII, [111]-129; IV, [105], [186]; VII, [57], [66]; VIII, [111]-129; X, [47]

• Sabatini, Lorenzo, IX, [151]; X, [20]
• Salai, IV, [99]
• Salamanca, Antonio, VI, [276]
• Salincorno, Mirabello di (Mirabello Cavalori), IX, [126]; X, [15], [16]
• Salò, Pietro da, IX, [204], [223]
• Salustio [Peruzzi]
• Salvadore [Foschi], Fra
• Salvestro, Maestro, VI, [87]
• Salvestro [Fancelli]
• Salvi, Antonio di, III, [239]
• Salviati, Francesco (Francesco de' Rossi), Life, VIII, [161]-193; III, [258], [262]; V, [119]; VI, [108], [111], [177]; VII, [178], [205]; VIII, [11], [12], [44], [84], [90], [91], [95], [161]-193, [208], [209], [228], [229], [231], [232], [235]; IX, [133]; X, [7], [47], [171], [174], [219]
• Salviati, Giuseppe del (Giuseppe [Porta])
• Sammacchini, Orazio (Orazio da Bologna), VIII, [188], [228], [229]; IX, [154]
• San Casciano, Pietro da, VII, [15], [16], [19]
• S. Clemente, Abbot of (Don Bartolommeo della [Gatta])
• San Daniele, Pellegrino da (Martino da [Udine] or di Battista)
• San Friano, Tommaso da (Maso [Manzuoli])
• San Gallo, Antonio da (the elder), Life, IV, [191]-205; IV, [145], [191]-205, [254]; V, [97]; VI, [66], [123], [272]; VII, [74]; VIII, [3]; IX, [16], [40], [41]
• San Gallo, Antonio da (the younger), Life, VI, [123]-141; I, [32]; V, [29], [43], [58], [72]; VI, [123]-141, [167], [197], [198], [219], [220], [222]; VII, [9], [78], [119], [186], [189], [190], [193], [217], [218]; VIII, [13], [89], [136], [168], [202]; IX, [61]-67, [196], [197], [224], [239]; X, [47]
• San Gallo, Aristotile (Bastiano) da, Life, VIII, [3]-20; IV, [212]; V, [97]; VII, [29]; VIII, [3]-20, [119], [126]; IX, [20], [29], [30]
• San Gallo, Battista da (Battista Gobbo), VI, [133], [140]; VIII, [169]
• San Gallo, Francesco da, IV, [134], [203], [204]; V, [27]; VI, [133], [173]; VII, [9], [10], [189]; VIII, [153], [155], [156]; X, [22], [23]
• San Gallo, Giovan Francesco da, VIII, [4]
• San Gallo, Giuliano da, Life, IV, [191]-205; IV, [101], [134], [145], [191]-205, [270]; V, [97]; VI, [6], [66], [123], [124], [126]; VIII, [3]; IX, [16], [29], [30], [188], [189]; X, [22], [23]
• San Gimignano, Bastiano da (Bastiano [Mainardi])
• San Gimignano, Vincenzio da (Vincenzio Tamagni), Life, V, [11]-17; IV, [237]; V, [11]-17; VIII, [218]
• San Giorgio, Eusebio, IV, [47]
• San Giorgio, Nannoccio da, V, [119]; VIII, [162]-164
• San Marco, Fra Bartolommeo di (Baccio della Porta), Life, IV, [151]-162; II, [190], [249]; IV, [82], [151]-162, [165]-167, [215], [244], [272]; V, [159], [160], [194]; VI, [66]; VII, [108], [109], [148]; VIII, [61]
• San Marino, Giovan Battista (Giovan Battista [Bellucci])
• San Michele, Bartolommeo, VII, [217]
• San Michele, Gian Girolamo, VII, [219], [220], [222], [230]-234
• San Michele, Giovanni, VII, [217]
• San Michele, Matteo, VII, [219]
• San Michele, Michele, Life, VII, [217]-235; III, [111]; VI, [25], [26], [47], [130]; VII, [127], [191], [217]-235, [237], [241]; VIII, [102]
• San Michele, Paolo, VII, [227], [230], [232]
• San Vito, Feliciano da, VIII, [210], [211]
• Sandrino del [Calzolaio]
• Sandro, Jacopo di, V, [97]; IX, [29], [30]
• Sandro, Pier Francesco di Jacopo di, V, [118], [119]; VI, [257]; VII, [29], [176]; VIII, [11], [156]; X, [15]
• Sandro [Botticelli] (Sandro di Botticello, or Alessandro Filipepi)
• Sanese, Simone (Simone [Memmi], or Martini)
• Sanese, Ugolino (Ugolino da Siena), Life, I, [113]; II, [62]
• Sansovino, Andrea (Andrea [Contucci])
• Sansovino, Jacopo (Jacopo Tatti), Life, IX, [187]-202, [215]-225; II, [127]; V, [5], [31], [35], [36], [80], [88], [92], [93], [97], [98], [180], [218], [231], [247]; VI, [47], [125], [127], [199]; VII, [4], [5], [58]; VIII, [100], [126], [192]; IX, [20], [40], [41], [107], [145], [166], [170], [187]-204, [206]-208, [210], [215]-225; X, [23]
• Sant' Agnolo, Francesco, VIII, [215]-217
• Santa Croce, Girolamo, Life, V, [137]-138
• Santi, IV, [261]
• Santi, Giovanni de', IV, [46], [210], [213], [249]
• Santi [Buglioni]
• Santi [Titi]
• Sanzio, Raffaello (Raffaello da Urbino), Life, IV, [209]-250; I, [86]; II, [126], [190]; III, [18], [19]; IV, [13], [28], [29], [44]-47, [82], [83], [143], [145], [146], [155]-158, [200], [201], [203], [209]-250, [255]; V, [11]-15, [55], [56], [66], [72], [77]-81, [107]-109, [117], [126], [169], [175], [191], [194], [201], [207], [208], [213], [222], [245], [247]; VI, [6], [38], [66], [69], [99]-104, [106]-108, [114], [120], [126], [127], [130], [145]-148, [153], [156], [165], [174]-178, [181], [183], [193]-195, [207], [209], [218], [221], [236], [269]; VII, [111], [117], [148], [174], [199], [249]; VIII, [4], [5], [25], [26], [28], [31], [32], [41], [49], [61], [73]-76, [78], [80], [81], [85], [97], [167], [216], [219], [226], [236]; IX, [20], [27], [28], [30], [31], [40], [41], [65], [162], [165], [170], [189], [194], [196], [267]; X, [174], [180], [181], [192], [211], [222]
• Saracini, Gabriello, II, [36]
• Sart, Jan der, IX, [269]
• Sarto, Andrea del (Andrea d' Agnolo), Life, V, [85]-120; II, [190]; IV, [83], [129], [134], [281], [283]; V, [85]-120, [164], [194], [217]-221, [231]; VI, [60], [106], [255]-257, [272], [273]; VII, [4], [58], [59], [148]-150, [152], [156], [157], [171], [188]; VIII, [5], [6], [11], [16], [17], [19], [113], [119], [120], [122], [126], [135], [163], [164]; IX, [20], [43], [188], [193], [194]; X, [47], [172]
• Sassoli, Fabiano di Stagio, III, [54]; IV, [256], [257]
• Sassoli, Stagio, IV, [73], [257]; VI, [272]
• Savoldo, Gian Girolamo (Gian Girolamo [Bresciano])
• Scarpaccia, Lazzaro (Lazzaro [Bastiani], or Sebastiano Scarpaccia)
• Scarpaccia ([Carpaccio]), Vittore
• Scarpagni, Antonio (Scarpagnino, or Zanfragnino), VI, [10]
• Scheggia, VIII, [61]
• Scherano da [Settignano] (Alessandro)
• Schiavo, Paolo, II, [166]
• Schiavone, Andrea, VIII, [107], [108], [231]
• Schizzone, V, [12]
• Schongauer, Martin (Martino), Life, VI, [91]-92; III, [214]; VI, [91]-92; IX, [7], [265]
• Sciorini, Lorenzo (Lorenzo della Sciorina), IX, [128]; X, [14]
• Scorel, Jan, IX, [266]
• Sculptore ([Mantovana]), Diana
• Sculptore ([Mantovano]), Giovan Battista
• Sebastian van [Oja]
• Sebastiano da [Reggio]
• Sebastiano Florigerio (Bastianello [Florigorio])
• Sebastiano Luciani (Fra Sebastiano Viniziano del [Piombo])
• Sebastiano Scarpaccia (Lazzaro [Bastiani], or Scarpaccia)
• Sebastiano [Serlio]
• Sebastiano Viniziano del [Piombo], Fra (Sebastiano Luciani)
• Sebeto da [Verona]
• Seghers, Anna, IX, [269]
• Segna d' [Antignano]
• Sellaio, Jacopo del, III, [86]
• Semolei, Battista (Battista [Franco])
• Ser Giovanni, Leonardo di, I, [104]; II, [119]
• Serlio, Sebastiano, V, [72]; VI, [113]; IX, [196], [267], [271]
• Sermoneta, Girolamo da (Girolamo [Siciolante])
• Servellino, Guido del, III, [12]
• Sesto, Cesare da (Cesare da Milano), V, [65], [141]; VIII, [56]
• Sesto, Piero da, VIII, [18]
• Settignano, Desiderio da, Life, III, [147]-149; II, [253]; III, [147]-149, [154], [156], [260]; X, [47]
• Settignano, Scherano da (Alessandro), VIII, [168]; IX, [55]
• Settignano, Solosmeo da (Antonio di Giovanni), V, [118]; VII, [5], [79], [80]; VIII, [119]; IX, [202], [223]
• Sguazzella, Andrea, V, [100], [118]
• Siciliano, Tommaso (Tommaso [Laureti])
• Siciolante, Girolamo (Girolamo da Sermoneta), VI, [221], [222], [225]; VIII, [99], [188], [229]; IX, [152], [257]-259
• Siena, Baldassarre da (Baldassarre [Peruzzi])
• Siena, Francesco da, V, [71], [73]
• Siena, Marco da (Marco del Pino), VI, [223]; VIII, [204], [210]
• Siena, Michelagnolo da, Life, V, [136]-137; V, [69], [136]-137
• Siena, Pastorino da, IV, [262]; VI, [87], [219]
• Siena, Ugolino da (Ugolino [Sanese])
• Signorelli, Luca (Luca da Cortona), Life, IV, [71]-76; III, [20], [23], [31], [52], [188], [204]; IV, [71]-76, [82], [216], [261]; VI, [246]; VII, [199], [246]; IX, [190]; X, [171]
• Silvestro, Don, II, [57]
• Silvio [Cosini] (Silvio da Fiesole)
• Simon [Bening]
• Simon [Bianco]
• Simon van [Delft]
• Simone, II, [104]; IV, [55]
• Simone (brother of Donatello), Life, III, [3]-7; II, [251]; III, [3]-7
• Simone (pupil of Filippo Brunelleschi), II, [236]
• Simone [Cini]
• Simone [Cioli]
• Simone da [Colle] (Simone de' Bronzi)
• Simone da [Fiesole]
• Simone del Pollaiuolo (Il [Cronaca])
• Simone [Memmi] (Simone Martini, or Sanese)
• Simone [Mosca]
• Simone of Paris, V, [201]
• Simone Sanese (Simone [Memmi], or Martini)
• Skeysers, Clara, IX, [269]
• Sodoma, Giomo del, VII, [257]
• Sodoma, Il (Giovanni Antonio [Bazzi])
• Sofonisba [Anguisciuola]
• Soggi, Niccolò, Life, VI, [269]-279; IV, [186]; V, [109], [110], [196]; VI, [261], [269]-279; VIII, [114]
• Sogliani, Giovanni Antonio, Life, V, [159]-166; V, [51], [159]-166; VI, [214], [215], [247], [248]; VII, [256]; VIII, [20]
• Soiaro, Bernardo (Bernardo de' Gatti), VIII, [39], [40], [43], [44]
• Solari, Cristofano (Cristofano Gobbo), VIII, [55]; IX, [14], [234]
• Sollazzino, I, [193]
• Solosmeo da [Settignano] (Antonio di Giovanni)
• Sozzini, Giovan Battista, VI, [87]
• Spadari, Benedetto, IV, [262]; V, [195], [196]
• Spagna, Lo ([Giovanni])
• Spagnuolo, Alonzo (Alonzo Berughetta), II, [190]; IV, [8]; VII, [58]; IX, [20], [189]
• Speranza, Giovanni, IX, [211]
• Spilimbergo, Irene di, IX, [175]
• Spillo, VIII, [119], [120]
• Spinelli, Parri, Life, II, [171]-179; II, [36], [39], [83], [125], [159], [171]-179; III, [54]
• Spinello, Forzore di, I, [104]; II, [39], [177]
• Spinello [Aretino]
• Squarcione, Jacopo, III, [279]-281, [285]; IV, [56]
• Stagio da [Pietrasanta]
• Stagio [Sassoli]
• Staren, Dirk van, IX, [269]
• Starnina, Gherardo, Life, II, [43]-46; II, [20], [43]-46, [58], [83], [165]
• Stefano, Life, I, [109]-114; I, [92], [109]-114, [203], [204]; II, [83]
• Stefano, Vincenzio di, VI, [11]
• Stefano da [Ferrara]
• Stefano da Zevio (Stefano [Veronese])
• Stefano of Florence (Stefano Lunetti), III, [215]; V, [51]
• Stefano [Pieri]
• Stefano [Rosa]
• Stefano [Veltroni]
• Stefano [Veronese] (Stefano da Zevio)
• Stocco, Giovanni di (Giovanni [Fancelli])
• Stoldo di Gino [Lorenzi]
• Straet, Jan van der (Giovanni Strada), VIII, [233]; IX, [134], [135], [267]; X, [18], [19]
• Strozzi, Zanobi, III, [35]
• Suardi, Bartolommeo ([Bramantino])
• Suavius, Lambert (Lamberto Suave, or Lambert Zutmann), VI, [110]; IX, [269], [270]
• Subisso, Pietro di, VII, [187], [188]
• Susanna [Horebout]

• Tadda, Francesco del (Francesco Ferrucci), VII, [9], [10], [49]; VIII, [133], [140], [142]; IX, [97]
• Taddeo [Bartoli]
• Taddeo [Gaddi]
• Taddeo [Zucchero]
• Tafi, Andrea, Life, I, [47]-51; I, [47]-51, [55], [56], [58], [135], [136], [145], [219]; III, [69]
• Tafi, Antonio d' Andrea, I, [51]
• Tagliapietra, Duca, III, [169]
• Tamagni, Vincenzio (Vincenzio da [San Gimignano])
• Tasso, Battista del, VI, [213]; VII, [13], [30], [31], [34], [35], [137]; VIII, [18], [164], [173], [176]; IX, [51]; X, [208], [210]
• Tasso, Domenico del, III, [200], [262]
• Tasso, Giuliano del, III, [200], [262]; V, [97]
• Tasso, Leonardo del, V, [31]
• Tasso, Marco del, III, [200], [262]; VII, [156]
• Tatti, Jacopo (Jacopo [Sansovino])
• Tedesco, Guglielmo, IX, [237]
• Tedesco, Jacopo (Lapo), I, [14], [18]-20, [23], [24], [65], [174]
• Tedesco, Jacopo del, III, [233]; VIII, [59], [60]
• Telephanes, I, [xxxix]
• The [Academicians]
• Tibaldi, Pellegrino (Pellegrino da Bologna, or [Pellegrini])
• Tiberio [Calcagni]
• Tiberio [Cavalieri]
• Timagoras, I, [xxxix]
• Timanthes, II, [80]
• Timoteo da [Urbino] (Timoteo della Vite)
• Tintoretto, Jacopo (Jacopo Robusti), VIII, [101]-106; IX, [214]; X, [20]
• Tisi, Benvenuto (Benvenuto [Garofalo])
• Titi, Santi, V, [160]; VIII, [227]; IX, [135]; X, [19], [20]
• Tiziano, Girolamo di (Girolamo [Dante])
• Tiziano da Cadore (Tiziano [Vecelli])
• Tiziano [Minio] (Tiziano da Padova)
• Tiziano [Vecelli] (Tiziano da Cadore)
• Todi, Pietro Paolo da, III, [92]
• Tofano [Lombardino] (Cristofano Lombardi)
• Tomè, Luca di, II, [5]
• Tommaso, IV, [76]
• Tommaso [Barlacchi]
• Tommaso [Casignuola]
• Tommaso da [Lugano]
• Tommaso da San Friano (Maso [Manzuoli])
• Tommaso del [Verrocchio]
• Tommaso di [Marco]
• Tommaso di Stefano [Lunetti]
• Tommaso [Ghirlandajo]
• Tommaso (or Maso) [Giottino]
• Tommaso [Laureti] (Tommaso Siciliano)
• Tommaso [Papacello]
• Tommaso [Pisano]
• Tommaso [Porta]
• Tommaso Siciliano (Tommaso [Laureti])
• Topolino, IX, [114], [115]
• Torri, Bartolommeo, VI, [264], [265]
• Torrigiano, Life, IV, [183]-188; IX, [8], [10], [116]
• Tossicani, Giovanni, I, [208]
• Toto del [Nunziata]
• Tozzo, Antonio del (Antonio del Rozzo), V, [73]
• Traini, Francesco, I, [198], [199]
• Trento, Antonio da (Antonio Fantuzzi), V, [249], [250]; VI, [108]
• Trevigi, Girolamo (Girolamo da [Treviso])
• Trevio, Bernardino da (Bernardino Zenale), IV, [138]; VIII, [54]
• Treviso, Dario da, III, [280], [285]
• Treviso, Girolamo da (Girolamo Trevigi), Life, V, [169]-171; V, [68], [169]-171; VI, [211], [212], [244]; X, [184]
• Trezzo, Jacopo da, VI, [86]
• Trezzo, Jacopo (Cosimo) da, VI, [86]
• Tribolo (Niccolò), Life, VII, [3]-37; V, [6], [28], [136], [233]; VI, [133]; VII, [3]-37, [43]-45, [81], [112], [176], [189]; VIII, [10], [36], [142]; IX, [20], [51], [77], [78], [202], [223]; X, [5], [30], [176], [177]
• Tullio [Lombardo]
• Turbido, Francesco (Il Moro), Life, VI, [22]-28; IV, [61]; VI, [14], [15], [21], [22]-28, [40], [50], [164]
• Turini, Giovanni, III, [239]
• Turrita, Fra Jacopo da, I, [49], [50], [56]

• Ubertini, Francesco (Francesco d' Albertino, or Il Bacchiacca), IV, [46]; V, [222]; VI, [60]; VII, [29]; VIII, [10], [11], [16], [18]-20; X, [8]
• Ubertino, Baccio, IV, [46]
• Uccello, Paolo, Life, II, [131]-140; II, [20], [110], [131]-140, [159], [183], [184], [253]; III, [257]; IV, [185], [246]; VIII, [63]; IX, [133]
• Udine, Giovanni da (Giovanni Martini), V, [145]-147
• Udine, Giovanni da (Giovanni Nanni, or de' Ricamatori), Life, VIII, [73]-85; IV, [237], [239]; V, [77], [155], [175], [229], [238], [246]; VI, [147], [148], [180], [194]-196; VII, [118]; VIII, [73]-85, [171]; IX, [42], [51]; X, [176]
• Udine, Martino da (Pellegrino da San Daniele, or Martino di Battista), V, [145]-150
• Ugo da [Carpi]
• Ugolino [Sanese] (Ugolino da Siena)
• Unghero, Nanni, VII, [4]; IX, [188]
• Urbano, Pietro, IX, [44], [107]
• Urbino, Bramante da, Life, IV, [137]-148; I, [32]; III, [155]; IV, [137]-148, [199]-202, [216], [217], [223], [232], [237], [254]; V, [26], [28], [29], [65], [68], [69]; VI, [6], [124], [126], [136], [138]; VII, [249]; VIII, [5], [40], [53], [54], [75]; IX, [27]-29, [31], [65], [71], [188]-190
• Urbino, Fra Carnovale da (Fra [Bartolommeo])
• Urbino, Giulio da, X, [17]
• Urbino, Raffaello da (Raffaello [Sanzio])
• Urbino, Timoteo da (Timoteo della Vite), Life, V, [11]-17; VII, [200]
• Ursino, Niccolò (Niccolò [Giolfino])

• Vaga, VI, [191], [192]
• Vaga, Perino del (Perino Buonaccorsi, or de' Ceri), Life, VI, [189]-225; II, [190]; IV, [84], [237], [254]; V, [7], [77]-79, [153], [162]; VI, [78], [109], [125], [129], [139], [148], [177], [189]-225, [244], [257]-259; VIII, [14], [15], [82], [197]-199, [202], [215], [232]; IX, [20], [61], [151], [234], [257], [259]; X, [47]
• Valdambrina, Francesco di, II, [145], [146], [200]
• Valerio [Cioli]
• Valerio [Vicentino] (Valerio de' Belli)
• Valerio [Zuccati]
• Valverde, VI, [116]
• Vanni [Cinuzzi]
• Vannucci, Pietro (Pietro [Perugino], or Pietro da Castel della Pieve)
• Vante (or [Attavante])
• Varrone (of Florence), III, [7]
• Vasari, Bernardo, III, [55]
• Vasari, Giorgio, Life, X, [171]-220
• I, as art-collector, [xvii], [xviii], [lix], [10], [58], [79], [92], [94], [111], [120], [126], [138], [157], [173], [174], [199], [208], [213], [223]
• as author, [xiii]-xix, [xxi], [xxiii], [xxiv], [xxxi], [xxxiii]-xxxvii, [xlii], [xliii], [xlvii], [xlix], [l], [lv]-lix, [7], [9], [10], [13]-16, [23]-25, [29], [44], [47]-49, [51], [57]-59, [66], [75], [79], [80], [86], [87], [89], [91], [92], [94], [97], [99], [103], [105], [109], [112], [113], [124], [126], [127], [140], [141], [146], [150], [163], [164], [170], [181], [183], [191], [192], [198], [217], [222]
• as painter, [xlii], [67], [86], [119], [120], [147], [208]
• as architect, [25], [31], [38], [39], [119], [120]
• II, as art-collector, [5], [20], [26], [39], [46], [51], [58], [64], [96], [104], [109], [110], [128], [135], [139], [162], [178], [179], [227], [253]
• as author, [3], [5], [10], [31], [55], [57], [71]-73, [77]-87, [94]-96, [104], [113], [119], [125]-127, [136], [138], [139], [147], [160]-162, [165], [166], [172], [178], [184], [187], [188], [190], [202], [208], [228], [229], [234], [250], [252]-254, [263], [264]
• as painter, [32], [39]
• as architect, [173], [233], [264], [265]
• III, as art-collector, [12], [48], [52], [54], [68], [88], [113], [124], [140], [149], [157], [164], [170], [189], [198], [209], [214], [221], [238], [242], [254], [263], [270], [284]
• as author, [5], [6], [14], [18], [19], [30], [33], [34], [36], [39], [48], [51]-56, [59], [64], [74], [75], [91]-93, [97], [110], [112], [113], [123], [136], [142]-144, [149], [157], [163], [164], [174], [175], [178]-180, [198], [199], [209], [215], [221], [225], [242], [249], [259], [262], [273], [280], [283]
• as painter, [56], [209]
• as architect, [55]
• IV, as art-collector, [6], [13], [46], [58], [67], [90], [91], [95], [113], [118], [132], [138], [143], [161], [170], [175], [187], [262]
• as author, [7], [9], [17], [19], [26], [28], [33], [36], [38], [39], [46], [48], [51], [52], [54]-56, [61], [66], [67], [71], [74]-77, [79], [82]-85, [91], [98], [99], [111]-114, [117], [118], [121], [126]-132, [134], [137], [145], [151], [154], [155], [159], [162], [170], [176], [177], [185], [186], [204], [214], [219], [222], [223], [227], [229]-231, [233], [236], [242], [244]-248, [257], [260], [262], [269], [271], [274], [280], [281]
• as painter, [231], [262], [273], [274]
• as architect, [148], [231], [273], [274]
• V, as art-collector, [17], [22], [24], [38], [45], [49], [74], [77], [79], [104], [118], [126], [128], [165], [196], [197], [201], [209], [213], [219], [250]-252, [256]
• as author, [3]-5, [7], [11], [12], [17], [22], [24], [26], [28], [30], [35], [45], [63], [66], [69], [73], [91], [96], [98], [108], [112], [114], [120], [126], [128], [132], [134], [135], [139], [145], [146], [148], [155], [177], [182], [185], [192], [194], [199], [201], [210]-213, [223], [230], [232], [238], [247], [250], [251], [253]-255, [259], [260], [264]
• as painter, [36], [80], [119], [135], [163], [232], [233], [265]
• as architect, [233], [250], [251]
• VI, as art-collector, [3], [22], [54], [60], [120], [157], [175], [225], [230], [250], [256], [260], [263]
• as author, [3], [6], [10], [11], [13], [15], [22], [23], [27], [28], [32], [35], [39], [42], [46], [48], [53], [54], [57]-59, [65], [75], [76], [79], [82], [84]-87, [91], [93]-95, [105]-107, [112], [113], [120], [123], [133], [152], [153], [159], [161], [165]-167, [175], [176], [178], [190], [194], [196], [202], [204], [207], [210]-213, [215], [217], [221], [223], [229]-231, [235], [239], [246], [248]-250, [258], [261], [264], [269], [273]
• as painter, [22], [72], [120], [215], [221], [263], [264], [276]
• as architect, [70], [139], [278]
• VII, as art-collector, [11], [99], [253]
• as author, [3], [11], [12], [14], [16], [21], [24], [25], [28], [31], [33], [34], [36], [37], [41], [79], [95], [96], [99]-101, [103], [109], [117]-125, [127]-132, [137]-139, [141], [142], [147], [155], [157]-160, [167], [168], [172], [173], [175], [178]-180, [186], [190], [202], [209], [210], [217], [225], [226], [230], [231], [234]-236, [239], [240], [253], [254], [257]
• as painter, [13], [31], [95], [118]-132, [137]-139, [141]-143, [188], [189], [206], [229], [230], [235]
• as architect, [35], [37], [85], [91], [95], [101], [102], [119], [137], [193], [194], [206]
• VIII, as art-collector, [16], [29], [112], [128], [164], [165], [170], [181], [192], [211], [230], [231]
• as author, [3], [4], [8]-10, [14]-17, [19], [23], [24], [26], [29], [31], [34]-37, [39]-42, [45], [48]-54, [59], [65]-68, [77], [80], [81], [84], [90], [92], [94], [98], [101], [103], [105], [107], [108], [113], [119], [122]-124, [127], [128], [133], [144], [145], [147], [150], [153]-157, [161]-167, [170], [171], [177], [180], [183]-189, [193], [203], [206], [211], [216], [220], [226], [228]-230, [233], [237], [238], [240], [245], [259], [260]
• as painter, [8], [14], [20], [23], [52], [68], [80], [91], [98], [162]-164, [166], [167], [170], [180], [183], [185], [186], [189], [203], [206], [207], [210], [229], [233]
• as architect, [206], [207], [220]
• IX, as art-collector, [6], [16], [104], [149], [152], [156], [238], [251], [258], [259]
• as author, [4]-8, [22], [27], [30], [32], [35], [46], [47], [55], [56], [60], [61], [63], [65], [68]-88, [91], [93]-97, [102]-104, [107], [109]-112, [114]-118, [122]-125, [128], [130], [134], [135], [137]-140, [145], [147]-151, [154]-156, [160], [162], [169]-172, [177], [178], [182], [183], [187], [192], [193], [199], [202], [206]-208, [210], [212], [214], [215], [218], [221], [230], [232]-234, [238], [239], [241], [242], [245], [247], [248], [250]-253, [259]-262, [265]-272
• as painter, [23], [32], [43], [95], [96], [107], [117], [118], [134], [138], [148], [151], [155], [156], [170], [203], [269]-271
• as architect, [68]-73, [77]-79, [95], [96], [107], [117], [140], [207]
• X, as art-collector, [13]
• as author, [3], [8], [12], [14], [15], [17], [19]-24, [29], [30], [32]-34, [37], [41]-44, [47], [61], [62], [67], [69], [72], [76]-78, [80], [82]-84, [90], [92]-94, [97]-102, [104], [105], [113], [116], [119], [127]-129, [147], [162]-164, [166], [167], [171]-223
• as painter, [12], [14], [16]-20, [27], [105], [171]-221, [223]
• as architect, [10], [26]-28, [31], [171], [174], [177], [178], [181], [184], [189]-193, [202], [206]-216, [218]-221
• Vasari, Giorgio (son of Lazzaro Vasari, the elder), III, [52], [54]-56
• Vasari, Lazzaro (the elder), Life, III, [51]-56; IV, [71], [82]
• Vasari, Lazzaro (the younger), III, [55]
• Vecchietto, Lorenzo, Life, III, [129]-131; II, [151]; III, [129]-131
• Vecchio, Palma (Jacopo [Palma])
• Vecchio of Bologna (Domenico [Aimo])
• Vecelli, Orazio, VIII, [102]; IX, [171]
• Vecelli, Tiziano (Tiziano da Cadore), Life, IX, [159]-178; III, [179], [183]; IV, [114]; V, [66], [133], [134], [152], [153]; VI, [109], [111], [114], [161], [183], [222]; VII, [237]; VIII, [29], [33], [51], [56], [92], [102]; IX, [48], [145], [153], [159]-179, [182], [183], [201], [202], [247], [252]; X, [20], [187]
• Vellaert, Dierick Jacobsz, IX, [269]
• Vellano da [Padova]
• Veltroni, Stefano, VII, [120], [123], [124], [129]; VIII, [220]; X, [20]
• Venezia, Domenico da (Domenico [Viniziano])
• Ventura, IV, [147], [148]
• Venusti, Marcello (Marcello Mantovano), VI, [220], [225]; IX, [106], [259], [260]
• Verbo (Verlo), Francesco, IX, [211]
• Vercelli, Bernardo da, V, [151]
• Verchio, Vincenzio, IV, [60]
• Verdezotti, Gian Maria, IX, [178]
• Verese, VI, [118]
• Verlo ([Verbo]), Francesco
• Verona, Battista da (Battista [Farinato])
• Verona, Fra Giovanni da, IV, [222]; VI, [38], [39], [51], [218]
• Verona, Paolo da, III, [243]; IV, [179]
• Verona, Sebeto da, IV, [51], [55]
• Veronese, Giovanni Battista, VI, [13]
• Veronese, Paolo (Paolo [Caliari])
• Veronese, Stefano (Stefano da Zevio), I, [221]; IV, [51]-54; VI, [35], [42]
• Verrocchio, Andrea, Life, III, [267]-276; II, [190], [243], [248]; III, [75], [223], [267]-276; IV, [35], [39], [81], [90], [92], [112]; V, [49], [50], [55]; VII, [56]; VIII, [111]; X, [47]
• Verrocchio, Tommaso del, X, [20]
• Verzelli, Antonio da, II, [218]
• Vetraio, Giovan Francesco (Giovan Francesco [Bembo])
• Vicentino, Joannicolo (Giuseppe Niccolò), VI, [108]
• Vicentino, Valerio (Valerio de' Belli), Life, VI, [82]-84; V, [247]; VI, [76], [79], [82]-84; VIII, [52]
• Vicenza, Battista of (Battista [Pittoni])
• Vicino, I, [50], [57], [58]
• Vico, Enea, Life, VI, [111]-112; VIII, [180]
• Vignuola (Jacopo [Barozzi])
• Vincenzio, Fra Giovanni, X, [33]
• Vincenzio [Bresciano] (Vincenzio di Zoppa, or Foppa)
• Vincenzio [Caccianimici]
• Vincenzio [Campo]
• Vincenzio [Catena]
• Vincenzio da [San Gimignano] (Vincenzio Tamagni)
• Vincenzio [Danti]
• Vincenzio de' [Rossi]
• Vincenzio di [Stefano]
• Vincenzio di Zoppa (Vincenzio Foppa, or [Bresciano])
• Vincenzio Tamagni (Vincenzio da [San Gimignano])
• Vincenzio [Verchio]
• Vincenzio [Zuccati]
• Vinci, Leonardo da, Life, IV, [89]-105; I, [xxxiv]; II, [190]; III, [270], [271], [273], [286]; IV, [44], [82], [85], [89]-105, [109], [127], [138], [151], [156], [196], [212], [215], [242], [270]; V, [49], [50], [86], [228], [261]; VII, [41]-44, [57], [58], [60], [148], [152]; VIII, [42], [56], [111], [112], [114], [115]; IX, [15], [19], [234]; X, [47]
• Vinci, Pierino (Piero) da, Life, VII, [41]-51
• Viniziano, Agostino (Agostino de' Musi), Life, VI, [102]-103; V, [97]; VI, [102]-103, [106]; VII, [60], [63]
• Viniziano, Antonio, Life, II, [15]-20; II, [15]-20, [37], [43], [83]; III, [176]; VIII, [233]
• Viniziano, Domenico (Domenico da Venezia), Life, III, [97]-105; III, [19], [63], [97]-105, [173]; VI, [182]
• Viniziano, Fabrizio, IX, [215]
• Viniziano, Niccola, VI, [209]
• Virgilio [Romano]
• Visino, IV, [170], [171]; V, [223]
• Vite, Antonio, II, [45], [58]
• Vite, Timoteo della (Timoteo da [Urbino])
• Viterbo, Pier Francesco da, VI, [130], [132]; VII, [119], [202]
• Vitruvius, IV, [48], [75], [138], [205], [266]; V, [68], [71]; VI, [5], [45], [140]; VII, [211]; VIII, [40], [237]; IX, [44], [113], [190], [213], [218]
• Vittore [Bellini] (Belliniano)
• Vittore [Carpaccio] (Scarpaccia)
• Vittore (or Antonio) [Pisanello]
• Vittore Scarpaccia ([Carpaccio])
• Vittoria, Alessandro, V, [247]; VII, [228]; VIII, [100]; IX, [204]-206, [223]; X, [20]
• Vittorio [Ghiberti]
• Vivarini, Bartolommeo, IV, [52], [59]
• Vivarino, Luigi, III, [178], [179]; IV, [52]
• Viviano, Michelagnolo di, VII, [55]-57, [60], [66], [73], [98], [99]
• Vivole, Raffaello delle, VII, [152]
• Volkaerts, Dirk, IX, [270]
• Volterra, Daniello da (Daniello [Ricciarelli])
• Volterra, Francesco da, VIII, [41]
• Volterra, Piero da, V, [64]
• Volterra, Zaccaria da (Zaccaria Zacchi), V, [45], [132]; IX, [189], [190]
• Vos, Marten de, IX, [268]
• Vrient, Franz de (Franz [Floris])

• Weyden, Roger van der (Roger of Bruges), III, [61]; IX, [265]
• Willem [Keur]
• Willem [Key]
• Willem [Paludanus]
• Willem van [Antwerp]
• Wouter [Crabeth]

• Zaccaria da [Volterra] (Zaccaria Zacchi)
• Zaganelli, Francesco de' (Francesco da [Cotignola])
• Zanfragnino (Antonio [Scarpagni], or Scarpagnino)
• Zanobi di [Poggino]
• Zanobi [Lastricati]
• Zanobi [Macchiavelli]
• Zanobi [Poggini]
• Zanobi [Strozzi]
• Zenale, Bernardino (Bernardino da [Trevio])
• Zeno, Maestro, IV, [60]
• Zeuxis, I, [xxxix]; II, [80]; III, [209]; IV, [82], [83]; VI, [239]; IX, [133]; X, [200]
• Zevio, Aldigieri (Altichiero) da, IV, [51], [54], [55]
• Zevio, Stefano da (Stefano [Veronese])
• Zoccolo, Niccolò (Niccolò [Cartoni])
• Zoppa, Vincenzio di (Vincenzio Foppa, or [Bresciano])
• Zoppo, VI, [81]
• Zoppo, Marco, III, [279], [280], [285]
• Zoppo, Rocco, IV, [46]
• Zuccati, Valerio, IX, [182], [183]
• Zuccati, Vincenzio, IX, [182], [183]
• Zucchero, Federigo, VIII, [101], [106], [218]-221, [223]-228, [230], [231], [233]-236, [259]; X, [20]
• Zucchero, Ottaviano, VIII, [215], [218], [219]
• Zucchero, Taddeo, Life, VIII, [215]-236, [240]-261; VIII, [182], [188], [215]-236, [240]-261
• Zucchi, Jacopo, VIII, [233]; IX, [134]; X, [19]
• Zutmann, Lambert (Lambert [Suavius], or Lamberto Suave)

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