TABLE OF CONTENTS

PAGE
Prefatory Note, [vii]
Table of Contents, [xi]
List of Illustrations, [xxi]
Introductory Essay, [1]
OF ARCHITECTURE, [23]
Chapter I.
Of the different kinds of Stone which are used by Architects for ornamental details, and in Sculpture for Statues; that is, Of Porphyry, Serpentine, Cipollaccio, Breccia, Granites, Paragon or Test-stone, Transparent Marbles, White Marbles and Veined Marbles, Cipollini, Saligni, Campanini, Travertine, Slate, Peperigno, Ischia Stone, Pietra Serena and Pietra Forte, [25]
  § 1. The Author’s object in the Discussion of Architecture ([25]). § 2. Of the working of hard stones, and first of Porphyry ([26]). § 3. Of Serpentine ([35]). § 4. Of Cipollaccio ([36]). § 5. Of Breccia (‘Mischio,’ Conglomerate) ([37]). § 6. Of Granite ([39]). § 7. Of Paragon (Touchstone) ([42]). § 8. Of Transparent Marbles for filling window openings ([43]). § 9. Of Statuary Marbles ([43]). § 10. Of Cipollino Marble ([49]). § 11. Of White Pisan Marble ([50]). § 12. Of Travertine ([51]). § 13. Of Slates (54). § 14. Of Peperino ([55]). § 15. Of the Stone from Istria ([56]). § 16. Of Pietra Serena ([57]). § 17. Of Pietra Forte ([60]). § 18. Conclusion of Chapter ([61]).
Chapter II.
The Description of squared Ashlar-work (lavoro di quadro) and of carved Ashlar-work (lavoro di quadro intagliato), [63]
  § 19. The work of the Mason ([63]).
Chapter III.
Concerning the five Orders of Architecture, Rustic, Doric, Ionic, Corinthian, Composite, and also German Work, [65]
  § 20. Rusticated masonry and the Tuscan Order([65]). § 21. The Doric Order ([68]). § 22. A constructive device to avoid charging architraves ([72]). § 23. The proportions and parts of the Doric Order ([75]). § 24. The Ionic Order ([78]). § 25. The Corinthian Order ([79]). § 26. The Composite Order ([80]). § 27. Of Terminal figures ([82]). § 28. German Work (the Gothic Style) ([83]).
Chapter IV.
On forming Vaults in Concrete, to be impressed with Enrichment: when the Centerings are to be removed, and how to mix the Plaster, [85]
  § 29. The Construction of enriched Stucco Vaults ([85]). § 30. Stucco made with Marble Dust ([86]).
Chapter V.
How Rustic Fountains are made with Stalactites and Incrustations from water, and how Cockle Shells and Conglomerations of vitrified stone are built into the Stucco, [87]
  § 31. Grottoes and Fountains of ‘Rocaille’ work ([87]).
Chapter VI.
On the manner of making Pavements of Tesselated Work, [91]
  § 32. Mosaic pavements ([91]). § 33. Pictorial Mosaics for Walls, etc. ([93]).
Chapter VII.
How one is to recognize if a Building have good Proportions, and of what Members it should generally be composed, [95]
  § 34. The Principles of Planning and Design ([95]). § 35. An Ideal Palace ([96]).
Notes on ‘Introduction’ to Architecture, [99]
Porphyry and Porphyry Quarries, [101]
The Sassi, della Valle, and other Collections of Antiques of the Early Part of the Sixteenth Century, [102]
The Porphyry Tazza of the Sala Rotonda of the Vatican, [108]
Francesco Del Tadda, and the Revival of Sculpture in Porphyry, [110]
The Cortile of the Belvedere in the Vatican, in the Sixteenth Century, [115]
Paragon (Touchstone) and other Stones associated with it by Vasari, [117]
Tuscan Marble Quarries, [119]
The Round Temple on the Piazza S. Luigi dei Francesi, and ‘Maestro Gian,’ [128]
Rusticated Masonry, [132]
Vasari’s Opinion on Mediaeval Architecture, [133]
Egg-shell Mosaic, [136]
Ideal Architecture; an Ideal Palace, [138]
OF SCULPTURE, [141]
Chapter I. (VIII.)
What Sculpture is; how good works of Sculpture are made, and what qualities they must possess to be esteemed perfect, [143]
  § 36. The Nature of Sculpture ([143]). § 37. Qualities necessary for Work in the Round ([143]). § 38. Works of Sculpture should be treated with a view to their destined position ([145]). § 39. The Proportions of the Human Figure ([146]). § 40. Artists must depend on their Judgement rather than on the Measuring Rule ([146]).
Chapter II. (IX.)
Of the manner of making Models in Wax and in Clay; how they are draped, and how they are afterwards enlarged in proportion in the Marble; how Marbles are worked with the point and the toothed tool, and are rubbed with pumice stone and polished till they are perfect, [148]
  § 41. The small Sketch-Model in Wax or Clay ([148]). § 42. The Preparation of Wax ([148]). § 43. Polychrome Wax Effigies ([149]). § 44. The Manipulation of Wax over an Armature ([149]). § 45. The Small Model in Clay ([149]). § 46. The Full-sized Model in Clay ([150]). § 47. Drapery on the Clay Model ([150]). § 48. Transference of the Full-sized Model to the Marble Block ([151]). § 49. Danger of dispensing with the Full-sized Model ([151]). § 50. The Tools and Materials used in Marble Carving ([152]).
Chapter III. (X.)
Of Low and Half Reliefs, the difficulty of making them and how to bring them to perfection, [154]
  § 51. The Origin of Reliefs ([154]). § 52. Pictorial or Perspective Reliefs ([154]). § 53. Low Reliefs (Bassi Rilievi) ([156]). § 54. Flat Reliefs (Stiacciati Rilievi) ([156]).
Chapter IV. (XI.)
How Models for large and small Bronze Figures are made, with the Moulds for casting them and their Armatures of iron; and how they are cast in metal and in three sorts of Bronze; and how after they are cast they are chased and refined; and how, if they lack pieces that did not come out in the cast, these are grafted and joined in the same bronze, [158]
  § 55. The Full-sized Model for Bronze ([158]). § 56. The Piece-Mould in Plaster ([158]). § 57. The Construction of the Core ([159]). § 58. The Piece-Mould lined with a Skin of Wax ([160]). § 59. This Skin of Wax applied over the Core ([160]). § 60. The fire-resisting Envelope applied over the Wax ([161]). § 61. The External Armature ([162]). § 62. The Vents ([162]). § 63. The Wax melted out ([162]). § 64. The Mould in the Casting-pit ([163]). § 65. The Composition of the Bronze ([163]). § 66. Making up Imperfections ([164]). § 67. A simpler Method of Casting small Figures and Reliefs ([165]). § 68. Chasing the Cast and Colouring the Bronze ([165]). § 69. Modern Tours de Force in small Castings ([166]).
Chapter V. (XII.)
Concerning Steel Dies for making Medals of bronze or other metals and how the latter are formed from these metals and from Oriental Stones and Cameos, [167]
  § 70. The Fabrication of Matrices for Medals ([167]). § 71. The Cutting of Intaglios and Cameos ([168]).
Chapter VI. (XIII.)
How works in White Stucco are executed, and of the manner of preparing the Wall underneath for them, and how the work is carried out, [170]
  § 72. Modelled and stamped Plaster Work ([170]).
Chapter VII. (XIV.)
How Figures in Wood are executed and of what sort of Wood is best for the purpose, [173]
  § 73. Wood Carving ([173]).
Notes on ‘Introduction’ to Sculpture, [177]
The Nature of Sculpture, [179]
Sculpture Treated for Position, [180]
Waxen Effigies and Medallions, [188]
Proportionate Enlargement, [190]
The Use of Full-sized Models, [192]
Italian and Greek Reliefs, [196]
The Processes of the Bronze Founder, [199]
OF PAINTING, [203]
Chapter I. (XV.)
What Design is, and how good Pictures are made and known, and concerning the invention of Compositions, [205]
  § 74. The Nature and Materials of Design or Drawing ([205]). § 75. Use of Design (or Drawing) in the various Arts ([206]). § 76. On the Nature of Painting ([208]).
Chapter II. (XVI.)
Of Sketches, Drawings, Cartoons, and Schemes of Perspective; how they are made, and to what use they are put by the Painters, [212]
  § 77. Sketches, Drawings, and Cartoons of different kinds ([212]). § 78. The Use of Cartoons in Mural and Panel Painting ([215]).
Chapter III. (XVII.)
Of the Foreshortening of Figures looked at from beneath, and of those on the Level, [216]
  § 79. Foreshortenings ([216]).
Chapter IV. (XVIII.)
How Colours in oil painting, in fresco, or in tempera should be blended: and how the Flesh, the Draperies and all that is depicted come to be harmonized in the work in such a manner that the figures do not appear cut up, and stand out well and forcibly and show the work to be clear and comprehensible, [218]
  § 80. On Colouring ([218]).
Chapter V. (XIX.)
Of Painting on the Wall, how it is done, and why it is called Working in Fresco, [221]
  § 81. The Fresco process ([221]).
Chapter VI. (XX.)
Of Painting in Tempera, or with egg, on Panel or Canvas, and how it is employed on the wall which is dry, [223]
  § 82. Painting in Tempera ([223]).
Chapter VII. (XXI.)
Of Painting in Oil on Panel or on Canvas, [226]
  § 83. Oil Painting, its Discovery and Early History ([226]). § 84. How to Prime the Panel or Canvas ([230]). § 85. Drawing, by transfer or directly ([231]).
Chapter VIII. (XXII.)
Of Painting in Oil on a Wall which is dry, [232]
  § 86. Mural Painting in Oil ([232]). § 87. Vasari’s own Method ([233]).
Chapter IX. (XXIII.)
Of Painting in Oil on Canvas, [236]
  § 88. Painting on Canvas ([236]).
Chapter X. (XXIV.)
Of painting in Oil on Stone, and what stones are good for the purpose, [238]
  § 89. Oil Painting on Stone ([238]).
Chapter XI. (XXV.)
Of Painting on the wall in Monochrome with various earths: how objects in bronze are imitated: and of groups for Triumphal Arches or festal structures, done with powdered earths mixed with size, which process is called Gouache and Tempera, [240]
  § 90. Imitative Paintings for Decorations ([240]).
Chapter XII. (XXVI.)
Of the Sgraffiti for house decoration which withstand water; that which is used in their production; and how Grotesques are worked on the wall, [243]
  § 91. Sgraffito-work ([243]). § 92. Grotesques, or Fanciful Devices, painted or modelled on Walls ([244]).
Chapter XIII. (XXVII.)
How Grotesques are worked on the Stucco, [246]
Chapter XIV. (XXVIII.)
Of the manner of applying Gold on a Bolus, or with a Mordant, and other methods, [248]
  § 93. Methods of Gilding ([248]).
Chapter XV. (XXIX.)
Of Glass Mosaic and how it is recognized as good and praiseworthy, [251]
  § 94. Glass Mosaics ([251]). § 95. The Preparation of the Mosaic Cubes ([253]). § 96. The Fixing of the Mosaic Cubes ([255]).
Chapter XVI. (XXX.)
Concerning the Compositions and Figures made in Inlaid Work on Pavements in imitation of objects in Monochrome, [258]
  § 97. Pavements in Marble Mosaic and Monochrome ([258]). § 98. Pavements in Variegated Tiles ([260]). § 99. Pavements in Breccia Marble ([261]).
Chapter XVII. (XXXI.)
Of Mosaic in Wood, that is, of Tarsia; and of the Compositions that are made in Tinted Woods, fitted together after the manner of a picture, [262]
  § 100. Inlays in Wood ([262]).
Chapter XVIII. (XXXII.)
On Painting Glass Windows and how they are put together with Leads and supported with Irons so as not to interfere with the view of the figures, [265]
  § 101. Stained Glass Windows, their Origin and History ([265]). § 102. The Technique of the Stained Glass Window ([268]).
Chapter XIX. (XXXIII.)
Of Niello, and how by this process we have Copper Prints; and how Silver is engraved to make Enamels over Bas-relief, and in like manner how Gold and Silver Plate is chased, [273]
  § 103. Niello Work ([273]). § 104. The Origin of Engraving ([274]). § 105. Enamels over Reliefs ([276]).
Chapter XX. (XXXIV.)
Of Tausia, that is, work called Damascening, [279]
  § 106. Metal Inlays ([279]).
Chapter XXI. (XXXV.)
Of Wood Engraving and the method of executing it and concerning its first Inventor: how Sheets which appear to be drawn by hand and exhibit Lights and Half-tones and Shades, are produced with three Blocks of Wood, [281]
  § 107. Chiaroscuro Wood Engravings ([281]). § 108. Dependence on Design of the Decorative Arts ([284]).
Notes on ‘Introduction’ to Painting, [285]
Fresco Painting, [287]
Tempera Painting, [291]
Oil Painting, [294]
Enriched Façades, [298]
Stucco ‘Grotesques,’ [299]
Tarsia Work, or Wood Inlays, [303]
The Stained Glass Window, [308]
Vasari’s Description of Enamel Work, [311]