A history of Italian painting

by Frank Jewett Mather

INDEX

Where an artist has a family name, that is the indexed word, e.g., Bellini, Giovanni. Where there is no surname, the Christian name is used, e.g., Nardo di Cione, Andrea da Bologna. So is the Christian name the index word when an apparent surname is really only descriptive of birthplace or civil estate, e.g., Domenico Veneziano, Lorenzo Monaco. In the case of well-known artists, the most familiar name is employed, e.g., Angelico, Fra; Giorgione, Titian, Perugino, Raphael, Andrea del Sarto, Pontormo, Botticelli, Michelangelo, etc.

• Academic, light and shade, Leonardo, [226];
  • theory of generalization, Sir Joshua Reynolds, [318];
  • of selection and Belle Nature, Leonardo, [258];
  • L. Dolce, [445]
• Altar, as shrine and tomb, influence on subjects of painting, [7]
• Alunno (Niccolò Liberatore), [273]
• Andrea da Bologna, [271]
• Andrea del Castagno, [146]–147, [201]
• Andrea del Sarto, [248]–253
• Angelico of Fiesole, Fra, [112], [114]–122, [267]
• Antonello da Messina, [345]–348, [355], [360]
• Antonio da Negroponte, [335]
• Ariosto, list of greatest painters, [385]
• Baldovinetti, Alesso, [148];
  • an official appraisal of his frescoes, [153]
• Barna of Siena, [88], [89]
• Bartolo di Fredi, [86]
• Baroque decorative painting, derives from Mantegna, [337], [340]–341;
  • Correggio, [340], [415]–416;
  • Tiepolo, [442];
  • Influence of Catholic Reaction on mood of, [459]
• Bartolommeo, Fra (Baccio della Porta), [246], [247]–248, [282], [290]
• Bartolommeo della Gatta, Don, [177]
• Bellini, Gentile, [348]–352, [364]
• Bellini, Giovanni, [324], [352]–362, [369]
• Bellini, Jacopo, [330]–333, [334]
• Bembo, Pietro, [373]
• Benvenuto di Giovanni, [99]
• Birth salvers (deschi da parto), [99], [128], [181]
• Bologna School and Eclecticism, passim, [458]–465, [471]
• Bonfigli, Benedetto, [271]
• Botticelli, Sandro (Alessandro di Mariano Filipepi), [122], [163], [175], [184], [202]–220, [255]
• Brancacci Chapel, problem of the frescoes, [131]–141
• Byzantine manner, [10]–12;
  • in Venetia, [324], [326], [327]
• Bartolommeo di Giovanni, [183]
• Bassano, Jacopo and Leandro, [424]
• Bonauiti, Andrea, decorator of the Spanish Chapel, [51]–53
• Bronzino, Agnolo, [251]
• Brunellesco, investigator of perspective, [110]
• Canale, Antonio, [442]
• Caravaggio (Michelangelo Amerighi), [453]–456, [470]
• Carpaccio, Victor, [364]–370
• Carracci, their academy at Bologna, [461].;
  • Carlo Malvasia on the Eclecticism of the C., [471]
• Carracci, Annibale, [453], [459]–465;
  • sonnet ascribed to, [471]
• Cassone painters, before 1450, [127]–130;
  • after 1450, [180]–183
• Castiglione, Baldassare, [266], [298];
  • list of greatest artists, [315]
• Cavallini, Pietro, [16]–18
• Cimabue, [12], [14]–15, [20]
• Classic Spirit, Kenyon Cox on, [319]
• Correggio (Antonio Allegri), [340], [415]–417;
  • Initiator of the Baroque Manner, [416]
• Cox, Kenyon, on the Classic Spirit, [319]
• Crivelli, Carlo, [267], [271], [334]–335
• Dante, [3], [8];
  • Giotto’s portrait of, [40];
  • Botticelli’s drawings for, [215]
• Domenico di Bartolo, [89]
• Domenico Veneziano, [147]–148, [168], [201], [267], [271]
• Domenichino (Domenico Zampieri), [465], [467]–469
• Donatello, [110], [333]
• Duccio di Buoninsegna, [12], [13], [60], [63]–72;
  • Procession on installation of his great Madonna, [106]
• Florence, about 1300 described, [2]–4, [55];
  • the new looser manners after the plague of 1348, [110], [111];
  • Renaissance pageantry in, [195]–196;
  • Savonarola’s revolution, [193], [215], [302];
  • End of liberty in and demoralization, [320]
• Folgore da San Gemignano, Sienese sonnet quoted, [104]
• Francesco di Giorgio, [100]
• Francis of Assisi, St., initiator of the new emotionalism in painting, [7], [8]
• Fresco, method of painting in, [6]
• Gaddi, Agnolo, [46]
• Gaddi, Gaddo, possibly to be identified with the “Isaac Master,” [18]
• Gaddi, Taddeo, [40], [45], [46]
• Gentile da Fabriano, [267]–270, [328], [330]
• Ghiberti, Lorenzo, Sienese anecdote by, [104];
  • his studies, [109]
• Ghirlandaio (Domenico Bigordi), [122], [142], [143], [177], [184]–194
• Giorgione, [370]–383;
  • problem of, [370];
  • early works, [371], [372];
  • his Arcadianism related to pastoral poetry, [373]–374;
  • his dreamy and indeterminate mood, [374]–377;
  • Castelfranco Madonna, and other later works, [378]–380;
  • pastoral symphony, [380]–382;
  • The Concert, its problems, [381]–382;
  • Summary, [383];
  • Suggestion of G’s subjects in Leonardo’s “Trattato,” [385]–386
• Giottino, [46]
• Giotto’s pupils, “Master of the Right Transept,” [43]–45;
  • Taddeo Gaddi, [45], [46];
  • Buffalmacco, [46];
  • Bernardo Daddi, [46];
  • Giottino, [46], [47]
• Giotto di Bondone, [18];
  • early work at Assisi, [20]–22;
  • at Rome, [23];
  • at Padua, [23]–29;
  • later work, the Allegories at Assisi, [31]–34;
  • at Santa Croce, [34]–39;
  • The Campanile and last phase, [40], [41];
  • general characterization, [42], [43];
  • poem by, [56];
  • mentioned, [136], [267]
• Giovanni di Paolo, [93]–95
• Girolamo di Benvenuto, [99]
• Giulio Romano, [294], [297], [452]–453
• Gozzoli, Benozzo, [142], [143], [165]–166, [267], [271]
• Grand style defined, [265]–266;
  • Sir Joshua Reynolds on, [318]–319;
  • L. Dolce on, in Titian, [445]
• Guariento of Padua, [324]
• Goya, Francisco, quoted, [131]
• Guardi, Francesco, [443]
• Guido of Siena, [12]
• “Isaac Master,” perhaps Gaddo Gaddi, [18]
• Isabella d’Este, Marchioness of Mantua, relations with Mantegna, [343];
  • Opinion of him, [384]
• Landscape, new sense of the picturesque in, and Salvator Rosa, [456]–457
• LeBrun, Charles, dependence as decorator on A. Carracci, [465]
• Leonardo da Vinci, [1];
  • on Masaccio, [151], [202], [223]–235, [260];
  • His new principles, [224];
  • Early Florentine period, [225]–237;
  • Adoration of the Magi, [233]–236;
  • Madonna of the Rocks, [236];
  • First Milanese period, [238]–240;
  • Last Supper, [239]–240;
  • Second Florentine Period; Mona Lisa, Anghiari, [239]–241;
  • Second Milanese Period; St. Ann, Second Madonna of the Rocks, [243]–244;
  • Roma and France, [244]–245;
  • His Influence, [245]–246;
  • Tractate on Painting, [257]–260, [285], [286], [287], [290], [292], [300], [371], [383], [385]
• Lomazzo, Paolo, Great Italian painters compared with the poets, [385]
• Longhi, Pietro, [444]
• Lorenzetti, Ambrogio, [40], [42]–45, [72], [76], [79], [84]
• Lorenzetti, Pietro, [76]–78;
  • Followers of, at Assisi, [79];
  • Contract for Arezzo altar-piece, [105]–106
• Lorenzetti followers, Triumph of Death, Pisa, [88], [89]
• Lorenzettian, panoramic style, [86], [126], [172]
• Lotto, Lorenzo, [411]–413
• Lorenzo de’ Medici, his birth salver, [181]–184
• Lorenzo Monaco, Don, [112]
• Lorenzo da San Severino, [272]
• Lorenzo Veneziano, [326], [327]
• Mantegna, Andrea, [333], [337]–345, [348], [352], [355], [356].;
  • Titian on, [324]
• Marcovaldo, Coppo di, [62]
• Masaccio (Tommaso di Ser Giovanni di Tommaso Guidi), [50], [130]–142, [151], [201]
• Masolino da Panicale, [122]–127
• Matteo di Giovanni, of Siena, [97]–99
• Melozzo da Forlì, [273]–274
• Michelangelo Buonarotti, [19], [193], [263];
  • perturbing influence on Raphael, [288], [294], [295];
  • Early works;
    • Doni Madonna, The Bathers, [301]–303;
    • The Sistine Ceiling, [304]–313;
    • The Last Judgment, [313]–314;
  • Defects of his followers, [315];
  • Advice on posture, [317],
  • on the unity of painting and sculpture, [317], [318], [407], [429]
• Michelozzo, [115]
• Modern sensibility, in Pontormo, [253];
  • Moretto, Lotto, Correggio, Tintoretto, [411]
• Moretto of Brescia, [412]–413
• Moroni, Giambattista, [423]
• Nardo di Cione, [48]
• Neroccio di Landi, [100]
• Oil Painting, introduced at Florence by Domenico Veneziano, [147],;
  • practiced in Lombardy by Antonello da Messina, [345]
• Orcagna (Andrea di Cione), [47]–50;
  • Contract for Strozzi altar-piece, [56]
• Ottaviano Nelli, [271]
• Palma Giovine, on Titian’s technique, [390]
• Palma Vecchio, [407], [411]
• Paolo Veronese (Caliari), [436]–440
• Pastoral poetry as background of Giorgione’s inventions, [370]–374
• Perspective, discovery by Brunellesco, [110],;
  • Uccello’s experiments in, [144], [152];
  • Piero della Francesca’s book on, [169];
  • Mantegna’s illusionistic, [337], [339]–340;
  • further developed by Correggio, [340], [415]–416
• Perugino (Pietro Vannucci), [117], [178], [223], [265], [269], [276]–280, [283], [288], [297], [267], [271], [273], [278]–282, [285], [290], [299]
• Pesellino, Francesco, [181]
• Piero della Francesca, [169]–172, [201], [273]
• Pollaiuolo, Antonio, [158], [166]–169, [201], [205]
• Piero di Cosimo, [177], [202], [221]–223, [246]
• Pintorricchio, [101], [174]
• Pisanello (Antonio Pisano), [328]
• Plague banners, Umbrian, [263], [313]
• Poliziano, Angelo, his poetry as an inspiration for Botticelli, Raphael, Titian, [255]–256
• Pontormo (Jacopo Carrucci), [253]
• Poussin, Nicholas, derives from Raphael and the Eclectics, [458]
• Raphael Sanzio, [19], [256], [263];
  • His Umbrian beginnings, [282]–283.
  • At Florence, [283]–288.
  • At Rome, The Segnatura, [289]–293;
  • Stanze of Heliodorus and of the Incendio, [294]–296.
• Realists, Early Florentine, enumerated, [143]
• Reni, Guido, [465]–466
• Reynolds, Sir Joshua, on the Grand style, [318]–319
• Rodin, Auguste, on Michelangelo, [313]
• Roman revival before 1300, [16]
• Rosa, Salvator, [456]–457
• Rosselli, Cosimo, [172], [221]
• Rubens, Peter Paul,
  • his praise of Leonardo, [258],
  • derives from Titian, [468]
• Sannazaro, Jacopo, [373], [374]
• Sassetta (Stefano di Giovanni), [72], [90]–92
• Sebastiano del Piombo, [295], [408]–409
• Signorelli, Luca, [176], [273]–278
• Sistine Chapel, early frescoes analyzed, [173]–179
• Savonarola, Fra Girolamo, [193], [215], [217], [302]
• St. Dominic, [8], [52]
• Siena, the Sienese temperament illustrated, [59]–61;
  • its artistic conservation, [61]
• Simone Martini, [72]–76, [267]
• Sodoma (Antonio Bazzi), [102], [471]
• Squarcione, Francesco, School of, [334]
• Starnina, Gherardo, [50]
• Tempera, painting in, [5], [6]
• Tiepolo, Giovanni Battista, [440]–442, [444]
• Tintoretto (Jacopo Robusti), [424]–435
• Titian of Cadore (Tiziano Vecellio), [256], [389]–408, [418]–423.
  • His calculating character and technique, [389]–390;
  • his four periods, [390]–391;
  • Early, Giorgionesque period, [392]–398;
  • (1515–1533), [396]–404;
  • (1533–1548), [404]–407;
  • (1548–1577), subjective and impressionistic phase, [418]–423.
  • Lodovico Dolce on T’s impressionism in landscape, [446];
  • G. F. Watt on T’s classical quality, [446]
• Tommé, Luca, [86]
• Torriti (Jacopo), [12]
• Uccello, Paolo, [143]–144, [152], [201], [334]
• Umbria,
  • its characteristics, [266]–267;
  • foreign painters in, [267]
• Vasari, Giorgio, on Masaccio, [151];
  • on Paolo Uccello, [152];
  • on a Trick to get a chapel, [196]–197;
  • on the “Modern style,” [316], [317];
  • boasts of his own dexterity, [451].
• Velasquez, draws from Caravaggio and the Italian Tenebrists, [456], [470]
• Venice, its colorful aspect, and nature of its civilization, [323]–326
• Veronese, see Paolo Veronese
• Veronese, early panoramic manner, [328]–330, [331]
• Verrocchio, Andrea, [158], [201], [203], [227]–230
• Villani, Giovanni, summary of Florence, [9], [54]–56
• Villani, Matteo, on the relaxation of Florentine morals after the plague of 1348, [110]–111
• Vivarini, Antonio, [330], [363]
• Vivarini, Bartolommeo, [362], [363]
• Vivarini, Alvise, [363]

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