Buonarotti, Michael Angelo, anatomy interfering with the divinity of figures, ii. 221; conception of human form, ii. 124, 126; completion of detail, iii. 122; finish of, ii. 83; influence of mountains upon, iv. 358; use of symbol, ii. 215; repose in, ii. 69 (note); impetuous execution of, ii. 187 (note); expression of inspiration by, ii. 214. Pictures referred to—Bacchus, ii. 186 (note); Daniel, i. 62; Jonah, ii. 204; Last Judgment, ii. 181, 183; Night and Day, ii. 203, iii. 96; Pietà of Florence, ii. 185; Pietà of Genoa, ii. 83; Plague of the Fiery Serpents, ii. 69 (note); St. Matthew, ii. 185; Twilight i. 33; Vaults of Sistine Chapel, i. 30-33.
Callcott, Trent, i. 189.
Canaletto, false treatment of water, i. 341; mannerism of, i. 111; painting in the Palazzo Manfrini, i. 200; Venice, as seen by, i. 111; works of, v. [195].
Canova, unimaginative work of, ii. 184; Perseus, i. 62.
Caracci, The, landscape of, iii. 317, iv. 75; use of base models of portraiture by, ii. 120.
Caravaggio, vulgarity of, iii. 257; perpetual seeking for horror and ugliness, ii. 137; a worshipper of the depraved, iii. 33.
Carpaccio, Vittor, delineation of architecture by, i. 107; luminous skies of, ii 44; painting of St. Mark’s Church, i. 108.
Castagno, Andrea del, rocks of, iii. 239.
Cattermole, G., foliage of, i. 406; Fall of the Clyde, i. 116; Glendearg, i. 116.