Orcagna, influence of hills upon, iv. 358; intense solemnity and energy of, iii. 28; unison of expressional and pictorial power in detail of, iii. 28; Inferno, ii. 128; Last Judgment, ii. 181, iii. 57; Madonna, ii. 201; Triumph of Death, iii. 57, 95.
Perugino, decoration of, ii. 220; finish of, ii. 83; formalities of, iii. 122, 315; hatred of fog, iv. 56; landscape of, ii. 218; mountain distances of, iv. 355; right use of gold by, i. 109; rationalism of, how affecting his works, v. [205]; sea of, i. 346; expression of, inspiration by, ii. 223. Pictures referred to— Annunciation, ii. 44; Assumption of the Virgin, ii. 44; Michael the Archangel, ii. 223; Nativity, iii. 48; Portrait of Himself, ii. 136; Queen-Virgin, iii. 52; St. Maddelena at Florence, i. 346.
Pickersgill, Contest of Beauty, ii. 229.
Pinturicchio, finish of, ii. 83; Madonnas of, ii. 224.
Pisellino, Filippo, rocks of, iii. 239.
Potter, Paul, Landscape, in Grosvenor Gallery, ii. 226; Landscape, No. 176, Dulwich Gallery, i. 340; foliage of, compared with Hobbima’s and Ruysdael’s, v. [35]; best Dutch painter of cattle, v. [254].
Poussin, Gaspar, foliage of, i. 386-395; distance of, i. 202; narrowness of, contrasted with vastness of nature, i. 179; mannerism of, i. 90, ii. 45, iv. 38; perception of moral truth, i. 76; skies of, i. 227, 231; want of imagination, ii. 158; false sublimity, iv. 245. Pictures referred to— Chimborazo, i. 208; Destruction of Niobe’s Children, in Dulwich Gallery, i. 294; Dido and Æneas, i. 257, 391, ii. 159; La Riccia, i. 386, 155, ii. 159; Mont Blanc, i. 208; Sacrifice of Isaac, i. 195, 208, 230, ii. 159.
Poussin, Nicolas, and Claude, v. [241]-248; principal master of classical landscape, v. [194], [247]; peculiarities of, v. [247]; compared with Claude and Titian, v. [247]; characteristics of works by, v. [247]; want of sensibility in, v. [247]; landscape of, v. [247]; trees of, i. 401; landscape of, composed on right principles, i. 90, iii. 323, ii. 159. Pictures referred to— The Plague, v. [248]; Death of Polydectes, v. [248]; Triumph of David, v. [248]; The Deluge, v. [248]; Apollo, ii. 207; Deluge (Louvre), i. 345, iv. 244; Landscape, No. 260, Dulwich Gallery, i. 144; Landscape, No. 212, Dulwich Gallery, i. 231; Phocion, i. 144, 159, 178, 258; Triumph of Flora, iii. 323.
Procaccini, Camillo. Picture referred to— Martyrdom (Milan), ii. 129.
Prout, Samuel, master of noble picturesque, iv. 13; influence on modern art by works of, i. 103; excellent composition and color of, i. 112, 114; expression of the crumbling character of stone, i. 96, 112, 114. Pictures referred to— Brussels, i. 113; Cologne, i. 113; Flemish Hotel de Ville, i. 115; Gothic Well at Ratisbon, i. 114; Italy and Switzerland, i. 113; Louvain, i. 113; Nuremberg, i. 113; Sion, i. 113; Sketches in Flanders and Germany, i. 113; Spire of Calais, iv. 13; Tours, i. 113.