Of some of the most important Matters contained in the Work.
- Academy, Florentine, i. 247, 370.
- Roman, ii. 142, 343.
- Of foreigners in Rome, ii. 307, 309.
- Of Perugia, ii. 37.
- Of Naples, ii. 446.
- Venetian, iii. 390.
- Veronese, iii. 381.
- Mantuan, iv. 30.
- Modenese, iv. 44.
- Of Parma, iv. 145.
- Of Vinci, at Milan, iv. 238.
- Another in the same city, 285.
- Another, 329.
- Bolognese, of the Caracci, v. 103.
- Continued, 194.
- Another, called the Clementine, 219.
- Ferrarese, v. 346.
- Genoese, 446.
- Of Turin, v. 473.
- It is a mistake to suppose academies injurious to the art, i. 248.
- Age, Golden, of painting confined to few years, ii. 48.
- Ends with the Caracci, v. 121.
- That of some schools earlier, some later, iii. 123.
- —— Brazen, owing to the rarity of great artists, iii. 348, 349.
- Whether latterly a better age is approaching, ii. 342, iv. 145, 146.
- Anatomy; cultivated by artists of the fifteenth century, i. 97, iv. 240.
- Excellence of Michelangiolo in this line, i. 165.
- Carried to affectation by some of his disciples, i. 230.
- Ancient painters. Their methods, i. 44, 45.
- Their religious societies, i. 42;
- And civil, i. 396, ii. 11, v. 74.
- More correct in their small proportions than in their large, i. 29.
- Animals, artists who excelled in painting of, i. 72, 398-9, ii. 113, 257, 334,[15] 444, iii. 202, 247, iv. 12, 143, 215, v. 115, 202, 264, 265, 419, 436.
- Arts, of Valesio, with which he surpassed Annibal Caracci in good
fortune, v. 124.
- Of other painters, to add to their reputation, v. 251.
- Bambocciate.
- A kind of painting not unknown to the ancients, iv. 215.
- Promoted by Laer, ii. 254;
- And by others, ib. v. 80, 235, 442, 443.
- Bassirilievi.
- Their use in painting since the fifteenth century, i. 404, ii. 364.
- Artists who thus distinguished themselves, i. 300, ii. 114, v. 432, 433.
- Battle-pieces of Giulio Romano, ii. 108.
- Of Borgognone and his school, i. 330, ii. 253.
- Of others, iii. 339, iv. 29, 140, v. 268.
- Beau-ideal.
- How studied by Raffaello, ii. 91, 92.
- How by the mannerists, ii. 131.
- How by Guido Reni, v. 142.
- Bolognese artists.
- Did not derive the principles of painting from Florence, only its improvement, v. 14.
- Shewed the best method of imitation, v. 23.
- Pre-eminent in the art during two centuries, v. 15.
- Borromei. Benefactors of the fine arts at Milan, iv. 284.
- Caricatures, i. 331, ii. 295, iii. 285, iv. 242, v. 115.
- Chambers of Raffaello, of Pietro da Cortona, &c. See their names.
- Characters of the Italian schools. See the first or second epoch of each.
- Cherubs, boys, genii, by whom well drawn, i. 190, ii. 92, 299, iii. 140, 141, iv. 105, 164, v. 54, 130, 134, 189, 312, 403.
- Chiaroscuro.
- Improved at Florence, i. 73.
- Brought to perfection in the time of Vinci and of Giorgione, iii. 101, iv. 240.
- What in Caravaggio, ii. 200.
- What in Guercino, v. 164.
- Chiariscuri, preparations for colouring them, i. 192, ii. 318.
- —— of Pietre Commesse, or mosaic, i. 428.
- Colouring of the Venetians, iii. 91, 246.
- Of Raffaello and of the other painters. See their names.
- Altered, ii. 442, iii. 301, v. 220.
- Column of Trajan designed, ii. 148.
- Studied by Giulio Campi, iv. 171.
- By Cortona, i. 336.
- Composition.
- Crowded in the early times, i. 99.
- Maxim of Poussin, ii. 237.
- Of the Caracci, v. 106.
- Of Cortona, i. 341.
- Of the Venetians, iii. 71.
- Of Titian, iii. 115.
- Copies.
- Retouched by the masters, i. 206, 293, ii. 103, 104, iii. 150, v. 133, and elsewhere.
- Excellent copies, i. 15, iii. 155, 205, 289, v. 149, 169, 386.
- Rules to distinguish copies from originals, pref. xxviii.
- Copies of excellent pictures made in Italy, and transferred into foreign royal collections. See Bonavita Bianchi.
- Costume.
- Neglected by many Venetian painters, iii. 349. It is often treated of in the characters of the schools and of artists.
- Counsel of learned men listened to by the best painters.
- By Vinci, iv. 224, 239.
- By Raffaello, ii. 66.
- By Poussin, ii. 239.
- By Coreggio, iv. 97.
- By Titian, v. 301.
- By Annibal Caracci, v. 117, 118.
- By the old Ferrarese, v. 281.
- By Castello, v. 386.
- Crystals.
- Well represented, ii. 334.
- Paintings in them, i. 228.
- Cupolas. See Gaudenzio Ferrari, Coreggio, Zuccari, Reni, Zampieri, Lanfranco, Cignani, De Matteis.
- Death, accelerated by violent passions, iii. 103, iv. 27, and in other
places.
- By defamation, v. 159.
- Design, superior to colouring, but less lucrative, i. 250.
- Various practical processes in designing from life, ii. 90, 435, v. 144, 186.
- Diligence, a necessary quality in artists, iii. 189.
- Commended in Barocci, ii. 183; in Titian, iii. 149;
- In Coreggio, iv. 83;
- In Cignani, v. 238;
- And in others, 224, 343, &c.
- Very remarkable in Lionardo da Vinci, iv. 241;
- And in Ercole Grandi, v. 295.
- Particularly requisite in beginners, iv. 290, v. 94.
- Ought not to be carried too far, v. 67, 140, 231.
- Abuse of this maxim, iii. 305.
- Drapery, mantles, style of folding.
- Taste of the ancients, i. 76, ii. 30.
- Improved greatly by the Venetians, iii. 91;
- And by the Lombards, iv. 228.
- Frate contributed much towards its perfection, i. 191.
- Others praised in this respect, ii. 97, 319, iii. 141, v. 103, 104, 141, 175, 176.