How much this art is indebted to Annibal Caracci, v. 120, 201, 202.
To Poussin, ii. 240.
Three celebrated landscape painters, ii.
242.
Others in each school.
See the close of their epochs.
Libraries decorated.
The Vatican, ii. 149.
Venetian, of St. Mark's, iii. 161, 243,
v. 411.
Paduan, of the university, iii. 168.
Bolognese, of the Padri Scopetini, v.
54.
Of the Padri Olivetani, v. 153.
Royal, of Turin, v. 484.
Licentious figures.
Caused much remorse in Agostino Caracci, v. 116.
Gave the appellation of libertine to Cav. Liberi, iii.
306.
Light.
Its effects admirably exhibited by some artists, ii. 25, 77, 204, 248, iii.
148, 200.
Loggia of Baffaello, ii. 80.
Continued, 146.
M.
Mannerists, or sectarists, i. 57, ii. 131, iii. 255, iv. 183, 306, v. 219.
Masters, their various methods, i. 261, ii. 106, iv. 15, v. 99, 183, 184, 395.
Liberality in teaching, i. 298, ii.
87.
Jealous of their disciples' talents, i.
163, 203, ii. 125, 280, iii. 151, 267,
v. 368, 369.
Skill in directing them best, i. 325,
iv. 21, v. 255,
256, 266, 267.
Maxims of great masters carried to too great lengths by their schools,
ii. 442, iv. 112,
v. 2, 3.
Mediocrity, Artists of, not to be wholly excluded from a history of the
arts, pref. xii.
Not however to be minutely studied, i. 270, 271, and often
throughout the work.
Miniaturists.
Masters of the oldest painters, i. 76,
376, ii. 11, iii.
14, v. 11, 12.
Miniatures, i. 60, 99, 328, 376, 391,
iii. 80, iv.
5, v. 290, 451, 452.
Of Giulio Clovio, iv. 24.
Misfortunes and passions sometimes occasion decline in the art, ii.
116, v. 184, 188, 381.
Modena. Inventions made by this school, iv.
73.
Monuments, ancient.
Origin of the best design in Italy, i. 4,
iii. 7.
Studied by great painters, i. 92, ii. 66, 237, 246, iii.
38, 140, iv. 15, v. 117, 163,
416, 263, 264.
Mosaic-workers, i. 6, 34.
The art improved by them at Venice, iii. 250.
Perfected at Rome, ii. 341.
N.
Naples. Antiquity and talent of this school. ii. 345.
Native places of painters often contested, and why.
See Anselmi, D'Alessi, Amalteo, Ardente, Diana Mantovana,
Jacopo da Bologna, Lotto, Menabuoi, &c.
Naturalists, without taste, ii. 200, et
seq.iii. 276.
Of some choice, i. 147, 308, iii. 152, v. 164, 165, 371, 372.
Niello, or Niellatori, i. 110.
Nobles who assisted students of the fine arts, when deserving, i. 357, iii. 390, v. 346.
Nuptials, Aldobrandine, observed by Poussin for composition. ii. 238.
O.
Objects of pictoric history, pref.
xvi.
Oil, commencement of painting in, i. 81,
ii. 355, iii.
41.
Opinions on the same painter different, pref.
xxxiv.
The historian ought to collect the most authentic and popular,
ib.
Painters ought to be estimated by their mature labours, conducted
with most care, i. 301;
As these may be almost termed their second editions, v. 424.
More accurately estimated where they painted most, pref. xxxiii.
Ornamental work of grand palaces, all directed by a single artist, i.
233, ii. 81, iv. 22,
170, v. 369.
P.
Painting on different kinds of marble, i.
279, 288,
with the secret of staining them with colours, i. 432.
Another invention of F. Sebastiano del Piombo, iii. 107.
Painting on dressed leather, ii. 176,
on earthen vases, ii. 171,
on glass, i. 224.
Perspective well understood by the ancients, iii. 48, 249.
Particularly cultivated by the Lombards, iv. 217.
Excellent professors of it. ib.,
and tom. i. 215, 274, 425, 426,
ii. 24, 335, iii.
48, 249, 270.
Its revival at Bologna, v. 205, 206,
et seq.
See also the end of last epoch of the same school, as well as in
other schools.
Pietre dure, works in commesso, or variegated stone, more
particularly conducted at Florence, and sometimes with the minuteness of
the mosaic worker, i. 332.
Plagues in Italy proved injurious to painting, ii. 262, iii. 273, v. 419.
Play obscured many excellent qualities of Guido, v. 143.
Caused the death of Schedone, iv. 59.
Pleasure renders artists less correct, ii.
402, v. 64.
Portraits, very excellent, ii. 79, 237, iii. 146.
Celebrated portrait painters of the Venetian school; see
Titian, Contarino, Morone, Tinelli, Ghislandi.
Others of every school, at the close of their respective epochs.