Artists of the fourteenth century, their dry but exact design,
i. 103.
They professed various arts at once.
Simple in their composition, iii. 45,
v. 26, and elsewhere.
Question respecting the superior dignity of painting and sculpture,
i. 253.
R.
Removing of paintings from walls to canvass, v. 350.
Revival of painting in Italy. Its origin, i.
1.
Restoration of ancient paintings, when cautiously conducted, highly
useful, ii. 84, iii.
294.
Recommended by Bonarruoti and by the Caracci, at Bologna and
Florence, v. 14.
School for such art at Venice, iii.
389.
Not successfully applied to the Supper of Vinci, at Milan, iv.
247;
To various Venetian pictures, by Bombelli, iii. 294, and elsewhere.
Method discovered at Siena, i. 455.
Rome, dignifies the ideas brought by foreign artists from other parts,
ii. 16.
Character of the school, ii. 105.
Circumstances which there assisted the progress of the art, ii.
341.
S.
Saloon, royal, in the Vatican, ii. 127.
Others at Rome, i. 277, ii. 128, 203, 204.
Of the Pitti, at Florence, i. 300.
Of the Palazzo Vecchio, i. 192, 248.
Of the ducal palace at Venice, iii.
192, 225, &c.
In Genoa, v. 243.
Scagliola, works in, i. 346, iv. 70.
Sea views, painters of, i. 326, ii. 248, 332, 444, iii. 385, v.
204.
Slowness of artists, remarked in Ricciarelli, ii. 127.
Punished in Laureti, ii. 151.
Proverbial with some, i. 161, 416, v. 97.
Injurious, 267, 268, 343.
Corrected in Agostino Caracci, v.
97.
See also Diligence.
Selection of style to be made according to the genius and disposition
of the artist, i. 248, 307, 416.
Surnames of painters, confounded and altered, see Lamberto, Da
Leccio, Sanmartino, &c.
Derived by masters from their native place, and sometimes from that
of their residence. See Orsi, Lotto, &c.
Murati, ii. 41, iii. 120.
Statues, of Bonarruoti, i. 165, 166.
Of Verrocchio, i. 151.
Where it may be observed, that the Horse of Venice, which was cast
by him, and did not succeed, was newly cast by Alessandro Leopardo, a
Venetian. Temanza.
Modelled by Vinci, ib.;
by Raffaello, ii. 82.
Symbolical representations of living personages, borrowed from the
history of illustrious ancients, i. 257, ii. 68.
T.
Tastes in painting, laudable, though different, i. 231.
A certain taste not to be hastily changed at an advanced age, i. 205, 308, 417, v.
195, 196, and elsewhere.
Tapestries, i. 45, 6, ii. 82, 343, v. 207, 308.
Tenebrosi.
A sect of painters in Venice, iii. 276,
and in Bologna, v. 194.
Partly occasioned by the bad priming colours, used also elsewhere,
i. 283, iii. 276, v. 108;
And the models of Caravaggio badly imitated, iv. 185.
Theatres. Artists distinguished for decorating them, i. 217, 18. iv. 70.
U.
Unity of History, neglected by Raffaello, ii.
101;
By Coreggio, iv. 108.
See alsov. 470, 471.
Urbino, ill provided with aids and conveniences for the art in the time
of Raffaello, ii. 53.