Chapter XIII

of Charles Heath Wilson’s _Life and Works of Michelangelo_

contains a good critical notice of the decorative work at the Laurentian Library. The windows, which were not executed till long after the death of Clement VII whose name appears on the glass, he thinks may be mainly from the designs of Vasari’s friend Francesco Salviati, a pupil of the glass painter Guglielmo da Marcillat. He writes of them:—‘These windows both in design and colour are admirably suited to Italian architecture, and offer useful lessons at the present time. Introduced into a Library where plenty of light was indispensable, white glass prevails. There is much yellow (silver) stain, and where colour is wanted in some parts, pot metal is introduced, but there is not much of it. The shadows are vigorously painted in enamel brown of a rich tone. Unlike modern painted glass, the figures and ornaments are drawn with all the skill of an educated artist, and it is a pleasure to look at them.’

The Victoria and Albert Museum in London affords the opportunity for a comparison of all these different styles. There is some original glass of the thirteenth century from the Sainte Chapelle at Paris, made of small pieces of very richly tinted glass, coloured in the mass, the effect being more that of a very rich and beautiful diaper pattern than a picture; while close by may be seen a Flemish window of 1542, in which the pieces of glass are of large size and in many cases are white, the necessary colouring being added in different enamel pigments. The subject is the Last Supper, and a purely pictorial result is aimed at, the effect of colour being as a fact extremely poor.

VASARI’S DESCRIPTION OF ENAMEL WORK.

[§ 105, _Enamels over Reliefs_, ante, p. 276.]

Coloured vitreous pastes are among the most valuable materials at the command of the decorative artist, and are employed in numerous crafts, as for example for the glazes of keramic products including floor or wall tiles, for painted glass windows, for glass mosaic, and for enamel work. The glass is tinged in the mass with various metallic oxides, one of the finest colours being a ruby red gained from gold. Silver gives yellow, copper a blue-green, cobalt blue, manganese violet, and so on. Tin in any form has the property of making the vitreous paste opaque. The material is generally lustrous, and it admits of a great variety in colours some of which are highly saturated and beautiful. It is on the lustre and colour of the substance, more than on the pictorial designs that can be produced by its aid, that its artistic value depends.

The difference between opaque and transparent coloured glass is the basis of a division that can be made among the crafts which employ the material. If the glass be kept transparent the finest possible effect is obtained from it in the stained glass window where the colours are seen by transmitted light. A similar effect is secured on a minute scale in that form of enamel work called by Labarte ‘emaux à plique à jour,’ or ‘transparent cloisonné enamel,’ in which transparent coloured pastes are fused into small apertures in metal plates. Old examples in this kind are very rare, but modern workers seem to reproduce it without difficulty. On the other hand transparent or more usually opaque vitreous pastes in thin films form many of the so-called ‘glazes’ which give the charm of lustre and colour to so many products of the potter’s art. The most effective use of opaque coloured glass is in wall mosaic, where it is seen by reflected light, and owes its beauty to its lustrousness as well as to the richness and variety of its hues. Between these two crafts of the stained glass window and mosaic comes that of the enameller, who makes use of vitreous pastes both in an opaque and a transparent condition. The identity of the materials in these different uses is shown by the fact that Theophilus, Bk. II, ch. 12, directs the enameller to pound up and melt for his incrustations the very cubes used in old mosaics, or as he puts it ‘in antiquis aedificiis paganorum in musivo opere diversa genera vitri.’ Enamel work consists in fusing these coloured pastes over surfaces that are generally of metal, the different tints being either distinctly separated by divisions, or else running beside each other, or again interpenetrating like the colours in a picture. Hence there are two main divisions of the enameller’s craft, the painted enamel where the colours are fused on to the metal but produce an effect similar to that of a painting executed with the brush, the special advantage of the enamel being its lustre; and the encrusted enamel, where the effect is more like that of mosaic. Vasari would have thoroughly appreciated the painted enamels, known generally as enamels of Limoges, which are complete pictures, but, though Cellini mentions them, they originated north of the Alps and only came into general vogue after Vasari’s time. The incrusted enamels are earlier, and of these he only describes one particular kind that had its home specially in Italy.

The earliest known enamels, whether Western or Byzantine or Oriental in origin, have the different colours separated in compartments divided from each other by ridges of metal which give the lines of the design. These so-called ‘champlevé’ and ‘cloisonné’ enamels there is no need to discuss, but it may be noted that the pastes used in them, though highly lustrous, are opaque, and cover completely the metal over which they are laid. The enamel described by Vasari differs from these earlier enamels in compartments in that the pastes are transparent, so that the ground shows through. The divisions between the colours also are not so marked. In this kind of work transparent vitreous pastes are fused over a metal ground that has been chased in low relief, so that the light and shade of the relief shows through the transparent coloured film. The work is very delicate and on a small scale, and the ground is nearly always gold or silver. A slight sinking is made in a plate of one of these metals where the enamel is to come, and at the bottom of this sinking the subject is carved or chased in very low relief, so low indeed that Cellini compares the height of it to the thickness of two sheets of paper (_Dell’ Oreficeria_, c. III). The transparent enamels are then fused over the different parts of the design, the contours of the figures or objects being just allowed to show as fine lines of metal between the different colours.

Examples of this work are rare, but the Victoria and Albert Museum and the British Museum have some good specimens. Transparent enamels are used also in other ways, and are sometimes arranged in apertures (see above) so as to show by transmitted light. Labarte’s _Histoire des Arts Industriels_ is still indispensable as an authority on various kinds of enamel work, though there is a whole literature on the theme.

INDEX

For buildings and permanent monuments at Florence, Rome, etc., see under the names of the respective cities.

The references are to pages. The upright numerals refer to the text, the sloping ones to the commentary.

Aachen, minster at, crown-light in, _275_.

Abbozza, l’, _231_.

‘Abundance,’ see ‘Donatello, Dovizia.’

‘Adoration of the Lamb,’ by van Eyck, _296_.

‘Agias,’ the, by Lysippus, _146_.

‘Alberese,’ 57.

Alberti, Leon Battista: _1_, _7_, _8_, _10_, _11_, _12_, _13_, 25, 30, _66_: his writings; _De Re Aedificatoria_, _6_, _13_, _26_, _34_, _65_, _232_; _Della Pittura_, _6_, _11_, _12_, _13_; _Della Scultura_, _6_, _192_; _Tract on the Orders_, _66_.

Alcamenes, his competition with Pheidias, _181_, _186_.

Aldovrandi, _104_.

Alexander VI, _260_.

Alexandria, _102_, _300_.

Alfonso of Naples, 226.

Amalgam, for niello work, 274.

Amiens, portals at, _199_.

Ammanati, 46, _125_, _139_.

Anastatius IV, _27_.

Ancona, arch at, 79.

Andrea dal Castagno, 229.

Anio, the, _51_.

Antiques, collections of, _102_ f.

Antonello da Messina, 229, _297_.

‘Apollo’; ‘Belvedere,’ _116_; ‘Choisseul Gouffier,’ _146_; at Naples, _42_, _104_.

‘Applied ornament,’ _22_.

Arabesques, _303_.

Arch of Discharge, 70.

Arches: ancient; at Ancona, 79; at Pola, 79; at Rome, _76_, 82, _132_, _184_, _197_: temporary, 240.

Architectural forms, significance of, _68_.

Architectural practice, mediaeval and modern, _207_.

Architecture; Gothic, 83, _132_, _133_ f.; ideal, _18_, 96, _138_; mediaeval, Vasari on, 83, _133_ f.; Renaissance, _133_, _138_ f., books on, _72_, _74_; Roman, see ‘Rome,’ and _passim_.

‘Architettura Tedesca,’ _134_.

_Archivio della R. Società Romana di Storia Patria_, _103_.

Armatures; in models of clay or wax, 149, 150, _195_; in moulds for bronze casting, 160 f., _201_; in modelled plaster work, 171.

Aretine vases, _156_.

Arezzo, _267_, _309_; Cathedral, _267_; Museum, _157_; S. Francesco, _267_; Vasari’s house, _291_.

Armenini, _7_.

Armour, arms, inlaid, 279 f.

‘Ascension’ by Melozzo da Forlì, _217_.

Ashlar work, 50, 63.

Assisi; S. Francesco, _134_; Roman Temple, _75_.

Athens; Acropolis, _300_; Museums, _239_; Olympeion, _132_; Pentelicus quarries, _44_, _194_.

Bacchus, Temple of, at Rome, 27, 93.

Bacon, Francis, his _Essay on Building_, _139_.

Baldinucci; his _Notizie_, _110_, _113_, _114_; his _Vocabolario_, _57_, _231_.

Bandinello, 46.

Bardiglio, grey marble, _45_, _49_, _125_.

Basalt, _104_, _117_.

Bassae, sculpture from, _184_.

Bathroom pictures, _227_.

Beccafumi, Domenico, 258.

Bekleidungstheorie, Semper’s, _303_.

Bell earths, 230.

Bellini; Gentile, _236_; Giovanni, _297_; Jacopo, Vasari’s Life of, _237_.

Bells, casting of, 164, _199_.

Belvedere, Cortile di, see ‘Rome, Vatican.’

Bérard, _Dictionnaire des Artistes Français_, _130_.

‘Bernward’ pillar, the, _164_.

Bertolotti, _Artisti Francesi in Roma_, etc., _130_.

Biacca (white lead), _221_, 230, 236, _288_.

‘Bianco Sangiovanni,’ _221_, _288_.

Birmingham, its School of Art, _22_.

Boccaccio, his Commentary on Dante, _35_.

Bocchi, Francesco, on Donatello, _195_.

Boetheus, _de Arithmetica_, _236_.

_Bollettino d’ Arte del Ministero della Pubblica Istruzione_, quoted, _233_.

Bole Armeniac, Bolus, _248_.

Bologna; John of, _38_; S. Domenico, _306_.

Bonanni, _Numismata_, etc., _116_.

Borghini, _7_.

Botticelli, as tempera painter, _292_, _294_.

Box wood; for carving, 174; for wood-cuts, 281.

Braccio, as measure of length, viii.

Bramante, _116_, _135_, _266_.

Breccia, 37, _38_, 45, 49, 57, _125_, 261.

Brenner, the, _134_.

Brick; pounded, 232, 234; variegated, for pavements, 260.

British Museum, _313_.

Bronze; casting in, see ‘Sculpture, in Bronze’; composition of, 163 f.; incised designs in, _275_.

Brunelleschi, _25_, _46_, 58, _196_, _197_, 262, _305_.

Brussels, Town Hall at, _236_.

Buddhist stucco work, _301_.

‘Building,’ relief on Giotto’s Campanile, _207_.

_Bulletin Monumental_, _136_.

Bulls’ eyes, 265.

Buonarroti, the Casa, _46_, _195_.

Buonarroti, Michelangelo, personal references to, _5_, _15_, _25_, 33, 108.

Buonarroti, his work; at Florence, _46_, 80, _110_; at the marble quarries, 120 f.; at Rome, _14_, 36, 53, 81, _116_, 153; as architect, 53 f., 80 f.; as decorative designer, _53_, 81, _116_; as draughtsman, 216; as restorer of antiques, 32, _116_; as sculptor, _90_, _153_, _192_, _194_, _195_, _199_; as writer, _179_, _180_, _197_.

Buontalenti, _90_.

Burgkmair, _282_.

‘Burin,’ or graver, 165, 273.

Burlington; House, see ‘Exhibitions’; _Magazine_, _227_.

Burnishing of gold, 249.

Busts, Roman, in coloured wax, _188_.

Byzantine; mosaics, _136_; mural paintings, _225_; temperas, 223; misuse of the word, _302_.

‘Calcagnuolo’ (toothed chisel), 48, 152.

Camaldoli, monastery of, _233_.

Cameos, 157, 169.

‘Campanini,’ marbles, 45, 50.

Campiglia, 50, _127_.

Cancellieri, _Lettera ... intorno la ... Tazza_, _109_.

Cannon, casting of, 164, _200_.

Canopy, in the Carmine, Florence, 43, _118_.

Cantini, _Legislazione Toscana_, _58_.

Canvas; as painting ground, 236 f.; mural painting on, _234_; as used in Egypt, _236_; at Rome, _236_; at Venice, _236_ f.; by Mantegna, _236_; by Netherland painters, _236_.

Carborundum, _29_.

Careggi, _33_.

Carfagnana, or Garfagnana, a district of Italy, _45_.

Carpi, Ugo da, 281.

Carrara, 42, _119_ f., 259.

_Carteggio_, the, of Gaye, _16_, _32_, _266_, _308_ f.

Cartoons; how made, 213; how used, 215 f., 259, _289_; for glass, 268.

Castagno, Andrea dal, 229.

Casting-pit, the, 163.

Cellini, Benvenuto; _7_, _45_, _116_, _160_, _164_, _199_ f.; his _Autobiography_, _116_, _302_; his _Trattati_, _7_, _18_, _41_, _57_, _111_, _113_, _168_, _191_, _275_, _276_, _277_, _278_; on the use of full-sized models, _194_; his process of bronze casting, _201_.

Cennini, Cennino, _9_, _10_, _11_, _88_; his _Trattato_, _6_, _8_, _11_, _136_ f., _173_, _224_, _237_, _290_, _292_, _295_.

Cesare Cesariano, _134_ f.

Chalk; black, 213; red, 212; tailors’ white, 231; as ‘whitening,’ _242_.

Chambers, Sir William, _68_.

Charcoal; for darkening mixtures, 240; for drawing, 213, 231; for transferring, 215.

Charles V, _108_.

Chartres, sculpture at, _183_.

Chasing; _200_, 273; tools for, 165.

Chavenier (Chiavier), Jean, of Rouen, _130_, _175_.

Chemical analysis of painting media, _225_.

Chiaroscuri; decorative paintings, 240 f., _298_; wood engravings, _20_, 281 f.

Choir stalls, _305_.

Christ; by Donatello at Padua, _188_; ‘At the pillar’ by del Piombo, _234_; Head of, by Tadda, 33, _113_, _115_.

Christa, Christus (the painter), see ‘Crista.’

‘Chunam,’ _301_.

‘Church Triumphant,’ the, at Reims, _184_.

Cicero, _de Divinatione_, _180_.

Cimabue, 223, _252_.

‘Cipollaccio,’ 36.

Cipollino, _36_, 45, 49.

‘Cire Perdue,’ _202_.

Cista, Ficeronian, the, _273_.

Cividale, S. Maria in Valle, _301_.

Claude (worker in glass), _266_.

Clement; VII, 36, _46_, 58, 89, _109_, _110_, _116_, 311; XI, _108_; XII, _28_; XIV, _108_.

‘Cleopatra,’ the, _116_.

Coats of Arms, see ‘Stemmi.’

Coins, technique of, 157, 168.

‘Colantonio del Fiore’ (apocryphal artist), _227_.

Colonna; Ascanio, 32, _108_; Vittoria, _108_.

Colouring; 218 f.; Florentine, North Italian, _208_; in three shades, 209; printing in, _281_; of woods for tarsia, 262; of wax, 148, _188_ f.

Columns: see ‘Orders of Architecture’: at Constantinople, _102_: at Florence; Baptistry, 34; Mercato Vecchio, 59; S. Trinità, _41_, _66_, _110_: at Pisa, Baptistry, _41_: at Rome; Aurelian, _183_ f.; Basilica of Constantine, _79_; Pantheon, 41; St. Peter’s, 39; Trajanic, _183_ f.: rustication of, _65_.

‘Commesso, lavoro di,’ 262.

Composition, in a picture, its meaning, 209.

Conche (antique bathing urns used for sepulchral purposes or fountains), _27_, _38_, _39_, _108_ f.

Conglomerate, see ‘Breccia.’

Coningsburgh Castle, _72_.

Constantine, 27, _102_.

Constantinople; porphyry at, _101_; S. Sophia, _102_, _254_.

Correggio, _208_, _217_.

Corsi, _delle Pietre antiche_, _37_, _41_, _49_.

Cortona, _156_, _267_.

Corundum (emery), _29_.

Cosimo, see ‘Medici, dei.’

Cosmati-work, _304_.

Cranach, _282_.

Crista, Pietro, 228.

Crowe and Cavalcaselle; _Early Flemish Painters_, _227_; _History of Painting in North Italy_, _226_.

Dalman, Dalmau, Ludovicus, _228_.

Damascening, 279.

Damiano, Fra, of Bergamo, 263, _306_.

Dante; _307_; quoted, _258_ f.; referred to, _35_.

Danti, Vincenzio, _123_.

Daremberg et Saglio, _Dictionnaire des Antiquités_, _273_.

Davanzati, on Donatello, _181_.

‘David,’ the, by Michelangelo, _44_, 45, _194_.

De l’Orme, _139_.

De Mayerne MS., _297_.

Design; how it should be studied, 210; as basis of the decorative arts, 284.

Dienecker, _282_.

Dierich, Dirick; Bouts, _228_; of Haarlem, _228_.

‘Disegno,’ Vasari’s use of the term, _205_.

Dissection, value of, 210.

Djebel Duchan, porphyry quarries, _102_.

Dome of St. Peter’s, _81_.

Donatello: personal references, _12_, _197_, _199_: his treatment of relief, _18_, 145, 156: his treatment of the proportions of the figure, _181_ f.: his works; ‘Abraham and Isaac,’ _182_, ‘Beheading of John Baptist,’ _196_, ‘Cantoria,’ _182_, ‘Christ’ of S. Antonio, Padua, _188_, ‘David,’ _188_, ‘Dovizia,’ _57_, 59, ‘St. George,’ _45_, _195_, ‘Niccolo da Uzzano,’ _188_, ‘Pietà,’ _156_, ‘Zuccone,’ _182_.

‘Doryphorus,’ the, at Naples, _146_.

‘Dovizia,’ by Donatello, _57_, _59_.

Drapery, its treatment in sculpture, _144_, 150, 175.

Drawing; its use in the various arts, 206 f.; materials of, 212.

Drawings, Florentine and Venetian, _212_.

Drills, 49.

Duccio of Siena, 258.

Dürer, Albrecht; _1_; as tempera painter, _292_.

Dussieux, _Artistes Français à l’Étranger_, _130_.

Egg, as a tempera, 222, _223_, 224, 234, 249, _293_.

Egg-shell mosaic, 93, _136_ f.

Egypt, as source of supply for stones, 26, 36, 38, 39, 40, _41_, 42, _101_, _111_.

Egyptians; their bronze casting, 163; their painting methods, _224_; their silver work, _273_; their use of wooden stamps for bricks, _275_.

Elba, granite from, 40, _111_.

‘Electron’ metal, 164.

Elsa, river of Tuscany, 88.

Emery; 27 f.; point for cutting glass, 269; veins (smerigli), 47.

Enamels; different kinds of, _312_ f.; vitreous pastes for, _311_; effect of tin in, _277_, _311_; Cellini on, _276_ f.; Labarte on, _313_; Theophilus on, _276_, _312_; over reliefs, 276 f.; over different metals, 277; firing of, 278; fluxes for, _277_; polishing of, 278; ruby colour in, _277_; Venetian, _278_.

Encaustic painting, _190_, _292_.

_Encyclopédie_, the French, _18_, _152_, _158_, _191_.

Engraving, on metal, 273 f.; on wood, 281 f.

Etruscan; incised designs, _273_: reliefs, _197_; see also ‘Orders of Architecture, Tuscan’ and ‘Tuscan style.’

Eugenius IV, _28_.

Eustatius, _181_.

_Evonimus Europaeus_, see ‘Silio.’

Exhibitions; at Burlington House, _227_, _293_; at the Salon, _293_; International, of 1851, _21_; of 1862, _41_, _55_, _60_, _119_; ‘Toison d’Or,’ at Bruges, _227_.

Eyck, van; _10_, _19_, _294_ f.; Hubert, _226_; Jan, 226 f., _230_, bath room pictures by, 227.

Ezechiel, his visionary temple, _139_.

Facio, _De Viris Illustribus_, _227_, _296_.

Falda, G. F., _Vedute delle Fabbriche_, _28_.

Farnese Collection of Antiques, 28, _104_.

Federico of Urbino, 227.

Ferrara; as an artistic centre, _227_; Palazzo dei Diamanti, _132_.

Fichard, _Frankfurtisches Archiv_, _106_.

Ficorini, Francesco dei, _Le Vestigia_, etc., _108_.

Fiesole; _57_, 58, _60_, _132_; S. Girolamo, tomb in, _111_.

Fig tree, milk of, as a tempera, 224.

Filarete, _Trattato_, _135_, _139_ f., _146_, _296_.

‘Filiera’ (wire-drawing plate), _280_.

Fineschi, on S. Maria Novella, _30_.

Finiguerra, Maso, 274, _275_.

Fireplaces, mediaeval, _72_.

Firing; of enamels, 278; of glass, 271; of _cire perdue_ moulds, 162 f.

‘Flashing,’ in glass staining, _270_.

Flemings, as glass workers, 267, _309_.

Flemish; correspondents of Vasari, _1_; painting, 226 f., _236_.

Florence: Baptistry; 34, _252_, 274; gates of, _34_, 155, _183_, _196_: Bargello, see ‘Museum, National’: Boboli Gardens, _29_, _38_, _39_, _41_, _90_, _107_: Borgo degli Albizzi, _298_: Campanile; materials of, _118_, _128_; relief on, _207_; statues on, _182_, _187_: ‘Centro,’ the, _60_: Churches; Annunziata, _18_, 175, 253; Carmine, 42, _118_; Cathedral, see ‘Duomo’; Duomo, 43, 61, _112_, _118_, _128_, _253_, _306_, _308_; S. Giovanni, see ‘Baptistry’; S. Lorenzo, 58, _112_, _122_, 156, (Cappella dei Principi, _59_, Façade, 46, _124_, Library, 58, 80, _81_, 261, _310_, Sacristy, 58, 80, _110_, _194_, _305_); S. Maria del Fiore, see ‘Duomo’; S. Maria Novella, 30; S. Maria Nuova, 228, 229; Or San Michele, 60, 61; S. Miniato a Monte, _28_, 43, _118_; S. Spirito, 58: Citadel, fortress, see ‘Fortezza’: Fortezza; Belvedere, _66_; da Basso, 61, 66, _133_: Fountains, 32, _38_, 46, 88, _90_, _113_: Loggia dei Lanzi, 61: Manufactory of Mosaics, _109_, _118_: Mercato; Nuovo, 59; Vecchio, 59: Museum; of S. Marco, _60_; National, _113_, _136_, _274_: Opera del Duomo, _136_, _182_, _307_: Palazzo; Alessandri, _132_; Medici, 68, _133_; Montalvo, _298_; Pitti, 42, _60_, 61, _66_, 68, _109_, _114_, _133_; Riccardi, _133_; Strozzi, 61, 68; Vecchio (dei Signori, Ducal, Duke Cosimo’s, etc.), _3_, _15_, _19_, _33_, 45, 61, _113_, _132_, 233, _306_, _307_: Piazza; S. Trinità, _66_, _110_; Vittorio Emanuele, _59_: Ponte S. Trinità, _46_, _139_: Strada dei Magistrati, see ‘Uffizi’: Uffizi, _5_, _59_, 70 f., _106_, _112_, _113_, _136_: Via dei Magistrati, see ‘Uffizi.’

Flour; baked, mixed with clay to keep it moist, 150; in paste for priming canvas, _236_; for mucilage, 213.

Fluxes, for enamels, _277_.

Foggini, Giov. Batt., _60_.

Fontainebleau, stucco work at, _171_, _183_, _302_.

Foreshortening; in painting, 216 f.; in sculpture, 145.

Fornarina, Raphael’s, her reputed house, _103_.

Fountains, 32, 36, _38_, _40_, 46, 87 f., _110_, _113_, _116_.

François I of France, _130_, _171_.

‘Frassinella’ (sharpening stone), 278.

Frederick II, Emperor, _112_.

French School at Rome, _53_.

French, the, as glass workers, 267.

Fresco painting, see ‘Painting, fresco.’

Gaddi; Agnolo, _10_, _137_; Gaddo, _136_; Taddeo, _10_.

Galluzzi, _History of the Grand Dukes_, _15_, _112_.

‘Ganymede,’ the Florentine, _106_.

Garfagnana or Carfagnana; a district of Italy, _45_.

Garnier, M., on Michelangelo, _81_.

Gaye, _Carteggio_, _16_, _32_, _266_, _308_ f.

_Gazette des Beaux Arts_, referred to, _81_.

Genoa; Doria Palace, _247_; its flagstones or slates, 55, 238.

German carving in hard materials, 174.

‘German work,’ 63, 83, _133_ f.

Germans, the, in connection with engraving, _275_, _282_.

Gesso; as painting ground, 223 f., 230, 236, _249_, _293_; reliefs in, _224_.

Ghiberti, _18_, _183_, _199_.

Gian, Maestro, 52, _128_ f., _175_.

_Giornale d’ Italia_, _130_.

Giotto, _10_, 225, _290_, _304_.

Giovanni, Fra, of Verona, 262, _305_.

Girardon, his statue of Louis XIV, _18_, _158_.

Giulio, a silver coin, 276.

Giusto, S., near Florence, 37.

Glass; ‘crown,’ _265_; stained, 265 f., _308_ f.; Venetian, 268; see also ‘Mosaic.’

Glue; from cheese, 173; from parchment shreds, 173; see also ‘Size.’

Gori, _Thesaurus Vet. Diptychorum_, _136_.

Gossets, the, workers in wax, _189_.

Gothic Art, _16_, _17_, _60_, 83, _133_ f., _184_.

Goths, the, 60, 63, 83, _134_.

Gotti, Aurelio; on the length of the ‘braccio,’ viii; _Le Gallerie ... di Firenze_, _113_.

Gozbert of Tegernsee, _310_.

‘Gradina’ (toothed chisel), 48, 152.

Granite, 39 f.

Granito; del foro, _41_; di Prato, _118_.

Greece, as source of supply for stones, _35_, 36, 38, 42, 43.

Greek; bronzes, _164_; incised designs, _273_; reliefs, _179_, _196_ f.; statues, _146_; technique of marble sculpture, _192_; technique of bronze casting, _202_; tempera paintings, see ‘Byzantine’; wood inlays, _304_.

Gregorovius, _Geschichte der Stadt Rom_, _102_ f.

Gregory XII, _227_.

‘Grisatoio’ (a tool), 269.

Grotesques; 244 f., _299_ f.; meaning of term, _302_.

Grottoes, 87, _302_.

‘Grozing iron’ (a tool), 269.

Guasti, edition of Michelangelo’s poems, _180_.

Guglielmo da Marcilla, 266, _268_, _311_.

Guicciardini, on early Flemish painters, _226_.

Gum, as a tempera, 222, _223_, 250, 267, 283.

Haematite, 269.

Hair, the, its treatment in sculpture, _144_.

Hampton Court, _236_.

Hare, _Days near Rome_, _88_.

‘Heads,’ as measures of columns, 65.

Heemskerck, drawing of Michelangelo’s fountain, _116_.

Helena, mother of Constantine, _27_.

_Hermeneia_ (Mount Athos Handbook), _295_.

‘Hermes,’ the, of Praxiteles, _44_.

Herrmann, _Steinbruchindustrie_, _49_.

Hildesheim; bronze doors at, _164_; St. Michael’s, _302_.

‘Historic Ornament,’ _22_.

Honey, as a tempera, _223_, 250.

Hugo of Antwerp (van der Goes), 229.

Humanism, _11_, _25_, _138_ f.

Ideal Architecture, _18_, 96, _138_.

Ilg, Dr Albert, _6_, _92_.

Impruneta, Hill of the, 37, _127_.

Industrial Arts, the; _21_; in Britain, _22_; in France, _21_; in Italy, _passim_.

Inlays: breccia, 38: marble, 92 f., 258 f.: metal; damascening, 279 f.; niello, 273 f.: rustic, for fountains and grottoes, 87 f.: of coloured stones for pavements, etc., 57, 91: wood, 262 f., _303_ f.

Intaglios, technique of, 168 f.

Intarsia, _279_; see also ‘Tarsia.’

Iron; armatures, ties, etc., 25, 74, 161 f., 271; see also ‘Armatures’; damascening in, 279 f.; scale or scum of, 234, 269.

Istrian Stone, 56.

_Jahrbuch d. k. deutschen Archeologischen Instituts_, _104_, _105_, _107_, _115_.

Janni, Maestro, _128_, 174.

Jervis, _I Tesori Sotterranei dell’ Italia_, _41_, _119_ f.

Joggled lintels, _72_.

John of Bruges, see ‘Eyck, van, Jan.’

‘Jonah,’ by Michelangelo, _216_.

Julius; II, _108_, _260_, _266_, _267_, _276_, _308_; III, 32, _108_.

‘Justice,’ statue by Francesco del Tadda, _110_.

Justus of Ghent, 229.

Labarte, _Histoire des Arts Industriels_, _258_, _276_, _313_.

‘Lacedaemonium viride,’ _35_.

‘Laocoon,’ the, _116_.

‘Last Supper’; Leonardo’s, _233_; in Flemish glass, _311_.

Lavagna, slates of, 55.

Laws, against use of particular materials, etc., 58.

Leads, for glass windows, 271.

Leo; III, 310; X, _15_, _44_, _46_, _106_, _122_, _260_.

Leonardo da Vinci, _12_, _14_, _15_, _139_, 230, _233_.

Leopardi, Alessandro, _199_.

_Liber Pontificalis_, _310_.

Libergier, Hughes, of Reims, _207_.

Light and shade, treatment of, 220.

Lime; from marble chips, 86; from travertine, 86, _221_; its behaviour in connection with fresco, _288_.

Lime-white, see ‘Bianco Sangiovanni.’

Limewood, for carving, 173.

Linen cloth, over panels, 224.

Linlithgow Palace, _72_.

Lippmann, _The Art of Wood Engraving_, _281_.

Lomazzo, _231_.

Lorenzetto, the sculptor, _107_.

Lotto, _208_.

Louis: XIV, age of, 21; statue of, _158_: XV, style of, _89_.

Louvre, the, _44_, _107_, _116_, _194_, _201_.

‘Luano, Ludovico da’ (apocryphal painter), 228.

Lübeck, _308_.

Luini, _290_.

Luni, _119_.

Lysistratus, _188_.

Maccari, _Graffiti e Chiaroscuri_, _298_.

‘Macigno,’ 57.

Majano; Benedetto da, 262, _306_; Giuliano da, _306_.

Manganese, its use in fluxes, _277_.

‘Manner,’ its meaning in sculpture, _144_.

Mantegna, _236_; as tempera painter, _292_.

Manufactory of Mosaics, Tuscan, _109_, _118_.

_Manufacture des Meubles de la Couronne_, _21_.

Marangoni, _Delle Cose Gentilesche_, _28_.

Marble; coloured, _153_; Italian, ch. I _passim_, _117_ f., 152, 259; for mosaic, 91 f., 258; Parian, Pentelic, _44_; polish of, 49, 152, _153_; transparent, 43, 265.

Marcilla, Guglielmo da, 266, _267_, _268_, _311_.

Maremma, the Tuscan, its quarries, _128_.

Mariotti, _Legislazione delle Belle Arti_, _59_, _61_.

Marqueterie, _264_.

Martin, painters named, _229_.

‘Mary of the Visitation,’ Reims, _184_.

Massa, its quarries, _126_.

Massi, _Museo Pio-Clementino_, _27_, _108_.

Medals, technique of, 167 f.

Mediaeval; sculpture, _144_; decorative art, _284_; see also ‘Gothic.’

Medici; arms of the, _61_, 67; porphyry portraits of the, 33, _113_ f.; tombs of the, _194_.

Medici, dei: Alessandro, 66: Cosimo (_Pater Patriae_), 33, _113_ f.: Cosimo I, Duke; personal references, _14_, _15_, 32, 33, 47, 70, _110_, _112_, 228; portrait in porphyry, 33, _113_; connection with the marble quarries, _120_, _124_, 261; his interest in Pisa, 50, _126_; works connected with his name at Florence, (Palazzo Vecchio), 32, _33_, 37; (Pitti), 38, 41; (Uffizi), 59, 70; (elsewhere), 59, 88: Ferdinando, 105: Francesco, _33_, 123: Giovanni, _112_: Giuliano, _15_: Giulio (Clement VII), _15_: Ippolito, _103_: Leonora, Duchess, 33: Lorenzo; the Magnificent, 227; Duca d’ Urbino, _15_: Piero, _112_.

_Mélanges Nicole_, _194_.

Melozzo da Forlì, _217_.

Memling, Hans, _227_.

‘Meridiana,’ in the Pitti, _114_.

Merrifield, Mrs, _3_, _6_.

Michelagnolo, Michelangelo, see ‘Buonarroti.’

Michelozzo, _199_.

Milan; S. Ambrogio, _302_; Cathedral, _135_.

Millar, _Plastering_, _150_.

Mischiato, Mischio, see ‘Breccia.’

_Mitteilungen d. k. deutschen Archeologischen Instituts_, _78_.

Modelling in clay, 149 f., _198_.

Models: for sculpture; full-sized, 150 f., 158, _190_, _192_ f., _194_, _202_; small, 148, _194_: for wood carving, 173: of wood for architecture, 207: for studying shadows, 214, 216.

Monochromes, see ‘Chiaroscuri.’

Monsummano, quarries of, _128_.

Monte, monti; Albano, _128_; Altissimo, _120_ f.; Ceceri, _57_; Ferrato, _127_; S. Giuliano, 50, _126_; Martiri, _37_; Morello, 88; Pisani, 50, _126_; Rantoli, 37; Ripaldi, _60_; Sagro, _120_; Spertoli, _242_.

_Monumenti del Istituto_, _76_.

Morris, William, _3_, _22_.

Morto da Feltro, _302_.

Mosaic; antique, 91 f., _93_, 257, 263; derivation of word, _91_; Early Christian, _27_, _252_ f.; egg-shell, 93, _136_; glass, 93, 251; marble, 37, 92 f., 258 f.; pictorial, for walls, 93, 251 f.; rustic, for fountains and grottoes, 89, 90; technique of, 253 f.; Tuscan manufactory of, _109_, _118_; for variegated pavements (Cosmati-work), 91, _304_; vitreous pastes for, _311_ f.; of window glass, 266, _309_; wood, 262 f., _303_ f.

Mosque; lamps from, _268_; windows in, _309_.

Mother of Pearl, _93_.

Mothes, _Baukunst ... in Italien_, _135_.

Moulds, plaster, from the life, _188_.

Mucilage, see ‘Glue.’

‘Muffle’ furnace, 271, 277.

Müntz, Eugène; _Les Arts à la Cour des Papes_, _130_; on Byzantine mosaics, _136_.

Mural decoration: decorative processes, _19_, 240 f., _287_ f.: fresco, _10_, 213 f., 221 f., _287_ f.: mosaic, 93, 251 f.: oil, 232 f., _236_, 237, _294_ f.; on stone, 239: stucco, 53, 170 f., 244 f., _299_ f.: sgraffito, 243, _298_ f.: tempera, 224, _291_ f.

Naples: Museum, antiques at, _43_, _104_; pictures at, _227_: S. Barbara, _226_: S. Giacomo, tomb in, _47_: Vasari’s paintings at, _233_.

Nature, study of, at the Renaissance, _12_, _14_.

Net, the, for enlarging, 214.

Niello, 273 f.

Niké, from Samothrace, _107_.

‘Nile,’ Statue of the, 36, 44, _116_.

Nola, Giovanni da, 47.

‘Nonsuch,’ Palace of, stuccoes at, _302_.

Nose, the, in Greek and Florentine sculpture, _45_.

‘Nymph of Fontainebleau,’ Cellini’s, _201_.

Octavianus, Cardinal, _227_.

Oil; linseed, 230, 234; walnut, 230, 236.

Oil colour, for printing from wood blocks, 283.

Oil painting, 225, 226 f.; its first discovery, 226; its artistic advantages, 230; on stone, 55, 239.

Olmo, by Castello, 88.

Orders of Architecture, 63; Composite, 80 f.; Corinthian, 79 f.; Doric, 68 f.; Ionic, 78 f.; Italic, 82; Latin, 82; Rustic, 65 f.; Tuscan, 65 f., _132_.

Oseri, Osoli, the river, 50, _126_.

Pacheco, _7_; on tempera, _292_.

Painting: definition of, 208: comparison of with sculpture, _179_: history of, _225_, 226 f., _287_, _290_, _292_, _294_ f.: Florentine and Italian compared with modern, _208_: Greek, _239_: painting grounds; canvas, 236 f.; glass, 267 f., _308_ f.; ivory, _190_; panels, 223 f., 230, 237; plaster, 221 f., 223, _287_ ff.; stone, 55, 239: materials, _225_, and ‘Introduction’ to Painting, _passim_: pigments, 221, 224, 242: processes; encaustic, _190_, _292_; fresco, _4_, _10_, _19_, 221 f., _287_ f.; oil, _10_, _19_, 226 ff., _294_ f.; tempera, _19_, 223 f., 240 f., _291_ f.

Palazzo; dei Diamanti, Ferrara, _132_; see also ‘Florence,’ ‘Rome,’ etc.

Palermo, Cathedral, _111_.

Palissy, _139_.

Palladio, _66_.

Palmo, as measure of length, viii.

Palomino, _7_.

Panels; as painting grounds, 223 f., 230, 237; disadvantages of, _237_, 239; woods used for, _237_.

Paragon (touchstone), 42 f., _104_, _117_ f.

Parione, see ‘Rome.’

Paris; as an art centre, 21; Sainte Chapelle, _311_.

Parthenon, sculpture of, _183_, _199_.

Pasiteles, _194_.

Pastes; coloured for rustic work, 89; for first priming of canvas, 236.

Pastorino of Siena, _189_.

Patina, artificial; for bronze, 166; for silver, _273_.

Paul; II, _40_; III, _40_, _108_, _260_; V, _39_.

Pavements; breccia, 261; mosaic, 90 f., 258; tiled, 90, 260.

Paxes, 274 f.

Pear-tree wood, for wood-cuts, 281.

Pedestals, to columns; 65, 75, 78, 79, 82; architectural use of them, _75_.

Pentelicus, Mount, quarries at, _44_, _194_.

Peperigno, Peperino, _51_, 55, 238.

‘Per forza di levare,’ ‘per via di porre’ (methods of sculpture), _179_ f., _197_ f.

Pergamon, smaller frieze from altar base, _197_.

Perino del Vaga, _14_, _53_.

‘Perseus,’ by Cellini, _164_, _201_ f.

Perspective, its study, _12_, _264_.

Perspectives, 214, _264_, _305_.

Perugino, Pietro, 230.

Peruzzi, _78_.

Petersburg, St., _304_.

Petrarch, figure of in tarsia, _307_.

Pheidias, _11_, _181_, _186_.

Piè di Lupo (Lugo), 87 f.

Piece-mould, 158 f., _202_.

Pier Maria da Pescia, _112_.

Pietà; by Donatello, _156_; by Michelangelo, _153_.

Pietra forte, 57, 60 f.

Pietra del fossato (fossataccio), 58.

Pietra morta, _57_.

Pietra serena, 57 f.

Pietrasanta, 46, 50, _120_ f., 261.

Pigments; 221, 224, 230, 242; for glass-painting, 269, _310_.

Pinturicchio, _303_.

Piombino, _127_.

Piperno, see ‘Peperigno.’

Pisa: Duke Cosimo’s care for, 50 f., _126_: Baptistry, _41_: Camposanto, 50: Duomo; 50, 252; ‘Cimabue’ at, _252_.

Pisan mountains, _50_, _126_.

Pisano, Nicola, _197_.

Pistolesi, _Il Vaticano Descritto_, _53_, _108_.

Pius; IV, _110_; VI, _27_, _108_, _109_.

Plaster work, see ‘Stucco.’

Plato, _Sophist_, _181_.

Pliny, _Historia Naturalis_, _34_, _35_, _44_, _51_, _91_, _93_, _101_, _117_, _225_, _236_, _237_, _273_, _291_.

Podium, of Roman temples, _75_, _78_.

Pointing machine, _191_.

Pola, arch at, 79.

Polishing; breccias, 38; bronze, 165; enamels, 278; marble mosaics, 260; marble, statuary, 45, 47, 49, 152, _153_; niellos, 274; pietra serena, 58; porphyry, 31, 34; stucco, _171_; ‘touchstones,’ 42 f.

Pollaiuolo, A., _199_, _275_.

Polvaccio quarry, 46, _120_.

Pompeian; style in ornament, _302_; wall paintings, _225_.

Pomponius Gauricus, _199_.

Popes, see the individual names, ‘Clement,’ etc.

Porphyry; 26 ff., 101 ff.; green, at S. Nicola in Carcere, Rome, _28_.

Porta, Giacomo della, _52_.

Portinari, the, 227 f.

‘Pot-metal,’ _270_, _311_.

Potters’; clay, 240; ‘soap,’ _277_.

Pouncing, as method of transfer, _289_.

Pozzuoli, Pozzuolo, 66, _303_.

Prato, 42, _127_.

Praxiteles; 180; his ‘Hermes,’ _44_.

Presses, decorated, _305_.

Primaticcio, _171_, _183_.

Priming, directions for, 230 ff.

‘Prisoners,’ porphyry figures in Boboli Gardens, 29.

Probert, _History of Miniature Art_, _190_.

_Proceedings_ of Huguenot Society, _189_.

Proportions of the human figure, 146, _180_ f.

Pulvinated frieze, 79.

Pumice stone, for polishing; bronze, 165; marble, 49, 152; niellos, 274.

‘Puntelli,’ for measuring statues, _194_.

_Quellenschriften_, the Vienna, _2_, _6_, _92_.

Rabelais, his Abbey of Theleme, _139_.

Raffaello da Urbino, see ‘Raphael.’

_Ragionamenti_, see ‘Vasari, his writings.’

Rags covered with clay, for drapery, 150, 208.

Raimondi, Marc Antonio, _274_, _275_.

Raphael; _14_, _15_, _134_, _188_, 220, 230, 260; the _Report_ on Roman Monuments, _134_.

Ravello, _111_.

Ravenna; mosaics, 252; stuccoes in Baptistry, _301_.

Recipes: _6_, _20_: black; filling for marble monochromes, 260; for niellos, 274; for transferring, 215: bronzes and metal alloys, 163: keeping clay soft, 150: core for a bronze casting, 159: ‘egg-shell’ mosaic, _137_: enamels, fluxes for, _277_: envelope for a bronze casting, 161, 166: gesso, ‘grosso’ and ‘sottile,’ _249_: gilding, 248 f.: glass; gilding, 254; painting on (burnt in), 269, _310_, (unburnt), 267; yellow stain for, 270, _311_: ink, drawing, 213: preparing mosaic cubes, _254_: mucilages, 173, 213: oil paint, mixing, 230, _295_ f.: patina, artificial; for bronze, 166; for silver, _273_: priming, 230 ff.: polishing, see ‘Polishing’: retouching media for fresco, 222, _289_: sgraffito, 243 f.: stone, painting on, 238: stucco; for enriched vaults and ‘grotesques,’ 86, 170; for setting glass mosaic, 255 f., _256_; for setting mosaic pavements, 92; for preparing a wall for oil painting, 232 f.; retarding its setting, _150_: temperas, for painting, 224, _293_ f.; for decorative painting, etc., 240 f.: tempering-baths for steel, 30, 32, _112_: tiles, variegated, 260: ‘verdaccio,’ _242_: vitreous pastes, coloured, _311_: preparing walls for oil painting, 232 f.: wax; for bronze casting, 160; for coloured effigies, _189_; for modelling, 148: white lime, (bianco Sangiovanni) _221_: colouring woods for tarsia work, 262 f.

Reliefs; origin of, 154; influence of painting and perspective on, _196_ f.; terminology of, _154_; antique, 154, _196_; flat (stiacciati), 156 f.; low (bassi), 156; pictorial or perspective, 154 f., _196_ f.; in cast bronze, _197_ f.; in baked clay, _197_ f.; in marble, _197_ f.; in metal repoussé, _198_; Andrea Pisano’s, _199_; Donatello’s, 156, _196_; Etruscan, _197_; Ghiberti’s, _196_; Greek, _197_ f.; Hellenistic, _197_, _301_; mediaeval, _196_, _199_; Roman, _197_.

St. Rémy, tomb of Julii at, _197_.

Renaissance; the, _7_, _11_, _21_; the man of the, _138_; marbles, _153_; the ‘proto-,’ _197_.

Repetti, _Dizionario_, _118_, _119_ f.

Repoussé process, _179_, _198_.

Restoration of antiques, _106_, _107_, _116_.

Retouching, on frescoes, 222, _289_.

Ring, the, at Vienna, _56_.

Robbia, della; the, _114_, _260_; Luca, _182_.

Robinson, G. T., _3_, _150_.

Rocaille, Rococo, style, _18_, 87, _89_.

Rocco, S., statue of, _18_, 174.

Roger, ‘of Bruges,’ ‘of Brussels,’ ‘van der Weyden,’ 227, _236_.

Romans, the; their bronzes, _164_; their reliefs, _197_; their use of rustication, _132_; their wooden stamps for bricks, _275_.

Rome: Arch; of Septimius Severus, _76_; of Titus, 82, _184_, _197_; Arco dei Pantani, _132_: S. Angelo, Castle of, 260: Basilica; Aemilia, _76_; of Constantine, _79_: Bocca della Verità, _76_: Campo; di Fiore, 78, _299_; Vaccino, _76_: Capitol, _81_: Carcer Mamertinus, _76_: Churches; S. Bernardo, _130_; Ss. Cosma e Damiano, 52; S. Costanza, _27_, _252_; S. Giovanni in Laterano, 27; S. Luigi dei Francesi, _41_, 52, _54_, _175_; S. Marco, 39; S. Maria, (in Araceli) _76_, (Maggiore) _79_, (del Popolo) _267_, (Sopra Minerva) _44_; S. Nicola in Carcere, _28_, _78_; S. Pietro in Montorio, _234_; S. Pietro in Vaticano, (the Constantinian basilica) 39, 263, _310_, (the present church) _28_, _39_, 54, 81, 86, _217_; S. Pietro in Vincola, 39, _40_; S. Salvadore del Lauro, 39; S. Stefano, _40_; S. Tommaso in Parione, _103_: Colosseum, 51, _53_, 74, 82: Column; of Marcus Aurelius, _183_ f.; of Trajan, _183_ f.: Corso Vittorio Emanuele, _103_, _105_: Forum; of Augustus, _132_; Boarium, 76; Olitorium, _78_; Romanum, _49_, _76_; Trajanic, _41_, _185_: Monte Cavallo, Colossi of, 44: Museum, Terme, _301_: Palazzo; dei Conservatori, _81_; Farnese, 28, 53, 78, 81, _104_, _131_; la Valle, 28; Madama, _52_, _131_; Massimi, _298_; Ricci, _298_; Spada, _299_: Pantheon, _28_, 41, 79, 80: Parione, 42, 93, _102_: Piazza; Campo di Fiore, 78, _299_; Farnese, _40_; S. Luigi dei Francesi, _128_ f.; di S. Marco, _40_; dei Massimi, _298_; Navona, _52_, _102_; della Rotonda, 27, _28_: Plan of Rome, _105_: Ritonda, Rotonda, see ‘Pantheon’: Temple; of Bacchus, 27, 93; of Peace, 79: Templum Sacrae Urbis, _52_: Theatre; of Marcellus, 76, 79; of Pompeius, _102_: Thermae; of Agrippa, _106_; of Caracalla, _110_; of Constantine, _44_; of Diocletian, _130_; of Nero, _41_, _130_; of Titus, _108_, _302_: Tombs on Via Latina, _301_: Torre Pignattara, _27_: ‘Treasury,’ the, 52: Tullianum, 76: Vatican; Appartamento Borgia, _53_, _260_, _303_; Belvedere, Cortile di, 36, 44, _108_, _115_ f.; Braccio Nuovo, _116_; Chapel of Nicholas V, _234_; coloured windows, _266_; Museo Pio-Clementino, _108_; Museum of Sculpture, _115_; Sala di Costantino, _233_; Sala a Croce Greca, _27_, _116_; Sala Regia, _53_, _267_; Sala Rotonda, _32_, _108_; Sistine Chapel, _53_, _216_: Via; de’ Banchi Vecchi, _299_; del Governo Vecchio, _103_; Latina, _301_; Maschera d’Oro, _298_, _299_; Parione, _103_; Pellegrino, _298_: Villa; Farnesina, _171_, _301_; Madama, _89_; Medici, _40_, _105_, _107_, _109_; Papa Giulio, _108_: Wall of Servius Tullius, _55_.

Royal Institute of British Architects, _Transactions_ of, _29_, _35_, _38_, _101_, _102_, _265_.

Ruby red, in glass, _270_.

Rucellai, the family, _30_.

Runkelstein, Schloss, _227_.

Rustication, rustic work, 52, _56_, _65_, 67, _87_, _132_.

Rye dough, mixed with plaster to retard its setting, _150_.

Salamander, carved, at S. Luigi, Rome, _130_ f.

‘Saligni’ marbles, 45, 50.

Salting collection, _189_.

Salviati, Francesco, _311_.

San Gallo; Antonio da, 53, 76; Giuliano da, _76_.

Sansovino, Jacopo, 56.

Sarcophagi, Sarcophagus; of Hadrian, _28_; the Marsuppini, _16_; of the Medici, _112_; of Nectanebes I, _38_; at Palermo, _111_; Roman, _197_; of L. C. Scipio Barbatus, _55_; of Piero Soderini, 42, _118_; in Sala a Croce Greca, Vatican, 27, _109_.

Sassi, the family, _102_ f.

Sasso, Egidio e Fabio, 28, 93, _102_ f.

Scaling, of glass, 270.

_Schedula Diversarum Artium_, see ‘Theophilus.’

Schools of Art, _22_, _199_.

Science and Art Department, _22_.

Scopas, his sculpture at Tegea, _184_.

Sculpture: its nature and conditions, 143 f., _179–188_: compared with painting, _179_: processes of, 148–153, _190–195_: use of drawing in, 207: imitated in painting, 240 f.: relief sculpture, see ‘Reliefs’: in bronze; beaten, _179_, 198; cast, _4_, _7_, _18_, 158 f., _199_ f.; chased, 276, _313_; stamped, 167 f.: in free stone, 52, 59, 61, _131_, _299_: in marble; 43 f.; technique of, 48, 151 f.: in porphyry and hard materials, 33, 42, _110_ f., 117 f., 174: in wood, 173 f.

Seccatives, 230.

Semper, Gottfried, _244_, _303_.

Seravezza, 46, 50, _120_ f.

Serpentine, 35, _113_, _118_, _127_.

Sgraffiato, _243_.

Sgraffito, _19_, 243 f., _298_ f.

‘Sicilian’ marble, _49_.

Siena; Duomo, pavement in, _94_, 258; Baptistry, Donatello’s relief in, _196_.

Silio, a white wood, 263.

Silver; as ground for enamels, _276_ f.; for glass staining, _270_, _311_; for niello work, 273; work, antique, _273_.

Sixtus IV, _53_.

Size; meaning of the word, _248_; in grounds for gilding, _248_, 249; as priming, 224, 230, 237, 238; as a tempera, 222, _223_, 224, 241, _242_, _289_, _294_.

Sketches, 212.

Slate, 54, _238_.

‘Slave,’ the, of the Louvre, _195_.

‘Smerigli’ (emery veins), 47.

Soderini, Piero, his tomb, 42, _118_.

Springer, Anton, _112_.

Stalactites, 87 f.

Stamps, wooden, for bricks, _275_.

Stazzema, _125_, 261.

Steel, damascened, 279.

Stemmi, _61_, _299_.

‘Stiacciato’ relief, 156, _182_.

Stockholm; Museum at, _30_; Parliament buildings at, _72_.

Stone; its hardening by exposure, _26_, 41; as painting ground, 55, 238; and _passim_.

Stucco; _171_; antique, _287_; as fresco ground, _288_; over travertine, 53; enriched vaults in, 85; (recipes) 86; modelled and stamped enrichments and grotesques (recipes), 170 f., 244 f., _299_ ff.; for fixing panels of slate, 239; for preparing a wall for oil paint (recipes), 232, 234; for piece-moulding, 158; for rustic grottoes, etc., 89 f.; for setting marble mosaic pavements (recipe), 92; for setting glass mosaics, 255; for sgraffito-work (recipe), 243.

Stylus, use of the; in niello work, 273; for sharpening lines in tempera, _293_; in sgraffito-work, 243; for transferring, 215, 231, _289_.

‘Subbia’ (tool for stone-working), 48, 152.

Sulphur; in amalgam for niellos, _274_; for casting niellos, 275.

Symonds, J. A., his translation of Michelangelo, _180_.

Tadda, Francesco del, 32 f., _66_, _110_ ff.

Targioni Tozzetti, _Viaggi in Toscana_, _126_.

Tarsia work, _196_, 262 f., _303_ f.

Tausia work, 279.

‘Tedesco,’ its meaning to the Italians, _134_.

Tempera; meanings of the term, _223_; advantages of tempera process, 224, _291_ f.; its disadvantages, _293_ f.; see also ‘Painting, tempera.’

Terminal figures, 82.

Terni, _88_.

‘Terre da Campane,’ _230_.

Teverone, the, 51, 79, 87.

Text, Vasari’s printed, possible mistakes in, viii, _79_, _88_, _228_, _276_, _283_.

Theophilus, his _Schedula_, _6_, _8_, _20_, _92_, _173_, _268_, _270_, _271_, _276_, _280_, _284_, _295_.

Theophrastus, Περὶ Λίθων, _34_, _117_.

Theseum, sculpture of, _184_.

‘Three block’ wood engraving, 281 f.

‘Tiber,’ statue of the, 36, _44_, _116_.

‘Tigris,’ statue of the, _36_, _116_.

Tiles, glazed, 90, 260.

‘Times, The,’ referred to, _29_.

Tin; effect of on enamels, _277_, _311_; as ingredient in bronze, _164_.

Tintoretto, _214_, _234_.

Tivoli, 51, 66, 79, 87, _303_.

Toledo, don Pietro di, 47.

Tools; for working bronze, 165; for glass cutting, 269; for granite, etc., 41; for marble, 48, 152; for porphyry, 32; for wax, 149.

‘Topo,’ a tool, 269.

Torcello, mosaics at, _255_.

‘Torso,’ the, _116_.

Touchstone, see ‘Paragon’; of Prato, 43.

Trajan, sculpture connected with him, _197_.

_Transactions_, _R.I.B.A._, see ‘Royal Institute of British Architects.’

Transparency in glass, 267, _308_.

Travertine; 51; carving in, 52 f., _131_, _299_.

Triangle, equilateral, in Gothic architecture, _135_.

Tribolo, _42_, 88, _260_.

Tripoli earth, for polishing, 153, 278.

Tuscan style, _56_, 87.

Tzetzes, _181_, _186_.

Udine, Giovanni da, 89.

Urns, bathing or sepulchral, see ‘Conche.’

Valle, della; family, collection, palace, etc., 28, _104_ f.; Cardinal Andrea, _106_ f.

Varchi, Benedetto, _179_, _197_.

Varnish, 232, 239, 249, _293_, _294_ f., _309_.

‘Vasajo,’ origin of Vasari family name, _156_.

Vasari, the family, _156_.

Vasari, Giorgio, the elder (‘Vasajo’), _156_ f.

Vasari, Giorgio: his character and gifts, _4_, _15_ f.: his life and art, _5_, _7_, 33, 59, _106_, _291_: his visits, _56_, _103_, _237_: his method of mural painting in oil, 233 f.: his writings; _Letters_, _3_, _6_, _111_; _Lives of the Artists_, _1_, _2_, _5_, _7_, and _passim_; _Ragionamenti_, _3_; Editions of, _1_, _2_, _7_; Translations of, 2 f.; Text, printed, possible mistakes in, see ‘Text.’

Vaults; brick, 86; stucco, 85, 170; in St. Peter’s, 54.

Vellino, river, _88_.

Venetians, the, _14_, _212_.

Venice: colour printing, _281_: enamels of, _278_: frescoes at, _234_: glass work at, 268: mosaics at, _252_, _254_, _268_: Ducal Palace, _236_, 237: Church of S. Marco, _111_, _112_; mosaics at, _252_: Library of S. Marco, _56_, _237_: Palace of S. Marco, see ‘Ducal Palace’: Panattiera, 56: Piazza di S. Marco, 56: Piazzetta, _56_: Scuola di S. Rocco, _234_: Zecca (Mint), 56, _65_.

Veniziano, Domenico, 229.

‘Venus’; crouching, in Louvre, _194_; Medici, _105_; of Milo, _195_; and Cupid, _112_.

‘Verdaccio,’ 242.

‘Verde’; ‘Antico,’ _35_; ‘di Prato,’ _35_, _118_, _127_.

Verdun, _266_.

Verhaecht, _227_.

Verona; marble, 39; S. Maria in Organo, _306_.

Verrocchio, _199_; his ‘Boy with a Dolphin,’ _33_; his sarcophagus in S. Lorenzo, _112_; his Colleoni statue, _200_.

Versiglia, the, _125_.

‘Via dei Magistrati,’ see ‘Florence,’ ‘Uffizi.’

Victoria and Albert Museum, _136_, _156_, _189_, _311_, _313_.

Vignola, _81_.

Villa; Careggi, _33_, 228; Farnesina, _301_, _171_; of Hadrian, _303_; Madama, _89_; Medici, _40_, _105_, _107_, _109_; Papa Giulio, _108_; Poggio Imperiale, _114_.

Villani, _Chronicle_, 34, _35_.

Vitreous pastes, coloured, _277_, _311_ f.

Vitruvius, 25, _51_, _65_, _66_, _68_, 75, 79, 80, _135_, _146_, _171_, _220_, _225_, _287_, _291_.

Volterra, Daniele da, _53_.

‘Volterrano’ (Volterra gypsum plaster), _249_.

Walnut oil, see ‘Oil, nut.’

Walnut wood; for carving, 174; as ground for inlays, 262.

Wax; its use by the modeller, 148, _188_ f.; by the bronze founder, 160 f.; coloured, its preparation and use, 148 f., _188_ f.; as setting for portable mosaics, _136_.

Westminster Abbey, waxen effigies at, _188_.

Wheel, the, for working hard stones, _112_, 167, 168.

White; of egg, 234, 249; for fresco (bianco Sangiovanni), _221_; lead white (biacca), _221_, 230, 236; for tempera, 224.

Whitening, _241_, _242_, _294_.

Wilkinson, Sir Gardner, _102_.

Wilson, Charles Heath, _Life of Michelangelo_, _310_.

Winckelmann, _104_.

Wire-drawing plate, 280.

Wolf, porphyry, 28, _107_.

Wood; carving, 173 f.; engraving, 281 f.; inlaying, see ‘Tarsia.’

Yellow stain for glass, 270, _311_.

‘Zeus,’ of Pheidias, _181_.

Zinc, ingredient in bronze, 164.

Zirkel, _Petrographie_, _49_.

Zobi, _Notizie ... dei Lavori ... in Pietre Dure_, _109_, _114_ f.

GLASGOW: PRINTED AT THE UNIVERSITY PRESS BY ROBERT MACLEHOSE AND CO. LTD.

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Footnote 1:

Berenson, _The Drawings of the Florentine Painters_, London, 1903, 1, p. 18, says that Vasari ‘was an indifferent connoisseur and a poor historian; but he was a great appreciator ... and a passionate anecdote-monger. Now the Anecdote must have sharp contrasts....’

Footnote 2:

The materials for our knowledge of Vasari and his works are derived from his own Autobiography and his notes on himself in the Lives of other artists, as well as from the _Ragionamenti_ and from the _Letters_, printed by Milanesi in the eighth volume of the Sansoni edition of Vasari’s writings, or previously printed by Gaye in the third volume of the _Carteggio_.

Footnote 3:

Before Vasari published his _Lives_, at least eight editions of Vitruvius had appeared. The Editio Princeps, ‘curante Jo. Sulpitio Verulano,’ is believed to have been issued at Rome about 1486, and in 1496 and 1497 reprints were published at Florence and at Venice. In 1511 appeared the important edition, with emendations and illustrations, by the famous architect Fra Giocondo of Verona, and this was reprinted in the Giunta edition at Florence in 1513. Other editions saw the light in 1522, 1523, 1543, and 1550. An Italian translation was published in 1521, a French one in 1547, and in 1548 one in German. The reverence of the architects of the Renaissance for Vitruvius was unbounded, and Michelangelo is said to have remarked that if a man could draw he would be able by the help of Vitruvius to become a good architect.

Footnote 4:

Leon Battista Alberti shares with Brunelleschi the distinction of representing in its highest form the artistic culture of the early age of Humanism. His principal work _De Re Aedificatoria_, or, as it is also called, _De Architectura_, was published after his death, in 1485. It is divided, like the work of Vitruvius, into ten books, and is an exceedingly comprehensive treatise on the architectural art both in theory and practice, and on the position of architecture in relation to civilization and to society at large. It is written in a noble and elevated style, and, as the title implies, in Latin. It was translated into Italian by Bartoli and into English by J. Leoni (three volumes, folio, 1726). Alberti also wrote shorter tracts on Sculpture and Painting, as well as other works of a less specially artistic order.

Footnote 5:

See Note on ‘Porphyry and Porphyry Quarries’ at the close of the ‘Introduction’ to Architecture, postea, p. 101, and A on the Frontispiece, which gives representations in colour of the stones Vasari mentions in these sections, omitting those familiarly known.

Footnote 6:

If a stone be comparatively soft when quarried and become harder after exposure to the air, this is due to the elimination in the air of moisture that it held when in the earth. In a dry climate like that of Egypt there is little or no moisture for stones to hold, and the Egyptian porphyry, Mr W. Brindley reports, is quite as hard when freshly quarried as after exposure. Vasari repeats this remark when he is dealing with granite in § 6, postea, p. 41. He has derived it from Alberti, who in _De Architectura_, bk. II, ch. vii, notices perfectly correctly that the question is one of the comparative amount of moisture in the stone.

Footnote 7:

‘Temple of Bacchus’ was the name given at the Renaissance to the memorial chapel containing the tomb of Constantia, daughter of Constantine the Great, on the Via Nomentana close to S. Agnese, and now known as S. Costanza. The name was suggested by the mosaics with vintage scenes on the barrel vault of the aisle, which are of great interest and beauty. In Vasari’s time this still contained the porphyry sarcophagus where Constantia was laid, and of this he goes on to speak. In 1788 Pius VI transferred it to his new Sala a Croce Greca in the Vatican, where it now stands.

Footnote 8:

This is the second of the two vast cubical porphyry sarcophagi in the Croce Greca, and it is believed that it served once to contain the mortal remains of Helena, mother of Constantine. It is much finer in execution than the other, and exhibits a large number of figures in high relief, though incoherently composed. The subject may be the victories of Constantine. It was originally in the monument called ‘Torre Pignattara,’ the supposed mausoleum of Helena on the Via Labicana, and was transported in the twelfth century by Anastatius IV to the Lateran, whence Pius VI had it transferred to the Vatican. The restoration of these huge sarcophagi cost an immense amount in money and time. Massi (_Museo Pio-Clementino_, Roma, 1846, p. 157) states that the second one absorbed the labour of twenty-five artificers, who worked at it day and night for the space of nine years. Strzygowski, _Orient oder Rom_, 1901, notices the sarcophagi.

Footnote 9:

Urns, or, as the Italians called them, ‘conche,’ of porphyry, basalt, granite and marble existed in great abundance in the Roman Thermae where they were used for bathing purposes. From the seventh century onwards the Christians adopted these for sepulchral use and placed them in the churches, where many of them are still to be seen (Lanciani, _Storia degli Scavi_, Roma, 1902, I, 3, and Marangoni, _Delle Cose Gentilesche_, etc., Roma, 1744). Hence Vasari speaks of the porphyry urn of the Piazza della Rotonda (the Pantheon) as of sepulchral origin, and it was indeed rumoured to have held the ashes of Agrippa, and to have stood once on the apex of the pediment of the Pantheon portico. It was however an ancient bath vessel, and was found when Eugenius IV, 1431–39, first excavated and paved the piazza in front of the Pantheon. It was placed with two Egyptian lions in front of the portico, where it may be seen in the view of the Piazza della Rotonda in G. F. Falda’s _Vedute delle Fabbriche_, etc., of 1665. Clement XII, 1730–40, who was a Corsini, had it transported for his own sepulchre to the Corsini chapel in the Lateran, where it now stands, with a modern cover. Vasari evidently admired this urn, and he mentions it again in the life of Antonio Rossellino, where he says of the sarcophagus of the monument of the Cardinal of Portugal in S. Miniato, ‘La cassa tiene il garbo di quella di porfido che è in Roma sulla piazza della Ritonda.’ (_Opere_, ed. Milanesi, III, 95.) See Lanciani, _Il Pantheon_, etc., Prima Relazione, Roma, 1882, p. 15, where the older authorities are quoted. Of all the bath vases of this kind now visible in Rome, the finest known to the writers is the urn of green porphyry, a rare and beautiful stone, behind the high altar of S. Nicola in Carcere. It is nearly six ft. long, and on each side has two Medusa heads in relief worked in the same piece, with the usual lion’s head on one side at the bottom for egress of water. The workmanship is superb. It may be noted that the existing baptismal font in St. Peter’s, in the first chapel on the left on entering, is the cover of the porphyry sarcophagus of Hadrian turned upside down. It measures 13 ft. in length by 6 ft. in width.

Footnote 10:

In