D.

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.

E.

Emulation, youthful, i. 409, ii. 67, iii. 125, v. 116, 179, 183, 334. How exemplified between Pasinelli and Cignani, v. 218. Want of it injurious to the younger Palma, iii. 255, 256; And perhaps to Raffaello, ii. 85.

Encaustic, ii. 343, v. 353.

Engraving on wood, i. 105. On several kinds, and with different colours, pref. xii. iv. 55. On copper, i. 112.

Envy. Always accompanies merit, ii. 180. Its arts, _ib._ and 399. Accused of poisoning its rivals, i. 421, ii. 178, v. 305, 336, 375. Enabled to triumph for a time, v. 132, 133. Never succeeds in blinding the public, ii. 180, 400. Noble artists answer it only with meritorious works, i. 190, v. 101, The most bitter reply it can receive, i. 190.

Epitaphs of painters too extravagant, i. 271, 272, iv. 115, v. 62. Such as are only just, i. 422, v. 278, 457.

Epochs. Some, though apparently certain, are yet fallacious, iii. 288.

Expression. The soul of painting, ii. 92, _et seq._ Diligence requisite to succeed in it, _ib._ and 58, v. 110, 122.

Eyes. Painted with admirable effect by Camillo Boccaccino, iv. 165.

F.

Ferrara. Boasted classic imitators of each classic style, v. 328.

Florence. Contributed more than any other city to the revival of the fine arts, i. 39, ii. 29. At what time in particular it shone as a new Athens, i. 217. Its school of painting celebrated of old for its design, i. 148. Boasts a series of great masters, and of styles wholly national, i. 365.

Flower-painters, and of fruits, i. 325, ii. 258, 384, 423, iii. 388, iv. 285, 68, 294, v. 205, 266, 353.

Foreign painters. Disliked by the natives, i. 223, 406, ii. 396. When judiciously invited to Italian cities, they have advanced their taste, or at least their decoration, i. 405, iii. 251, iv. 144, 286, v. 364, 448, 9, _et seq._

Fore-shortening. Melozzo discovered and enlarged this kind of painting, v. 42. Improved by Mantegna, iii. 71, iv. 10. Perfected by Coreggio, and by others, i. 418, v. 53, 54. Raffaello left examples of it in architecture, ii. 98. _See also_ Perspective.

Fortune. The merit of artists not to be estimated by it, i. 201, 421.

G.

Genoa. Its splendor of paintings, both in private and public, v. 372.

Gilding in paintings much used by the ancients, i. 46. Abandoned by degrees, i. 96. Used by Raffaello, ii. 69. Up to the time of Cav. d'Arpino, ii. 155.

Goldsmith's art the origin of engraving in copper, i. 112.

Grace. The gift of some painters, i. 151, 152. ii. 95, iv. 124. Affected by others, iv. 124, 129, 175.

Grandeur of manner, in what it consists, ii. 74.

Greeks, ancient. By whom postponed to Michelangiolo, i. 166. Of early times, not wholly uncultivated in painting, i. 3. By them some of our earliest painters were instructed, i. 3, 9, iii. 7, v. 7, 286.

Grotesques. Origin of, ii. 46. Professors, i. 213, 426, ii. 112, 158, iii. 248, iv. 170, v. 93, 305, 374, 450, 451.

H.

Haste, when excessive, blamed, i. 235, ii. 130, 434, iii. 98, 255, v. 64. How corrected in Annibal Caracci, v. 100.

Heads of men, by Raffaello, ii. 92. Of youths, by Guido, in various manners, v. 143, 144, _et seq._ Of old men, ii. 148, 394, v. 145, 160. Of saints, i. 76, ii. 92, 184.

History of Painting. Plan laid down by others, pref. viii. That of the author of this work, and on what model, _ib._ It conveys clearer views of events than _Lives_ or Dictionaries of painters, owing to its connected narratives, pref. iv. Alluded to in the motto, _series juncturaque pollet_, pref. xvii.