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.

Q.

Quadratura, _see_ Perspective.

Quattrocentisti. 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 also_ v. 470, 471.

Urbino, ill provided with aids and conveniences for the art in the time of Raffaello, ii. 53.