---- The same. _Preface to the Lives of Baruffaldi._ _MS._ v. 282.

Zuccaro, Cav. Federigo. _Idea of Painters, Sculptors, and Architects._ Turin, 1607, folio. It is found inserted also in the sixth vol. of _Lett.

Pittor._ ii. 102.

---- The same. _Opuscoli_, edited in Mantua, 1604, 4to., and in Bologna, 1608, 4to. _ib._

---- The same. _Ma.n.u.script Annotations on the Lives of Vasari._ _See_ Bottari, tom. v. of the foregoing _Lives_, p. 326. i. 244, ii. 140, 141.

*.* The _MSS._ cited in the Index of Artists are pointed out in the work, where the names of the correspondents are given, who have favoured me with information respecting native or foreign painters. Others, either professors or connoisseurs, from whom I have received any account, either oral or written, are noticed in the Preface. I have also availed myself of their intelligence in the nomenclature and epochs of artists.

THIRD INDEX

_Of some of the most important Matters contained in the Work._

A.

ACADEMY, Florentine, i. 247, 370.

Roman, ii. 142, 343.

Of foreigners in Rome, ii. 307, 309.

Of Perugia, ii. 37.

Of Naples, ii. 446.

Venetian, iii. 390.

Veronese, iii. 381.

Mantuan, iv. 30.

Modenese, iv. 44.

Of Parma, iv. 145.

Of Vinci, at Milan, iv. 238.

Another in the same city, 285.

Another, 329.

Bolognese, of the Caracci, v. 103.

Continued, 194.

Another, called the Clementine, 219.

Ferrarese, v. 346.

Genoese, 446.

Of Turin, v. 473.

It is a mistake to suppose academies injurious to the art, i. 248.

Age, Golden, of painting confined to few years, ii. 48.

Ends with the Caracci, v. 121.

That of some schools earlier, some later, iii. 123.

---- Brazen, owing to the rarity of great artists, iii. 348, 349.

Whether latterly a better age is approaching, ii. 342, iv. 145, 146.

Anatomy; cultivated by artists of the fifteenth century, i. 97, iv. 240.

Excellence of Michelangiolo in this line, i. 165.

Carried to affectation by some of his disciples, i. 230.

Ancient painters. Their methods, i. 44, 45.

Their religious societies, i. 42; And civil, i. 396, ii. 11, v. 74.

More correct in their small proportions than in their large, i. 29.

Animals, artists who excelled in painting of, i. 72, 398-9, ii. 113, 257, 334, 444, iii. 202, 247, iv. 12, 143, 215, v. 115, 202, 264, 265, 419, 436.

Arts, of Valesio, with which he surpa.s.sed Annibal Caracci in good fortune, v. 124.

Of other painters, to add to their reputation, v. 251.

B.

_Bambocciate._ A kind of painting not unknown to the ancients, iv. 215.

Promoted by Laer, ii. 254; And by others, _ib._ v. 80, 235, 442, 443.

Ba.s.sirilievi.

Their use in painting since the fifteenth century, i. 404, ii. 364.

Artists who thus distinguished themselves, i. 300, ii. 114, v. 432, 433.

Battle-pieces of Giulio Romano, ii. 108.

Of Borgognone and his school, i. 330, ii. 253.

Of others, iii. 339, iv. 29, 140, v. 268.

Beau-ideal.

How studied by Raffaello, ii. 91, 92.

How by the mannerists, ii. 131.

How by Guido Reni, v. 142.

Bolognese artists.

Did not derive the principles of painting from Florence, only its improvement, v. 14.

Shewed the best method of imitation, v. 23.

Pre-eminent in the art during two centuries, v. 15.

Borromei. Benefactors of the fine arts at Milan, iv. 284.

C.

Caricatures, i. 331, ii. 295, iii. 285, iv. 242, v. 115.

Chambers of Raffaello, of Pietro da Cortona, &c. _See their names._

Characters of the Italian schools. _See the first or second epoch of each._

Cherubs, boys, genii, by whom well drawn, i. 190, ii. 92, 299, iii. 140, 141, iv. 105, 164, v. 54, 130, 134, 189, 312, 403.

Chiaroscuro.