Improved at Florence, i. 73.

Brought to perfection in the time of Vinci and of Giorgione, iii. 101, iv. 240.

What in Caravaggio, ii. 200.

What in Guercino, v. 164.

Chiariscuri, preparations for colouring them, i. 192, ii. 318.

---- of Pietre Commesse, or mosaic, i. 428.

Colouring of the Venetians, iii. 91, 246.

Of Raffaello and of the other painters. _See their names._ Altered, ii. 442, iii. 301, v. 220.

Column of Trajan designed, ii. 148.

Studied by Giulio Campi, iv. 171.

By Cortona, i. 336.

Composition.

Crowded in the early times, i. 99.

Maxim of Poussin, ii. 237.

Of the Caracci, v. 106.

Of Cortona, i. 341.

Of the Venetians, iii. 71.

Of t.i.tian, iii. 115.

Copies.

Retouched by the masters, i. 206, 293, ii. 103, 104, iii. 150, v. 133, and elsewhere.

Excellent copies, i. 15, iii. 155, 205, 289, v. 149, 169, 386.

Rules to distinguish copies from originals, pref. xxviii.

Copies of excellent pictures made in Italy, and transferred into foreign royal collections. _See_ Bonavita Bianchi.

Costume.

Neglected by many Venetian painters, iii. 349. It is often treated of in the characters of the schools and of artists.

Counsel of learned men listened to by the best painters.

By Vinci, iv. 224, 239.

By Raffaello, ii. 66.

By Poussin, ii. 239.

By Coreggio, iv. 97.

By t.i.tian, v. 301.

By Annibal Caracci, v. 117, 118.

By the old Ferrarese, v. 281.

By Castello, v. 386.

Crystals.

Well represented, ii. 334.

Paintings in them, i. 228.

Cupolas. _See_ Gaudenzio Ferrari, Coreggio, Zuccari, Reni, Zampieri, Lanfranco, Cignani, De Matteis.

D.

Death, accelerated by violent pa.s.sions, 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 t.i.tian, 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.

n.o.ble 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.