Eyes.

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

F.

Ferrara.

Boasted cla.s.sic imitators of each cla.s.sic 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.

I.

Illusions, in paintings, well represented.

In men, ii. 79, iii. 204, v. 166, 167.

In animals, ii. 257, iii. 283, iv. 13, 229, 252, v. 115.

Imitation.

Methods properly observed in this by the Caracci, v. 101.

By Guido, v. 138.

By others, iii. 302, iv. 117, and in every school.

Other methods not to be defended, i. 229, iii. 255, iv. 113, v. 220.

Imitators.

Often confounded with the disciples of the best painters, pref. xix.

ii. 123.

Inlaid work, iii. 87.

Italy.

Never in want of painters, i. 1.

Its celebrity in this art, pref. xvii.

Rich in great artists little known even there, iv. 258, 302.

Other examples in almost every school.