L.

Landscapes.

Various styles, i. 324, ii. 170.

t.i.tian opened the true path, iii. 246.

How much this art is indebted to Annibal Caracci, v. 120, 201, 202.

To Poussin, ii. 240.

Three celebrated landscape painters, ii. 242.

Others in each school.

_See the close of their epochs._

Libraries decorated.

The Vatican, ii. 149.

Venetian, of St. Mark's, iii. 161, 243, v. 411.

Paduan, of the university, iii. 168.

Bolognese, of the Padri Scopetini, v. 54.

Of the Padri Olivetani, v. 153.

Royal, of Turin, v. 484.

Licentious figures.

Caused much remorse in Agostino Caracci, v. 116.

Gave the appellation of libertine to Cav. Liberi, iii. 306.

Light.

Its effects admirably exhibited by some artists, ii. 25, 77, 204, 248, iii. 148, 200.

Loggia of Baffaello, ii. 80.

Continued, 146.

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 pa.s.sions 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.

n.o.bles who a.s.sisted 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. x.x.xiv.

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. x.x.xiii.

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.