INDEX.
Aerial perspective, not understood by the old masters, 139.
Agnolo Gaddi, son of Taddeo Gaddi, 2 ; master of Cennino, ib. ; his character as an artist, 42, 135, 136; died in 1387, 136.
Air, pure, impure, and damp, its effect on colours, xi.
Alberti, Leon Batista, recommends liberality to painters, 142.
Albumen : see White of egg. Allacciato, laccio, lacci, 84 ; supposed meaning of the term, 154.
Alphonso, king of Naples, began to reign in 1442, xlix. ; account of the picture sent to him by John Van Eyck, xlvii. xlix. liv. lxviii.
Amatita, or matita, probably the haematite, 120, 121.
Amatito, nature and properties, 24, 80; derivation of the word, 120; was probably native cinnabar, 121.
Anatomical science, at a low ebb in the days of Cennino, 137.
Ancona, derivation of the term, 113.
Andrea Castagno, pupil and reputed murderer of Domenico Veneziano, by what motive instigated, xlvii. xlix. ; date of one of his pictures, lxvi.
Antonello da Messina, his claim to the introduction of painting in oil into Italy considered, xlvii. et seq. ; his pictures at Venice dated 1474, xlix.; his epitaph, lviii. lxix.
Apothecaries, supplied the painters with their materials and pigments, xxxvii., 9, 23.
Archil (see Litmus), how and from what prepared, 132.
Armenini, Gio. Batista, critique on his work, Delli veri Precetti della Pittura, xxxiv.
Arricciato, 134.
Arts, what motives induce persons to follow them, 3 ; what things are necessary in the pursuit of them, ib. ; into what parts and members divided, 4 ; design and colouring the foundation of them, ib.
Arzica, its nature and properties, 28, 126.
Ashes, to make impressions of seals or coins in a paste made of, 106; also small figures, plants, 107 ; how used for taking casts, 165.
Asiso, of what composed, 162.
Azzurro della magna, German or cobalt blue, its nature and properties, 32, 128 ; to paint a drapery of, 52 ; a substitute for ultramarine, 89; zaffre and smalt prepared from the
same ore, 128; is different from the modern cobalt-blue of Berlin, &c, ib. ; the presence of nickel gives it a purple tint, frequently observed in old pictures, and very durable, 129.
Baldinucci, his account of Cennino, xxviii. xlv. ; his account of the invention of painting in oil, Ivi.
Bandini, his opinion of Cennino's work, zxvii.
Belli, Giambatista, his character of Giotto as an artist, 109.
Berettino, 51, 52; what colours included under this term, 139.
Biacca, white lead, its nature, properties, and use, xiv. 9, 16, 32, 128.
Bianco sangiovanni, its nature, properties, and use, 31, 127, 128.
Bianco di travertino, burnt or baked ; directed to be used by Vasari in fresco-painting instead of bianco sangiovanni, 137.
Bisagni, Francesco, critique on his work on painting, xxxv.
Bisso, purple, to paint drapery of this colour in distemper, 89.
Black pigments, and their preparation, 21, 22; carbonaceous blacks have a preserving influence on colours, 117.
Blue pigments, 32, 33, 52, 128, 129.
Bole, or Armenian bole, its nature, properties, and use, 77, 145.
Bone-dust, how prepared and used for drawing, 5, 6, 7; what bones are proper, 5.
Borghini, Raffaello, supposed to have known the work of Cennino, xxvii. ; his work, Del Riposo, contains a literal copy of many parts of Cennino's, xxviii.
Braccio, a Florentine measure of length containing 23 inches, 117.
Brown pigments, unknown to Cennino, lx.
Buildings, how to paint in fresco and secco, 54.
Burnishing, what stones are proper for, 80; how executed, 81.
Calcined Roman vitriol, vitriolo abbracciato, red oxide of iron, used in fresco-painting, 122.
Cardinals, colour formerly worn by them, 24, 121 ; when changed to red, ib.
Carta bambagina, paper made of cotton, xxix.
Carta lucida : see Transparent paper.
Casts from the life, to make, 101, 102, 104, 105 ; to multiply plaster-casts, 106; to make in metal, 104.
Cennino Cennini, born at Colle in Tuscany, xxv., 2; pupil of Agnolo Gaddi, xxv., 2; Vasari's account of his book, xxv. ; analysis of his work, by Tambroni, xxxv.-xlv. ; his treatise is practical, viii.; Bandini 's opinion of his work, xxvii. ; Bottali 's, ib.; his ms. found in the Vatican Library, xxix. ; description of the its., xxx. ; three copies only ascertained to be extant, xxxii. ; finished
his ms. on the 31st July 1437, in the Stinche prisons at Florence, xlv. lxii. ; was a writer of the fourteenth century, ib.; by whom taught the art, xxv. xxxiii., 2, 42 ; painted a picture of the Virgin,
xlv. ; which is now in the Gallery at Florence, lx. ; Tambroni 's estimate of his character, xiiii. ; and of his work, ib.
Cerussa usta : see Minium.
Changeable draperies, 50, 51, 52.
Charcoal, how to draw with, 16, 73 ; how to efface errors in drawing with, 16; how to fix the drawing with the stile, ib.; how to shade with water-colours, ib. Cheese-glue, to make, 66; for what
used formerly, 146.
Cignerognolo, grey, 51, 139.
Cicognara, his description of an ancient picture, 148.
Cimabue, the master of Giotto, to whom the revival of painting in Italy has usually been attributed, svi. ; remarks on some of his pictures, xviii.; died in 1300, 136.
Cinabrese, its nature and properties, 22.
Cinnabar, vermilion, artificial, its nature, properties, and use, 23, 119,
120; how to prepare for frescopainting, 137 ; native cinnabar described, 121.
Cloth of gold, how to imitate on a gold ground, 83.
Cobalt blue, prepared from the same ore as azzurro della magna, but in
its purest form, 128.
Coins, to make impressions of in wax, or paste made of ashes, 106.
Colantonio del Fiore, said to have painted in oil at Naples in 1436,
lii. lxvi. lxvii.
Colla di caravella, colla forte, how prepared, 65, 145.
Colla, glue : see Part the Fifth, 63-66.
Colla di pesce, fish-glue, isinglass, 65 ; used as mouth-glue, ib. Colla di spicchi, 65.
Colours: see Pigments; in ancient pictures, causes of their beauty and permanence, ix. x. xii.; the old masters used but few, xi. xiii. ; by what rendered liable to chauge, xi. ; used in fresco, xii., 47; no blue among the number, xii.; to grind, 20; are of different kinds, ib.; require different vehicles, ib.; there are seven natural colours, ib. ; four are earths, ib. ; three are datura], but require preparation, ib. ; when ground are to be kept in glasses under water, 21 ; the best only should be used, 59, 142 ; what to be used in secco only, 47 ; what can be used in oil-painting, 57.
Companions, what description should be selected, 15.
Copal, brought from America, 161.
Copying, recommended by Cennino, 14; Leonardo da Vinci's opinion of, 116.
Corradi, II, with what vehicle he re- touched his fresco-pain tings, 138.
Correggio, whence he derived the idea he afterwards carried to perfection in the " Notte," 111 ; what varnish he is said to have used, 162.
Cosmetics, their bad effects, 100.
Cosmo Roselli, anecdote of, 129.
Crayons of charcoal, how made, 18; black, brought from Piedmont, 19.
Creato, origin and meaning of the term, xxxv.
Crumb of bread, used to efface charcoal drawing, 7.
Dead colouring of a blue drapery for the Virgin, xii., 52.
Dead person, to colour a picture of a, 91.
De Dominici, his account of painting in oil at Naples in the 13th and 14th centuries, liii.
Deity and angels, representations of in pictures, authorised by the Roman Catholic church, 148.
Dioscorides, his description of sinopia, 118; his recipe for glue, 145.
Distemper, painting in, its advantages and disadvantages, xvi., 156; how to temper the colours for, 87 ; how to paint in, ib. ; can be executed on gold grounds, 150; directions for softening the tints, 156; where it cannot be employed, ib.; invented by Ludius in the time of Augustus, 144.
Domenico Veneziano, the pupil of Antonello da Messina, xlvii. ; his pictures dated 1470, 1.
Doratura, gold size, how to gild with, 60.
Dragon's blood, nature and properties, 24, 122.
Draperies, on gold grounds, cloth of gold, 83; red, green, black, ib.; ultramarine, ib. ; on silver, how executed, 85 ; changeable draperies, 50, 51; in fresco, 46-53; secco, 47-49 ; of gilded tin on walls, ib. ; to imitate velvet, silk, or linen, 86 ; to paint in distemper, 87, 89; for the Virgin, 52, 89.
Drawing, with a stile, 5-9 ; on tablets of wood or parchment, 4, 5 ; on parchment or paper, 7 ; how to repair errors, ib. ; with a pen, 8 ; on tinted paper, 8, 16; to fix outlines with ink or colours, 7 ; on transparent paper, 12 ; from nature recommended, 14; with charcoal, 16,73; its importance, 27 ; outlines of figures on gold grounds, 74.
Drea Cennino, Andrea Cennino, the father of Cennino, lx.
Dryers, not used by Cennino in painting in oil, lxiii. ; the only dryer mentioned is verderame, 127.
Egg tempera, how prepared, 48; recommended, 138, 156.
Encaustic painting, when discontinued, xvi.
Essential oil, discovered in some old pictures on analysing them, xvii.
Eyck, John Van, John of Bruges, Giovanni ab Eyck, his claim to the discovery of painting in oil examined, xlvi. et seq. ; born in 1370; said to have discovered painting in oil in 141 0, xlvii. xlix. ; account of the picture painted by him for Alphonso king of Naples, liv. ; now preserved in the Castel Nuovo at Naples, lxviii.
Facius, Bartholomew, a contemporary of John Van Eyck, does not attribute the invention of painting in oil to him, lv.
Factitious ultramarine, how produced, 130.
Feathers, used in effacing charcoal drawings, 73.
Fig-tree, panels made of, 5 ; the milky juice used in distemper painting, 48.
Figured draperies, how executed, 84, 154.
Fish in the water, to represent, 92.
Fish-glue, colla di pesce, isinglass, 13, 65.
Flemish manner of painting different from that practised in Italy, lxvii. lxviii
Flesh, to paint, in fresco, 44 ; in distemper, 90; pictures require more coats of colour than walls, ib,; of a dead person, to paint, 91 ; of a
wounded person, 92.
Flesh-colour, to make, in fresco, 43 ; in distemper, 90.
Fresco-painting, colours used in, xii., 47; no blue among the number, ib. ; how to prepare the lime for, 39 ; to prepare the wall, ib. ; to enlarge drawings on walls, 40; to trace the outlines of the charcoal - drawing with ochre and sinopia, ib, ; to cover with mortar as much as can be painted in one day, ib. ; the process of painting, ib. ; colours to be very liquid, 41 ; to be mixed with water
only, ib.; to mark out the outlines with verdaccio, ib. ; how to repair errors, 42 ; to paint the head of a young person as taught by Giotto, 43 ; every colour to be laid at once in its place, ib. ; to colour an old face, 44; to paint hair and beards of many colours, 45 ; to colour a red drapery, 46 ; colours which cannot be used, 47 ; how the colours are to be made lighter, ib. ; to make
a purple colour, 50 ; to imitate ultramarine, ib. ; also lake, ib. ; every thing painted in fresco must be retouched in secco, ib. ; to paint moun- tains, 53 ; to paint trees, plants, grass, ib.; is the most noble kind of painting, 134; was known to the ancients, ib.
Frescoes, ancient, those of the Greeks and of upper Italy harder than those of lower Italy, xviii.
Garlic, used in making mordants, 94 ; what kind proper, ib. Germans, practised oil-painting previous to the time of Cennino, 141.
Gesso Bolognese, a kind of gypsum of which casts from life were made, 102.
Gesso grosso, described, 68 ; bow used, ib.
Gesso sottile, how prepared, 69 ; how used, 70, 71 ; to prepare a ground with, 71.
Gesso Volterrano, its nature, 164; Vasari's account of, ib. ; how used, ib.
Giallorino, Naples yellow, its nature, properties, and use, 26, 124; iron destructive of its colour, 124.
Gilding (see Gold), should be executed in damp weather, 68, 81 ; to temper bole for gilding, 77; verde terra, how executed, 78; process of gilding tin, 60 ; on panels, 78 ; to burnish, 81.
Giorgio da Firenze, painted in oil from 1314 to 1325, lii.
Giotto, characteristics of his style and school, viii., 109 ; stated by Lorenzo Ghiberti to have painted in oil, bri. ; improvements effected by him in the art of painting, 2 ; the pupil of Cimabue, xvi. ; his manner of painting in fresco, 42 ; he allowed only eight faces and two parts for the length of his figures, 136; died in 1337, ib.
Giuliano the goldsmith, the possessor of Cennino's manuscript, xxv.
Giunta of Pisa, the earliest Italian painter on record, xvi. ; was a disciple of the Greeks, xvii.
Glass, directed to be used in grinding orpiment, 27 ; its probable use, 125.
Glory, or nimbus, of gilded tin, how made on walls, 61 ; to make in relievo on walls, ib. ; how made and gilded on pictures, 74; origin of, 143 ; form different at different periods, ib.
Glue, what colours may be tempered with, xii. ; how to prepare it for tinting paper, 9; formerly sold by the apothecaries, ib. ; colla di pasta, to make, 63 ; cement for fastening stones and glass vessels, 64; fishglue, 65 ; colla di caravella, ib. ; colla di spicche, ib. ; for tempering grounds for pictures, 66; for tempering azures, ib. ; cheese-glue, ib. ; glue is stronger in winter, 68 ; should
be used in dry and windy weather, ib. ; of various kinds much used by the old masters, 144; recipe of Dioscorides for making, 145.
Gold grounds, to draw outlines on, 74; recommended by Cennino, 82 ; by whom erroneously said to have been invented, 150 ; their advantages, 151, 152; are non-absorbent, 153; their antiquity, xxi., 151 ; were very common, 152.
Gold, not to be varnished, xvL ; to adorn walls with, 58 ; the best should be used, ib. ; to gild tin with gold size, 60 ; what kind proper for laying on flat surfaces, 82 ; what for fringes and ornaments, ib. ; to distinguish good, ib. ; to lay on paper in miniature- painting, 96, 97; to grind with white of egg or gum-arabic, 98 ; to use it, ib.
Good masters, importance of studying their works, 14.
Grana : see Kermes.
Granare, to grain or mark with lines, 84, 154; description of process, 84 ; tool with which it is done, 84, 154.
Grass, to paint in fresco and secco, 53.
Grattare, to scrape up, description of process, 84, 154 ; is done with the stile, ib.
Greek manner of painting, xii. xvi.- xix. 109, 110.
Green pigments, 28-31 ; in old pictures are very bright and pure, 162; probably produced by glazing with verdigris, 1 27 ; in fresco-painting are dull, xiii.
Grinding colours, general directions, 20; preserving, 21.
Grounds (see Panels), preparation of, on ancient pictures, xix. ; made of white lead and oil, 114; their antiquity, ib.
Gummi-fornis, supposed to mean gum used in making varnish, 161.
Gum-water, mixed with colours, 7; with gold, 99 ; with white lead for lights on tinted drawings, 17.
Hair, to paint, 45, 91.
Hair pencils, two kinds in use, 36; those of minever, ib. ; and of hog's bristles, 37 ; to make, 36, 37; to preserve the tails from being moth-eaten, 38; how prepared at the present time,
ib. ; qualities of a good pencil, ib. Hand, precautions to be observed in order to keep it steady, 15.
Haematite (see Amati ta), its nature, 120, 121.
Human face, to cleanse it from paint and varnish, 99.
Incarnazione, flesh-colour, 43.
Indaco-baccadeo, or maccabeo, supposed signification of the term, 115.
Indigo, how used, 11, 29, 32, 87, 129 ; known to the ancients, 129.
Ink, used to fix drawings, 7, 73 ; mixed with water used in shading, 16 ; how made, 118.
Intonaco, 39, 134.
Iron, its effect on colours, xi. ; iron nails on panels to be covered with tin plates to prevent rust, 67; destructive of colour of giallorino, 124 ; its contact with colours carefully avoided, 146.
Isinglass, colla di pesce, formerly used as mouth-glue, 1 45.
Kermes lake, grana, used by Cennino in imitating ultramarine, 35 ; its nature and properties, 132.
Lacca, lake, its nature, properties, and use, 24, 122.
Lac lake, proof that this was the lake used by Cennino, 138.
Laccio, lacci : see Allacciato.
La Magna, Germany, 126.
Lamp black, to prepare, 22 ; used by the ancients in making ink, 118.
Lapis amati ta (see Amati ta), probably the haematite, 121.
Lapis amatito : see Amatito.
Lapis lazzuli, or lazzari (see Ultramarine), derivation of term, 132.
Lead, its effect on colours, xi. ; to cast small figures in, 106.
Leaf-gold (see Gold), how many leaves should be made from the ducat, 153.
Leonardo da Vinci, his advice as to copying, 116; as to solitude, ib.; as to varnishing verderame, 127; his method of preparing oil, 140; in the proportions of his figures he followed Vitruvius, 136 ; recommends varnishing pictures with oil thickened in the sun, 141 ; sometimes painted on linen, without a ground, 146.
Light in painting, rules for the admission of, 6.
Linen, to imitate on walls, 87.
Linseed-oil, the only oil used in painting by Cennino and Theophilus, lvii.
Lippo Dalmasio, painted in oil at Bologna in 1407, lii. lvii. ; his Madonnas admired by Guido, lxvi.
Litmus, supposed to be the same as verzino, 133; how and from what prepared, ib.; its colour beautiful, but not durable, ib.
Lorenzo Ghiberti, notice of his work on painting, lx. lxi.
Lorenzo Veneziano, description of a picture by him, painted in 1368, 149.
Lyes, how prepared, xv. ; with what pigments used, xv., 28, 33.
Majolica, its nature and properties, 145.
Margaritone, stated by Vasari to have been the first who glued cloth on panels and gilded on bole, 150, 151.
Mastrice, glue of any kind, 33.
Megelp, propriety of using it considered, xxi.
Mello : see Mesella, 68, 69, 72.
Mesella, mella, supposed meaning of the term, 147.
Milk, mixed with brandy, used in retouching fresco-paintings, 138.
Miniature-painting, directions for, 96.
Minium, red lead, its nature, properties, and use, 24, 120.
Mirseus, Albertus, proves that pictures were painted in oil before 1400, lxviii.
Monks and priests, many of them were painters, 113; were acquainted with many secrets in painting and the arts, 23, 119; were the great preservers of learning during the dark ages, vi., 119.
Mordants, for laying on gold, how made, 93, 94; how used, ib.; how tempered so as to keep for any length of time, 94.
Morelli, his comments on the epitaph of Antonello da Messina, Iviii. ; on the work of Theophilus, li. lxv.
Mountain, to paint in fresco or secco, 53 ; to draw one naturally, 55.
Mouth-glue, whether used by Cennino, 145.
Muller, for grinding colours, described, 20.
Muratori, his account of an ancient work on the arts, lxii. 174
Naphtha, olio di sasso, formerly used in making varnish, 159; is now used in varnish prepared for the British navy, 162.
Naples yellow : see Giallorino.
Nature, should he studied, 15.
Nickel, gives a purple tint to cobalt, 1 29.
Nut-oil, said to have been first used in painting by John Van Eyck, xlvii. xlviii. ; L. da Vinci's recipe for preparing, 140.
Ochre, its nature and properties, 25, 123, 124.
Oil, whether found in old pictures, xvii. xxi. ; mixed with white lead and chalk for the ground of tablets for drawing, 5; used for making parchment or paper transparent, 12, 13; to paint on walls in, 56; how to prepare by boiling, ib. ; by baking in the sun, 57; to grind colours in, ib.; what colours may be used in, ib. ; directions for painting in, ib. ; colours mixed with, used to glaze draperies, 85, 156; used by Corradi in retouching fresco-paintings, 138 ; also used by Vasari, who united painting in oil with fresco, ib. ; sold at Florence by the pound, 141 ; thickened in the sun, recommended as a varnish by L. da Vinci, ib. : see Painting. Olio d' abezzo, resin of the pine, 159.
Olio di sasso, naphtha, 159.
Olive-oil, used for greasing things not required to dry, 13.
Oro di metà , 58, 99.
Oro musivo, 163.
Orpiment, its nature, properties, and use, 27, 124, 125.
Oxygen, its effect on colours, xi.
Pagonazzo, purple or morello colour ; to make a drapery of this colour in fresco, 50.
Paint, to remove from the human face, 99.
Painters, the old painters principally employed on scriptural subjects, 113.
Painting (see Fresco, Secco, Oil, Distemper, and Miniature), various methods employed on one picture, xliii., 156.
Painting in oil, Vasari's account of the invention, xlvi. ; taught by Theo- philus in a work written before the eleventh century, li.; practised at an early period in Germany, li. lv. lviii. : and in England, ib. ; also by Giotto at Rome, lxi.
Palette-knife, described, 21.
Panels, preparation, 4, 6, 70, 72; what wood proper, 4, 5, 67 ; to gild, 78.
Paper, how to draw on, 7; tinted, how made, 9; transparent, how made, 12, 13.
Parchment, to prepare and draw on, 5, 7 ; to tint, 9-12 ; how it may be made transparent, 13; to fix drawings on, ib. ; to burnish, 1 0.
Pani Spinelli, his manner of painting, 135.
Pasciani, his manner of painting in fresco, 135.
Patronage, meaning of the term, 154.
Pen, how to be made for drawing, 8 ; to draw with, ib. f 17.
Pennello mozzetto, mozzo, meaning of the term, 116.
Perspective, whether understood by Cennino, 139, 140.
Pezzuole, or pezzette di levante, how used, 7; what it is, xxxvii., 114.
Pictures, in the early stages of the art the subjects were of a religious nature, vii. ; characteristics of early, 175
ib. ; results of analysis of, xvii., 149 ; preparation of grounds, xix. ; points on which to form an opinion of their antiquity, ib. ; to paint in oil, 58 ; in distemper, 87 ; after painting on
walls, proceed to paint pictures, 62 ; to acquire the art of painting,
63 ; how to begin to paint, 67 ; to lay bole on, 77 ; painting the proper employment of a gentleman, 87 ; to imitate varnish on, 96 ; description of ancient pictures, 148, 149, 155.
Pigments (see Colours), to grind, 20.
Pitch, mixed with wax for making relievos, 76.
Plaster : see Gesso and Casts.
Polpastrello, 114, 158.
Porphyry, the best stone for grinding colours, 20.
Porporina, its nature and properties, 98.
Pounce, called vernice da scrivere, lxii.
Powdered draperies, how made on gold grounds, 84, 153.
Precious stones, how affixed to pictures, 74.
Proportion, to be studied, in what manner, 16.
Proportions, of the human figure, 45 ; no woman perfectly proportioned, ib.; according to Giotto and Cennino, 45, 136; according to Vitruvius and L. da Vinci, 136.
Pupils, must draw every day, 6, 15 ; must practise drawing for one year, 8, 63 ; and painting for twelve years, 63 ; how to regulate their lives, 15 ; what company to select, 15.
Purple, lake and ultramarine in secco, 49; indigo and amatito in fresco, 50.
Purpurissum, a red colour mentioned by Pliny, probably the same as pezzuole, 114.
Rabesco, meaning of term, 155.
Radire, 63.
Raffaello, what colours chiefly used by him, xiii.
Raffietto, 69.
Red pigments, 22-25.
Relevare, 63.
Relievo, to make glories on walls in, 61 ; to grind and temper gesso for works in, 71 ; how executed on pictures, 74, 75; on walls, 75; in lime, 76 ; with varnish or wax, ib ; to cut in stone, ib. ; remarks on relievos on pictures, 147.
Religion, its influence on the arts, vi., 113.
Resinous varnishes, whether found in old pictures, xvii. xxi.; whether they can be mixed with colours, xxi.
Retouching fresco paintings, 50, 138.
Richard the Second of England, whether an historical picture of him at Wilton is painted in oil, lii. lxvi.
Ring-finger, the fore-finger, 158.
Risalgallo, realgar, red orpiment, its nature, properties, and use, 27, 125, 126.
Rosaccio, used instead of verdaccio by succeeding painters, 137.
Rosetta, the tool used in graining, 84, 154.
Rossetta, red colour in the cheeks and lips, 42, 43, 90.
Rubrics, origin of the term, 145.
Sandarac, used for varnish, 161 ; pounded, constitutes "pounce," lxii.
Seals, to make impressions of, 106.
Secco, painting on walls in, colours and temperas, 47; preparation of wails, ib. ; to paint draperies in, 49, 87.
Seppia, bone of the cuttle-fish, used to smooth panels for drawing, 4.
Serafino Serafini, painted in oil in 1385, In.
Serpentine, what stone meant by this term, 117.
Silk, to imitate on walls, 86.
Silver, liable to tarnish, 58; children should be taught to lay on silver, as it is less expensive than gold, 85.
Sinopia, its nature and properties, 22, 118, 119.
Smalt, prepared from cobalt, 128.
Soda, its effect on colours, xv.
Sommesso, 114.
Spatula, or palette-knife, of wood described, 21.
Stagnuoli, 58.
Stars, to make and put on walls, 60.
Stile, 6, 7; described, 84, 154; used for drawing, 5, 6.
Stinche, prisons for debtors at Florence, xlv. ; Cennino dated bis book from thence, lxii.
Stones, for grinding colours, what are best, 20.
Sulphuretted hydrogen, its effect on pigments, xi.
Tablets for drawing, 5.
Taddeo Gaddi, the godson of Giotto, 2; his favourite pupil for twenty-four years, 2, 1 1 1 ; his character as an artist, 111.
Teeth, of carnivorous animals used for burnishing gold, 80.
Temperas, for gilding, 77, 78; for painting on walls in secco, 47 ; for painting in distemper, 87 ; for laying gold on paper when painting miniatures, 96.
Terra verde, its nature and properties, 28, 126.
Theophilus, account of his work on the arts, li. lvii. ; quotations and extracts from, li., 147, 159; supposed by Cicognara to have been an Italian, li. ; his recipes for varnish, 159.
Tiurini, ascertained that a picture painted by Lippo Dalmaaio at Bologna was painted in oil, lii.
Tin, to adorn walls with, 58; to cut and use gilded tin, 59, 60 ; to make green tin, 59; to gild with gold size, 60 ; stars, to make and put on walls, tb. ; how to be used for glories of saints on walls, 61 ; to make draperies of gilded tin, 85.
Tinted paper, to prepare, 9-12; to draw on, 8-16.
Titian, what colours used by him, xui.
Tommaso da Modena, some remarks on his pictures, lii. lxv.
Transparent paper, carta lucida, preparation and use, 12-14.
Trees, to paint in fresco and secco, 53.
Ultramarine ashes, how prepared, 132.
Ultramarine, nature and properties, xiv., 33, 129; preparation, 33, 129, 131; factitious, to prepare, 130; how imitated, 35, 50, 89 ; to paint draperies of, 52, 83, 85, 89.
Van Eyck : see Eyck.
Varnish, its properties, 95; dries in the sun, *&. ; if to dry in the shade, it must be boiled, ib. ; how to execute relievos with, 76 ; white of egg varnish, 96 ; Theophilus* recipes for, 159 ; of Correggio, 162 ; of Cennino probably an oil varnish, 159 ; what now used in the British navy, 162 ;
supposed derivation of the word, 1 61 .
Varnishing, whether a picture should he varnished as soon as finished, xv., 95 ; pictures, the process, 95 ; proper time and place ; gold not to he varnished, ib. ; parts of pictures were frequently varnished, xvi.
Vasari, proofs ofhis inaccuracy, xxxvii. li. liii., 142; that he never read the whole of Cennino's work, 119, 142; his directions for grinding gold, 163.
Vehicles, mediums, or temperas, for painting ; several used on the same picture, xiii., 156.
Velvet drapery, to imitate on walls, 86.
Venetians, supplied the rest of Europe with the merchandise of the East, xxxvii., 115, 122.
Verdaccio, a compound colour, 41, 53; the same colour called bazzeo at Siena, ib.
Verde azzurro, blue or cobalt-green, its nature and properties, 29, 1 27.
Verde terra, its nature, preparation, and use, 28; to gild with, 78; to varnish, 98 ; its properties, 126.
Verderame, its nature, preparation, and use, 30, 127, 143.
Verjuice, its nature and properties, 30.
Vermilion : see Cinnabar.
Vernice liquida (see Varnish), liquid
varnish, 161.
Vernice da scrivere, xxxix., 161 ; how used in drawing, 7.
Verzino, used in imitating ultramarine, 35 ; supposed to be litmus or archil,
Vestorian, or Egyptian blue, how imitated, xv.
Volterrano, a kind of gypsum used in preparing grounds for pictures and taking casts, 68, 102, 164.
Walls, to paint on in fresco, 39; in secco, 47; in oil, 56; method described by Vasari different from that
of Cennino, 137, 141.
Walpole proves that painting in oil was practised in England before the time of Van Eyck, lii.
Water, to colour, 92.
Water-colours for drawing, how mixed, 7; for shading, 16; to draw with on tinted paper, ib.
Wax, during what periods used in painting, xvii. ; when its use discontinued, ib.; how to execute relievos in, 76.
White of egg, its use in the arts, 7, 48, 78, 96, 99, 162.
White grounds, their advantages, ix. x.
White pigments, 31, 32.
Women, why they should abstain from using medicated waters on their skin, 100; of Florence, particularly inclined to use paint on their faces, ib.
Wounded person, to colour a representation of, 92.
Yellow pigments, 25-28, 152.
Yolk of an egg, its use in the arts, xii., 48, 88, 100, 138.
Zafferano, its nature, preparation, and use, 28.
Zaffire, how prepared from cobalt, 128.
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