Leonardo da Vinci, 1; on Masaccio, 151, 202, 223–235, 260; His new principles, 224; Early Florentine period, 225–237; Adoration of the Magi, 233–236; Madonna of the Rocks, 236; First Milanese period, 238–240; Last Supper, 239–240; Second Florentine Period; Mona Lisa, Anghiari, 239–241; Second Milanese Period; St. Ann, Second Madonna of the Rocks, 243–244; Roma and France, 244–245; His Influence, 245–246; Tractate on Painting, 257–260, 285, 286, 287, 290, 292, 300, 371, 383, 385 Lomazzo, Paolo, Great Italian painters compared with the poets, 385 Longhi, Pietro, 444 Lorenzetti, Ambrogio, 40, 42–45, 72, 76, 79, 84 Lorenzetti, Pietro, 76–78; Followers of, at Assisi, 79; Contract for Arezzo altar-piece, 105–106 Lorenzetti followers, Triumph of Death, Pisa, 88, 89 Lorenzettian, panoramic style, 86, 126, 172 Lotto, Lorenzo, 411–413 Lorenzo de’ Medici, his birth salver, 181–184 Lorenzo Monaco, Don, 112 Lorenzo da San Severino, 272 Lorenzo Veneziano, 326, 327 Mantegna, Andrea, 333, 337–345, 348, 352, 355, 356.; Titian on, 324 Marcovaldo, Coppo di, 62 Masaccio (Tommaso di Ser Giovanni di Tommaso Guidi), 50, 130–142, 151, 201 Masolino da Panicale, 122–127 Matteo di Giovanni, of Siena, 97–99 Melozzo da Forlì, 273–274 Michelangelo Buonarotti, 19, 193, 263; perturbing influence on Raphael, 288, 294, 295; Early works; Doni Madonna, The Bathers, 301–303; The Sistine Ceiling, 304–313; The Last Judgment, 313–314; Defects of his followers, 315; Advice on posture, 317, on the unity of painting and sculpture, 317, 318, 407, 429 Michelozzo, 115 Modern sensibility, in Pontormo, 253; Moretto, Lotto, Correggio, Tintoretto, 411 Moretto of Brescia, 412–413 Moroni, Giambattista, 423 Nardo di Cione, 48 Neroccio di Landi, 100 Oil Painting, introduced at Florence by Domenico Veneziano, 147,; practiced in Lombardy by Antonello da Messina, 345 Orcagna (Andrea di Cione), 47–50; Contract for Strozzi altar-piece, 56 Ottaviano Nelli, 271 Palma Giovine, on Titian’s technique, 390 Palma Vecchio, 407, 411 Paolo Veronese (Caliari), 436–440 Pastoral poetry as background of Giorgione’s inventions, 370–374 Perspective, discovery by Brunellesco, 110,; Uccello’s experiments in, 144, 152; Piero della Francesca’s book on, 169; Mantegna’s illusionistic, 337, 339–340; further developed by Correggio, 340, 415–416 Perugino (Pietro Vannucci), 117, 178, 223, 265, 269, 276–280, 283, 288, 297, 267, 271, 273, 278–282, 285, 290, 299 Pesellino, Francesco, 181 Piero della Francesca, 169–172, 201, 273 Pollaiuolo, Antonio, 158, 166–169, 201, 205 Piero di Cosimo, 177, 202, 221–223, 246 Pintorricchio, 101, 174 Pisanello (Antonio Pisano), 328 Plague banners, Umbrian, 263, 313 Poliziano, Angelo, his poetry as an inspiration for Botticelli, Raphael, Titian, 255–256 Pontormo (Jacopo Carrucci), 253