Berghem, landscape, Dulwich Gallery, i. 37, iii. 126, v. 282. Blacklock, drawing of the inferior hills, i. 307. Blake, Illustrations of the Book of Job, iii. 98. Bonifazio, Camp of Israel, iii. 318; what subjects treated by, v. 221. Both, failures of, i. 197, v. 315. Bronzino, base grotesque, iii. 98. Pictures referred to-- Christ Visiting the Spirits in Prison, ii. 56. Buonarotti, Michael Angelo, anatomy interfering with the divinity of figures, ii. 221; conception of human form, ii. 124, 126; completion of detail, iii. 122; finish of, ii. 83; influence of mountains upon, iv. 358; use of symbol, ii. 215; repose in, ii. 69 (note); impetuous execution of, ii. 187 (note); expression of inspiration by, ii. 214. Pictures referred to-- Bacchus, ii. 186 (note); Daniel, i. 62; Jonah, ii. 204; Last Judgment, ii. 181, 183; Night and Day, ii. 203, iii. 96; Pietà of Florence, ii. 185; Pietà of Genoa, ii. 83; Plague of the Fiery Serpents, ii. 69 (note); St. Matthew, ii. 185; Twilight i. 33; Vaults of Sistine Chapel, i. 30-33. Callcott, Trent, i. 189. Canaletto, false treatment of water, i. 341; mannerism of, i. 111; painting in the Palazzo Manfrini, i. 200; Venice, as seen by, i. 111; works of, v. 195. Canova, unimaginative work of, ii. 184; Perseus, i. 62. Caracci, The, landscape of, iii. 317, iv. 75; use of base models of portraiture by, ii. 120. Caravaggio, vulgarity of, iii. 257; perpetual seeking for horror and ugliness, ii. 137; a worshipper of the depraved, iii. 33. Carpaccio, Vittor, delineation of architecture by, i. 107; luminous skies of, ii 44; painting of St. Mark's Church, i. 108. Castagno, Andrea del, rocks of, iii. 239. Cattermole, G., foliage of, i. 406; Fall of the Clyde, i. 116; Glendearg, i. 116.