Produced by Barbara Tozier, Carol Brown, Bill Tozier and the Online Distributed Proofreading Team at http://www.pgdp.net THE HISTORY OF PAINTING IN ITALY. VOL. I. THE HISTORY OF PAINTING IN ITALY, FROM THE PERIOD OF THE REVIVAL OF THE FINE ARTS TO THE END OF THE EIGHTEENTH CENTURY: TRANSLATED From the Original Italian OF THE ABATE LUIGI LANZI. BY THOMAS ROSCOE. _IN SIX VOLUMES._ VOL. I. CONTAINING THE SCHOOLS OF FLORENCE AND SIENA. LONDON: PRINTED FOR W. SIMPKIN AND R. MARSHALL, STATIONERS'-HALL COURT, LUDGATE STREET. 1828. J. M'Creery, Tooks Court, Chancery Lane, London. ADVERTISEMENT. After the very copious and excellent remarks upon the objects of the present history contained in the Author's Preface, the Translator feels that it would be useless on his part to add any further explanation. It would not be right, however, to close these volumes without some acknowledgment of the valuable assistance he has received. Amongst others, he is particularly indebted to Dr. Traill, of Liverpool, who after proceeding to some length with a translation of this work, kindly placed what he had completed in the hands of the Translator, with liberty to make such use of it as might be deemed advantageous to the present undertaking. To Mr. W. Y. Ottley, who also contemplated, and in part executed, a version of the same author, the Translator has to express his obligations for several explanations of terms of art, which the intimacy of that gentleman with the fine arts, in all their branches, peculiarly qualifies him to impart.[1] Similar acknowledgments are due to an enlightened and learned foreigner, Mr. Panizzi, of Liverpool, for his kind explanation of various obscure phrases and doubtful passages. Notwithstanding the anxious desire and unremitting endeavours of the Translator to render this work, in all instances, as accurate as the nature of the subject, and the numerous difficulties he had to surmount would allow, yet, in dismissing it from his hands, he cannot repress the feeling that he must throw himself upon the indulgence of the public to excuse such errors as may be discoverable in the text. He trusts, however, that where it may be found incorrect, it will for the most part be in those passages where doubtful terms of art lay in his way, intelligible only to the initiated, and which perhaps many of the countrymen of Lanzi themselves might not be able very readily to explain.