_Bambocciate._ A kind of painting not unknown to the ancients, iv. 215. Promoted by Laer, ii. 254; And by others, _ib._ v. 80, 235, 442, 443. Bassirilievi. Their use in painting since the fifteenth century, i. 404, ii. 364. Artists who thus distinguished themselves, i. 300, ii. 114, v. 432, 433. Battle-pieces of Giulio Romano, ii. 108. Of Borgognone and his school, i. 330, ii. 253. Of others, iii. 339, iv. 29, 140, v. 268. Beau-ideal. How studied by Raffaello, ii. 91, 92. How by the mannerists, ii. 131. How by Guido Reni, v. 142. Bolognese artists. Did not derive the principles of painting from Florence, only its improvement, v. 14. Shewed the best method of imitation, v. 23. Pre-eminent in the art during two centuries, v. 15. Borromei. Benefactors of the fine arts at Milan, iv. 284. C. Caricatures, i. 331, ii. 295, iii. 285, iv. 242, v. 115. Chambers of Raffaello, of Pietro da Cortona, &c. _See their names._ Characters of the Italian schools. _See the first or second epoch of each._ Cherubs, boys, genii, by whom well drawn, i. 190, ii. 92, 299, iii. 140, 141, iv. 105, 164, v. 54, 130, 134, 189, 312, 403. Chiaroscuro. Improved at Florence, i. 73. Brought to perfection in the time of Vinci and of Giorgione, iii. 101, iv. 240. What in Caravaggio, ii. 200. What in Guercino, v. 164. Chiariscuri, preparations for colouring them, i. 192, ii. 318. ---- of Pietre Commesse, or mosaic, i. 428. Colouring of the Venetians, iii. 91, 246. Of Raffaello and of the other painters. _See their names._ Altered, ii. 442, iii. 301, v. 220. Column of Trajan designed, ii. 148. Studied by Giulio Campi, iv. 171. By Cortona, i. 336. Composition. Crowded in the early times, i. 99. Maxim of Poussin, ii. 237. Of the Caracci, v. 106. Of Cortona, i. 341. Of the Venetians, iii. 71. Of Titian, iii. 115. Copies. Retouched by the masters, i. 206, 293, ii. 103, 104, iii. 150, v. 133, and elsewhere. Excellent copies, i. 15, iii. 155, 205, 289, v. 149, 169, 386. Rules to distinguish copies from originals, pref. xxviii. Copies of excellent pictures made in Italy, and transferred into foreign royal collections. _See_ Bonavita Bianchi. Costume. Neglected by many Venetian painters, iii. 349. It is often treated of in the characters of the schools and of artists. Counsel of learned men listened to by the best painters. By Vinci, iv. 224, 239. By Raffaello, ii. 66. By Poussin, ii. 239. By Coreggio, iv. 97. By Titian, v. 301. By Annibal Caracci, v. 117, 118. By the old Ferrarese, v. 281. By Castello, v. 386. Crystals. Well represented, ii. 334. Paintings in them, i. 228.