Cupolas. _See_ Gaudenzio Ferrari, Coreggio, Zuccari, Reni, Zampieri, Lanfranco, Cignani, De Matteis. D. Death, accelerated by violent passions, iii. 103, iv. 27, and in other places. By defamation, v. 159. Design, superior to colouring, but less lucrative, i. 250. Various practical processes in designing from life, ii. 90, 435, v. 144, 186. Diligence, a necessary quality in artists, iii. 189. Commended in Barocci, ii. 183; in Titian, iii. 149; In Coreggio, iv. 83; In Cignani, v. 238; And in others, 224, 343, &c. Very remarkable in Lionardo da Vinci, iv. 241; And in Ercole Grandi, v. 295. Particularly requisite in beginners, iv. 290, v. 94. Ought not to be carried too far, v. 67, 140, 231. Abuse of this maxim, iii. 305. Drapery, mantles, style of folding. Taste of the ancients, i. 76, ii. 30. Improved greatly by the Venetians, iii. 91; And by the Lombards, iv. 228. Frate contributed much towards its perfection, i. 191. Others praised in this respect, ii. 97, 319, iii. 141, v. 103, 104, 141, 175, 176. E. Emulation, youthful, i. 409, ii. 67, iii. 125, v. 116, 179, 183, 334. How exemplified between Pasinelli and Cignani, v. 218. Want of it injurious to the younger Palma, iii. 255, 256; And perhaps to Raffaello, ii. 85. Encaustic, ii. 343, v. 353. Engraving on wood, i. 105. On several kinds, and with different colours, pref. xii. iv. 55. On copper, i. 112. Envy. Always accompanies merit, ii. 180. Its arts, _ib._ and 399. Accused of poisoning its rivals, i. 421, ii. 178, v. 305, 336, 375. Enabled to triumph for a time, v. 132, 133. Never succeeds in blinding the public, ii. 180, 400. Noble artists answer it only with meritorious works, i. 190, v. 101, The most bitter reply it can receive, i. 190. Epitaphs of painters too extravagant, i. 271, 272, iv. 115, v. 62. Such as are only just, i. 422, v. 278, 457. Epochs. Some, though apparently certain, are yet fallacious, iii. 288. Expression. The soul of painting, ii. 92, _et seq._ Diligence requisite to succeed in it, _ib._ and 58, v. 110, 122. Eyes. Painted with admirable effect by Camillo Boccaccino, iv. 165. F. Ferrara. Boasted classic imitators of each classic style, v. 328. Florence. Contributed more than any other city to the revival of the fine arts, i. 39, ii. 29. At what time in particular it shone as a new Athens, i. 217. Its school of painting celebrated of old for its design, i. 148. Boasts a series of great masters, and of styles wholly national, i. 365. Flower-painters, and of fruits, i. 325, ii. 258, 384, 423, iii. 388, iv. 285, 68, 294, v. 205, 266, 353.