Opinions on the same painter different, pref. xxxiv. The historian ought to collect the most authentic and popular, _ib._ Painters ought to be estimated by their mature labours, conducted with most care, i. 301; As these may be almost termed their second editions, v. 424. More accurately estimated where they painted most, pref. xxxiii. Ornamental work of grand palaces, all directed by a single artist, i. 233, ii. 81, iv. 22, 170, v. 369. P. Painting on different kinds of marble, i. 279, 288, with the secret of staining them with colours, i. 432. Another invention of F. Sebastiano del Piombo, iii. 107. Painting on dressed leather, ii. 176, on earthen vases, ii. 171, on glass, i. 224. Perspective well understood by the ancients, iii. 48, 249. Particularly cultivated by the Lombards, iv. 217. Excellent professors of it. _ib._, and tom. i. 215, 274, 425, 426, ii. 24, 335, iii. 48, 249, 270. Its revival at Bologna, v. 205, 206, _et seq._ _See also the end of last epoch of the same school, as well as in other schools._ _Pietre dure_, works in _commesso_, or variegated stone, more particularly conducted at Florence, and sometimes with the minuteness of the mosaic worker, i. 332. Plagues in Italy proved injurious to painting, ii. 262, iii. 273, v. 419. Play obscured many excellent qualities of Guido, v. 143. Caused the death of Schedone, iv. 59. Pleasure renders artists less correct, ii. 402, v. 64. Portraits, very excellent, ii. 79, 237, iii. 146. Celebrated portrait painters of the Venetian school; _see_ Titian, Contarino, Morone, Tinelli, Ghislandi. Others of every school, at the close of their respective epochs. Q. Quadratura, _see_ Perspective. Quattrocentisti. Artists of the fourteenth century, their dry but exact design, i. 103. They professed various arts at once. Simple in their composition, iii. 45, v. 26, and elsewhere. Question respecting the superior dignity of painting and sculpture, i. 253. R. Removing of paintings from walls to canvass, v. 350. Revival of painting in Italy. Its origin, i. 1. Restoration of ancient paintings, when cautiously conducted, highly useful, ii. 84, iii. 294. Recommended by Bonarruoti and by the Caracci, at Bologna and Florence, v. 14. School for such art at Venice, iii. 389. Not successfully applied to the Supper of Vinci, at Milan, iv. 247; To various Venetian pictures, by Bombelli, iii. 294, and elsewhere. Method discovered at Siena, i. 455. Rome, dignifies the ideas brought by foreign artists from other parts, ii. 16. Character of the school, ii. 105. Circumstances which there assisted the progress of the art, ii. 341. S.