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· Pittura, Lomazzo's, Idea del Tempio della, i, 139

Piumati, ii, 17, 46
Plants, Study of, ii. 205
Plato, ii. 40, 50, 51
Plenty, Ricci's, ii. 236
Pliny, ii. 14, 80, 139
Poliziano, Signor, i. 59
Pollajuolo, A. del, i. 55, 115, 137, 145, 146; ii.

116

Piero del, i. 58
Pontormo, J. di, ii, 170
Porta, G. B., ii. 77
Portio, S., ii. 78
Portrait of a man, i. 209
Poussin, N., i. 230
Pozzo, C. del, ii. 158, 168, 185
Prato, L. M. de, i. 9; ii. 189
Praxiteles, ii. 11, 12
Preda or Predis, A. de, i. 128, 131, 162, 169, 176,

209 ; ii. 36, 37, 234
Princess of the Ambrosiana, i. 3
Proportione, Pacioli's, Trattato della divina, i.

219, 226, 247, 248, 249, 250-1.

Quercia, J. della, i. 151

Raffalovitch, Madame, ii. 103
Raphael, i. 6, 9, 17, 18, 21, 28, 37, 43, 60, 70, 72,

138, 166, 172, 183, 192, 199, 228, 241, 246, 255;
ii. 2, 48, 114, 117, 132, 137, 138, 142, 144, 150,

167, 170, 194, 195, 223
Ravaisson-Mollien, M. Charles, i. 39, 57, 161,

228 ; ii. 6, 9, 10, 17, 31, 34, 37, 40, 46, 73, 74,

79, 87, 89, 185, 209, 230
Ravaisson, M. Felix, i. 243
Rembrandt, i. 212; ii. 240
Renaissance, Histoire de l'Art pendant la, i. 22;

Les Précurseurs de la, i. 19
Renaissance, The, ii. 52, 53, 110, 114, 115, 151,

173 (the French, 174), 207, 2!3
Resurrection (Berlin Museum), i. 53 ; ii. 182
Ricci, P., ii. 236
Riccio, A., ii. 81, 85
Richelieu, Cardinal, ii. 126
Richter, Dr. J. P., i. 12, 17, 21, 55, 57, 60, 82, 84,

104, 108, 118, 146, 150, 211, 218, 227, 230 ; ii.
4, 14, 17, 22, 24, 30, 32, 34, 35, 37, 38, 46, 68,
73, 80, 87, 92, 114, 120, 147, 148, 149, 150, 159,

191, 193, 198, 203, 210, 215
Ridolfi, Signor, ii. 159
Rigollot, Dr., Ü. 225
Rigour, unrelenting, i. 8
Rigour, relenting, ii. 9
Rio, ii. 24
Robbia, della, i. 56; ii. 134
Robertet, Florimond (Maréchal de Gié), ii. 109,

120, 175, 176.
Romano, G. C., i. 119, 122, 128, 158
Rome, i. 34 (Church of S. Giacomo, 43),

(Borghese Gallery, 55), 76, 97, 99, 101, 115,

126, 149, 201, 235, 248 ; ii, 5, 14, 139, 192, 203
Royal Academy, ii. 122, 123, 125, 127, 128
Rubens, ii, 12, 14, 141, 148, 239
Ruble Collection, ii. 165
Rustici, G. F., i. 87 ; 64, 115, 135, 170

Saint George and Dragon, i. 54 ; ii. 182, 185
Saint Jerome, i. 40, 53, 58, 79
Saint John the Baptist, ii. 8, 12, 114, 125, 163,
184, 211, 212

Bust of, i. 49, 57
as a youth, ii. 21.

between the Levite and Pharisee, ii. 170
Saint Matthew, study for head, i. 192
S. Petersburg, Hermitage, i. 161, 162, 175; ii.

181, 182, 236
Saint Philip, study for head, i, 193
Saints' days and artists, i. 36
Salai, Andrea, ii. 20, 114, 120, 135, 218, 234
San Donato, monastery, i. 61.
San Galli, i. 19
San Gallo, G. da, i, 134, 153 ; ii. 194
San Severino, Cardinal F., ii 105

Messiere G. di, i. 107, 110, 116, 219, 254
Sansovino, A., i. 97, 115
Sant' Onofrio, mural picture, ii. 200, 201, 202,

203
Santi, Giov., i. 28
Sarto, A. del, i. 21 ; ii. 116, 131, 154
Savonarola, i. 29; ii. 116, 117
Scientific sketches, ii. 64, 72, 73, 96
Screw propulsion, Leonardo's, ii. 74
Scribe, M., ii. 216
Séailles, M., ii. 43, 54, 58, 60, 74, 84, 115, 231
Segni, A., ii. 2, 164
Serlio, ii. 103
Sesto, Cesare da, ii. 181, 182, 201, 214, 238
Sforza, Cardinal Ascanio, i. 97, 103, 115; ii.

105
Sforza, Duke Francesco, equestrian statue, i.

7, 63, 108, 123, 143, 144-156, 159, 221; ii. 5,
109, 139, 174
Duke Galeazzo Maria, i. 91, 105, 112, 116,

132, 141, 145, 208
Duke Ludovico (Il Moro), i. 12, 32, 46, 86,

87, 90, 91, 92-98, 101, 102, 103, 104,
105-112, 115, 116, 118, 119, 123, 124, 139,
(Leonardo letter to, 142-3), 151, 152, 178,
199, 219, 249 ; ii. 24, 33, 41, 61, 63, 96,

100, 105-108, 114, 116, 171, 177, 232
Sforza, Maximilian, ii. 191, 192

Bianca Maria, 104, 108, 115, 116, 124, 132,

151, 209

Court of the, i. 85, 91, 227
Simonetta, G., i. 89, 119
Soderini, P., the Gonfaloniere, i. 219, 250 ; ii.

118, 132, 140, 175, 176, 232
Sodoma, G. Bazzi, 11., i. 166, 167, 190, 192,

238 ; ii. 183, 194
Solario, Andrea, i. 130; ii. 185

Cristoforo, i. 104, 105, 127
South Kensington Museum, i. 49, 57, 158
Spagnolo, F., ii. 138
Springer, Anton., ii. 2, 80, 122
Straparola, Notti ii. 30
Suardi, B., i. 131

Taine, M., i. 48
Tauzia, M. de, ii. 128
Theologia platonica, Ficino's, ii. 40
Thiers collection, i. 157, 159
Thomas of Florence. See Masaccio
Three Dancing Girls or Bacchantes, i. 160
Timbal, C., ii. 142
Tintoretto, i. 35
Torre, Marc Antonio della, ii. 81, 84
Torrigiano, Pietro, ii. 119

Sabachnikoff Collection, ii. 69, 74
Saggio, ii. 150
Saint Anne, i. 175, 211 ; ii. 5, 39, 109, 114, 18,

121-132, 153, 192, 163, 236

Touraine, ii. 213
Tovaglia, A. del, ii. 112, 113
Tree, Study of a, ii. 93
Trivulzio, Marshal G. G., i. 118, 131, 155-7'; ii.

108, 215
Library. ii. 231

MSS., ii. 21, 148
Tory, G., ii. 213
Turin, Royal Library, i. 163, 164, 171 ; ii. 149,
153, 161, 206, 228, 229, 230, 232

Museums, i. 43
Turini, B., ii. 197
Tuscans, ii. 51
Tuscany, i. 125, 137

Uffizi Gallery, i. 30, 31, 37, 40, 48, 55, 57, 58, 61,
62, 69, 70, 71, 163; ii. 13, 128, 129, 141, 160,

162, 183, 217, 227, 230, 231, 233
Umbria, ii. 117
Umbrian School, ii. 156
Uzielli, Signor, Richerche intorno a Leonardo

da Vinci, i. 8, 14, 18, II, 120; ii. 17, 25, 87
94, 116, 123, 186, 203, 211, 216, 223, 225

Valenciennes Museum, ii. 74
Valle, B. della, ii. 1o1

P. della, ii. 190
Valton, P., collection, i. 16, 66, 67, 76, 141, 207

225; ii. 9, 95, 133
Vasari, i. 40
Vasari, G., i. 10, 14, 15, 17, 18, 20, 21, 27, 35, 46,

47, 56, 57, 75, 77, 85, 124, 145, 153, 187, 210,
225; ii. 66, 84, 98, 121, 123, 135, 136, 138, 139,
142, 150, 155, 157-58, 159, 164, 170, 195, 197,
198, 205, 220, 221, 225, 226, 228, fresco Court

of Leo X., 227–228
Vatican, i. 40, 79, 230, 231, 234, 235: ii. 66,

208
Venetian school, ii. 239
Venice, i. 145, 147 ; ii. 109, LIO, 114
Venice, Accademia, i. 36, 37, 40, 63, 88, 104,

132, 185, 187, 241 ; ii. 121, 127, 129, 133, 141,

148, 149, 228
Venturi, ii. 17, 72, 98
Verrocchio, A., i, 17, 20, 22-26, 27, 28, 32, 34,

35, 36, 38, 39, 40, 43, 52, 56, 57, 87, 144, 147,

171, 229; 49, 50, 194
Vertumnus and Pomona, ii. 208
Vigevano, i. 103, 104, 109, 131
Vignole, i. 19
Villanis, B. di, ii, 218, 224
Vinci, hamlet of, i. 7 ; ii. 18
Vinci, F. da, i, 13; ii. 171
Vinci, G. da, ii, 203
Vinci, Leonardo da, i. drawings, 1-2, 210; un-

captivated by fair sex, 3; their artistic
treatment, 3-4 ; as a sculptor, 4-5; poet, 5;
scientist, 6; birthplace, 7; parents and
kindred, 10-13; ii. 171, 219; genealogy, i.
15; handsome, strong and dexterous, 15--
16 ; character, 17 ; varied talents, 18; pupil
of Verrocchio, 21, 35; their contrast, 26;
master and fellow-students, 26-34 ; refuta-
tion of calumny, 32 ; art thesis, 34-5 ; in-
Auence on master, 36 ; early efforts, 35, 37;
method of handwriting, 38, 39, 141, 227-
229; ii. 62, 103 ; collaboration of Vinci and
Verrocchio, 37-44 ; first shield, 45-6, 141 ;
early cartoons, 47 ; ascribed works, 49-54,
219-221 ; early drawings, 54-56 ; efforts in

sculpture, 56 ; canal projects, 56, 143, 175;
ii. 98, dated works, i. 57; fame in Florence,
58; study of death agonies, 59-60; works
uncompleted, 58, 62, 78 ; lacked precision
of conception, 66; classic inspiration, 67,
75; love and study of horses, 74, 146-148,
150 ; his influence, 74, 159, 225-227 ; ii. 132;
conception of a picture, i 76; compositions
devoid of portraiture, 77 ; evolution of paint-
ing, 78, 80; enters Guild of Painters at
Florence, 79; ü. 133; tendencies, i. 80-
81 ; quits Florence, 82 ; theory of travels to
East, 82-85; ii. 62 ; fond of geography, i.
85 ; ii. 93-94 ; at the Court of Milan, 85-87,
118; musical talent, 86, 106, 205 ; influence
on Milanese school, 91, 129, 130, 131 ; patron
and friends, 92-101 ; called to Vigevano,
103; contracts to finish works, 104, 178;
pageants, 107 ; princely patrons, 114-115,
118; contact with D. Lodovico, 120-122 ;
indifferent courtier, 122 ; income, 123, 185 ;
ii. 136, 193, 207. Style of living, i, 123; ii.
135. Milan contemporaries, i. 126-134, 139;
his art and theirs, 134-136; letter to Duke of
Milan stating skill, 142-143; felt restraints
of architecture, 150 ; Sforza statue, dilatori-
ness, 150-151 ; its explanation, 186, 210 ;
experiments in bronze casting, 152-153 ;
impassive, 156 ; in sculpture and painting
equal, 158 ; chronology of works, 161 ; agree-
ment for Virgin of the Rocks, 162 ; use of
greenish paper, 164, 165, 166, 167, 175,211;
process of adaptation, 167 ; germs of his
art of gesture, 171 ; neutral shades, 173;
love of rocky landscape, 174; opposed to
fresco, 179, 246; matured study in Last
Supper, 183-184; its unfinished state ex-
plained, 187 ; an epoch in painting, 191 ;
architectural attitude, 196-197 ; ii. 4, 5;
work in Castle of Milan, i. 202-205; easel
pictures and portraits, 205-208; ii. 154-
160. Methods, i. 210-211; grotesque draw-
ings, 217-218; list of his drawings, 218;
architectural designs, 222-224; manuscripts,
227-230 ; treatise on painting, 230-245,
253 ; his pigments, 246 ; pupils, 254-255 ;

ii. 232-238. His studio, i. 256.
ii. The antique and nature, 2-3; the nude, 6;

abstract and idealistic mind, 6; draperies,
6-7 ; symbolism, 9-10; the antique, 11-16;
meagre education, 18-19; catalogue of his
library, 21-2, 82 ; interest in poetry, 23; as
poet, 24-7; fabulist, 27-29; moralist, 30-31;
religion, 32-34 ; Prophecies or Enigmas, 35-
38 ; indifferent to money, 38; philosophy,
39-44 ; scientific labours, 46-60; Alpine ex-
cursions, 59, 92, 207 ; occult sciences, 61-70;
mathematical studies, 71-74; knowledge of
steam, 73-74; inventive power, 74, 94; ac-
quainted with screw and parachute, 74-75;
physics, 75; optics, 76-77; colour, 78-79;
acoustics, 79; natural science, 81-82; an-
atomical studies and drawings, 83-86 ;
ideas on medicine, 86-87 ; geological views,
35, 89-92 ; as engineer, 95; position as
regards canals, 95-102, 187, 214 ; loss of
patron, Duke of Milan, 108 ; leaves Milan
for Mantua and Venice, 109, NO, 115;
sought by Isabella d'Este, 110-113; con-
joint labours as engineer and painter, 114;
serves Cæsar Borgia, 114, 118; at Florence,
115-118; Borgia's patent, 119; official

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Virgin of the Rocks, i. 27, 40, 44, 53, 63, 134

162-175, 246 ; ii. 128, 130, 160, 161
Virgin with the Carnation, i. 51, 52
Virgin with the Scales, ii. 127, 181, 182
Virgin, The, Sforza at the feet of the, ii. 41
Visconti, Gasparo, i. 98-9, 138, 139

G. Galeazzo, i. 128
Ippolita, i. 100

Lucia, i. 110
Vitruvius, ii. 4, 5

travels, 119-120; cartoon of S. Anne, 121-
132; variety of life, 124; landscape art,
131-132; joins Florentine life, 133; work
at Palazzo Vecchio, 136; Battle of Anghi-
ari contract, 136; Michelangelo's aversion,
138; fails in process with Battle of Anghiari,
leaves Florence, 139; Mona Lisa Gioconda,
her sittings, 155 ; his female ideal, 160-163 ;
draperies, 162, 163; pupils at Florence,
170; occupations, 171 ; death of father and
uncle--lawsuit and letter to Cardinal d'Este,
171, 186; goes to Milan, esteemed by
Maréchal de Chaumont, 176-7 by Louis
XII., 178, 179, 186-187; letter to Chaumont,
188-189; master of ceremonies at Milan,
189; at Vaprio, 189; old before his time,
192; tries Rome, Milan, and Florence,
192, 193, 203-204 ; in suite of G. de' Medici,
193; companions, 194 ; lodged by Pope
Leo X., 196 ; petty troubles, 198-99; me-
chanical lion, 205 ; honoured by Francis I.,
207 ; home at Amboise, 209-211 ; paralysis
of right hand, 211, 216 ; unreceptive French
pupils, 213; his will, 216–220 ; death, 220 ;
in arms of Francis I., 221-2 ; portraits of
him, 217, 221, 225-231; patrons, 232;

artistic influence, 239-240
Vinci, Lesandra, ii. 203

Pierino, i. 14
Piero Antonio da, i. 10, 45, 46

Tommaso da, i. 14
Virgin and Child with a Donor, ii. 200, 201
Virgin holding the Infant Jesus, ii. 197
Virgin of the Bas Relief, ii. 181
Virgin of the Magnificat, i. 31

Waggon and horses, sketch, ii. 104
Wallace Museum, i. 132
War Chariots, Design for, ii. 105
Warrior, i. 55, 57
IVeapons, designs for, ii. 97, 100
Weimar Museum, i. 33, 38
Windsor, Royal Library, i. 2, 4, 5, 13, 16, 43,

44, 53, 54, 55, 56, 74, 79, 83, 89, 107, 121, 125,
128, 133, 137, 146, 147, 148, 149, 152, 153, 156,
157, 160, 161, 163, 166, 169, 175, 176, 177, 188,
189, 190, 193, 231, 233, 236, 245, 249 ; ii. 1, 4,
5, 8, 12, 15, 17, 25, 44, 45, 49, 65, 84, 88, 89,
92, 93, 101, 127, 129, 132, 134, 137, 145, 147,
149, 153, 155, 157, 160, 161, 162, 166, 167, 182,
183, 185, 201, 204, 205, 206, 208, 221, 225, 226,
228, 229, 230

Yriate, M. Charles, i. 11, 114; ii. 39, 110, III,

124

Zacchia of Lucca, L., ii. 141
Zenale, B., i. 131, 133, 187, 229 ; ii. 35, 41, 200

THE END

RICHARD CLAY AND SONS, LIMITED, LONDON AND BUNGAY.

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