INDEX TO THE FINE ARTS. V 
Maso, an Italian artist, 87. 
Master of Calcar, the, 123 ; of Liesborn, 124. 
Medea, the artistic form of, 41. 
Medes, the, little known of the state of sculpture 
among, 5. 
Meleager, the artistic form of, 41. 
Memmi, an Italian artist, 87. 
Mengs, Anton Raphael, sketch of the life and 
works of, 86. 
Mereury, the artistic form of, 34, 35. 
Merigi, Michael Angelo, 105. 
Messis, Quintin, or “ the smith of Antwerp,” 129. 
Metopes, the, of a Doric temple at Selinuntie, 14 ; 
of the temple of Theseus and the Parthenon, 
18, 19. 
Mezzotint engraving, 168, 169. 
Michael Angelo Buonarotti, 52, 53, 83, 90, 91. 
Michelini, an Italian painter, 85. 
Micon of Athens, 72. 
Mignard, a French artist, 113-115. 
Minerva, the artistic form of, 32. 
Miniature paintings, the, of the middle ages, 79 ; 
in France, 111, 112 ; of the old manuscripts, 119. 
Mocchi, Francesco, the works of, 54. 
Monochromes, the invention of, ascribed to Cleo- 
phantes of Corinth, 71. 
Montevarchi, an Italian artist, 81. 
Morpheus, the artistic form of, 38. 
Morphology, or the doctrine of forms, 137; the 
straight line, 138; the angle, 138, 139 ; recti- 
linear figures, 139; curves, 139, 140; curvi- 
linear figures, 140; geometrical bodies, 140- 
142 ; anatomy, 142-146. 
Mosaics, early Greek, 74; patronized by the early 
popes, 78, 79. 
Moser, Lucas, of Wil, 123. 
Munich school of art, the, 128. 
Murillo, Bartolomé Esteban, sketch of the life 
and works of, 110, 111. 
Muscular system, anatomy of the, with a special 
view to artistical representation, 142-146. 
Muses, the, artistic forms of, 37. 
Music, its position in the Fine Arts, 177 ; sketch 
of the history of, in ancient times, 178, 179— 
in the Middle Ages, 179—in modern times, 179, 
180—in recent times, 180-182 ; requisites of 
buildings intended for musical performances, 
185. 
Myron of Eleuthera, works of, 20. 
Mythology, subjects of the plastic art in antiquity 
taken from, 28; general features of the artistic 
representation of the twelve gods of Olympus, 
29-35—of the minor deities, 37-39—of the 
heroes, 39-42. 
Naiads, the, representations of, 39. 
Nanni d’ Antonio di Banco, an early Italian 
sculptor, 51. 
Nanni, Giovanni, 83. 
Naturalists, the school of the, founded by Cara- 
vaggio, 105. 
Neapoli, Francesco, 110. 
Neptune, the artistic form of, 30. 
Nereids, the, representations of, 39. 
Nero, colossal statue of, by Zenodorus, 26. 
Netherland cameo, the, 26. 
Netherlands, history of painting and painters in, 
129-133. 
Netscher, Kaspar, a Dutch artist, 132. 
Nicolas of Pisa, the reviver of the plastic art in 
Italy, 50; account of his works and of those 
of his son, Giovanni da Pisa, 50, 51. 
Nicolo dell’ Abbate, 102. 
Niello-work, 165. 
Nile, remains of art in the valley of the, 8; 
Egyptian painting representing the hallowing 
of the water of the, 69. 
Niobe and her children, the group of, 20. 
Niirnberg school of art, the, 127. 
Nutti, Allegretti, 80. 
Odeons, requisites in the construction of, 185. 
Oderigi of Gubbio, a miniature painter, 80. 
Oil-painting, the art of, invented by Johann Van 
Eyck, 87. 
Olympia, sculptures in the temple of, 19. 
Orazio, a son of Titian, 97. 
Orgagna, Andrea, an early Italian sculptor, 51. 
Orleans, the Duchess Marie of, beautiful sculp- 
tures by, 60. 
Pablo de Aregio, 110. 
Pagani, Gregorio, 92. 
Painters, the principal, of the Greeks and Romans, 
71-77; of the Middle Ages previous to Cima- 
bue, 77-79 ; of the Roman school, 80-87 ; of 
the Florentine school, 87-94; of the Venetian 
school, 94-101; of the Bolognese, Lombard, 
and Neapolitan schools, 101-109 ; of the 
Spanish school, 109-111 ; of the French school, 
111-119 ; of the Cologne and Calear schools, 
122, 123; of the Suabian and Westphalian 
schools, 123, 124; of the Frankish school, 
124-126; of the Augsburg, Niimberg, and 
Saxon schools, 126, 127; of the new German 
school, 127-129 ; of the Flemish school, 129-— 
132; of the Dutch school, 132, 133; of the 
English school, 133-135. 
Painting, the art of, general observations upon, 
67; state of, among the ancient Egyptians, 68, 
69—among the Etruseans, 69-71—among the 
Greeks and Romans, 71-77; sketch of the 
progress of, from the introduction of the Chris- 
tian religion down to Cimabue, 77-79—from 
Cimabue to the latest times, 79 et seq.; in 
Italy, 80-109 ; in Spain, 109-111 ; in Franee, 
111-119 ; inGermany, 119-129 ; in the Nether- 
lands, 129-133; in England, 133-135; in 
America, 135, 136; leading rules of composi- 
tion, 155-157; illumination, 158; various 
kinds of, ib.; genre painting, 158, 159 ; his- 
torical painting, 159, 160 ; landscape painting, 
161, 162. 
Palladium, the Tonic, 13. 
Pallas, colossal statues of, by Phidias, 18; the 
artistic form of, 32. 
Palma, Giacomo, the younger, 99. 
Palma Vecchio, 96. 
Palmerucci, Guido, an early Italian painter, 80. 
Pamphilus of Amphipolis, 72. 
Panathenean festivals, sculptures representing the, 
18, 19. 
Panisks and Pans, the, artistic representations of, 
36. 
Paris cameo, the, 26. 
Parrhasius, the artist, 72. 
Parthenon, the, sculptures from, 18. 
Pasiteles, a Roman sculptor, 26. 
Passignano, an imitator of the Venetian school, 
92. 
Paul Veronese, 98. 
Pausias of Sicyon, 72. 
Pedro de Pampeluna, an early Spanish painter, 
109 ; Pedro de Moya, 110. 
765 
