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.