INDEX.

In the following Index the volume on the ' Age of the Despots ' is referred to as Vol. I., that on the 'Revival of Learning' as Vol. II., that on the ' Fine Arts ' as Vol. III., and the two Volumes on 'Italian Literature' as Vols. IV. and V.

Transcriber's Note: Links in this Index are to the Project Gutenberg editions of Vol. I ( The Age of Despots ), Vol. IV ( Italian Literature, Part I), and Vol. V (this volume). Links to pages in Vol. II (The Revival of Learning) and Vol. III ( The Fine Arts ) are not included, as Vol. II is not yet available at Project Gutenberg, and Vol. III, while available, is from a different edition with different pagination.

A B C D E F G H I J K L M N O P Q R S T U V W X Z

ABBAS SICULUS, received 800 scudi yearly as Jurist at Bologna, ii. 122

Abbreviators, college of, founded by Pius II., ii. 358

Abelard, teaching of, i. 9, v. 467

Academies, the Italian, ii. 161, 311;
lose their classical character, 365;
their degeneracy, 367, 542, v. 272;
Milton's commendation of them, ii. 367;
their effect on Italian poetry, v. 272

Academy, the Aldine, at Venice, ii. 385, v. 272

Accaiuolo, Ruberto, i. 197 note 1, 203 note 2

Accaiuolo, Zenobio, made librarian of the Vatican, ii. 425

Accarigi, his Dictionary to Boccaccio, v. 254 note 1

Accolti, Francesco di Michele, his terza rima version of the Principe di Salerno, iv. 250 note 2

Accoramboni, Vittoria, Bandello's Novella upon her trial, v. 54;
use made of it by Webster, 69, 117, 288;
her poetry, v. 288

Achates, Leonard, his edition of Lascari's grammar, ii. 376

Achillini, Professor of Philosophy at Padua, v. 458, 459

Adami, Tobia, the disciple of Campanella, v. 481

Admonition, the Law of, at Florence, i. 226

Adolph of Nassau, pillages Maintz, ii. 368

Adorni, the, at Genoa, i. 201

Adrian VI., the tutor of Charles V., iv. 398;
elected by political intrigues, i. 441;
his simplicity of life and efforts at reform, 441-443 (cp. ii. 434, 442);
Berni's Satire on him, i. 443, v. 368

Agnolo, Baccio d', architect of the Campanile of S. Spirito at Florence, iii. 86

Agolanti of Padua, i. 114

Agostino, Pre, his Lamenti, iv. 172 note 2

Agrippa, his De Vanitate Scientiarum quoted for the corruptions of Rome, i. 459 note 1

Alamanni, Antonio, writer of the 'Triumph of Death,' iv. 320, 393-395;
translated, 395

Alamanni, Jacopino, story of, i. 211

Alamanni, Luigi, his translation of the Antigone, v. 134, 240;
his didactic poem, La Coltivazione, 237;
translation (in prose) of a passage on the woes of Italy, 238;
story of his life, 239;
number and variety of his works, 240;
his dramatic poem, the Flora, 240;
translation (in prose) of a passage on Rome, 240 note 1;
said to have been a great improvisatore, 240;
his satires, 381;
composed in the metre of the Divine Comedy, iv. 172

Alamanni, Luigi di Tommaso, executed for his share in the conspiracy against Cardinal Giulio de' Medici, v. 239

Albano, Francesco, v. 229

Albergati, Niccolò degli, his patronage of Tommaso Parentucelli (Nicholas V.), ii. 223

Alberti, the, at Florence, exiled by the Albizzi, iv. 184, 188;
their family history, 190 note 1

Alberti, Leo Battista, his originality, ii. 5;
his many-sided genius, 10, 341-344, iv. 183, 214-219;
one of the circle gathered around Lorenzo de' Medici, ii. 322, iii. 263;
his cosmopolitan spirit, iv. 184;
recommends the study of Italian, iv. 185, v. 508;
his feelings for the greatness of ancient Rome, iv. 186;
character of his religious sentiment, 206, 216, 217;
tenderness of his character, 218, v. 196, 511;
arranges a poetical competition in Italian at Florence, iv. 238;
architect of S. Francesco at Rimini, i. 172, 326, ii. 34, 210, 342, iii. 70 note 1, 74;
of S. Andrea at Mantua, ii. 342, iii. 70 note 1, 75, 278;
of the Rucellai Palace at Florence, ii. 342, iii. 75;
other architectural works of Alberti, ii. 342, 440, iii. 74-76;
his admiration of Brunelleschi's dome at Florence, iii. 67 note 1, iv. 209 (cp. ib. 204), 216;
influence of Boccaccio on his writings, iv. 136;
character of his style, 187;
his narrative of Porcari's attempt on Nicholas V., i. 265 note 1, 386;
his description of Nicholas' administration, i. 377;
his Latin play Philodoxius, ii. 341, 452, iv. 183, v. 110;
his Trattato della Famiglia, ii. 37, iv. 188, v. 190, 518;
its value, iv. 188, 190, v. 455;
analyzed, iv. 191;
question whether Alberti was the original author of the treatise Del Governo della Famiglia, i. 239 note 1, 272, iv. 192-203;
the Dialogues, v. 451, 455;
the Deiciarchia, iv. 203;
the Tranquillità dell'Animo, 204;
the Teogenio, 205;
the Essays on the Arts, 207-209;
the Dedication to Brunelleschi, 208;
the 'Treatise on Building' cited for the influence of Vitruvius on Italian architects, iii. 94 note 1;
the 'Treatise on Painting,' 127 note 1;
the various discourses upon Love and Matrimony, iv. 209-211;
Alberti the reputed author of 'Ippolito and Leonora,' 212, 250;
his Poems, 213

Alberti, Leo Battista, the anonymous Memoir of Alberti, ii. 37, 184 note 1, 195 note 1, 216 note 1, 218

Albertini, Francesco, aids Mazochi in collecting the Roman Inscriptions, ii. 429

Albertinelli, Mariotto, his friendship with Fra Bartolommeo, iii. 304, 310

Alberto da Sarteano, Fra, denounces Beccadelli's 'Hermaphroditus,' ii. 256 note 1

Albertus Magnus, v. 467

Albicante, Giovanni Alberto, probability that he was Aretino's agent in mutilating Berni's rifacimento of the Orlando Innamorato, v. 375-380, 419;
his relations to Aretino, 419

Albigenses, the, i. 9

Albizzi, the, rule of, at Florence, i. 221, iv. 2;
their contest with the Medici, i. 227 note 3, ii. 167, 170, iv. 176, 184, 252;
their exile of the Alberti, iv. 184, 189

Albizzi, Rinaldo degli, his patronage of learning, ii. 165, 223

Alciato, ii. 84

Aldus Manutius. [See Manuzio, Aldo.]

Aleander, his lectures in Hebrew at Paris, i. 27, ii. 424;
a member of the Aldine Academy, ii. 387;
made Cardinal, 402, 424;
sent to Germany as Nuncio, 424

Aleotti, Galeotti, architect of the Teatro Farnese at Parma, v. 144

Alessi, Galeazzo, his work at Genoa, iii. 96;
his church of S. Maria di Carignano there, 96

Alexander of Aphrodisias, his view of Aristotle's doctrine of the soul, v. 472;
adopted by Pomponazzi, 459, 472

Alexander, a Cretan, joint editor of a Greek Psalter, ii. 376

Alexander III., i. 64

Alexander IV., preaches a crusade against Ezzelino, i. 107 note 1, iv. 280

Alexander VI., Guiccardini's character of him, i. 308;
invites the French into Italy, 349, 427, 515;
Machiavelli makes him his example of successful hypocrisy, 357;
his additions to the Vatican, 389 note 1;
personal descriptions of him at his accession, 407;
the popular legend of him, 408;
his policy, 410, 427;
his avarice, 413;
his relations with the Sultan and murder of Prince Djem, 415, 566 note 1;
his attitude towards orthodoxy, 416;
his establishment of the censorship, 416, ii. 359, 371;
his sensuality, 417-419;
his exaggerated love of his children, 417;
his grief at the murder of the Duke of Gandia, 425;
his death—was it by poison? 429-431;
the legend that he had sold his soul to the devil, 431;
his attempt to gain over or silence Savonarola, 529;
comes to terms with Charles and saves himself from a General Council, 427, 532 note 1, 565;
joins the League of Venice against Charles VIII., 577;
the Menæchmi represented by his orders at the Vatican at the espousal of Lucrezia Borgia, v. 139

Alexius, Marcus Attilius, his character of Paul II., i. 385 note 1

Alfonso (the Magnanimous), conquers Naples, i. 88, 568;
Vespasiano's Life of him, 480 note 1, 569 note 1, ii. 352;
wins over the Duke of Milan, 568 note 1;
his nobility of character and love of learning, 569, ii. 38, 252, 265;
his family life, 569;
story of his patient listening to a speech of Manetti, ii. 191 note 1, 254;
his patronage of Manetti, 192

Alfonso II., King of Naples, i. 543, 550;
his avarice, 105;
his league against Charles VIII., 550;
character of him by Comines, 572;
his terrors of conscience and abdication, 119, 572

Alfonso, Prince of Biseglia, husband of Lucrezia Borgia, murder of, i. 420

Alidosi, the, of Imola, i. 375

Alidosi, Cardinal, his patronage of scholars, ii. 404

Alighieri, Jacopo, his commentary upon the Divine Comedy, iv. 163;
his Dottrinale, 240

Alione, Giovan Giorgio, his Maccaronic Satire on the Lombards, v. 333

Allegre, Monseigneur d', captures the mistresses of Alexander III., i. 418

Allegretti, Allegretto, cited, i. 165 note 1;
on the reconciliation of factions at Siena, 616, iii. 213

Alopa, Lorenzo, printer of the first edition of Homer, ii. 369, 376

Alticlinio of Padua, i. 114

Amadeo, Antonio, iii. 78 note 1;
dispute about his name, 164;
his work at the Certosa of Pavia, 164;
his monument to Media Colleoni, 165

Amalteo, ii. 506;
his Latin Eclogues, 453, 497

Ambra, his Comedies, v. 123, 181

Ambrogio da Milano, his reliefs in the ducal palace, Urbino, iii. 162 note 1

America, discovery of, i. 3, 15, 29, ii. 112;
given by Alexander VI. to Spain, i. 413

Amerigo di Peguilhan, his Lament on the death of Manfred, iv. 27

Amidei, the, at Florence, i. 74, 210, note 2

Ammanati, Bartolommeo, his work as sculptor and architect in Florence, iii. 96;
feebleness of his statues, 173;
his regret that he had made so many statues of heathen gods, 174;
his quarrels with Cellini, 477

Ammirato, Scipione, quoted for the friendly rivalry of Giangiorgio Trissino and Giovanni Rucellai, v. 236

Amurath II., Filelfo's mission to him, ii. 268

Andrea dell'Anguillara, Giovanni, his tragedy of Edippo, v. 134;
acted in the Palazzo della Ragione, 134;
his satiric poems, 381

Andrea dell'Aquila, probable sculptor of a monument in S. Bernardino, Aquila, iii. 141 note 1

Andrea da Barbarino, probably the author of the Reali di Francia, iv. 246;
other romances of his, 246

Andrea of Florence, said to be the painter of frescoes in S. Maria Novella, iii. 205 note 1

Andrea de Pontadero (called Pisano), his work in bronze and marble, iii. 119

Andrea di Sicilia, elected Professor at Parma, iv. 315

Angelico, Fra, spirituality of his paintings, iii. 239;
his intense religious feeling, 303, 311;
critical difficulty of deciding his place in the succession of Florentine painters, 240;
his frescoes at Orvieto, 283 note 1

Angioleri, Cecco, his Sonnets, iv. 56 note 1

Anguillara, i. 114, 404, 545

Annales Bononienses, quoted for the Revival of 1457, i. 617

Annius of Viterbo, his forged Histories, ii. 156 note 2

Antiquari, Jacopo, his Latin correspondence, ii. 288 note 1, 532;
quotation from a letter of his upon Poliziano's Miscellanies, 352;
his verses on Aldo Manuzio, 390 note 2;
his nobility of character, 523

Antonino, Sant', the good archbishop of Florence, i. 470 note 1, iv. 313, v. 519

Antonio da Tempo, his Treatise on Italian Poetry cited for the early estimation of Tuscan, iv. 31 note 1

Antonio di San Marco (the Roman goldsmith), his answer to Agostino Chigi's couplet on Leo X., i. 435

Anziani or Ancients, name of magistrates in some Italian cities, i. 35, 68, 224

Apollo Belvedere, discovery of the, ii. 431;
description of it by a Venetian envoy, 434

Apostolios Aristoboulos, a compositor employed by Aldo Manuzio, ii. 378;
a member of the Aldine Academy, 387;

Appiano, Gherardo, sells Pisa to Gian Galeazzo, i. 114, 148

Appiano, Jacopo, murders Pietro Gambacorta, i. 148, 148 note 1

Aquila, S. Bernardo, monument of the Countess Montorio, iii. 141 note 1

Arabs, the, their preservation of Greek literature, ii. 66, 68, 251, iii. 209, v. 468

Arcadia, creation of the Arcadian ideal at the Renaissance, v. 197;
length of time during which it prevailed, 197, 223;
received form at the hands of Sannazzaro, 197;
lent itself to the dramatical presentation of real passion, in spite of its artificial form, 241. (See Guarini, Sannazzaro, and Tasso.)

Archio, Latin verse writer, ii. 507

Architecture, Italian architecture rather local than national, ii. 5;
architecture does not require so much individuality in the artist as painting, 7;
effect on Italian architecture of the ancient Roman buildings, 439, iii. 48 note 1;
reasons why the middle ages excelled in architecture, iii. 10;
architecture precedes the other arts, 40;
the various building materials used in Italian architecture, 44

Arcimboldi, Gian Angelo, discovered the MS. of Tacitus' Annals at Corvey, ii. 140, 425

Ardenti, the, an Academy at Naples, ii. 366

Aretino, Carlo. (See Marsuppini.)

Aretino, Pietro, parallel between Aretino, Machiavelli, and Cellini, iii. 479 (cp. v. 384);
said to have died from excessive laughter, iv. 452;
the story probably without foundation, v. 423;
his quarrel with Doni, 90, 419, 422;
his writings placed on the Index after his death, 422, 423;
the Comedies, 40, 123;
their originality and freedom from imitation of the antique, 172, 173 (cp. 269 note 1), 517;
defective in structure, 173;
point of view from which Aretino regards contemporary manners in them, 174;
celerity of their composition, 414;
the Cortigiana, its plot and characters, 176;
intended to expose the Courts, 176, 177, 178 (cp. 386 note 1);
sarcasms of the Prologue on the Italian authors, 180, note 1;
its testimony to the profligacy of Rome, and to the belief that the sack of the city was a Divine chastisement, i. 446 note 1, v. 176, 190, 226;
to the general corruption of morals in Italy, v. 191;
the Marescalco, its plot, 178;
may have supplied hints to Shakspere and Ben Jonson, 178;
the Talanta, Ipocrita, and Filosofo, 179;
comparison of the comedies of Aretino, Bibbiena, and Machiavelli, 180;
passage in the Prologue to the Ipocrita, referring to Berni's rifacimento of the Orlando Innamorato, 376 note 2;
Prologue of the Talanta translated (in prose), 417-419;
his Madrigals and Sonnets, 311;
their badness, 415;
his Capitoli, 364, 381, 419;
inferior to Berni's, 415;
the Dialoghi, 386, 394, note 1, 415;
their description of life in Roman palaces, 386 note 1;
belief of contemporary society in the good intentions of Aretino in writing the work, 427;
probability that Aretino was the author of the mutilation of Berni's rifacimento of the Orlando Innamorato, 375-380, 406;
he sides with Bembo in his dispute with Broccardo, 377;
his place in Italian literature, 383-385;
his boyhood, 385;
enters Agostino Chigi's service, 386;
nature of his position, 386;
stories of his early life, 387;
begins to find his way into Courts, 388;
comes to Rome at the election of Clement VII., 389;
writes a series of sonnets on obscene designs by Giulio Romano, and is obliged to quit Rome, 389;
makes the friendship of Giovanni de' Medici delle Bande Nere, 390, 391, 424;
narrowly escapes assassination at Rome, 391;
his animosity against Clement VII., 391, 392, 402 note 1;
retires to Venice in order to support himself by literary labour, 392-395;
dread inspired by his talents, ii. 34, 512, iii. 171, v. 392;
trades upon the new power given by the press, v. 393;
secures his reputation by writing religious romances, 394, 519;
their worthlessness, 416, 427;
may have been aided in them by Niccolò Franco, 420;
his life at Venice, 396-399;
amount of money extorted by him, 399;
presents made him by various princes, 400, 405;
question as to the real nature of the influence exercised by him, 392, 401, 404, 406;
partly owing to his force of character, 425-427;
his attractiveness as a writer due to his naturalness and independence, 416;
his employment of lying, abuse, and flattery, 401-404;
his reputation for orthodoxy, 380, 405;
idea of making him Cardinal, ii. 22, 282 note 1, 403, v. 405;
his cowardice, 391, 405, 406;
his relations to Michelangelo, iii. 426, v. 408;
the friend of Sansovino and Titian, iii. 167, 168, v. 398, 405 note 4, 409, 425;
his relations to men of letters, v. 409;
his boasts of ignorance and attacks on the purists, 410-414;
his celerity of composition, 414;
his faults of taste, 417;
effect of his writings on the euphuistic literature of the seventeenth century, and on the literature of abuse in Europe, 417, 422;
his literary associates, 419-423;
the epitaph composed upon him, 423;
his portrait (1) engraved by Guiseppe Patrini, (2) by Sansovino, on the door of the sacristy in St. Mark's, iii. 168, v. 424;
his contradictions of character, v. 425, 517;
Aretino embodies the vices of his age, 425, 523;
his Correspondence, 384, note 1, 393 note 1;
its illustrations of the profligacy of Rome, 386 note 1, 387 note 1;
a letter to Titian quoted for a description of a Venetian sunset, iii. 351, v. 417;
Aretino relates in a letter his life at Mantua, v. 388;
letters of his cited for the death of Giovanni de' Medici delle Bande Nere, 391 note 2;
the Letter to the Doge of Venice, 395;
letters describing his life at Venice, 396-399;
probability that Aretino tampered with his correspondence before publication, 398 note 1, 399 note 1;
letter describing his method of flattery, 403 note 1;
another quoted as a specimen of his begging style, 404 note 1;
another written to Vittoria Colonna, who entreated him to devote himself to pious literature, 407;
another to Bernardo Tasso on epistolary style, 411

Arezzo, the high school at, ii. 116;
receives a diploma from Charles IV., 118

—— Cathedral shrine of S. Donato (by Giovanni Pisano), iii. 110

—— S. Francesco, Piero della Francesca, Dream of Constantine, iii. 235

Argyropoulos, John, the guest of Palla degli Strozzi at Padua, ii. 168;
teaches Greek at Florence and Rome, 210

Ariosto, Gabriele, brother of the poet, finishes La Scolastica, iv. 502, v. 150

Ariosto, Giovanni Battista, illegitimate son of the poet, iv. 502

Ariosto, Lodovico, his panegyrics of Lucrezia Borgia, i. 420, 422, v. 12 note 1;
of the d'Este family, v. 5, 7, 9, 11, 12 note 1, 30;
Ariosto inferior as a poet to Dante, ii. 9;
analogy of his character to that of Boccaccio, iv. 506;
quoted for the word umanista, ii. 71 note 1;
had no knowledge of Greek, iv. 493, 517;
facts of his life, 493-503 (cp. 517);
enters the service of Cardinal Ippolito d'Este, 494, (cp. 517);
refuses to enter the Church, 495;
his rupture with the Cardinal, 496;
enters the service of Alfonso I. of Ferrara, 498;
his superintendence of the Ducal Theatre, 498, v. 140, 141, 144;
his marriage, iv. 502, v. 38;
receives a pension from the Marquis of Vasto, iv. 503;
his personal habits, 504;
his device of the pen, 521;
his genius representative of his age, v. 49, 518;
the Satires cited for the nepotism of the Popes, i. 413, note 2, iv. 509, 518;
on the relations of the Papacy to the nation, ii. 22;
on the bad character of the Humanists, 519, iv. 517;
written in the metre of the Divine Comedy, iv. 172, 519;
revelation of his own character contained in the Satires, 504, 505-508, 517-519, v. 1, 5;
their interest in illustrating the Renaissance, iv. 518;
subjects of the Satires, 508;
the first Satire: ecclesiastical vices, 509 (cp. ii. 406);
the second: dependents upon Courts, character of Ippolito d'Este, 509;
the third: the choice of a wife, 510, v. 38;
fourth and sixth: Court life and place-hunting, iv. 511-513;
the fifth: the poet at Garfagnana, 514;
sketches of contemporaries, 515;
the seventh: a tutor wanted for his son, vices of the Humanists, 516 (for the latter cp. v. 155 note 2);
the Canzoni, iv. 520;

the origin of his love for Alessandra Benucci, 520;
Giuliano de' Medici to his widow, 520;
the Capitoli, 509 note 1, 519, v. 5;
the Cinque Canti, iv. 501, 502;
passage on the Italian tyrants quoted, i. 130, iv. 506 note 2;
the Madrigals and Sonnets, iv. 522;
the Elegies, 519, 521;
his Latin poems, ii. 497, iv. 494, 497 note 1, 506 note 1, 522, v. 38;
his translations from Latin comedies, v. 140;
the Comedies, 40 note 5, 111, 122, 123, 146 note 1;
the Negromante cited in illustration of the character of Italian witches, 346 note 1;
plots of the comedies, 148, 153 note 1;
their satire, 150;
the Prologues, 147 note 1, 150;
the Scolastica, left unfinished by Ariosto, iv. 502, v. 150;
its plot, v. 150;
excellence of the characters, 151-153;
its satire, 153-155;
artistic merit of the comedies, 156;
criticisms of them by Machiavelli (?) and Cecchi, 156;
their value as sketches of contemporary life, 159;
the Orlando Furioso: its relation to the old romances, iv. 248, 249;
his debt to Boiardo, 458 (cp. i. 171), 470, 489, 492;
his silence respecting his indebtedness, 490;
contrast of Ariosto and Boiardo, 463;
continuous labour of Ariosto upon the Orlando, 497, 503, v. 42;
the Orlando the final expression of the Cinque Cento, v. 2;
Ariosto's choice of a romantic subject, 4-6;
why he set himself to finish Boiardo's poem, 6;
artistic beauty of the Orlando, 6, 8, 14, 515;
its subject as illustrating the age, 7;
Ariosto's treatment of romance, 9, 15;
material of the Orlando, 9-12;
the connection of its various parts, 15;
its pictorial character, 17-20;
Ariosto's style contrasted with the brevity of Dante, 19;
his power of narrative, 20;
his knowledge of character, 21;
the preludes to the Cantos, 22;
Tasso's censure of them, 23;
the tales interspersed in the narrative, 23-25;
Ariosto's original treatment of the material borrowed by him, 25;
his irony, 26;
illustrated by Astolfo's journey to the moon, 27-30;
illustrated by the episode of S. Michael in the monastery, 31-33;
peculiar character of his imagination, 29;
his humour, 33;
his sublimity and pathos, 34-36;
the story of Olimpia, 36;
Euripidean quality of Ariosto, 35-37;
the female characters in the Orlando, 37-40;
Lessing's criticism of the description of Alcina, iv. 116, v. 19;
Ariosto's perfection of style, v. 41;
his advance in versification on Poliziano and Boiardo, 43;
comparison of Ariosto and Tasso, 44;
illustrations of his art from contemporary painters, 45;
his similes 46-49;
the lines on the contemporary poets quoted
—— upon Bembo, 258 note 1;
—— upon Aretino, 385 note 1

Ariosto, Virginio, illegitimate son of the poet, iv. 502;
his Recollections of his father, 502, 504

Aristotle, influence of the Politics at the Renaissance, i. 197 note 1, 250 note 1;
cited, 234 note 1, 235 note 1;
the Lines on Virtue translated, iv. 62;
supposed coffin of Aristotle at Palermo, i. 461;
Aristotle known to the Middle Ages chiefly through the Arabs, ii. 66, 68, iii. 209, v. 468;
regarded in the Middle Ages as a pillar of orthodoxy, ii. 208, v. 462;
his system turned against orthodox doctrines at the Renaissance, v. 472;
quarrel of the Aristotelians and the Platonists, ii. 208, 244, 247, 394, v. 454;
study of the Poetics by the Italian playwrights, v. 127, 132 note 1, 135;
outlines of the Aristotelian system, 462-466;
problems for speculation successively suggested by Aristotelian studies, 466-470

Arnold of Brescia, i. 64, iv. 12

Arnolfo del Cambio, ii. 5;
the architect of the Palazzo Vecchio at Florence, iii. 61-63;
impress of his genius on Florence, 63;
his work as a sculptor, 62 note 1;
begins the Duomo, 64;
his intentions, 66

Arpino, traditional reverence for Cicero there, ii. 30, iv. 12

Arrabbiati, name of the extreme Medicean party at Florence, i. 529

Arthur Legends, the, preferred by the Italian nobles to the stories of Roland, iv. 13, 17, 244, 437, v. 52;
represent a refined and decadent feudalism, v. 52

Arti, the, in Italian cities, i. 35, 72;
at Florence, 224

Arts, degeneracy of the plastic arts in the early Middle Ages, i. 17;
change brought about in them by the Renaissance, 18-20;
predominance of art in the Italian genius, iii. 1-5;
art and religion—how far inseparable, 6 note 1;
the arts of the Renaissance had to combine Pagan and Christian traditions, 6, 170;
share of the arts in the emancipation of the intellect, 8, 23, 32, iv. 346 note 1;
the arts invade religion by their tendency to materialize its ideals, iii. 11, 19, 22, 31;
antagonism of art and religion, 24-26, 28, 31;
the separate spheres and meeting-points of art and religion, 30;
important part played by Tuscany in the development of Italian art, 185 note 1;
fluctuations in the estimation of artists, illustrated by Botticelli, 249 note 1;
works of art may be judged either by æsthetic quality or as expressing ideas, 343 note 1;
commercial spirit in which art was pursued in Italy, 442 note 1

Ascanio de' Mori, his Novelle, v. 60

Ascham, Roger, quoted for the English opinion on Italy, i. 472

Asolanus, father-in-law and partner of Aldo Manuzio, ii. 388

Assisi, Church of S. Francis, designed by a German architect, iii. 50;
importance of its decorations by Giotto in the history of Italian art, 195;
Simone Martini's Legend of S. Martin, 217

Assorditi, the, an Academy at Urbino, ii. 366

Asti, transferred to the house of Orleans by Gian Galeazzo Visconti, i. 143 note 2, v. 333;
its half French character, v. 333

Astrology, influence of, in Italy, i. 428 note 1, iii. 77 note 1

Athens, comparison of Athens and Florence, i. 234, 236, ii. 163, 165

Athens, Duke of, i. 75 note 1, 221, iii. 309

Attendolo, Sforza (father of Francesco Sforza), i. 86;
said to have been a peasant, 159;
his murder of Terzi, 121 note 1;
his desertion of Queen Joan of Naples, 361

Aurispa, Giovanni, protected by Nicholas, i. 111, 173;
brings Greek MSS. to Italy, ii. 141, 267, 301;
obliged to leave Florence by Niccoli's opposition, 182;
made Apostolic Secretary by Eugenius IV., 220;
his life at Ferrara, 301

Avanzi, Girolamo, a member of the Aldine Academy, ii. 387

Averrhoes, the arch-heresiarch of medieval imagination, iii. 206-209 (cp. iv. 447), v. 449;
his teaching on immortality, v. 469

Averrhoists, Petrarch's dislike of them, ii. 101, iii. 209;
Pomponazzi and the Averrhoists, v. 462

Avignon, transference of the Papal Court there, i. 77, 80, 101, 374, iv. 2, 87

Avvelenato, L', name of an Italian ballad, iv. 275;
its correspondence with Northern ballads, 275-278, v. 119 note 1


BACCIO DELLA PORTA. (See Bartolommeo, Fra.)

Bacon, Roger, his anticipation of modern science, i. 9;
imprisoned by the Franciscans, 10;
knew the use of the telescope, 29

Baden (Switzerland), Poggio's visit to, ii. 231

Baglioni, the, supported by the people at Perugia, i. 87 (cp. v. 498);
their rise to power, 114, 115, 122, 123;
their misgovernment, 130, 225, iii. 328;
overthrown by Gian Galeazzo, i. 148;
members of this family become Condottieri, 161;
take part in the Diet of La Magione, 351;
attempted massacre of them, 397 note 2

—— Astorre, his comeliness of person, ii. 31;
Gian Paolo, i. 421 note 1;
Machiavelli condemns him for not murdering Julius II., 324, 463;
beheaded by Leo X., 439;
Grifonetto, 168 note 1, iii. 221, v. 118;
Malatesta, betrays Florence, i. 223, 245, 285;
Pandolfo, murder of, 148 note 2

Bajazet, Sultan, his relations with Alexander VI., i. 415

Baldi, Bernardino, his pastoral poems, v. 224

Balduccio, Giovanni, invited to Milan by Azzo Visconti, iii. 123;
carves the shrine of S. Peter Martyr in S. Eutorgio, 123

Baldus, dies of hunger in the sack of Rome, ii. 444

Balia, the, at Florence, i. 230, 526

Ballad poetry, general absence of ballads in Italian, iv. 37 (cp. 251), 274, v. 119;
the ballad of L'Avvelenato, iv. 275-278;
connection of ballad poetry and the Drama, v. 120

Ballata, or Canzone a Ballo, meaning of the term in Italian, iv. 261 note 2;
popularity of the ballate in Italy, 261-263

Bambagiuoli, poems of, iv. 164

Bandello, Matteo, belonged to the Dominican order, i. 459 v. 64;
facts of his life, v. 63;
his Novelle cited for the profligacy of Rome and the scandals of the Church, i. 446 note 1, 458, v. 66;
use of them made by the Reformers against the Church, v. 65, 66;
state of society revealed by them, 65;
their allusions to witchcraft, 346 note 1;
their dedications, 62;
want of tragic and dramatic power in the Novelle, 67-69;
their pictures of manners, 68;
Bandello's ability best shown in the romantic tales, 69;
the description of Pomponazzi in one of the novels, 461;
Bandello, a sort of prose-Ariosto, 70;
the tale of Gerardo and Elena, 70;
the tale of Romeo and Juliet: comparison with Shakspere's drama, 71;
the tale of Nicuola: its relation to the Twelfth Night, 72;
tale of Edward III. and Alice of Salisbury, 73-75;
comparison of Bandello with Beaumont and Fletcher, 74, 75 note 1;
Bandello's apology for the licentiousness of the Novelle, 76;
for their literary style, 77

Bandinelli, Baccio, feebleness of his statues, iii. 173;
legend that he destroyed Michelangelo's cartoon for the Battle of Pisa, 396 note 1;
his quarrel with Cellini, 477 (cp. 173)

Bandini assassinates Giuliano de' Medici, i. 398

Barbaro, Daniello, a letter of his to Aretino quoted for contemporary opinion of the Dialogo de le Corti, v. 427 note 2

Barbaro, Francesco, i. 173;
a scholar of Giovanni da Ravenna, ii. 100;
learns Greek from Chrysoloras, 110;
his account of Poggio's enthusiasm in the quest of MSS., 138;
his patronage of learning at Venice, 212

Barbavara, Francesco, i. 150

Barbiano, Alberico da, leader of Condottieri, i. 150, 159

Barbieri, Gian Maria, sides with Castelvetro in his quarrel with Caro, v. 286

Bardi, the, at Florence, i. 238;
their loan to Edward III., 257;
their bankruptcy, 258

Bargagli, Scipione, his Novelle, v. 60;
the description of the Siege of Siena in the Introduction, 98 (cp. 522)

Barlam, teaches Leontius Pilatus Greek, ii. 90

Baroccio, Federigo, his relation to Correggio, iii. 495

Baroncelli, the Roman conspirator, i. 376

Bartolommeo, Fra, his portraits of Savonarola, i. 508, iii. 309 note 2;
story of his Sebastian in the cloister of San Marco, iii. 28;
his position in the history of Italian art, 304;
his friendship with Albertinelli, 305;
furthered the progress of composition and colouring in painting, 331, 498;
his attempt to imitate Michelangelo, 307;
the painter of adoration, 307;
his unfinished Madonna with the Patron Saints of Florence, 308;
influence of Savonarola upon him, 309

Bartolommeo da Montepulciano, discovers the MSS. of Vegetius and Pompeius Festus, ii. 140

Basaiti, Marco, iii. 362

Basle, Council, question of precedence at, ii. 216

Bassani, the, Venetian painters, iii. 371

Basso, Girolamo, nephew of Sixtus IV., i. 389

Bati, Luca, composes the music for Cecchi's Elevation of the Cross, iv. 326

Battuti, the Italian name for the Flagellants, iv. 281, 282, 283

Bazzi. (See Sodoma.)

Beatrice di Tenda, i. 152

Beaufort, Cardinal, invites Poggio to England, ii. 231 note 3

Beaumont and Fletcher, comparison of, with Bandello, v. 74, 75 note 1

Beauty, Greek appreciation of bodily beauty contrasted with Christian asceticism, iii. 13-18, 19;
the study of human beauty revived by the painters of the Renaissance, 23;
the delight in the beauty of nature restored by the Renaissance, 33, 107, v. 250;
the later artists wholly absorbed by the pursuit of sensual beauty, iii. 453-455;
the beauty of wild and uncultivated scenery unappreciated in the Renaissance, 464, v. 46

Beccadelli, Antonio, tutor of Ferdinand I., i. 174, ii. 257;
in attendance on Alphonso I., 252;
the author of the Hermaphroditus, 254 (cp. i. 174 note 1), 452;
favourable reception of his work, 255;
crowned poet by the Emperor Sigismund, 255;
his Hermaphroditus denounced by the Church, 256;
honours paid to him, 256 (cp. 524);
introduces Pontanus at the Court of Naples, 363

Beccafumi, Domenico, the scholar of Sodoma, iii. 501

Beccaria Family, the, of Pavia, i. 145

Begarelli, Antonio, Modanese artist in terra-cotta, iii. 164 note 1

Belcari, Feo, his Alphabet, iv. 240;
his Vita del Beato Colombino, 240;
his Sacre Rappresentazioni, 320, 340;
Benivieni's Elegy on his death, 321

Belgioioso, Count of, Lodovico Sforza's ambassador to Charles VIII., i. 541

Bellincini, Aurelio, communicates Castelvetro's criticisms to Caro, and so causes the quarrel between them, v. 285

Bellini, Gentile, iii. 362;
his pictures for the Scuola of S. Croce, 363;
Giovanni, 362;
how far influenced by his brother-in-law Mantegna, 277, 362;
his perfection as a colourist, 365;
adhered to the earlier manner of painting, 365;
Jacopo, 362

Bello, Francesco (called Il Cieco), language of his Mambriano respecting the Chronicle of Turpin, iv. 439 note 1;
character of Astolfo in it, 470 note 1;
use of episodical novelle in it, 490 note 2;
classed by Folengo with Boiardo, Pulci, and Ariosto, v. 316

Beltraffio, Giovanni Antonio, the scholar of Lionardo da Vinci, iii. 484

Bembo, Bernardo, builds the tomb of Dante at Ravenna, ii. 410

Bembo, Pietro, introduced in Castiglione's 'Cortegiano,' i. 184, ii. 411, v. 260, 265;
his moral quality, i. 459 note 2, v. 261;
his account of De Comines' behaviour before the Venetian Signory, i. 578 note 1;
a member of the Aldine Academy, ii. 387;
made a Cardinal, 402;
his rise into greatness, 403;
his friendship with Lucrezia Borgia, i. 422, ii. 403, 411, v. 263;
with Veronica Gambara, v. 289;
said to have saved Pomponazzo from ecclesiastical procedure, ii. 410, v. 461;
his life at Urbino, ii. 411, v. 260;
his retirement at Padua, ii. 413;
becomes the dictator of Italian letters, ii. 414, v. 258, 497;
greatness of his personal influence, v. 264;
his quarrel with Broccardo, 377;
his panegyric of Sadoleto's Laocoon, ii. 497;
his Venetian origin, illustrating the loss of intellectual supremacy by Florence, 507, v. 258;
Cellini visits him at Padua and makes a medallion of him, iii. 463;
his advice to Sadoleto not to read St. Paul for fear of spoiling his taste, ii. 398, 413;
his ridiculous purisms, 400;
his pedantic and mannered style, 413 (cp. 535), v. 259;
his Latin verses, ii. 453, 481-485, v. 249;
Gyraldus' criticism of them, ii. 484;
the De Galeso translated, 483;
the Elegy on Poliziano, 357, 484, v. 258;
translated (in prose), ii. 484;
his cultivation of Italian, 414, v. 258;
the Gli Asolani, ii. 411, v. 259, 265;
the Defence of the Vulgar Tongue, v. 259 note 1, 260;
the Regole Grammaticali, 261;
the Italian poems, 261;
translation of a sonnet, illustrating the conceits affected by him, 261;
his Letters, 262-264, 360;
mention in one of them of the representations of Latin comedies at Ferrara, 140.

Benedetti, the, of Todi, the family to which Jacopone da Todi belonged, iv. 285, 287

Benedict XI., surmise of his death by poison, i. 374, iii. 115;
his monument by Giovanni Pisano, iii. 115

Benedictines, their treatment of the classical literature, i. 10, ii. 133;
their hatred of the Franciscans, v. 325

Benevento, a Lombard duchy, i. 48;
its fate, note 1, 50;
battle of, iv. 21, 27, 48

Benignius, Cornelius, his edition of Pindar, the first Greek book printed in Rome, i. 405 note 1

Benivieni, i. Girolamo, his elegies in the metre of the Divine Comedy, iv. 172;
his poetical version of the novel Tancredi, 250;
his hymns, v. 519;
two translated, iv. 303;
his Elegy on Feo Belcari, 321 (see Appendix vi. for translation);
his Pastoral Poems, v. 224

Bentivogli, the, supported by the people of Bologna, i. 87, 102;
their rise to power, 114, 123, 124;
claimed descent from King Enzo, 115, iv. 49;
take part in the 'Diet of La Magione,' 351

Bentivogli, Annibale de', v. 140;
Cardinal de', his portrait by Vandyck, ii. 27;
Francesca, murders her husband, Galeotto Manfredi, i. 428 note 1

Bentivoglio, Ercole, his Satiric Poems, v. 381

Benucci, Alessandra, the wife of Ariosto, iv. 502, 520, 521, 522, v. 38

Benvenuto da Imola, his account of Boccaccio's visit to Monte Cassino, ii. 133

Benzoni Family, the, at Crema, i. 150

Berardo, Girolamo, his versions of the Casina and the Mostellaria, v. 140

Berengar, the last Italian king, i. 51-53

Bergamo, story of Calabrians murdered there, i. 74

—— S. Maria Maggiore, the Capella Colleoni, iii. 165

Bernard, S., the type of medieval contempt for natural beauty, i. 13;
his Hymn to Christ on the Cross, iii. 17;
two stanzas translated, note 1

Bernard de Ventadour, iv. 60

Bernardino S. (of Siena), his preaching, i. 611-613, iv. 175;
his attacks on Beccadelli's Hermaphroditus, ii. 256 note 1 (cp. 516);
his canonisation, i. 461, iv. 315

Berni, Francesco, related to Cardinal Bibbiena, v. 357;
taken by him to Rome, 357;
enters the Church and becomes Canon of Florence, i. 459, v. 357, 358;
acts as secretary to Giberti, Bishop of Verona, v. 357;
becomes a member of the Vignajuoli Academy at Rome, ii. 366, v. 357;
loses his property in the sack of Rome, v. 357;
retires to Florence, 358;
aids Broccardo against Aretino in his quarrel with Bembo, 377;
mysterious circumstances of his death, 358, 374, 377, 381 (cp. i. 170 note 1);
his easy, genial temper, 357, 359, 368;
his correspondence, 360;
his scantiness of production and avoidance of publication, 361-363;
his refinement of style, 315;
the Capitoli, (1) poetical epistles, 363;
(2) occasional poems, 364;
(3) poems on burlesque subjects, 364;
degree in which Berni is responsible for the profligacy of the Capitoli, 366;
manner in which he treated his themes, 366;
the Capitoli written in terza rima, 366 (cp. iv. 172);
the Capitolo on Adrian VI.'s election to the Papacy, v. 368, 369 (cp. i. 443);
the sonnet on Pope Clement, v. 368 (cp. i. 443);

translated, v. 368;
the sonnet on Alessandro de' Medici, the force of their satire weakened by Berni's servility to the Medici, 369;
excellence of Berni's personal caricatures, 370;
the sonnet on Aretino, 371, 389, 390 note 1, 406;
the rustic plays, Catrina and Mogliazzo, 224, 311;
the rifacimento of the Orlando Innamorato, iv. 491, v. 373;
object of the undertaking, v. 373;
published in a mutilated form, 374;
the question who was guilty of the fraud, 375;
probability that Aretino, with the aid of Albicante, contrived the mutilation of the MS. or proof-sheets, 375-378, 419;
Vergerio's statement that Berni had embraced Protestantism and wrote the rifacimento with the view of spreading Lutheran opinions, 378-380;
the suppressed stanzas, intended by Berni as the Induction to the twentieth Canto of the Innamorato, 379 (for a translation see Appendix ii. 543);
likelihood that the ecclesiastical authorities may have employed Aretino, 380

Bernini, adds the Colonnades to S. Peter's, iii. 93

Beroaldo, Filippo, edits Tacitus' Annals for the first edition, ii. 425;
made Librarian of the Vatican, 425;
professor in the Sapienza at Rome, 427;
his version of the Principe di Salerno in Latin elegiacs, iv. 250 note 2

Bertini, Romolo, v. 311

Bertoldo, his work as a bronze founder in Italian churches, iii. 78 note 1

Bertrand du Poiet, i. 81

Bescapé, Pietro, his Bible History written for popular use in a North Italian dialect, iv. 34

Bessarion, Cardinal, a disciple of Gemistos Plethos, ii. 204, 247;
joins the Latin Church, 204, 246;
gives his library to Venice, 247;
his controversy with Trapezuntios, 247

Beyle, Henri, his critique on the frescoes in the Sistine Chapel, iii. 427

Bianchi and Neri Factions, the, at Pistoja, i. 210 note 2;
at Florence, 221, 225

Bianchino, Il Cieco, his Incatenatura, iv. 268

Bibbiena, Cardinal, i. 459;
introduced in Castiglione's 'Cortegiano,' 184, 190;
his kinship with Berni, v. 357;
his rise to greatness, ii. 403, v. 145;
his comedy, Calandra, v. 111, 123;
largely indebted to the Menæchmi, 145;
its popularity, 146;
its literary style, 146 note 1;
representations of it at Urbino and Rome, 146;
comparison of his comedy with those of Aretino and Machiavelli, 180

Bibboni, Francesco, the murderer of Lorenzino de' Medici, i. 480 note 3 (cp. v. 517)

Bigi, name of the Medicean faction at Florence, i. 529

Bini, Francesco, a member of the Vignajuoli Academy at Rome, v. 357;
the friend and correspondent of Berni, 360;
his Capitolo on the Mal Franzese, 365

Biondo, Flavio, ii. 430;
patronized by Eugenius IV., ii. 220;
his prodigious learning, 220, iii. 272;
not duly appreciated by his contemporaries, ii. 221

Bishoprics, the Italian bishoprics in Roman municipia, i. 61

Bishops, the, on the side of the people in their first struggles for independence, i. 53, 55-61;
the cities claim the privilege of electing their own bishops, 59

Bissolo, Venetian painter, iii. 362

Blastos, Nicolaos, a Greek printer at Venice, ii. 386

Bloodmadness, i. 109, Appendix No. i.

Boccaccino da Cremona, the Madonna with S. Catherine, iii. 225

Boccaccio, Giannandrea, cited for the popular detestation of the Spanish cardinals, i. 410;
for the temperance in eating of Alexander VI., 417

Boccaccio, Giovanni, his services to the Renaissance, i. 11, iv. 142;
learnt Greek late in life, 20, ii. 91, iv. 120 note 2;
cited for the attachment of the Italians to their past history, ii. 30;
influenced by Petrarch, 87, 89, iv. 102;
story of his visit to the tomb of Virgil at Naples, ii. 88, iv. 101;
his enthusiasm for Dante, ii. 89;
the first Greek scholar in Europe, 91;
translates Homer, 93;
his industry as a scholar, 94, iv. 101;
sensuousness of his ideal, ii. 97, iv. 100 note, 106, 114, 118, v. 504, 515;
his visit to Monte Cassino, ii. 133;
his relation to Robert of Anjou, 252, iv. 120 note 1;
his influence on Italian literature, iv. 3, 123, v. 518;
not of pure Italian blood, iv. 98;
the typical Italian of the middle class, 99, 104, 113, 114, 164;
his realism, 99, v. 515;
his nickname of Giovanni della Tranquillità, iv. 100 note 1;
contemporary denunciations of the Decameron, 100;
shallowness of Boccaccio's philosophy, 101, 103;
his frank recognition of genius, 102;
comparison of his character with that of Ariosto, 506;
his devotion to art, 103;
his genius representative of the Renaissance, 110, v. 2;
his descriptions have the nature of painting, iv. 116;
shared the contempt of the learned for the lower classes, 125, 239;
comparison of his prose with that of the other trecentisti, 132-135;
influence of his style not paramount till the age of the Academies, 135;
considered by some Italian critics to have established a false standard of taste, 136;
the life of Dante, ii. 36;
its want of real appreciation for Dante, iv. 101;
the Commentary upon Dante, ii. 89, 96, iv. 163;
the Genealogia Deorum, ii. 94;
quoted for Boccaccio's teaching on poetry, 94;
the Decameron: contrasted with the Divina Commedia, iv. 104, 127 (cp. 114, 122);
description of the plague, forming the background of the Decameron, 111;
the satire of the Decameron, 112;
its irony, 113;
its beauty, 114;
its superiority to his other works, 127;
its testimony to the corruption of Rome, i. 457;
said by Sacchetti to have been translated into English, iv. 148 note 4;
comparison between Boccaccio, Masuccio, and Sacchetti, 179;
his Minor Poems, 118;
show the feeling of despair common to the last trecentisti, 165;
the two sonnets on Dante, 162;
the Ballata, Il fior che 'l valor perde, 262;
the Amorosa Visione, 114, 119, 123;
the Ameto, 123;
the Fiammetta, 123;
the first attempt in modern literature to portray subjective emotion outside the writer, 123;
the Corbaccio, 124;
occasion of its being written, 124 (cp. 98);
the Filicopo, quoted, 115;
its euphuism, 120;
the song of the angel, 118;
the meeting with Fiammetta quoted as a specimen of Boccaccio's style, 133;
the Filostrato, Boccaccio's finest narrative in verse, 121;
the Teseide, 117, 429;
numerous imitations and adaptations of it by other poets, 117;
its value in fixing the form of the ottava rima, 118;
the Ninfale Fiesolano, 125, 410;
its place in Italian literature, 126

Boccati, Giovanni, picture of his at Perugia, representing Disciplinati in presence of the Virgin, iv. 203 note 1

Boethius, cult of him at Pavia, i. 20, ii. 30

Boiardo, Matteo Maria, the facts of his life, iv. 457;
contrast between him and Pulci, 456, v. 8;
contrast of Boiardo and Ariosto, iv. 463, v. 8;
neglect of Boiardo, iv. 459, 464, 491;
the Sonetti e Canzoni, 458;
the Orlando Innamorato: gave Ariosto his theme (cp. i. 171);
its originality in introducing the element of love into the Roland Legends, iv. 461;
earnestness of the poem, 462;
its relation to the period of its composition, 462;
broken off by the invasion of Charles VIII. 463, v. 282 note 3;
structure of the Innamorato, 464-466;
the presentation of personages, 466-470, 478;
the women of the Innamorato, 470-472;
translation of the episode of Fiordelisa and the sleeping Rinaldo, 471;
Boiardo's conception of love, 472;
of friendship and comradeship, 472-474 (translation of Orlando's lament for Rinaldo, 473);
of courage and courtesy as forming the ideal of chivalry, 474-477;
the panegyric of friendship translated, 474;
translation of the conversation of Orlando and Agricane, 475;
freshness of Boiardo's art, 478, 484;
passage on chivalrous indifference to wealth translated, 477;
rapidity of the narration, 479;
roughness of the versification and style, 480;
advance of Ariosto upon Boiardo in this respect, v. 43;
his treatment of the antique, iv. 480-488;
translation of the episode of Rinaldo at Merlin's Fount, 482-484;
of that of Narcissus, 485-487;
Boiardo's use of magic, 488;
of allegory, 489;
his freedom from superstition, 489;
the Timone, v. 108

Bologna, annexed to the Milanese, i. 136, 148;
the riot of 1321, 210 note 2;
revival in 1457, 617;
joins the Lombard League, ii. 116;
character of Bologna, as partly determined by local position, iv. 46

—— S. Dominic: the shrine, designed by Niccola Pisano, 109;
Michelangelo's work on it, 131, 389;
S. Petronio, iii. 68 note 1

—— University, the, its rise, i. 62, ii. 115;
its attempted suppression by Frederick II., 116;
number of its students, 116, 119;
attendance of foreigners there, 119;
liberality of the town government to the University, 120;
its reputation in the Middle Ages, iv. 7;
pay of professors there, ii. 122, v. 460;
long continuance of scholasticism at Bologna, v. 457, 481;
different character of Bologna and Padua, 460, 497;
part played by Bologna in the history of Italian thought, 481

—— Bolognese school of Painters, the, their partiality to brutal motives, iii. 25, 187

—— Bolognese school of poetry, iv. 46-49

Bologna, Gian, his eminence as neo-pagan sculptor, iii. 176

Bombasi Paolo, murdered during the sack of Rome, ii. 444

Bona of Savoy, married to Galeazzo Maria Sforza, i. 164, 543

Bonaccorso da Montemagno, poems of, iv. 165

Bonaventura, S., cited for early representations of the Nativity at Christmas, iv. 308

Bondini, Alessandro, a member of the Aldine Academy, ii. 386

Bonfadio, Latin verse writer, ii. 507

Boniface VIII., calls in Charles of Valoise, i. 76;
his death, 77, 374;
his witticism on the Florentines, 247, iv. 31;
establishes the high school at Rome, ii. 117;
saying of Jacopone da Todi's about him, iv. 289

Boniface IX., appoints Poggio Apostolic Secretary, ii. 218

Bonifacia, Carmosina, her relations to Sannazzaro, v. 199;
description of her in the Arcadia, 207-209

Bonifazio Veneziano, iii. 242 note 2, 368, 371

Bonvesin da Riva, his works written for popular use in a North Italian dialect, iv. 34

Book, the Golden, at Venice, i. 91, 195

Books, scarcity of, an impediment to medieval culture, ii. 127;
their enormous value, 128;
price of the books issued by Aldo Manuzio, 381

Bordone, Paris, iii. 371

Borghese, Nicolà, assassination of, i. 121

Borgia, Alfonso (see Calixtus III.);
Cesare, i. 98;
his visit to the French Court, 117;
his murder of Giulio Varani, 121, 122;
besieges Bologna, 124;
Guicciardini's character of him, 308;
Machiavelli's admiration of him, 324-326, 345-354;
the story of his life, 345-354;
his contest with the Orsini, 349-352;
his massacre of the Orsini faction at Sinigaglia, 324, 347, 352, iv. 443;
his systematic murders of the heirs of ruling families, i. 353, 427;
made Cardinal, 419;
helps in the murder of Prince Alfonso, 420;
his murder of his brother, the Duke of Gandia, 424;
his murder of Perotto, 426;
his cruelty, 426;
his sickness—was it occasioned by poison? 429-431;
breakdown of his plans, 431;
taken as a hostage by Charles VIII., 566;
escapes, 577;
prided himself on his strength, ii. 29;
John, son of Alexander VI., i. 419;
Lucrezia, her marriage, 419;
the festivities on the occasion, v. 141;
her life at Ferrara, i. 420-424, ii. 42;
her real character, i. 420;
her friendship with Bembo, i. 422, ii. 403, 411, v. 263;
relics of her in the Ambrosian Library, ii. 411;
much of the common legend about her due to Sannazzaro's Epigrams, 469;
Roderigo Lenzuoli (see Alexander VI.)

Borgo San Sepolcro, Piero della Francesca's Resurrection, iii. 234;
Signorelli's Crucifixion, 280 note 1

Boscoli, Paolo, his conspiracy against the Medici, i. 314;
his confession, 466 (cp. v. 519)

Boson da Gubbio, his commentary upon the Divine Comedy, iv. 163

Botticelli, Sandro, modern hero-worship of him, iii. 249;
his attractiveness, arising from the intermixture of ancient and modern sentiment in his work, 250, 291;
the qualities of various paintings of his, 251-254;
represents the same stage of culture in painting as Poliziano and Boiardo in literature, 255;
abandons his art from religious motives, 264, 310;
influenced by Dante, 283 note 2;
incurs a charge of heterodoxy by a Madonna in Glory painted for Palmieri, iv. 171, v. 549

Bourbon, the Constable, killed at the capture of Rome, i. 444, iii. 455

Bracceschi, the (Condottieri bands formed by Braccio da Montone), i. 160, 362

Braccio da Montone, i. 86, 362;
his aspirations to the throne of Italy, 113 note 1;
aids Corrado Trinci against Pietro Rasiglia, 122;
his government of Perugia, 123, v. 498;
the comrade and opponent of Sforza, 159, 160

Bramante, ii. 5;
his work as an architect, ii. 440, iii. 81, v. 505;
his share in S. Peter's, iii. 90, 398;
Michelangelo's panegyric of his plan, 92, 428;
said to have suggested the employment of Michelangelo on the Sistine Chapel, 403

Brancaleone, Roman senator (1258), ii. 151

Brantôme, describes Cesare Borgia's visit to the French Court, i. 117 note 1

Bregni, the, at Venice, iii. 162

Brescia, Savonarola at, i. 508;
Sack of, 508, ii. 380, iii. 328

Brevio, Monsignor Giovanni, his Novelle, v. 60;
the story of the Devil and his wife, compared with Machiavelli's and Straparola's versions, 103

Briçonnet, Bishop of St. Malo, made Cardinal by Alexander VI., i. 532 note 1, 566;
his influence with Charles VIII., 541

Britti (called Il Cieco), his Incatenatura, iv. 268 note 3

Broccardo, Antonio, introduced in Sperone's Dialogues, v. 256 note 1;
his quarrel with Bembo, 256 note 1, 377;
his death said to have been hastened by the calumnies of Aretino, 377 note 2, 381 note 1

Broncone, Il, name of a club at Florence formed by Lorenzo, Duke of Urbino, iv. 397

Bronzino, Angelo, his portraits, iii. 498 (cp. v. 82);
coldness of his frescoes and allegories, iii. 498;
character of his talent, iv. 380;
mentioned by Doni as scene-painter at a representation of comedy in Florence, v. 144 note 4;
his Serenata, iv. 268;
his Capitoli, v. 364 (cp. iii. 499)

Brugiantino, V., turned the Decameron into octave stanzas, iv. 249 note 1

Brunelleschi, Filippo, individuality of his character, ii. 5;
his many-sided genius, 10;
a friend of Niccolò de' Niccoli's, 180;
his work as an architect, 440, v. 505;
builds the dome of the Cathedral of Florence, iii. 67, 73 (cp. i. 562);
his visit to Rome, 68;
his churches of S. Lorenzo and S. Spirito at Florence, 73 (cp. 263);
designs the Pitti Palace, 73;
his plans for the Casa Medici rejected, 76;
his designs in competition for the Baptistery Gates at Florence, 127;
resigns in favour of Ghiberti, 128;
faults of his model, 128;
his study of perspective, 225;
his criticism of Donatello's Christ, 233;
jest played by him on the cabinet-maker as related in the novel of Il Grasso, iv. 150 (cp. 253);
his ingegni for the Florentine festivals, 319

Bruni, Lionardo, his History of Florence, i. 274, ii. 182;
its style and value, i. 274;
account of him by Vespasiano, 275;
cited to show the unreasoning admiration of antiquity by the Italian scholars, ii. 31;
a scholar of Giovanni da Ravenna, 100;
patronised by Salutato, 106, 183;
learns Greek from Chrysoloras, 110-112, 183;
his letter to Poggio upon receiving a copy of Quintilian, 137;
discovers a MS. of Cicero's Letters, 140;
his testimony to Niccolò de' Niccoli's judgment of style, 179;
story of his rise to fame, 182;
his translations from the Classics and other works, 184;
his Italian Lives of Petrarch and Dante, 185, iv. 235;
receives the honour of a public funeral, ii. 185;
made Apostolic Secretary, 218;
his quarrel with Niccoli, 243;
his Latin play, Polissena, v. 110

Bruno, Giordano, ii. 394, v. 449;
his execution, v. 478;
his place in the history of thought, 484, 500, 518

Brusati Family, the, at Brescia, i. 145

Budæus, ii. 391

Buonacolsi, Passerino, murdered by Luigi Gonzaga, i. 145 note 1

Buonarroti, Lodovico (father of Michelangelo), iii. 385, 387

Buonarroti, Michelangelo, his boyhood, iii. 385;
studies under Ghirlandajo, 386, 404;
Michelangelo and Torrigiano, 386 note 2, 445;
effect produced by Savonarola upon him, 491, 509, iii. 311, 344, 382, 388, 435;
one of the circle gathered round Lorenzo de' Medici, ii. 322, 323, iii. 263, 387, 388, 435;
his political attitude to the Medici, iii. 392-394;
fortifies Samminiato in the Siege of Florence, 393 (cp. i. 318), 414;
invited to Rome by Julius II., 397;
suggests carving the headland of Sarzana into a statue, 401;
leaves Rome in disgust at Julius's treatment of him, 401;
reconciled to him at Bologna, 402 (cp. 397);
his relations to Aretino, 426, v. 408;
the last years of his life, 421, 429, 432 (cp. v. 519);
his purity, iii. 432;
his friendship with Vittoria Colonna, 429, 433, v. 294, 296;
his friendship with Tommaso Cavalieri, 429, 434;
his death, 435;
his greatness in maintaining the dignity of art amidst the general decline of Italy, 171, 343, 384 (cp. v. 5);
the sublimity of his genius, v. 116;
his genius never immature, iii. 387;
its many-sidedness, ii. 10;
the controversy between his admirers and detractors, iii. 343 note 1, 419, 424 note 1, 435, 494;
mistake of his successors in imitating his mannerisms and extravagances, iii. 493;
number of his unfinished works, 420;
their want of finish not intentional, 420;
comparison between Michelangelo, Dante, and Machiavelli, i. 318, iii. 395;
between Michelangelo and Beethoven, iii. 386, 410, 413, 418, 432;
between Michelangelo and Milton, 388;
his peculiarity as an architect, 86, 87;
the Sagrestia Nuova, S. Lorenzo, 86;
the Laurentian Library, 87, 393;
the dome of S. Peter's, 88, 398, 428;
his judgment of Bramante's design for S. Peter's, 92, 428;
his own plans, 92;
his four years' work on the façade of S. Lorenzo, 413;
his aim in architecture, v. 505;
his tombs of the Medici, i. 314, 319, iii. 354, 377 note 2, 393, 415-419, 420;
his statues at Florence, ii. 440, iii. 391, 395 note 2;
his work on the shrine of S. Dominic, Bologna, 131, 389;
his Pietà in S. Peter's, 389;
his scheme for the Mausoleum of Julius II., 398-400;
Michelangelo not responsible for the decadence of Italian sculpture, 173;
the (destroyed) statue of Julius II. at Bologna, 402 (cp. 397);
the frescoes of the Sistine Chapel, 344, 399, 407-410;
their bad condition, 426 note 2;
the true story of Michelangelo's work on them, 404-407;
difference between his creations and those of a Greek, 410-412;
his treatment of the story of the creation of Eve, 118 note 2, 130, 131;
the Last Judgment, 346, 422;
its merits and defects, 423-425;
contemporary disapproval on account of the nudity of the figures, 425;
Michelangelo's criticisms of Perugino and Francia, 268 note 1, 386 note 2;
his indebtedness to Signorelli, 279;
influenced by Dante, 283 note 2;
his Leda and the Swan, illustrating his treatment of the antique, 291;
his account of Signorelli's bad treatment of him, 293 note 1;
one of the four great painters by whom the Renaissance was fully expressed, 312, 346;
his reproach of Lionardo da Vinci's dislike of finishing, 323, 386 note 2;
contrast of his genius and life with those of the other great painters, 342;
the cartoon for The Battle of Pisa, 395;
contrast between Michelangelo and Raphael, 412;
his genius not that of a painter, 412 note 1;
his sonnet to Giovanni da Pistoja, quoted, 404 note 1;
one of his sonnets to Vittoria Colonna, quoted, 409;
the madrigal on Florence, translated, 392;
lines placed by Michelangelo in the mouth of his Night, translated, iii. 394;
the Elegy on his father's death, iv. 321 note 1, v. 295;

the sonnet on the death of Mancina Faustina, iv. 226. (For the Poems see also Appendix ii. of vol. iii., and Appendix vi. of vol. iv., and cp. v. 296.)

Buonarroti, Michelangelo (the younger), his Tancia and Fiera, v. 226

Buondelmonte dei Buondelmonti, i. 74, 210 note 2

Buondelmonti, Vaggia de', the wife of Poggio, ii. 245

Buonuomini, name of magistrates in some Italian cities, i. 135;
at Florence, 226

Burchard, value of his testimony, i. 388 note 1;
his evidence that Alexander VI. died of fever, 428, 429;
on the confessions said to have been made by Savonarola during his torture, 534 note 1

Burchiello, Il, facts of his life, iv. 259;
character of his poems, 260;
Doni's edition of them, v. 92

Bureaucracy, invention of a system of bureaucracy by Gian Galeazzo, i. 142

Burigozzo, his Chronicles of Milan, quoted, i. 253

Burlamacchi, his account of Lorenzo de' Medici's dying interview with Savonarola, i. 523 note 1

Byzantium, the Byzantine supremacy in Italy, i. 33, 43, 48, 50


CABBALA, THE, ii. 334

Cacciaguida, his speech in the Paradiso quoted, i. 73 note 1

Cademosto, his Novelle, v. 60

Caffagiolo, the villa of Lorenzo de' Medici, ii. 322

Cajano, Lorenzo de' Medici's villa, ii. 322, 463

Calcagnini, Celio, teaches in the High School of Ferrara, ii. 427, 506;
his epigram on Raphael's death, 438;
his Latin poems, 497

Calendario, Filippo, influenced by Niccola Pisano, iii. 123;
his work at Venice, 123

Caliari, the, Venetian painters, iii. 371

Calixtus II., his sanction of the Chronicle of Turpin, iv. 432, 438

Calixtus III., i. 380;
his contempt for classical learning, ii. 357

Calliergi, Zacharias, a Greek printer at Venice, ii. 386;
works for Agostino Chigi at Rome, 405 note 1

Callistus, Andronicus, the teacher of Poliziano, ii. 248, 346;
one of the first Greeks who visited France, 248

Calvi, Marco Fabio, translates Vitruvius for Raphael, ii. 436, iii. 94 note 1;
his death, ii. 444;
his nobility of character, 523;
aids Raphael with notes on Greek Philosophy for the School of Athens, iii. 335

Calvo, Francesco, the Milanese publisher of the fraudulent version of Berni's rifacimento of the Orlando Innamorato, v. 374;
Aretino's correspondence with him on the subject, 375, 378, 380

Camaldolese, Il. (See Traversari.)

Cambray, League of, i. 214, 220, 289, 434, ii. 16, 379, 441

Camers, Julianus, his suicide during the Sack of Rome, ii. 444

Cammelli of Pistoja, v. 282 note 3

Camonica, Val, the witches of, i. 402 note 1, v. 316, 346 notes 1 and 2, 347;
Teutonic character assumed by witchcraft in this district, 347

Campaldino, battle of, iv. 51;
Dante present, 71

Campanella, Tommaso, ii. 394, v. 448, 449;
his imprisonment, v. 478;
his relations to Telesio, 483;
his importance in the history of thought, 483, 500, 518;
three sonnets of his translated, 481, 482, 483

Campano, Gian Antonio, his description of Demetrius Chalcondylas' teaching, ii. 249

Campi, the, painters at Cremona, iii. 503.

Campione, Bonino and Matteo da, sculptors of the shrine of S. Augustine in the Duomo, Pavia, iii. 123

Campo, Antonio, his Historia di Cremona cited for a story of Gabrino Tondulo, i. 463 note 1

Can Grande. (See Scala, Can Grande, della.)

Canale, Carlo, husband of Vanozza Catanei, i. 417;
Poliziano's Orfeo dedicated to him, iv. 411

Cane, Facino, leader of Condottieri, i. 150, 151

Canetoli, story of the, i. 124

Canisio, Egidio, General of the Augustines, ii. 409;
made Cardinal and Legate at the Court of Spain, 416;
his knowledge of languages, 417

Canossa, Castle of, iv. 494;
the House of, i. 57;
claim of the Buonarroti family to descent from them, iii. 385

Cantatori in Banca, professional minstrels in medieval Italy, iv. 257

Canti Carnascialeschi, the, i. 476, 505;
collection of them by Il Lasca, iv. 388, v. 79;
utilized by Lorenzo de' Medici, iv. 388, v. 355;
the 'Triumph of Death' described by Vasari, iv. 393-395, v. 114;
the Trionfo del Vaglio, iv. 392 note 1;
translated, 392 note 1;
connection of the Capitoli with the Carnival Songs, v. 355, 366

Cantori di Piazza, professional minstrels in medieval Italy, iv. 257

Canzune, a name of the Rispetti in Sicily, iv. 264, 265

Capanna, Puccio, the scholar of Giotto, iii. 197

Capello, Paolo (Venetian ambassador), cited for the murders in Rome under Alexander VI., i. 414;
for the murder of Perotto by Cesare Borgia, 426 note 1

Capilupi, Lelio, a member of the Academy of the Vignajuoli at Rome, v. 357;
a writer of Latin verse, ii. 506

Capitoli, the, of Tuscan origin, v. 355;
their relation to the Canti Carnascialeschi, 355;
their antiquity, plebeian character, and obscenity, 477 note 1, ii. 521, v. 355, 365, 366;
Berni's new use of them, v. 356

Caporali, Cesare, his Satiric Poems, v. 381

Capponi, Agostino, conspiracy of, i. 314;
Gino, the chronicler of the Ciompo Rebellion, 265 note 1, iv. 176;
Nicolò, Gonfaloniere at Florence, i. 222 note 1, 232, 284, 289, 292, 536;
Piero, his resistance to the demands of Charles VIII., 563

Captain of the People, name of the supreme magistrate in some Italian cities, i. 35, 71;
often became tyrant, 75, 77, 84, 112, 156;
at Florence, 224

Caracci, the, iii. 496

Caracciolo, his De Varietate Fortunæ cited, i. 520 notes 2 and 3

Caravaggio, defeat of the Venetians at, i. 155

Cardan, Jerome, v. 82;
autobiography of, ii. 36

Cardona, captain of the Florentine forces, i. 157 note 1

Carducci, Francesco, Gonfaloniere of Florence, his part in the Siege of Florence, i. 284, 288, 289, 536

Careggi, the villa of Lorenzo de' Medici, ii. 322, 460, iv. 383, 415

Cariani, said to have painted pictures commonly assigned to Giorgione, iii. 368 note 1

Cariteo, of Naples, v. 282 note 3

Carmagnuola, Francesco Bussoni, called Il, story of, i. 161, 362, v. 118

Carmina Burana, the, i. 9;
many of them of French origin, iv. 9;
their nature, 108;
some of them pastorals, 156;
undeveloped Maccaronic poems contained among them, 327

Carnesecchi, Pietro, his friendship with Vittoria Colonna, v. 292;
burned for heresy, 292, 478

Caro, Annibale, story of his life, v. 283;
his Letters, 283;
his translation of Daphnis and Chloe, 283;
his Academical exercises: the Diceria de' Nasi, ii. 367, 526, v. 284;
the Ficheide, v. 284, 365 note 1;
his translation of the Æneid, 284;
his literary style, 284;
his Italian Poems, 284;
the quarrel with Castelvetro, 285;
the sonnets produced by the occasion, 381;
he or one of his friends said to have denounced Castelvetro to the Inquisition, 286;
his correspondence with Aretino, 410 note 1

Carpaccio, Vittore, iii. 362;
his pictures for the Scuola of S. Ursula at Venice, 363, v. 54

Carpi, connection of Aldo Manuzio with, ii. 302, 375

Carrara Family, the, at Padua, how they became tyrants, i. 112;
number of violent deaths among them in one century, 120;
driven from Padua by Gian Galeazzo Visconti, 145, 146;
return, 149

Carrara, Francesco da, i. 146, 149

Carroccio, the, i. 58

Casal Maggiore, destruction of the Venetian fleet at, i. 155

Casanova, dies of the plague during the Sack of Rome, ii. 444

Castagno, Andrea del, harsh realism of his work, iii. 232

Castellani, Castellano, writer of Sacre Rappresentazioni, iv. 320, 324, 338

Castelvetro, Lodovico, his quarrel with Annibale Caro, v. 285;
denounced by his enemies to the Inquisition, 286;
escapes, is condemned in contumaciam, and dies in exile, 286;
his chief work, a translation of the Poetics, 287

Castiglione, Baldassare, i. 181;
the Il Cortigiano, 183-189, 192, 457, ii. 37, 393, 411, 420, v. 14, 265, 518;
quoted for Castiglione's theory of Italian style, v. 257 note 1, 266-270;
on the physical exercises befitting a gentleman, ii. 29, 419;
its subject treated from an æsthetical rather than a moral point of view, v. 430;
Raphael's portrait of him, ii. 28, 421, v. 522;
ambassador of Mantua and Ferrara at Rome, ii. 405, 420;
assists Raphael in his letter on the exploration of Rome, 419;
employed by Julius II. at Urbino, 419;
his mission to England, 420;
his life at Rome, 420;
sent by Clement VII. as Nuncio to Madrid, 421;
his poem on the statue of Ariadne, 431 note 1, 432, 496;
his epigram on Raphael's death, 438;
his Latin verses—their interest, 490-493;
his flatteries of Julius II. and Leo X., 493;
his eclogue, the Tirsi, v. 222;
his Mantuan origin illustrating the loss of intellectual supremacy by Florence, ii. 506;
his letter describing the representation of the Calandra at Urbino, v. 144 note 1, 146

Castiglione, Francesco, i. 177

Castracane, Castruccio, tyrant of Lucca, i. 75 note 1, 133;
his life by Machiavelli, 76 note 1, 112, ii. 37;
introduced in the frescoes in the Campo Santo, Pisa, iii. 203

Castro, Duke of (son of Paul III.). (See Farnese, Pier Luigi.)

Catanei, Vanozza, the mistress of Alexander VI., i. 417, iv. 411;
takes to religion in her old age, 424;
her interview with Alexander after the murder of the Duke of Gandia, 425

Catapans, i. 35

Catasto, the, or schedule of properties, introduced by Frederick II., i. 105

Catena, Vincenzo, Venetian painter, iii. 362

Catenati, the, an Academy at Macerata, ii. 366

Cathari, the, an heretical sect, i. 9, iv. 109

Catherine de' Medici. (See Medici, Catherine de'.)

Catherine, S. (of Siena), beauty of style in her letters, iv. 173

Catini, Monte, battle of, i. 112

Cavalca, Domenico, his Leggende dei Santi Padri, iv. 131;
his Poems, 164

Cavalcabò Family, the slaughter of them by Tondulo, i. 120;
overthrown by the Visconti, 145;
reappear after the death of Gian Galeazzo, 150

Cavalcanti, Giovanni, his Florentine Histories, iv. 176

Cavalcanti, Guido, his metaphysical Odes, iv. 64;
his Ballate, 65

Cavalieri, Tommaso, his friendship with Michelangelo, iii. 429, 434

Cecchi, Gianmaria, his Sacra Rappresentazione, The Elevation of the Cross, iv. 322 note 1, 324, 357;
other plays of his written with a didactic purpose, v. 187 note 2;
writes a commentary on a Sonnet of Berni's, 363;
his Comedies, 123, 141, 181, 186;
his veneration for Ariosto, 156 note 1, 187;
his Farse, 188

Cellant, Countess of, Bandello's Novella upon her tragedy, v. 54

Cellini, Benvenuto, i. 170 note 1, 325;
quoted to illustrate the Italian idea of the sanctity of the Popes, 462, iii. 471;
his life typical of the age, 492, iii. 385, 439, 479, iv. 385 (cp. v. 517);
his fits of religious enthusiasm—their sincerity, 492, ii. 18, iii. 450, 468-471;
his autobiography, ii. 36;
may be compared to a novel, v. 120;
his criticisms on Bandinelli, iii. 173, 477;
his admiration of Michelangelo, 396, 445, 494;
invited by Torrigiano to accompany him to England, 444;
his account of Torrigiano, 445;
sets off to Rome, 446;
returns to Florence, but goes back to Rome in consequence of a quarrel, 447;
his homicides and brutal behaviour, 447-449, 458;
returns to Rome, 451;
his description of life there, 452;
his exploits at the Siege of Rome, 455;
miracles and wonders related by him, 456;
domestic affection and lightheartedness, 456-458;
incantation witnessed by him in the Colosseum, 460-462, v. 82, 346 notes 1 and 2;
his journey to France, iii. 463, v. 239;
visits of Francis I. to him, iii. 443 note 1, 474 note 1;
returns to Rome and is thrown into prison, 465;
endeavors to escape, 466;
given up by Cardinal Cornaro, 466;
attempt to murder him, 467;
released from prison and summoned to the Court of Francis I., 472;
his stay in France, 473-475;
parallelism of Cellini, Machiavelli, and Aretino, 479;
his Capitolo del Carcere cited in illustration of the general use of the terza rima during the sixteenth century, iv. 172, v. 367 note 2;
his statue of Perseus, iii. 176, 438, 455, 470, 478;
purely physical beauty of his statues, 455;
scarcity of his works in gold and jewels, 437, 479;
character of his work in metals, v. 229

Cenci, the, a novella made of their trial, v. 54

Cendrata, Taddea, wife of Guarino da Verona, ii. 301

Cene dalla Chitarra, his satirical Poems on the Months in parody of Folgore da Gemignano, iv. 54 note 2, 56 note 1

Cennini, Bernardo, the first Italian printer who cast his own type, ii. 369

Censorship of the Press, established by Alexander VI., i. 411, 416, ii. 359, 371

Cento Novelle, the, character given in them of the Court of Frederick II., iv. 21;
illustrate the origin of Italian prose, 36

Cerchi, the, at Florence, i. 210 note 2

Cesena, massacre of, i. 82

Cesi, Angelo, his sufferings in the Sack of Rome, ii. 444

Cette, the Bishop of, poisoned by Cesare Borgia, i. 428

Chalcondylas, Demetrius, teaches Greek at Perugia, ii. 249;
his edition of Isocrates, 376;
aids in the publication of the first edition of Homer, 376

Chancellors of Florence, list of illustrious, ii. 106 note 3

Charles I., of Sicily (Charles of Anjou), summoned by the Popes into Italy, i. 75 (cp. 539 note 1);
visits Cimabue's studio, ii. 187;
his legislation for the University of Naples, 117

Charles IV., the Emperor, i. 100;
grants diplomas to the Universities of Florence, Siena, Arezzo, Lucca, Pavia, ii. 118

Charles V., the Emperor, i. 50;
governed Italy in his dynastic interests, 98, 100;
his project of suppressing the Papal State, 445;
the final conqueror of Italy, 584;
Charles V. at Rome, iii. 438;
story that he hastened the Marquis of Pescara's death by poison, v. 291;
his patronage of Aretino, 400, 404

Charles VIII., of France, invades Italy, i. 90, 113 note 1, 164, 237, 434, 525, 539;
popular outbreak at his entry into Pisa, 343, 561;
his accession, 539;
his claims on Naples, 539, 542;
his character by Guicciardini and Comines, 540;
prepares for his expedition, 542;
amount of his forces, 554;
captures Sarzana, 559;
enters Florence, 561;
enters Rome, 564;
marches to Naples, 566, ii. 363;
forced by the League of Venice to retreat, i. 576, 579;
wins the battle of Fornovo, 580;
signs peace at Vercelli, 581;
effects of his conquest, 582-586

Charles, the Great, crowned emperor, i. 50, iv. 438;
his pact with Rome, 94;
his character in the romances of Roland, iv. 435, 445, 469

Charles of Durazzo, v. 198

Chiaravalle, the Certosa of, iii. 42, 66

Chiavelli, the, of Fabriano, i. 111;
massacre of them, 121, 168 note 1, 397 note 2

Chigi, Agostino, the Roman banker, couplet put up by him at the entrance of Leo X., i. 435;
his banquets, 437;
his Greek Press, ii. 405;
his entertainments of the Roman Academy, 409;
builds the Villa Farnesina, iii. 84;
his patronage of Aretino, v. 386

Chivalry, alien to the Italian temper, i. 359, 482, iv. 6, 27, 44, 60, 73, v. 13;
the ideal of chivalrous love, iv. 59

Christ, said to have been proclaimed King of Florence by Savonarola, i. 222, 526, iii. 214 note 2, 308;
difficulty of representing Christ by sculpture, iii. 16-18

Christianity, influence of, in producing the modern temper of mind, ii. 19;
contrast between Greek and Christian religious notions, iii. 12-21, 410-412;
ascetic nature of Christianity, 24 note 1

Chronicon Venetum, cited for the cruelty of Ferdinand of Aragon, i. 572 note 1;
for the good will of the common people to the French, 583 note 2

Chrysoloras, John, teaches Filelfo Greek, ii. 268;
marries his daughter Theodora to Filelfo, 268

Chrysoloras, Manuel, summoned to Florence as Greek Professor, ii. 108-110;
obliged to leave by Niccolò's opposition, 182;
author of the Erotemata, 376

Church, assassination of Italian tyrants frequently undertaken in churches, i. 168 note 1, 397 note 2

Church, the, compromises made by the Church with the world, iii. 26;
opposition of the medieval Church to poetry, ii. 60, iv. 81

Cibo, Franceschetto (son of Innocent VIII.), i. 114, 404;
marries the daughter of Lorenzo de' Medici, 545

Cibo, Giambattista. (See Innocent VIII.)

Cicala, Milliardo (treasurer of Sixtus IV.), his quarrel with Filelfo, ii. 286

Cicero, Petrarch's love of Cicero, ii. 73;
Loss of the 'De Gloria,' 73;
influence of Cicero in the Renaissance, 527

Ciceronianism, the, of the Humanists, ii. 108, 414, 528

Cima da Conegliano, iii. 362

Cimabue, Giovanni, story of his Madonna which was carried in triumph to S. Maria Novella, iii. 11, 187 note 1;
character of the picture, 188;
story of his finding Giotto, as a child, drawing, 190, 191;
his frescoes at Assisi, 196

Cino da Pistoja, character of his poems, iv. 65;
his influence on Petrarch, 94

Cinthio (Giovanbattista Giraldi), his Ecatommithi, v. 60, 78;
cited for the story of the poisoning of Alexander VI., i. 429, note 1, v. 106;
their style, 103;
use made of them by the Elizabethan dramatists, 104;
their ethical tendency, 105;
plan of the work, 105;
description of the Sack of Rome forming the Introduction, 522;
his Tragedies, 131 note 2;
the Dedication of the Orbecche cited for Italian conceptions of tragedy, 127 note 1, 132 note 1;
analysis of the Orbecche, 131

Ciompi Rebellion, the, at Florence, i. 221, 227, iv. 111, 150;
Gino Capponi's Chronicle of, i. 265 note 1, iv. 176

Cione, Benci di, architect of the Loggia dei Lanzi at Florence, iii. 125

Cione, Bernardo di (brother of Andrea Orcagna), iii. 124

Ciriaco of Ancona, his zeal in collecting antiquities, ii. 155, 429, iii. 236, 272;
suspected of forgery, ii. 156

Citizens, decline in the number of persons possessing the rights of citizenship at the Renaissance, i. 546

Citizenship, Italian theories of, i. 195

Ciuffagni, Bernardo, his bas-reliefs in S. Francesco, Rimini, iii. 162

Ciullo d'Alcamo, his Tenzone—the character of its metre, iv. 24 note 1, 25;
shows a genuinely popular feeling, 26, 42

Cividale, Ludus Christi acted there in 1298 and 1303, iv. 15, 307

Civitale, Matteo, his work as a sculptor in Italian churches, iii. 78 note 1;
purity and delicacy of his work, 152;
his monuments, &c., at Lucca, ii. 229, iii. 157

Clarence, Duke of, his marriage with Violante Visconti, i. 137

Classical writers, the, influence of, on the Italians, i. 197 note 1, 250 note 1, 464;
on Columbus and Copernicus, ii. 19;
present tendency to restrict the use of the classics in education, 537-540

Clement II., i. 59

Clement V., founds the High School at Perugia, ii. 117

Clement VI., i. 135;
gives charters to the Universities of Pisa and Florence, ii. 118

Clement VII., commissions Machiavelli to write the History of Florence, i. 327;
the conspiracy against him, 314, ii. 366, v. 239;
his patronage of scholars, ii. 404;
advances Giovio, Vida, and Giberti in the Church, 402-417;
sends Castiglione to Madrid, 421;
his election to the papacy, i. 443;
his conduct during the Sack of Rome, 444;
employs the troops which had sacked Rome against Florence, 283, 446;
puts Guicciardini in command of Florence after the siege, 298;
makes Guicciardini Lieutenant-General of the Papal army, 297;
his management of Florence in the Medicean interest, 222, 277, 285;
said by Pitti to have wished to give Florence a liberal government, 288 note 1;
Macaulay's account of him erroneous, 320;
correctness of the character of him given by Berni's Sonnet, 443 note 1, v. 368;
Aretino's attacks on him, v. 391, 392, 402 note 1;
absolves Cellini for stealing gold given him to melt down, iii. 465

Cléomadés (an old French romance), quoted to illustrate the gaiety of medieval Florence, iv. 50

Cocaius, Merlinus. (See Folengo.)

Coccio, Marco Antonio (Sabellicus), a member of the Roman Academy, ii. 361;
of the Aldine Academy, 387;
his account of the representations of Plautus and Terence by the Roman Academy, v. 138 note 3

Coliseum Passion, the, question of the date of its first representation, iv. 310;
suppressed by Paul III., 310 note 1

Colle, paper factory of, ii. 371

Collenuccio, Pandolfo, his version of the Amphitryon, v. 140

Colleoni Family, the, at Bergamo, i. 150

Colleoni, Bartolommeo, i. 170 note 1;
his statue at Venice, ii. 39, iii. 143;
description of him by Spino, iii. 144;
monument erected by him to his daughter Medea, 165;
his daughter Cassandra married to Nicolò da Correggio, v. 139 note 3

Colocci, Angelo, secretary of Leo X., ii. 409;
his losses in the Sack of Rome, 444

Colonna, the house of:
contest of the Colonnesi with Cesare Borgia, i. 349;
their rise to power, 375;
destroyed by Alexander VI., 413;
friendly to the French, 551

—— Giovanni, the friend of Petrarch, ii. 149;
Fabrizio, the father of Vittoria Colonna, v. 289;
Sciarra, i. 77;
Stefano, disloyal to Florence, 284;
Vittoria, her married life, v. 289;
her virtues and genius, 292, 293;
the society gathered round her, 292;
her leaning to the Reformation, 292 note 1;
Flaminio's Elegy on her death, ii. 503;
her friendship with Michelangelo, iii. 429, 433, v. 294, 296;
her correspondence with Aretino, v. 407, 408, 416;
the Rime, 294;
(1) the sonnets on the death of her husband;
genuineness of their feeling, 294;
(2) the sonnets on religious subjects, 295

Colonna, Egidio, his De Regimine Principum translated into Italian, iv. 35, 130

Colonna, Francesco, author of the Hypnerotomachia, iv. 219;
Maccaronic dialect (lingua pedantesca) of the work, 219, 238, v. 328;
its illustrations erroneously ascribed to Raphael, iv. 221 note 1;
its historical value, 221, 225, 227, 229-232;
analysed, 222-225;
its basis of reality, 227-229;
its imaginativeness, 232

Columbus discovers America, i. 15, 29, 411;
question of his indebtedness for the discovery to classical writers, ii. 19

Comet, a comet supposed by Gian Galeazzo to foreshow his death, i. 149

Comines, Philip de, his descriptions of Siena and Venice, i. 207 note 2, 214 note 1;
praises Venice for piety, 475 note 1;
on the humanity of the Italian peasants, 478 note 2;
his character of Charles VIII., 541;
quoted for the popular belief that Charles' invasion was guided by Providence, 553 note 1;
for the expense of the invasion, 553 note 2;
for Charles' want of money, 563 note 1;
on the avarice of Ferdinand of Aragon, 571 note 2;
his character of Ferdinand and Alfonso II., 572;
his account of the communication of the news of the Venetian League, 578;
his witness to the brutality and avarice of the French in the invasion, 583 note 2

Commedia dell'Anima (old Italian religious drama), iv. 75

Commissaries, i. 35

Communes, the Italian, their rise, i. 33, 53-82;
the differences between them, 35, 36, iii. 43;
their quarrels, i. 36-38, 62, 66;
why the historian cannot confine his attention to the communes, 51;
their willingness to submit to the authority of the Emperor, 64, 97;
why they did not advance to federal unity, 95-98;
their public spirit, iii. 42;
the real life of the Italian nation, iv. 27, 459, v. 493

Como, traditional reverence for the Plinies there, ii. 30, iv. 12

—— the Cathedral, Luini's paintings, iii. 487 note 3

Compagnacci, the young aristocratic opponents of Savonarola, so called, i. 531, 533, iii. 307

Comparini, Paoli, representation of the Manæchmi by his pupils, v. 138

Conceptualists, the, v. 466, 467

Condivi, his Biography of Michelangelo, ii. 36, iii. 399, 402 note 1, 406

Condottieri, the, i. 86, 87, 113, 131, 143;
their origin, 156-158;
members of noble Italian houses become Condottieri, 158, 160, iv. 459;
their mode of campaigning, 159, 160 note 1;
the Condottieri system took its rise from the mercantile character of the Italian states, 244;
Machiavelli traces the ruin of Italy to the Condottieri, 160 note 2, 312, 361, v. 436

Confusi, the, an Academy at Bologna, ii. 366

Conrad II., i. 58

Conservatori, name of magistrates in some Italian cities, i. 35

Consiglio del Comune, in Italian cities, i. 35, 71;
di Dieci, 35;
della Parte, 71;
del Popolo, 35, 71;
de' Savi, 35;
di Tre, 35

Constance, Council of, ii. 134;
Jerome of Prague before the Council, 231, 535;
Peace of, 64, iv. 6;
not signed by Venice, 214

Constantinople, Fall of, i. 89, ii. 285, iv. 2

Constitution, the, of Genoa, i. 201;
of Florence, 201, 222 (see also Appendix ii.);
of Siena, 207;
of Venice, 214

Constitution-making, in the Italian Republics, i. 201

Consuls, magistrates of Italian Communes, i. 35, 56, 83;
their part in Italian history, 61, 62, 68

Contado, the, i. 66, 67;
original meaning of the word, 55 note 1

Contarini, Cardinal,
his friendship with Flaminio, ii. 498, 502;
—— with Vittoria Colonna, v. 292;
his work upon the Commonwealth of Venice, ii. 502;
his Venetian origin, illustrating the loss of intellectual supremacy of Florence, 506;
his Formulary of Faith, v. 286;
Marcantonio Flavio, takes part in the controversy raised by the publication of Pomponazzi's De Immortalitate Animæ, 460

Conte Lando, the, leader of Condottieri, i. 86

Conversation, the art of, invented by the Italians, ii. 34

Copernicus, discoveries of, i. 15, 29;
their importance, 15, 16;
question of his indebtedness to the classical writers, ii. 19

Coppola, Francesco, execution of, by Ferdinand of Aragon, i. 571 note 3

Copyists, their inaccuracy, ii. 129;
their pay, 130;
their opposition to the new art of printing, 370

Cordegliaghi, Venetian painter, iii. 362

Corio, quoted, i. 135, 137 note 1, 137 note 2, 138 note 1, 141 note 2, 150 note 1, 152 note 1, 160 note 1, 167 note 1;
his witness to the corruption of the Milanese Court, 326, 548 note 1, 554, v. 191;
his character of Paul II., 385 note 1;
his description of the reception of Leonora of Aragon by Cardinal Pietro Riario, 390;
cited for the death of the Cardinal, 392 notes 1 and 2, 393;
for the history of Alfonso the Magnanimous, 568 note 1;
his account of the Flagellants, 619;
his value as an historian, iv. 177

Cornaro, Cardinal, abandons Cellini to the Pope in exchange for a bishopric, iii. 466;
Caterina, Queen of Cyprus, i. 233;
Lodovico, Autobiography of, ii. 36

Cornazano, Antonio, his Proverbi, v. 60, 101

Corneto, Cardinal, his connection with the death of Alexander VI., i. 429-431

Corniole, Giovanni della, his portrait of Savonarola, i. 509

Corrado, Gregorio, his Latin Play, Progne, v. 110

Correggi, the, at Parma, v. 139 note 3;
how they rose to power, i. 112;
overthrown by the Visconti, 145;
reappear after the death of Gian Galleazzo, 150

—— Ghiberto da, (1) the pupil of Vittoria da Feltre, i. 177;
(2) the husband of Veronica Gambara, v. 289

Correggio, Antonio Allegri, sensuousness of his work, iii. 25, 495;
his introduction of Pagan motives into Christian art, 137;
founded no school of local artists, 184;
his Danaë and Io, illustrating his treatment of mythology, 291;
one of the four great painters by whom the Renaissance was fully expressed, 312, 339;
manner in which his genius differed from that of Michelangelo, Raphael, or Lionardo da Vinci, 339;
beauty and joyousness of his works, 340;
the imitations of his style in the period of barocco architecture, 495

Corrotto, meaning of the term, iv. 294 note 1, 309, 538

Corso, Rinaldo, his account of the society around Veronica Gambara, v. 289

Cortese, Ersilia, v. 288

Cortesi, Paolo, his Hyppolyti et Deyaniræ Historia, iv. 213

Cortesia, meaning of the word in Italian, v. 13

Cortona, Signorelli's Last Supper, iii. 289

Coryat, cited for the profligacy of Venice, i. 475

Corycius. (See Goritz.)

Cosimo I. (See Medici, Cosimo de', first Grand Duke.)

Council, the Grand, of Venice, i. 215-217

—— of Ten, the, at Venice, 215 note 1;
its powers, 218;
comparison of, with the Spartan Ephorate, 234

Counts, the, opposed to the Communes, i. 55, 66, 67

Crasso, Leonardo, defrayed the cost of printing the Hypnerotomachia, iv. 221

Credenza, name for the Privy Council in Italian cities, i. 35, 57, 71

Credi, Lorenzo di, the pupil of Verrocchio, iii. 142;
influence of Savonarola upon him, 310

Crema, the Duomo, i. 74, iii. 53

Cremona, Gabbriello da, a pupil of Vittorino da Feltre's, i. 177

Cremonini, Cesare, epitaph on himself said to have been composed by him, v. 480;
said to be the author of the saying, Foris ut moris, intus ut libet, 480

Cretans, number of Cretans who aided Aldo Manuzio, ii. 378, 386

Cristina of Lorraine, her marriage to Ferrando de' Medici, iv. 325

Criticism: criticism in the modern sense unknown to the ancients, i. 24, ii. 59 note 1;
created by the Renaissance, ii. 67;
uncritical character of the first scholars, 296, 327, 337, 382

Crivelli, Crivello, iii. 362

Cronaca, Il, architect, iii. 76

Crusades, the, i. 7;
joined in by the Italians mainly from commercial motives, iv. 426 (cp. v. 505)

Culture, the culture of modern Europe due to the Italians of the Renaissance, ii. 9, 408, 506, 524, v. 491, 505;
intricacy of the history of culture in Italy, ii. 158-140;
growth of, at the Roman Court, 406


D'ALBORNOZ, Egidio, i. 81

Dalla Viuola, his musical compositions for the theatre, v. 143

Damasus II., i. 59

Damiano, Fra, da Bergamo, his tarsia work at Perugia, iii. 78 note 2

Daniel da Volterra, employed to paint clothes on the nude figures in Michelangelo's Last Judgment, iii. 426;
influenced by Michelangelo, 493

Dante, the facts of his life, iv. 70-73;
refused the poet's crown unless he could receive it in Florence, 86, 88;
his devotion to the Imperial idea, i. 76, 77 note 1, iv. 161;
veneration of the Ghibelline poets for Dante, iv. 162;
his firmness in exile contrasted with Machiavelli's servility, i. 318, iii. 395 (cp. iv. 86);
his denunciations of the Papacy, i. 457;
his idea of nobility, 186 note 1;
Dante and Petrarch compared, ii. 70, iv. 85-89, 90;
Dante depreciated by Petrarch, ii. 82;
points of contrast between Dante and Ariosto, v. 15, 19, 21, 28;
Dante's genius never immature, iii. 387;
the poet of medieval Christianity, v. 2, 194, 449;
between the ancient and the modern world, i. 10, ii. 13, 39, 69, iv. 84;
the first exponent of Italian genius, iv. 84;
his superiority in lyric to his predecessors, 66;
not wholly free from scholasticism, 67;
his relation to the Summa, i. 60, v. 449;
the Convito, iv. 71;
Dante's censure in it of the writers who preferred French to Italian, 16;
the De Monarchiâ, i. 60, 260, ii. 57, iii. 261, iv. 88;
the Vita Nuova, ii. 31, 35, iv. 68-70, 86, 123;
the meeting with Beatrice quoted as a specimen of Dante's style, 133;
Dante's treatment of love in the Vita Nuova, 90;
the De Vulgari Eloquio, i. 261, 272, iv. 28, 66 note 2;
its citations of vernacular poetry, iv. 20, 32;
ideal of language proposed in the work, 33, 42, v. 246;
Dante's account in it of the Sicilian poets, iv. 21;
the mention of Guittone of Arezzo, 46;
Dante's remark in it on the subjects of poetry, 117 note 1;
translated by Trissino, v. 306;
the Divina Commedia: Dante himself the hero, iv. 78;
its scientific structure, 79;
the allegories of the Commedia, 81;
its characteristic Italian realism, 82, v. 514;
Dante finds no place for those who stood aloof from faction, i. 73;
contrast of the Commedia and the Decameron, iv. 104;
the Commedia as an epic of Italian tyranny, i. 77 note 1;
influence exercised by it on the painters, iii. 283 note 2 (cp. 406);
Dante's own explanation of the Divina Commedia, iv. 75-77;
its comprehensive spirit, 77;
quotations:—the Inferno: the speech of Ulysses, ii. 330 note 2;
the ancient poets, ii. 32, iii. 283 note 2;
mention of the story of Roland, iv. 433;
the Paradiso: Cacciaguida's speech, i. 73 note 1;
the miseries of patronage, 318;
the planet Mercury, ii. 39;
character of S. Dominic, iii. 205;
lines quoted to show the clinging of the Italians to their past history, iv. 12 (cp. 151);
the Purgatory: the apostrophe to Italy, i. 77 note 1;
the speech of Manfred, 133 note 1;
the fickleness of Florence, 237;
the fleetingness of fame, ii. 39;
the Sacred City, Rome, 144;
the sculpture seen by Dante in Purgatory, iii. 149;
the Trevisan Court, iv. 15;
the praise of Guido Guinicelli, 47;
the mention of Guittone of Arezzo, 48;
the Canzone—Donne ch'avete intelletto d'amore, 62;
philosophical treatment of love in the poem, 62;
the song of the Ghirlandetta: its popularity, 261

Dati, Goro di Stagio, iv. 176;
his description of May festivals at Florence, 52

Dati, Leonardo, his Cosmographical History, iv. 240

Dati, Leonardo, theologian and friend of Palmieri, v. 549;
comments on the Città di Vita, 548, 549

Dattiri, Altobello, assassination of, i. 121

D'Avalos, Alfonso, Marquis of Vasto, gives Ariosto a pension, iv. 503

—— Ferrante Francesco, Marquis of Pescara, marries Vittoria Colonna, v. 289;
his reputed treason, 290 (cp. i. 245)

Dazzi, Andrea, devises the cars for the Pageant of the Golden Age, iv. 397

Death, the Black, its effects at Florence, i. 259, ii. 120, iv. 111, v. 191;
description of, in the Decameron, iv. 111

Decembrio, Candido, his account of Filippo Maria Visconti, i. 153 note 1, ii. 266;
followed the model of Suetonius, ii. 533;
patronised by Eugenius IV., 220;
translates Appian and Homer, and aids Trapezuntius in translating the Republic, for Nicholas V., 228, 266;
appointed Secretary of the Abbreviators by Nicholas, 229;
his position at Milan, 266;
cited for Filelfo's conceit, 271 note 1

Decorative Art, wealth of, in Italian palaces and Churches, iii. 54, 56, 78

Decretals, the false, i. 3

Della Casa, Giovanni, Bishop of Benevento, facts of his life, v. 274;
his morality, i. 459 note 2 (cp. v. 274);
a member of the Vignajuoli Academy at Rome, ii. 366, v. 357;
said to have been refused the Cardinalate on account of the Capitolo del Forno, v. 275;
his relations with Pier Paolo Vergerio, 275 note 1, 381 note 1;
the Galateo, i. 183 note 1, ii. 37, v. 275;
a code of social etiquette æsthetically treated, v. 430;
the Capitolo del Forno, 40, 275, 278, 364;
the Latin Lyrics, ii. 497, v. 276;
his Correspondence, v. 276, 360;
the Italian Poems: sternness and sadness of their tone, 277;
translations of six sonnets, 279

Della Casa, Quirino (son of Giovanni della Casa), v. 274

Della Crusca Academy, the, at Florence, ii. 366;
Il Lasca and the Della Crusca, v. 79 note 2

Della Rovere Family, the, Sixtus IV. claims kindred with them, i. 388;
their armorial bearings, 388, ii. 495

—— Francesco (see Sixtus IV.):
Francesco Maria, Duke of Urbino, ii. 419;
his violence of temper, i. 393;
neglects to defend Rome in 1527, 245, 297, 444;
Giovanni della, Duke of Urbino, 182 note 2, 389, 393, ii. 419;
Cardinal Girolamo, his monument by Sansovino, iii. 156;
Giuliano (see Julius II.);
Lionardo, i. 389;
Nicolò, marries Laura, daughter of Alexander VI., 407 note 1

Demetrius of Crete, aids in the first printing of Greek books in Italy, ii. 375;
furnishes the model for the Greek type of the first edition of Homer, 376

Democracy, the Renaissance and democracy, i. 27, 28, v. 489;
gradual approach of the Italian cities to democracy, 72

Democratic principles of modern society, i. 28

Desiderio da Settignano, his monument to Carlo Marsuppini, ii. 186, iii. 158 note 2, 159;
his bust of Marietta Strozzi, iii. 159;
Giovanni Santi's description of him, 160

Desiosi, the, an Academy at Bologna, ii. 366

Despots, the Italian, i. 42;
their rise, 75-77, 81;
their services to art and literature, 78-80, iii. 42;
popular with the middle classes and the people, i. 83, 116;
disarm their subjects, 85;
their downfall, 89, 90;

their title rested solely on ability, 102, 117, 118;
character and effect of their government, 103;
luxury and culture of their Courts, 105;
the atrocities of the tyrants—how far due to mania, 109, 110, 151 (see also Appendix i.);
divided into six classes, 110-114;
led a life of terror, 118;
their superstition, 119, 149;
their crimes, 120-125, 139, v. 441;
errors in Macaulay's account of them, i. 127;
description of them by Villani, 128;
by Ariosto, 130, iv. 506 note 2;
their practice of division among joint heirs a source of weakness to them, i. 136;
developed refinement of manners, 192

D'Estampes, Madame, iii. 474, 476

Desti, the, an Academy at Bologna, ii. 366

Diacceto, Jacopo del, executed for his share in the conspiracy against Cardinal Giulio de' Medici, v. 239

Diamond, the, name of a club at Florence formed by the Duke of Nemours, iv. 396

Dino Compagni, Chronicle of, cited, i. 210 note 2, 225 note 1;
question of its authenticity, 262, 263 note 1, 266, 272;
Dino's reason for undertaking the work, 264;
its character and value, 265

Diplomacy: diplomatic ability fostered by the number of the Italian Commonwealths, ii. 3, iv. 366 (cp. v. 518)

Disciplinati di Gesù Cristo, Italian religious societies, iv. 282, 307

Disuniti, the, an Academy at Fabriano, ii. 366

Divizio, Agnolo, nephew of Cardinal Bibbiena, v. 367;
Bernardo (see Bibbiena, Cardinal)

Divozioni, the Umbrian form of the sacred drama, iv. 307;
various metres in which they were written, 308;
their themes, 309;
question of the date when they were first represented in public, 310;
their relation to the Northern Miracle Plays, 311

Djem, Prince, brother of Sultan Bajazet, his captivity in Italy, i. 415, 461;
said to have been poisoned by Alexander VI., 415, 566 note 1

Doctrinaire spirit, the, of Italian political theorists, i. 202, 244 note 2, 283

Doge, gradual limitation of the power of the Doges at Venice, i. 216;
unpopularity of the office, 216 note 1

Dolce, Lodovico, v. 181;
his tragedy of Marianna, 133;
more truly dramatic than the majority of Italian tragedies, 133;
the Giocasta, 134;
the comedy of Ragazzo, 162 note 1;
its Prologue cited in testimony of the prevalent corruption of manners, 190;
his Capitoli, 365;
his relations to Aretino, 419

Domenichi, Lodovico, his revision of Ser Giovanni's Novelle, iv. 152 note 2;
his rifacimento of the Orlando Innamorato, 491, v. 376;
his friendship and quarrel with Doni, v. 88;
his collection of works of Italian poetesses, 287

Domenico, Fra (Savonarola's friend), offers to undergo the ordeal of fire, i. 533;
executed with Savonarola, 534

Domenico di Giovanni. (See Burchiello, Il.)

Domenico, S., Perugian Confraternity of: inventory of their dramatic properties in 1339, iv. 310

Dominic, S., contrast of S. Dominic and S. Francis, iii. 205

Dominico di Viterbo, story of his crimes and execution by Innocent VIII., i. 404 note 1

Donatello, ii. 8, 433;
a friend of Niccolò de' Niccoli's, 180;
his statue of Poggio, 246;
his statues at Florence, 440, iii. 138;
his work as a sculptor and bronze founder in Italian churches, iii. 78 note 1;
said to have been consulted in the competition for the Baptistery Gates at Florence, 127;
his fidelity to nature, 136;
his smaller works, 139-141;
the Judith and Holofornes: its fortunes, 139 (cp. i. 233);
the equestrian statue of Gattamelata at Padua, 140;
contrast of his genius with that of Ghiberti, 141;
Brunelleschi's criticism of his Christ, 233;
employed by Cosimo de' Medici, 138, 139, 263

Donati, the, at Florence, i. 210 note 2, iv. 71

Donati, Alesso, his Madrigals, iv. 157;
their realistic energy, 157 (see Appendix iii. vol. iv. for translations);
Gemma, wife of Dante, iv. 71

Doni, Antonfrancesco, enters the Servite Order, v. 88;
obliged to quit Florence, 88;
his friendship and quarrel with Domenichi, 88;
his correspondence with Aretino: suspicion that part may have been written by Aretino himself, 398 note 1, 410 note 1;
settles at Venice, 89;
his praises of Aldo Manuzio, ii. 391;
his quarrel with Aretino, v. 90, 96, 419, 422;
becomes a member of the Pellegrini Academy, 90;
his life at Monselice, 91;
his account of two comedies performed in the Palazzo Vecchio, Florence, 144 note 4;
his Novelle, 92;
his miscellaneous works, 92;
his Marmi, 93-95;
his Comedies, 181

Doria, Andrea, i. 201

Dossi, Dosso, his Circe, illustrating his treatment of mythology, iii. 291, 502, iv. 422, 482

Doucas, Demetrius, a member of the Aldine Academy, ii. 387

Drama, the Italian, a national drama never fully developed in Italy, ii. 8, iv. 357, v. 110, 112-114, 125, 181, 241, 310;
imperfect connection of the Italian theatre with the Sacre Rappresentazioni, iv. 306, v. 109;
want of profoundly tragical element in Italian art, v. 114-116;
reasons for this, 116-120;
the first attempts in Italian: Boiardo's Timone and Poliziano's Orfeo, 108;
early Latin plays, 110;
contrast between the Italian and the Elizabethan drama, 111;
the growth of a national Italian drama hindered by the adherence of playwrights to classical models, 121-125;
poverty of the early Italian tragedies, 126, 132, 135;
Seneca's influence over Italian tragedies, 129, 131, 132 note 1;
Italian tragedies adapted from the Greek tragedians, 133-135;
imperfect evolution of Italian comedy, 136-138, 140;
influence of the Ferrarese stage on Italian comedy, 142;
the want of permanent theatres in Italian towns, 144;
character of the Italian Commedia erudita, 181;
tendency of the Italians to adopt stereotyped forms for dramatic representation, 182 note 2;
fixed elements in Italian comedy, 183-185;
employment of the burla or beffa, 185;
vicious philosophy of life taught by the Italian playwrights, 192;
the pastoral drama the culmination of Italian dramatic effort, 114, 223, 241;
contained the germs of the Italian opera, 114, 241

Duccio, Agostino di, his façade in marble and terra-cotta of S. Bernardino at Perugia, iii. 79 note 1, 150

Duccio di Buoninsegna, his Majesty of the Virgin in the Duomo of Siena, iii. 215

Duranti, Durante, attempts the murder of Benvenuto Cellini, iii. 467


EDUCATION, modern education founded upon the system of Vittorino and Guarino, ii. 537, v. 492;
present tendency to diminish Greek and Latin elements in education: how far justifiable, ii. 537-540;
identity of male and female education in Italy at the Renaissance, v. 287 note 1

Egidius of Viterbo, quoted for the acknowledgment of his children by Innocent VIII., i. 403 note 1

Egnazio, Giambattista, a member of the Aldine Academy, ii. 387

Emilia Pia, wife of Antonio da Montefeltro, introduced in Castiglione's Cortegiano, i. 184

England, Poggio's journey to, ii. 231

Enzo, King, reputed ancestor of the Bentivogli, i. 115, iv. 49;
his Greeting to the Provinces of Italy, 49

Ephors, the Spartan, compared with the Venetian Council of Ten, i. 234

Epic, the Italian Romantic: its anomalies explained by a large plebeian element, iv. 426-428, 439;
manner in which the Roland Legend passed into its Italian form, 428

Epicureans, in Italy during the middle ages, iv. 10, 109

Epistolography, Latin, importance of, in the Renaissance, ii. 107, 531, v. 507

Erasmus, i. 24, 27;
quoted on the worldly tendency of classical learning, 456 note, ii. 44;
his ridicule of 'Ciceronianism,' ii. 108, 414 (cp. 528);
his visit to Aldo Manuzio at Venice, 384;
popularity of his Adagia, 384 note 1;
hatred of the clergy against him, 385;
quoted for Musurus' knowledge of Latin, 386 note 2;
a member of the Aldine Academy, 387;
his praises of Aldo Manuzio, 391;
his visit to Rome, 408;
cited for Inghirami's eloquence, 425 note 2;
initiated a second age of scholarship, 541;
quoted for the Italian origin of Northern culture, 544

Erizzo, Sebastiano, his Sei Giornate, v. 60

Este, House of, i. 52, 57, 145;
confirmed in their succession by the Papacy, 111;
their crimes and tragic history, 125, 168, 423;
their patronage of learning, ii. 298;
important part played by the D'Esti in the resuscitation of Latin comedy in Italy, v. 139

—— Alberto d', i. 146;
Alfonso d', aids Frundberg's army on the march to Rome, 245, 444;
married (1) to Anna Sforza, v. 140, (2) Lucrezia Borgia, 420, 422, 423, v. 141;
his skill as a gunsmith, i. 423, iii. 403;
takes Ariosto into his service, iv. 498;
builds the first permanent theatre in Italy, iv. 499, v. 144;
makes Ariosto governor of the Garfagnana, iv. 500;
his warfare with the Papacy, 500;
Azzo d', i. 168;
Beatrice d' (1), mentioned by Dante, 133;
Beatrice d' (2), wife of Lodovico Sforza, 555;
Borso d', 173;
his reception of Filelfo, ii. 285;
the friend of Boiardo, iv. 457;
Ercole d', his assassination attempted by Nicolò d'Este, i. 168;
urges Ludovico Sforza to invite the French, 546;
meets Charles at Pavia, 554;
the friend of Boiardo, iv. 457;
his interest in the representation of Latin comedies, v. 139;
his translation of the Menæchmi, 140;
his visit to Milan, iv. 498, v. 140;
festivities prepared by him at the marriage of Lucrezia Borgia to Alfonso d'Este, v. 141;
his marriage to Renée, daughter to Louis XII., 297;
Ferdinand d', shares Giulio's plot against Alfonso, i. 423;
Giulio d', his attempt on Alfonso, 423;
his eyes put out by order of Ippolito d'Este, 423, iv. 495;
Cardinal Ippolito d', invites Cellini to the Court of Francis I., iii. 472, 476;
takes Ariosto into his service, iv. 494;
wishes him to enter the Church, 495;
quarrel between them, 496 (cp. 509);
puts out the eyes of Giulio d'Este, i. 423, iv. 495;
Lionello d', the pupil of Guarino, i. 173, ii. 240, 299;
his correspondence with eminent scholars, 173, ii. 300;
his portrait in the National Gallery, ii. 300;
Alberti's Teogenio dedicated to him, iv. 205;
Nicolò d' (Nicolas III.), his journey to Rome, ii. 152 note 1;
reopens the High School of Ferrara, 298;
his patronage of men of letters, i. 173;
Obizzo d', sells Parma to Lucchino Visconti, i. 134;
murdered by his uncle, 146;
Ugo d', his journey to Rome, ii. 152 note 1

Eterei, Gli, an Academy at Padua, v. 272

Eugenius IV., consulted by Cosimo de' Medici as to how he should make restitution, ii. 172;
Lionardo Bruni's translation of Aristotle's Politics dedicated to him, 184;
retires to Florence after his expulsion from Rome, 185, 186, 196, 219;
makes Traversari General of the Camaldolese Order, 194;
his proclivities rather monastic than humanistic, 219;
makes Marsuppini and Aurispa Papal Secretaries, and patronises other scholars, 220;
proscribes the reading of Beccadelli's Hermaphroditus, 256;
attacked by Valla in the treatise on Constantine's Donation, 260;
his saying on the malice of the Humanists, 511;
pageants in his honour at Perugia, iv. 315

Euripides, compared with Ariosto, v. 35, 37

Eusebi, Ambrogio degli, a secretary of Aretino's, v. 421

Exarchate and Pentapolis, the, i. 48, 51;
Exarchs, the, 35, 43

Excommunication, terrors of, i. 132, 133 note 1, 471, 531, ii. 332

Ezzelino da Romana, i. 69, 75, 110;
his cruelty, 106-110, iv. 279;
influence of his example on Italy, i. 107, 108, iv. 280;
his love of astrology, 119


FABLIAUX, the, of the middle ages, iv. 107

Fabriano, paper factory of, ii. 371, 37

Fabrizio, early Bolognese poet, iv. 48

Faenza, massacre of, i. 82;
sold by Astorre Manfredi, 114;
Church of S. Costanzo: Benedetto da Majano's bas-reliefs, iii. 160

Falconetto, Giovanni Maria, his work as an architect at Padua, iii. 86

Farnesi, the, origin of their greatness, i. 417 note 2

—— Cardinal Alessandro, v. 283;
Alexander (see Paul III.);
Giulia, surnamed La Bella, mistress of Alexander VI., i. 407 note 1;
her portrait statue on Paul III.'s tomb, 417 note 2, iii. 108;
captured by the French, i. 417;
Pier Luigi (son of Paul III.), 428 note 1, iii. 422 note 1, 460, 462, 465, v. 283;
Aretino's lines on him, v. 402 note 1;
Cardinal Ranuccio, 283;
Ranuzio, orders the building of the Teatro Farnese at Parma, 144

Farse, the, at Naples, v. 136, 137;
cultivated by Cecchi at Florence, 188;
his description of the Farsa, 188;
how related to the English type of drama, 188, 189

Faust, Legend of, ii. 53;
in Italy and England, iv. 347

Fazio, Bartolommeo, the historiographer of Alfonso the Magnanimous, i. 569, ii. 38;
his criticisms on Valla, ii. 263

Federigo d'Arezzo, poems of, iv. 164

Felix, the Anti-Pope, ii. 236

Feltre, Vittorino da, i. 171;
a scholar of Giovanni da Ravenna, ii. 100, 290;
acquainted with Filelfo at Venice, 267;
his poverty and early education, 289;
begins teaching, 290;
summoned to Mantua, i. 176, ii. 291;
Traversari's account of his system of education, 177 (cp. ii. 291-297);
his single-mindedness contrasted with the self-seeking of other scholars, ii. 290, 523;
his nobility of character, 297;
effect of his labours, 273, 537

Ferdinand the Catholic, his hypocrisy, i. 296, 358;
his persecution of the Jews, 399-401;
his alliance with Louis XII., 428;
obtains Roussillon from Charles VIII. as the price of neutrality, 542;
joins the League of Venice against Charles, 577

Ferdinand I., King of Naples, i. 113 note 1;
his cruelty and avarice, 139 note 1, 395, 570;
supports Virginio Orsini against Alexander VI., 545;
character of him by Comines, 572;
his judgment of Pope Alexander VI., 409;
his opinion of the Papacy, 451

Ferdinand II., King of Naples, retires before the approach of the French, i. 574;
his marriage and death, 575

Fernus, Michael, his panegyric of Alexander VI., i. 408

Ferrara, share of, in Italian literature, iv. 364, 365;
retained more feudal feeling than other towns, iv. 460

—— the Castle of, i. 423, iii. 60, iv. 456;
the Palazzo della Ragione, v. 141

—— the High School, ii. 117;
reopened by Niccolò III., 298;
most flourishing at the beginning of the sixteenth century, 427, v. 497;
difference of character between the Universities of Ferrara and Padua, v. 460

Ferrari, Gaudenzio, belongs to the Lombard school, iii. 484;
his masters and mixed style, 488-490

Ferrucci, his part in the siege of Florence, i. 238, 285, 521

Feudalism, uncongenial to the Italian character, i. 42, 58, 61, 62, 100, 359, 484, ii. 3, iii. 51, iv. 6, 7, 27, 44, 140, 405, 426, 459, v. 492, 503, 505, 524, 530;
had a stronger hold on the valley of the Po than elsewhere in Italy, iv. 6, 460;
and on Naples, 460

Fiamma, Galvano, his Milanese Annals, i. 81

Fiammetta, the natural daughter of King Robert, iv. 120 note 1;
her relations with Boccaccio, 120

Fiandino, Ambrogio, takes part in the controversy raised by the publication of Pomponazzi's De Immortalitate Animæ, v. 460

Ficino, his attempt to combine ancient philosophy and Christianity, i. 171, 456, ii. 209, 325, 470, iii. 35, v. 452;
educated by Cosimo de' Medici in order to teach Greek philosophy, ii. 177, 207, 324;
his influence over Italian thought, 207, 327;
his translations the most valuable part of his work, v. 453;
one of the circle gathered round Lorenzo de' Medici, ii. 322, 323;
his earnestness of character, 325, 523;
in common with his age, did not comprehend Plato's system, 327, v. 452;
his letter to Jacopo Bracciolini describing a celebration of Plato's birthday, ii. 329;
his praise of Palmieri's Città di Vita, iv. 171;
part of the Morgante erroneously ascribed to him by Tasso, 455 note 3;
his description of the village feasts at Montevecchio, v. 196

Fieschi, Isabella, poisons her husband, Lucchino Visconti, i. 134

Fiesole, the Cathedral, Mino's altar, iii. 158 note 1;
Mino's bust of Bishop Salutati, 158

Filarete, Antonio, builds the Ospedale Maggiore at Milan, iii. 59, 77;
his treatise on the building of the ideal city, 77 note 2;
his work as a bronze founder, 78 note 1;
executes the bronze gates of S. Peter's, 108, v. 424

Filelfo, Francesco, corresponds with Lionello d'Este, i. 173;
his epigrams on Pius II., 381;
patronised by Francesco Sforza, ii. 38, 282 (cp. 511);
his boasts of his learning, 84, 271, 347;
his wanderings, 100, 268, 277;
a scholar of Giovanni da Ravenna, 100;
his various emoluments and offers of stipends, 122, 274, 277;
obliged to leave Florence by Niccoli's opposition, 182, 275;
offended by Marsuppini's success at Florence, 187, 275, 278 note 1;
patronised by Eugenius IV., 220;
receives a present from Nicholas V. for his satires, 236, 284 (cp. 514);
his quarrel with Poggio, 238-240;
teaches at Venice, 267;
his journey to Constantinople, 267;
his diplomatic employments, 268 (cp. 532);
his marriage with Theodora Chrysoloras, 268;
returns to Venice, 270;
list of Greek books brought by him, 270;
leaves Venice, first for Bologna, finally for Florence, 273;
his success and literary labours at Florence, 273;
his Lectures on Dante, 274, iv. 235;
his feud with the Medicean party, 275;
they attempt his assassination, 170 note 1, ii. 243, 275;
references in his Satires to his Florentine quarrels, ii. 276 note 1;
his stay in Siena and in Bologna, 276;
settles in Milan, 277;
his labours in Milan, 278;
his position there, i. 171, ii. 265, 266, 277;
his second and third marriages, 279, 282;
his loose morals, 280;
solicits ecclesiastical preferment from Nicholas V., 281, 517;
his rapacity, 282;
the Sforziad, 283 note 1, 284;
his journey to Naples, 284;
obtains the release of his mother-in-law at the fall of Constantinople, 285;
invited to Rome by Sixtus IV., 285;
returns to Florence and dies, 288;
his importance as a typical scholar of the Renaissance, 288;
his answer when urged to open a school, 291;
quotation from a letter of his containing an early mention of printed books, 306 note 2;
poorness of his Latin verse, 452;
his contempt for Italian, 532 note 1, iv. 235;
his Commentary on Petrarch, and terza rima poem on S. John, iv. 235

Fiorentino, Bernardo, iii. 75

Fioretti di S. Francesco, beauty of the work, iv. 131;
has the childlike character of Italian trecento prose, 131;
S. Anthony preaching to the fishes, quoted as a specimen of its style, 134

Firenzuola, Agnolo, the friend of Aretino, v. 83;
their correspondence, 410 note 1;
a member of the Vignajuoli Academy at Rome, ii. 366 (cp. v. 83), v. 357;
said to have been abbot in the Vallambrosan Order, v. 83;
his Novelle, 60;
their beauty of style, 84;
their subjects chiefly the weaknesses and the vices of the clergy, 84;
the Introduction, 84;
his Discourse on the Beauty of Women, ii. 37, v. 83, 85-87;
his miscellaneous works and poems, v. 87, 187, 249;

his Comedies, 181, 186;
adhered closely to Latin models, 186;
his Capitoli, 249, 364;
his orthographical disputes with Trissino, 271, 306

Fisiraghi Family, the, of Lodi, i. 145

Fisiraga, Antonio, his murder of the Vistarini and death by poison, i. 120

Fivizzano, massacre of, 557

Flagellants, the, i. 618, iv. 40, 73;
description of them from the Chronicle of Padua, iv. 280;
from a private letter from Rome (1399), 282 note 1;
social danger caused by them, 282;
merged in the Disciplinati and Laudesi, 282

Flaminio, Marcantonio, his verses upon the death of Navagero, ii. 488;
his Latin poems: their beauty and interest, 498-504 (cp. v. 196);
his friendship with Cardinal Pole and Vittoria Colonna, ii. 498, 502, v. 292

Flanders, artists brought from, by Frederick of Urbino, i. 179;
comparison between Flemish and Venetian art, iii. 362 note 1

Flattery of great personages by the Humanists, ii. 492-496, 512, 514

Florence: struggle between Florence and the Visconti, i. 81, 149;
constitutional history of, 221 foll.;
parties at Florence in 1494, 528;
in 1527, 281;
the Ciompi Rebellion, 221, 227, iv. 111, 150;
the exclusion of the nobles, 224. iv. 27, 51;
Florence laid under interdict by Martin V., iv. 258;
war of the Florentines with Sixtus IV., 447;
harsh treatment of Pisa and other cities by Florence, i. 212, 237, 342, 560, ii. 165;
Florence under Savonarola, i. 526-529;
the Siege of Florence, 222, 284 foll., 319, 536 note 2, iii. 393, 414, 438 (see Savonarola);
Christ declared King of Florence, 222, 526, iii. 214, 308, 358;
goodwill of Florence to France, i. 518, 550 note 1, 583 note 2;
expulsion of the Medici, 222, 561, iii. 389;
political contrast of Florence and Venice, i. 221, 222 note 1, 231;
comparison of Florence and Athens, 234, 236, 306 note 2;
beauty of Florence, 504, 561, 562, ii. 322, iii. 63 (cp. iv. 520);
festivals of medieval Florence, iv. 50-58, 316-319, 520;
of Renaissance Florence, 387-398;
Florence the centre of the true Italic element in Italy, iv. 141;
population of Florence, i. 197 note 2, 209, 256;
effects of the 'Black Death' at Florence, 259, ii. 120, iv. 111, v. 191;
the revenues of Florence, i. 255;
wealth of the Florentines, 257;
the Guelf laws against scioperati, iv. 27, 204;
commercial spirit of the Florentines, i. 224, 238, 245, 600;
Florentine intelligence, 232, 250, 504, 505, ii. 26, iv. 45;
compared with the Athenian, i. 246;
fickleness of the Florentines, 236;
their immorality, 230, 476, 504, iv. 337, v. 81, 358;
illustrated by Machiavelli's Comedies and Letters, v. 163, 165, 433;
by the Capitoli, 355;
their malicious temper, iv. 150, 253, 255, v. 79, 82;
Florentine manners as depicted in Sacchetti's Novelle, iv. 149;
in Alessandra Strozzi's Letters, 176, 190 note 1;
Florentine conceptions of nobility, 125;
Florence the centre of intellectual activity in Italy, ii. 108, 162, 250, 311, iv. 349, 364, 365;
leads the way in Italian literature, ii. 394, 426, iv. 27, 185, 243;
part played by Florence in the history of Italian thought, v. 452-454, 457, 481;
favourable conditions presented by Florence for the growth of culture, ii. 163;
services of the Florentines to historical literature, i. 248 foll.;
the share taken by Florence in the Renaissance, v. 496;
the main elements of Florentine society represented severally by Dante, Petrarch, and Boccaccio, iv. 98;
eagerness of the Florentines in learning Greek, ii. 197 note 1, 206, 250;
early Florentine printers, 369, 376;
loss of the Florentine supremacy in literature, 506;
architecture of the Florentine palaces and churches, iii. 59, 72;
Florentine pre-eminence in architecture at the Renaissance, 76;
influence of the Florentine painters on sculpture, 161;
comparison between Florentine and Venetian art, 182, 354;
the ovation of Cimabue's Madonna, 11, 187;
Florentine influence on Italian painting, 261;
positive and scientific character of the Florentine intellect as shown in their artistic productions, 182, 215, 221, 364, iv. 128, 402

Florence: S. Ambrogio, Mino's altar, iii. 158 note 1;
the Annunziata, Del Sarto's, Franciabigio's, and Rossi's frescoes, 498 note 1;
the Badia, monuments by Mino da Fiesole, 158;
Filippino Lippi's 'Madonna dictating her Life to S. Bernard,' 248 note 2;
the Baptistery, the bronze gates—the first by Andrea Pisano, 119;
the second and third by Ghiberti, 128;
the Carmine, Masaccio's frescoes, 229, 231;
Filippino Lippi's frescoes, 248;
the Duomo, built by public decree, 64;
its proportions criticised, 65;
Arnolfo's intentions, 66;
Brunelleschi's Dome, 67, 73, 74;
Giotto's Campanile, 63, 190, iv. 251;
S. Lorenzo (by Brunelleschi), 73, 393, 399, 413;
Bronzino's Christ in Limbo, 499 note 1;
the Medicean Chapel, its marble panelling, 79 note 3;
the Sagrestia Nuova, character of its architecture, 87, 414, 415;
tombs of the Medici, i. 314, 319, iii. 354, 377 note 2, 393, 415-419, 420;
S. Maria Maddalena dei Pazzi, Perugino's fresco of the Crucifixion, 295;
S. Maria Novella, Cimabue's Madonna, iii. 188;
Ghirlandajo's Birth of the Virgin, 259;
(Spagnuoli Chapel), its frescoes, 205;
(Strozzi Chapels) Filippino Lippi's frescoes, 248;
Orcagna's frescoes, 199;
S. Maria Nuova, Fra Bartolomeo's Last Judgment, 306, 309, 331;
S. Miniato, 49;
Rossellino's monument of Cardinal di Portogallo, 153;
Spinello's frescoes in the sacristy, 220;
Orsammichele (by Taddeo Gaddi and Orcagna), 63, 124;
Orcagna's tabernacle, 125;
Donatello's statue of S. George, 138;
Santa Croce, 63;
Benedetto da Maiano's pulpit, 160;
Giotto's frescoes, 190;
S. Trinità, Desiderio's statue of the Magdalen, 159 note 1;
Ghirlandajo's Death of S. Francis, 259;
S. Spirito (by Brunelleschi), 73;
Agnolo's Campanile, 86

Florence: Loggia del Bigallo (by Orcagna), 125;
Loggia de' Lanzi (wrongly ascribed to him), 125, 478

—— Palazzo Vecchio, 61-63;
—— del Bargello, Chapel of the Podestà, 191;
—— Pitti (by Brunelleschi), 73;
—— Riccardi (by Michelozzo), 59, 76;
—— Gozzoli's frescoes, 242;
—— Rucellai (by Alberti), ii. 342, iii. 75 (see also Rucellai Gardens, the);
—— Strozzi (by Benedetto da Maiano), iii. 77

—— Academy, the, founded by Cosimo de' Medici, ii. 177, 207;
influence exerted by, over Italian thought, 207;
celebrations of Plato by, 328;
later fortunes of, 366

Florence, University, the, its foundation, i. 259, ii. 118;
establishment of a Greek chair, ii. 106;
liberality of the Signory to the University, 120;
partial transfer of the High School to Pisa by Lorenzo de' Medici, 122, v. 497;
important services of Palla degli Strozzi to the University, ii. 166

Florence, Council of, impression left by, on the Florentines, ii. 196, 206

Fogliani, Giovanni, murder of, by his nephew, Oliverotto da Fermo, i. 354

Fojano, Fra, starved to death in the dungeons of S. Angelo, iii. 468

Folengo, Teofilo (Girolamo), story of his life, v. 312;
enters the Benedictine Order (cp. i. 459);
leaves the cloister, v. 313;
resumes the cowl, 313;
his pseudonym, Merlinus Cocaius, 313;
said to have once contemplated writing a serious Latin Epic, 334;
his aim at originality, 334;
his use of the Maccaronic style, 335;
the Orlandino—freedom of its satire, 314;
its roughness of style, 315;
the introduction, 316;
subject of the poem, 317;
Berta's prayer, 318 (see for translation, Appendix ii.);
the story of how peasants were made, 319 (cp. 343 note 2);
the Resurrection, 320;
translated, 320;
passage on the woes of Italy, i. 101, v. 320 note 1;
the boyhood of Orlandino, 321;
the episode of Griffarosto, 322 (see for translation, Appendix ii.);
Rainero's confession of faith, 323 (see for translation, Appendix ii.);
Lutheran opinions expressed in the Orlandino, 324, 486;
reasons why Folengo's religious opinions escaped censure, 325;
relation of the Orlandino to the Furioso, 326;
the Maccaronea, 337;
its loss of popularity, 337;
plot of the poem, 337-345;
satire of the monks and clergy, 340;
the Court of Smirna Gulfora and the extirpation of the witches, 344, 348-350;
the Entry into Hell, 350-352;
probability that the poem was written with a serious aim, 352;
the bitterness of the satire increased by Folengo's consciousness of his failure in life, 353 note 1 (cp. 314);
value of the Maccaronea to the student of literature, 353;
the Moscheis, 334 note 2, 354;
the Zanitonella, 354;
written in mockery of the fashionable Arcadian poetry, 224, 354

Folgore da San Gemignano, the question of his date, iv. 54 note 1, 163 note 5;
his Sonnets on the Months and Days, 54-57;
the five Sonnets on the Arming of a Knight, 55 note 1;
passage on the triumph of Uguccione, 163.
(See Appendix ii. vol. iv. for translation of ten Sonnets.)

Fondulo, Gabrino, his massacre of the Cavalcabò family, i. 120;
leader of Condottieri under Gian Galeazzo Visconti, 150;
story of his taking the Pope and the Emperor up the Tower of Cremona, 463 note 1

Fontana, Domenico, his work at S. Peter's, iii. 93

Forgeries, literary, frequency of, at the Renaissance, ii. 156 note 2

Form preferred to matter by the Humanists, ii. 471, 513, 514

Fornovo, battle of, i. 580, iii. 275 note 1

Fortiguerra, Scipione, prefixes a Greek letter to Aldo Manuzio's edition of Aristotle, ii. 382;
a member of the Aldine Academy, 385

Fortini, Pietro, his Novelle, v. 60, 97

Fortunio, Francesco, his suicide during the Sack of Rome, ii. 445

Foscari, Francesco, i. 155;
his policy and execution by the Council of Ten, 215 note 1;
Jacopo, 215;
Marco, his Reports cited, 211 note 2, 221 note 1, 230 note 1, 238 note 1, 597 note 2

Fossa, Evangelista, writer of Maccaronic poems, v. 331 note 2, 332

Fracastorius, his Syphilis, i. 567 note 1, ii. 477-481;
his adulatory verses, ii. 481, 496;
his Veronese birth, illustrating the movement of culture from Tuscany to Lombardy, 506;
his friendship with Berni, v. 363

Fra Moriale, leader of Condottieri, i. 86

Francesco da Bologna (i. e. probably Francia, the painter), cuts the Italian type for Aldo Manuzio, ii. 381

Francesco da Montepulciano, Frate, his preaching at Florence, i. 621

Francia, Francesco, probably identical with Francesco da Bologna, ii. 381 note 1;
religious feeling and beauty of his works, iii. 303;
adhered to the earlier manner of painting, 303, 365

Franciabigio, his frescoes in the Annunziata, Florence, iii. 498 note 1

Francis I. of France, i. 518, 584;
number of Italian artists invited by him to France, iii. 444;
summons Cellini to his Court, 473;
his visit to Cellini, 443 note 1;
his character as described by Cellini, 473;
his patronage of Aretino and presents to him, v. 400, 404

Francis of Holland, his record of the conversations of Michelangelo and Vittoria Colonna, iii. 434, v. 293

Francis, S., his revival of religion, iii. 182 (cp. iv. 296);
contrast of S. Francis and S. Dominic, iii. 205;
his first poetry composed in French, iv. 16;
his Cantico del Sole, 40, 73

Franciscans, the, imprison Roger Bacon, i. 10;
reasons for the popular hatred of them, 459;
their religious poetry, iv. 295;
their quarrel with the Benedictines, v. 325

Franco, Matteo, his quarrel with Luigi Pulci, iv. 431, 455 note 3

—— Niccolò, his relations to Aretino, v. 419, 420;
quarrels with Aretino, 421;
writes satirical Sonnets against him, 381, 421;
composes a Latin Commentary on the Priapea, 421;
taken and hanged, 421

—— Veronica, v. 288

Franco-Italian, the language produced by the mixture of French and Italian, iv. 15, 19

Franzesi, Mattio, his Capitoli, v. 364

Frate di S. Marco, the, his preaching at Milan, i. 620

Frateschi, name of the followers of Savonarola at Florence, i. 529

Fraticelli, the, an heretical sect of the Franciscan Order, i. 9

Frederick Barbarossa, his war with the Lombard cities, i. 63, 64, 67;
his defeat at Legnano, 42, 64, 95

Frederick of Naples, i. 552, 574, 575 note 1

Frederick II., the Emperor, his warfare with the Church, i. 10, 41, 68, ii. 251, iv. 6, 279;
establishes a Saracen colony at Nocera, i. 105, 156 (cp. iv. 280);
began the system of government afterwards pursued by the despots, 105-107;
his terror under excommunication, 133 note 1;
founds the University of Naples and attempts to suppress that of Bologna, ii. 116;
his cultivation of vernacular literature, 251 (cp. i. 10), iv. 6, 21;
Italian testimonies to his character, iv. 21;
probably influenced by political motives in his cultivation of Italian literature, 22;
his temper not in unison with that of his age, 61

Frederick III., the Emperor, i. 100, 163;
story of the Florentine embassy which went to congratulate him, ii. 190;
representation of the Passion in his honour at Naples, iv. 315

Fregosi, the, at Genoa, i. 201;
two Fregosi introduced in Castiglione's Cortegiano, i. 184, v. 257 note 1

Fregoso, Cesare, v. 64

French, widely-spread use of, by medieval Italian writers, iv. 16

Frescobaldi, Matteo, his political poems, iv. 163

Frezzi, Frederigo, his Quadriregio, iv. 168-171;
its confusion of Christian and antique motives, 169

Friola, capture of, i. 108

Froben, John, i. 23;
prints the Greek Testament, ii. 391

Fulvio, Andrea, his Antiquities of Rome, ii. 428

Fusina, Andrea, works in concert with Amadeo at the Certosa, Pavia, iii. 164


GADDI, Cardinal, attacked by Aretino, v. 402 note 1;
makes terms with him, 402

Gaddi, the, scholars of Giotto, iii. 197, 226

—— Gaddo, supposed to have worked on the frescoes of Assisi, 196;
Taddeo, his work as architect at Orsammichele, Florence, iii. 124;
the painter of the Triumph of S. Thomas Aquinas, in S. Maria Novella, 205 note 1

Galileo, his services to modern science, i. 29, v. 518;
his trial before the Inquisition, v. 462 note 1, 478

Gallo, Antonio di San, iii. 76, v. 505;
his skill in military engineering, iii. 86;
his work at S. Peter's, 91, 398;
Giuliano di San, ii. 431, iii. 76;
his work at S. Peter's, iii. 91;
Francesco di San, his letter on the discovery of the Laocoon, ii. 431

Gambacorti, the, of Pisa, their rise to power, i. 114;
their downfall, 147

Gambara, Veronica, her virtues, v. 289;
her poems, 289;
society gathered round her, 289;
her correspondence with Aretino, 408 note 1

Gandia, Duke of, son of Alexander VI. by Vanozza Catanei, i. 419;
story of his murder, 424

Garfagnana, Ariosto's governorship of, iv. 500-502, 514

Garofalo, Benvenuto, character of his paintings, iii. 502

Garter, the, conferred on Frederick of Urbino by Henry VII., i. 181;
on Guidobaldo, his son, ii. 420

Gasparino da Barzizza, the initiator of Latin epistolography, ii. 107, 531;
his position at Milan, 266

Gasparino of Verona, his panegyric of Alexander VI., i. 408

Gaza, Theodorus, translates Aristotle's History of Animals, for Nicholas V., ii. 229;
joins in the controversy of Bessarion and Trapezuntius, 248

Gelati, the, an Academy at Bologna, ii. 366

Gelli, his Comedies, v. 124, 146 note 1, 181, 186, 187;
took Machiavelli as his model, 187

Generosity, admiration of the Italians for this virtue, iv. 356

Genezzano, Fra Mariano da, preaching of, i. 506, 522

Gennadius, Patriarch of Constantinople, his controversy with Gemistos Plethon, ii. 209

Genoa, annexed to the Milanese, i. 136, 568;
Constitution of 1528, 201;
intellectual and artistic backwardness of Genoa, ii. 212, iii. 181 note 1, v. 497;
building of the Mole and Aqueduct at Genoa, iii. 42;
architecture of the Genoese palaces, 59, v. 498;
the Genoese painters, v. 498

—— S. Maria di Carignano, iii. 96

Gentile da Fabriano, his studies in natural history, iii. 226;
peculiarities of his genius, 238;
his power of colouring, 349

Gentile, Girolamo, his attempt against Galeazzo Sforza, i. 168

Gentleman, notion of the gentleman formed by Italians, i. 184-189, 192, ii. 408

Ghibellines and Guelfs, quarrel of, i. 38, 61, 69, 70, 71, 72, 73, 74, 80, 95, 101, 206, 221, 584, ii. 57, iv. 159-164, 367

Ghiberti, Lorenzo di Cino, cited for the enthusiasm of sculptors over the remains of ancient art, ii. 432, iii. 134;
his work as a bronze founder in Italian churches, iii. 78 note 1;
his treatment of the story of the creation of Adam and Eve, 118 note 2, 130;
his designs in competition for the Baptistery Gates at Florence, 127;
criticism of his model, 129;
his introduction of picturesque treatment into sculpture, ii. 8, iii. 132, 141;
reckons in his commentaries by Olympiads, iii. 135;
not really affected by the Paganism of the Renaissance, 135

Ghirlandajo, Domenico, his influence over Benedetto da Maiano, iii. 160;
his great qualities and prosaic plainness, 161, 258-261, 262

Ghislieri, a poet of Bologna, iv. 48

Giacomini, Antonio, aids Machiavelli in his plan for a national militia, i. 313 note 1

Giacomino, Fra, his works written in a North Italian dialect for popular use, iv. 34

Giacomo of Florence, his wood-panelling at Urbino, iii. 78 note 2

Giamboni, Bono, reputed author of many early popular Italian works, iv. 129;
translates Latini's Tesoro into Italian, 130

Gianni, Lapo, comparison of his Amor eo chero with Folgore's Poems on the Months, iv. 56 note 1

Giannotti, Donato, on tyrannicide, i. 169;
on citizenship, 196 (cp. iii. 55);
influenced by Aristotle, i. 197 note 1, 250 note 1;
his translation of the word ηθος, 200 note 1;
assigns to Savonarola the authorship of the Florentine constitution, 202 note 2;
his estimation of the population of Venice, 210;
cited for the factions of Siena, 207 note 2;
cited, 216 note 1, 217 note 1;
his description of the corruption of the State of Florence, 231;
his admiration of the Venetian polity, 234;
cited for the trading spirit of Florence, 238;
his Florentine History, 278;
his democratic spirit, 280;
his advocacy of the Governo Misto, 283;
cited for Italian notions of honour, 485 note 1

Giano della Bella, i. 225 note 1

Giasone de Nores, his panegyric of Trifone (in the Commentary on the Ars Poetica), v. 253 note 1

Giberti, Giammatteo, made Bishop of Verona by Clement VII., ii. 403;
his patronage of Berni, v. 357, 390 note 1;
his animosity against Aretino, 390;
becomes reconciled to him, 402 note 1

Gieremei, Bonifazio, i. 74

Giocondo, Fra, his collection of Roman inscriptions, ii. 429;
his work at S. Peter's, iii. 91

Gioja, said to have discovered the compass, i. 29

Giorgi, Marino, Venetian ambassador, cited for Leo's 'Let us enjoy the Papacy,' i. 437;

for the refusal of Giuliano, Duke of Nemours, to take the Duchy of Urbino, 438 note 1

Giorgio, Francesco di, architect of palaces at Pienza, iii. 75

Giorgio, Francesco di, cited for the character of Frederick, Duke of Urbino, i. 176 note 1

Giorgione, greatness of his genius, iii. 366;
fate of his works, 366;
his power in depicting tranquillised emotion, 367

Giottino, the scholar of Giotto, iii. 197

Giotto, the Campanile at Florence, iii. 63, 190, iv. 251;
his work in S. Francis', Assisi, iii. 117, 190, 195;
his genius pictorial, 120, 177;
story of Cimabue's finding him, as a child, drawing, 190, 191;
amount of his work, 190;
his fidelity to nature, 191;
advances made by him in painting, 192;
his power of representation, 193;
excellence of his allegories, 194;
mention of him by Petrarch, 217 note 1;
influenced by Dante, 283 note 2;
his ode on Poverty, iv. 39 note 1, 243 (cp. iii. 124, 194)

Giovanni da Capistrano, Fra, i. 490;
his preaching at Brescia, 615

Giovanni da Imola, his salary from the University of Padua, ii. 122

Giovanni da Ravenna, Petrarch's secretary, ii. 98;
the first of the vagabond Humanists, 99;
his influence, 100

Giovanni, Ser (of Florence), his Novelle, iv. 150;
called his work Il Pecorone, 150;
poverty of the framework of the Novelle, 151;
their antiquarian interest, 151;
one novel the source of the Merchant of Venice, 152 note 1;
revision of the Novelle by Domenichi, 152 note 2;
Giovanni as a poet, 152

Giovanni da Udine, the scholar of Raphael, iii. 490

Giovanni, Fra, da Verona, his work as a wood-carver at Monte Oliveto and Naples, iii. 78 note 2

Giovio, Paolo, his description of Azzo Visconti, i. 134;
of Gian Galeazzo, 141, 142 note 1;
of the marriage of Violante Visconti, 138;
his conception of history, 249 note 2;
his untrustworthiness, 292 note 2, ii. 354 note 1, 417, 512;
his account of Machiavelli's education, 310;
praises the massacre of Sinigaglia, 324;
his criticism of Machiavelli's Art of War, 330;
believed that Alexander VI. died of poison, 429, 430;
on Lodovico Sforza, 547 note 2;
on Poliziano's personal appearance, ii. 350 note 1;
his account of Poliziano's death, ii. 354 note 1;
his description of Poliziano's poetry, iv. 407;
made Bishop of Nocera, ii. 402, 417;
his versatility of talent, 417;
his criticism of Navagero, 485 note 3;
relates that Navagero suffered from atra bilis, 487;
his confession that culture had left Italy, 544;
his correspondence with Aretino, v. 410 note 1;
relates that Pomponazzi was ignorant of Greek, 459

Giraldi, Giovanbattista. (See Cinthio.)

Giunta of Pisa, said to have worked on the frescoes of Assisi, iii. 196

Giunta, the Roman printer, his piracies on Aldo Manuzio, ii. 379 note 2;
publishes the Lysistrata and Thesmaphoriazusæ of Aristophanes, 382

Giunti, the, printers at Venice, v. 374;
Giunta prints the mutilated version of Boiardo's rifacimento of the Orlando Innamorato, 374;
acknowledges the fact of the mutilation in a second edition, 374, 377

Giulio Romano, his decoration of the Palazzo del Te, ii. 440, iii. 83, 492, iv. 403, v. 389;
his architectural work at Rome, iii. 83;
his superintendence of S. Peter's, 91;
the only great master produced by Rome, 184;
his occasional coarseness and vulgarity, 454, 492;
driven from Rome for designing a series of obscene figures, v. 389

Giustiniani, the, their patronage of learning at Venice, ii. 212

—— Venetian ambassador, his testimony to the death of Alexander VI. by apoplexy, i. 430;
mentions the legend that Alexander had sold his soul to the devil, 431;
Lionardo, procures Filelfo a Secretaryship at Constantinople, ii. 267

Giusto de' Conti, his Canzoniere, iv. 165

Gli Otto, name of Council in some Italian cities, i. 35

Goldsmith's work, all the earlier Florentine artists served an apprenticeship to this art, iii. 124, 442

Gonfaloniere di Giustizia, a name of office in some Italian cities, i. 35;
at Florence, 224

Gonzaga, the, at Mantua, i. 145;
how they became tyrants, 112, 148 note 1;
members of this family become Condottieri, 161;
distinguish themselves at Fornovo, 580 note 1

—— Alessandro, educated by Vittorino da Feltre, 177, ii. 297;
Camilla, Molza's attachment to her, v. 226;
Cario, the pupil of Vittorino da Feltre, ii. 293;
betrays Milan to Sforza, 281;
Cecilia, educated by Vittorino da Feltre, i. 177, ii. 297;
Cesare, v. 122;
Elisabetta, i. 182, 184;
Francesco, (1) 147;
commands at Fornovo, 580, iii. 275 note 1;
letter of, to his wife, quoted for the account of Alexander VI.'s death, i. 431 note 1, 432;
(2) Cardinal, his patronage of scholars, ii. 404 (cp. iii. 277 note 1);
causes Poliziano to write the Orfeo, iii. 277 note 1, iv. 411;
(3) a wild libertine student at Bologna, v. 312, 314;
Gian Francesco,
(1) his murder of his wife, i. 119 note 2;
(2) summons Vittorino da Feltre to Mantua, 176, ii. 291, 295;
Gianlucido, educated by Vittorino da Feltre, i. 177, ii. 297;
Isabella, her reception at Rome by Leo X., v. 146;
Lodovico, the pupil of Vittorino da Feltre, ii. 291, iii. 276;
his reception of Filelfo, ii. 285;
invites Mantegna to Mantua, iii. 276;
Lucrezia, Bandello her tutor, v. 64, 65;
Ugolino, i. 134;
his murder, 119 note 2

Gorboduc, tragedy of, praised by Sir Philip Sidney, v. 132 note 1;
illustrates the character of the Italian tragedies, 136

Gorello, Ser, quoted for the character of Bishop Guido Tarlati of Arezzo, i. 83

Goritz, John, why called Corycius, ii. 397;
his entertainments of the Roman Academy, 409;
his sufferings in the Sack of Rome, 444

Gothic architecture, its rarity in Rome, iii. 46;
never understood by the Italians, 50, 66, 69, iv. 345, v. 505

Gothic, Italian, its mixed, exotic character, iii. 50;
its relations to Northern styles, iv. 312

Goths, policy of the Goths in Italy, i. 94

Governo Misto, the ideal government of Italian statesmen, i. 283, 306, ii. 319

Gozzoli, Benozzo, his repetition of Traini's Triumph of S. Thomas, iii. 208;
character of his genius, 241 (cp. iv. 261 note 2, 372, 463);
various works of his, 242;
his excellence in portraying idyllic subjects, 243;
employed by Cosimo de' Medici to paint his private chapel, 263

Gran Consiglio, in Italian cities, i. 35, 57, 71

Granacci, Francesco, Michelangelo's friend in boyhood, iii. 386

Gravina, praised the Italia Liberata of Trissino, v. 307

Graziani, quoted for the preaching of San Bernardino, i. 613;
for Fra Jacopo and Fra Roberto da Lecce, 614

Grazzini, Antonfrancesco. (See Lasca, Il.)

Greece and Italy, contrasts and resemblances of, i. 195, 205, 237, ii. 4, 10, 16, 43, 513, iii. 1, 121, 355, 410-412, iv. 45, 117, v. 112;
contrast between Greek and Christian religious notions, iii. 12, 136

Greek, utter ignorance of, in the Middle Ages, ii. 66, 94;
importance of the study of Greek, 112;
probability that the lost Greek classics perished before the fall of Constantinople, 141;
impression produced by the Greek visitors to the Council of Florence, 197;
Greek studies owed less to the Byzantine than to the Italian scholars, 197, 250;
the first Greek books printed in Italy, 368, 375, 377, 382, 405 note 1;
the first in Northern Europe, 391 note 2;
Greek hardly studied in Italy by the end of the sixteenth century, 543

Greene, Robert, the dramatist, quoted for Italian immorality, i. 473

Gregoropoulos, John, the reader in Aldo Manuzio's Greek Press, ii. 378;
a member of the Aldine Academy, 387

Gregory the Great, i. 50;
his contempt for grammatical correctness, ii. 61

Gregory VI., i. 59

Gregory VII. (See Hildebrand.)

Gregory IX., war of, with Frederick II., iv. 279

Gregory XI., 113 note 1

Gregory XII., makes Antonio Losco Apostolic Secretary, ii. 218

Gregory of Tours, cited for medieval contempt of antiquity, ii. 60

Gritti, Andrea, Doge of Venice, his patronage of Aretino, v. 395;
Luigi (son of the Doge), gives Aretino a pension, 395

Grocin, his endeavours to introduce the study of Greek into England, ii. 388, 391

Guardi, his sketch of a Masked Ball in the Council Chamber, Ducal Palace, Venice, iii. 358

Guarini, Battista, shows the completion of the Italian reaction against the middle ages, v. 244;
the Pastor Fido with Tasso's Aminta the perfection of the Italian pastoral drama, 114, 223, 241, 511;
essentially lyrical nature of the Pastor Fido, 242;
its central motive the opposition of an ideal world of pleasure to the world of facts and laws, 242

Guarino da Verona, the tutor of Lionello d'Este, i. 171, 173, ii. 299;
a scholar of Giovanni da Ravenna, ii. 100;
brings Greek MSS. to Italy, 141, 267;
obliged to leave Florence by Niccolò's opposition, 182;
his translation of Strabo, 228;
his quarrels with Poggio and other scholars, 240, 301;
his praise of Beccadelli's Hermaphroditus, 255, 301, 514;
his friendship with Filelfo, 267;
his success as a teacher at Ferrara, 300 (cp. 473, 537);
his nobility of character, 301, 523

Gubbio, the Pottery of, i. 80

Gucci, Agostino di. (See Duccio, Agostino di.)

Guelfs and Ghibellines, quarrel of, i. 38, 61, 69, 70, 71, 72, 73, 74, 80, 95, 101, 206, 221, 584, ii. 57, iv. 159-164, 367

Guicciardini, Francesco, his life and character, i. 295-301;
pleads the cause of Alessandro de' Medici before Charles V., 232, 280, 298;
his services to the Medici, 280, 285, 297;
his cynicism, 278, 291, 302, v. 446;
portrait of him in Ariosto's Satires, iv. 515;
comparison of Guicciardini and Machiavelli, v. 446;
differences of opinion between Guicciardini and Machiavelli, i. 44, 45 note 1, 91;
the Comment on the Discorsi of Machiavelli, 306 note 2;
the Governo Misto (cp. passage cited from the Reggimento di F., 306);
the decay of Italy due to the Papacy, 451 (cp. passage cited from the Ricordi, 382, 452);
the Istoria d'Italia, 300-303;
the murder of Manfredi, 428 note 1;
the death of Alexander VI, ascribed to poison, 429;
the joy in Rome at Alexander's death, 431;
character of Julius II., 434 note 1, 552 note 3;
the effect of the murder of Gian Galeazzo Sforza, 480 note 2, 556;
character of Charles VIII., 540, 547;
of Lodovico Sforza, 548 note 2;
the French invasion, 549, 582;
believes that it was guided by Providence, 553 note 1;
the reception of Charles at Naples by Pontanus, ii. 363;
the Reggimento di Firenze, 304-308;
the ideal government of Florence, 223 note 1;
the motives of tyrannicide, 169;
the corruption of Florence, 229;
the Venetian polity, 306;
his admiration for Venice, 234, 299;
the Governo Misto, 306 (cp. passage cited from the Reggimento di F., note 2);
the account of Savonarola, 304 (cp. passage cited from the Storia Fiorentina, 308, 512 note 1);
the Ricordi, 308, v. 446, 519;
the disunion of Italy, 92 note 1;
'the blood of the citizens the mortar of tyranny,' 131, 298 note 2;
the faults of democracy, 306 note 1;
use of the word popolo, 306;
Guicciardini's conception of history, i. 249 note 2;
the faith of the Florentine patriots in Savonarola during the siege, 284 note 1, 536 note 2;
the character of the Medici, 298 note 2, 299 note 2;
the decay of Italy due to the Papacy, 382, 452 (cp. passage cited from the Comment on the Discorsi of Machiavelli, 451);
the balance of power created in Italy by Lorenzo de' Medici, 404 note 2;
the Storia Fiorentina, 278, 279, 308;
the suspicious temper of Lorenzo de' Medici, 119 note 1;
his sensuality, iv. 385 note 1;
his policy, 386;
policy of Cosimo de' Medici, i. 229 notes 1 and 2, ii. 170 (for the Medici cp. also i. 298 note 2, 299 note 2);
the account of Savonarola, i. 308, 512 note 1 (cp. passage cited from the Reggimento di Firenze, i. 301);
character of Alexander VI., i. 412, 417 note 1 (see also Appendix iii. vol. i.)

Guicciardini, Luigi, his account of Clement's behaviour at the sack of Rome, 444

Guicciardini, Francesco and Luigi, mentioned together, i. 197 note 1, 203 note 1, 230

Guidalotto, Francesco, murders Biordo Michelotti, i. 148 note 2

Guidicci, Mario, his Dissertations on Michelangelo's Sonnets, v. 297

Guidiccioni, Giovanni, Bishop of Fossombrone, his letters, quoted for the profligacy of Rome, i. 446 note 1, 459 note 2, v. 190, 387 note 1;
his Poems, their patriotic feeling, v. 282, 520;
Gyraldus' criticism of them, 282;
translation of a sonnet, 282;
his correspondence with Aretino, 410 note 1

Guido delle Colonne, iv. 5 note 1, 25

Guido da Siena, the earliest of the Sienese painters, iii. 214

Guidotto, of Bologna, iv. 48;
reputed author of many early popular Italian works, 129

Guilds, their importance in Italy, i. 72, 72 note 1

Guinicelli, Guido, his services to Italian poetry, iv. 46;
Dante's praise of him, 47;
his treatment of love, 61

Guiniforte (son of Gasparino da Bartizza), tutor of Francesco Sforza's children, ii. 266

Guinizzi, family of the, at Lucca, i. 148

Guittone of Arezzo, importance of his Epistles in the history of Italian prose, iv. 36, 45, 130;
his Poems mentioned with contempt by Dante, 46;
his religious poems, 73

Gyraldus, Lilius, on the Academy of Naples, ii. 365;
cited for the purism of Italian scholars, 398;
teacher at the High School of Ferrara, 427, 506;
his criticism of Poliziano's Sylvæ, 459;
of Sannazzaro's De Partu Virginis, 469 note 1;
of Bembo's Latin verses, 484;
of Guidiccioni's Poems, v. 282;
his attack on the Humanists, ii. 518, 530;
his denunciations of the immorality of the Italian stage, v. 192


HADRIAN, Cardinal, concerned in Pitrucci's conspiracy, i. 437

Hæmatomania, i. 109 (see Appendix i. vol. i.)

Hawkwood, John, Sir, i. 113 note 1, 362

Hegel, his criticism of Machiavelli's Prince, i. 367;
his saying that architecture preceded the other arts, iii. 40

Henry II. of France, appoints Bandello bishop of Agen, v. 64

Henry VII. the Emperor, marches into Italy, i. 76;
his death, 77, 80

Henry VII. of England, confers the Garter on Frederick of Urbino, i. 181;
on Guidobaldo, his son, ii. 420

Henry VIII. invites Torrigiano to England, iii. 444;
makes a present to Aretino, v. 405

Henry the German, an early printer, ii. 376

Heribert, Archbishop of Milan, i. 58

Heywood, the Challenge for Beauty quoted for the character of Italian plays, v. 111 (cp. 189)

Hildebrand, made Pope, i. 59;
declares war on the Empire, 60;
his arrogation of spiritual autocracy, 411

Historians, the Florentine, i. 246 foll. (see also under the names of the various writers);
contrast of the Historians of the Renaissance period with the earlier writers, 278

Hobbes, his saying about the Papacy quoted, i. 6

Hohenstauffen, war between the House of Hohenstauffen and the Papacy, i. 59, 60, 68, 74, 100, 374, ii. 251, iv. 6 (see also Frederick II.)

Honor, Italian notions of, i. 481, 485, v. 242, 520

Honorius, his retirement to Ravenna, i. 46

Howell, quoted for the English opinion on Italy, i. 472 note 2

Human Life, medieval conception of, i. 10, 13, 14, iv. 289, v. 454, 455, 456

Humanism, definition of the word, ii. 71;
four periods of Italian Humanism, ii. 160-162, 310, 393, 440, 517;
Humanism a revival of Latin culture, and little affected by Greek models, v. 132 note 1, 509;
Italian tyrannicide and the Reformation had their origin in Humanistic liberty, i. 465-468, v. 414

Humanists, the, persecution of the Roman Humanists by Paul the Second, i. 384 note 1, 386, 387, ii. 36, 511;
their quarrels, ii. 237-245, 264, 511, iv. 431 note 1, 451, v. 89, 285;
formed a class by themselves, ii. 216, 510, 543, iv. 366;
their flatteries of the great, ii. 492, 496, 512, 514, iv. 367, 405;
their pretensions and vanity, ii. 511, 521, iv. 405;
their employment of invective, ii. 512 (cp. i. 387), v. 393;
their resemblance to the Greek sophists and rhetoricians, ii. 513;
emptiness of their works from their preference of form to matter, 514, 530, v. 247, 264;
came to be considered the corrupters of youth, ii. 515;
universal bad opinion of them, 518 (cp. the passages from Maccaronic writers, v. 331-333);
injury occasioned to their character by their vagrant habits, ii. 520;
their irreligion and licentiousness, 520;
the better characters among them, 523;
the real value of their works, 524;
their study of style, 525;
their letter-writing, 532;
services rendered by their erudition, 533;
aided in diffusing a liberal spirit, 535;
their influence on modern education, 536;
the services rendered by them to Italy, iv. 367;
effect of their labours in preparing for the growth of Italian literature, v. 496

Hussites, the, i. 9

Hutton, Von, Ulrich, i. 27, 437

Hypnerotomachia Poliphili. (See Colonna, Francesco.)


I NOVE, name of governing body at Siena, i. 35, 208

Ibrahim ibn Ahmed. (See Appendix i. vol. i.)

Ibycus, lines on Peace translated, iv. 52

Il Grasso, Legnaiuolo, the metrical version of the novel so called, iv. 253

Ilaria del Carretto, her monument in the Cathedral, Lucca, iii. 132, 165

Illicini, Bernardo Lapini, his Commentary on Petrarch's Trionfi, v. 99;
his Novella of Anselmo Salimbeni and Carlo Montanini, 99-101

Imperia, la Bella, v. 288;
epitaph upon her, ii. 406 note 1

Incogniti, the, an Academy at Naples, ii. 366

Infessura, Stefano, quoted, i. 22;
cited for the stories about Sixtus and Alexander, 388 note 1;
quoted about the sale of offices by Sixtus, 394 note 1;
upon his avarice, 395 note 1;
upon his cruelty and sensuality, 395 note 2;
about the Papacy of Innocent VIII., 404 note 1, 405 note 1, 405;
for the immorality of Rome, 474 note 2

Informi, the, an Academy at Ravenna, ii. 366

Ingannati, Gli, Comedy of, v. 72 note 1, 123

Inghirami, Tommaso, his rise into greatness, ii. 403 (cp. v. 139);
made Librarian of the Vatican, ii. 424;
Professor in the Sapienza at Rome, 427

Innocent III., war of, with Frederick II., iv. 279

Innocent IV., establishes the University of Piacenza, ii. 117

Innocent VIII., i. 113, ii. 359;
his additions to the Vatican, i. 384 note 1;
employs Mantegna to paint his chapel there, iii. 277;
his Bull against witchcraft, i. 402 note 1, v. 347;
his pontificate, i. 403-406;
his monument by Antonio del Pollajuolo, 415, iii. 147;
his detention of Prince Djem, i. 415, 461;
appoints Bruni Apostolic Secretary, ii. 218;
his destruction of ancient monuments at Rome, 430

Inquisition, the, foundation of, i. 399

Insensati, the, an Academy at Perugia, ii. 366

Instabili, the, an Academy at Bologna, ii. 366

Intronati, the, an Academy at Siena, their performance of the Masque El Sacrificio, v. 143 note 2;
volume published by them on the quarrel and reconcilement of Aretino and Albicante, v. 420

Invention, effect of the progress of inventions on the Renaissance, i. 3, 29

Investitures, War of, i. 59, 60, 97, iv. 7, 13

Isabella of Aragon, i. 555

Istoria Bresciana, cited, i. 615 note 2

Italy, Italians:

divergent character of the Italian cities, 34, 35, iii. 43, 181, iv. 361, v. 137;
reasons why the Italians failed to attain political unity, i. 90, 98, iii. 261, iv. 5;
their dislike to monarchy, i. 92, 369, v. 503, 504;
feudalism alien to their temper, i. 42, 58, 61, 62, 100, 359, 484, ii. 3, iii. 51, iv. 6, 7, 27, 44, 73, 140, 405, 426, 459, v. 492, 503, 505, 524, 530;
their estimation of tyrannicide, i. 169, 464;
their notions of nobility, 186 note 1;
their tendency towards despotism, 190;
had no conception of representative government or confederation, 196, 211, ii. 3 (cp. v. 438), v. 495;
did not aim at national independence, i. 457, ii. 509;
their civilisation in advance of that of Northern Europe, i. 100, 260, 586, iii. 42, v. 50;
Italian ideas about the Pope, i. 418, 462-464, iii. 471;
reasons why the Italians held to the Papacy, i. 470, iv. 438;
their attachment to the Imperial idea, iv. 438;
independent attitude of the Italians to the Empire and Church, v. 502, 524;
ready means of intercourse between the Italian provinces in the middle ages, iv. 270;
the local divisions of Italy a source of intellectual strength as well as political weakness, ii. 8, iv. 493, 518;
the modern development of the Italians precocious and never matured, i. 495, iv. 146;
their ignorance of the power of the Northern nations, i. 538;
the Italian lower classes welcomed the French invasion, 549 note 1, 583 note 2;
Italy 'revealed to the North' by the invasion, 583;
fascination exercised by Italy over the Northern fancy, 119 note 2, v. 117;
complete change in Italy between 1375-1470, iv. 366;
confidence of the Italians at the Renaissance in the fortune of the age, ii. 208, iv. 396, v. 281, 522;
physical and ethnographical character of the Italians, i. 12, ii. 24, v. 500;
persistence of the Italic type through all historical mutations, v. 501-504, 509;
hold retained by their past history upon the Italians, ii. 30, 56, 505, iv. 5, 7, 11, 141, 187 note 1, 242, 273, v. 492;
essential unity of the Italian nation, i. 32, 42, 47 note 1, 54, 65;
formation of the national character, 100, ii. 1-4. iv. 146, v. 505;
preoccupation of the Italians in the middle ages with the idea of death, iii. 198, iv. 74;
Italian morality at the Renaissance, i. 323, v. 365;
morality and religion disunited in Italy, i. 174 note 1, 433, 447, 462, ii. 234, 257, iii. 451;
material and irreligious temperament of the Italians, i. 454, 490, 493, ii. 17, 205. iv. 10, 39, 128, 140, 146, 426, v. 114, 486, 504, 509, 514;
difference of their religious feelings from those of Northern nations, iv. 306, 323, v. 486, 514;
decay of religious feeling in Italy between the time of Dante and Poliziano, iv. 207, v. 194, 493, 516;
unwillingness of Italian thinkers to break with Catholicism, i. 454, v. 293;
Italian passion for reliques, i. 461;
defects of their imagination, iv. 249, 253, 273, 343, v. 18, 504, 509, 514;
reasons for these defects, iv. 344;
character of the Italian imagination illustrated from the Sacre Rappresentazioni, 347;
lack of sterner passion in the Italian æsthetic temperament, v. 114 (cp. 515);
organising faculty of the Italians, 504, 513;
foreign judgments of Italian morality, i. 472, ii. 408;
anomaly of the corruption of Italy while the arts and literature were at their height, v. 494;
profligacy of the Italians, i. 474 (cp. Bandello's Apology for his Novelle, v. 76, and the Analysis of Machiavelli's Mandragola, v. 165-170);
their addiction to unnatural vices, i. 476;
their cruelty and debauchery, 476-479;
their love of poisoning and assassination, 480, v. 523;
their notions of honour and female fidelity, i. 481-486 (cp v. 163 note 1);
their admiration of generosity, iv. 356;
the Italians had not adopted chivalry, i. 359, 482, iv. 6. 27, 44, 60, 73, v. 13, 505;
character of the bourgeoisie as drawn in Italian comedies, v. 183;
refinement and toleration of the Italians, i. 486-488, ii. 14, 408;
cosmopolitan nature of their ideals, ii. 15, 55, iv. 184;
the art of conversation invented by the Italians, ii. 34;
free play given to personality in Italy, i. 488, ii. 3, 4, 6;
superior morals of the lower classes illustrated from Italian art, i. 488-490;
the same fact proved by contemporary biographies and memoirs, v. 190;
revivalism in Italy, i. 490 (see Appendix iv. vol. i.; also Flagellants and Laudesi);
Italian architecture local rather than national, ii. 5, iii. 45;
Gothic architecture never fully understood in Italy, iii. 51, 66, 69, iv. 345, v. 505;
Italian feeling for spatial proportion in architecture, iii. 67;
reasons why the Italians succeeded better in sculpture and painting than architecture, ii. 7;
Italian genius best shown in painting, iii. 5, 31, v. 495;
universal feeling for art in the Italians, iii. 1, 4;
their æsthetic enthusiasm, 3;
their innate susceptibility to beauty, iv. 242, v. 526;
the Italian artists were contented to work out old motives, iii. 118, v. 6;
Italian love of cultivated landscape beauty, v. 196, 511;
the cosmopolitan culture of the Italians implied some sacrifice of national personality, ii. 9, 394, v. 137;
the Italians contented to accept the primacy in culture instead of national independence, ii. 39, 475;
respect of the Italians for culture, iv. 447;
Italian unity only attained in literature and art, iii. 261, iv. 147, 367, v. 137, 248, 495;
the recovery of the classics equivalent to the recovery of national consciousness in Italy, iv. 142, v. 505;
the Roman element in Italian genius, v. 501-516;
persistency of the Italians in carrying out the Revival, ii. 509, v. 505, 525;
injurious effects of the Revival upon them, ii. 516, v. 193;
decay of learning in Italy, ii. 540, v. 480;
the Italians cease to study Greek, ii. 543;
work achieved by the Italians in educating the Northern nations, 544, v. 530;
attention paid by the Italians to biography, ii. 35;
their susceptibility to rhetoric, 149, 190, 216, 513, 525, iii. 3, v. 512;
questioning spirit of the Italian intellect, iv. 448, v. 500;
contempt of the early Italian scholars for Italian, ii. 448, 532 note 1, iv. 4, 7, 143, 176, 234-238, 365, v. 137, 247, 506, 508;
growth of Italian out of Latin, iv. 28-32;
the development of Italian slower than that of other modern languages, 3-8;
Italian superseded French as the literary language in the middle of the thirteenth century, 20;
character of the various Italian dialects, 30;
early popular works in the dialects, 34, 129;
artificial character of the Italian literary language, ii. 448, iv. 8, v. 246;
revival of Italian in the fourth period of culture, ii. 393, iv. 3, 365, v. 246;
manner in which Tuscan was made into the standard Italian, iv. 33, v. 246, 508;
problem presented by language to the writers of Italian, v. 247;
Petrarch and Boccaccio taken as models, iv. 164, v. 248;
manner in which their influence was injurious,
(1) the imitation of Petrarch's affectation and melancholy, v. 249-251;
(2) of Boccaccio's ornate and complicated style, 251 (cp. iv. 136);
effect of purism on Italian literature, v. 256-258;
false position of the Petrarchisti, 249, 520;
they show no sympathy for the calamities of Italy, 281, 522;
erroneous conception of poetry implied in Petrarchism, 273;
want of a natural means of expression in the Petrarchisti, 250;
the unity of Italy is now producing a common Italian, ii. 450, v. 270;
Italian literature brought to perfection between 1300 and 1530, iv. 1;
subdivisions of that period, 1;
positive spirit in which the Italians treated ancient legends and sagas, 5, 11;
effect produced by their free political life on early Italian writers, 8;
degree of superiority in the use of Latin obtained by medieval Italian writers, 9;
effect of Provençal and French literature on the Italians, 13 foll.;
the Italian hendecasyllabic, 24 (see also Appendix i. vol iv.);
history of the ottava rima, 25, 308;
effect on Italian literature produced by the want of a central Court, 33, 365, v. 112, 257;
origin of Italian prose, iv. 35, 128;
inferiority of the first attempts, 130;
beginnings of Italian poetry, 37;
the modern Italians never had a national Epic, ii. 4, iv. 5, 7, 244, v. 503;
general absence of Ballad poetry in Italian, iv. 37 (cp. 251), 274, v. 11;
exceptions to this, iv. 274;
early poems treating of obscene subjects, iv. 38, v. 356 note 1;
Italian literature in the middle ages created no feminine ideal like those of the old romances, iv. 63;
Italian prose-writers of the Trecento, 131;
exaggerated admiration of modern Italians for the Trecentisti, 132, v. 270;
importance of the Quattro Cento in Italian literature, iv. 147;
sentiment of disappointment and despair common to the later Trecentisti, 165;
employment of the terza rima by the poets after Dante, 166, 172;
materials afforded for studying the growth of Italian prose by familiar letters, 175, v. 262;
improvements effected in Italian prose by the popular writers of the Quattro Cento, iv. 240;
appreciation of the great Italian poets by the mass of the people, 241;
popular poems upon contemporary events during the Quattro Cento, 255;
erotic spirit of Italian hymns, 305;
rarity of Miracle Plays in Italy, 306;
their place supplied by Divozioni and Sacre Rappresentazioni, 307;
the best manner of dealing with Italian literature between 1470-1530, 359 foll.;
typical men of genius during this period, 362;
share of the different cities in literature, 364-366;
degeneracy of Italian poetry during the Renaissance, 404, 463;
the classification of the Italian narrative poems, v. 3;
the literature of the Cinque Cento influenced by the manners of the bourgeoisie, 52;
injury occasioned to Italian literature by the absence of a general public, 52, 190 note 2;
number of popular works issued by the Venetian press, 96;
burlesque considered as a counterpoise to serious poetry in Italy, 310, 382;
survival of ancient satiric humour in Italy, 512 (cp. 366);
no great satire produced by the Italians, 512;
burlesque poetry in Italy a medium for free thought, 311, 315;
association at the Reformation of Lutheran opinions and immorality in Italy, 325;
number of Italian poetesses, 287;
identity of male and female education in Renaissance Italy, 287 note 1;
comparison of Italian and Latin art and literature, 509-514;
Italian love of didactic poetry, 512;
general characteristics of Italian literature, 518;
results achieved by the Italians during the Renaissance, 526


JACOPO DEL BUSSOLARO, Fra, preaching of, i. 490, 610, 611

Jacopo da Lentino, iv. 25, 43, 60

Jacopo della Marca, Fra, preaches at Perugia, i. 491, 613

Jacopone da Todi, the legend of his life, iv. 285-289;
his Italian hymns, 40, 283;
their ecstatic spirit, 284;
their simplicity, 284;
specimens of them, 289-292;
the Dialogue between Mary and Christ on the Cross, 292-295, 309;
many of the hymns ascribed to him belong to his followers, 295;
specimens of these, 297-302;
his saying about Boniface VIII., 289. (See Appendix iv. vol. iv. for translations.)

Jenson, Nicholas, joins John of Spires as printer at Venice, ii. 369

Jerome of Prague, Poggio's description of him at the Council of Constance, ii. 231, 535

Jeronimo, his preaching at Milan, i. 620

Jews, expulsion of the, from Spain, i. 400

Joachim (of Flora) saying of his, i. 9, iii. 36

Joanna of Naples, i. 361, 574;
married to her nephew Ferdinand, 575 note 1

John of Maintz, early printer at Florence, ii. 369

John of Spires, establishes himself as printer at Venice, ii. 369

John of Vicenza, preaching of, i. 490, 607-610

Jonson, Ben, his Epicœne compared with Dolce's Ragazzo, v. 162 note 1;
may have been partially indebted to Aretino's Marescalco for its humour, 178;
more successful in the fusion of ancient and modern elements than the Italian comedies, 182

Jovius. (See Giovio.)

Jubilee, the (of 1300), iv. 2;
visited by Dante and Villani, i. 253, ii. 144;
(of 1450), i. 377, 378, iv. 173

Julia, corpse of, said to have been discovered on the Appian Way, i. 22, ii. 31, 433

Julius II., i. 157;
character of him by Volaterranus, 389 note 2;
his hostility to the Borgias, 406, 432;
his services to art, 433;
commences St. Peter's, 433, iii. 90, 398;
his policy, i. 434;
contrast of Julius and Leo, 438;
saying ascribed to him, ii. 17;
story of his wishing to be represented with a sword in his statue, iii. 397;
his project for a mausoleum, 398;
his reconciliation with Michelangelo, 401;
his impatience with Michelangelo during the painting of the Sistine Chapel, 407

Julius III., makes Aretino a Knight of S. Peter, v. 404

Justinian, his conquest of Italy, i. 47;
the Code of Justinian enthusiastically studied in medieval Italy, 62


KYDONIOS, Demetrios, ii. 109


LADISLAUS, KING, Filelfo's mission to him on his marriage, ii. 268

Lætus, Pomponius, i. 386;
his relation to the Sanseverini, ii. 33, 359;
his letter to his kindred, 359;
assimilated his life to that of the ancients, 360;
founds the Roman Academy, 361, 409, v. 272;
his apology for his life, ii. 362;
his funeral, 362;
his nobility of character, 523;
causes plays of Terence and Plautus to be represented in the original by the Roman Academy, v. 138

La Magione, the Diet of (the conspiracy against Cesare Borgia), i. 351

Lambertazzi, Imelda, i. 74, 210 note 2

Lampugnani, Giannandrea, one of the assassins of Galeazzo Maria Sforza i. 166

Landi Family, the, at Bobbio, i. 150

Landini, Taddeo di Leonardo, architect at the representation of Cecchi's Elevation of the Cross, iv. 325

Landino, Cristoforo, one of the circle gathered round Lorenzo de' Medici, ii. 322;
his labours as Professor at Florence, 338;
his edition of Dante, 338, iv. 235;
the Camaldolese Discussions, 338-341, iv. 206, v. 451, 455;
his preference of Latin to Italian, iv. 236, 237

Landriani, Gherardo, discovers a MS. of Cicero at Lodi, ii. 140

Langue d'Oc, iv. 13, 14, 16

Langue d'Oïl, iv. 13, 14, 16

Languschi Family, the, of Pavia, i. 145

Laocoon, discovery of the, ii. 415, 431;
description of it, by a Venetian ambassador, 435;
transcends the limits of ancient sculpture, iii. 18

Laonicenus, a Cretan, joint editor of a Greek Psalter, ii. 376

Lapaccini, Fra Giuliano, copies MSS. for Cosimo de' Medici, ii. 174

Lasca, Il, origin, of his nom de plume, v. 79;
depreciates Burchiello in comparison with Berni, iv. 261, v. 362 note 1;
edits the poems of Berni, v. 361;
his collection of Canti Carnascialeschi, iv. 388, v. 79, 356 note 1;
quoted in proof of their invention by Lorenzo de' Medici, iv. 388;
his Cene, v. 79, 80;
introduction to the work, 81;
its obscenity and cruelty, 80-82;
the better stories contained in it, 82;
the Novella of Zoroastro, cited in illustration of Italian witchcraft, 346 note 1;
his criticism of contemporary comedy, 122, 124, 143 note 1, 187;
his comedies, 181

Lascaris, John, his Greek Grammar the first Greek book printed in Italy, ii. 375;
the edition of Vicenza, 376;
his edition of four plays of Euripides, 383 note 1;
a member of the Aldine Academy, 386;
his visits to France, 386, 427;
invited by Leo to Rome, 427;
his epitaph on himself, 428

Lateran, Council of the (1513),
reasserts the Thomistic doctrine on the soul, v. 470

Latin,
the transformation of,
into the modern Romance languages, iv. 28-32;
reasons why the Italian scholars preferred Latin to Italian, ii. 447;
imperfection of their first attempts at Latin versification, 451, 482, 486;
Latinisation of names and phrases by scholars at the Renaissance, 397 (cp. 480 note 2, iv. 120, v. 507)

Latini, Brunetto,
his Tesoro, originally written in French, iv. 16;
translated into Italian, 35, 130;
Dante studies under him, 70;
reputed author of many early popular Italian works, 129

Laudesi, the (Umbrian religious societies),
origin of the name iv. 283;
gave rise by their religious practices to the Divozioni and the Sacre Rappresentazioni, 307

Laudi, the,
popular hymns in Italian, originally produced by the Umbrian religious societies, iv. 40, 283, 302, v. 519;
set to the tunes of popular songs, iv. 263, 305

Laura (daughter of Alexander VI.),
marries Nicolò della Rovere, i. 407 note 1

Laurentian library,
its formation by Cosimo de' Medici, ii. 175;
its architectural features, iii. 87

Lazzari, Bramante. (See Bramante.)

Legates, i. 35

Legnano, battle of, i. 42, 64, 95, iv. 6

Leo III.,
crowns Charles the Great as Emperor, i. 50

Leo IX., 59

Leo X.,
Machiavelli's Discorso sul Reggimento di Firenze dedicated to him, 197 note 1, 203;
his management of Florence in the Medicean interest, 222, 277, 438;
said by Pitti to have wished to give a liberal government to Florence, 288 note 1;
makes Guicciardini governor of Reggio and Modena, 296;
confers the Dukedom of Urbino on his nephew, 322, 438, ii. 420;
his remark on the election of Alexander VI., 409;
on Lionardo da Vinci's love of experiment, iii. 323;
his saying, 'Let us enjoy the Papacy since God has given it us,' i. 437, ii. 17, 412;
his policy, i. 98, 322;
his character, 435, ii. 401, 412;
his extravagance, 436-438;
contrast of Leo and Julius, 438;
his imprimatur to the editors of Tacitus, ii. 40, 425;
Aldo Manuzio's edition of Plato dedicated to him, 379;
his patronage of scholars, 404, 415, 470;
reforms the Sapienza at Rome, 426;
his visit to Florence after his election, iv. 396;

representation of Rucellai's Rosmunda before him at Florence, v. 129;
his sympathy for popular literature, 138 note 1;
theatre built by him at Rome, 144, 147;
his love of plays, 146;
causes the Calandra to be represented before Isabella of Mantua, 146;
Paolucci's account of Leo's behaviour at a representation of the Suppositi, 147;
representations of the Mandragola before Leo, 170, 325 note 1;
his dislike of the monks, 170;
presides over the Lateran Council of 1513, 470;
his doubts upon the Thomistic doctrine of immortality, 471

Leo the Isaurian, i. 50

Leoniceno, Nicolao,
his 'De Morbo Gallico,' i. 567 note 1;
his praise of Aldo Manuzio, ii. 391;
teacher in the High School of Ferrara, 427

Leonora of Aragon,
her reception by Pietro Riario at Rome, i. 390, iv. 315

Leopardi, Alessandro,
his statue of Colleoni at Venice, iii. 78 note 1, 143

Lessing,
his criticism of Ariosto's Alcina, iv. 116, v. 19

Lezia, Virginia Maria,
her trial for witchcraft, v. 346 note 1

Libraries,
formation of the great libraries, i. 21;
smallness of ancient, ii. 127;
first ideas of the formation of a public library, 166;
libraries founded by Cosmo de' Medici, 173-176. (See also Bessarion, Petrarch, &c.)

Ligorio, Piero,
his labours at S. Peter's, iii. 93

Linacre, a pupil of Poliziano and Chalcondylas, ii. 350, 387;
a member of the Aldine Academy, 387;
founds the Greek Chair at Oxford, 387, 391

Lingua Aulica, name given by Dante to the dialect adopted by the Sicilian poets, iv. 6, 22

Lippi, Filippino, his Triumph of S. Thomas in S. Maria sopra Minerva, Rome, iii. 207;
story that he was the son of Filippo Lippi, 247;
powerfully influenced by revived classicism, 248

Lippi, Fra Filippo, his genius cramped by his enforced attention to religious subjects, iii. 244;
his frescoes at Prato, 245, iv. 422, v. 54;
his frescoes at Spoleto, iii. 246;
his friendship with Lorenzo de' Medici, 247, 263

Livy, tomb of, at Padua, i. 462, ii. 30

Lodovico da Vezzano, his Tragedy of Jacopo Piccinino, v. 117 note 1

Lomazzo, his History of Painting, iii. 322 note 3;
emblems assigned by him to the great painters, 337, 488

Lombards, the, come into Italy, i. 48;
the laws of the Lombards, 49, 62;
effect of their rule, 48, 49;
the Lombard kings join the Catholic communion, 49;
their error in this, 49, 94;
the Pope brings in the Franks against the Lombards, 50, 51;
war of the Lombard cities with Frederic Barbarossa, 63, 64, 67, 68, 95, iv. 6;
little trace left by this war on Italian art, iii. 220

Lombardy, part played by, in the history of Italian art and literature, ii. 506, iii. 482-490, v. 497

—— Lombard architecture, use of the term, iii. 43;
character of the style, 47 (cp. v. 504)

—— Lombard School of Painting, the, owed its origin to Lodovico Sforza, i. 79;
Lombard masters after Lionardo da Vinci, iii. 183, 482-484;
piety of their art, 489;
richness of the Italian lake district in works of this school, 490 note 1 (cp. iv. 338)

Longo, Alberigo, Lodovico Castelvetro accused of his murder, v. 286

Lorenzetti, Ambrogio, his frescoes in the Palazzo Pubblico, Siena, 210

Lorenzetti, Ambrogio and Pietro, scholars of Giotto, iii. 197, 226;
probably the painters of the frescoes in the Campo Santo, Pisa, 200;
free from the common pietism of the Sienese painters, 216, 218

Lori, his Capitolo on Apples, v. 365

Lo Scalza, his statuary at Orvieto and elsewhere, iii. 56, 78 note 1;
his statue of S. Sebastian at Orvieto, illustrating the pagan motives introduced by the Renaissance into Christian art, 170 note 1

Losco, Antonio, made Apostolic Secretary by Gregory XII., ii. 218;
his praises of Beccadelli's Hermaphroditus, 255

Lotto, Lorenzo, iii. 503

Louis d'Orléans, his marriage to Valentina Visconti, i. 143 note 1, 154

Louis XI., of France, confers the fleurs de lys on the Medici, iv. 405

Louis XII., of France:
Machiavelli's criticism of his policy in Italy, i. 339;
invited into Italy by Alexander VI., 349, 427, 584;
his alliance with Ferdinand the Catholic, 427;
marriage of his daughter Renée to Ercole d'Este, v. 297

Louis of Bavaria, i. 81, 133

Love, the ideal of, in chivalrous poetry, iv. 59;
reality of the feeling in the medieval poets, 64;
brought back by Petrarch to experience, 94;
its character in popular Italian poetry, 272, 419

Lucca, its political history, i. 194

—— the Duomo:
monument of Ilaria del Carretto, iii. 132, 165;
monuments, &c., by Civitale, 157

Lucca:
S. Frediano, Francia's Assumption, 303 note 1

—— S. Martino, Pisano's bas-relief, 105

—— University, the:
receives a diploma from Charles IV., ii. 118

Lugano:
Church of the Angeli, Luini's frescoes, iii. 485-487 (cp. iv. 340)

Luigi da Porto, his Novelle, v. 60;
his version of the story of Romeo and Juliet, 71 note 1

Luigini, Federigo, his Libro della Bella Donna, ii. 37, v. 85 note 3

Luini, Bernardino, the scholar of Lionardo da Vinci, iii. 484;
idyllic religious beauty of his frescoes, 485-487;
their defects of composition, 487

Luna, his Vocabolario di cinque mila vocaboli toschi, v. 254 note 1

Luther:
effect of his Reformation, i. 2, 26;
his visit to Rome, ii. 408;
the Lutheran leanings of Vittoria Colonna and her circle, v. 292;
Lutheran opinions expressed by the burlesque poets, 312, 315, 325;
association in Italy, at the Reformation, of Lutheran opinions and immorality, 325

Luziano, architect of the Ducal palace at Urbino, iii. 162 note 1


MACALO, battle of, i. 161

Macaulay, his essay on Machiavelli criticised, i. 320 note 1;
quoted, 329

Maccaronic Poetry, its origin, v. 327

Machiavelli, the facts of his life, i. 232, 308, foll.;
his description of his country life, 314-317;
accused of complicity in the plot against Giulio de' Medici, 314, ii. 366, v. 239;
his servility to the Medici, i. 317, v. 170, 370;
his Epigram on Piero, Soderini, i. 324, iii. 391 (translated i. 325);
his plan for a national militia, i. 311;
his cynicism, 278, 292, v. 160 note 1, 168, 312, 385;
his analysis of character contrasted with that of Ariosto, v. 22 (cp. 432);
comparison of Machiavelli, Michelangelo, and Dante, i. 318, iii. 395;
of Machiavelli, Aretino, and Cellini, iii. 479;
of Machiavelli and Pomponazzi, v. 485;
Machiavelli and Savonarola contrasted, i. 368;
Varchi's character of him, 333;
his knowledge of the Greek classics scanty, 310, iv. 493;
indirectly indebted to Aristotle, i. 197 note 1;
directly to Polybius, v. 434 note 1;
chiefly used Livy, i. 250 note 1;
plainness and directness of his style in contrast to the prevailing love of rhetoric and form, v. 431;
division of his works into four classes, 433;
light thrown by his letters on the complications of his character, 433;
his aim partly practical, partly speculative, 435;
his opinion upon the place of religion in the State, i. 453, 454, v. 437;
his contempt for Christianity, i. 453 note 1 (cp. v. 520);
his analysis of the causes of the decay of Italy,
(1) the corruptions and ambition of the Papacy, 96, 382, 448-451, v. 436, 438, 442;
(2) the Condottiere system, i. 160 note 2, 311, v. 436;
(3) the want of a central power, i. 214, 321, 449, 450, v. 436;
difference between Machiavelli's views on the last point and those of Guicciardini, i. 44 note 1, 45 note 1;
calls Italy 'the corruption of the world,' v. 493;
his conception of patria, v. 435, 436, 442, 446;
his analysis of democracy, i. 236;
has no idea of representative government, v. 438;
urges the training of the citizens to arms, 438, 439;
indifferent as to means if his political aims could be carried out, 439-441;
his use of the word virtù, i. 171, 337 note 1, 345, 482, 484, 493, ii. 35, iii. 439, 479, v. 410, 416, 425, 440;
the ideal Prince or Saviour of Society, i. 98, 214, 321, v. 435, 439, 441;
weakness of the conception, v. 441;
Machiavelli's belief in the power of legislation, i. 202, v. 439, 442, 444;
his experience of the small Italian States prevented him from forming an adequate conception of national action, v. 443;
shared with the Humanists the belief in the possibility of a revival of the past, 444;
his severance of ethics and politics, 440, 441, 445;
his greatness based upon the scientific spirit in which he treated his subjects, 445, 447, 519;
genuineness of his patriotism, 445;
the Prince, v. 519;
composed in his retirement, i. 317;
analysis of the work, 336-367;
criticised, 367-370;
theories on the object of the Prince, 326;
its real character, 334-336, v. 443;
Machiavelli's admiration of Cesare Borgia, i. 324, 326, 345-356, v. 385;
Alexander VI. made an example of successful hypocrisy, i. 357;
observation that the temporal power of the Papacy was created by Alexander, 413;
passage quoted on the courtesy shown by the Condottieri among themselves, 162 note 1;
Hegel's criticism of the Prince, 367;
the ethics of the Prince, 321-326, 482, 484, 494. ii. 37, 312, iii. 479, v. 441;
the Istorie Fiorentine, i. 331, 332, v. 432;
written by desire of the Cardinal Giulio de' Medici, i. 331;
critique of Bruni and Poggio in the Proemium;
—— Machiavelli's own conception of history, 249;
remark on the divisions of Florence, 227;
passage on the growth of the Condottiere system, 245;
passage on Venetian policy, 215 note 1;
the censure of the Ordinanze della Giustizia, 225, 244;
the policy of Cosimo and Lorenzo de' Medici, 229 note 1, 231, iv. 386;
the contention between Church and Empire, i. 82 note 1;
the execution of Beatrice di Tenda, 152 note 2;
visit of the Duke of Milan to Florence—its effect on Florentine manners, 165;
negative testimony of Machiavelli to the natural death of Alexander VI., 430;
the Discorsi, 328, v. 432, 519;
Machiavelli's debt to Polybius, v. 434 note 1;
not really in discord with the Principe, 435;
passage quoted for Machiavelli's opinion that a city which had once been under a tyrant will never become free, i. 84, 115;
on the policy of enfeebling a hostile prince by making him odious to his subjects, 146;
treatment of tyrannicide in the Discorsi, 169;
censure of aristocracy, 186 note 1;
cynical account of Gianpaolo Baglioni's omission to assassinate Julius II., 324, 463;
the Arte della Guerra, 329, v. 432, 438, 439, 444;
the Descrizione della Peste, iii. 188, v. 433;
Discorso sopra la Riforma dello stato di Firenze, i. 328 note 1, v. 432, 439;
its Aristotelian air, i. 197 note 1;
the Vita di Castruccio Castracane, 76 note 1, 112, ii. 37, v. 432;
the Belphegor, v. 60, 433;
compared with Straparola's version of the story, 102;
criticism of Ariosto's comedies ascribed to Machiavelli, v. 156;
translation of the Andria, 157;
the comedies—doubtful authenticity of the Commedia in Prosa and the Commedia in Versi, 157, 159 note 1;
their plots, 157;
character of Fra Alberigo, 158 (cp. i. 460);
of Margherita, 159;
of Caterina and Amerigo, 160;
the Clizia, its plot, 161;
the characters, 162-164;
coarseness of the moral sentiment, 163;
sarcasm and irony of the comedy, 164;
the Mandragola, 111, 123, 165;
the plot, 165-168;
character of Fra Timoteo, 166 (cp. i. 460, v. 394);
state of society revealed by the play, 168-170;
mistake to suppose that the Mandragola was written with a moral purpose, 434;
its Prologue, as illustrating the character of Machiavelli, 170-172;
Machiavelli's comedies compared with those of Aretino and Bibbiena, 180

Maderno, Carlo, finishes S. Peter's in disregard of Michelangelo's scheme, iii. 93

Maestro Ferrara, the, his poems in the langue d'oc, iv. 16

Maggi, the, a survival, in regard to form, of the old Sacred Drama, iv. 311

Magiolini, Laura, Filelfo's third wife, ii. 280, 287

Maglioli, Sperando, traditionally said to have made the bust of Mantegna in S. Andrea, Mantua, iii. 278

Mainus, Jason, his panegyric of Alexander VI., i. 408

Maitani, Lorenzo, the architect of the Duomo of Orvieto, iii. 117

Maius, Junianus, the tutor of Sannazzaro, v. 198

Majano, Benedetto da, builds the Strozzi Palace at Florence, iii. 76, 77, 161;
his work as a sculptor in Italian churches, 78 note 1;
purity and delicacy of his work, 152;
pictorial character of his bas-reliefs, 161;
story of his journey to King Matthias Corvinus, 161 note 1

Malaspina, the Marchese Alberto, his poems in the langue d'oc, iv. 16

Malatesti, the, how they rose to power, i. 111;
sell Cervia to Venice, 114;
members of this family become Condottieri, 161

Malatesta, Carlo, throws a statue of Virgil into the Mincio, ii. 433;
Galeazzo, sells Pesaro and Fossombrone, i. 114;
Novello, his library at Cesena, ii. 303;
Pandolfo, murders Vidovero, i. 113 note 1;
Raimondo and Pandolfo, assassination of, 121;
Sigismondo Pandolfo, contradictions of his character, 173, ii. 303;
his crimes, i. 421 note 1, 428 note 1;
his removal of Pletho's remains to Rimini, 173, 461, ii. 34, 209;
his portrait by Piero della Francesca, iii. 235

Malespini Family, the, Chronicle of, i. 251;
its disputed authorship, 252 note 1, iv. 36

Malespini, Celio, his Ducento Novelle, v. 60

Mallory, Sir Thomas, comparison of his Mort d'Arthur with the Reali di Francia, iv. 246

Malpaga, Castle of, the frescoes there attributed to Cariani, iii. 368 note 1

Mancina, Faustina, the Roman courtesan, ii. 488, v. 225, 226

Manetti, Giannozzo, one of the circle in Santo Spirito, ii. 102, 188;
learns Greek from Chrysoloras and Traversari, 110, 189;
ruined by Cosimo de' Medici, 170, 191;
pronounces the funeral oration over Bruni, 185;
his industry in acquiring knowledge, 188;
his reputation for oratory, 190;
maintained by Nicholas V. after his exile, 192, 228;
greatness of his character, 192;
attempted to harmonise Christian and classical traditions, 332

Manfred, King of Sicily, his death at the battle of Benevento, iv. 21, 27, 48;
story of his wandering with music of evenings through Barletta, 415 note 1

Manfredi di Boccaccio, sentiment of despair expressed in his poems, iv. 165

Manfredi, the, of Faenza, i. 111, 353, 375, 428

—— Astorre (1), sells Faenza and Imola, i. 114;
Astorre (2), 292;
murdered by Cæsar Borgia, 428 note 1;
Galeotto, murdered by his wife, Francesca Bentivogli, 119 note 2, 428 note 1;
Taddeo, one of Vittorino da Feltre's scholars, 177

Mangini della Motta, Giovanni, his poem on the downfall of Antonio della Scala, v. 117 note 1

Mansueti, Venetian painter, iii. 362

Mantegna, Andrea, founded no school of local artists, iii. 184;
owed his training to Squarcione, 270 note 1;
his frescoes in the Eremitani, Padua, 270;
his inspiration derived from the antique, 272, 362, 382;
the Triumph of Julius Cæsar, 273, 277;
tragic power of his compositions, 274;
the Madonna of the Victory, 275;
enters the service of the Gonzaga family at Mantua, 276;
his visit to Rome, 277;
his domestic circumstances, 277;
his monument in S. Andrea, Mantua, 278;
his treatment of the antique compared with that of Signorelli and Botticelli, 291;
his art illustrated by the Arcadia of Sannazzaro, v. 203

Mantegna, Francesco (son of Andrea), iii. 277

Mantovano, Battista, cited for the irreligiousness and pride of the Humanists, ii. 518, 521

Mantovano, Francesco, his drama upon the history of General Lautrec, iv. 358

Mantua: San Andrea (by Alberti), ii. 342, iii. 70 note 1, 75;
Mantegna's monument, 278;
Palazzo del Te, decorations of, by Giulio Romano, ii. 440, iii. 83, 492, iv. 403, v. 229, 389

Manuscripts: the quest of manuscripts at the commencement of the Renaissance, ii. 131-140

Manuzio, Aldo, i. 24, ii. 368, 373;
his panegyrics of Lucrezia Borgia, i. 422;
story of the appearance of his edition of Plato, ii. 16 (cp. 379);
his dedication of Aristotle quoted, 330 note 2;
his birth and education, 373;
his Greek Press at Venice, 377, v. 497;
his assistants, ii. 378;
his industry, 378;
his generous spirit and love of his art, 380, 390;
original prices of his editions, 381;
list of first editions of Greek classics printed by him, 382;
his Latin and Italian publications, 383;
his Academy at Venice, 385, v. 272;
his marriage and death, ii. 388;
his successors, 389;
meaning of his motto, 389;
his modesty and nobility of character, 368, 390, 523;
greatness of his work, 391;
his prefaces, &c., cited for the sufferings of scholars, 542;
Aldo, the grandson, ii. 389;
Antonio, son of Aldo, 388;
Manutio, son of Aldo, 388;
Paolo, son of Aldo, 385, 388

Marcello, Cristoforo, tortured by the Spaniards during the Sack of Rome, ii. 444

Marchesa, Cassandra, her relations to Sannazzaro, v. 199

Marco Polo, translation of his Travels into Italian, iv. 35

Marcolini, Francesco, his account of Aretino's life at Venice, v. 398 note 2, 400 note 3

Marescotti, the, at Bologna, their history, i. 124, 427

Margaret of Castile (wife of Alfonso the Magnanimous);
her murder of Margaret de Hijar, i. 570

Margaret de Hijar, murder of her by Queen Margaret, i. 570

Mariconda, Antonio, his Novelle, v. 60

Marino, Giovanni Battista, the Adone, v. 244, 257;
his conceits referred to Aretino's mannerism, 417

Marliano, Bartolommeo, his Topography of Rome, ii. 428

Marlowe, his Edward II. quoted for the character of Italian plays, v. 111

Marone, his losses in the Sack of Rome, ii. 444

Marrani, popular name of contempt for the Spaniards in Italy, i. 410, 553

Marsigli, Luigi, influence of, through the society founded by him in S. Spirito, ii. 101-103, 189

Marston (the dramatist), his testimony to the profligacy of Venice, i. 473;
his Prologue to Antonio and Mellida quoted, v. 115, 521

Marsuppini, Carlo, a scholar of Giovanni da Ravenna, ii. 100;
learns Greek from Chrysoloras, 110;
his lectures at Florence, and public funeral there, 186 (cp. 530);
story of his being surpassed by Manetti in speaking before Frederick III., 190;
made Papal Secretary by Eugenius IV., 220

Martelli, Lodovico, his Tragedy of Tullia, v. 135;
disputes the genuineness of Dante's De Vulgari Eloquio against Trissone, 306;
Niccolò, his correspondence with Aretino, 410 note 1

Martin V., story of his irritation at the verses sung by the Florentines beneath his window, iv. 258

Martini, Simone, reputed painter of frescoes in S. Maria Novella, iii. 205 note 1, 217;
not wholly free from the faults of the Sienese painters, 216, 218;
his fame during his lifetime, 216;
various works by him, 217;
mention of him by Petrarch, 217 note 1

Masaccio, i. 170 note 1;
the pupil of Masolino, iii. 229 note 1;
the greatest of the early painters of the Renaissance, 229;
comparison of Masaccio and Giotto, 230;
his early death, 231;
comparison of Masaccio and Fra Angelico, 240

Masolino, the master of Masaccio, iii. 229 note 1

Massimi, the, at Rome, their protection of Sweynheim and Pannartz, ii. 368

Masuccio, quoted for the corruptions of the Roman Church, i. 458 note 2, iv. 180, 181 (cp. v. 499);
for the Italian ideas of honour, 486 note 2;
his style modelled on the Decameron, iv. 136, 178;
character of his language, 179;
comparison between Masuccio, Boccaccio, and Sacchetti, 179;
his aristocratic feeling, 179;
his earnestness, 180;
his art, 181;
superior in moral feeling to Boccaccio, 183;
alluded to by Pulci, 255 note 1

Matarazzo, cited, i. 22, 158 note 1,

225;
his account of Grifonetto Baglioni's massacre of his kinsmen, 123;
of the misgovernment of the Baglioni, 130;
cited for the spread of syphilis from Charles's army, 567 note 1;
his testimony to the welcome of the French by the common people in Italy, 583 note 2;
on the comeliness of person of Astorre Baglioni, ii. 31;
great value of his work, iv. 177;
said to be identical with Francesco Maturanzio, 183 note 3

Mattasalà di Spinello dei Lambertini, his accounts of expenditure, an early memorial of the Sienese dialect, iv. 35

Matteo, and Bonino, da Campione. (See Campione, Matteo and Bonino.)

Matteo da Civitale. (See Civitale, Matteo da.)

Matthaeus, Johannes, his verses upon the death of Navagero, ii. 488

Maturanzio, Francesco, said to be identical with Matarazzo, iv. 183 note 3

Mauro, a member of the Vignajuoli Academy at Rome, ii. 366, v. 357;
his Capitoli, v. 365

Maximilian I., the Emperor, i. 100, v. 301;
his relations with Charles VIII., i. 542;
betrothed to Bianca, niece of Lodovico Sforza, 544 note 1;
joins the League of Venice against Charles, 576

Maximus, Pacificus, his Poems, ii. 519

Mazochi, Jacopo, his collection of Roman Inscriptions, ii. 429

Mazzocchi del Bondeno, Giovanni, the first publisher of the Orlando Furioso, iv. 497

Mazzola, Francesco. (See Parmigianino.)

Mazzoni, Guido (Il Modanino), his Pietà in terra cotta in Monte Oliveto, Naples, ii. 365, iii. 163

Medicean Library, its foundation, i. 21, ii. 174

Medici, the, i. 88;
their patronage of art, 80;
disputed question of its nature, iii. 263, iv. 39;
their tyranny partly produced by political exhaustion, i. 82;
supported by the people, 87, ii. 171, 316, 317, iv. 385;
their rise to power, i. 114, 228-231;
their expulsion, 222;
are restored, 223, 314;
their contest with the Albizzi, 227 note 1, ii. 167, 170, iv. 176;
their policy, i. 228, 282, ii. 165, 167, 312, 317, iii. 264, iv. 385;
foundation of the Medicean interests in Rome, i. 404, ii. 315;
raised above common tyrants by their love of culture, ii. 33;
have the fleurs de lys of France conferred on them by Louis XI., iv. 405

Medici, Alessandro de', Duke of Cività di Penna, i. 231;
murdered by his cousin Lorenzino, 170, 223, 277, 287, 468, ii. 317, iii. 438, v. 118, 381 note 1;
poisons his cousin Ippolito, i. 277, v. 358, 381 note 1;
leaves Florence, i. 286, iii. 414;
accused by the Florentines before Charles V., 232, 280, 298;
protects Cellini from the consequences of a homicide, iii. 458;
the story that he had Berni poisoned, v. 358;
Averardo de', i. 212 note 1;
Catherine de', her marriage to the Duke of Orleans, 287;
Clarice de', wife of Filippo Strozzi, 286;
Cosimo de' (the elder), his return to Florence, iv. 259;
his policy at Florence, i. 87, 102, 155, 212, 228, ii. 312, iii. 438;
Guicciardini's critique of his taxation, i. 305;
the impersonation of his age, 492, ii. 168, 170, iii. 228, 262, 325;
his regret that he had not built more, ii. 38, 172;
his patronage of letters, 165, 168, 173, 177, 225;
subtlety of his character, 169;
his cruelty, 170;
sums spent by him in building, 171, 172;
consults Pope Eugenius as to how he should make restitution for his ill-gotten gains, 172;
builds the Library of S. Giorgio at Venice during his exile, 173;
his Libraries at Florence, i. 21, ii. 174-176, iii. 263;
his versatility of talent, ii. 176;
his political cynicism expressed by his sayings, 19, 177;
founds the Academy of Florence, 177, 207, v. 272;
his conversations with Gemistos, ii. 207;
rejects Brunelleschi's plans for the Casa Medici, iii. 76;
said to have instigated the poisoning of Il Burchiello, iv. 260;
Cosimo de' (first Grand Duke), i. 223, 229;
his elevation due to Guicciardini, 280, 300;
diverts the Florentines from commerce, 186 note 1;
his petty, meddling character, iii. 476;
Ferrando de', his marriage to Cristina of Lorraine, iv. 325;
Giovanni de' (see Leo X.);
Giovanni de' (delle Bande Nere), his friendship with Aretino, v. 390;
his death, 391;
Giuliano de' (the elder), assassination of, i. 168 note 1, 396-398, iv. 401 note 1, 406;
his love for Simonetta la Bella, iv. 374, 403, 420;
his Tournament, 403;
Giuliano de', Duke of Nemours, i. 184, ii. 314;
refuses the Duchy of Urbino, i. 438;
his Pageant of the Golden Age. iv. 396-398;
his tomb at San Lorenzo, i. 314, 319, iii. 415;
Cardinal Giulio de' (see Clement VII.);
Cardinal Ippolito de', leaves Florence, i. 286, iii. 414;
founds a club for the study of Vitruvius at Rome, ii. 366;
said to have maintained three hundred poets, 405;
poisoned by his cousin Alessandro, i. 277, v. 358, 381 note 1;
portraits of him by Titian and Pontormo, ii. 27;
the story that he had Berni poisoned, v. 358;
Lorenzino de', assassinates his cousin Alessandro, i. 170, 223, 277, 287, 468, iii. 438, v. 118, 381 note 1;
his Apology, i. 468, v. 517;
murdered by Bibboni, i. 480 note 3;
Cellini's character of him, iii. 463;
his comedy, the Aridosio, v. 182;
Lorenzo de' (brother of Cosimo the elder), patronises Marsuppini, ii. 187;
Lorenzo de', the Magnificent, his suspicious temper, i. 119;
his appropriation of public moneys, 305;
Guicciardini's character of him, 308;
describes Rome to his son Giovanni as 'the sink of all vices,' 421 (cp. v. 190), v. 274;
attempt on his life, i. 397 note 2;
balance of power created by him in Italy, 404 note 2, 538, 544, ii. 315, iv. 368;
his character the type of the Renaissance, i. 504, 505, 523, ii. 321, iv. 384;
recalls Savonarola to Florence, i. 521;
his dying interview with Savonarola, 523, iv. 384;
universality of his genius, ii. 10, 320;
transfers the High School of Florence to Pisa, 122;
his policy, ii. 315, iii. 264, iv. 369, 386;
without commercial talent, ii. 317;
the true view of his character, 318, iv. 39, 387;
literary society gathered round him, ii. 322;
his love of the vernacular literature, 393, iv. 3, 236, 370, v. 508;
has a monument erected to Filippo Lippi, iii. 247;
his character typically Florentine, iv. 371;
wins the prize of valour at a tournament in 1468, 405;
his taste for buffoonery, 430 note 2;
Ariosto's character of him in the satires, 516;
character of his poems, 371, 372;
his Lauds, 302, 384;
his sacred drama, S. Giovanni e Paolo, 320, 324, 384;
his treatment of love, 373-375;
the Sonnet to Venus and that to the Evening Star translated, 373;
analytical character of his genius, 377;
the Selve d'Amore, 376-380;
passages translated, 376-380;
use of the ottava rima in the Selve, 379;
the Corinto, 379;
passage translated, 380;
the Ambra, 380;
the Nencia da Barberino and other rustic poems, 381, v. 223;
the Beoni, iv. 172, 382;
his Canzoni a Ballo, 385-388;
his Canti Carnascialeschi, 388-392 (cp. i. 461);
the Song of Bacchus and Ariadne translated, 390;
said to have originated this form of composition, 388, v. 355;
Lorenzo de' (nephew of Leo X.), made Duke of Urbino by Leo, i. 322, 438, ii. 420, iv. 396;
advised by Filippo Strozzi to make himself Duke of Florence, 286;
Machiavelli's Prince dedicated to him, 319;
Maddalena de', married to Franceschetto, son of Innocent VIII., 404;
Piero de' (Il Gottosa), ii. 313;
Piero de' (the younger), i. 305;
his cowardly surrender of the Tuscan fortresses, 525, 559;
his relation to the Orsini, 543;
inclines to friendship with Naples, 543;
his weak and foolish character, i. 544;
driven out by the Florentines, 559, iii. 389

Melanchthon, the pupil of Reuchlin, ii. 208, 210

Melozzo da Forli, his picture of Sixtus IV. among his Cardinals, i. 384 note 1, iii. 236 note 1;
his picture of Frederick, Duke of Urbino, and his Court, ii. 304, iii. 236 note 1;
the pupil of Piero della Francesca, iii. 235

Melzi, Francesco, the scholar of Lionardo da Vinci, iii. 484

Memling, comparison of his works with those of the Venetian masters, iii. 361

Memmi, Simone. (See Martini, Simone.)

Merula, quoted for the justice of Azzo Visconti, i. 83 note 1

Messina Cathedral, the, marble panellings in, iii. 79 note 3;
Montorsoli's fountain, 177

Metres, the question why different nations have adopted different metres, iv. 24;
the Italian hendecasyllabic, 24 note 1 (see Appendix i.);
the ottava rima popularised by Boccaccio's Teseide, 118;
use of the ottava rima by Lorenzo de' Medici and Poliziano, 379, 382, 403;
of the terza rima in Capitoli and Satires, 519;
vicissitudes of the terza rima after Dante, 172;
employment of the terza rima in the sixteenth century, v. 367;
originality of the Italian metrical systems, 510

Michelet, quoted, i. 10;
his formula of the Discovery of World and Man, 15 note 1 (cp. v. 526);
his remark that the French alone understood Italy, criticised, 585;
his description of the building of Brunelleschi's Dome at Florence, iii. 67

Michelotti, Biordo, murder of, i. 123, 148 note 2

Michelozzo, his work as an architect, ii. 440;
builds the Riccardi Palace at Florence, iii. 76;
employed by Cosimo de' Medici, 263

Middle Ages, their ignorance, i. 6, 13, 20, 24;
the beauty of nature unappreciated in the middle ages, 13;
progress effected by the middle ages, 6, 7;
conception of life in, 10, 13, 14, iv. 289, v. 454, 455, 456;
memories of antiquity in the middle ages, ii. 52;
character of the middle ages illustrated from the Faust Legend, 53;
low state of scholarship in the middle ages, 58 foll.;
materialism and mysticism of the middle ages, iii. 9;
architecture the pre-eminent art of the middle ages, 10;
uncompromising Christianity of the middle ages, 26;
medieval prepossession with death, hell, and judgment, i. 13, iii. 198, 201, iv. 74, v. 454, 471;
medieval ideas of the claims of the Church illustrated by paintings of the Triumph of Thomas, iii. 205-210;
medieval theories of government illustrated by Lorenzetti's frescoes at Siena, 210-214;
allegory in the middle ages, iv. 74, 81;
the fabliaux of the middle ages, 107;
satire in the middle ages, 108;
treatment of women by medieval authors, 212;
types of womanhood created by medieval authors, 352;
abandonment of scholasticism for the humanities, v. 450, 457;
medieval speculation never divorced from theology, 457

Milan, greatness of, under the rule of the Bishops, i. 53, 58, 59;
heads the league against Frederick, 64, 81;
becomes the centre of the Ghibelline party, 81;
hostility of Milan and Piacenza, 151, 162 note 1, 212;
luxury of Milan, v. 68 note 3;
corruption of the Milanese Court, i. 326, 548 note 1, 554, v. 191;
early printers of Greek at Milan, ii. 375;
the wealth of Milan due to the Naviglio Grande, iii. 41;
share of Milan in the development of Italian literature, iv. 364

—— Duomo, the, built by the Visconti, i. 141, iii. 42;
German influence in its design, iii. 50;
its merits and defects, illustrating the character of Italian Gothic, 57;
S. Eustorgio, chapel of S. Peter Martyr, terra-cotta work in, iii. 79, 151;
shrine, 123;
S. Gottardo, the tower, i. 133 note 2, iii. 42;
S. Maurizio Maggiore, Luini's frescoes, iii. 485-487 (cp. v. 62)

Milan: Hospital, the, iii. 59, 77

Milton, his eulogy of the Italian Academies, ii. 367;
his indebtedness in Lycidas to Renaissance Latin verse, 490 (cp. 497 note 2);
compared with Michelangelo, iii. 388;
comparison of his epics with the Italia Liberata of Trissino, v. 308;
his description (in the Areopagitica) of the decay of Italian learning, 480;
his conception of the poet's vocation in opposition to Italian ideas, 521

Minerbi, his Vocabulary of Boccaccio's Diction, v. 254 note 1

Mino da Fiesole, his work as a sculptor in Italian churches, iii. 78 note 1;
delicacy and purity of his work, 152 (cp. iv. 66);
his skill in character portraits, iii. 158

Minorite Friars, the, their denunciation of Beccadelli's Hermaphroditus, ii. 256;
their attacks on Valla, 261, 263

Miracle plays, exhibition of, in the Trevisan Marches, iv. 15, 306;
rarity of, in medieval Italy, 306;
their place supplied by the Divozioni and the Sacre Rappresentazioni, 307

Mirandola, Alberto Pico della, murder of, ii. 423;
Galeazzo Pico della, (1) died under excommunication, i. 133 note 1;
(2) murders his uncle, Giovanni Francesco, 119 note 2, ii. 423;
Galeotto Pico della, ii. 422;
Giovanni Francesco Pico della, the biographer of Savonarola, i. 520, ii. 36, 423;
his description of the effect of Savonarola's preaching, i. 511;
his belief in Savonarola's gift of prophecy, 512 note 1;
his account of the dying interview of Lorenzo de' Medici with Savonarola, 523 note 1;
influence of Savonarola upon him, ii. 423;
his address on the Reformation of the Church, 423;
his friendship with Northern scholars, 423;
murdered by his nephew, i. 119 note 2, ii. 423;
Lodovico Pico della, ii. 422;
Pico della, on the expulsion of the Jews by Ferdinand, i. 401;
his attempt to fuse Christianity and ancient philosophy, 171, 456, ii. 470, iii. 35, v. 452, 453;
the friend of Savonarola, i. 520;
his apology for the schoolmen, ii. 333, v. 450;
universality of his genius, ii. 10;
in common with the rest of his age did not comprehend Plato's system, v. 452;
his 'Oration on the Dignity of Man' quoted, ii. 48;
his influence on Italian thought, 207;
value of his labours, v. 453;
one of the circle gathered round Lorenzo de' Medici, ii. 322, 329;
description of him by Poliziano, 329;
his portrait in the Uffizi Gallery, 330;
his devotion to learning, 330, 523;
his great memory, 331;
condemned for heresy on account of his 900 theses, 332;
his ideal of knowledge, 332;
studies the Cabbala, 334;
his attack on astrology, 335;
his contempt for mere style, 526;
his Latin correspondence, 532;
preferred Lorenzo de' Medici to Petrarch as a poet, iv. 236

Miscomini, Antonio, an early printer at Florence, ii. 369

Modena, verses sung by the soldiers on guard against the Huns there, iv. 12 (cp. Appendix i.)

Molza, Francesco Maria, facts of his life, v. 225-228;
a member of the Roman Academy, ii. 361;
of the Vignajuoli, 366, v. 357;
patronized by Ippolito de' Medici, ii. 405;
sides with Caro in his quarrel with Castelvetro, v. 286;
his correspondence with Aretino, 410 note 1;
his Latin poems, ii. 488-490, v. 228;
passage translated (in prose), 489;
his Decamerone, v. 60;
Molza as an Italian poet, 228-234;
the Ninfa Tiberina, 225, 229;
illustrated by contemporary art, 229;
Molza's use of the octave stanza, 230;
analysis of the poem, 230-234;
translations, 231, 232, 233;
the Capitoli, 284, 364

Molza, Tarquinia, granddaughter of the poet, v. 288

Monaldeschi, the Chronicler, quoted, i. 252

Monarchy: why Italy did not become a monarchy, i. 92-95

Montaigne, entertained by Veronica Franco at Venice in 1580, v. 288

Montalcino, his execution, v. 478

Montanini, the, at Siena, v. 99

Montano, the Bolognese scholar, i. 165

Montaperti, battle of, iii. 214

Monte Labbate, Conte di, his letter to Pompeo Pace, describing the influence exercised by Aretino, v. 402 note 2

Montefalco, Gozzoli's frescoes, iii. 242

Montefeltro, the House of, i. 110, 375;
members of this family become Condottieri, 161

—— Agnesina da, mother of Vittoria Colonna, v. 289;
Frederick da, Duke of Urbino, the suspicion of his legitimacy, i. 102;
his life and character, 174-181;
receives the Garter from Henry VII., 181;
his library, ii. 304;
the picture of him and his Court by Melozzo da Forli, 304, iii. 236 note 1;
his portrait by Piero della Francesca, iii. 235;
Giovanna da, daughter of Frederick, Duke of Urbino, married to Giovanni della Rovere, i. 182 note 2, 393. ii. 419;
Guidobaldo da, Duke of Urbino, his character and accomplishments, i. 181-182;
receives the Garter from Henry VII., ii. 420;
Bembo's Dialogue in praise of him, 412;
Oddo Antonio da, murder of, i. 121

Montemurlo, battle of, i. 287

Montesecco, Giambattista, his share in the Pazzi Conspiracy, i. 397, 398

Montferrat, the House of, i. 52, 57, 110, 146 note 1

Monti, the, names for successive governments at Siena, i. 35, 207, 616, ii. 164, iii. 212 note 1

Montorsoli, Gian Angelo, follower of Michelangelo, iii. 172;
his fountain at Messina, 177

Monza, battle of, i. 161

Morando, Benedetto, his quarrel with Valla, ii. 242

Morello, Il, iii. 503

Morena, Ottone, his Chronicle of Milan, i. 251

Morone, Giovanni, his friendship with Vittoria Colonna, v. 292

Morone, Girolamo, his intrigue with the Marquis of Pescara, v. 290

Moroni, Giovanni Battista, his genius in portrait-painting, iii. 503 (cp. v. 278)

Morosini, Paolo, his consolatory letter to Filelfo on the death of his wife, ii. 287

Mosca, his statuary at Orvieto, iii. 56

Mucchio da Lucca, his Sonnet on Dante, iv. 162

Museum, Capitol, foundation of the, ii. 431;
Vatican, foundation of the, 431;
description of the sculptures there by a Venetian envoy, 434-436

Music: the development of music, iii. 36;
music the essentially modern art, 37;
difference between Italian and German music, v. 516

Mussato, Albertino, his Eccerinis, v. 117 note 1;
cited for the traditional reverence of Livy at Padua, iv. 12

Mussi, his Milanese annals, i. 81

Musurus, Marcus, the assistant of Aldo Manuzio, ii. 378;
a member of the Aldine Academy, 386;
his knowledge of Latin, 386 note 2;
made Bishop of Malvasia, 402;
lectures in Leo's Gymnasium at Rome, 427

Muzio, his Life of Duke Frederick of Urbino, quoted, i. 174

Muzio, Girolamo, his Battaglie, v. 271 note 1


NANTIPORTO, quoted, i. 22

Naples, entry of the French into Naples, i. 566, 575, ii. 363;
history of the Neapolitan Kingdom under the Aragonese Dynasty, 567-574;
hostility of Naples to the Church, ii. 260, 265;
feudalism lasted longer in Naples than in other parts of Italy, 251, iv. 460, v. 499;
insecurity of life in Naples, i. 569;
Neapolitan manners described in the Poems of Pontano, v. 217;
beauty of Naples, 201;
traces of French influence on Neapolitan architecture, iii. 44;
character of Neapolitan culture, ii. 250, 265;
Neapolitan influence on literature, v. 213 foll.;
sensuousness of Neapolitan writers, ii. 251, 364, 468, iv. 26, 364, v. 213, 499, 521

—— Monte Oliveto, Fra Giovanni's tarsia-work. iii. 78 note 2;
Rosellino's altarpiece, 153;
Benedetto's Annunciation, 160;
Mazzoni's Pietà, ii. 365, iii. 163, v. 198

—— Academy, the, ii. 362, 364

—— University, the, founded by Frederick II., ii. 116;
its subsequent vicissitudes, 117

Neapolitan School of Painters, the, their brutality, iii. 25, 187

Nardi, Jacopo, cited, i. 226, 229 note 2;
pleads for the Florentine exiles before Charles V., 232, 280;
his History of Florence, 278, 279;
on the democratic side, 290;
character and value of his work, 291, 292;

his account of Savonarola, 290, 292, 511 note 1, 512 note 1, 534 note 1;
his account of Guicciardini, 299 note 2;
cited for the murder of the Manfredi, 292, 428 note 1;
acts as peacemaker in Cellini's quarrel with the Florentine exiles, iii. 463;
aids in the composition of the Pageant of the Golden Age, iv. 397.
(See Appendix ii., vol. i. for translation of a passage on the government of Florence.)

Narses, brings the Lombards into Italy, i. 47

Navagero, Andrea, a member of the Aldine Academy, ii. 387;
his flattery of Julius II., 494;
his Venetian origin, illustrating the loss of intellectual supremacy by Florence, 506;
his Latin poems, their beauty and grace, 453, 485-488;
translations (prose) 485-488

Naviglio Grande, construction of the, iii. 41

Nelli, Giustiniano, his Novelle, v. 60

Nepotism of the Popes, i. 113, 303, 372, 375, 388, 392, 413, 434

Neri and Bianchi factions, the, at Florence, i. 221, 225;
at Pistoja, 210 note 2

Nerli, Filippo, his History of Florence, i. 278, 279;
took part in the political events of his time, 280;
belonged to the Medicean party, 290;
value of his work, 293;
his account of Machiavelli's Discourses in the Rucellai Gardens, 328, ii. 366;
cited for the downfall of Cesare Borgia's plans after the death of his father, i. 431

Neroni, Diotisalvi, his conspiracy against Piero de' Medici, ii. 314

Niccolò da Correggio, his drama of Cefalo, iv. 357, v. 221;
acted before Duke Ercole at Ferrara, v. 139

Niccoli, Niccolò de', turns Piero de' Pazzi from a life of pleasure to study, ii. 41;
one of the circle in Santo Spirito, 102;
helps to bring Chrysoloras to Florence, 109, 110;
cited for the practice of scholars making their own copies of MSS., 131, 179;
generosity of Cosimo de' Medici to him, 173;
his bequest of MSS., 174, 178;
his zeal in collecting MSS., 178;
his judgment of style, 179;
his literary dictatorship at Florence, 180;
Vespasiano's account of him, 181;
his exacting temperament, 182, 275;
did not know Greek, 194 note 1;
his kindness to Poggio, 230 note 1;
his quarrel with Bruni, 243;
his contempt for Dante, iv. 436

Niccolò da Padova, quotes Turpin as his authority for his History of Charlemagne, iv. 439 note 1

Nicholas of Breslau, an early printer at Florence, ii. 369

Nicholas II., i. 60

Nicholas V., his catalogue of Niccolò Niccoli's MSS., ii. 174, 175, 225;
his humble birth, 222;
comes to Florence, 223;
acts as tutor in the households of Rinaldo degli Albizzi and Palla degli Strozzi, 165, 223;
generosity of Cosimo de' Medici to him while Bishop of Bologna, 173;
his character, 244 (cp. 523);
his election to the Papacy, i. 371, ii. 173, 225;
his speech to Vespasiano after his election, ii. 226;
restores the Papal Court to Rome, i. 88;
his treaty with the great Italian States, 89;
description of his administration by Leo Alberti, 377;
receives Manetti after his exile, ii. 192, 228;
founds the Vatican Library, i. 21, ii. 227;
his policy, i. 377-380, ii. 227;
his project for rebuilding St. Peter's, i. 379, iii. 90;
why he did nothing for the Roman University, ii. 227;
translations executed by his command, 228, 402;
rewards Filelfo for his Satires, 236 (cp. 514);
employs Poggio against the Anti-Pope Felix, 237;
his toleration, as shown by his protection of Valla, 262;
his destruction of ancient monuments at Rome, 430;
his Will, i. 379

Nicholas of Treves, sends a MS. of Plautus to Rome, ii. 140

Nifo, Agostino, takes part in the controversy raised by the publication of Pomponazzi's De Immortalitate Animæ, v. 460

Niger, Hieronymus, cited for the wickedness of Rome, ii. 446

Nino (son of Andrea da Pontedera), sculptor of the Madonna della Rosa in the Spina Chapel, iii. 123

Nobility, Italian ideas of, i. 186 note 1, iv. 125

Nobles, the, excluded from the government of Florence, i. 224, iv. 27, 51

Nocera, establishment of a Saracen colony there by Frederick II., i. 105

Nominalists, the, v. 466, 467

Norcia, one of the two chief centres of Italian witchcraft, v. 346

Normans, the Norman conquest of Southern Italy, i. 58, ii. 251

Novelists, the Italian, their testimony to the corruption of the Roman Church, i. 458, 476, 486 note 1, ii. 406, iv. 180, 181;
to Florentine immorality, iv. 337 note 2;
importance of the novella in the history of the Renaissance, 158;
the novella especially suited to the Italian genius, 426, v. 52, 53, 106, 114-116;
manner in which women are treated by the novelists, iv. 212, v. 185;
versified novels of the Quattro Cento, iv. 249-255;
testimony of the novelists to the great intercourse between the Italian provinces from 1200-1550, 271;
the Novelle written for the amusement of the bourgeoisie, v. 52;
definition of the word novella, 54;
the Novelle originally recitations, 55;
subjects and material of the Novelle, 55-57, 59;
their object was amusement, 56, 57;
their indelicacy, as illustrating contemporary manners, 58;
inequality of merit among them, 58;
reasons why the Elizabethan dramatists were attracted to them, 59, 117;
the Introductions of the Novelle, 61;
degree in which they are to be accepted as fiction, 81;
characteristics of the novelists of Siena, 96;
the scope and limitations of the Novelle, 107;
influence of the Novelle upon the theatre, 161, 181, 187

Novellino, Il, or Le Novelle Antiche, the first collection of Italian stories, iv. 107, 129

Novels, defect of the Italians in true novels of the modern type, v. 120


OCHINO, Fra Bernardino, his friendship with Vittoria Colonna, v. 292

Odasio, the tutor of Guidobaldo, Duke of Urbino, i. 181

Odassi, Tifi, said to have been the inventor of Maccaronic verse, v. 329 note 3;
quoted in illustration of its character, 328 note 1;
the description of a bad painter, 330;
possibly the author of the anonymous poem on Vigonça, 331;
his use of the Maccaronic style, 336

Oddi, the, at Perugia, i. 225;
worsted by the Baglioni, 115, 123

Odo delle Colonne, shows in his Lament traces of genuine Italian feeling, iv. 26

Odoacer, i. 46

Oggiono, Marco d', the Scholar of Lionardo da Vinci, iii. 484

Ognibene da Lonigo, effect of his teaching at Vicenza, ii. 249

Olgiati, Girolamo, one of the assassins of Galeazzo Maria Sforza, i. 166, 466, v. 119

Oliverotto da Fermo, his murder of his uncle, i. 119 note 2, 168 note 1, 354;
takes part in the Diet of La Magione, 351;
murdered at Sinigaglia by Cesare Borgia, 351

Onestà, Italian ideas of, i. 485

Onesto, Bolognese poet, iv. 48

Onore, use of the word in Italian, i. 481, 485, iv. 180 note 1 (see Tasso);
illustrated by the life of Benvenuto Cellini, iii. 449

Orange, the Prince of, in command at the Siege of Florence, iii. 414;
wounded at the capture of Rome, 455;
his troops destroy Sannazzaro's villa at Naples, v. 199

Orcagna (Andrea Arcagnuolo di Cione), completes the Church of Orsammichele, Florence, iii. 63, 124;
comprehensiveness of his genius, 124;
the tabernacle there, 125;
architect of the Loggia del Bigallo, 125;
influence of his master, Giotto, upon him, 125, 197;
his frescoes in the Strozzi Chapel, S. Maria Novella, 199;
beauty of his faces, 200 note 1;
probably not the painter of the frescoes in the Campo Santo, Pisa, 200;
his sincerity, v. 195;
influenced by Dante, iii. 283 note 2;
his Sonnet on Love, iv. 39 note 1

Ordelaffi, the, of Forli, i. 111, 375;
their patronage of learning, ii. 302

Ordinanze della Giustizia, the, at Florence, i. 224, 238, 244

Orlandi, the Pisan orator, i. 343

Orlandini, Zuccagni, his estimation of the population of Florence, i. 209

Orleans, claim of the house of Orleans to Milan, i. 154 note 1, 339

Orleans, Duke of, i. 577, 579, 581

Orpheus, fitness of his legend to express the Renaissance, iv. 410, v. 450;
the Orfeo (see Poliziano)

Orsini, the, members of this family become Condottieri, i. 161;
their rise to power, 375;
contest between the Orsini and Cesare Borgia, 349-352;
destroyed by Alexander VI., 413;
devoted to Naples, 543;
related by marriage to the Medici, 543, ii. 314, 354;

—— Clarice, wife of Lorenzo de' Medici, i. 314, ii. 354;
Francesco, murdered at Sinigaglia by Cesare Borgia, 351, 353;
Paolo, murdered at Sinigaglia by Cesare Borgia, 351;
Cardinal, takes part in the Diet of La Magione, 351;
Virginio, 552;
buys Anguillara from Franceschetto Cibo, 545;
makes terms with Charles VIII., 564

Ortolana, the, an Academy at Piacenza: Domenichi and Doni members, v. 88

Orvieto, Duomo, the, illustrates the defects of Italian Gothic, iii. 53;
contrasted with Northern cathedrals, 56;
Signorelli's frescoes, ii. 440, iii. 56, 280, 281, 282;
its façade, iii. 116;
importance of its sculptures in the history of Italian art, 117;
Fra Angelico's frescoes, 283 note 1;
Perugino invited to work there, 296 note 1, 299

Osnaga, Orsina, Filelfo's second wife, ii. 280

Otho I., i. 52;
assumes the title of King of Italy, 52, 53

Ottimati, name given to the party of the oligarchy at Florence, ii. 441

Oziosi, the, an Academy at Bologna, ii. 366


PACCHIA, GIROLAMO DEL, the scholar of Sodoma, iii. 501

Padua, traditional reverence for Livy there, iv. 12

Padua, S. Antonio: Andrea Riccio's candelabrum, iii. 78 note 1;
Donatello's bas-reliefs, 140, 270 note 1;
Chapel of the Arena, iii. 190, iv. 298;
the Eremitani, Mantegna's frescoes, iii. 270;
Hall of the Ragione, 60, iv. 130

—— University, the, ii. 116;
pay of professors there, 122;
its state at the end of the fifteenth century, 506;
long continuance of scholasticism at Padua, v. 457;
different character of Padua from other Lombard universities, 460;
closing of the schools in 1509, 460

Padua, Chronicle of, cited for a description of the Flagellants, iv. 280

Paganism, mixture of Paganism and Christianity in the Renaissance, i. 456 note 1, 464, iii. 1, 33-35, 107.
(See Renaissance.)

Pagello, Bartolommeo, his panegyric of Ognibeno da Lonigo, ii. 249

Painting, demands more independence in the artist than architecture, ii. 7;
character of Greek painting, 8;
effect on Italian painting of the discoveries of ancient works of art, 439;
painting the best gauge of Italian genius, iii. 5, iv. 116, 338, v. 18, 20, 49, 515;
how painting instead of sculpture became the exponent of modern feeling, iii. 8, 12-21, 31, 120;
the problem for Italian painting, 10-20, v. 515;
difficulties presented to the first painters, iii. 21;
first attempts in painting to make beauty an end in itself, 22, 32;
Italian painting in the first period devoted to setting forth the Catholic mythology, 27, 185;
why painting has lost its earlier importance, 37;
the personality of the different Italian cities visible in painting, 181;
contrast between the Florentine and Venetian painters, 182;
character of the Umbrian school, 182;
the so-called 'schools': how far the term is justified, 183;
general course taken by Italian painting, i. 17-20, iii. 185-187, v. 506;
changes introduced by Giotto into painting, iii. 192;
character of the Sienese masters, 214;
characteristics of Italian painting from 1400-1470, 224 (cp. v. 204);
the Quattro Cento a period of effort, iii. 227;
exaggerated study of perspective and anatomy by these painters, 232;
the painters of the Renaissance—how to be classified, 266-269;
influence of Dante on Italian painters, 283 note 2;
the perfection of painting in Michelangelo, Lionardo da Vinci, Raphael, and Correggio, 312;
over attention paid to the nude after Michelangelo, 397, 453;
the decline of painting, 481, 504

Palæologus, Andrea, sells the title of Emperor of Constantinople to Charles VIII., i. 576 note 1;
John, attends the Council of Florence, ii. 196, 205;
takes Filelfo into his service, 268

Paleario, Aonio, ii. 394;
his Latin poem on the Immortality of the Soul, 497;
his execution, v. 478

Palermo: Norman, Arabic and Byzantine influence on Palermitan architecture, iii. 44, 45

Palimpsests, ii. 129

Palladio, his judgment of Sansovino's Library of S. Mark, iii. 85;
character of his architectural work, 94, v. 505;
the Palazzo della Ragione at Vicenza, iii. 95;
Palladio's treatise on Architecture, 96 note 1

Palladius, Blosius, ii. 409

Pallavicini, Battista, i. 177

Palma, iii. 371;
his Venus, illustrating his treatment of the antique, 291

Palmieri, Matteo, facts of his life, v. 549 (Appendix iii.);
pronounces the funeral oration over Marsuppini, ii. 187;
his Chronicle quoted for a description of the Florentine festivals, iv. 316;
author of the Città di Vita, 188, v. 548;
history of the MS. of the work, v. 548;
origin of the poem, 549;
its doctrine on the Soul and Fallen Angels, iv. 171, v. 551;
the work brings him into suspicion of heresy, iv. 171;
the Della Vita Civile, v. 549;
influence of Xenophon on the work, 196 note 1;
Mattia, continues Matteo Palmieri's Chronicle, 549

Panciatichi, Lorenzo, alludes to the ballad L'Avvelenato, iv. 276

Panciroli, his testimony to the kindness of Boiardo, iv. 458

Pandects, the MS. of the, taken by Florence from Pisa, i. 62, ii. 351

Pandolfini, Agnolo, his treatise Del Governo della Famiglia, i. 239-243, 481;
said to have been really written by Leo Battista Alberti, 239 note 1, 273, ii. 37, iv. 192-203

Panicale, Perugino's fresco of S. Sebastian, iii. 295

Pannartz, the printer at Rome, ii. 368

Panvinius, cited for the murders committed by Alexander VI., i. 414

Paolo da Castro, his salary from the University of Padua, ii. 122

Paolucci, his account of the behaviour of Leo X. at a representation of the Suppositi, v. 147

Papacy, the, 'the ghost of the Roman Empire,' i. 5;
rise of the Papal power, 7, 32;
its history cosmopolitan, 41, 60;
invites the Franks against the Lombards, 50;
compact of the Papacy with Charlemagne, 50, 94;
war between the Papacy and the Empire, 59, 60, 68, 97, 100, 374, iv. 6;
election of the Popes transferred from the Emperor to the Cardinals, i. 60;
summons Charles of Anjou into Italy, 75;
calls in Charles of Valois, 76;
transference of the Papal Court to Avignon, 77, 80, 374, iv. 7;
restored to Rome, i. 88;
the Papacy prevented the unification of Italy, 93-95, ii. 2;
Machiavelli's criticism of the Papacy, i. 96, 382, 448-451, v. 436, 438, 442;
the only Italian power which survived all changes, i. 98;
connivance of the Popes at crime, 170;
paradoxical character of the Papacy during the Renaissance, 371-374, 401;
Guicciardini's observations on the Papacy, 451, 452;
universal testimony to its corruption, 446, 457, 460;
Italian ideas about the Pope, 418, 462-464, iii. 471;
worldliness of the Papacy at the Renaissance, ii. 263;
more tolerant of obscenity than of heterodoxy, 22;
corruption of the Papal Court under Leo X., 402, 406, 408, 516;
flattery of the Popes by the Latin poets of the Renaissance, 493-496;
the organisation of the Papacy due to Italian genius, iv. 7, v. 513

Papal Secretaries, their rise into importance owing to the influence of rhetoric at the Renaissance, ii. 216

Paper, where first made in Italy, ii. 371

Paquara, reconciliation of the Lombard cities at, i. 108, 608

Parabosco, Girolamo, his Diporti, v. 60;
its Introduction, 62

Paravisini, Dionysius, the first printer of Greek in Italy, ii. 375

Parentucelli, Tommaso. (See Nicholas V.)

Parhasius, Janus, a member of the Roman Academy, ii. 361;
professor in the Sapienza at Rome, 426

Parisio, Gianpaolo. (See Parhasius, Janus.)

Parlamenti, name of the popular assemblies in Italian cities, i. 35, 57

—— the Parlamento at Florence under the Medici, 229, 526

Parma, sold by Obizzo d'Este, i. 134;
pageant got up by the students at the election of Andrea di Sicilia to a professorship, iv. 315

—— the Teatro Farnese (by Aleotti), v. 144

Parmigianino (Mazzola, Francesco), story of him at the Sack of Rome, ii. 16;
the follower of Correggio, iii. 495

Parte Guelfa, in Italian cities, i. 35;
at Florence, 70 note 1

Party strife, effects of, in Italy, i. 199, 206, 207, 584

Paruta, the Venetian historian, i. 233

Passavanti, Jacopo, his Specchio della vera Penitenza, iv. 131, v. 270

Paterini, the, an heretical sect, i. 9, iv. 109, 279

Patria, Machiavelli's use of the term, v. 435, 436

Patrician, title of dignity in Italian cities, i. 35

Patrini, Giuseppe, engraver of a portrait of Aretino, v. 423

Paul II., becomes Pope, i. 383;
his love of show, 383;
his services to art, 384, 384 note 1;
his persecution of the Roman Platonists, 385, ii. 359, 362, 511;
claimed descent from the Ahenobarbi, ii. 31;
his destruction of ancient monuments at Rome, 430;
his death, i. 387

Paul III., i. 297, iii. 438;
his monument in St. Peter's, i. 417 note 2, iii. 108;
a member of the Roman Academy, ii. 361;
advances Sadoleto, Bembo, and Aleander to the Cardinalate, ii. 402, 416, 424;
his patronage of scholars while Cardinal, 404, 498, 500, 504;
employs Michelangelo to paint the Last Judgment, iii. 422;
his character, 422, 438, 472, 473, note 1

Pavia, becomes the capital of the Lombards, i. 48, 49

—— the Cathedral (by Rocchi), iii. 82;
shrine of S. Augustine, 123;
the Certosa, 42, 165;
the façade characteristic of the first period of Renaissance architecture, 72

—— University, the, eclipsed by the School of Bologna, i. 62;
raised to eminence by Gian Galeazzo, 142, ii. 118;
staff of the University in 1400, ii. 120;
pay of professors there, 122

Pazzi, Alessandro de', his Discourse on the Florentine Constitution, i. 197 note 1, 203 note 1;
Piero de', called to study by Niccolò de Niccoli, ii. 41

Pazzi Conspiracy, the, i. 168, 396, 398, 466, 505, ii. 287, iv. 443, 447, v. 118

Pedantesco, name given to a kind of pseudo-Maccaronic verse, v. 328;
specimen from Scrofa, 329

Pelacane, Biagio, master of Vittorino da Feltre in mathematics, ii. 289

Pelavicini, the, become feudatories of the See of Parma, i. 57 note 1;
overthrown by the Visconti, 145

Pellegrini, the, an Academy at Venice, v. 90, 272

Penni, Francesco, the scholar of Raphael, iii. 490

Pepoli, Romeo, his rise to power at Bologna, i. 114, 116

Peregrinus, Bononiensis, an early printer at Venice, ii. 376

Perino, a Milanese, carved the tomb of Mastino II. della Scala, iii. 124 note 1

Perino del Vaga, the scholar of Raphael, iii. 490

Perotti, Niccolò, a pupil of Vittorino da Feltre, i. 177;
author of the Cornucopia, 179;
translates Polybius, ii. 228;
takes part in the quarrel of Poggio and Valla, 240, 241;
Pirro, his preface to his uncle's Cornucopia, i. 179

Perotto, murder of, by Cesare Borgia, i. 426

Perrucci, Antonelli, execution of, by Ferdinand of Aragon, i. 571 note 3

Perugia, seized by Gian Galeazzo, i. 148;
generally Guelf, 194;
excitable and emotional character of the people of Perugia, iii. 221;
peculiar position of Perugia in Italian art and literature, v. 498;
standards of the religious confraternities preserved at Perugia, iv. 283 note 1

—— S. Bernardino, its façade, iii. 79 note 1, 150;
S. Domencio, monument of Benedict XI., 115;
S. Pietro de' Cassinensi, tarsia work, 78 note 2;
Mino da Fiesole's altar in the Baglioni Chapel, 158 note 1

—— the Sala del Cambio, tarsia work designed by Perugino, iii. 78 note 2;
Perugino's frescoes, 210, 295, 296

—— High School, the, founded by Clement V., ii. 117

Perugino (Pietro Vannucci), i. 325, v. 498;
his arabesques at Perugia, ii. 440;
his designs for tarsia work there, in the Sala del Cambio, iii. 78 note 2;
his frescoes in the Sala, 210, 295;
Michelangelo's criticism of him, 296, 298 note 1, 300, 386 note 2;
character of his genius, 294;
his artistic development impaired by his commercial character, 296, 298, 299;
the problem of his personal character, 297, 298 (cp. i. 170 note 1);
competes for the decoration of the Stanze of the Vatican, 300;
his influence upon Italian art, 300, 303;
his adherence to the older manner of painting, 303, 365

Peruzzi, the, at Florence, i. 238;

their loan to Edward III., 257;
their bankruptcy, 258

Peruzzi, Baldassare, church built by him at Carpi, ii. 374;
architect of the Villa Farnesina at Rome, iii. 83, 84;
his work at S. Peter's, 91;
how far influenced by Sodoma in painting, 501;
employed as scene-painter at the representation of the Calandra in the Vatican, v. 143, 146

Pescara, Marquis of. (See D'Avalos, Ferrante Francesco.)

Peselli, the, Florentine painters, introduced new methods of colouring, iii. 225

Petrarch, his love of antique culture, i. 11, ii. 13;
ignorant of Greek, i. 20, ii. 74, 75, 90;
his autobiographical tracts, ii. 36, iv. 91, 123;
present at the marriage of the Duke of Clarence, i. 138;
his remark on Florentine intelligence, 250;
his denunciations of Papal profligacy, 457;
his conception of self-culture, ii. 4;
belongs less than Dante to the middle ages, 13, iv. 91, 140, v. 2;
Dante and Petrarch compared, ii. 70, iv. 85-89, 90;
greatness of his services to culture, ii. 71, 86;
his love of Cicero and Virgil, 73, 76;
his liberal spirit, 75, 78, iv. 87 (cp. v. 504);
his judgments of poetry and oratory, ii. 76, 77, 450;
his vanity and inconsistency of conduct, 79-84;
depreciated Dante, 82;
his relations to Rienzi, 83, 147-149;
his philosophical creed, 84-86, v. 450;
despaired of getting Greek learning from Constantinople, ii. 92 note 1, 142 note 1;
his invective against the copyists, 129;
began the search for MSS. of the classics, 132 (cp. 530);
his study of the ruins of Rome, 149;
his description of Rome in desolation, 154;
conceives the idea of forming a public library, 166;
his friendship with Robert of Anjou, 252, iv. 120 note 1;
his denunciation of the astrologers, ii. 75, 336;
Aldo Manusio's Italic types imitated from his handwriting, 381;
began the fashion of Ciceronian letter-writing, 530;
his description of death illustrated by frescoes in the Campo Santo, Pisa, iii. 202;
his mention of Simone Martini and Giotto, 217 note 1;
his account of the Sicilian poets, iv. 21;
attained the conception of Italy as a whole, 87;
crowned in the Capitol, 88;
his language free from dialect, 89;
his treatment of love, 89;
conflict in his mind between his love of Laura and his religious feelings, 90;
the nature of his passion for Laura, 92-94;
brings the feeling of love back from mysticism to experience, 94, v. 515;
his artistic treatment of his subject-matter, iv. 95;
had no strong objective faculty, 96;
his power of self-portraiture, 97;
the dialogue on the Destruction of Cesena, falsely attributed to him, v. 117 note 1

Petrarchistic School in Italian literature, Petrarchists of the trecento, iv. 159;
the revival under Bembo and the purists, 165;
injurious effects of the imitation of Petrarch, v. 249-251, 273;
inattention shown by the Petrarchists to the calamities of Italy, 281

Petrucci, the, at Siena, supported by the people, i. 87

—— Antonio, invites Filelfo to Siena, ii. 276;
Cardinal, conspiracy of, i. 436;
his patronage of scholars at Rome, ii. 404;
Pandolfo, his rise to power at Siena, i. 114, 209;
his murder of Borghese, 121 note 1

Philosophy, at the commencement of the Renaissance did not form a separate branch of study, v. 458;
materialism in the Lombard Universities due to physical studies, 458

Philosophy, Italian:
Italian philosophy unduly neglected in the history of modern thought, v. 448;
three stages of thought in the passage through Renaissance to modern science, 448, 457;
disengagement of the reason from authority due to Italian thinkers, 448, 449, 485-487, 520;
Cicero and Seneca used as models by the humanistic ethicists, 451;
value of the labours of the Florentine Platonists, 452-454;
problems of life posed by ethical rhetoricians, 454-457;
Valla's De Voluptate, 455;
rapid growth of heterodox opinions on immortality during the Renaissance, 470;
influence of Pomponazzi on Italian thought, 479, 520

Piacenza, destruction of, by the Milanese, i. 152, 162 note 1, 212

—— University, the, established by Innocent IV., ii. 117

Piagnoni, name of the followers of Savonarola at Florence, i. 290, 529, ii. 355, iii. 252

Piccinino, Jacopo, murdered by Ferdinand of Aragon, i. 113 note 1, 571

Piccinino, Nicolò, i. 161, ii. 264

Piccolomini, his La Raffaella quoted for Italian ideas of honour in women, i. 485 (cp. ii. 37)

Piccolomini, Æneas Sylvius. (See Pius II.)

Pico. (See Mirandola.)

Piero di Cosimo, his studies in natural history, iii. 226;
his eccentricity, 256;
his romantic treatment of classical mythology, 256;
his art as illustrating the poetry of Boiardo, iv. 463;
the Triumph of Death designed by him, 393-395, v. 114

Piero della Francesca, his fresco of the Resurrection at Borgo San Sepolcro, iii. 234;
his Dream of Constantine at Arezzo, 235;
his portraits of Sigismondo Pandolfo Malatesta and Frederick of Urbino, 235, 275 note 1

Piero da Noceto, private secretary of Nicholas V., ii. 229

Piero delle Vigne, his Perocchè Amore an early instance of a sonnet, iv. 25

Pilatus, Leontius, Boccaccio's Greek master, ii. 91

Pinturicchio, Bernardo, i. 325, 384 note 1;
competes for the decoration of the Stanze of the Vatican, iii. 300;
his frescoes in the Cathedral Library at Siena, 302;
his affectation, 302, 364 note 1

Pio [Pia], Alberto, the patron of Aldo Manuzio, ii. 374;
a member of the Aldine Academy, 387;
ambassador from France at Rome, 405;
Alda, mother of Veronica Gambara, v. 288;
Lionello, ii. 374

Pippin, named Patrician of Rome, i. 50

Pirkheimer, Willibad, the friend of Gian Francesco Pico, ii. 423

Pisa, not eminent for literary talent, i. 79;
sale of, to Gian Galeazzo, 148;
its cruel treatment by Florence, 212, 237, 342, 560, ii. 165;
popular outbreak at the entry of Charles VIII., 343, 561

—— Campo Santo, the, story of the sarcophagus there, which influenced the genius of Niccola Pisano, iii. 106;
built by Giovanni Pisano, 110;
the frescoes, 200-204, 209, 219, 242 (cp. iv. 261 note 2);
S. Caterina, Traini's Triumph of S. Thomas, iii. 207;
Simone Martini's altarpiece, 217 note 2;
the Cathedral, iii. 49;
S. Francesco, Taddeo di Bartolo's Visit of the Apostles to the Virgin, 218;
S. Maria della Spina (Spina Chapel), rebuilt by Giovanni Pisano, 110

—— University, the, ii. 117, v. 497;
transfer of the High School from Florence thither, ii. 122

Pisanello, medal struck by him in honour of Vittorino da Feltre, i. 178

Pisani, the (Giovanni and Niccola), their bas-reliefs at Orvieto, iii. 56;
Vasari's statement that they aided in the façade of Orvieto discussed, 116

—— Giovanni, contrast of his work with that of his father, Niccola, iii. 110, 177;
his architectural labours, 110;
his pulpit in S. Andrea, Pistoja, 111-114;
his allegorical figure of Pisa, 114;
his tomb of Benedict XI. in S. Domenico, Perugia, 115;
Niccola, individuality of his genius, ii. 5;
his influence on sculpture, iii. 101, 177;
the legend of his life, how far trustworthy, 102;
his first work as a sculptor, the Deposition from the Cross, 104;
story of his genius having been aroused by the study of a sarcophagus in the Campo Santo, 106;
the sculptures of the Pisan pulpit, 107, 109 (see also Appendix i.);
degree in which he was indebted to ancient art, 108, 110, v. 506;
contrast of his work with that of his son, Giovanni, iii. 110, 177

—— Ugolino, his Latin play, Philogenia v. 110

Pistoja, contrast of its history with that of Lucca, i. 194

—— S. Andrea, Giovanni Pisano's pulpit, iii. 111-114;
the Duomo, Cino da Pistoja's monument, iv. 66 note 1;
Church of the Umiltà (by Vitoni), iii. 83

—— Ospedale del Ceppo, the, its frieze, by the Robbian School, iii. 150 note 1

Pitigliano, Count, general of Alfonso II. of Naples, i. 552

Pitti, Jacopo, his history of Florence, i. 278, 279;
his democratic spirit, 280, 288, 299 note 2;
his panegyric of Piero Soderini, 289, iii. 391;
ascribes the downfall of Florence to the Ottimati, i. 288;
his style, 291;
his account of Guicciardini, 299, 299 note 1 (cp. iv. 515);
on the preaching of Frate Francesco, i. 621;
the Life of Giacomini cited for Giacomini's share in Machiavelli's plan for a militia, 313 note 1

—— Luca, his conspiracy against Piero de' Medici, ii. 314

Pius II., in the service of the Emperor before his election, ii. 190;
his reputation as an orator, 191;
his Latin correspondence, 532;
his letter to his nephew, 42 note 1;
contrast between his life before and after his election to the Papacy, i. 380, ii. 358;
his saying on the celibacy of the clergy, i. 459;
his canonisations and love of reliques, 461;
pardons the people of Arpino as fellow-citizens of Cicero, ii. 30;
his epigram on the ruins of Rome, 151;
endeavours to protect the Roman monuments, 429;
founds the College of Abbreviators, 358;
his saying upon Tommaso Parentucelli (Nicholas V.), 224;
his Commentaries cited for his conversations with Frederick Duke of Urbino, i. 178 note 2;
for Gian Galeazzo's saying on Salutato, ii. 105 note 1;
his testimony in another work to Beccadelli's reputation as a stylist, 257 note 1

Pius III., i. 433

Pius VI., his destruction of the Chapel in the Vatican painted by Mantegna, iii. 277

Plagiarism, commonness of, in the fifteenth century, iv. 194 note 1

Platina, his account of Paul II.'s persecution of the Humanists, i. 384 note 1, 386, 387, ii. 36, 511;
a member of the Roman Academy, ii. 361

Plato, Aldine edition of, ii. 16, 379;
impulse given by Gemistos to Platonic studies, 207;
quarrel of the Platonists and the Aristotelians, 208, 244, 247, 394, v. 454;
the study of Plato prepared the way for rationalism, ii. 209, 325, iv. 447;
influence of Plato at the Renaissance, ii. 323;
Plato not fully comprehended by the thinkers of the Renaissance, 327, v. 452;
celebrations of his birthday by the Florentine Academy, ii. 328;
the Florentine Platonists, iv. 452.
(See also Ficino and Pico Mirandola.)

Plautus, influence of, on the Italian playwrights, v. 122, 136, 148, 161, 181;
representations of Plautus in the original at Rome, 138, 145;
at Ferrara, iv. 499, v. 139-142, 145;
early translations of Plautus, forming the beginnings of Italian comedy, v. 140

Plethon, Gemistos, settles at Mistra, ii. 199;
his dream of a neo-pagan religion, 200;
his system of philosophy, 201-204;
attends the Council of Florence, 205;
his reception by the Florentines, 206;
impulse given by him to Platonic studies in Italy, 207, 328, v. 452;
his treatises on Fate, and on the differences between Plato and Aristotle, ii. 208;
his controversy with Gennadios, 209;
his remains brought from Greece by Sigismondo Pandolfo Malatesta, i. 173, 461, ii. 34, 209

Plutarch, effect of the study of Plutarch in Italy, i. 165 note 2, 464;
Life of Cleomenes quoted, 235 note 2

Podestà, the place and function of this magistrate, i. 35, 71, 84;
meaning of the word, 67;
sometimes became tyrants, 112

Poetry, opposition of the medieval Church to, iv. 81

Poggio, corresponds with Lionello d'Este, i. 173;
his relations to Frederick of Urbino, 179;
account of him by Vespasiano, 275;
attached to the Papal Court, 459, ii. 218, 230;
a scholar of Giovanni da Ravenna, ii. 100, 230;
his funeral oration on Niccolò de' Niccoli quoted for the society founded by Marsigli, 102;
patronised by Salutato, 106;
learns Greek of Chrysoloras, 110, 230;
his copying and sale of MSS., 131;
his discoveries of MSS., i. 21, ii. 134-139;
his zeal and unscrupulousness in the quest, ii. 138;
his translations of Diodorus Siculus and Xenophon, 228, 237, 243;
his debt to Niccolò de' Niccoli, 230 note 1;
description contained in one of his letters of Jerome of Prague before the Council of Constance, 231, 535;
his pictures of foreign manners, 231;
varied character of his talents, 232;
his attacks on the clergy, 233-237;
terror caused by his invectives, 237 (cp. 513);
his quarrel with Filelfo, 238-240;
with Guarino and with Valla, 240-242, 263, 301;
his fight with Trapezuntius, 243;
his criticism of Beccadelli's Hermaphroditus, 255;
his scandalous account of Filelfo's marriage, 269 note 1;
his marriage and life as a citizen of Florence, 245;
the De Nobilitate, i. 186 note 1;
the History of Florence, 81, 274;
its style and value, 275;
the description of the ruins of Rome (the first part of the De Varietate Fortunæ), ii. 152-154, 231, 429, 530

Pole, Cardinal, his friendship with Flaminio and Vittoria Colonna, ii. 498, 502, v. 292

Polentani, the, of Ravenna, i. 111, 375

Polenta, Obizzo da, his murder of his brother, i. 119 note 2;
Ostasio da, his murder of his brother, 119 note 2

Polidoro da Caravaggio, the scholar of Raphael, iii. 490

Polissena, Countess of Montalto, her murder, i. 119 note 2

Politici, the, an Academy at Bologna, ii. 366

Poliziano, Angelo, assassination of his father, i. 170 note 1;
present at the murder of Giuliano de' Medici, 265 note 1;
his letter to Antiquari, containing an account of Lorenzo's last interview with Savonarola, 523 note 1, ii. 355 (cp. 533);
wide scope of his genius, ii. 10, iv. 399;
his lectures on the Pandects, ii. 124;
learnt Greek from Callistus, 248, 346;
one of the circle gathered round Lorenzo de' Medici, 322, 323;
his description of Pico della Mirandola, 329;
his wooing of Alessandra Scala, 344;
brought into fame by his Latin version of part of Homer, ii. 346, iv. 401, 411;
his lectures at Florence, i. 171;
their enormous success, ii. 350, 464;
popularity of Poliziano, 353;
his relations to the Medicean family, 354;
his want of self-respect, 354;
Giovio's story of his death, 348 note 2, 354 note 1;
epitaph placed upon his tomb, 357;
his indebtedness to Sacchetti, iv. 155;
his eulogy of Alberti, 214;
one of his letters cited for the Maccaronic Italian used by scholars, 237;
represents the servility of his age in literature, 404;
ideal of life expressed in his works, 423;
erroneous ascription of the Morgante to him, 455 note 3, v. 316 note 1;
his position as an Italian poet, ii. 347, iv. 399-401;
insincerity of emotion in his Italian poems, iv. 423;
popularity of his Italian poems, 409 note 2;
injury caused to his poems by the defects of his temperament, 399;
his mastery of metre, 401-403, v. 212, 230;
surpassed by Ariosto, v. 43;
the Stanze, iv. 401, 403, 406-409, 421;
their importance in Italian literature, 403;
illustrations of the Stanze by contemporary works of art, 408;
translation of passages, 408, 420;
the Orfeo, iv. 357, 409, v. 108, 221;
excellent choice of its subject, iv. 410;
occasion of its being written, 411;
its greatness lyrical, not dramatical, 412-414;
translation of the Chorus of the Mænads, 414;
popular redaction of the Orfeo, 409 note 2;
the Orfeo cited for the tendency of the Italians to unnatural passions, 477 note 1;
his Canzonet, La pastorella si leva per tempo, iv. 268 note 3;
a letter of his to Lorenzo cited for the antiquity of the Rispetti and the cultivation of popular poetry in the Medicean circle, 269, 416 note 1;
translation of a Ballata, 378;
his Rispetti, &c., 416;
more artificial in character than the popular poetry, 417;
the Rispetti continuati, 419;
illustrations of them from contemporary works of art, 419;
the La brunettina mia, La Bella Simonetta, and Monti, valli, antri e colli, 420-422;
part of La Bella Simonetta translated, 420;
the Essay on the Pazzi Conspiracy, i. 265 note 1;
the Miscellanies, ii. 352;
the Greek and Latin poetry, 348;
original character of the Latin poetry, 348, 356, 453-458, 463;
the Lament for Lorenzo, 355, 356;
analysis of the Nutricia, 453-458;
the Eulogy on Lorenzo, 457, iv. 369;
Gyraldus' criticism of the Sylvæ, ii. 459;
the Rusticus, 459, iv. 423, v. 234;
the Manto, ii. 460-462;
the Ambra, 463 (prose translations of passages from the Latin poems will be found 454-463);
the minor poems, 464;
Greek epigram sent to Guidobaldo, Duke of Urbino, i. 182 note 1;
translation of Greek hexameters, ii. 24;
the epigram on Pico when he attacked the astrologers, 337 note 1;
the epigram on the first Greek printers, 375 note 2;
the Sapphics to Innocent VIII., 495;
the verses on Filippo Lippi, iii. 247;
his Latin correspondence, ii. 532

Pollajuolo, Antonio del, his choice of subjects of a passionate character, iii. 146;
his monument of Sixtus IV., 147;
his experiments in colour, 225;
over prominence of anatomy in his works, 232;
his Hercules, illustrating his treatment of the antique, 291;
architect of the Belvedere of the Vatican, i. 384 note 1;
his statue of Innocent VIII., 415, iii. 147;
his portrait of Poggio, ii. 246;
his work as a bronze founder, iii. 78 note 1;
Piero del, aids his brother, Antonio, iii. 147, 225

Polybius, studied by Machiavelli, v. 434 note 1

Pomponazzi, Pietro, studies at Padua, v. 458, 459;
moves from Padua to Ferrara, and finally to Bologna, 460;
his Treatise on the Immortality of the Soul burnt in public at Venice, 460;
controversy raised by that work, 461, 479;
Pomponazzi aimed at stating the doctrines of Aristotle as against the Thomists and Averrhoists, 462;
adopted the views of Alexander of Aphrodisias, 459, 472;
his profession of faith, 476, 477, 480;
powerful personality shown by his writings, 461;
his positivism, 478;
akin in this respect to Machiavelli, 485-487;
his influence on Italian thought, 479;
his materialistic philosophy, i. 456, ii. 124, 394 (cp. 477), iv. 447, v. 312, 314, 518;
the De Immortalitate Animæ, ii. 410, v. 460;
Pomponazzi's doctrine of the soul's materiality there stated, v. 472-476, 520;
the De Incantationibus, 461;
rejects demons and miracles in this work, 476;
acknowledges astral influence, 477;
expresses the opinion that Christianity is doomed to decline, iv. 448 note 1, v. 477;
the Apologia and Defensorium, v. 461;
the De Fato, 461, 477;
description of the philosopher contained there, 478

Pontano (Jovianus Pontanus), assassination of his father, i. 170 note 1;
his relation to Frederick of Urbino, 179;
tutor to Piero de' Pazzi, ii. 41;
a member of the Roman Academy, 361;
founder of the Neapolitan Academy, 363, v. 198, 272;
his employment by the Kings of Naples, ii. 363;
his oration to Charles VIII., 363;
portrait of him in the Church of Monte Oliveto at Naples, 365, iii. 164, v. 198;
value of his works, ii. 364, v. 220;
the De Immanitate, cited, i. 139 note 1, 481 note 2, 569, 569 note 1, 571 note 1;
the De Liberalitate, cited, 569 note 1;
his merits as a writer of Latin verse, ii. 364, 465, v. 235;
the De Stellis, ii. 466-468, v. 220, 235;
the De Hortis Hesperidum, v. 220, 235;
his Odes to the Saints, iv. 302;
Neapolitan colouring of his poems, ii. 364, v. 213, 235;
their pictures of Neapolitan life, v. 217;
their sensual but unaffected character, 214-217;
Pontano's love of personification, 218;
translation (in prose) of the lines personifying Elegy, 219

Pontelli, Baccio, architect of the Hospital of Santo Spirito at Rome, i. 384 note 1;
employed as architect upon the Ducal Palace, Urbino, iii. 162 note 1

Pontius, Paulus, his monument of Alberto Pio, ii. 375

Pontormo, Jacopo, his portraits of Cosimo and Lorenzo de' Medici, iii. 498;
his portrait of Ippolito de' Medici, ii. 27;
decorates the cars for the Pageant of the Golden Age, iv. 397

Ponzoni family, the, of Cremona, i. 145

Popolo, meaning of the word, 55, 56, 71, iv. 7, 8;
increase in the power of the Popolo, i. 61;
Guicciardini's use of the word, 306 note 1

Porcari, Stefano, his attempt on Nicholas V., i. 376, 377, 386;
influenced by the history of Rienzi, 376, ii. 147

Porcello, Giannantonio, patronised by Alfonso the Magnanimous, ii. 264, 303

Pordenone, iii. 371

Porta, Giacomo della, his work at S. Peter's, iii. 93;
Guglielmo della, his monument of Paul IV., i. 371, iii. 108

Portogallo, Cardinal di, his monument in S. Miniato, iii. 153;
Vespasiano's testimony to his virtues, 154

Portuguese, the, round the Cape, i. 15

Porzio, Simone, the disciple of Pomponazzi, v. 479;
story of his lecturing at Pisa, 479;
his belief as to the soul, 479

Pratiche, name of an extraordinary Council in some Italian Communes, i. 35

Prato, Sack of, iii. 308 note 2, 393;
the Duomo, Mino's pulpit, 158 note 1;
Filippo Lippi's frescoes, 245, v. 54 (cp. iv. 422);
chapel of the Sacra Cintola, iii. 79

Prendilacqua, his biography of Vittorino da Feltre, cited, i. 178 note 1, ii. 37

Primaticcio, his residence at the Court of France, iii. 445

Princes, effect of, upon Italian literature, iv. 404

Principi, the Lettere de', quoted, i. 442

Printers, the early, i. 23;
the first printers in Italy, ii. 306 note 2, 368-391;
labour employed in printing the first editions of the classics, 372

Priors, name of the chief magistrates in some Italian Communes, i. 35, 68, 71;
Priors of the Arts at Florence, i. 224

Professors, pay of, in the Italian Universities, ii. 121, v. 460;
subordinate position of the humanist professors, ii. 123;

their system of teaching, 124-127, 274;
illustrations of the Italian professorial system at the Renaissance from the Maccaronic writers, v. 332

Provençal literature, its effect on medieval Italy, iv. 13

Provence, extinction of heresy there, i. 9

Ptolemaic System, superseded by the Copernican, i. 15, 16

Pucci, Antonio, his political poems, iv. 163;
his terza rima version of Villani's Chronicle, 240;
his celebrity as a cantatore, 257

Pulci, Bernardo, writer of the sacred drama, Barlaam e Josafat, iv. 320, 349;
other works of his, 430;
Luca, his poem on Lorenzo de' Medici's Giostra, iv. 405;
his share in the Ciriffo Calvaneo, 430;
Luigi, one of the circle gathered round Lorenzo de' Medici, ii. 322, iv. 440;
his story of Messer Goro and Pius II., iv. 255;
his Beca da Dicomano, 382, v. 224;
his quarrel with Matteo Franco, and Sonnets, iv. 431, 455 note 3;
the Morgante purely Tuscan, 430, 431;
the burlesque element ready to hand, 440;
the Morgante written to be read in the Medicean circle, 440;
three elements in the poem, 441;
the Morgante a rifacimento of earlier poems, 442;
its plot, 443;
excellence of the delineations of character, 445, 470 note 1;
character of Margutte, 451;
of Astarotte, 452-456;
not a mere burlesque, 446;
its profanity, how explained, 446-448;
instances of Pulci's humour, 448-450;
false ascription of part of the Morgante to Ficino, 455 note 3;
erroneous idea that Poliziano wrote the Morgante, 455 note 3;
bourgeois spirit of the Morgante contrasted with Boiardo's Orlando Innamorato, 456, v. 8
(see Appendix v. vol. iv., for translations from the Morgante);
Monna Antonia (wife of Bernardo), authoress of a Sacra Rappresentazione, iv. 320

Puritanism, a reaction against the Renaissance, i. 25;
its political services, 27;
antipathy of, to art, iii. 24


QUARREL of the Aristotelians and the Platonists, ii. 208, 244, 247, 394, v. 454;
literary quarrels at the Renaissance, ii. 237-245, 264, 511, iv. 431 note 1, 451, v. 89, 285

Quercia, Jacopo della, his work as a sculptor in Italian churches, iii. 78 note 1;
his treatment of the story of the creation of Eve, 118 note 2, 130;
his designs in competition for the gates of the Florentine Baptistery, 127;
other works of his—the Fonte Gaja, and the monument of Ilaria del Carretto, 132, 165

Quintilian, discovery of a MSS. of, by Poggio, ii. 134-137.

Quirino, Lauro, his stipend at Padua, ii. 122


RABELAIS, quoted for the feudal idea of honour, i. 483

Raffaelle da Montelupo, a feeble follower of Michelangelo, iii. 172

Raimond of Tours, quoted to illustrate the gaiety of medieval Florence, iv. 50

Raimondi, Marc Antonio, imprisoned for engraving a series of obscene designs by Giulio Romano, v. 389

Raimondo da Capua, the confessor of S. Catherine of Siena, iv. 174

Ramiro d'Orco, appointed governor of the Romagna by Cesare Borgia, i. 354;
his end, 355

Rangoni, Count Guido, the patron of Bernardo Tasso, v. 297

Rapallo, massacre of, i. 557

Raphael, the question entertained of making him a Cardinal, ii. 403;
his project for the exploration of Rome, ii. 419, 436, iii. 337;
his friendship with Castiglione, ii. 421;
his work in the Loggie and Stanze of the Vatican, ii. 436, 440, iii. 108, 333, v. 229;
Raphael the harmonist of classical and Christian traditions, iii. 35, 333 (cp. v. 26);
woodwork executed from his designs at Perugia, iii. 78 note 2;
his mosaics in S. Maria del Popolo, 79 note 2, 334;
his work as an architect, 83, 330;
as a sculptor, 329;
his frescoes in the Villa Farnesina, 84, 331, 334, iv. 403;
the Galatea, illustrating his treatment of the antique, 291, 337;
his work on S. Peter's, iii. 91;
borrowed the figure of S. Paul in the Cartoon of Mars' Hill from Filippino Lippi, 248;
the pupil of Perugino, 300;
his power of assimilation, 301, 330-332;
one of the four great painters by whom the Renaissance was fully expressed, 312;
equality, facility, and fertility of his genius, 328;
comparison of his genius with that of Mozart, 328;
his gentleness, 329;
his indebtedness to Fra Bartolommeo, 330;
influence of Michelangelo on his later works, 331, 412;
his school of workmen, 332;
enormous mass of his work, 334;
mental power displayed by him, 335, 338, v. 116;
variety of his genius, iii. 336;
the Madonna di San Sisto, 337, 380;
his humane spirit and avoidance of painful subjects, 338;
the woodcuts of the Hypnerotomachia erroneously ascribed to him, iv. 221 note 1;
the scenery for a representation of the Calandra at Rome painted by him, v. 147

Rasiglia, Pietro, his murder of Nicolà and Bartolommeo Trinci, i. 122

Raspanti, the, a faction at Perugia, i. 122

Raul, Sire, his Chronicle of Milan, i. 251

Ravenna, i. 46, 118;
battle of, ii. 380, iii. 329;
tomb of Dante, ii. 410

Razzi, his account of the interview of Savonarola with Lorenzo de' Medici on his deathbed, i. 523 note 1

Reali di Francia, illustrates the little influence of Boccaccio's style on his immediate successors, iv. 136;
its stylistic merits, 240;
the most popular of all Italian books, 245, 247;
attributed to Andrea da Barberino, 246

Realists, the, v. 466

Recanati, the Bishop of, murder of, v. 297

Rectors, or Rettori, the magistrates in some Italian cities, i. 35, 68

Reformation, connected with political liberty, i. 26;
how related to the Renaissance, 25, ii. 536;
inimical to the Fine Arts, iii. 28

Regno, the, early medieval effort to form a monarchy in Italy, i. 50-52

Religion, opposition between religion and science, i. 15;
a cause of disorder in Italy, 205;
morality and religion disunited in Italy, 174 note 1, 433, 447, 462, ii. 234, 257, iii. 451;
Machiavelli's opinions on religion, i. 453, 454;
vitality of religion, 469;
religion and art:
how far inseparable, iii. 6 note 1;
injury done to religion by the sensuousness of art, iii. 11, 19, 22, 31;
contrast between Greek and Christian religious notions, 12;
the opposition of religion and art, 24-26, 28;
separate spheres and points of contact between religion and art, 30

Reliques, Italian passion for, i. 460

Renaissance, the, meaning of the term, i. 1-4, 5, 28, v. 489 foll.;
the Renaissance the emancipation of the reason, i. 9, 14, ii. 13, 43, 535, iii. 8, 179, 333, iv. 447, v. 14, 26, 447, 491;
the revelation of nature in the world and man, i. 15 note 1, iii. 325, v. 483, 527, 528;
problem of the Renaissance, v. 523, 527;
the imitation of the Renaissance impossible, 526;
place of the Renaissance in the history of humanity, 527-529;
rise and growth of the Renaissance, i. 26, v. 448;
precursors of the Renaissance, i. 8, 26, 27;
its relation to the Reformation, 26, ii. 536, v. 529, 530;
the Renaissance and modern science, i. 16, 17, v. 483, 491;
aided by the progress of inventions, i. 3, 29;
began in Italy, 30, v. 492, 529;
mingled polish and barbarism of the Italian Renaissance, i. 172, 183, 373, 570, v. 523;
changes in culture effected by the humanism of the Renaissance, i. 185, ii. 393, 543, v. 508;
irreligious character of the Renaissance, i. 174 note 1, 455, ii. 16, 44, 205, 217, 257, 518, iii. 228, v. 486;
the Paganism of the Renaissance, i. 454 note 1, 464, ii. 17, 18, 39, 72, 395 foll., 470, 489, 516, 520, 540, iii. 7, 33-35, 107, 135, 167, 175, 257, iv. 39, 404, v. 216, 486, 492;
indigenous in Italy, iv. 39;
its real character and extent, ii. 395, iv. 106 note 2;
religious sentiment, how influenced by the Renaissance, iv. 207, v. 455;
fitness of the Italian character to work out the Renaissance, ii. 1-4, iv. 10;
fertility of the Renaissance in men of universal genius, ii. 10 (cp. 125), 341;
the Renaissance not so productive in religion and philosophy as in art, 21, 337, iv. 10, v. 447, 492;
introduced a democracy of intellect, ii. 32, 33;
the thirst for fame characteristic of the Renaissance, 38, 80;
criticism a creation of the Renaissance, iv. 447;
the passion for collecting, ii. 139;
effect of the study of Roman antiquities upon the Renaissance, 142 foll., 429 foll. (cp. iii. 48 note 1);
undue influence of rhetoric in the Renaissance, ii. 149, 190, 216, 513, 525, v. 247, 430, 451;
uncritical character of the first scholars of the Renaissance, ii. 296, 327, 337, 382, v. 451, 483;
ideal of life produced by the Renaissance, ii. 330, iv. 219, v. 517;
the Renaissance checked the spontaneity of the Italian intellect, ii. 394, iv. 403;
modern culture a gift of the Renaissance, ii. 9, 408, 506, 524, v. 491, 505, 524;
the Renaissance appreciative of form independently of matter, ii. 471, 513, 514, iv. 403;
the weaknesses of the literary and artistic ideal of the Renaissance, ii. 504, iii. 170, 179;
predominance of art in the Renaissance period, iii. 1-5, v. 6;
difficulty of rendering justice to the poetry of the Renaissance, iii. 2 (cp. iv. 403);
the Renaissance restored the appreciation of natural beauty, iii. 32;
error of the artists of the Renaissance in imitating the worst side of Paganism, 175, 454, 489;
expression of the Renaissance by the four great painters, Lionardo da Vinci, Michelangelo, Raphael, and Correggio, 312, 319, 323, 325, 346;
different parts borne by Venice and Florence in the Renaissance, iii. 354, iv. 364;
the genius of the Renaissance typified in Boccaccio, iv. 104;
satire on the Church not combined with unorthodoxy in the Renaissance, 109 note 1, 447;
mixture of religious feelings with vices in men of the Renaissance, 384, v. 228;
manner in which the myth of Orpheus expressed the Renaissance, iv. 410, v. 221, 450;
the culture of the Renaissance derived from Latin, not Greek, models, v. 132 note 1;
the completion of the Renaissance announced by the pastoral dramas of Tasso and Guarini, 245;
belief in the efficacy of a classical revival common at the Renaissance, 444;
the dream of a Golden Age, 195, 521;
the volluttà idillica of the Renaissance, 196, 230

Renaissance architecture:
Brunelleschi's visit to Rome, iii. 68;
task of the first architects of the Renaissance, 69;
criticism of Renaissance architecture, 70;
divided into three periods, 70;
character of the first period, 71, 80;
of the second, 80
of the third, 93;
influence of this third or Palladian period on Northern Europe, 97;
comparison of the various stages of this style with the progress of scholarship towards pedantry, 98;
reasons why this style can never be wholly superseded, 99;
this style the most truly national in Italy, v. 505

René of Anjou, expelled from Naples by Alfonso, i. 568

Republics, the Italian: varied character of the Italian republics, i. 193;
their resemblance to the Greek States, 195;
theories of citizenship in them, 195;
their instability, 198;
causes of this, 205;
their smallness, 209;
their disunion, 211;
their mercantile character, 238

Reuchlin, i. 27, ii. 391;
influenced by Florentine Platonism, ii. 208;
heard Argyropoulos lecture at Rome, 210;
a pupil of Poliziano's, 350;
the friend of Gian Francesco Pico, 423

Revivalism, religious, in Italy, i. 490, ii. 17 (see Appendix iv. vol. i.);
unknown at Venice, iii. 358

Reynolds, Sir Joshua, his criticism of Ghiberti, iii. 132

Rhetoric, influence of, at the Renaissance, ii. 149, 190, 216, 513, 525, v. 247, 430, 451;
want of original thought in the oratory of the Renaissance, ii. 191, 278 note 2, 513

Rhosos, Joannes, a member of the Aldine Academy, ii. 387

Riario, Girolamo, i. 389;
murder of, 120, 390;
Pietro, Cardinal di San Sisto, 389;
his extravagant profligacy, 390-392 (cp. iv. 315);
his convention with Galeazzo Maria Sforza, 392;
Cardinal Raphael, 407;
concerned in Petruccio's conspiracy, 437;
his patronage of scholars at Rome, ii. 404;
buys Michelangelo's Cupid as an antique, iii. 389;
representation of the Fall of Granada before him, v. 117 note 1 (cp. 138)

Ribellamentu Lu, di Sicilia, its doubtful authenticity, iv. 36

Riccio, Andrea, his work as a bronze founder, iii. 78 note 1

Rienzi, takes the title of Tribune, ii. 30;
his relations to Petrarch, 83, 147-149;
his plan to restore the Republic in Rome, 145 (cp. i. 376);
his confusion of medieval and classical titles, 146;
his downfall, 147

Rifacimento, question whether Dino's Chronicle is a work of this class, i. 263, 273;
similar question about the Malespini Chronicle, 252 note 1, iv. 36;
about Pandolfini's Governo della Famiglia, iv. 194;
Rifacimento of the Orlando Innamorato (see Berni)

Rimini, S. Francesco, adapted by Leo Battista Alberti, i. 172, 326, ii. 34, 210, 342;
the bas-reliefs in the side chapels, iii. 161;
Piero della Francesca's portrait of Sigismondo Pandolfo Malatesta, 235

Rinaldo d'Aquino, his Farewell, iv. 37

Ripamonti, quoted, i. 163, 167 note 1

Rispetti, meaning of the term, iv. 264;
common character of, throughout Italy, 266;
question of their first origin, 267;
their antiquity, 268;
their themes, 272;
purer in the country than in the towns, 272

Ristoro da Arezzo, his Composizione del Mondo, iv. 36

Robbia, Luca della, his work as a sculptor in Italian churches, iii. 78 note 1;
his bas-reliefs in glazed ware, 79;
unaffected by the Pagan spirit of the Renaissance, 135;
his genius contrasted with that of Ghiberti or Donatello, 148;
beauty of his work, 148-150;
Luca della, nephew of the sculptor, his account of his interview with Paolo Boscolo, i. 466, v. 519

Robbias, the Della, successors of Luca in his manufacture of earthenware, iii. 150

Robert of Anjou, King of Naples, his patronage of Petrarch and Boccaccio, ii. 252, iv. 120 note 1

Robert of Geneva, i. 81

Robert, illegitimate son of Pandolfo Sigismondo Malatesta, said to have poisoned the Florentine poet, Il Burchiello, iv. 260

Roberto di Battifolle, poems of, iv. 165

Roberto da Lecce, his preaching at Perugia and Rome, i. 614;
his attacks on Beccadelli's Hermaphroditus, ii. 256 note 1

Robusti, the (Tintoretto and his son), iii. 371

Rocchi, Cristoforo, his model for the Cathedral of Pavia, iii. 68;
the pupil of Bramante, 82

Rodolph of Hapsburg, his grant to the Papacy, i. 374

Roland Legend, the: spread of the Roland Romances in Italy, iv. 13, 427;
in the upper classes gave place to the Arthur Legend, 17, 18;
preference of the popular writers for the episode of Rinaldo, 244;
reasons of this, 437;
the Chanson de Roland, 433;
historical basis of the myth, 434-437;
legend that Roland was son of a Roman prefect, 439 (cp. ii. 30)

Rolandino, the Chronicle of, i. 251

Roman Empire, the old, its dissolution, i. 5;
its place taken by the Papacy, 6

Roman Empire, the Holy, i. 41;
conflict of the Empire and the Papacy, 59, 60, 68, 97, 100, 374, iv. 6;
power of the Imperial idea, i. 97

Romances of the Quattro Cento, iv. 244-249;
their positive tone, 248

Romanesque (Tuscan) Style, the, iii. 47, 49, 111, v. 504

Romanino, Girolamo, iii. 503

Rome, not included in Theodoric's kingdom, i. 46;
effect of this, 47, 49, 93;
address of the Roman Senate to the Emperor Frederick, 65, iv. 13;
prestige of the name of Rome, i. 92, ii. 57;
Sack of Rome, i. 222, 444, ii. 443, iii. 414, 438, 455, iv. 2;
—— universally recognized as a judgment on its sins, i. 446, ii. 445;
sufferings of the learned in the Sack of Rome, 443, v. 357;
government of Rome in the middle ages, i. 375;
the Romans welcome the accession of Alexander VI. to the Papacy, 407;
state of Rome under Leo X., 437;
pageants at the reception of the head of S. Andrew at Rome, 461, iv. 316;
profligacy of Rome, i. 474, ii. 217, 405-407, v. 190, 386;
effect of the study of the ruins of Rome on the Renaissance, ii. 142 foll., 429 foll. (cp. iii. 48 note 1);
culture flourished less at Rome than Florence, ii. 215, iv. 364, 366, v. 499;
place of Rome in literature and art, i. 79, iii. 181 note 1, 184;
early Roman printers, ii. 368, 405;
reasons for the pre-eminence of Rome in the fourth age of culture, 440;
occupation of the old Roman buildings by the various great families, iii. 46;
Gothic architecture never much practised at Rome, 46;
Cellini's description of Rome under Clement VII., 452;
protection of assassins in Papal Rome, 459;
representations of Plautus and Terence in the original at Rome, v. 138

—— S. Clemente, Masaccio's fresco of St. Catherine, iii. 229;
S. Maria sopra Minerva, Filippino Lippi's Triumph of S. Thomas, 207, 248;
the Christ of Michelangelo, 414;
S. Maria delle Pace, Raphael's frescoes, 334;
S. Maria del Popolo, Raphael's mosaics, 79 note 3, 334;
S. Maria in Trastevere, Mino's tabernacle, 158 note 1;
S. Peter's, plan of Nicholas V., i. 379, iii. 90;
commenced by Julius II., i. 433, iii. 90;
built with money raised from indulgences, i. 439;
Michelangelo's dome, iii. 88;
the various architects employed, 90-93;
Bernini's colonnade, 93;
the Bronze Gates (by Filarete), 108, v. 424;
Giotto's mosaic, iii. 190;
Michelangelo's Pietà, 389, 420;
S. Pietro in Vincoli, Michelangelo's Moses, 399, 340, 420, 422

—— Sistine Chapel, the, building of, i. 384 note 1;
Michelangelo's frescoes, iii. 403-423. (See Buonarroti, Michelangelo.)

—— Cancelleria, the, by Bramante, iii. 82;
Villa Farnesina, by Baldassare Peruzzi, 83, 84, 334;
Villa Madama, by Raphael and Giulio Romano, 83;
Pandolfini, by Raphael, 83;
Vidoni, by Raphael, 83

—— Academy, the, founded by Pomponius Lætus, ii. 361, 365, 409, v. 272;
representations of Plautus and Terence in the original by the Academy, v. 138

—— High School, the (the Sapienza), established by Boniface VIII., ii. 117;
reformed by Leo X., 426;
reasons why it did not rival other Italian universities, 426

Roman School of Painting, the, iii. 183;
reason of its early decadence, 490-492

Romeo and Juliet, story of, i. 74;
treatment of the story by Bandello and Shakspere compared, v. 71

Romualdo, S., legend of, ii. 339

Rondinelli, Giuliano (or Andrea), the Franciscan chosen to undergo the ordeal of fire with Fra Domenico, i. 533 note 1

Rossellino, Antonio, delicacy and purity of his work, iii. 154;
his monument to the Cardinal di Portogallo, 153;
Bernardo, his monument to Lionardo Bruni, ii. 186, iii. 158 note 2

Rossi, the, at Parma, how they acquired despotic power, i. 112, 114;
overthrown by the Visconti, 145;
reappear after the death of Gian Galeazzo, 150

Rossi, Porzia de', the mother of Tasso, v. 298;
Roberto de', a scholar of Giovanni da Ravenna, ii. 100;
one of the society in S. Spirito, 102;
visits Chrysoloras at Venice, 109;
learns Greek of him, 110

Rosso de' Rossi, his visit to the Court of France, iii. 445, 498;
his frescoes at the Annunziata, Florence, 498 note 1

Rubens, his transcript of the Battle of the Standard, iii. 145, 321;
his transcript of Mantegna's Triumph of Cæsar, 274, 321 note 1;
compared with Paul Veronese, 372

Rucellai, Bernardo, opens the Rucellai Gardens to the Florentine Academy, v. 236;
Cipriano, his friendship with Palmieri, 549;
Giovanni, his Api, ii. 471, v. 236;
his tragedy of Rosmunda, v. 129, 236;
the Oreste, 133;
compared with the Rosmunda, 134;
his friendship with Giangiorgio Trissino, 236;
Palla, 236

Rucellai Gardens, the, Machiavelli's discourses there, i. 293, 328, ii. 366, v. 236, 239;
Rucellai's Rosmunda acted before Leo X. there, v. 129

Ruggieri, Fra, leader of mercenaries in Southern Italy, i. 156

Ruggieri Pugliese, shows in his Lament traces of genuine Italian feeling, iv. 26

Ruscelli, Girolamo, his Capitolo on the Spindle, v. 365

Rusconi family, the, at Como, i. 150

Rustici, Giovanni Francesco, festivals organised by him, v. 115

Rusticiano of Pisa, his French version of Marco Polo, iv. 35


SABADINO, his Porretane, v. 60

Sabbatini, Andrea, the scholar of Raphael, iii. 490

Sabellicus. (See Coccio.)

Sacchetti, Franco, his Novelle, iv. 148;
composed in the vernacular Tuscan, 148;
their value as a picture of manners, 149;
comparison between Sacchetti, Masuccio, and Boccaccio, 179;
Sacchetti as a poet, 154-156;
his funeral Ode for Petrarch, 137 note 1;
for Boccaccio, 137;
his political poems, 161, 163;

his Ballata, O vaghe montanine pasturelle, 155, 262, 305;
his admiration for Boccaccio, 148

Sacre Rappresentazioni, the, i. 477 note 1, 480, iv. 172;
contained the germs of a national theatre, iv. 306, v. 109, 136;
took their origin from the religious practices of the Laudesi, iv. 307;
their relation to the Northern Miracle Plays, 312;
mode in which they were represented, 313;
theory that they arose from a blending of the midsummer festivals at Florence and the Divozioni, 314-320;
their form, 321, v. 182 note 2;
their religious character, iv. 323, v. 112, 519;
their scenic apparatus, iv. 324-327;
how far illustrated from contemporary works of art, 327 note 1, 338, 340, 343;
analysis of the play of S. Uliva, 327-330, 351;
translation of the Dirge of Narcissus and the May Song, 328;
universality of the legend upon which it is founded, 351, 353;
subjects of other plays which have been preserved, 331;
analysis of the play of Mary Magdalen, 331-337;
translation of Christ's Sermon, 333-336;
the Figliuol Prodigo, 337;
elements of comedy in the sacred dramas, 337 note 3;
their treatment of Mary and the Magdalen, 339;
dramas dealing with monastic legends, 341-343;
lack of the romantic element, 343;
show less maturity than the contemporary works of art, 346;
their interest as illustrating Italian imagination, 347, v. 54;
analysis of Teofilo, the Italian Faust, iv. 347-349;
analysis of the Rè Superbo and Barlam e Josafat, 349;
the Stella, Rosana, and Agnolo Ebrao, 353-355;
the three Pilgrimage Plays, 355-357;
failure of the sacred dramas to create a national theatre, 357, v. 112

Sacrificio, El, a masque played at Siena, v. 143 note 2

Sadoleto, Jacopo, cited for the prevalent belief that the Sack of Rome was a judgment of God on the city, i. 446, ii. 416;
made a Cardinal, ii. 402, 416;
his rise into greatness, 403;
his entertainments of the Roman Academy, 409;
his poem on the Laocoon, 415, 432, 496;
his gravity and sincerity of character, 416;
his friendship with Vittoria Colonna, v. 292;
his 'Commentary on the Romans' placed on the Index, ii. 416

Salaino, Andrea, the favourite pupil of Lionardo da Vinci, iii. 317, 484

Salerno, University of, ii. 117

Salimbene, Fra, his Chronicle of Parma, i. 251;
his account of Frederick II., iv. 21

Salimbeni, the, at Siena, v. 99

Salutato, Coluccio, his 'Letters' quoted for the influence of Petrarch on Boccaccio, ii. 90 note 1;
their value, 104 note 1;
their contemporary influence, 104, 531, iv. 175;
his importance as a stylist, ii. 103-105;
one of the circle in S. Spirito, 102;
his patronage of learning, 106, 230;
translates Dante into Latin verse, 103, 106, 449;
causes Petrarch's Africa to be published, 104 note 1, 106;
his invective against the copyists, 130;
saw the desirability of forming public libraries, 166;
his poems, iv. 165

Salviati, Archbishop of Pisa, his share in the Pazzi Conspiracy, i. 397, 398

Salviati, Caterina, wife of Nerli, i. 290

Salviati, Francesco, mentioned by Doni as scene-painter at a representation of comedy in Florence, v. 144 note 4

San Gemignano, Savonarola at, i. 507;
the towers of, 507, iii. 58;
Gozzolo's frescoes, i. 507, iii. 242, v. 54;
Ghirlandajo's frescoes, i. 507, iii. 259;
Da Majano's bas-reliefs, iii. 160

Sancia, Donna, wife of the youngest son of Alexander VI. by Vanozza Catanei, i. 418

Sanga, Battista, the secretary of Clement VII., v. 380;
addressed by Berni in the suppressed stanzas of the rifacimento of the Orlando Innamorato, 379, 380

Sanmicheli, Michele, his work as an architect at Verona, iii. 86

Sannazzaro, Jacopo, facts of his life, v. 198;
a member of the Roman Academy, ii. 361;
of the Neapolitan, 363, v. 198;
his friendship with Pontanus, ii. 363, v. 198;
representation of him in the Church of Monte Oliveto at Naples, ii. 365, iii. 164, v. 198;
frigid purism of his De Partu Virginis, ii. 398, 468, 470 (cp. v. 249);
criticism of Lilius Gyraldus upon it, ii. 469 note 1;
his Latin poems, 468, v. 198-201;
his epigrams on the Borgia and Rovere families, ii. 469, v. 199;
preferred Fracastoro's Syphilis to his own epic, ii. 477;
translation of one of his sonnets, v. 200;
his Arcadia, 202;
first gave form to the Arcadian ideal, 197;
its mixture of autobiography and fable, 202;
idyllic beauty of the episodes, 202;
its art illustrated by the paintings of Mantegna, 203;
by the Quattro Cento painters in general, 204, 207;
its literary style, 203;
representative of the spirit of the Renaissance, 202;
translation of the description of the 'Shrine of Pales,' 205-207;
of the portrait of Amaranta (Carmosina Bonifacia), 207-209;
of the description of the nymphs and shepherds, 209;
of pictures of inanimate nature, 209;
of Carino's Lament, 210;
the Arcadia the model of Sir Philip Sidney's work, 211;
the poetical portions, 211;
translation of a Sestine, 212

Sanseverini, the, of Rome, Pomponius Lætus said to have been related to them, ii. 33, 359;
their ruin, v. 298

—— Ferrante, Prince of Salerno, takes Bernardo Tasso into his service, v. 298

Sansovini, the, their work as sculptors and bronze founders in Italian churches, iii. 78 note 1

—— (1) Andrea Contucci di Monte Sansavino:
his tombs of Ascanio Sforza and Girolamo della Rovere, iii. 156;
straining after effect in his work, 156, 166;

—— (2) Jacopo Tatti, called Il Sansovino: his work as an architect at Venice, iii. 85, 167, 355;
the Library of St. Mark's, 85, 167;
the friend of Titian and Aretino, 167, 168, v. 398, 409;
bravura character of his works in sculpture, iii. 167;
his bronze door of the sacristy of St. Mark, 168, v. 424;
his Bacchus, illustrating the supremacy of pagan motives in the art of the Renaissance, iii. 169;
story of the model who sat for the Bacchus, 233

Santi, Giovanni (father of Raphael), his Chronicle cited, i. 166 note 3;
written in the metre of the Divine Comedy, iv. 172;
his character of Desiderio, iii. 160;
his Madonna, with portraits of his wife and the infant Raphael, 330

Sanudo, a member of the Aldine Academy, ii. 387;
his diary cited for the wealth of the Venetian nobles, i. 235 note 1;
for the disorders caused by the sensuality of Alexander VI., 417 note 1;
for the belief that Alexander died of poison, 429, 430;
for the story that Alexander had sold his soul to the devil, 431;
for the gluttony of the prelates, 479 note 1;
for the pay of jurists in Italian universities, ii. 121;
for the shows at Ferrara on the marriage of Lucrezia Borgia, v. 141 note 2

Sappho, lines on Fame, translated, ii. 40

Saronno, church of, Luini's frescoes, iii. 485-487;
Ferrari's frescoes, 488

Sarto, Andrea del, his visit to the Court of France, iii. 445;
qualities of his colouring, 497;
his pictures wanting in depth of thought and feeling, 497;
creates an epoch in Florentine art, 496, 498

Sarzana, surrender of, by Pietro de' Medici, i. 559

Satire in the Middle Ages, iv. 108;
in Italy at the Renaissance, v. 310, 381

Sauli, Stefano, the friend of Flaminio, ii. 501;
his Genoese origin, illustrating the loss of literary supremacy by Florence, 506

Savelli, the, at Rome, i. 375

Saviozzo da Siena, his political poems, iv. 161;
his commentary upon the Divine Comedy, 163

Savonarola, his treatise on the Government of Florence, i. 128 note 1, 277, iii. 265, 392 note 1, iv. 386;
the author of the Florentine Constitution of 1494, i. 202, 222, 526;
proclaims Christ the Head of the State, 222, 526, iii. 214, 308;
his hostility to the Parlamento, i. 230 note 1, 526;
his Constitution came too late to save the city, 231;
his admiration of the Venetian polity, 234;
influence of his prophecies at the siege of Florence, 284, 290, 518, 536;
Guicciardini's account of him, 304, 308;
criticism of him by Machiavelli, 345;
Savonarola and Machiavelli contrasted, 368;
confined himself to the reformation of morals, and shrank from the imputation of heresy, 454, 499;
objected to classical learning on the ground of its worldliness, 456 note 1, 499, 505, 506, ii. 326, 396, 516;
his opposition to the arts, iii. 24, 29 note 1, 265, 310;
his denunciations of the Papacy, i. 530;
his testimony to Florentine profligacy, 475, 477 note 1, 480;
story of his life—his boyhood, 499;
takes the cowl, 501;
his account of his vocation, 501;
goes to Florence, 503;
sent to San Gemignano, 506;
his first success at Brescia, 508;
his appearance and style of preaching, 508-514 (cp. iii. 309 note 2);
believed in his own gift of prophecy, 512 note 1;
his visions, 515;
how far he was guided by them, 518;
his error in teaching the Florentines to look for foreign aid, 518;
recalled by Lorenzo de' Medici, 521;
his opposition to Lorenzo, 521;
called to Lorenzo de' Medici's deathbed, 523;
his activity takes a political turn, 524, iv. 384;
the Bonfire of Vanities, i. 527, iv. 392;
his influence begins to decay, i. 529, 531;
his contest with Alexander VI., 529;
weakness of his position in not breaking with Rome, 530, 622;
writes letters summoning a European council, 532;
his letter to Alexander, 532;
the ordeal by fire, 533;
his imprisonment, torture, and death, 533-535;
his canonisation proposed, 535

Savonarola, Michael, his 'Panegyric of Padua,' quoted for the teaching of perspective in Padua, iii. 236

Savoy, the House of, i. 52, 57, 110, 146 note 1

Scala family, the, how they acquired their power, i. 111;
violent deaths among them, 120, 145;
their tombs at Verona, iii. 124, 163

Scala, Alessandra, Poliziano's wooing of her, ii. 344;
—— Bartolommeo, raised by the Medici from a low station, 344;
his quarrel with Poliziano, 344

Scala, Can Grande della, i. 145;
Mastino della, 145

Scaliger, Julius Cæsar, his character of Aldo Manuzio (the grandson), ii. 389;
his criticism of Fracastoro's Syphilis, 477

Scamozzi, Vincenzo, character of his architectural work, iii. 96;
his 'Universal Architecture,' 96 note 1

Scandiano, the fief of Boiardo, iv. 456, 457

Scardeone, Bernardino, describes Odassi as the inventor of Maccaronic verse, v. 329 note 3

Scarparia, Giacomo, journeys to Byzantium with Chrysoloras, ii. 109

Schiavo da Bari, the, his Aphorisms iv. 240

Scholarship, state of, in the middle ages, ii. 58 foll.

Science, opposition between science and religion, i. 16;
modern science dates from the Renaissance, 16, 17. v. 483, 491

Scotti, the, at Piacenza, how they acquired power, i. 112;
overthrown by the Visconti, 145;
reappear after the death of Gian Galeazzo, 150

Scoronconcolo, the murderer employed by Lorenzino de' Medici against his cousin Alessandro, v. 118

Scotus, Duns, v. 467, 468

Scrofa, Camillo, author of the I Cantici di Fidentio Glottogrysio Ludimagistro, v. 328

Sculpture, why Sculpture yielded to painting in the modern era, iii. 8, 12-21, 31, 120;
the handmaid of architecture, 101;
took a pictorial form with the Italians, 121, 132, 161, 177, 195;
necessarily assumes a subordinate position in Christian architecture, 122;
influence of goldsmith's work over the Florentine sculptors, 126;
the three periods of Italian sculpture, 177;
more precocious in its evolution than painting, 225

Sebastian del Piombo, influence of Michelangelo on his work, iii. 493;
his friendship with Berni, v. 363

Sebastian of Pontremolo, an early printer, ii. 376

Segni, Bernardo, belonged to the neutral Medicean party, i. 289;
his Florentine History, 278, 279;
its character and value, 292;
his knowledge drawn from practical life, 231, 280;
his account of Savonarola's legislation at Florence, 197 note 1, 526 note 1;
cited for the story of Jacopino Alamanni, 211;
for the factions of Siena, 207 note 2;
for the dedication of Florence to Christ, 222 note 1;
his description of the Parlamento at Florence, 230 note 1;
cited for the corruption of Florence, 231;
for the conduct of the Florentine exiles, 236;
his account of Guicciardini, 299 note 2;
of Giovanni Bandini, 477 note 1

Senarega, cited for the expulsion of the Jews by Ferdinand, i. 400 note 2, 401

Senato, name of a council in some Italian cities, i. 35

Senator, supreme official in the Roman republic, i. 35

Seneca, influence of his tragedies on Italian playwrights, v. 127 note 1, 130, 132 note 1, 135

Sercambi, Giovanni, his Novelle, iv. 150 note 1

Sereni, the, an Academy at Naples, ii. 366

Serfs, gradual emancipation of the, i. 66

Sermini, Gentile, his Novelle, v. 60, 97;
story of Anselmo Salimbeni and Carlo Montanini, v. 99

Sermintese, a form of Italian poetry adapted from the Provençal, iv. 160, 257 note 1

Sesto, Cesare da, the scholar of Lionardo da Vinci, iii. 484

Sforza, Anna, the wife of Alfonso d'Este, v. 140;
Ascanio, Cardinal, i. 163, 405, 565;
his monument by Sansovino, iii. 156;
Caterina Riario (wife of Girolamo Riario), 160 note 1, 390;
Francesco, 86, 88;
enters Milan as conqueror, 87, 154, 163, ii. 281;
supported by Cosimo de' Medici, i. 91, 155;
acquired his despotism as leader of Condottieri, 113 note 1, 153, 160, 163, 361, 364;
the son of a peasant, 116, 153, 160 note 1;
treatment of his history by Machiavelli, 345;
his patronage of Filelfo, ii. 38, 282 (cp. 511);
his hospital at Milan, iii. 59;
Galeazzo, his assassination attempted by Girolamo Gentile, i. 168;
Galeazzo Maria, 165;
his assassination, 163, 166, 397 note 2, 543;
his intrigue with Pietro Riario, 392;
Giovanni Galeazzo, 543;
murdered by his uncle Lodovico, 163, 480 note 2, 555, v. 118;
doubts about his murder, i. 556 note 1;
Lodovico, debt of the Milanese School of Painting to him, 79;
invites the French, 89, 90, 164, 538, 542, 546;
poisons his nephew, 163, 480 note 2, 555, v. 118;
imprisoned in Loches, i. 547;
attempt to assassinate him, 397 note 2;
his usurpation of power, 543, 548;
origin of his surname Il Moro, 547;
his character, 548;
joins the League of Venice against Charles, 576;
representations of Latin plays before him by the Ferrarese actors, iv. 498, v. 140

Sforza (of Pesaro), Alessandro, his patronage of learning, ii. 302;
Costanzo, his patronage of learning, 302;
Giovanni, the husband of Lucrezia Borgia, i. 420

Sforzeschi, the, mercenary troops, i. 160, 362

Shakspere: his treatment of the story of Romeo and Juliet compared with Bandello's, v. 71;
was probably acquainted with Bandello's Novella of Nicuola and the comedy Gli Ingannati before writing the Twelfth Night, 72

Shelley, quoted to illustrate the character of Venetian landscape, iii. 350;
his opinion of the Orlando Furioso, v. 41 note 1

Sicilian period of Italian literature, iv. 20;
period during which it flourished, 21, 27;
character of the dialect used by the Sicilian poets (the lingua aulica), 22;
artificial nature of this poetry, 25;
translated into Tuscan idioms, 41, 42, 268;
traces of popular feeling in it, 26, v. 504;
its intrinsic weakness, iv. 44

Sicilies, Kingdom of the Two, united by Frederick II. to the Empire, i. 68;
given by the Papacy to Charles of Anjou, 75

Sidney, Sir Philip, his ideal of a classic drama, v. 111, 136;
his praise of the tragedy of Gorboduc, 132 note 1, 136;
took Sannazzaro's Arcadia as the model of his own work, 211

Siena, produced no great work of literature, i. 79;
generally Ghibelline, 194 (cp. iv. 161);
discords of Siena, 207-209, 616, ii. 164, iii. 212, 213, 220;
distinguished by religious revivals as well as by factions, i. 620 note 1, iii. 183, 220 (cp. iv. 281);
the Sienese bury a statue of Venus in the Florentine territory, ii. 433, iii. 212;
architecture of the Sienese palaces, iii. 60;
independent origin of painting in Siena, 214;
the Sienese dedicate their city to the Virgin, 214, 357;
pageants at Siena in honour of S. Bernardino, iv. 315;
luxury of Siena in the middle ages, v. 96

—— S. Bernardino, Pacchia's paintings, iii. 501;
S. Domenico, Guido da Siena's Madonna, 214;
Sodoma's S. Catherine at the Execution of Tuldo, 500;
Duomo, the, contrasted with Northern cathedrals, 54;
its façade (by Giovanni Pisano), 110;
its mosaic pavements, 209, 502, iv. 130;
Duccio's altarpiece, iii. 215;
Pinturicchio's frescoes (in the Library), 302;
Church of Fontegiusta, Peruzzi's Augustus and the Sibyl, 501;
Monte Oliveto, Fra Giovanni's wood-carvings, 78 note 2;
Signorelli's Soldiers of Totila, 286;
Sodoma's frescoes, 499, iv. 132, 343, v. 54

—— Palazzo Pubblico, iii. 61;
Taddeo di Bartolo's frescoes, 209;
Ambrogio Lorenzetti's frescoes, 210;
Simone Martini's Virgin enthroned, 217;
comparison of its decorations with those of the Ducal Palace, Venice, 359

—— University, the: receives a diploma from Charles IV., ii. 118

—— Sienese School in Painting, the, characteristics of the early Sienese masters, iii. 214, 216;
the scholars of Sodoma, 501

Sigismund, the Emperor, crowns Beccadelli poet at Siena, ii. 255;
Filelfo's mission to him at Buda, 268;
pageant in his honour at Lucca, iv. 315

Signorelli, Luca, his studies from the nude illustrate the changed direction of art, iii. 23, 279, 292;
his frescoes at Orvieto, iii. 56, 280, 281, 282, iv. 414 note 1;
the arabesques, ii. 440, iii. 283;
boldness and vigour of his genius, iii. 279;
indebtedness of Michelangelo to him, 279;
story of his painting his dead son, 280;
his study of human form, 285, 288;
his four types of form, 286, 288;
his quality as a colourist, 289;
the Last Supper at Cortona, 289, 326 note 1;
his treatment of mythology compared with that of other painters, 289-291;
said by Michelangelo to have treated him badly, 292 note 1;
his visit to the Vasaris at Arezzo, 293;
Vasari's character of him, 293;
competes for the decoration of the Stanze of the Vatican, 300

Simone, his bas-reliefs at S. Francesco, Rimini, iii. 162

Simonetta, Cecco, his execution by Lodovico Sforza, i. 543, 548

Simonetta, La Bella, v. 230;
her relation to Giuliano de' Medici, iv. 403, 406 note 1 (cp. 420-422);
her portrait by Botticelli, 406 note 1;
painted by Lippo Lippi in his frescoes at Prato, 422

Simony of the Cardinals at Rome, i. 404, 406

Simplicity of character, as contemptible in Italy as in Greece during the Peloponnesian war, i. 324

Sinigaglia, Massacre of, i. 324, 347, 427, 462

Sismondi, i. 64;
his special pleading for Republican institutions, 78, 115;
his description of Gian Galeazzo, 144;
quoted about the Condottieri, 159;
his account of the withdrawal of the Florentines from military service, 226;
on the Venetian Council of Ten, 234 note 1;
his argument that Italy would have been best off under a confederation, 538 note 1;
his calculation of the decline in number of the free citizens in Italy, 547 note 1

Sitibondi, the, an Academy at Bologna, ii. 366

Sixtus IV., his avarice, sensuality, and brutality, i. 105, 113, 393-396, iii. 146;
his low origin, i. 116, 388;
abettor of the Pazzi conjuration, 168, 396-398, iv. 447, v. 118;
his services to art, i. 384 note 1;
amount of truth in the stories about him, 388 note 1;
began the system of founding principalities for his family, 389;
his wars, 395;
his share in the creation of the Inquisition and the expulsion of the Jews, 399-402;
invites Filelfo to Rome, ii. 285;

opens the Vatican Library to the public, i. 384 note 1, ii. 227, 359;
his destruction of ancient monuments at Rome, 430;
dies of disappointment and rage, i. 396;
his monument by Antonio del Pollajuolo, iii. 147

Smarriti, the, an Academy at Faenza, ii. 366

Soardi Family, the, at Bergamo, i. 150

Soderini, Antonio, i. 202, 289, 308, 313 note 1;
Cardinal, 414;
concerned in Petrucci's conspiracy, 437

Soderini, Piero, Gonfaloniere of Florence, i. 289, 314, iii. 308, iv. 393;
Machiavelli's epigram upon him, i. 324, iii. 391;
aids in the reconciliation of Michelangelo with Julius II., iii. 402

Sodoma, competes for the decoration of the Stanze of the Vatican, iii. 300;
his Sebastian, an instance of the introduction of pagan ideas into Christian art, 34, 501;
his Marriage of Alexander, illustrating his treatment of the antique, 291;
studied both under Lionardo da Vinci and Raphael, 499;
inferiority of his later manner, 500;
deficiency in composition of his pictures, 500

Soldanieri, Niccolò, his Lyrics, iv. 156

Soleri, Anna, i. 581

Sonnachiosi, the, an Academy at Bologna, ii. 366

Spaniards, cruelty of the, i. 478, ii. 441, 444

Sparta: comparison between Venice and Sparta, i. 234

Spenser, his mistake in supposing the Orlando Furioso to be an allegory throughout, v. 21

Speroni, Speron, v. 78;
his correspondence with Aretino, 410 note 1;
his tragedy of Canace, 130;
his pastoral poems, 224;
a passage quoted from his Dialogues to show the spirit in which the Italian purists worked, 252-256;
the Dialogo delle Lingue, 271 note 1

Spina, Bartolommeo di, takes part in the controversy raised by the publication of Pomponazzi's De Immortalitate Animæ, v. 461

Spinelli, Matteo, doubtful authenticity of his Chronicle, iv. 36, 130 note 1, 415 note 1

Spinello, Aretino, the scholar of Giotto, iii. 197;
vigour of his work, 219;
his love of warlike subjects, 220;
various paintings of his, 219

Spino, Pietro, his Life of Bartolommeo Colleoni, iii. 144

Spirito, Convent of Santo, at Florence, Marsigli's Circle in, ii. 102

Spoleto, a Lombard Duchy, i. 48;
its fate, 48 note 1, 50

Spoleto, the Cathedral: Filippo Lippi's frescoes, iii. 246

Squarcione, his school of art at Padua, iii. 236, 270

Stampa, Gaspara, v. 288

Stefani, Marchionne, iv. 176

Stefano da Bergamo, his tarsia work at Perugia, iii. 78 note 2

Stephani, the Estienne family of printers at Paris, i. 23, ii. 373, 383, 391;
Henricus (the younger) refuses his books to Casaubon, 390 note 3

Stephen II., invites the Franks against the Lombards, i. 50;
Stephen X., 60

Storditi, the, an Academy at Bologna, ii. 366

Stornelli, meaning of the term, iv. 264;
their antiquity, 269;
their themes, 272;
purer in the country than in the towns, 272

Strambotti, meaning of the term, iv. 264

Straparola, Francesco, his Tredici piacevoli Notti, v. 60, 78, 102;
the Novella of the Devil and his Wife compared with Machiavelli's Belphegor, 102

Strozzi, the, of Ferrara, iv. 457;
their panegyrics of Lucrezia Borgia, i. 422

—— Ercole, his elegies, ii. 497;
advocates the sole use of Latin against Bembo, 414, v. 259;
assassinated, i. 423;
Lucia, mother of Boiardo, iv. 457

Strozzi, the, at Florence, i. 210 note 2

—— Alessandra, her Letters, iv. 176, 190 note 1, v. 190;
Filippo (1), account of his building the Palazzo Strozzi, iii. 77 note 1;
Filippo (2), leader of the Florentine Exiles, i. 211, 237, 280;
general agreement of the historians upon his character, 285, 287;
advises Lorenzo de' Medici (Duke of Urbino) to make himself Duke of Florence, 286;
his vices and inconsistent conduct, 286;
his death, 287;
Marietta di Palla, Desiderio's bust of her, iii. 159;
Palla, a scholar of Giovanni da Ravenna, ii. 100;
aids Salutato to found the Chair of Greek at Florence, 106, 109;
learns Greek from Chrysoloras, 110;
his patronage of learning, 165, 223;
first collects books to form a public library, 166;
exiled by Cosimo de' Medici, 167, 170;
Pietro, story of his threat to assassinate Aretino, v. 406

Sulmona, traditional reverence for Ovid there, ii. 30, iv. 12

Sulpizio da Veroli, his letter to Cardinal Riario mentioning the representations of Plautus and Terence at Rome, v. 139 note 1

Sweynheim, printer at Rome, ii. 368

Sylvius, Æneas. (See Pius II.)

Syncerus, Accius. (See Sannazzaro.)

Syphilis, first noticed in Charles' army at Naples, i. 567, 567 note 1, ii. 477


TADDEO DI BARTOLO, iii. 216;
his frescoes in the Palazzo Pubblico, Siena, 209;
his Visit of the Apostles to the Virgin, in S. Francesco, Pisa, 218

Talento, use of the word, in early Italian writers, iv. 106

Tansillo, Luigi, his pastoral poems, v. 224

Tardolus, Laomedon, tortured by the Spaniards at the Sack of Rome, ii. 445

Tarlati di Pietra Mala, Bishop Guido dei, i. 83;
his tomb, iii. 210 note 2

Tasso, Bernardo (father of the poet), the story of his life, v. 297;
his Letters and Miscellaneous Poems, 299;
Aretino's criticism of the Letters, 411;
his Amadigi, 299;
failed to gain popular applause, 299;
his Floridante, 300 note 1;
Torquato, his ascription of part of the Morgante to Ficino, iv. 455 note 3;
his genius representative of the Counter-Reformation, 464, v. 2;
his censure of Ariosto's inductions, v. 23;
contrast of Ariosto and Tasso, 44;
the Aminta with Guarini's Pastor Fido, the perfection of the Italian pastoral drama, 114, 223, 241;
completes the Italian reaction against the middle ages, 244;
the most original dramatic works in Italian, 511;
essentially lyrical nature of the Aminta, 511;
its opposition of an ideal world of freedom to the world of laws, 242;
the chorus on the Age of Gold, illustrative of Italian ideas of honour, i. 486, v. 243

Taxes, farming of, at Perugia, i. 86 note 1

Tebaldeo, Antonio, his Pastoral Poems, v. 224, 282 note 3

Tedaldi, Pieraccio, his Sonnet on Dante, iv. 162;
discouragement expressed in his poems, 165

Telesio, v. 449;
Telesio and Campanella, 483;
his importance in the history of thought, 483-485, 500, 518

Ten, Council of, at Venice. (See Council of Ten.)

Terence, influence of, on the Italian playwrights, v. 122, 136, 145, 181;
representations of, in the original, at Rome, 138;
at Ferrara, 139-142;
early translations of Terence, forming the beginning of Italian comedy, 140

Terra Cotta, beauty of Italian, iii. 79, 151, 163

Terracina, Laura, v. 288

Terzi, Ottobon, i. 150, 151;
assassinated, 120

Tessiras, a scholar of Poliziano, ii. 350

Theatres, the lack of permanent theatres a hindrance to national drama in Italy, v. 144;
the first, that built by order of Alfonso I. at Ferrara, iv. 499, v. 144;
theatre built by Leo X. at Rome, v. 144;
the Teatro Farnese at Parma, 144

Theodoric, reign of, i. 46, 47, 51

Thomas of Aquino, S., the Summa, i. 60, v. 450, 468;
teaching of S. Thomas on the soul, v. 469

Thucydides, his account of Greek morality compared with the state of Italy at the Renaissance, 325

Tiburzio, conspiracy of, at Rome, i. 386

Tiepolo, conspiracy of, at Venice, i. 217 note 1, 218

Tifernas, Gregorios, translates the Ethics for Nicholas V., ii. 229

Tintoretto [Jacopo Robusti], his sense of beauty, iii. 377;
compared with Titian and Veronese, 378;
inequality of his work, 379;
character of his genius, v. 46;
his Bacchus and Ariadne, illustrating his treatment of the antique, iii. 291;
his Paradise in the Ducal Palace, 358;
his vehemence and imaginativeness, 369, 370, 375;
his preference of subjects more properly belonging to poetry, 376;
story of his offering to paint Aretino's portrait, v. 406

Titian, his portrait of Cardinal Ippolito de' Medici, ii. 27;
sensuousness of his work, iii. 25;
the friend of Sansovino and Aretino, 167, 168, v. 398, 409;
a letter of his quoted for the project of making Aretino Cardinal, v. 405 note 2;
his Bacchus and Ariadne, illustrating his treatment of the antique, iii. 291;
perfect balance of his powers, 370, 379;
the Three Ages of Man, v. 522;
the Assumption of Madonna, iii. 380

Todi, S. Maria della Consolazione (by Bramante), iii. 82;
birthplace of Jacopone, iv. 285

Tolommei, Claudio, his Cesano, v. 271 note 1

Tommaso, a Dominican monk, his preaching at Milan, i. 621

Tommaso (son of Andrea da Pontedera), iii. 123

Tommaso da Sarzana. (See Nicholas V.)

Tornielli Family, the, of Novara, i. 145

Torquemada, i. 400

Torrensi, the, or Della Torre family, at Milan: their rise to power, i. 112;
their downfall, 132, 136

Torriani, the, of Verona, ii. 506

Torrigiani, his account of Michelangelo's scornfulness, iii. 386 note 2;
his quarrel with Michelangelo, 432, 445;
invites Cellini to accompany him to England, 444;
Cellini's description of him, 445;
his death, 445

Torrigiani, Marchionne, poems of, iv. 164

Tortello, Giovanni, librarian to Nicholas V., ii. 229

Tortosa, the Cardinal of. (See Adrian VI.)

Tourneur, Cyril, the plots of his dramas compared with real events in Italian history, v. 117, 118

Towns, buying and selling of, i. 114, 134, 148

Traini, Francesco, his Triumph of S. Caterina, Pisa, iii. 207

Translations of the classics, executed by command of Nicholas V., ii. 228

Trapezuntius, Georgios, teaches Greek in Italy, ii. 210;
employed by Nicholas V. in translating Plato and Aristotle, 228;
his quarrel with Valla, 242, 263;
his fight with Poggio, 243;
his controversy with Bessarion, 247

Traversari, Ambrogio (Il Camaldolese), his account of Vittorino's system of education, i. 177;
a scholar of Giovanni da Ravenna, ii. 100;
learns Greek from Chrysoloras, 110;
cited for the high pay of the copyists, 130;
his distraction between scholarship and the claims of the Church, 193-195;
cited in proof of Poggio's account of Filelfo's marriage, 269 note 1;
the only great monastic scholar of the Renaissance, 517;
one of the best class of Humanists, 523

Tremacoldo, his murder of the Vistarini, i. 148 note 1

Treviso, culture of the Trevisan Court, iv. 6, 15

—— Monte di Pietà, The Entombment (by Giorgione?), iii. 367 note 2

Tribune, name of magistrate in some Italian cities, i. 35

Trifone [Trifone Gabrielle], i. 233, v. 78, 253 note 1

Trinci, the, at Foligno, massacres of the, i. 121, 122

Trissiniana, La, an Academy founded by Giangiorgio Trissino, v. 302

Trissino, Ciro (son of Giangiorgio Trissino), v. 303;
murdered, 305;
Giangiorgio, story of his life, 300;
the pupil of Demetrius Chalcondylas, 301;
his magnificence and studious retirement, 302;
always attracted to Court life, 303;
his quarrel with his son Giulio, 303-305;
inserts a virulent satire on his son in his Italia Liberata, 304;
accuses him of heresy in a codicil of his will, 304;
his device of the Golden Fleece, 305;
his Italia Liberata, 126, 127, 306;
its dulness and unpoetical character, 307, 520;
compared with Milton's Epics, 308;
his Sofonisba, the first Italian tragedy, 126, 236, 301, 305;
its correctness and lifelessness, 127;
his comedy, the Simillimi, 305;
his testimony to the corruption of Rome, 190, 303;
his friendship with Giovanni Rucellai, 236;
his orthographical disputes with Firenzuola, 271, 306;
his Poetica, 306;
discovers the De Eloquio of Dante, 306;
Giulio (son of Giangiorgio Trissino), his quarrel with his father, 303, 325 note 2;
denounced as a heretic by his father in his will, 304;
condemned by the Inquisition and dies in prison, 304

Trivulzi, Giovan Jacopo da, i. 552, 573

Tuldo, Niccolò, story of his execution as related by S. Catherine of Siena, iv. 174

Tullia di Aragona, the, poetess, v. 288

Turini, Baldassare, ii. 405

Turks, descent of the, upon Otranto, i. 399, 572 (cp. v. 122)

Turpin, the Chronicle of, iv. 432

Tuscan, superiority of, to other Italian dialects, iv. 31;
early recognition of this, 31

Tyrannicide, popular estimation of, in Italy, i. 169;
influence of the study of antiquity in producing tyrannicide, 165, 466, 468, v. 414


UBERTI, the, at Florence, their houses destroyed as traitors, iii. 63;
Fazio degli, his Dittamondo cited for a description of Rome in desolation, ii. 154, iv. 167;
character of the Dittamondo, iv. 166-168;
his Sermintese on the cities of Italy, 160;
his Ode on Rome, 160

Uccello, Paolo, his study of perspective, iii. 225, 232;
his love of natural studies, 226, 231 note 1

Ugolini, Baccio, said to have composed music for the Orfeo, iv. 414

Ugolino da Siena, his painting of the Madonna in Orsammichele, Florence, iii. 125

Uguccione da Fagiuola, tyrant of Lucca, i. 75 note 1, 112;
introduced in the frescoes in the Campo Santo, Pisa, iii. 203

Umbria,
distinguished by its pietism, i. 620 note 1, iii. 182, 220, iv. 281

—— Umbrian School in painting, the, its originality, 182

Umidi, Gli, an Academy at Florence, v. 79, 272;
Il Lasca and the Umidi, 79 note 2;
Doni once its secretary, 90

Umorosi, the, an Academy at Bologna, ii. 366

Universities, Italian, their character, ii. 115;
number of foreigners attending them, 119;
liberality of the town governments to them, 119;
pay of professors in them, 120;
subordinate position of the Humanist professors in them, 123

Urban VIII., consecrates S. Peter's, iii. 93

Urbino, its position in Italian history, v. 498

—— Castle of, iii. 59, 76;
wood panelling in, 78 note 2

Urbino, Dukes of, first dynasty (see Montefeltro);
second dynasty (see Rovere);
encouragement of the pottery works of Gubbio by the Princes of Urbino, i. 80


VALDES, JOHN, his suicide during the Sack of Rome ii. 445

Valeriano, patronised by Ippolito de' Medici, ii. 405;
his De Literatorum Infelicitate quoted for the sufferings of the learned in the Sack of Rome, 443, 542 (cp. 530);
for the Latin periphrases employed by scholars, 397;
cited for Inghirami's eloquence, 425 note 1;
his work on hieroglyphics, 428

Valla, Lorenzo, the tutor of Ferdinand of Naples, i. 174;
his Declamation against the Donation of Constantine, 377 note 2, 386, ii. 260;
his stipend at Pavia, ii. 122;
his translations of Thucydides, Homer, and Herodotus, 228, 262;
appointed Apostolic Scriptor by Nicholas V., 229, 262;
his quarrel with Poggio, 240 note 1, 241, 263;
with Trapezantios and with Morando, 242, 263;
cited for Alfonso the Magnanimous' love of learning, 253;
his opposition to the Church, 258, 261;
the publication of the Elegantiæ brings him into fame, 259 (cp. 526);
invited to Naples by Alfonso, 261;
his appearance before the Inquisition, 262;
his dispute with Fazio, 263;
his character of Aurispa, 302 note 1;
the De Voluptate, v. 455, 457, 519

Valori, Baccio, i. 230, 285;
Filippo, bears the expense of printing Ficino's Plato, ii. 326

Vandyck, Antony, his portrait of Cardinal de' Bentivogli, ii. 27

Van Eyck, John, his power of colouring, iii. 349;
comparison of his works with those of the Venetian masters, 361

Vanini, his execution, v. 478

Vannucci, Pietro. (See Perugino.)

Varallo, S. Maria delle Grazie, iii. 489;
the terra-cotta groups in the Sacro Monte, cited in illustration of the Sacred Drama, iv. 327 note 1

Varani, the, of Camerino, i. 111, 375;
massacre of them, 121, 164 note 1;
members of this family become Condottieri, 161

Varano, Giovanni, his murder, i. 119 note 2;
Giulio Cesare, story of, 121;
murdered with three of his sons by Cesare Borgia, 122, 353, 427

Varchi, Benedetto, his Florentine History, i. 278, 279;
employed by Duke Cosimo to write the work, 281;
its character and value, 293;
written in a liberal spirit, 289;
Varchi's labour in writing the History, 249 note 2;
his study of Tacitus and Polybius, 250 note 1;
account of the Florentine government, 195 note 1 (see also Appendix ii. vol. i.);
the Genoese constitution of 1528, 201 note 1;
Savonarola's legislation, 202 note 2;
the defects of the Florentine State, 204;
the population of Florence, 209;
censure of the Ordinanze della Giustizia, 225, 244;
the corruption of Florence, 231, 282;
Florentine intelligence, 232;
the conduct of the Florentine exiles, 236;
the dedication of Florence to Christ, 222 note 1;
the Parlamento at Florence, 237 note 2;
character of Guicciardini, 296, 296 note 2, 298 note 1, 299 notes 1, 2 and 3, 300 note 2;
the reception of Machiavelli's Prince at Florence, 326;
character of Machiavelli, 333;
Italian immorality, 477 note 1;
Florentine habits of life, Appendix ii. (p. 595);
description of the friars who preached in Rome in Clement's Pontificate, 620;
the murder of Alessandro de' Medici by his cousin Lorenzino, v. 118;
—— the Ercolano (Dialogo delleLingue), v. 271 note 1;
its account of Varchi's early training, iv. 237;
the Dissertation on Buonarroti's Sonnets, iii. 520, v. 297;
the pastoral poems, v. 224;
Varchi sides with Caro in his quarrel with Castelvetro, 286;
his Capitoli, 365;
his correspondence with Aretino, 410 note 1

Vasari, Giorgio, finishes the cupola of the Umiltà at Pistoja, iii. 83;
the Lives of the Painters, ii. 36;
their inaccuracy, iii. 103, 116;
ascribes Florentine intelligence to the Tuscan air, i. 232;
his remark on the indebtedness of Michelangelo to Signorelli, iii. 279;
the story of Signorelli's painting his dead son, 280;
his relation of Signorelli's visit to Arezzo, 293;
his character of Signorelli, 293;
his account of Perugino, 297, 299;
on Lionardo da Vinci, 323, 324;
on Raphael's gentleness, 329;
his panegyric of Michelangelo, 424, 494;
his account of Benvenuto Cellini, 440;
the story of the picture painted by Botticelli for Palmieri, iv. 171;
the midsummer festivals at Florence, 318, 325;
the Triumph of Death, 393-395, v. 114;
the festivals organised by Rustici, v. 115;
Vasari's friendship with Michelangelo and Aretino, 409 note 2

Vatican library, its foundation, i. 21, ii. 227, 357;
opened to the public by Sixtus IV., 384 note 1, ii. 227, 359;
librarians of the Vatican from Inghirami to Aleander, 424

Vaucluse, Petrarch's residence at, iv. 87, 96

Vegio, Matteo, the only writer of Latin verse in the Renaissance who took the cowl, ii. 517

Velletti, Agostino, author of the novel in verse of Ginevra degli Almieri, iv. 250;
analysis of the story, 250

Venasso, Antonio da, murdered at Sinigaglia by Cesare Borgia, i. 351

Veneziano, Marco, his friendship with Berni, v. 363

Venice, defeat of the Venetians by Francesco Sforza, i. 155;
selfish policy of Venetians in not supporting the Milanese, 155;
neutrality of Venice in the French invasion, 550 note 1;
heads the league against Charles VIII., 576;
hostile to the Roman Church, 35, iii. 353, 357, v. 89, 393;
hatred of Venice by other States, i. 91, 214;
never entrusted her armies to Venetians, 157, 220;
contentment of the Venetians with their government, 198, 200, 215, 220, 233, iii. 353;
political isolation of Venice, i. 214;
Venetian constitutional history, 215-219;
good government of the subject cities by Venice, 220;
liberty of life and speech at Venice, iv. 364, v. 393, 497;
estimates of the number of inhabitants, i. 210;
divisions of the population, 215;
trading spirit of Venice, 238, iii. 353;
Venetian luxury, i. 475, iii. 167, 353, iv. 365, v. 191;
unenthusiastic character of Venetian religion, iii. 357-359;
contrast of Venice and Florence, i. 221, 222 note 1, 231, 306 note 2, iii. 182, 354;
comparison between Venice and Sparta, i. 234, 306 note 2;
beauty of Venice, iii. 348;

Venetian art isolated from that of the rest of Italy, iii. 313;
architecture of the Venetian palaces, 60;
literature not encouraged at Venice, i. 79, 233, ii. 108, 212, 247 note 3, 441, v. 497;
early Venetian printers, ii. 369, 376, 386;
the press at Venice, iv. 364, v. 96, 104;
Frari, the, Donatello's (wooden) statue of the Baptist, iii. 136 note 2;
S. Giovanni e Paolo ('S. Zanipolo'), the Tombs of the Doges, 162;
S. Maria dell' Orto, Tintoretto's paintings, 376 note 1;
S. Mark, its style borrowed from the mosques of Alexandria, 44, 45;
the bronze door of the sacristy by Sansovino, 168, v. 424;
S. Zaccaria, Giovanni Bellini's Madonna with Saints, iii. 365

—— Scuola di S. Croce, iii. 363;
its decorations by Gentile Bellini, 363;
Scuola di Sant' Orsula, 363;
its decorations by Carpaccio, 363, iv. 343, v. 54;
Scuola di San Rocco, iii. 85;
Tintoretto's paintings, 375 note 1, 380

—— Ducal Palace, the, iii. 61, 355, 376 note 1;
contrast of its decorations with those of the Public Palace of Siena, 359;
Palazzo Corner, 85;
—— Vendramini Calergi, 85

—— Library of S. Mark's, the, iii. 85

Venetian Masters, the, distinguished by their preference for sensuous beauty, iii. 182, 340, 354, 453, iv. 402;
influence of the peculiar character of Venice upon them, iii. 348;
their art to be compared to that of Greece, 355, 357;
their personification of Venice, 233, iii. 355, 356, 360;
quality of their religion, 357-359, 361, 364;
originality of their art, 361 note 1, 362;
comparison between them and the Flemish masters, 361;
subjects of their art, i. 233, iii. 362;
the unity and solidarity of the Venetian school, 371;
their naturalness, 382

Veniero, Lorenzo, his relations to Aretino, v. 419

Venusti, Marcello, influence of Michelangelo on his works, iii. 493

Vercelli: Ferrari's frescoes, iii. 489;
High School, the, ii. 116

Vergerio, Pier Paolo (the elder), a scholar of Giovanni da Ravenna, ii. 100

Vergerio, Pier Paolo, Bishop of Capo d'Istria, his attack on Della Casa, v. 275 note 1, 381 note 1;
his account of Berni's conversion to Lutheranism, 378 note 1;
relates that Berni's object in the rifacimento of the Orlando Innamorato was the diffusion of Lutheran opinions, 378-380;
his flattery of Aretino, 410 note 1

Verme, Jacopo dal, leader of Condottieri, i. 150

Verocchio, Andrea, importance of his influence, iii. 141;
limitations of his genius, 142;
various works of his at Florence, 142, 145;
his equestrian statue of Colleoni, 143

Verona: S. Anastasia, monument of the Cavalli, iii. 163;
tombs of the Scaligers, 124, 163

Veronese, Paolo, his Europa, illustrating his treatment of mythology, iii. 291, 374;
his appearance before the Inquisition, 359, 446 note 1;
his sense of magnificence, 370 (cp. v. 398 note 2);
subjects of his art, iii. 372, 374;
his types of beauty compared with those of Rubens, 372;
his sobriety of imagination and excellence of workmanship, 373-374

Verradi, Carlo, his Ferrandus Servatus, v. 117 note 1

Verucchio, capture of, i. 176

Vesc, Stephen de, Seneschal de Beaucaire, his influence with Charles VIII., i. 541

Vespasiano, his contempt for printing, ii. 304, 370;
the last of the copyists, and the first of modern booksellers, 306;
value of his work, and goodness of his character, 307;
reason why he wrote in Italian, iv. 235;
his Biographies, 265 note 1;
his Life of Duke Frederick of Urbino, 174, 176, 179;
the library which he collected for the Duke of Urbino, 175, ii. 304;
cited for the Life of Pandolfino, i. 239 note 1, iv. 199;
does not mention him as author of the Governo della Famiglia, iv. 199;
his account of Poggio and Bruni, i. 275;
his Life of Alfonso the Magnanimous, 480 note 1, 569 note 1;
his Life of San Bernardino, 612;
quoted for Italian profligacy, 477 note 1;
his Life of Piero de' Pazzi, ii. 42 note 1;
his account of how Palla degli Strozzi brought Chrysoloras to Florence, 109;
cited for Strozzi's services to learning, 166;
copies MSS. for Cosimo de' Medici, 174;
relates how he collected books for Cosimo, 175;
quoted for Cosimo's versatility of talent, 176;
his anecdote of Cosimo's pruning his own fruit trees, v. 196;
his Life of Niccolò de' Niccoli, ii. 178;
his Life of Carlo Marsuppini, 186, 530;
his Life of Manetti, 186 note 1;
his description of Tommaso Parentucelli (Nicholas V.) in the Medicean circle at Florence, 224;
the catalogue of Niccolò's MSS. made by Tommaso, 174;
his account of his interview with Tommaso after his election, 226;
his character of Nicholas, 226;
his story of Pope Calixtus in the Vatican Library, 357;
cited for Vittorino da Feltre's purity of character, 297;
for the virtues of the Cardinal di Portogallo, iii. 154, v. 324 note 1

Vespucci, Guido Antonio, i. 201

Vettori, Francesco, i. 197 note 1, 203 note 1, 230;
the friend of Machiavelli, 315, 317 note 1, 322 note 2, 318;
his Sommario della Storia d' Italia, Appendix v. vol. i.

Vicars of the Church, their passage to tyranny, i. 111.

Vicars of the Empire, i. 35, 106, 133;
their passage to tyranny, 111, 156

Vicenza, early printing at, ii. 376;
luxury of the nobles of Vicenza, v. 191

—— Palazzo della Ragione, by Palladio, iii. 95;
representation of Anguillara's Edippo there, v. 134

—— High School, the, ii. 116;
attendance of foreigners there, 119;
its early decline, v. 497

Vico of the Prefetti at Viterbo, Francesco, murder of, i. 120, 168 note 1

Victor, John Bonifacius, tortured by the Spaniards at the Sack of Rome, ii. 445

Victor II., i. 59

Vida, made Bishop of Alba, ii. 403, 407;
his Cremonese origin, illustrating the loss of intellectual supremacy by Florence, 506;
frigid purism of his Christiad, 398, 399 (cp. 535, v. 519);
quoted to illustrate the subjects in which the poets of the Renaissance best succeeded, ii. 400;
the Art of Poetry, 471-476;
the apostrophe to Rome, 475, v. 522;
translated (prose), ii. 475

Vidovero, of Brescia, murdered by Pandolfo Malatesta, i. 113 note 1

Vignajuoli, I, name of an Academy at Rome, ii. 365, v. 227, 272, 357

Vignate, Giovanni, the millionaire of Lodi, i. 114;
imprisoned in a wooden cage by Filippo Visconti, 120

Vignola, his labours at S. Peter's, iii. 93;
his 'Treatise on the Orders,' 95, 96 note 1;
character of his genius, 96

Vigonça, the hero of an anonymous Maccaronic poem by a Paduan author, v. 331, 479 note 1

Villani, Chronicle of the, iv. 176;
its value, i. 251-260;
praised by Vespasiano, 276

—— Filippo, continues the Chronicle of Florence, i. 254;
his Lives of illustrious Florentines, 255;
cited for the story of Boccaccio at the tomb of Virgil, ii. 88, iv. 102;
apologises for his father not having written in Latin, iv. 236;
Giovanni, his Chronicle of Florence, i. 251, 254;
his reasons for undertaking it, 253, ii. 30, 144;
cited for the division of Guelfs and Ghibellines, i. 81;
for the rise of the Condottiere system, 156;
his account of the Flagellants, 618;
his relation of the taxes raised in Florence to build the Cathedral, iii. 64;
his story of the representation of Hell by burghers of the Borgo S. Friano, 198, v. 114;
his description of Florentine festivals, iv. 50, 51;
Matteo, his description of the despots, i. 128;
continues his brother's Chronicle, 254;
cited for the assassination of Matteo Visconti, 137 note 1;
for the cruelty of Bernabo Visconti, 139 note 1;
his account of the 'Black Death,' 259, iv. 111, v. 191;
of the preaching of Fra Jacopo, i. 610;
of the foundation of the Florentine University, ii. 119

Villotta, a name in N.E. Italy for the Rispetti, iv. 264, 266

Vinci, Lionardo da, universality of his genius, 171, 326, ii. 10, iii. 313, 314, 322, 327 note 1, 382;
the only great Florentine artist not befriended with the Medici, iii. 263;
one of the four great artists by whom the Renaissance was fully expressed, 312;
his studies of beauty and ugliness, 316-318;
his interest in psychological problems, 318 (cp. 35), 323, 363;
his study of the technicalities of art, 320;
his love of strange things, 321;
hisstrong personality, 322 note 3, 329;
his reluctance to finish, 323, 482;
greatness of his aims, 325;
his S. John, as illustrating the introduction of Pagan motives into Christian art, 34, 137, 318;
indebted for the type of face preferred by him to Verocchio, 142, 316;
his models for an equestrian statue of Francesco Sforza, 144, 324, 325;
his Leda and the Swan, illustrating his treatment of the antique, 291, 318;
fate of his works, 325;
the cartoon for the Council Chamber at Florence, 325, 396;
the Last Supper, 323, 326;
Lionardo's visit to the Court of France, 445;
school formed by him at Milan, 482;
his Treatise on Physical Proportions, ii. 37;
his Poems, iii. 314;
translation of a sonnet, 314 note 1

Vinciguerra, Antonio, his satirical poems, v. 381

Vindelino of Spires, joins his brother John as printer at Venice, ii. 369

Violi, Lorenzo, his notes of Savonarola's sermons, i. 511, 530 note 1

Virago, used without reproach at the time of the Renaissance as a term for accomplished ladies, v. 288

Virgil, read in the middle ages, i. 20;
honours paid to him at Mantua, 20, ii. 30, 63;
translation of a stanza from a hymn on Virgil used at Mantua, 63;
turned by popular belief into a magician, a Christian, a prophet of Christ, 65, 143;
influence of the Eclogues in forming the ideal of a Golden Age prevalent at the Renaissance, v. 195;
his tomb at Naples, i. 461, ii. 30, iv. 12, 88, 101

Viridario, the, an Academy at Bologna, ii. 366

Virtù, Machiavelli's use of the word, i. 171, 337 note 1, 345, 482, 484, 493, ii. 35, v. 440;
illustrated by Benvenuto Cellini, iii. 439, 479;
by Aretino, iv. 497, v. 410, 416, 425

Virtù, Le, the Vitruvian Club at Rome, ii. 366, v. 227

Visconti, the, i. 81, 116;
quarrel of the Visconti with Florence, 81, 82;
how they acquired their power, 112;
their patronage of art, iii. 42

—— Azzo, i. 133, 134;
his impartiality, 83 note 1;
Bernabo, 136, 139, 140, 141;
Carlo, one of the assassins of Galeazzo Maria Sforza, 165;
Filippo Maria, was afraid of thunder, 119, 152;
imprisons Giovanni Vignate in a wooden cage, 120;
seizes Pavia, 151;
has his wife beheaded, 152 note 2;
his character, 153, ii. 265;
his conduct to Alfonso the Magnanimous, i. 568 note 1;
his patronage of Filelfo, ii. 265, 277;
commissions Filelfo to write an Italian poem on S. John the Baptist, 279, iv. 235;
Gabriello, i. 102, 151;
Galeazzo (1), 133;
Galeazzo (2), 134, 136-140;
Gian Galeazzo, 87, 98, 102, 113 note 1, 138;
his marriage, 138;
succeeds, 140;
murders his uncle, 141;
his love of art, 141;
the grandeur of his schemes, 141;
his wealth, 143;
his character, 144;
his plots against the D'Este Family and the Gonzaghi, 146, 147;
transfers Asti to the House of Orleans, 143 note 1, v. 333;
progress of his conquests, 149;
dies of the plague, 149, iv. 162;
his plan to make himself King of Italy, iv. 161;
his saying on the injury caused him by Salutato's literary powers, ii. 104;
Giovanni, Archbishop of Milan, i. 135, 136;
Giovanni Maria, 151;
his cruelty and lust, 151, 478;
murdered, 152, 397 note 2;
Lucchino, 134;
Matteo, 136;
Otho, Archbishop of Milan, causes the downfall of the Della Torre family, 132;
Stefano, 136;
Valentina, her marriage to Louis d'Orléans, 143 note 1, 154 note 1;
Violante, her marriage to the Duke of Clarence, 137 note 2

Viscounts, creation of the title, i. 53

Vistarini family, the, their murder by Fisiraga, i. 120;
massacre by Tremacoldo, 148 note 1

Vitelleschi, Cardinal dei, his slaughter of the Trinci, i. 122;
attacked by Valla in the treatise on Constantine's Donation, ii. 260

Vitelli, the, of Città di Castello, their rise to power, i. 114;
members of this family become Condottieri, 161

—— Vitelozzo, i. 351;
murdered by Cesare Borgia at Sinigaglia, 351, 352, 462

Viterbo, pageants at, in 1462, on the Corpus Christi festival, iv. 316

Vitoni, Ventura, his Church of the Umiltà at Pistoja, iii. 83

Vitruvius, his influence on Italian architects, ii. 436, iii. 94 note 1

Vivarini, the, the first masters of the Venetian School, iii. 361

Volaterranus, Jacobus, his character of Julius II., i. 389 note 3

Volterra, Sack of, i. 176 note 1

—— Duomo, the: its roof, iii. 79 note 4;
Mino da Fiesole's Ciborium, 158 note 1


WALTER of Brienne. (See Duke of Athens.)

Webster, the dramatist, quoted, i. 119 note 2, ii. 35, iii. 155;
his 'White Devil of Italy,' i. 557, v. 69, 117, 288;
his treatment of Italian subjects, 68, 117

Wenceslaus, the Emperor, i. 148, 154

Werner of Urslingen, leader of Condottieri, i. 86, 158

William II., of Sicily, beginning of the Sicilian period of Italian literature at his Court, iv. 21

Wippo, his panegyric to the Emperor Henry III., cited, iv. 4

Witchcraft, Bull of Innocent VIII. against, i. 402 note 1, v. 347;
supposed prevalence of witchcraft in the Valtellina and Val Camonica, in the sixteenth century, i. 402 note 1, v. 316, 346 notes 1 and 2, 347;
general belief in witchcraft at that period in Italy, 344;
character of the Italian witches, 345;
Teutonic character of witchcraft in the Lombard district, 347

Wolfhard, his Life of S. Walpurgis, cited for medieval contempt of antiquity, ii. 60

Women, abuse of, common to the authors of the Renaissance, how explained, iv. 212

Wool trade, the, of Florence, i. 257

Worcester, Earl of, Bruni's translation of Aristotle's Politics originally dedicated to him, ii. 184


XENOPHON, the influence of his Œconomicus on Italian writers, iv. 196


ZANCHIUS, BASILIUS, his verses upon the death of Navagero, ii. 488

Zane, Paolo, his encouragement of learning at Venice, ii. 212;
sends Guarino to Constantinople, 299

Zeno, the Greek Emperor, i. 46

Zilioli, his account of Doni's life at Monselice, v. 91