1. Bellini (1801–1835). An Italian opera composer.
II. A Toccata of Galuppi’s.
1. Galuppi (1706–1785). A composer of melodious
rather than original operas, whose workmanship
was superior to that of his contemporaries in harmony
and orchestration.
III. Master Hugues of Saxe-Gotha.
1. Master Hugues of Saxe-Gotha. An imaginary
composer.
2. Palestrina (1526–1594). Famous for saving music
to the church by submitting some that met with
approval when ecclesiastical authorities were about
to forbid its use.
IV. Bishop Blougram’s Apology.
1. Verdi (1813–1901). One of the greatest modern
Italian composers, best known by Il Trovatore,
Rigoletto, and La Traviata.
2. Rossini (1782–1868). A composer whose success
antedates that of Verdi; best known by his opera
William Tell.
V. Abt Vogler.
1. Abt or Abbe Vogler (1749–1814). An organist
and composer of Bavarian birth, some of whose
study and public work were done in Italy. Though
he invented a new system of musical theory, his
ideas were empirical.
VI. Youth and Art.
1. Grisi (1811–1869). An Italian opera singer.
VII. The Ring and the Book.
(I.) 1. Corelli (1653–1713). A violin player and composer
who, though he employed only a limited
part of his instrument’s compass, made an epoch
in chamber music and influenced Bach.
(IV. ) 2. Magnificat—Catholic music.
3. Nunc Dimittis.
(VI.) 4. Ave.
5. Angelus.
(VII.) 6. Ave Maria.
(X.) 7. Sanctus et Benedictus.
(XII.) 8. Pater.
9. Ave.
10. Salve Regina Cœli.
VIII. Red Cotton Night-Cap Country.
1. Guarnerius (1687–1745). Joseph del Gesu, one of
the most famous violin makers, who worked for
boldness of outline and massive construction,
securing in consequence, a robust tone.
2. Antonius Stradivarius (1644–1737). His final model,
with its soft varnish, now irrecoverable, brought
violin making to its highest perfection.
3. Corelli.
4. Paganini (1784–1840). A violin player who achieved
such brilliant success that his name still stands
for all that is wonderful in execution on that
instrument.
IX. Parleyings with Charles Avison.
1. Buononcini (1672–1750). The author of a musical
treatise; his chief claim to fame being the fact that he
influenced Handel and Scarlotti.
2. Geminiani (c. 1680–1762). A violinist of considerable
ability, but as a composer, dry and deficient
in melody.
POETRY
I. Paracelsus.
1. Aprile. An imaginary poet.
II. Sordello.
1. Sordello (13th. century). The most famous of
the Mantuan troubadours.
2. Nina. A contemporary of Sordello.
3. Alcamo. A contemporary of Sordello.
4. Plara. An imaginary poet.
5. Bocafoli. An imaginary poet.
6. Eglamor. An imaginary poet.
7. Dante. (1265–1321).
III. Time’s Revenges.
1. Dante.
IV. A Soul’s Tragedy.
1. Stiatta. An imaginary poet.
V. Up at a Villa.
1. Dante.
2. Petrarch (1304–1374).
3. Boccaccio (1313–1375).
VI. Old Pictures in Florence.
1. Dante.
VII. One Word More.
1. Dante—The Inferno.
VIII. Apparent Failure.
1. Petrarch.
IX. The Ring and the Book.
(III). 1. Hundred Merry Tales. (Boccaccio).
(V). 2. Boccaccio.
3. Sacchetti (1335–1400). A poet and novelist
who left many unpublished sonnetti, canzoni,
ballate, and madrigale, and whose novelle throw
light on the manners of his age.
(VI). 4. A Marinesque Adoniad.
5. Marino (1569–1625). A poet of disreputable
life, leader of the Secentisimo period, whose aim
was to excite wonder by novelties and to cloak
poverty of subject under form.
6. Dante.
7. Pietro Aretino (1492–1556). Author of satirical
sonnets, burlesques, comedies; and a man of
profligate life.
(X). 8. Aretino.
(XI). 9. Merry Tales (Boccaccio).
10. Aretino.
(XII). 11. Petrarch.
12. Tommaseo (1803–1874). A modern Italian
poet, author of the inscription to Mrs. Browning
placed by the city of Florence on the walls
of Casa Guidi.
X. The Inn Album.
1. Dante—The Inferno.
ARCHITECTURE
I. Sordello.
1. Goito. An imaginary 13th century castle, used
to influence the life of Sordello by its beauty and
solitude.
2. St. Mark’s. A great landmark of Italian architecture,
in construction from the ninth to the fifteenth
century, and the most splendid polychromatic
building in Europe.
3. Piombi. Torture cells under the Ducal Palace
at Venice.
4. San Pietro (Martire). A Veronese Gothic church
of 1350.
5. St. Francis. A Lombard Gothic church at Bassano.
6. Castle Angelo. A huge Roman fortress constructed
in the time of Hadrian.
7. San Miniato. A Florentine church built in Central
Romanesque style.
8. Sant’ Eufemia. A 13th century Veronese church,
now modernized internally.
II. Pippa Passes.
1. St. Mark’s—Venice.
2. Possagno Church. Designed by Canova in 1819,
as a place for statues of religious subjects.
3. Fenice—or Phoenix. The best modern theatre of
Venice, built in 1836.
4. Academy of Fine Arts. A Renaissance building
in Venice.
Asolo Group.
5. Duomo of Asolo.
6. Pippa’s Tower. Later the studio of Browning’s
son.
7. Church.
8. Castle of Kate—of which the banqueting hall is
now a theatre.
9. Turret.
10. Palace.
11. Mill—now a lace school.
III. In a Gondola.
1. Pulci Palace—Venice.
IV. The Boy and the Angel.
1. St. Peter’s. In process of construction during
the 16th and 17th centuries; the building that
best typifies the importance of the church during
the middle ages. Built on the Greek cross
plan, it is surmounted by the dome of Michael
Angelo, the most nobly beautiful of architectural
creations.
V. The Italian in England.
1. Duomo at Padua. A 16th century building of
admirable proportions.
VI. The Bishop orders his Tomb at St. Praxed’s Church.
1. Santa Prassede—or St. Praxed’s. A church in
Rome, founded on the former site of a refuge for
persecuted Christians. It is notable for the beauty
of its stone work and mosaics, one of its rich chapels
being called Orto del Paradiso. The building is
old but was restored in the 15th century.
2. Il Gesu. An ornate 16th century church in Rome,
representing the retrograde movement in architecture.
VII. Luria.
1. Duomo. The Florentine cathedral, famous for its
dome of 1420, its beautiful sculptured exterior
and its cold brown interior.
2. Towers of Florence—San Romano, Sant’ Evola, San
Miniato, Santa Scala, and Sant’ Empoli.
VIII. Christmas-Eve and Easter-Day.
1. St. Peter’s—Rome.
IX. A Toccata of Galuppi’s.
1. St. Mark’s—Venice.
X. The Guardian Angel.
1. Chapel at Fano.
XI. Old Pictures in Florence.
1. Giotto (1267–1337). Architect, and the humanizer
of painting, as well as the builder of the
Campanile.
2. Campanile. The bell tower of the Florentine
Duomo, built by Giotto in 1332; an architectural
triumph in beauty and splendor.
3. Santo Spirito. A 14th century Florentine church.
4. Duomo—Florence.
5. Ognissanti—Florence.
XII. By the Fireside.
1. Chapel near Bagni di Lucca.
XIII. The Statue and the Bust.
1. Antinori Palace. An example of Renaissance
secular architecture, built about 1481, in Florence.
2. Riccardi Palace. A Florentine castle, the earliest
and finest example of secular Renaissance architecture.
XIV. Fra Lippo Lippi.
1. Santa Maria del Carmine. A 15th century church
and convent in Florence, containing frescoes by
Masaccio and Filippino Lippi.
2. Palace of the Medici—Florence.
3. St. Lawrence—or San Lorenzo. A Florentine
Renaissance church, rebuilt about 1425.
4. St. Ambrose. A Florentine edifice, the reputed scene
of a transubstantiation miracle in 1746.
XV. Bishop Blougram’s Apology.
1. Vatican. The papal palace at Rome, most of
which as it exists now, was built no earlier than the
fifteenth century.
XVI. Andrea del Sarto.
1. Chapel and the Convent—Florence.
XVII. One Word More.
1. San Miniato—Florence.
XVIII. Abt Vogler.
1. St. Peter’s.
XIX. The Ring and the Book.
(I). 1. San Lorenzo. The original building by Brunelleschi
in 1425 or perhaps 1420, was entrusted to
Michael Angelo for the facade. Florence.
2. Riccardi Palace—Florence.
3. San Felice Church. A little grey-walled Florentine
church, mostly in a very ancient Romanesque
style, which could be seen from the windows of
Casa Guidi.
4. Fiano Palace. An example of secular architecture
in Rome, built about 1300.
5. Ruspoli Palace. Built by the Rucellai family in
1586; has one of the finest white marble stair
cases in Rome.
(II). 6. San Lorenzo—Rome. Founded by Sixtus III in
440 and modernized in 1506; has a Crucifixion by
Guido Reni, above the high altar.
7. Ruspoli Palace—Rome.
(III). 8. Saint Anna’s. A monastery in Rome.
9. San Lorenzo—Rome.
(IV). 10. San Lorenzo—Rome.
11. Vatican—Rome.
(V). 12. Tordinona—Rome.
13. New Prisons—Rome.
14. San Lorenzo—Rome.
(VI). 15. Pieve, or Santa Maria della Pieve. A great church
in Arezzo, built in the capricious, extravagant
style of the 13th century.
16. San Lorenzo—Rome.
17. Duomo—Arezzo.
(VII.) 18. San Lorenzo—Rome.
19. San Giovanni. A Tuscan church built in Rome
at the expense of the Florentines.
20. Pieve—Arezzo.
(VIII). 21. Sistine Chapel. Chapel of the Vatican, at Rome;
a most extreme example of figure painting in
decoration, but justified by the excellence of the
work. The ceiling is Michael Angelo’s, and on
the altar wall is his “Last Judgment.”
(X). 22. Vatican—Rome.
23. Pieve—Arezzo.
24. Monastery of the Convertites—Rome. Founded
in 1584, for the spiritual care of the sick at Rome.
(XI). 25. Certosa. A beautifully situated, very richly built
monastery of the Carthusians in Val d’ Ema, four
miles from Florence, built in the 14th century
Gothic style.
26. Vallombrosa Convent. Situated near Florence;
founded about 1650, by a repentant profligate.
27. Palace in Via Larga. Secular Florentine architecture.
28. San Lorenzo—Rome.
29. Vatican—Rome.
(XII). 30. New Prisons—Rome.
31. San Lorenzo—Rome.
32. Monastery of the Convertites—Rome.
XX. Fifine at the Fair.
1. St. Mark’s—Venice.
XXI. Pacchiarotto.
1. San Bernardino. A Renaissance church at Siena,
with an Oratory, containing work of Beccafumi,
Pacchia, and Pacchiarotto.
2. Duomo at Siena. An unfinished cathedral, the
most purely Gothic of all of those of Italy, of
unrivalled solemnity and splendor.
XXII. Filippo Baldinucci.
1. San Frediano. A modern Florentine church.
XXIII. Pietro of Abano.
1. Lateran. Formerly the Papal residence, though
the present structure, of 1586, was never used for
that purpose and is now a museum of classical
sculpture and early Christian remains.
XXIV. With Francis Furini.
1. San Sano, or Ansano. A Florentine parish church.
XXV. Ponte del Angelo, Venice.
1. House along the Bridge, of no importance architecturally,
but connected with an old legend which
is the subject of the poem.
PAINTING
I. Pauline.
1. Andromeda. By Polidoro da Caravaggio—the picture
of Perseus freeing her from the sea monster.
II. Sordello.
1. Guido of Siena (c. 1250—). The disputed artist of
a Virgin and Child, the date of which may be either
1221 or 1281. If it be the former, some of Cimabue’s
claims are disturbed by Guido’s earlier work.
2. Guido Reni (1575–1642). A prime master in the
Bolognese school, faithful to its eclectic principles
and working with considerable artistic feeling, but
still with a certain “core of the commonplace.”
3. Andromeda. By Caravaggio.
III. Pippa Passes.
1. Annibale Carracci (burlesque—“Hannibal
Scratchy”) (1560–1609). With his brother and his
uncle founded the Bolognese school, which was eclectic
and comprised the good points of all the great
masters.
2. Correggio (1494–1534). The head of the Lombard
School at Parma, a painter of graceful naturalness
and sweetness and of great technical power in
chiaroscuro.
3. Titian (1477–1576). A Venetian painter who lacked
inventiveness but was the greatest of colorists.
a. Annunciation—in the Cathedral at Treviso,
painted by Titian in 1519.
IV. My Last Duchess.
1. Fra Pandolf. An imaginary artist.
V. In a Gondola.
1. Schidone (c. 1570–1615). A portrait painter of
the Lombard school.
a. Eager Duke. An imaginary picture.
2. Luca Giordano (1632–1705). Called Luke-work-fast
because of his father’s miserly urging; a painter
of superficiality and facility.
a. Prim Saint. An imaginary picture.
3. Giorgione (Castelfranco) (1477–1510). A Venetian
painter who did for his school what Leonardo
da Vinci had done for Florence twenty years
earlier.
a. Magdalen—imaginary.
4. Titian.
a. Ser (a picture).
VI. Waring.
1. Polidoro da Caravaggio.
VII. Pictor Ignotus.
1. Pictor Ignotus—an imaginary painter of Italy.
VIII. Christmas-Eve and Easter-Day.
1. Michael Angelo and discussion of painting.
IX. Old Pictures in Florence.
1. Michael Angelo (1475–1564). A Florentine master
in painting, sculpture, and architecture. No
other single person ever so dominated art as he,
with his Italian “terribilita”, or stormy energy of
conception, and his great dramatic power.
2. Raphael (1483–1520). A master of combined
draughtsmanship, coloring, and graceful composition;
popular and unexcelled in versatility.
3. Leonardo da Vinci (1452–1519). The earliest of
the great masters of the High Renaissance, and
the first to completely master anatomy and technique.
4. Cavaliere Dello (c. 1404-c. 1464). An unimportant
Florentine painter of frescoes.
5. Stefano (1324?-1357?). Called the “Ape of Nature”
because he followed her closely in an age of
unrealistic painting.
6. Cimabue (1240-c. 1302). The first painter of
importance in the revival of that art, the one who
formed its first principles, though he owed something
to the Pisan sculptors.
7. Ghirlandajo (1449–1494). Good in his general
attainment but lacking in originality, and remembered
for one famous pupil—Michael Angelo.
8. Sandro (Botticelli) (1444–1510). A Florentine
painter, imbued with a strain of fantasy, mysticism,
and allegory.
9. Lippino (1460–1505). The son of Fra Lippo Lippi,
a painter of considerable skill, the first to introduce
detail in antique costumes.
10. Fra Angelico (1387–1455). A holy, self-denying
painter of faces that showed a “sexless religiosity.”
11. Lorenzo Monaco (1370–1425). A Florentine monk
and painter of much religious sentiment.
12. Pollajolo (1429–1498). An important painter
whose works show brutality, but who was a close
student of muscular anatomy.
13. Baldovinetti (1427–1499). A Florentine; one of a
group of scientific realists and naturalists.
14. Margheritone (c. 1236–1289). An early Tuscan
painter whose work shows the stiffness and crude
color of the Byzantine artists.
15. Carlo Dolci (1616–1686). An unimportant Florentine
painter of careful workmanship and religious
sentimentality.
16. Giotto (1267?-1337). A painter and architect,
the real humanizer of painting.
17. Andrea Orgagna (1308–1368). A Florentine painter
and artist in other lines as well.
18. Taddeo Gaddi (c. 1300–1366). Painter and
architect.
X. In Three Days.
1. General reference to early art.
XI. The Guardian Angel.
1. Guercino (1591–1666). The “squint-eyed”; a Bolognese
painter.
a. Angel at Fano.
XII. Any Wife to Any Husband.
1. Titian’s Venus.
XIII. How it Strikes a Contemporary.
1. Titian.
XIV. Fra Lippo Lippi.
1. Lippi (1406–1469). A realist of good coloring and
technique, a painter of enjoyable pictures showing
power of observation.
a. Jerome.
b. St. Lawrence.
c. Coronation of the Virgin—in St. Ambrose.
2. Angelico.
3. Monaco.
4. Guidi Masaccio (1402–1429). A Florentine; the
master of Lippi, the first to make considerable
advancement in atmospheric perspective and to
paint architectural background in proportion to
the human figures.
5. Giotto.
XV. Andrea del Sarto.
1. Andrea (1487–1513). A Florentine, the “faultless
painter,” who lacked elevation and ideality in his
works.
2. Raphael.
3. Vasari (1511–1571). A Florentine artist, student
of Michael Angelo, imitative and feeble as a painter,
but interesting as an art historian.
4. Michael Angelo.
5. Leonardo da Vinci.
XVI. Bishop Blougram’s Apology.
1. Correggio.
a. Jerome.
2. Giulio Romano (1429–1546). A rather ornate artist,
the executor of some work on the Vatican.
3. Raphael.
4. Michael Slaying the Dragon—by Raphael.
XVII. One Word More.
1. Raphael.
a. Sistine Madonna.
b. Madonna Foligno.
c. Madonna of the Grand Duke.
d. Madonna of the Lilies.
2. Guido Reni.
3. Lippi.
4. Andrea.
XVIII. James Lee’s Wife.
1. Leonardo da Vinci.
XIX. A Face.
1. Correggio.
2. General reference to the early art of Tuscany.
XX. The Ring and the Book.
(I). 1. Luigi Ademollo (1764–1849). A Florentine painter
of historical and fresco works, whose works show
superficial skill.
2. Joconde, or Mona Lisa, by Da Vinci—the woman
of the mysterious smile, recently returned to the
Louvre.
(II). 3. Guido Reni.
a. Crucifixion, in San Lorenzo at Rome.
(III). 4. Carlo Maratta (1625–1713). A painter at Rome,
an imitator of Raphael and the Carracci.
(IV). 5. Raphael.
6. Correggio.
a. Leda.
(V). 7. Pietro da Cortona (1596–1669). Mainly a scenic
and fresco painter, the estimate of whom has declined
since his own time.
8. Ciro Ferri (1634–1689). A pupil of Pietro, so
imitative of his master that the work of the two
cannot be distinguished.
(VI). 9. Raphael.
(VII). 10. St. George Slaying the Dragon—by Vasari.
(VIII). 11. Carlo Maratta.
(IX). 12. Maratta.
13. Luca Giordano.
14. Michael Angelo.
15. Raphael.
16. Pietro da Cortona.
17. Ciro Ferri.
(X). 18. St. Michael.
(XI). 19. Albani (1587–1660). A Bolognese who also worked
at Rome; a painter of minute elaboration and
finish, and one of the first to devote himself to
cabinet painting.
20. Picture in Vallombrosa Convent.
21. Raphael—any picture.
22. Titian.
23. Fra Angelico.
24. Michael Angelo.
(XII). 25. Michael Angelo.
XXI. Prince Hohenstiel-Schwangau.
1. Raphael.
2. Salvator Rosa (1615–1673). A Neapolitan painter
of battle scenes and landscapes, with a tendency
toward the picturesque and romantic.
XXII. Fifine at the Fair.
1. Raphael.
2. Bazzi (1477–1594). An Italian Renaissance painter
who was greatly influenced by Leonardo da
Vinci, and in turn, had great influence on the
Sienese school.
3. Michael Angelo.
XXIII. Red Cotton Night-Cap Country.
1. Michael Angelo.
2. Correggio.
a. Leda.
XXIV. Pacchiarotto and How He Worked in Distemper.
1. Pacchiarotto (1474-?). A Sienese painter, reformer,
and conspirator.
2. Pacchia (b. 1477). A Sienese painter contemporary
to Pacchiarotto, and also a reformer and
conspirator.
3. Fungaio (c. 1460-c. 1516). One of the last of the
old school. His works have rigidity and awkward
stiffness.
4. Bazzi.
5. Beccafumi (1486–1551). A Sienese painter who
weakly imitated Angelo and attempted to rival
Sodoma.
6. Giotto.
XXV. Filippo Baldinucci.
1. Buti. The painter’s name under which Baldinucci,
in his history of art, records the events forming
the subject of Browning’s poem.
2. Titian.
a. Leda.
3. Baldinucci (1624–1696). A Florentine art historian
who attempted to prove the theory that all art
was derived from his native city.
XXVI. Cenciaja.
1. Titian.
XXVII. Christina and Monaldeschi.
1. Primaticcio (1504–1570). An Italian painter of
the Bolognese school, who did the first important
stucco and fresco work in France.
XXVIII. Mary Wollstonecraft and Fuseli.
1. Fuseli. (1741–1825). An English painter of exaggerated
style, who attempted to be Italianate and
changed his name to harmonize with the attempt.
XXIX. Parleyings with Christopher Smart.
1. Michael Angelo.
2. Raphael.
XXX. Parleyings with Francis Furini.
1. Furini (1600–1649). A Florentine artist and an
excellent painter of the nude, who later became a
parish priest and wished his undraped pictures
destroyed.