[CHAPTER XXV]

1443-1508. Poetry under the Montefeltrian Dukes[130]
”” Defects of the sonnet[131]
Francesco Filelfo[131]
1480. Gian Maria Filelfo, his son[132]
His Martiados in praise of Duke Federigo[132]
His minor poems[133]
Specimen of the dedication[134]
His sonnet to Gentile Bellini the painter[135]
His life of Duke Federigo[136]
Pandonio of Naples[136]
His Feltria on Duke Federigo's campaigns[137]
Specimen of it[137]
Giovanni Sanzi of Urbino, father of Raffaele Sanzio[138]
His metrical chronicle of Duke Federigo[138]
Various specimens of it translated[140]
1428-1457. Angelo Galli from Urbino[143]
Specimen of his poetry[143]
Federigo Veterani, his beautiful transcripts[144]
His tribute in verse to Duke Federigo[145]
Urbani of Urbino[146]
Antonio Rustico of Florence[146]
Naldio of Florence[146]
Bernardo Accolti of Arezzo[146]
His improvisation[146]
Serafino di Aquila[147]
Agostino Staccoli of Urbino[147]
Early Italian comedies[147]
La Calandra of Bibbiena[147]
1513. Its performance at Urbino[148]
Description of the scenery and accompanying interludes[148]
Origin of the ballet[152]
Nature of the plot in La Calandra[152]
Low standard of morals at that time[153]
Obscene jest books[154]

[CHAPTER XXVI]

Mediæval art almost exclusively religious[157]
The introduction of types and traditionary forms[157]
A picture by Botticelli denounced as heretical (note)[158]
The choice and treatment of sacred themes[159]
Modified by the personal character of artists[160]
Instances of this[161]
Devotional feeling of early painters[161]
Shown in the rules of their guilds at Siena and Florence[162]
Case of Giorgio Vasari[163]
The gloomy character of Spanish art[163]
The subject to be considered apart from sectarian views[164]
Christian art modified in the fifteenth century[166]
Gradual innovation of naturalism[167]
Followed by paganism and classicism[168]
Rise of the "new manner"[169]
Religious prudery in Spain fatal to art[170]
Von Rumohr's definition of Christian art[170]
Opinions prevailing in England[171]
Hogarth and Savonarola[172]
Burnet and Barry[172]
Reynolds and Raffaele[172]
Obstacles to a due appreciation of this subject among us[173]
Mr. Ruskin and Lord Lindsay[174]
Sir David Wilkie[175]
It does not necessarily lead to popery[175]
Nor is it a desirable "groundwork for a new style of art"[176]
St. Francis of Assisi, his legends and shrine[177]
Their influence renders Umbria the cradle of sacred art[178]
Opinions of Rio, Boni, and Herbert Seymour[179]

[CHAPTER XXVII]

The Umbrian school hitherto overlooked[184]
The cathedral of Orvieto and the sanctuary of Assisi attract many artists[185]
The dramatic or Dantesque character of Florentine painting[186]
Sentimental devotion of the Sienese school[187]
Influence of these on Umbrian painters[187]
-1299. Oderigi da Gubbio[188]
Notice of him by Dante[188]
Guido Palmerucci of Gubbio[189]
Angioletto, a glass-painter of Gubbio[190]
1375-1444. Ottaviano Nelli of Gubbio and his pupils[190]
1434.June 30.His letter to Caterina, Countess of Urbino[192]
Allegretto Nuzi of Fabriano[193]
1370-14. Gentile da Fabriano; he studies under[193]
1383-14. Fra Giovanni da Fiesole, the Beato Angelico[194]
”” A friar of holy life and pencil[194]
”” Gentile called "master of the masters"[196]
1370-14. His works studied by Raffaele[196]
”” Goes to Venice[197]
”” His taste for gaudy trappings[197]
Benedetto Bonfigli of Perugia[199]
1446-1524. Pietro Perugino[199]
Painters in Urbino[200]
-1478. Piero della Francesca of Borgo San Sepolcro[201]
”” His history obscure[201]
”” His two distinct manners[202]
”” His knowledge of geometry[203]
”” His claims to the introduction of perspective[203]
”” These examined, and those of Luca Pacioli[203]
”” His unedited writings (note)[204]
”” His frescoes at Arezzo and their influence on Raffaele[206]
”” His portrait of Sigismondo Pandolfo Malatesta[208]
”” His portraits of the Montefeltrian princes[209]
-1484. Bartolomeo Coradino, the Fra Carnevale[210]
Beautiful altar-picture near Pesaro[211]
1423-1502. Francesco di Giorgio of Siena[211]
His works in painting, architecture, and engineering[212]
Letter of Duke Federigo on his behalf[214]
His writings[215]

[CHAPTER XXVIII]

-1494. Giovanni Sanzi of Urbino[216]
Till lately unjustly depreciated[216]
His own account of himself[217]
His style and works[218]
His portrait of his son, the divine Raffaele[218]
1483.Apr. 6.Birth of Raffaele Sanzio of Urbino, surnamed "the Divine"[220]
Notice of his biographers[220]
His appearance happily timed[221]
First pictorial influences on his mind[222]
1495. He goes to the school of Perugino[223]
1500-1504. His earliest independent works at Città di Castello[225]
”” Returns to paint at Perugia[226]
”” Visits Siena and Florence[226]
”” Returns to paint at Urbino[227]
”” His second visit to Florence[227]
”” With a recommendation from Joanna della Rovere[228]
1504-1505. His works, patrons, and associates there[228]
1505-1507. Again painting at Perugia[230]
1505-1507. His intercourse with Francia[231]
1503-1508. And with the polished court of Urbino[231]
”” Works commissioned of him there[232]
”” His recently discovered fresco at Florence[234]

[CHAPTER XXIX]

1508. He is called to Rome by Julius II.[235]
” And employed to paint in the Stanze[236]
1508-1513. His plan for the frescoes there detailed and examined[236]
1513.Feb. 21.Death of Julius II.[239]
1513-1520. Raffaele's powers overtaxed[240]
”” He gradually falls into "the new manner"[241]
”” The charge against him of a vicious life unfounded[241]
”” Question how far he imitated others[242]
”” Especially Michael Angelo[243]
”” No parallel between them[244]
”” His diminished intercourse with Urbino[246]
1520.Apr. 6.His sudden death and funeral[247]
” His intended marriage and cardinal's hat[249]
” His varied gifts[250]
” Testimonies to his merits[250]
” His sense of beauty[251]
” Purity of his taste[252]