[BOOK NINTH]
OF LITERATURE AND ART UNDER THE
DUKES DELLA ROVERE AT URBINO

[CHAPTER XLIX]
Italian literature subject to new influences—The Academies—Federigo Comandino—Guidobaldo del Monte—The Paciotti—Leonardi—Muzio Oddi—Bernardino Baldi—Girolamo Muzio—Federigo Bonaventura[253]
[CHAPTER L]
Italian versification—Ariosto—Pietro Aretino—Vittoria Colonna—Laura Battiferri—Dionigi Atanagi—Antonio Galli—Marco Montano—Bernardo Tasso[278]
[CHAPTER LI]
Torquato Tasso—His insanity—Theories of Dr. Verga and Mr. Wilde—His connection with Urbino—His intercourse with the Princess of Este—His portraits—His letter to the Duke of Urbino—His confinement—His death—His poetry—Battista Guarini[308]
[CHAPTER LII]
The decline of Italian art: its causes and results—Artists of Urbino—Girolamo della Genga and his son Bartolomeo—Other architects and engineers[335]
[CHAPTER LIII]
Taddeo Zuccaro—Federigo Zuccaro—Their pupils—Federigo Baroccio and his pupils—Claudio Ridolfi—Painters of Gubbio[355]
[CHAPTER LIV]
Foreign artists patronised by the Dukes della Rovere—The tomb of Julius II. by Michael Angelo—Character and influence of his genius—Titian's works for Urbino—Palma Giovane—Il Semolei—Sculptors at Urbino[381]
[CHAPTER LV]
Of the manufacture of majolica in the Duchy of Urbino[403]

[APPENDICES]

[I.] Correspondence of Clement VII. with Duke Francesco Maria before the sack of Rome, 1527[427]
[II.] The sack of Rome[429]
[III.] The Duke of Urbino's justification, 1527[444]
[IV.] Sketch of the negotiations of Castiglione at the court of Madrid, 1525-1529[448]
[V.] Account of the armada of Don John of Austria at Messina, 1571[452]
[VI.] Indulgence conceded to the corona of the Grand Duke of Tuscany by Pius V., 1666[456]
[VII.] Monumental inscriptions of the ducal family of Urbino[458]
[VIII.] Statistics of Urbino[463]
[IX.] Two sonnets by Pietro Aretino on Titian's portraits of Duke Francesco Maria I. and his Duchess Leonora[470]
[X.] Petition to Guidobaldo II. Duke of Urbino, by certain Majolica-makers in Pesaro[472]
[XI.] Letter from the Archbishop of Urbino to Cardinal Giulio della Rovere, regarding a service of Majolica[474]
[XII.] Collections of art made by the Dukes of Urbino[476]
[Dennistoun's List of Authorities for the Work][490]
[Genealogical Table][501]
[Index][505]

[ILLUSTRATIONS]

Francesco Maria II. della Rovere, Duke of Urbino. After the picture by Baroccio in the Uffizi Gallery, Florence. (Photo Anderson)[Frontispiece]
FACING PAGE
The Emperor Charles V. From the picture by Titian in the Prado Gallery, Madrid. (Photo Anderson)[28]
Guidobaldo II., Duke of Urbino. From a picture in the Albani Palace in Rome[88]
? Guidobaldo II. della Rovere. From the picture by Titian in the Pitti Gallery, Florence. (Probably once in the Ducal Collection.) (Photo Alinari)[90]
Isabella d'Este. After the picture by Titian in the Imperial Museum, Vienna. (Photo Franz Hanfstaengl)[134]
Duke Francesco Maria II. receiving the allegiance of his followers. After the fresco by Girolamo Genga in the Villa Imperiale, Pesaro. (Photo Alinari)[148]
Duke Francesco Maria II. receiving the allegiance of his followers. After the fresco by Girolamo Genga in the Villa Imperiale, Pesaro. (Photo Alinari)[150]
Francesco I. de' Medici. After the picture by Bronzino in the Pitti Gallery, Florence. (Photo Anderson)[154]
Federigo, Prince of Urbino. From the picture once in the possession of Andrew Coventry of Edinburgh[196]
Facsimiles of signatures and monograms[200]
Francesco Maria II., Duke of Urbino. From a picture once in the possession of James Dennistoun[226]
Vittoria della Rovere, Grand Duchess of Tuscany. From the picture by Sustermans in the Pitti Gallery, Florence. (Photo Anderson)[248]
Supposed portrait of Ariosto. After the picture by Titian in the National Gallery[280]
Pietro Aretino. From the picture by Titian in the Pitti Gallery, Florence. (Photo Alinari)[288]
Bernardo Tasso. From a picture once in the possession of James Dennistoun[298]
Torquato Tasso. From a picture once in the possession of James Dennistoun[308]
Laura de' Dianti and Alfonso of Ferrara. After the picture by Titian in the Louvre. (Photo Neurdein Frères)[312]
Martyrdom of S. Agata. After a picture by Seb. dal Piombo, once in the Ducal Collection at Urbino, now in the Pitti Gallery, Florence. (Photo Anderson)[336]
Holy Family. After the picture by Sustermans, once in the Ducal Collection of Urbino, now in the Pitti Gallery, Florence. (Photo Alinari)[340]
The Knight of Malta. From the picture by Giorgione, once in the Ducal Collection at Urbino, now in the Uffizi Gallery, Florence. (Photo Anderson)[344]
Judith with the head of Holofernes. After the picture by Palma il Vecchio, once in the Ducal Collection at Urbino. (Photo Alinari)[346]
Head of Christ. After the picture by Titian, once in the Ducal Collection, now in the Pitti Gallery, Florence. (Photo Alinari)[348]
The Resurrection. After the banner painted by Titian for the Compagnia di Corpus Domini, now in the Pinacoteca, Urbino. (Photo Alinari)[352]
The Last Supper. After the picture by Baroccio in the Duomo of Urbino. (Photo Alinari)[356]
Noli me Tangere. After the picture by Baroccio, once in the Ducal Collection at Urbino, now in the Uffizi Gallery, Florence. (Photo Anderson)[372]
The Communion of the Apostles. By Giusto di Gand, in the Palazzo Ducale Urbino. (From the Ducal Collection.) (Photo Alinari)[382]
Giovanni and Federigo, Electors of Saxony. After the portraits by Cranach, once in the Ducal Collection at Urbino, now in the Uffizi Gallery, Florence. (Photo Anderson)[386]
La Bella. After the picture by Titian in the Pitti Gallery, Florence. Supposed portrait of Duchess Leonora. (Photo Anderson)[390]
The Venus of Urbino. Supposed portrait of the Duchess Leonora, after the picture by Titian in the Uffizi Gallery, Florence, once in the Ducal Collection. (Photo Anderson)[392]
Sleeping Venus. After the picture by Giorgione in the Dresden Gallery, after which the Venus of Urbino was painted. (Photo Anderson)[394]
Portrait of his wife, by Lucas Cranach. From the picture in the Roscoe Collection, Liverpool. Possibly modelled on the Venus of Urbino[396]
Maiolica. A plate of Urbino ware of about 1540 in the British Museum[404]
Maiolica. A plate of Castel Durante ware of about 1524 in the British Museum. "The divine and beautiful Lucia"[408]
Maiolica. A plate of Urbino ware about 1535 in the British Museum. (The arms are Cardinal Pucci's)[412]
Maiolica. Plate of Castel Durante ware about 1540, with a portrait medallion within a border of oak leaves. This pattern was called "Cerquata" or "al Urbinata," the oak being the badge of the Rovere house. In the British Museum[416]