Renaissance in Italy, Volume 5 (of 7) / Italian Literature, Part 2

by John Addington Symonds

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]

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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];