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

by John Addington Symonds

for the refusal of Giuliano, Duke of Nemours, to take the Duchy of Urbino, [438] note 1
Giorgio, Francesco di, architect of palaces at Pienza, iii. 75
Giorgio, Francesco di, cited for the character of Frederick, Duke of Urbino, i. [176] note 1
Giorgione, greatness of his genius, iii. 366;
fate of his works, 366;
his power in depicting tranquillised emotion, 367
Giottino, the scholar of Giotto, iii. 197
Giotto, the Campanile at Florence, iii. 63, 190, iv. [251];
his work in S. Francis', Assisi, iii. 117, 190, 195;
his genius pictorial, 120, 177;
story of Cimabue's finding him, as a child, drawing, 190, 191;
amount of his work, 190;
his fidelity to nature, 191;
advances made by him in painting, 192;
his power of representation, 193;
excellence of his allegories, 194;
mention of him by Petrarch, 217 note 1;
influenced by Dante, 283 note 2;
his ode on Poverty, iv. [39] note 1, [243] (cp. iii. 124, 194)
Giovanni da Capistrano, Fra, i. [490];
his preaching at Brescia, [615]
Giovanni da Imola, his salary from the University of Padua, ii. 122
Giovanni da Ravenna, Petrarch's secretary, ii. 98;
the first of the vagabond Humanists, 99;
his influence, 100
Giovanni, Ser (of Florence), his Novelle, iv. [150];
called his work Il Pecorone, [150];
poverty of the framework of the Novelle, [151];
their antiquarian interest, [151];
one novel the source of the Merchant of Venice, [152] note 1;
revision of the Novelle by Domenichi, [152] note 2;
Giovanni as a poet, [152]
Giovanni da Udine, the scholar of Raphael, iii. 490
Giovanni, Fra, da Verona, his work as a wood-carver at Monte Oliveto and Naples, iii. 78 note 2
Giovio, Paolo, his description of Azzo Visconti, i. [134];
of Gian Galeazzo, [141], [142] note 1;
of the marriage of Violante Visconti, [138];
his conception of history, [249] note 2;
his untrustworthiness, [292] note 2, ii. 354 note 1, 417, 512;
his account of Machiavelli's education, 310;
praises the massacre of Sinigaglia, 324;
his criticism of Machiavelli's Art of War, 330;
believed that Alexander VI. died of poison, 429, 430;
on Lodovico Sforza, 547 note 2;
on Poliziano's personal appearance, ii. 350 note 1;
his account of Poliziano's death, ii. 354 note 1;
his description of Poliziano's poetry, iv. [407];
made Bishop of Nocera, ii. 402, 417;
his versatility of talent, 417;
his criticism of Navagero, 485 note 3;
relates that Navagero suffered from atra bilis, 487;
his confession that culture had left Italy, 544;
his correspondence with Aretino, v. [410] note 1;
relates that Pomponazzi was ignorant of Greek, [459]
Giraldi, Giovanbattista. (See [Cinthio].)
Giunta of Pisa, said to have worked on the frescoes of Assisi, iii. 196
Giunta, the Roman printer, his piracies on Aldo Manuzio, ii. 379 note 2;
publishes the Lysistrata and Thesmaphoriazusæ of Aristophanes, 382
Giunti, the, printers at Venice, v. [374];
Giunta prints the mutilated version of Boiardo's rifacimento of the Orlando Innamorato, [374];
acknowledges the fact of the mutilation in a second edition, [374], [377]
Giulio Romano, his decoration of the Palazzo del Te, ii. 440, iii. 83, 492, iv. [403], v. [389];
his architectural work at Rome, iii. 83;
his superintendence of S. Peter's, 91;
the only great master produced by Rome, 184;
his occasional coarseness and vulgarity, 454, 492;
driven from Rome for designing a series of obscene figures, v. [389]
Giustiniani, the, their patronage of learning at Venice, ii. 212
—— Venetian ambassador, his testimony to the death of Alexander VI. by apoplexy, i. [430];
mentions the legend that Alexander had sold his soul to the devil, [431];
Lionardo, procures Filelfo a Secretaryship at Constantinople, ii. 267
Giusto de' Conti, his Canzoniere, iv. [165]
Gli Otto, name of Council in some Italian cities, i. [35]
Goldsmith's work, all the earlier Florentine artists served an apprenticeship to this art, iii. 124, 442
Gonfaloniere di Giustizia, a name of office in some Italian cities, i. [35];
at Florence, [224]
Gonzaga, the, at Mantua, i. [145];
how they became tyrants, [112], [148] note 1;
members of this family become Condottieri, [161];
distinguish themselves at Fornovo, [580] note 1
—— Alessandro, educated by Vittorino da Feltre, [177], ii. 297;
Camilla, Molza's attachment to her, v. [226];
Cario, the pupil of Vittorino da Feltre, ii. 293;
betrays Milan to Sforza, 281;
Cecilia, educated by Vittorino da Feltre, i. [177], ii. 297;
Cesare, v. [122];
Elisabetta, i. [182], [184];
Francesco, (1) [147];
commands at Fornovo, [580], iii. 275 note 1;
letter of, to his wife, quoted for the account of Alexander VI.'s death, i. [431] note 1, [432];
(2) Cardinal, his patronage of scholars, ii. 404 (cp. iii. 277 note 1);
causes Poliziano to write the Orfeo, iii. 277 note 1, iv. [411];
(3) a wild libertine student at Bologna, v. [312], [314];
Gian Francesco,
(1) his murder of his wife, i. [119] note 2;
(2) summons Vittorino da Feltre to Mantua, [176], ii. 291, 295;
Gianlucido, educated by Vittorino da Feltre, i. [177], ii. 297;
Isabella, her reception at Rome by Leo X., v. [146];
Lodovico, the pupil of Vittorino da Feltre, ii. 291, iii. 276;
his reception of Filelfo, ii. 285;
invites Mantegna to Mantua, iii. 276;
Lucrezia, Bandello her tutor, v. [64], [65];
Ugolino, i. [134];
his murder, [119] note 2
Gorboduc, tragedy of, praised by Sir Philip Sidney, v. [132] note 1;
illustrates the character of the Italian tragedies, [136]
Gorello, Ser, quoted for the character of Bishop Guido Tarlati of Arezzo, i. [83]
Goritz, John, why called Corycius, ii. 397;
his entertainments of the Roman Academy, 409;
his sufferings in the Sack of Rome, 444
Gothic architecture, its rarity in Rome, iii. 46;
never understood by the Italians, 50, 66, 69, iv. [345], v. [505]
Gothic, Italian, its mixed, exotic character, iii. 50;
its relations to Northern styles, iv. [312]
Goths, policy of the Goths in Italy, i. [94]
Governo Misto, the ideal government of Italian statesmen, i. [283], [306], ii. 319
Gozzoli, Benozzo, his repetition of Traini's Triumph of S. Thomas, iii. 208;
character of his genius, 241 (cp. iv. [261] note 2, [372], 463);
various works of his, [242];
his excellence in portraying idyllic subjects, [243];
employed by Cosimo de' Medici to paint his private chapel, [263]
Gran Consiglio, in Italian cities, i. [35], [57], [71]
Granacci, Francesco, Michelangelo's friend in boyhood, iii. 386
Gravina, praised the Italia Liberata of Trissino, v. [307]
Graziani, quoted for the preaching of San Bernardino, i. [613];
for Fra Jacopo and Fra Roberto da Lecce, [614]
Grazzini, Antonfrancesco. (See [Lasca, Il].)
Greece and Italy, contrasts and resemblances of, i. [195], [205], [237], ii. 4, 10, 16, 43, 513, iii. 1, 121, 355, 410-412, iv. [45], [117], v. [112];
contrast between Greek and Christian religious notions, iii. 12, 136
Greek, utter ignorance of, in the Middle Ages, ii. 66, 94;
importance of the study of Greek, 112;
probability that the lost Greek classics perished before the fall of Constantinople, 141;
impression produced by the Greek visitors to the Council of Florence, 197;
Greek studies owed less to the Byzantine than to the Italian scholars, 197, 250;
the first Greek books printed in Italy, 368, 375, 377, 382, 405 note 1;
the first in Northern Europe, 391 note 2;
Greek hardly studied in Italy by the end of the sixteenth century, 543
Greene, Robert, the dramatist, quoted for Italian immorality, i. [473]
Gregoropoulos, John, the reader in Aldo Manuzio's Greek Press, ii. 378;
a member of the Aldine Academy, 387
Gregory the Great, i. [50];
his contempt for grammatical correctness, ii. 61
Gregory VI., i. [59]
Gregory VII. (See [Hildebrand].)
Gregory IX., war of, with Frederick II., iv. [279]
Gregory XI., [113] note 1
Gregory XII., makes Antonio Losco Apostolic Secretary, ii. 218
Gregory of Tours, cited for medieval contempt of antiquity, ii. 60
Gritti, Andrea, Doge of Venice, his patronage of Aretino, v. [395];
Luigi (son of the Doge), gives Aretino a pension, [395]
Grocin, his endeavours to introduce the study of Greek into England, ii. 388, 391
Guardi, his sketch of a Masked Ball in the Council Chamber, Ducal Palace, Venice, iii. 358
Guarini, Battista, shows the completion of the Italian reaction against the middle ages, v. [244];
the Pastor Fido with Tasso's Aminta the perfection of the Italian pastoral drama, [114], [223], [241], [511];
essentially lyrical nature of the Pastor Fido, [242];
its central motive the opposition of an ideal world of pleasure to the world of facts and laws, [242]
Guarino da Verona, the tutor of Lionello d'Este, i. [171], [173], ii. 299;
a scholar of Giovanni da Ravenna, ii. 100;
brings Greek MSS. to Italy, 141, 267;
obliged to leave Florence by Niccolò's opposition, 182;
his translation of Strabo, 228;
his quarrels with Poggio and other scholars, 240, 301;
his praise of Beccadelli's Hermaphroditus, 255, 301, 514;
his friendship with Filelfo, 267;
his success as a teacher at Ferrara, 300 (cp. 473, 537);
his nobility of character, 301, 523
Gubbio, the Pottery of, i. [80]
Gucci, Agostino di. (See [Duccio, Agostino di].)
Guelfs and Ghibellines, quarrel of, i. [38], [61], [69], [70], [71], [72], [73], [74], [80], [95], [101], [206], [221], [584], ii. 57, iv. [159-164], [367]
Guicciardini, Francesco, his life and character, i. [295-301];
pleads the cause of Alessandro de' Medici before Charles V., [232], [280], [298];
his services to the Medici, [280], [285], [297];
his cynicism, [278], [291], [302], v. [446];
portrait of him in Ariosto's Satires, iv. [515];
comparison of Guicciardini and Machiavelli, v. [446];
differences of opinion between Guicciardini and Machiavelli, i. [44], [45] note 1, [91];
the Comment on the Discorsi of Machiavelli, [306] note 2;
the Governo Misto (cp. passage cited from the Reggimento di F., [306]);
the decay of Italy due to the Papacy, [451] (cp. passage cited from the Ricordi, [382], 452);
the Istoria d'Italia, [300-303];
the murder of Manfredi, [428] note 1;
the death of Alexander VI, ascribed to poison, [429];
the joy in Rome at Alexander's death, [431];
character of Julius II., [434] note 1, [552] note 3;
the effect of the murder of Gian Galeazzo Sforza, [480] note 2, [556];
character of Charles VIII., [540], [547];
of Lodovico Sforza, [548] note 2;
the French invasion, [549], [582];
believes that it was guided by Providence, [553] note 1;
the reception of Charles at Naples by Pontanus, ii. 363;
the Reggimento di Firenze, 304-308;
the ideal government of Florence, 223 note 1;
the motives of tyrannicide, 169;
the corruption of Florence, 229;
the Venetian polity, 306;
his admiration for Venice, 234, 299;
the Governo Misto, 306 (cp. passage cited from the Reggimento di F., note 2);
the account of Savonarola, 304 (cp. passage cited from the Storia Fiorentina, 308, 512 note 1);
the Ricordi, 308, v. [446], [519];
the disunion of Italy, [92] note 1;
'the blood of the citizens the mortar of tyranny,' [131], [298] note 2;
the faults of democracy, [306] note 1;
use of the word popolo, [306];
Guicciardini's conception of history, i. [249] note 2;
the faith of the Florentine patriots in Savonarola during the siege, [284] note 1, [536] note 2;
the character of the Medici, [298] note 2, [299] note 2;
the decay of Italy due to the Papacy, [382], [452] (cp. passage cited from the Comment on the Discorsi of Machiavelli, [451]);
the balance of power created in Italy by Lorenzo de' Medici, [404] note 2;
the Storia Fiorentina, [278], [279], [308];
the suspicious temper of Lorenzo de' Medici, [119] note 1;
his sensuality, iv. [385] note 1;
his policy, [386];
policy of Cosimo de' Medici, i. [229] notes [1] and [2], ii. 170 (for the Medici cp. also i. [298] note 2, [299] note 2);
the account of Savonarola, i. [308], [512] note 1 (cp. passage cited from the Reggimento di Firenze, i. [301]);
character of Alexander VI., i. [412], [417] note 1 (see also [Appendix iii. vol. i.])
Guicciardini, Luigi, his account of Clement's behaviour at the sack of Rome, 444
Guicciardini, Francesco and Luigi, mentioned together, i. [197] note 1, [203] note 1, [230]
Guidalotto, Francesco, murders Biordo Michelotti, i. [148] note 2
Guidicci, Mario, his Dissertations on Michelangelo's Sonnets, v. [297]
Guidiccioni, Giovanni, Bishop of Fossombrone, his letters, quoted for the profligacy of Rome, i. [446] note 1, [459] note 2, v. [190], [387] note 1;
his Poems, their patriotic feeling, v. [282], [520];
Gyraldus' criticism of them, [282];
translation of a sonnet, [282];
his correspondence with Aretino, [410] note 1
Guido delle Colonne, iv. [5] note 1, [25]
Guido da Siena, the earliest of the Sienese painters, iii. 214
Guidotto, of Bologna, iv. [48];
reputed author of many early popular Italian works, [129]
Guilds, their importance in Italy, i. [72], [72] note 1
Guinicelli, Guido, his services to Italian poetry, iv. [46];
Dante's praise of him, [47];
his treatment of love, [61]
Guiniforte (son of Gasparino da Bartizza), tutor of Francesco Sforza's children, ii. 266
Guinizzi, family of the, at Lucca, i. [148]
Guittone of Arezzo, importance of his Epistles in the history of Italian prose, iv. [36], [45], [130];
his Poems mentioned with contempt by Dante, [46];
his religious poems, [73]
Gyraldus, Lilius, on the Academy of Naples, ii. 365;
cited for the purism of Italian scholars, 398;
teacher at the High School of Ferrara, 427, 506;
his criticism of Poliziano's Sylvæ, 459;
of Sannazzaro's De Partu Virginis, 469 note 1;
of Bembo's Latin verses, 484;
of Guidiccioni's Poems, v. [282];
his attack on the Humanists, ii. 518, 530;
his denunciations of the immorality of the Italian stage, v. [192]
HADRIAN, Cardinal, concerned in Pitrucci's conspiracy, i. [437]
Hæmatomania, i. [109] (see [Appendix i. vol. i.])
Hawkwood, John, Sir, i. [113] note 1, [362]
Hegel, his criticism of Machiavelli's Prince, i. [367];
his saying that architecture preceded the other arts, iii. 40
Henry II. of France, appoints Bandello bishop of Agen, v. [64]
Henry VII. the Emperor, marches into Italy, i. [76];
his death, [77], [80]
Henry VII. of England, confers the Garter on Frederick of Urbino, i. [181];
on Guidobaldo, his son, ii. 420
Henry VIII. invites Torrigiano to England, iii. 444;
makes a present to Aretino, v. [405]
Henry the German, an early printer, ii. 376
Heribert, Archbishop of Milan, i. [58]
Heywood, the Challenge for Beauty quoted for the character of Italian plays, v. [111] (cp. [189])
Hildebrand, made Pope, i. [59];
declares war on the Empire, [60];
his arrogation of spiritual autocracy, [411]
Historians, the Florentine, i. [246] foll. (see also under the names of the various writers);
contrast of the Historians of the Renaissance period with the earlier writers, [278]
Hobbes, his saying about the Papacy quoted, i. [6]
Hohenstauffen, war between the House of Hohenstauffen and the Papacy, i. [59], [60], [68], [74], [100], [374], ii. 251, iv. [6] (see also [Frederick II.])
Honor, Italian notions of, i. [481], [485], v. [242], [520]
Honorius, his retirement to Ravenna, i. [46]
Howell, quoted for the English opinion on Italy, i. [472] note 2
Human Life, medieval conception of, i. [10], [13], [14], iv. [289], v. [454], [455], [456]
Humanism, definition of the word, ii. 71;
four periods of Italian Humanism, ii. 160-162, 310, 393, 440, 517;
Humanism a revival of Latin culture, and little affected by Greek models, v. [132] note 1, [509];
Italian tyrannicide and the Reformation had their origin in Humanistic liberty, i. [465-468], v. [414]
Humanists, the, persecution of the Roman Humanists by Paul the Second, i. [384] note 1, [386], [387], ii. 36, 511;
their quarrels, ii. 237-245, 264, 511, iv. [431] note 1, [451], v. [89], [285];
formed a class by themselves, ii. 216, 510, 543, iv. [366];
their flatteries of the great, ii. 492, 496, 512, 514, iv. [367], [405];
their pretensions and vanity, ii. 511, 521, iv. [405];
their employment of invective, ii. 512 (cp. i. [387]), v. [393];
their resemblance to the Greek sophists and rhetoricians, ii. 513;
emptiness of their works from their preference of form to matter, 514, 530, v. [247], [264];
came to be considered the corrupters of youth, ii. 515;
universal bad opinion of them, 518 (cp. the passages from Maccaronic writers, v. [331-333]);
injury occasioned to their character by their vagrant habits, ii. 520;
their irreligion and licentiousness, 520;
the better characters among them, 523;
the real value of their works, 524;
their study of style, 525;
their letter-writing, 532;
services rendered by their erudition, 533;
aided in diffusing a liberal spirit, 535;
their influence on modern education, 536;
the services rendered by them to Italy, iv. [367];
effect of their labours in preparing for the growth of Italian literature, v. [496]
Hussites, the, i. [9]
Hutton, Von, Ulrich, i. [27], [437]
Hypnerotomachia Poliphili. (See [Colonna, Francesco].)
I NOVE, name of governing body at Siena, i. [35], [208]
Ibrahim ibn Ahmed. (See [Appendix i. vol. i.])
Ibycus, lines on Peace translated, iv. [52]
Il Grasso, Legnaiuolo, the metrical version of the novel so called, iv. [253]
Ilaria del Carretto, her monument in the Cathedral, Lucca, iii. 132, 165
Illicini, Bernardo Lapini, his Commentary on Petrarch's Trionfi, v. [99];
his Novella of Anselmo Salimbeni and Carlo Montanini, [99-101]
Imperia, la Bella, v. [288];
epitaph upon her, ii. 406 note 1
Incogniti, the, an Academy at Naples, ii. 366
Infessura, Stefano, quoted, i. [22];
cited for the stories about Sixtus and Alexander, [388] note 1;
quoted about the sale of offices by Sixtus, [394] note 1;
upon his avarice, [395] note 1;
upon his cruelty and sensuality, [395] note 2;
about the Papacy of Innocent VIII., [404] note 1, [405] note 1, [405];
for the immorality of Rome, [474] note 2
Informi, the, an Academy at Ravenna, ii. 366
Ingannati, Gli, Comedy of, v. [72] note 1, [123]
Inghirami, Tommaso, his rise into greatness, ii. 403 (cp. v. [139]);
made Librarian of the Vatican, ii. 424;
Professor in the Sapienza at Rome, 427
Innocent III., war of, with Frederick II., iv. [279]
Innocent IV., establishes the University of Piacenza, ii. 117
Innocent VIII., i. [113], ii. 359;
his additions to the Vatican, i. [384] note 1;
employs Mantegna to paint his chapel there, iii. 277;
his Bull against witchcraft, i. [402] note 1, v. [347];
his pontificate, i. [403-406];
his monument by Antonio del Pollajuolo, [415], iii. 147;
his detention of Prince Djem, i. [415], [461];
appoints Bruni Apostolic Secretary, ii. 218;
his destruction of ancient monuments at Rome, 430
Inquisition, the, foundation of, i. [399]
Insensati, the, an Academy at Perugia, ii. 366
Instabili, the, an Academy at Bologna, ii. 366
Intronati, the, an Academy at Siena, their performance of the Masque El Sacrificio, v. [143] note 2;
volume published by them on the quarrel and reconcilement of Aretino and Albicante, v. [420]
Invention, effect of the progress of inventions on the Renaissance, i. [3], [29]
Investitures, War of, i. [59], [60], [97], iv. [7], [13]
Isabella of Aragon, i. [555]
Istoria Bresciana, cited, i. [615] note 2
Italy, Italians:

divergent character of the Italian cities, [34], [35], iii. 43, 181, iv. [361], v. [137];
reasons why the Italians failed to attain political unity, i. [90], [98], iii. 261, iv. [5];
their dislike to monarchy, i. [92], [369], v. [503], [504];
feudalism alien to their temper, i. [42], [58], [61], [62], [100], [359], [484], ii. 3, iii. 51, iv. [6], [7], [27], [44], [73], [140], [405], [426], [459], v. [492], [503], [505], [524], [530];
their estimation of tyrannicide, i. [169], [464];
their notions of nobility, [186] note 1;
their tendency towards despotism, [190];
had no conception of representative government or confederation, [196], [211], ii. 3 (cp. v. [438]), v. [495];
did not aim at national independence, i. [457], ii. 509;
their civilisation in advance of that of Northern Europe, i. [100], [260], [586], iii. 42, v. [50];
Italian ideas about the Pope, i. [418], [462-464], iii. 471;
reasons why the Italians held to the Papacy, i. [470], iv. [438];
their attachment to the Imperial idea, iv. [438];
independent attitude of the Italians to the Empire and Church, v. [502], [524];
ready means of intercourse between the Italian provinces in the middle ages, iv. [270];
the local divisions of Italy a source of intellectual strength as well as political weakness, ii. 8, iv. [493], [518];
the modern development of the Italians precocious and never matured, i. [495], iv. [146];
their ignorance of the power of the Northern nations, i. [538];
the Italian lower classes welcomed the French invasion, [549] note 1, [583] note 2;
Italy 'revealed to the North' by the invasion, [583];
fascination exercised by Italy over the Northern fancy, [119] note 2, v. [117];
complete change in Italy between 1375-1470, iv. [366];
confidence of the Italians at the Renaissance in the fortune of the age, ii. 208, iv. [396], v. [281], [522];
physical and ethnographical character of the Italians, i. [12], ii. 24, v. [500];
persistence of the Italic type through all historical mutations, v. [501-504], [509];
hold retained by their past history upon the Italians, ii. 30, 56, 505, iv. [5], [7], [11], [141], [187] note 1, [242], [273], v. [492];
essential unity of the Italian nation, i. [32], [42], [47] note 1, [54], [65];
formation of the national character, [100], ii. 1-4. iv. [146], v. [505];
preoccupation of the Italians in the middle ages with the idea of death, iii. 198, iv. [74];
Italian morality at the Renaissance, i. [323], v. [365];
morality and religion disunited in Italy, i. [174] note 1, [433], [447], [462], ii. 234, 257, iii. 451;
material and irreligious temperament of the Italians, i. [454], [490], [493], ii. 17, 205. iv. [10], [39], [128], [140], [146], [426], v. [114], [486], [504], [509], [514];
difference of their religious feelings from those of Northern nations, iv. [306], [323], v. [486], [514];
decay of religious feeling in Italy between the time of Dante and Poliziano, iv. [207], v. [194], [493], [516];
unwillingness of Italian thinkers to break with Catholicism, i. [454], v. [293];
Italian passion for reliques, i. [461];
defects of their imagination, iv. [249], [253], [273], [343], v. [18], [504], [509], [514];
reasons for these defects, iv. [344];
character of the Italian imagination illustrated from the Sacre Rappresentazioni, [347];
lack of sterner passion in the Italian æsthetic temperament, v. [114] (cp. [515]);
organising faculty of the Italians, [504], [513];
foreign judgments of Italian morality, i. [472], ii. 408;
anomaly of the corruption of Italy while the arts and literature were at their height, v. [494];
profligacy of the Italians, i. [474] (cp. Bandello's Apology for his Novelle, v. [76], and the Analysis of Machiavelli's Mandragola, v. [165-170]);
their addiction to unnatural vices, i. [476];
their cruelty and debauchery, [476-479];
their love of poisoning and assassination, [480], v. [523];
their notions of honour and female fidelity, i. [481-486] (cp v. [163] note 1);
their admiration of generosity, iv. [356];
the Italians had not adopted chivalry, i. [359], [482], iv. [6]. [27], [44], [60], [73], v. [13], [505];
character of the bourgeoisie as drawn in Italian comedies, v. [183];
refinement and toleration of the Italians, i. [486-488], ii. 14, 408;
cosmopolitan nature of their ideals, ii. 15, 55, iv. [184];
the art of conversation invented by the Italians, ii. 34;
free play given to personality in Italy, i. [488], ii. 3, 4, 6;
superior morals of the lower classes illustrated from Italian art, i. [488-490];
the same fact proved by contemporary biographies and memoirs, v. [190];
revivalism in Italy, i. [490] (see [Appendix iv. vol. i.]; also Flagellants and Laudesi);
Italian architecture local rather than national, ii. 5, iii. 45;
Gothic architecture never fully understood in Italy, iii. 51, 66, 69, iv. [345], v. [505];
Italian feeling for spatial proportion in architecture, iii. 67;
reasons why the Italians succeeded better in sculpture and painting than architecture, ii. 7;
Italian genius best shown in painting, iii. 5, 31, v. [495];
universal feeling for art in the Italians, iii. 1, 4;
their æsthetic enthusiasm, 3;
their innate susceptibility to beauty, iv. [242], v. [526];
the Italian artists were contented to work out old motives, iii. 118, v. [6];
Italian love of cultivated landscape beauty, v. [196], [511];
the cosmopolitan culture of the Italians implied some sacrifice of national personality, ii. 9, 394, v. [137];
the Italians contented to accept the primacy in culture instead of national independence, ii. 39, 475;
respect of the Italians for culture, iv. [447];
Italian unity only attained in literature and art, iii. 261, iv. [147], [367], v. [137], [248], [495];
the recovery of the classics equivalent to the recovery of national consciousness in Italy, iv. [142], v. [505];
the Roman element in Italian genius, v. [501-516];
persistency of the Italians in carrying out the Revival, ii. 509, v. [505], [525];
injurious effects of the Revival upon them, ii. 516, v. [193];
decay of learning in Italy, ii. 540, v. [480];
the Italians cease to study Greek, ii. 543;
work achieved by the Italians in educating the Northern nations, 544, v. [530];
attention paid by the Italians to biography, ii. 35;
their susceptibility to rhetoric, 149, 190, 216, 513, 525, iii. 3, v. [512];
questioning spirit of the Italian intellect, iv. [448], v. [500];
contempt of the early Italian scholars for Italian, ii. 448, 532 note 1, iv. [4], [7], [143], [176], [234-238], [365], v. [137], [247], [506], [508];
growth of Italian out of Latin, iv. [28-32];
the development of Italian slower than that of other modern languages, [3-8];
Italian superseded French as the literary language in the middle of the thirteenth century, [20];
character of the various Italian dialects, [30];
early popular works in the dialects, [34], [129];
artificial character of the Italian literary language, ii. 448, iv. [8], v. [246];
revival of Italian in the fourth period of culture, ii. 393, iv. [3], [365], v. [246];
manner in which Tuscan was made into the standard Italian, iv. [33], v. [246], [508];
problem presented by language to the writers of Italian, v. [247];
Petrarch and Boccaccio taken as models, iv. [164], v. [248];
manner in which their influence was injurious,
(1) the imitation of Petrarch's affectation and melancholy, v. [249-251];
(2) of Boccaccio's ornate and complicated style, [251] (cp. iv. [136]);
effect of purism on Italian literature, v. [256-258];
false position of the Petrarchisti, [249], [520];
they show no sympathy for the calamities of Italy, [281], [522];
erroneous conception of poetry implied in Petrarchism, [273];
want of a natural means of expression in the Petrarchisti, [250];
the unity of Italy is now producing a common Italian, ii. 450, v. [270];
Italian literature brought to perfection between 1300 and 1530, iv. [1];
subdivisions of that period, [1];
positive spirit in which the Italians treated ancient legends and sagas, [5], [11];
effect produced by their free political life on early Italian writers, [8];
degree of superiority in the use of Latin obtained by medieval Italian writers, [9];
effect of Provençal and French literature on the Italians, [13] foll.;
the Italian hendecasyllabic, [24] (see also [Appendix i. vol iv.]);
history of the ottava rima, [25], [308];
effect on Italian literature produced by the want of a central Court, [33], [365], v. [112], [257];
origin of Italian prose, iv. [35], [128];
inferiority of the first attempts, [130];
beginnings of Italian poetry, [37];
the modern Italians never had a national Epic, ii. 4, iv. [5], [7], [244], v. [503];
general absence of Ballad poetry in Italian, iv. [37] (cp. [251]), [274], v. [11];
exceptions to this, iv. [274];
early poems treating of obscene subjects, iv. [38], v. [356] note 1;
Italian literature in the middle ages created no feminine ideal like those of the old romances, iv. [63];
Italian prose-writers of the Trecento, [131];
exaggerated admiration of modern Italians for the Trecentisti, [132], v. [270];
importance of the Quattro Cento in Italian literature, iv. [147];
sentiment of disappointment and despair common to the later Trecentisti, [165];
employment of the terza rima by the poets after Dante, [166], [172];
materials afforded for studying the growth of Italian prose by familiar letters, [175], v. [262];
improvements effected in Italian prose by the popular writers of the Quattro Cento, iv. [240];
appreciation of the great Italian poets by the mass of the people, [241];
popular poems upon contemporary events during the Quattro Cento, [255];
erotic spirit of Italian hymns, [305];
rarity of Miracle Plays in Italy, [306];
their place supplied by Divozioni and Sacre Rappresentazioni, [307];
the best manner of dealing with Italian literature between 1470-1530, [359] foll.;
typical men of genius during this period, [362];
share of the different cities in literature, [364-366];
degeneracy of Italian poetry during the Renaissance, [404], [463];
the classification of the Italian narrative poems, v. [3];
the literature of the Cinque Cento influenced by the manners of the bourgeoisie, [52];
injury occasioned to Italian literature by the absence of a general public, [52], [190] note 2;
number of popular works issued by the Venetian press, [96];
burlesque considered as a counterpoise to serious poetry in Italy, [310], [382];
survival of ancient satiric humour in Italy, [512] (cp. [366]);
no great satire produced by the Italians, [512];
burlesque poetry in Italy a medium for free thought, [311], [315];
association at the Reformation of Lutheran opinions and immorality in Italy, [325];
number of Italian poetesses, [287];
identity of male and female education in Renaissance Italy, [287] note 1;
comparison of Italian and Latin art and literature, [509-514];
Italian love of didactic poetry, [512];
general characteristics of Italian literature, [518];
results achieved by the Italians during the Renaissance, [526]
JACOPO DEL BUSSOLARO, Fra, preaching of, i. [490], [610], [611]
Jacopo da Lentino, iv. [25], [43], [60]
Jacopo della Marca, Fra, preaches at Perugia, i. [491], [613]
Jacopone da Todi, the legend of his life, iv. [285-289];
his Italian hymns, [40], [283];
their ecstatic spirit, [284];
their simplicity, [284];
specimens of them, [289-292];
the Dialogue between Mary and Christ on the Cross, [292-295], [309];
many of the hymns ascribed to him belong to his followers, [295];
specimens of these, [297-302];
his saying about Boniface VIII., [289]. (See [Appendix iv. vol. iv.] for translations.)
Jenson, Nicholas, joins John of Spires as printer at Venice, ii. 369
Jerome of Prague, Poggio's description of him at the Council of Constance, ii. 231, 535
Jeronimo, his preaching at Milan, i. [620]
Jews, expulsion of the, from Spain, i. [400]
Joachim (of Flora) saying of his, i. [9], iii. 36
Joanna of Naples, i. [361], [574];
married to her nephew Ferdinand, [575] note 1
John of Maintz, early printer at Florence, ii. 369
John of Spires, establishes himself as printer at Venice, ii. 369
John of Vicenza, preaching of, i. [490], [607-610]
Jonson, Ben, his Epicœne compared with Dolce's Ragazzo, v. [162] note 1;
may have been partially indebted to Aretino's Marescalco for its humour, [178];
more successful in the fusion of ancient and modern elements than the Italian comedies, [182]
Jovius. (See [Giovio].)
Jubilee, the (of 1300), iv. [2];
visited by Dante and Villani, i. [253], ii. 144;
(of 1450), i. [377], [378], iv. [173]
Julia, corpse of, said to have been discovered on the Appian Way, i. [22], ii. 31, 433
Julius II., i. [157];
character of him by Volaterranus, [389] note 2;
his hostility to the Borgias, [406], [432];
his services to art, [433];
commences St. Peter's, [433], iii. 90, 398;
his policy, i. [434];
contrast of Julius and Leo, [438];
saying ascribed to him, ii. 17;
story of his wishing to be represented with a sword in his statue, iii. 397;
his project for a mausoleum, 398;
his reconciliation with Michelangelo, 401;
his impatience with Michelangelo during the painting of the Sistine Chapel, 407
Julius III., makes Aretino a Knight of S. Peter, v. [404]
Justinian, his conquest of Italy, i. [47];
the Code of Justinian enthusiastically studied in medieval Italy, [62]
KYDONIOS, Demetrios, ii. 109
LADISLAUS, KING, Filelfo's mission to him on his marriage, ii. 268
Lætus, Pomponius, i. [386];
his relation to the Sanseverini, ii. 33, 359;
his letter to his kindred, 359;
assimilated his life to that of the ancients, 360;
founds the Roman Academy, 361, 409, v. [272];
his apology for his life, ii. 362;
his funeral, 362;
his nobility of character, 523;
causes plays of Terence and Plautus to be represented in the original by the Roman Academy, v. [138]
La Magione, the Diet of (the conspiracy against Cesare Borgia), i. [351]
Lambertazzi, Imelda, i. [74], [210] note 2
Lampugnani, Giannandrea, one of the assassins of Galeazzo Maria Sforza i. [166]
Landi Family, the, at Bobbio, i. [150]
Landini, Taddeo di Leonardo, architect at the representation of Cecchi's Elevation of the Cross, iv. [325]
Landino, Cristoforo, one of the circle gathered round Lorenzo de' Medici, ii. 322;
his labours as Professor at Florence, 338;
his edition of Dante, 338, iv. [235];
the Camaldolese Discussions, [338-341], iv. [206], v. [451], [455];
his preference of Latin to Italian, iv. [236], [237]
Landriani, Gherardo, discovers a MS. of Cicero at Lodi, ii. 140
Langue d'Oc, iv. [13], [14], [16]
Langue d'Oïl, iv. [13], [14], [16]
Languschi Family, the, of Pavia, i. [145]
Laocoon, discovery of the, ii. 415, 431;
description of it, by a Venetian ambassador, 435;
transcends the limits of ancient sculpture, iii. 18
Laonicenus, a Cretan, joint editor of a Greek Psalter, ii. 376
Lapaccini, Fra Giuliano, copies MSS. for Cosimo de' Medici, ii. 174
Lasca, Il, origin, of his nom de plume, v. [79];
depreciates Burchiello in comparison with Berni, iv. [261], v. [362] note 1;
edits the poems of Berni, v. [361];
his collection of Canti Carnascialeschi, iv. [388], v. [79], [356] note 1;
quoted in proof of their invention by Lorenzo de' Medici, iv. [388];
his Cene, v. [79], [80];
introduction to the work, [81];
its obscenity and cruelty, [80-82];
the better stories contained in it, [82];
the Novella of Zoroastro, cited in illustration of Italian witchcraft, [346] note 1;
his criticism of contemporary comedy, [122], [124], [143] note 1, [187];
his comedies, [181]
Lascaris, John, his Greek Grammar the first Greek book printed in Italy, ii. 375;
the edition of Vicenza, 376;
his edition of four plays of Euripides, 383 note 1;
a member of the Aldine Academy, 386;
his visits to France, 386, 427;
invited by Leo to Rome, 427;
his epitaph on himself, 428
Lateran, Council of the (1513),
reasserts the Thomistic doctrine on the soul, v. [470]
Latin,
the transformation of,
into the modern Romance languages, iv. [28-32];
reasons why the Italian scholars preferred Latin to Italian, ii. 447;
imperfection of their first attempts at Latin versification, 451, 482, 486;
Latinisation of names and phrases by scholars at the Renaissance, 397 (cp. 480 note 2, iv. [120], v. 507)
Latini, Brunetto,
his Tesoro, originally written in French, iv. [16];
translated into Italian, [35], [130];
Dante studies under him, [70];
reputed author of many early popular Italian works, [129]
Laudesi, the (Umbrian religious societies),
origin of the name iv. [283];
gave rise by their religious practices to the Divozioni and the Sacre Rappresentazioni, [307]
Laudi, the,
popular hymns in Italian, originally produced by the Umbrian religious societies, iv. [40], [283], [302], v. [519];
set to the tunes of popular songs, iv. [263], [305]
Laura (daughter of Alexander VI.),
marries Nicolò della Rovere, i. [407] note 1
Laurentian library,
its formation by Cosimo de' Medici, ii. 175;
its architectural features, iii. 87
Lazzari, Bramante. (See [Bramante].)
Legates, i. [35]
Legnano, battle of, i. [42], [64], [95], iv. [6]
Leo III.,
crowns Charles the Great as Emperor, i. [50]
Leo IX., [59]
Leo X.,
Machiavelli's Discorso sul Reggimento di Firenze dedicated to him, [197] note 1, [203];
his management of Florence in the Medicean interest, [222], [277], [438];
said by Pitti to have wished to give a liberal government to Florence, [288] note 1;
makes Guicciardini governor of Reggio and Modena, [296];
confers the Dukedom of Urbino on his nephew, [322], [438], ii. 420;
his remark on the election of Alexander VI., 409;
on Lionardo da Vinci's love of experiment, iii. 323;
his saying, 'Let us enjoy the Papacy since God has given it us,' i. [437], ii. 17, 412;
his policy, i. [98], [322];
his character, [435], ii. 401, 412;
his extravagance, 436-438;
contrast of Leo and Julius, 438;
his imprimatur to the editors of Tacitus, ii. 40, 425;
Aldo Manuzio's edition of Plato dedicated to him, 379;
his patronage of scholars, 404, 415, 470;
reforms the Sapienza at Rome, 426;
his visit to Florence after his election, iv. [396];

representation of Rucellai's Rosmunda before him at Florence, v. [129];
his sympathy for popular literature, [138] note 1;
theatre built by him at Rome, [144], [147];
his love of plays, [146];
causes the Calandra to be represented before Isabella of Mantua, [146];
Paolucci's account of Leo's behaviour at a representation of the Suppositi, [147];
representations of the Mandragola before Leo, [170], [325] note 1;
his dislike of the monks, [170];
presides over the Lateran Council of 1513, [470];
his doubts upon the Thomistic doctrine of immortality, [471]
Leo the Isaurian, i. [50]
Leoniceno, Nicolao,
his 'De Morbo Gallico,' i. [567] note 1;
his praise of Aldo Manuzio, ii. 391;
teacher in the High School of Ferrara, 427
Leonora of Aragon,
her reception by Pietro Riario at Rome, i. [390], iv. [315]
Leopardi, Alessandro,
his statue of Colleoni at Venice, iii. 78 note 1, 143
Lessing,
his criticism of Ariosto's Alcina, iv. [116], v. [19]
Lezia, Virginia Maria,
her trial for witchcraft, v. [346] note 1
Libraries,
formation of the great libraries, i. [21];
smallness of ancient, ii. 127;
first ideas of the formation of a public library, 166;
libraries founded by Cosmo de' Medici, 173-176. (See also [Bessarion], [Petrarch], &c.)
Ligorio, Piero,
his labours at S. Peter's, iii. 93
Linacre, a pupil of Poliziano and Chalcondylas, ii. 350, 387;
a member of the Aldine Academy, 387;
founds the Greek Chair at Oxford, 387, 391
Lingua Aulica, name given by Dante to the dialect adopted by the Sicilian poets, iv. [6], [22]
Lippi, Filippino, his Triumph of S. Thomas in S. Maria sopra Minerva, Rome, iii. 207;
story that he was the son of Filippo Lippi, 247;
powerfully influenced by revived classicism, 248
Lippi, Fra Filippo, his genius cramped by his enforced attention to religious subjects, iii. 244;
his frescoes at Prato, 245, iv. [422], v. [54];
his frescoes at Spoleto, iii. 246;
his friendship with Lorenzo de' Medici, 247, 263
Livy, tomb of, at Padua, i. [462], ii. 30
Lodovico da Vezzano, his Tragedy of Jacopo Piccinino, v. [117] note 1
Lomazzo, his History of Painting, iii. 322 note 3;
emblems assigned by him to the great painters, 337, 488
Lombards, the, come into Italy, i. [48];
the laws of the Lombards, [49], [62];
effect of their rule, [48], [49];
the Lombard kings join the Catholic communion, [49];
their error in this, [49], [94];
the Pope brings in the Franks against the Lombards, [50], [51];
war of the Lombard cities with Frederic Barbarossa, [63], [64], [67], [68], [95], iv. [6];
little trace left by this war on Italian art, iii. 220
Lombardy, part played by, in the history of Italian art and literature, ii. 506, iii. 482-490, v. [497]
—— Lombard architecture, use of the term, iii. 43;
character of the style, 47 (cp. v. [504])
—— Lombard School of Painting, the, owed its origin to Lodovico Sforza, i. [79];
Lombard masters after Lionardo da Vinci, iii. 183, 482-484;
piety of their art, 489;
richness of the Italian lake district in works of this school, 490 note 1 (cp. iv. [338])
Longo, Alberigo, Lodovico Castelvetro accused of his murder, v. [286]
Lorenzetti, Ambrogio, his frescoes in the Palazzo Pubblico, Siena, [210]
Lorenzetti, Ambrogio and Pietro, scholars of Giotto, iii. 197, 226;
probably the painters of the frescoes in the Campo Santo, Pisa, 200;
free from the common pietism of the Sienese painters, 216, 218
Lori, his Capitolo on Apples, v. [365]
Lo Scalza, his statuary at Orvieto and elsewhere, iii. 56, 78 note 1;
his statue of S. Sebastian at Orvieto, illustrating the pagan motives introduced by the Renaissance into Christian art, 170 note 1
Losco, Antonio, made Apostolic Secretary by Gregory XII., ii. 218;
his praises of Beccadelli's Hermaphroditus, 255
Lotto, Lorenzo, iii. 503
Louis d'Orléans, his marriage to Valentina Visconti, i. [143] note 1, [154]
Louis XI., of France, confers the fleurs de lys on the Medici, iv. [405]
Louis XII., of France:
Machiavelli's criticism of his policy in Italy, i. [339];
invited into Italy by Alexander VI., [349], [427], [584];
his alliance with Ferdinand the Catholic, [427];
marriage of his daughter Renée to Ercole d'Este, v. [297]
Louis of Bavaria, i. [81], [133]
Love, the ideal of, in chivalrous poetry, iv. [59];
reality of the feeling in the medieval poets, [64];
brought back by Petrarch to experience, [94];
its character in popular Italian poetry, [272], [419]
Lucca, its political history, i. [194]
—— the Duomo:
monument of Ilaria del Carretto, iii. 132, 165;
monuments, &c., by Civitale, 157
Lucca:
S. Frediano, Francia's Assumption, 303 note 1
—— S. Martino, Pisano's bas-relief, 105
—— University, the:
receives a diploma from Charles IV., ii. 118
Lugano:
Church of the Angeli, Luini's frescoes, iii. 485-487 (cp. iv. [340])
Luigi da Porto, his Novelle, v. [60];
his version of the story of Romeo and Juliet, [71] note 1
Luigini, Federigo, his Libro della Bella Donna, ii. 37, v. [85] note 3
Luini, Bernardino, the scholar of Lionardo da Vinci, iii. 484;
idyllic religious beauty of his frescoes, 485-487;
their defects of composition, 487
Luna, his Vocabolario di cinque mila vocaboli toschi, v. [254] note 1
Luther:
effect of his Reformation, i. [2], [26];
his visit to Rome, ii. 408;
the Lutheran leanings of Vittoria Colonna and her circle, v. [292];
Lutheran opinions expressed by the burlesque poets, [312], [315], [325];
association in Italy, at the Reformation, of Lutheran opinions and immorality, [325]
Luziano, architect of the Ducal palace at Urbino, iii. 162 note 1
MACALO, battle of, i. [161]
Macaulay, his essay on Machiavelli criticised, i. [320] note 1;
quoted, [329]
Maccaronic Poetry, its origin, v. [327]
Machiavelli, the facts of his life, i. [232], [308], foll.;
his description of his country life, [314-317];
accused of complicity in the plot against Giulio de' Medici, [314], ii. 366, v. [239];
his servility to the Medici, i. [317], v. [170], [370];
his Epigram on Piero, Soderini, i. [324], iii. 391 (translated i. 325);
his plan for a national militia, i. [311];
his cynicism, [278], [292], v. [160] note 1, [168], [312], [385];
his analysis of character contrasted with that of Ariosto, v. [22] (cp. [432]);
comparison of Machiavelli, Michelangelo, and Dante, i. [318], iii. 395;
of Machiavelli, Aretino, and Cellini, iii. 479;
of Machiavelli and Pomponazzi, v. [485];
Machiavelli and Savonarola contrasted, i. [368];
Varchi's character of him, [333];
his knowledge of the Greek classics scanty, [310], iv. [493];
indirectly indebted to Aristotle, i. [197] note 1;
directly to Polybius, v. [434] note 1;
chiefly used Livy, i. [250] note 1;
plainness and directness of his style in contrast to the prevailing love of rhetoric and form, v. [431];
division of his works into four classes, [433];
light thrown by his letters on the complications of his character, [433];
his aim partly practical, partly speculative, [435];
his opinion upon the place of religion in the State, i. [453], [454], v. [437];
his contempt for Christianity, i. [453] note 1 (cp. v. [520]);
his analysis of the causes of the decay of Italy,
(1) the corruptions and ambition of the Papacy, [96], [382], [448-451], v. [436], [438], [442];
(2) the Condottiere system, i. [160] note 2, [311], v. [436];
(3) the want of a central power, i. [214], [321], [449], [450], v. [436];
difference between Machiavelli's views on the last point and those of Guicciardini, i. [44] note 1, [45] note 1;
calls Italy 'the corruption of the world,' v. [493];
his conception of patria, v. [435], [436], [442], [446];
his analysis of democracy, i. [236];
has no idea of representative government, v. [438];
urges the training of the citizens to arms, [438], [439];
indifferent as to means if his political aims could be carried out, [439-441];
his use of the word virtù, i. [171], [337] note 1, [345], [482], [484], [493], ii. 35, iii. 439, 479, v. [410], [416], [425], [440];
the ideal Prince or Saviour of Society, i. [98], [214], [321], v. [435], [439], [441];
weakness of the conception, v. [441];
Machiavelli's belief in the power of legislation, i. [202], v. [439], [442], [444];
his experience of the small Italian States prevented him from forming an adequate conception of national action, v. [443];
shared with the Humanists the belief in the possibility of a revival of the past, [444];
his severance of ethics and politics, [440], [441], [445];
his greatness based upon the scientific spirit in which he treated his subjects, [445], [447], [519];
genuineness of his patriotism, [445];
the Prince, v. [519];
composed in his retirement, i. [317];
analysis of the work, [336-367];
criticised, [367-370];
theories on the object of the Prince, [326];
its real character, [334-336], v. [443];
Machiavelli's admiration of Cesare Borgia, i. [324], [326], [345-356], v. [385];
Alexander VI. made an example of successful hypocrisy, i. [357];
observation that the temporal power of the Papacy was created by Alexander, [413];
passage quoted on the courtesy shown by the Condottieri among themselves, [162] note 1;
Hegel's criticism of the Prince, [367];
the ethics of the Prince, [321-326], [482], [484], [494]. ii. 37, 312, iii. 479, v. [441];
the Istorie Fiorentine, i. [331], [332], v. [432];
written by desire of the Cardinal Giulio de' Medici, i. [331];
critique of Bruni and Poggio in the Proemium;
—— Machiavelli's own conception of history, [249];
remark on the divisions of Florence, [227];
passage on the growth of the Condottiere system, [245];
passage on Venetian policy, [215] note 1;
the censure of the Ordinanze della Giustizia, [225], [244];
the policy of Cosimo and Lorenzo de' Medici, [229] note 1, [231], iv. [386];
the contention between Church and Empire, i. [82] note 1;
the execution of Beatrice di Tenda, [152] note 2;
visit of the Duke of Milan to Florence—its effect on Florentine manners, [165];
negative testimony of Machiavelli to the natural death of Alexander VI., [430];
the Discorsi, [328], v. [432], [519];
Machiavelli's debt to Polybius, v. [434] note 1;
not really in discord with the Principe, [435];
passage quoted for Machiavelli's opinion that a city which had once been under a tyrant will never become free, i. [84], [115];
on the policy of enfeebling a hostile prince by making him odious to his subjects, [146];
treatment of tyrannicide in the Discorsi, [169];
censure of aristocracy, [186] note 1;
cynical account of Gianpaolo Baglioni's omission to assassinate Julius II., [324], [463];
the Arte della Guerra, [329], v. [432], [438], [439], [444];
the Descrizione della Peste, iii. 188, v. [433];
Discorso sopra la Riforma dello stato di Firenze, i. [328] note 1, v. [432], [439];
its Aristotelian air, i. [197] note 1;
the Vita di Castruccio Castracane, [76] note 1, [112], ii. 37, v. [432];
the Belphegor, v. [60], [433];
compared with Straparola's version of the story, [102];
criticism of Ariosto's comedies ascribed to Machiavelli, v. [156];
translation of the Andria, [157];
the comedies—doubtful authenticity of the Commedia in Prosa and the Commedia in Versi, [157], [159] note 1;
their plots, [157];
character of Fra Alberigo, [158] (cp. i. [460]);
of Margherita, [159];
of Caterina and Amerigo, [160];
the Clizia, its plot, [161];
the characters, [162-164];
coarseness of the moral sentiment, [163];
sarcasm and irony of the comedy, [164];
the Mandragola, [111], [123], [165];
the plot, [165-168];
character of Fra Timoteo, [166] (cp. i. [460], v. 394);
state of society revealed by the play, [168-170];
mistake to suppose that the Mandragola was written with a moral purpose, [434];
its Prologue, as illustrating the character of Machiavelli, [170-172];
Machiavelli's comedies compared with those of Aretino and Bibbiena, [180]
Maderno, Carlo, finishes S. Peter's in disregard of Michelangelo's scheme, iii. 93
Maestro Ferrara, the, his poems in the langue d'oc, iv. [16]
Maggi, the, a survival, in regard to form, of the old Sacred Drama, iv. [311]
Magiolini, Laura, Filelfo's third wife, ii. 280, 287
Maglioli, Sperando, traditionally said to have made the bust of Mantegna in S. Andrea, Mantua, iii. 278
Mainus, Jason, his panegyric of Alexander VI., i. [408]
Maitani, Lorenzo, the architect of the Duomo of Orvieto, iii. 117
Maius, Junianus, the tutor of Sannazzaro, v. [198]
Majano, Benedetto da, builds the Strozzi Palace at Florence, iii. 76, 77, 161;
his work as a sculptor in Italian churches, 78 note 1;
purity and delicacy of his work, 152;
pictorial character of his bas-reliefs, 161;
story of his journey to King Matthias Corvinus, 161 note 1
Malaspina, the Marchese Alberto, his poems in the langue d'oc, iv. [16]
Malatesti, the, how they rose to power, i. [111];
sell Cervia to Venice, [114];
members of this family become Condottieri, [161]
Malatesta, Carlo, throws a statue of Virgil into the Mincio, ii. 433;
Galeazzo, sells Pesaro and Fossombrone, i. [114];
Novello, his library at Cesena, ii. 303;
Pandolfo, murders Vidovero, i. [113] note 1;
Raimondo and Pandolfo, assassination of, [121];
Sigismondo Pandolfo, contradictions of his character, [173], ii. 303;
his crimes, i. [421] note 1, [428] note 1;
his removal of Pletho's remains to Rimini, [173], [461], ii. 34, 209;
his portrait by Piero della Francesca, iii. 235
Malespini Family, the, Chronicle of, i. [251];
its disputed authorship, [252] note 1, iv. [36]
Malespini, Celio, his Ducento Novelle, v. [60]
Mallory, Sir Thomas, comparison of his Mort d'Arthur with the Reali di Francia, iv. [246]
Malpaga, Castle of, the frescoes there attributed to Cariani, iii. 368 note 1
Mancina, Faustina, the Roman courtesan, ii. 488, v. [225], [226]
Manetti, Giannozzo, one of the circle in Santo Spirito, ii. 102, 188;
learns Greek from Chrysoloras and Traversari, 110, 189;
ruined by Cosimo de' Medici, 170, 191;
pronounces the funeral oration over Bruni, 185;
his industry in acquiring knowledge, 188;
his reputation for oratory, 190;
maintained by Nicholas V. after his exile, 192, 228;
greatness of his character, 192;
attempted to harmonise Christian and classical traditions, 332
Manfred, King of Sicily, his death at the battle of Benevento, iv. [21], [27], [48];
story of his wandering with music of evenings through Barletta, [415] note 1
Manfredi di Boccaccio, sentiment of despair expressed in his poems, iv. [165]
Manfredi, the, of Faenza, i. [111], [353], [375], [428]
—— Astorre (1), sells Faenza and Imola, i. [114];
Astorre (2), [292];
murdered by Cæsar Borgia, [428] note 1;
Galeotto, murdered by his wife, Francesca Bentivogli, [119] note 2, [428] note 1;
Taddeo, one of Vittorino da Feltre's scholars, [177]
Mangini della Motta, Giovanni, his poem on the downfall of Antonio della Scala, v. [117] note 1
Mansueti, Venetian painter, iii. 362
Mantegna, Andrea, founded no school of local artists, iii. 184;
owed his training to Squarcione, 270 note 1;
his frescoes in the Eremitani, Padua, 270;
his inspiration derived from the antique, 272, 362, 382;
the Triumph of Julius Cæsar, 273, 277;
tragic power of his compositions, 274;
the Madonna of the Victory, 275;
enters the service of the Gonzaga family at Mantua, 276;
his visit to Rome, 277;
his domestic circumstances, 277;
his monument in S. Andrea, Mantua, 278;
his treatment of the antique compared with that of Signorelli and Botticelli, 291;
his art illustrated by the Arcadia of Sannazzaro, v. [203]
Mantegna, Francesco (son of Andrea), iii. 277
Mantovano, Battista, cited for the irreligiousness and pride of the Humanists, ii. 518, 521
Mantovano, Francesco, his drama upon the history of General Lautrec, iv. [358]
Mantua: San Andrea (by Alberti), ii. 342, iii. 70 note 1, 75;
Mantegna's monument, 278;
Palazzo del Te, decorations of, by Giulio Romano, ii. 440, iii. 83, 492, iv. [403], v. [229], [389]
Manuscripts: the quest of manuscripts at the commencement of the Renaissance, ii. 131-140
Manuzio, Aldo, i. [24], ii. 368, 373;
his panegyrics of Lucrezia Borgia, i. [422];
story of the appearance of his edition of Plato, ii. 16 (cp. 379);
his dedication of Aristotle quoted, 330 note 2;
his birth and education, 373;
his Greek Press at Venice, 377, v. [497];
his assistants, ii. 378;
his industry, 378;
his generous spirit and love of his art, 380, 390;
original prices of his editions, 381;
list of first editions of Greek classics printed by him, 382;
his Latin and Italian publications, 383;
his Academy at Venice, 385, v. [272];
his marriage and death, ii. 388;
his successors, 389;
meaning of his motto, 389;
his modesty and nobility of character, 368, 390, 523;
greatness of his work, 391;
his prefaces, &c., cited for the sufferings of scholars, 542;
Aldo, the grandson, ii. 389;
Antonio, son of Aldo, 388;
Manutio, son of Aldo, 388;
Paolo, son of Aldo, 385, 388
Marcello, Cristoforo, tortured by the Spaniards during the Sack of Rome, ii. 444
Marchesa, Cassandra, her relations to Sannazzaro, v. [199]
Marco Polo, translation of his Travels into Italian, iv. [35]
Marcolini, Francesco, his account of Aretino's life at Venice, v. [398] note 2, [400] note 3
Marescotti, the, at Bologna, their history, i. [124], [427]
Margaret of Castile (wife of Alfonso the Magnanimous);
her murder of Margaret de Hijar, i. [570]
Margaret de Hijar, murder of her by Queen Margaret, i. [570]
Mariconda, Antonio, his Novelle, v. [60]
Marino, Giovanni Battista, the Adone, v. [244], [257];
his conceits referred to Aretino's mannerism, [417]
Marliano, Bartolommeo, his Topography of Rome, ii. 428
Marlowe, his Edward II. quoted for the character of Italian plays, v. [111]
Marone, his losses in the Sack of Rome, ii. 444
Marrani, popular name of contempt for the Spaniards in Italy, i. [410], [553]
Marsigli, Luigi, influence of, through the society founded by him in S. Spirito, ii. 101-103, 189
Marston (the dramatist), his testimony to the profligacy of Venice, i. [473];
his Prologue to Antonio and Mellida quoted, v. [115], [521]
Marsuppini, Carlo, a scholar of Giovanni da Ravenna, ii. 100;
learns Greek from Chrysoloras, 110;
his lectures at Florence, and public funeral there, 186 (cp. 530);
story of his being surpassed by Manetti in speaking before Frederick III., 190;
made Papal Secretary by Eugenius IV., 220
Martelli, Lodovico, his Tragedy of Tullia, v. [135];
disputes the genuineness of Dante's De Vulgari Eloquio against Trissone, [306];
Niccolò, his correspondence with Aretino, [410] note 1
Martin V., story of his irritation at the verses sung by the Florentines beneath his window, iv. [258]
Martini, Simone, reputed painter of frescoes in S. Maria Novella, iii. 205 note 1, 217;
not wholly free from the faults of the Sienese painters, 216, 218;
his fame during his lifetime, 216;
various works by him, 217;
mention of him by Petrarch, 217 note 1
Masaccio, i. [170] note 1;
the pupil of Masolino, iii. 229 note 1;
the greatest of the early painters of the Renaissance, 229;
comparison of Masaccio and Giotto, 230;
his early death, 231;
comparison of Masaccio and Fra Angelico, 240
Masolino, the master of Masaccio, iii. 229 note 1
Massimi, the, at Rome, their protection of Sweynheim and Pannartz, ii. 368
Masuccio, quoted for the corruptions of the Roman Church, i. [458] note 2, iv. [180], [181] (cp. v. [499]);
for the Italian ideas of honour, [486] note 2;
his style modelled on the Decameron, iv. [136], [178];
character of his language, [179];
comparison between Masuccio, Boccaccio, and Sacchetti, [179];
his aristocratic feeling, [179];
his earnestness, [180];
his art, [181];
superior in moral feeling to Boccaccio, [183];
alluded to by Pulci, [255] note 1
Matarazzo, cited, i. [22], [158] note 1,

[225];
his account of Grifonetto Baglioni's massacre of his kinsmen, [123];
of the misgovernment of the Baglioni, [130];
cited for the spread of syphilis from Charles's army, [567] note 1;
his testimony to the welcome of the French by the common people in Italy, [583] note 2;
on the comeliness of person of Astorre Baglioni, ii. 31;
great value of his work, iv. [177];
said to be identical with Francesco Maturanzio, [183] note 3
Mattasalà di Spinello dei Lambertini, his accounts of expenditure, an early memorial of the Sienese dialect, iv. [35]
Matteo, and Bonino, da Campione. (See [Campione, Matteo and Bonino].)
Matteo da Civitale. (See [Civitale, Matteo da].)
Matthaeus, Johannes, his verses upon the death of Navagero, ii. 488
Maturanzio, Francesco, said to be identical with Matarazzo, iv. [183] note 3
Mauro, a member of the Vignajuoli Academy at Rome, ii. 366, v. [357];
his Capitoli, v. [365]
Maximilian I., the Emperor, i. [100], v. [301];
his relations with Charles VIII., i. [542];
betrothed to Bianca, niece of Lodovico Sforza, [544] note 1;
joins the League of Venice against Charles, [576]
Maximus, Pacificus, his Poems, ii. 519
Mazochi, Jacopo, his collection of Roman Inscriptions, ii. 429
Mazzocchi del Bondeno, Giovanni, the first publisher of the Orlando Furioso, iv. [497]
Mazzola, Francesco. (See [Parmigianino].)
Mazzoni, Guido (Il Modanino), his Pietà in terra cotta in Monte Oliveto, Naples, ii. 365, iii. 163
Medicean Library, its foundation, i. [21], ii. 174
Medici, the, i. [88];
their patronage of art, [80];
disputed question of its nature, iii. 263, iv. [39];
their tyranny partly produced by political exhaustion, i. [82];
supported by the people, [87], ii. 171, 316, 317, iv. [385];
their rise to power, i. [114], [228-231];
their expulsion, [222];
are restored, [223], [314];
their contest with the Albizzi, [227] note 1, ii. 167, 170, iv. [176];
their policy, i. [228], [282], ii. 165, 167, 312, 317, iii. 264, iv. [385];
foundation of the Medicean interests in Rome, i. [404], ii. 315;
raised above common tyrants by their love of culture, ii. 33;
have the fleurs de lys of France conferred on them by Louis XI., iv. [405]
Medici, Alessandro de', Duke of Cività di Penna, i. [231];
murdered by his cousin Lorenzino, [170], [223], [277], [287], [468], ii. 317, iii. 438, v. [118], [381] note 1;
poisons his cousin Ippolito, i. [277], v. [358], [381] note 1;
leaves Florence, i. [286], iii. 414;
accused by the Florentines before Charles V., 232, 280, 298;
protects Cellini from the consequences of a homicide, iii. 458;
the story that he had Berni poisoned, v. [358];
Averardo de', i. [212] note 1;
Catherine de', her marriage to the Duke of Orleans, [287];
Clarice de', wife of Filippo Strozzi, [286];
Cosimo de' (the elder), his return to Florence, iv. [259];
his policy at Florence, i. [87], [102], [155], [212], [228], ii. 312, iii. 438;
Guicciardini's critique of his taxation, i. [305];
the impersonation of his age, [492], ii. 168, 170, iii. 228, 262, 325;
his regret that he had not built more, ii. 38, 172;
his patronage of letters, 165, 168, 173, 177, 225;
subtlety of his character, 169;
his cruelty, 170;
sums spent by him in building, 171, 172;
consults Pope Eugenius as to how he should make restitution for his ill-gotten gains, 172;
builds the Library of S. Giorgio at Venice during his exile, 173;
his Libraries at Florence, i. [21], ii. 174-176, iii. 263;
his versatility of talent, ii. 176;
his political cynicism expressed by his sayings, 19, 177;
founds the Academy of Florence, 177, 207, v. [272];
his conversations with Gemistos, ii. 207;
rejects Brunelleschi's plans for the Casa Medici, iii. 76;
said to have instigated the poisoning of Il Burchiello, iv. [260];
Cosimo de' (first Grand Duke), i. [223], [229];
his elevation due to Guicciardini, [280], [300];
diverts the Florentines from commerce, [186] note 1;
his petty, meddling character, iii. 476;
Ferrando de', his marriage to Cristina of Lorraine, iv. [325];
Giovanni de' (see [Leo X.]);
Giovanni de' (delle Bande Nere), his friendship with Aretino, v. [390];
his death, [391];
Giuliano de' (the elder), assassination of, i. [168] note 1, [396-398], iv. [401] note 1, [406];
his love for Simonetta la Bella, iv. [374], [403], [420];
his Tournament, [403];
Giuliano de', Duke of Nemours, i. [184], ii. 314;
refuses the Duchy of Urbino, i. [438];
his Pageant of the Golden Age. iv. [396-398];
his tomb at San Lorenzo, i. [314], [319], iii. 415;
Cardinal Giulio de' (see [Clement VII.]);
Cardinal Ippolito de', leaves Florence, i. [286], iii. 414;
founds a club for the study of Vitruvius at Rome, ii. 366;
said to have maintained three hundred poets, 405;
poisoned by his cousin Alessandro, i. [277], v. [358], [381] note 1;
portraits of him by Titian and Pontormo, ii. 27;
the story that he had Berni poisoned, v. [358];
Lorenzino de', assassinates his cousin Alessandro, i. [170], [223], [277], [287], [468], iii. 438, v. [118], [381] note 1;
his Apology, i. [468], v. [517];
murdered by Bibboni, i. [480] note 3;
Cellini's character of him, iii. 463;
his comedy, the Aridosio, v. [182];
Lorenzo de' (brother of Cosimo the elder), patronises Marsuppini, ii. 187;
Lorenzo de', the Magnificent, his suspicious temper, i. [119];
his appropriation of public moneys, [305];
Guicciardini's character of him, [308];
describes Rome to his son Giovanni as 'the sink of all vices,' [421] (cp. v. [190]), v. [274];
attempt on his life, i. [397] note 2;
balance of power created by him in Italy, [404] note 2, [538], [544], ii. 315, iv. [368];
his character the type of the Renaissance, i. [504], [505], [523], ii. 321, iv. [384];
recalls Savonarola to Florence, i. [521];
his dying interview with Savonarola, [523], iv. [384];
universality of his genius, ii. 10, 320;
transfers the High School of Florence to Pisa, 122;
his policy, ii. 315, iii. 264, iv. [369], [386];
without commercial talent, ii. 317;
the true view of his character, 318, iv. [39], [387];
literary society gathered round him, ii. 322;
his love of the vernacular literature, 393, iv. [3], [236], [370], v. [508];
has a monument erected to Filippo Lippi, iii. 247;
his character typically Florentine, iv. [371];
wins the prize of valour at a tournament in 1468, [405];
his taste for buffoonery, [430] note 2;
Ariosto's character of him in the satires, [516];
character of his poems, [371], [372];
his Lauds, [302], [384];
his sacred drama, S. Giovanni e Paolo, [320], [324], [384];
his treatment of love, [373-375];
the Sonnet to Venus and that to the Evening Star translated, [373];
analytical character of his genius, [377];
the Selve d'Amore, [376-380];
passages translated, [376-380];
use of the ottava rima in the Selve, [379];
the Corinto, [379];
passage translated, [380];
the Ambra, [380];
the Nencia da Barberino and other rustic poems, [381], v. [223];
the Beoni, iv. [172], [382];
his Canzoni a Ballo, [385-388];
his Canti Carnascialeschi, [388-392] (cp. i. [461]);
the Song of Bacchus and Ariadne translated, [390];
said to have originated this form of composition, [388], v. [355];
Lorenzo de' (nephew of Leo X.), made Duke of Urbino by Leo, i. [322], [438], ii. 420, iv. [396];
advised by Filippo Strozzi to make himself Duke of Florence, [286];
Machiavelli's Prince dedicated to him, [319];
Maddalena de', married to Franceschetto, son of Innocent VIII., [404];
Piero de' (Il Gottosa), ii. 313;
Piero de' (the younger), i. [305];
his cowardly surrender of the Tuscan fortresses, [525], [559];
his relation to the Orsini, [543];
inclines to friendship with Naples, [543];
his weak and foolish character, i. [544];
driven out by the Florentines, [559], iii. 389
Melanchthon, the pupil of Reuchlin, ii. 208, 210
Melozzo da Forli, his picture of Sixtus IV. among his Cardinals, i. [384] note 1, iii. 236 note 1;
his picture of Frederick, Duke of Urbino, and his Court, ii. 304, iii. 236 note 1;
the pupil of Piero della Francesca, iii. 235
Melzi, Francesco, the scholar of Lionardo da Vinci, iii. 484
Memling, comparison of his works with those of the Venetian masters, iii. 361
Memmi, Simone. (See [Martini, Simone].)
Merula, quoted for the justice of Azzo Visconti, i. [83] note 1
Messina Cathedral, the, marble panellings in, iii. 79 note 3;
Montorsoli's fountain, 177
Metres, the question why different nations have adopted different metres, iv. [24];
the Italian hendecasyllabic, [24] note 1 (see [Appendix i.]);
the ottava rima popularised by Boccaccio's Teseide, [118];
use of the ottava rima by Lorenzo de' Medici and Poliziano, [379], [382], [403];
of the terza rima in Capitoli and Satires, [519];
vicissitudes of the terza rima after Dante, [172];
employment of the terza rima in the sixteenth century, v. [367];
originality of the Italian metrical systems, [510]
Michelet, quoted, i. [10];
his formula of the Discovery of World and Man, [15] note 1 (cp. v. [526]);
his remark that the French alone understood Italy, criticised, [585];
his description of the building of Brunelleschi's Dome at Florence, iii. 67
Michelotti, Biordo, murder of, i. [123], [148] note 2
Michelozzo, his work as an architect, ii. 440;
builds the Riccardi Palace at Florence, iii. 76;
employed by Cosimo de' Medici, 263
Middle Ages, their ignorance, i. [6], [13], [20], [24];
the beauty of nature unappreciated in the middle ages, [13];
progress effected by the middle ages, [6], [7];
conception of life in, [10], [13], [14], iv. [289], v. [454], [455], [456];
memories of antiquity in the middle ages, ii. 52;
character of the middle ages illustrated from the Faust Legend, 53;
low state of scholarship in the middle ages, 58 foll.;
materialism and mysticism of the middle ages, iii. 9;
architecture the pre-eminent art of the middle ages, 10;
uncompromising Christianity of the middle ages, 26;
medieval prepossession with death, hell, and judgment, i. [13], iii. 198, 201, iv. [74], v. [454], [471];
medieval ideas of the claims of the Church illustrated by paintings of the Triumph of Thomas, iii. 205-210;
medieval theories of government illustrated by Lorenzetti's frescoes at Siena, 210-214;
allegory in the middle ages, iv. [74], [81];
the fabliaux of the middle ages, [107];
satire in the middle ages, [108];
treatment of women by medieval authors, [212];
types of womanhood created by medieval authors, [352];
abandonment of scholasticism for the humanities, v. [450], [457];
medieval speculation never divorced from theology, [457]
Milan, greatness of, under the rule of the Bishops, i. [53], [58], [59];
heads the league against Frederick, [64], [81];
becomes the centre of the Ghibelline party, [81];
hostility of Milan and Piacenza, [151], [162] note 1, [212];
luxury of Milan, v. [68] note 3;
corruption of the Milanese Court, i. [326], [548] note 1, [554], v. [191];
early printers of Greek at Milan, ii. 375;
the wealth of Milan due to the Naviglio Grande, iii. 41;
share of Milan in the development of Italian literature, iv. [364]
—— Duomo, the, built by the Visconti, i. [141], iii. 42;
German influence in its design, iii. 50;
its merits and defects, illustrating the character of Italian Gothic, 57;
S. Eustorgio, chapel of S. Peter Martyr, terra-cotta work in, iii. 79, 151;
shrine, 123;
S. Gottardo, the tower, i. [133] note 2, iii. 42;
S. Maurizio Maggiore, Luini's frescoes, iii. 485-487 (cp. v. [62])
Milan: Hospital, the, iii. 59, 77
Milton, his eulogy of the Italian Academies, ii. 367;
his indebtedness in Lycidas to Renaissance Latin verse, 490 (cp. 497 note 2);
compared with Michelangelo, iii. 388;
comparison of his epics with the Italia Liberata of Trissino, v. [308];
his description (in the Areopagitica) of the decay of Italian learning, [480];
his conception of the poet's vocation in opposition to Italian ideas, [521]
Minerbi, his Vocabulary of Boccaccio's Diction, v. [254] note 1
Mino da Fiesole, his work as a sculptor in Italian churches, iii. 78 note 1;
delicacy and purity of his work, 152 (cp. iv. [66]);
his skill in character portraits, iii. 158
Minorite Friars, the, their denunciation of Beccadelli's Hermaphroditus, ii. 256;
their attacks on Valla, 261, 263
Miracle plays, exhibition of, in the Trevisan Marches, iv. [15], [306];
rarity of, in medieval Italy, [306];
their place supplied by the Divozioni and the Sacre Rappresentazioni, [307]
Mirandola, Alberto Pico della, murder of, ii. 423;
Galeazzo Pico della, (1) died under excommunication, i. [133] note 1;
(2) murders his uncle, Giovanni Francesco, [119] note 2, ii. 423;
Galeotto Pico della, ii. 422;
Giovanni Francesco Pico della, the biographer of Savonarola, i. [520], ii. 36, 423;
his description of the effect of Savonarola's preaching, i. [511];
his belief in Savonarola's gift of prophecy, [512] note 1;
his account of the dying interview of Lorenzo de' Medici with Savonarola, [523] note 1;
influence of Savonarola upon him, ii. 423;
his address on the Reformation of the Church, 423;
his friendship with Northern scholars, 423;
murdered by his nephew, i. [119] note 2, ii. 423;
Lodovico Pico della, ii. 422;
Pico della, on the expulsion of the Jews by Ferdinand, i. [401];
his attempt to fuse Christianity and ancient philosophy, [171], [456], ii. 470, iii. 35, v. [452], [453];
the friend of Savonarola, i. [520];
his apology for the schoolmen, ii. 333, v. [450];
universality of his genius, ii. 10;
in common with the rest of his age did not comprehend Plato's system, v. [452];
his 'Oration on the Dignity of Man' quoted, ii. 48;
his influence on Italian thought, 207;
value of his labours, v. [453];
one of the circle gathered round Lorenzo de' Medici, ii. 322, 329;
description of him by Poliziano, 329;
his portrait in the Uffizi Gallery, 330;
his devotion to learning, 330, 523;
his great memory, 331;
condemned for heresy on account of his 900 theses, 332;
his ideal of knowledge, 332;
studies the Cabbala, 334;
his attack on astrology, 335;
his contempt for mere style, 526;
his Latin correspondence, 532;
preferred Lorenzo de' Medici to Petrarch as a poet, iv. [236]
Miscomini, Antonio, an early printer at Florence, ii. 369
Modena, verses sung by the soldiers on guard against the Huns there, iv. [12] (cp. [Appendix i.])
Molza, Francesco Maria, facts of his life, v. [225-228];
a member of the Roman Academy, ii. 361;
of the Vignajuoli, 366, v. [357];
patronized by Ippolito de' Medici, ii. 405;
sides with Caro in his quarrel with Castelvetro, v. [286];
his correspondence with Aretino, [410] note 1;
his Latin poems, ii. 488-490, v. [228];
passage translated (in prose), [489];
his Decamerone, v. [60];
Molza as an Italian poet, [228-234];
the Ninfa Tiberina, [225], [229];
illustrated by contemporary art, [229];
Molza's use of the octave stanza, [230];
analysis of the poem, [230-234];
translations, [231], [232], [233];
the Capitoli, [284], [364]
Molza, Tarquinia, granddaughter of the poet, v. [288]
Monaldeschi, the Chronicler, quoted, i. [252]
Monarchy: why Italy did not become a monarchy, i. [92-95]
Montaigne, entertained by Veronica Franco at Venice in 1580, v. [288]
Montalcino, his execution, v. [478]
Montanini, the, at Siena, v. [99]
Montano, the Bolognese scholar, i. [165]
Montaperti, battle of, iii. 214
Monte Labbate, Conte di, his letter to Pompeo Pace, describing the influence exercised by Aretino, v. [402] note 2
Montefalco, Gozzoli's frescoes, iii. 242
Montefeltro, the House of, i. [110], [375];
members of this family become Condottieri, [161]
—— Agnesina da, mother of Vittoria Colonna, v. [289];
Frederick da, Duke of Urbino, the suspicion of his legitimacy, i. [102];
his life and character, [174-181];
receives the Garter from Henry VII., [181];
his library, ii. 304;
the picture of him and his Court by Melozzo da Forli, 304, iii. 236 note 1;
his portrait by Piero della Francesca, iii. 235;
Giovanna da, daughter of Frederick, Duke of Urbino, married to Giovanni della Rovere, i. [182] note 2, [393]. ii. 419;
Guidobaldo da, Duke of Urbino, his character and accomplishments, i. [181-182];
receives the Garter from Henry VII., ii. 420;
Bembo's Dialogue in praise of him, 412;
Oddo Antonio da, murder of, i. [121]
Montemurlo, battle of, i. [287]
Montesecco, Giambattista, his share in the Pazzi Conspiracy, i. [397], [398]
Montferrat, the House of, i. [52], [57], [110], [146] note 1
Monti, the, names for successive governments at Siena, i. [35], [207], [616], ii. 164, iii. 212 note 1
Montorsoli, Gian Angelo, follower of Michelangelo, iii. 172;
his fountain at Messina, 177
Monza, battle of, i. [161]
Morando, Benedetto, his quarrel with Valla, ii. 242
Morello, Il, iii. 503
Morena, Ottone, his Chronicle of Milan, i. [251]
Morone, Giovanni, his friendship with Vittoria Colonna, v. [292]
Morone, Girolamo, his intrigue with the Marquis of Pescara, v. [290]
Moroni, Giovanni Battista, his genius in portrait-painting, iii. 503 (cp. v. [278])
Morosini, Paolo, his consolatory letter to Filelfo on the death of his wife, ii. 287
Mosca, his statuary at Orvieto, iii. 56
Mucchio da Lucca, his Sonnet on Dante, iv. [162]
Museum, Capitol, foundation of the, ii. 431;
Vatican, foundation of the, 431;
description of the sculptures there by a Venetian envoy, 434-436
Music: the development of music, iii. 36;
music the essentially modern art, 37;
difference between Italian and German music, v. [516]
Mussato, Albertino, his Eccerinis, v. [117] note 1;
cited for the traditional reverence of Livy at Padua, iv. [12]
Mussi, his Milanese annals, i. [81]
Musurus, Marcus, the assistant of Aldo Manuzio, ii. 378;
a member of the Aldine Academy, 386;
his knowledge of Latin, 386 note 2;
made Bishop of Malvasia, 402;
lectures in Leo's Gymnasium at Rome, 427
Muzio, his Life of Duke Frederick of Urbino, quoted, i. [174]
Muzio, Girolamo, his Battaglie, v. [271] note 1
NANTIPORTO, quoted, i. [22]
Naples, entry of the French into Naples, i. [566], [575], ii. 363;
history of the Neapolitan Kingdom under the Aragonese Dynasty, 567-574;
hostility of Naples to the Church, ii. 260, 265;
feudalism lasted longer in Naples than in other parts of Italy, 251, iv. [460], v. [499];
insecurity of life in Naples, i. [569];
Neapolitan manners described in the Poems of Pontano, v. [217];
beauty of Naples, [201];
traces of French influence on Neapolitan architecture, iii. 44;
character of Neapolitan culture, ii. 250, 265;
Neapolitan influence on literature, v. [213] foll.;
sensuousness of Neapolitan writers, ii. 251, 364, 468, iv. [26], [364], v. [213], [499], [521]
—— Monte Oliveto, Fra Giovanni's tarsia-work. iii. 78 note 2;
Rosellino's altarpiece, 153;
Benedetto's Annunciation, 160;
Mazzoni's Pietà, ii. 365, iii. 163, v. [198]
—— Academy, the, ii. 362, 364
—— University, the, founded by Frederick II., ii. 116;
its subsequent vicissitudes, 117
Neapolitan School of Painters, the, their brutality, iii. 25, 187
Nardi, Jacopo, cited, i. [226], [229] note 2;
pleads for the Florentine exiles before Charles V., [232], [280];
his History of Florence, [278], [279];
on the democratic side, [290];
character and value of his work, [291], [292];

his account of Savonarola, [290], [292], [511] note 1, [512] note 1, [534] note 1;
his account of Guicciardini, [299] note 2;
cited for the murder of the Manfredi, [292], [428] note 1;
acts as peacemaker in Cellini's quarrel with the Florentine exiles, iii. 463;
aids in the composition of the Pageant of the Golden Age, iv. [397].
(See [Appendix ii., vol. i.] for translation of a passage on the government of Florence.)
Narses, brings the Lombards into Italy, i. [47]
Navagero, Andrea, a member of the Aldine Academy, ii. 387;
his flattery of Julius II., 494;
his Venetian origin, illustrating the loss of intellectual supremacy by Florence, 506;
his Latin poems, their beauty and grace, 453, 485-488;
translations (prose) 485-488
Naviglio Grande, construction of the, iii. 41
Nelli, Giustiniano, his Novelle, v. [60]
Nepotism of the Popes, i. [113], [303], [372], [375], [388], [392], [413], [434]
Neri and Bianchi factions, the, at Florence, i. [221], [225];
at Pistoja, [210] note 2
Nerli, Filippo, his History of Florence, i. [278], [279];
took part in the political events of his time, [280];
belonged to the Medicean party, [290];
value of his work, [293];
his account of Machiavelli's Discourses in the Rucellai Gardens, [328], ii. 366;
cited for the downfall of Cesare Borgia's plans after the death of his father, i. [431]
Neroni, Diotisalvi, his conspiracy against Piero de' Medici, ii. 314
Niccolò da Correggio, his drama of Cefalo, iv. [357], v. [221];
acted before Duke Ercole at Ferrara, v. [139]
Niccoli, Niccolò de', turns Piero de' Pazzi from a life of pleasure to study, ii. 41;
one of the circle in Santo Spirito, 102;
helps to bring Chrysoloras to Florence, 109, 110;
cited for the practice of scholars making their own copies of MSS., 131, 179;
generosity of Cosimo de' Medici to him, 173;
his bequest of MSS., 174, 178;
his zeal in collecting MSS., 178;
his judgment of style, 179;
his literary dictatorship at Florence, 180;
Vespasiano's account of him, 181;
his exacting temperament, 182, 275;
did not know Greek, 194 note 1;
his kindness to Poggio, 230 note 1;
his quarrel with Bruni, 243;
his contempt for Dante, iv. [436]
Niccolò da Padova, quotes Turpin as his authority for his History of Charlemagne, iv. [439] note 1
Nicholas of Breslau, an early printer at Florence, ii. 369
Nicholas II., i. [60]
Nicholas V., his catalogue of Niccolò Niccoli's MSS., ii. 174, 175, 225;
his humble birth, 222;
comes to Florence, 223;
acts as tutor in the households of Rinaldo degli Albizzi and Palla degli Strozzi, 165, 223;
generosity of Cosimo de' Medici to him while Bishop of Bologna, 173;
his character, 244 (cp. 523);
his election to the Papacy, i. [371], ii. 173, 225;
his speech to Vespasiano after his election, ii. 226;
restores the Papal Court to Rome, i. [88];
his treaty with the great Italian States, [89];
description of his administration by Leo Alberti, [377];
receives Manetti after his exile, ii. 192, 228;
founds the Vatican Library, i. [21], ii. 227;
his policy, i. [377-380], ii. 227;
his project for rebuilding St. Peter's, i. [379], iii. 90;
why he did nothing for the Roman University, ii. 227;
translations executed by his command, 228, 402;
rewards Filelfo for his Satires, 236 (cp. 514);
employs Poggio against the Anti-Pope Felix, 237;
his toleration, as shown by his protection of Valla, 262;
his destruction of ancient monuments at Rome, 430;
his Will, i. [379]
Nicholas of Treves, sends a MS. of Plautus to Rome, ii. 140
Nifo, Agostino, takes part in the controversy raised by the publication of Pomponazzi's De Immortalitate Animæ, v. [460]
Niger, Hieronymus, cited for the wickedness of Rome, ii. 446
Nino (son of Andrea da Pontedera), sculptor of the Madonna della Rosa in the Spina Chapel, iii. 123
Nobility, Italian ideas of, i. [186] note 1, iv. [125]
Nobles, the, excluded from the government of Florence, i. [224], iv. [27], [51]
Nocera, establishment of a Saracen colony there by Frederick II., i. [105]
Nominalists, the, v. [466], [467]
Norcia, one of the two chief centres of Italian witchcraft, v. [346]
Normans, the Norman conquest of Southern Italy, i. [58], ii. 251
Novelists, the Italian, their testimony to the corruption of the Roman Church, i. [458], [476], [486] note 1, ii. 406, iv. [180], [181];
to Florentine immorality, iv. [337] note 2;
importance of the novella in the history of the Renaissance, [158];
the novella especially suited to the Italian genius, [426], v. [52], [53], [106], [114-116];
manner in which women are treated by the novelists, iv. [212], v. [185];
versified novels of the Quattro Cento, iv. [249-255];
testimony of the novelists to the great intercourse between the Italian provinces from 1200-1550, [271];
the Novelle written for the amusement of the bourgeoisie, v. [52];
definition of the word novella, [54];
the Novelle originally recitations, [55];
subjects and material of the Novelle, [55-57], [59];
their object was amusement, [56], [57];
their indelicacy, as illustrating contemporary manners, [58];
inequality of merit among them, [58];
reasons why the Elizabethan dramatists were attracted to them, [59], [117];
the Introductions of the Novelle, [61];
degree in which they are to be accepted as fiction, [81];
characteristics of the novelists of Siena, [96];
the scope and limitations of the Novelle, [107];
influence of the Novelle upon the theatre, [161], [181], [187]
Novellino, Il, or Le Novelle Antiche, the first collection of Italian stories, iv. [107], [129]
Novels, defect of the Italians in true novels of the modern type, v. [120]
OCHINO, Fra Bernardino, his friendship with Vittoria Colonna, v. [292]
Odasio, the tutor of Guidobaldo, Duke of Urbino, i. [181]
Odassi, Tifi, said to have been the inventor of Maccaronic verse, v. [329] note 3;
quoted in illustration of its character, [328] note 1;
the description of a bad painter, [330];
possibly the author of the anonymous poem on Vigonça, [331];
his use of the Maccaronic style, [336]
Oddi, the, at Perugia, i. [225];
worsted by the Baglioni, [115], [123]
Odo delle Colonne, shows in his Lament traces of genuine Italian feeling, iv. [26]
Odoacer, i. [46]
Oggiono, Marco d', the Scholar of Lionardo da Vinci, iii. 484
Ognibene da Lonigo, effect of his teaching at Vicenza, ii. 249
Olgiati, Girolamo, one of the assassins of Galeazzo Maria Sforza, i. [166], [466], v. [119]
Oliverotto da Fermo, his murder of his uncle, i. [119] note 2, [168] note 1, [354];
takes part in the Diet of La Magione, [351];
murdered at Sinigaglia by Cesare Borgia, [351]
Onestà, Italian ideas of, i. [485]
Onesto, Bolognese poet, iv. [48]
Onore, use of the word in Italian, i. [481], [485], iv. [180] note 1 (see [Tasso]);
illustrated by the life of Benvenuto Cellini, iii. 449
Orange, the Prince of, in command at the Siege of Florence, iii. 414;
wounded at the capture of Rome, 455;
his troops destroy Sannazzaro's villa at Naples, v. [199]
Orcagna (Andrea Arcagnuolo di Cione), completes the Church of Orsammichele, Florence, iii. 63, 124;
comprehensiveness of his genius, 124;
the tabernacle there, 125;
architect of the Loggia del Bigallo, 125;
influence of his master, Giotto, upon him, 125, 197;
his frescoes in the Strozzi Chapel, S. Maria Novella, 199;
beauty of his faces, 200 note 1;
probably not the painter of the frescoes in the Campo Santo, Pisa, 200;
his sincerity, v. [195];
influenced by Dante, iii. 283 note 2;
his Sonnet on Love, iv. [39] note 1
Ordelaffi, the, of Forli, i. [111], [375];
their patronage of learning, ii. 302
Ordinanze della Giustizia, the, at Florence, i. [224], [238], [244]
Orlandi, the Pisan orator, i. [343]
Orlandini, Zuccagni, his estimation of the population of Florence, i. [209]
Orleans, claim of the house of Orleans to Milan, i. [154] note 1, [339]
Orleans, Duke of, i. [577], [579], [581]
Orpheus, fitness of his legend to express the Renaissance, iv. [410], v. [450];
the Orfeo (see [Poliziano])
Orsini, the, members of this family become Condottieri, i. [161];
their rise to power, [375];
contest between the Orsini and Cesare Borgia, [349-352];
destroyed by Alexander VI., [413];
devoted to Naples, [543];
related by marriage to the Medici, [543], ii. 314, 354;
—— Clarice, wife of Lorenzo de' Medici, i. [314], ii. 354;
Francesco, murdered at Sinigaglia by Cesare Borgia, 351, 353;
Paolo, murdered at Sinigaglia by Cesare Borgia, 351;
Cardinal, takes part in the Diet of La Magione, 351;
Virginio, 552;
buys Anguillara from Franceschetto Cibo, 545;
makes terms with Charles VIII., 564
Ortolana, the, an Academy at Piacenza: Domenichi and Doni members, v. [88]
Orvieto, Duomo, the, illustrates the defects of Italian Gothic, iii. 53;
contrasted with Northern cathedrals, 56;
Signorelli's frescoes, ii. 440, iii. 56, 280, 281, 282;
its façade, iii. 116;
importance of its sculptures in the history of Italian art, 117;
Fra Angelico's frescoes, 283 note 1;
Perugino invited to work there, 296 note 1, 299
Osnaga, Orsina, Filelfo's second wife, ii. 280
Otho I., i. [52];
assumes the title of King of Italy, [52], [53]
Ottimati, name given to the party of the oligarchy at Florence, ii. 441
Oziosi, the, an Academy at Bologna, ii. 366
PACCHIA, GIROLAMO DEL, the scholar of Sodoma, iii. 501
Padua, traditional reverence for Livy there, iv. [12]
Padua, S. Antonio: Andrea Riccio's candelabrum, iii. 78 note 1;
Donatello's bas-reliefs, 140, 270 note 1;
Chapel of the Arena, iii. 190, iv. [298];
the Eremitani, Mantegna's frescoes, iii. 270;
Hall of the Ragione, 60, iv. [130]
—— University, the, ii. 116;
pay of professors there, 122;
its state at the end of the fifteenth century, 506;
long continuance of scholasticism at Padua, v. [457];
different character of Padua from other Lombard universities, [460];
closing of the schools in 1509, [460]
Padua, Chronicle of, cited for a description of the Flagellants, iv. [280]
Paganism, mixture of Paganism and Christianity in the Renaissance, i. [456] note 1, [464], iii. 1, 33-35, 107.
(See [Renaissance].)
Pagello, Bartolommeo, his panegyric of Ognibeno da Lonigo, ii. 249
Painting, demands more independence in the artist than architecture, ii. 7;
character of Greek painting, 8;
effect on Italian painting of the discoveries of ancient works of art, 439;
painting the best gauge of Italian genius, iii. 5, iv. [116], [338], v. [18], [20], [49], [515];
how painting instead of sculpture became the exponent of modern feeling, iii. 8, 12-21, 31, 120;
the problem for Italian painting, 10-20, v. [515];
difficulties presented to the first painters, iii. 21;
first attempts in painting to make beauty an end in itself, 22, 32;
Italian painting in the first period devoted to setting forth the Catholic mythology, 27, 185;
why painting has lost its earlier importance, 37;
the personality of the different Italian cities visible in painting, 181;
contrast between the Florentine and Venetian painters, 182;
character of the Umbrian school, 182;
the so-called 'schools': how far the term is justified, 183;
general course taken by Italian painting, i. [17-20], iii. 185-187, v. [506];
changes introduced by Giotto into painting, iii. 192;
character of the Sienese masters, 214;
characteristics of Italian painting from 1400-1470, 224 (cp. v. [204]);
the Quattro Cento a period of effort, iii. 227;
exaggerated study of perspective and anatomy by these painters, 232;
the painters of the Renaissance—how to be classified, 266-269;
influence of Dante on Italian painters, 283 note 2;
the perfection of painting in Michelangelo, Lionardo da Vinci, Raphael, and Correggio, 312;
over attention paid to the nude after Michelangelo, 397, 453;
the decline of painting, 481, 504
Palæologus, Andrea, sells the title of Emperor of Constantinople to Charles VIII., i. [576] note 1;
John, attends the Council of Florence, ii. 196, 205;
takes Filelfo into his service, 268
Paleario, Aonio, ii. 394;
his Latin poem on the Immortality of the Soul, 497;
his execution, v. [478]
Palermo: Norman, Arabic and Byzantine influence on Palermitan architecture, iii. 44, 45
Palimpsests, ii. 129
Palladio, his judgment of Sansovino's Library of S. Mark, iii. 85;
character of his architectural work, 94, v. [505];
the Palazzo della Ragione at Vicenza, iii. 95;
Palladio's treatise on Architecture, 96 note 1
Palladius, Blosius, ii. 409
Pallavicini, Battista, i. [177]
Palma, iii. 371;
his Venus, illustrating his treatment of the antique, 291
Palmieri, Matteo, facts of his life, v. [549] ([Appendix iii.]);
pronounces the funeral oration over Marsuppini, ii. 187;
his Chronicle quoted for a description of the Florentine festivals, iv. [316];
author of the Città di Vita, [188], v. [548];
history of the MS. of the work, v. [548];
origin of the poem, [549];
its doctrine on the Soul and Fallen Angels, iv. [171], v. [551];
the work brings him into suspicion of heresy, iv. [171];
the Della Vita Civile, v. [549];
influence of Xenophon on the work, [196] note 1;
Mattia, continues Matteo Palmieri's Chronicle, [549]
Panciatichi, Lorenzo, alludes to the ballad L'Avvelenato, iv. [276]
Panciroli, his testimony to the kindness of Boiardo, iv. [458]
Pandects, the MS. of the, taken by Florence from Pisa, i. [62], ii. 351
Pandolfini, Agnolo, his treatise Del Governo della Famiglia, i. [239-243], [481];
said to have been really written by Leo Battista Alberti, [239] note 1, [273], ii. 37, iv. [192-203]
Panicale, Perugino's fresco of S. Sebastian, iii. 295
Pannartz, the printer at Rome, ii. 368
Panvinius, cited for the murders committed by Alexander VI., i. [414]
Paolo da Castro, his salary from the University of Padua, ii. 122
Paolucci, his account of the behaviour of Leo X. at a representation of the Suppositi, v. [147]
Papacy, the, 'the ghost of the Roman Empire,' i. [5];
rise of the Papal power, [7], [32];
its history cosmopolitan, [41], [60];
invites the Franks against the Lombards, [50];
compact of the Papacy with Charlemagne, [50], [94];
war between the Papacy and the Empire, [59], [60], [68], [97], [100], [374], iv. [6];
election of the Popes transferred from the Emperor to the Cardinals, i. [60];
summons Charles of Anjou into Italy, [75];
calls in Charles of Valois, [76];
transference of the Papal Court to Avignon, [77], [80], [374], iv. [7];
restored to Rome, i. [88];
the Papacy prevented the unification of Italy, [93-95], ii. 2;
Machiavelli's criticism of the Papacy, i. [96], [382], [448-451], v. [436], [438], [442];
the only Italian power which survived all changes, i. [98];
connivance of the Popes at crime, [170];
paradoxical character of the Papacy during the Renaissance, [371-374], [401];
Guicciardini's observations on the Papacy, [451], [452];
universal testimony to its corruption, [446], [457], [460];
Italian ideas about the Pope, [418], [462-464], iii. 471;
worldliness of the Papacy at the Renaissance, ii. 263;
more tolerant of obscenity than of heterodoxy, 22;
corruption of the Papal Court under Leo X., 402, 406, 408, 516;
flattery of the Popes by the Latin poets of the Renaissance, 493-496;
the organisation of the Papacy due to Italian genius, iv. [7], v. [513]
Papal Secretaries, their rise into importance owing to the influence of rhetoric at the Renaissance, ii. 216
Paper, where first made in Italy, ii. 371
Paquara, reconciliation of the Lombard cities at, i. [108], [608]
Parabosco, Girolamo, his Diporti, v. [60];
its Introduction, [62]
Paravisini, Dionysius, the first printer of Greek in Italy, ii. 375
Parentucelli, Tommaso. (See [Nicholas V.])
Parhasius, Janus, a member of the Roman Academy, ii. 361;
professor in the Sapienza at Rome, 426
Parisio, Gianpaolo. (See [Parhasius, Janus].)
Parlamenti, name of the popular assemblies in Italian cities, i. [35], [57]
—— the Parlamento at Florence under the Medici, [229], [526]
Parma, sold by Obizzo d'Este, i. [134];
pageant got up by the students at the election of Andrea di Sicilia to a professorship, iv. [315]
—— the Teatro Farnese (by Aleotti), v. [144]
Parmigianino (Mazzola, Francesco), story of him at the Sack of Rome, ii. 16;
the follower of Correggio, iii. 495
Parte Guelfa, in Italian cities, i. [35];
at Florence, [70] note 1
Party strife, effects of, in Italy, i. [199], [206], [207], [584]
Paruta, the Venetian historian, i. [233]
Passavanti, Jacopo, his Specchio della vera Penitenza, iv. [131], v. [270]
Paterini, the, an heretical sect, i. [9], iv. [109], [279]
Patria, Machiavelli's use of the term, v. [435], [436]
Patrician, title of dignity in Italian cities, i. [35]
Patrini, Giuseppe, engraver of a portrait of Aretino, v. [423]
Paul II., becomes Pope, i. [383];
his love of show, [383];
his services to art, [384], [384] note 1;
his persecution of the Roman Platonists, [385], ii. 359, 362, 511;
claimed descent from the Ahenobarbi, ii. 31;
his destruction of ancient monuments at Rome, 430;
his death, i. [387]
Paul III., i. [297], iii. 438;
his monument in St. Peter's, i. [417] note 2, iii. 108;
a member of the Roman Academy, ii. 361;
advances Sadoleto, Bembo, and Aleander to the Cardinalate, ii. 402, 416, 424;
his patronage of scholars while Cardinal, 404, 498, 500, 504;
employs Michelangelo to paint the Last Judgment, iii. 422;
his character, 422, 438, 472, 473, note 1
Pavia, becomes the capital of the Lombards, i. [48], [49]
—— the Cathedral (by Rocchi), iii. 82;
shrine of S. Augustine, 123;
the Certosa, 42, 165;
the façade characteristic of the first period of Renaissance architecture, 72
—— University, the, eclipsed by the School of Bologna, i. [62];
raised to eminence by Gian Galeazzo, [142], ii. 118;
staff of the University in 1400, ii. 120;
pay of professors there, 122
Pazzi, Alessandro de', his Discourse on the Florentine Constitution, i. [197] note 1, [203] note 1;
Piero de', called to study by Niccolò de Niccoli, ii. 41
Pazzi Conspiracy, the, i. [168], [396], [398], [466], [505], ii. 287, iv. [443], [447], v. [118]
Pedantesco, name given to a kind of pseudo-Maccaronic verse, v. [328];
specimen from Scrofa, [329]
Pelacane, Biagio, master of Vittorino da Feltre in mathematics, ii. 289
Pelavicini, the, become feudatories of the See of Parma, i. [57] note 1;
overthrown by the Visconti, [145]
Pellegrini, the, an Academy at Venice, v. [90], [272]
Penni, Francesco, the scholar of Raphael, iii. 490
Pepoli, Romeo, his rise to power at Bologna, i. [114], [116]
Peregrinus, Bononiensis, an early printer at Venice, ii. 376
Perino, a Milanese, carved the tomb of Mastino II. della Scala, iii. 124 note 1
Perino del Vaga, the scholar of Raphael, iii. 490
Perotti, Niccolò, a pupil of Vittorino da Feltre, i. [177];
author of the Cornucopia, [179];
translates Polybius, ii. 228;
takes part in the quarrel of Poggio and Valla, 240, 241;
Pirro, his preface to his uncle's Cornucopia, i. [179]
Perotto, murder of, by Cesare Borgia, i. [426]
Perrucci, Antonelli, execution of, by Ferdinand of Aragon, i. [571] note 3
Perugia, seized by Gian Galeazzo, i. [148];
generally Guelf, [194];
excitable and emotional character of the people of Perugia, iii. 221;
peculiar position of Perugia in Italian art and literature, v. [498];
standards of the religious confraternities preserved at Perugia, iv. [283] note 1
—— S. Bernardino, its façade, iii. 79 note 1, 150;
S. Domencio, monument of Benedict XI., 115;
S. Pietro de' Cassinensi, tarsia work, 78 note 2;
Mino da Fiesole's altar in the Baglioni Chapel, 158 note 1
—— the Sala del Cambio, tarsia work designed by Perugino, iii. 78 note 2;
Perugino's frescoes, 210, 295, 296
—— High School, the, founded by Clement V., ii. 117
Perugino (Pietro Vannucci), i. [325], v. [498];
his arabesques at Perugia, ii. 440;
his designs for tarsia work there, in the Sala del Cambio, iii. 78 note 2;
his frescoes in the Sala, 210, 295;
Michelangelo's criticism of him, 296, 298 note 1, 300, 386 note 2;
character of his genius, 294;
his artistic development impaired by his commercial character, 296, 298, 299;
the problem of his personal character, 297, 298 (cp. i. [170] note 1);
competes for the decoration of the Stanze of the Vatican, [300];
his influence upon Italian art, [300], [303];
his adherence to the older manner of painting, [303], [365]
Peruzzi, the, at Florence, i. [238];

their loan to Edward III., [257];
their bankruptcy, [258]
Peruzzi, Baldassare, church built by him at Carpi, ii. 374;
architect of the Villa Farnesina at Rome, iii. 83, 84;
his work at S. Peter's, 91;
how far influenced by Sodoma in painting, 501;
employed as scene-painter at the representation of the Calandra in the Vatican, v. [143], [146]
Pescara, Marquis of. (See [D'Avalos, Ferrante Francesco].)
Peselli, the, Florentine painters, introduced new methods of colouring, iii. 225
Petrarch, his love of antique culture, i. [11], ii. 13;
ignorant of Greek, i. [20], ii. 74, 75, 90;
his autobiographical tracts, ii. 36, iv. [91], [123];
present at the marriage of the Duke of Clarence, i. [138];
his remark on Florentine intelligence, [250];
his denunciations of Papal profligacy, [457];
his conception of self-culture, ii. 4;
belongs less than Dante to the middle ages, 13, iv. [91], [140], v. [2];
Dante and Petrarch compared, ii. 70, iv. [85-89], [90];
greatness of his services to culture, ii. 71, 86;
his love of Cicero and Virgil, 73, 76;
his liberal spirit, 75, 78, iv. [87] (cp. v. [504]);
his judgments of poetry and oratory, ii. 76, 77, 450;
his vanity and inconsistency of conduct, 79-84;
depreciated Dante, 82;
his relations to Rienzi, 83, 147-149;
his philosophical creed, 84-86, v. [450];
despaired of getting Greek learning from Constantinople, ii. 92 note 1, 142 note 1;
his invective against the copyists, 129;
began the search for MSS. of the classics, 132 (cp. 530);
his study of the ruins of Rome, 149;
his description of Rome in desolation, 154;
conceives the idea of forming a public library, 166;
his friendship with Robert of Anjou, 252, iv. [120] note 1;
his denunciation of the astrologers, ii. 75, 336;
Aldo Manusio's Italic types imitated from his handwriting, 381;
began the fashion of Ciceronian letter-writing, 530;
his description of death illustrated by frescoes in the Campo Santo, Pisa, iii. 202;
his mention of Simone Martini and Giotto, 217 note 1;
his account of the Sicilian poets, iv. [21];
attained the conception of Italy as a whole, [87];
crowned in the Capitol, [88];
his language free from dialect, [89];
his treatment of love, [89];
conflict in his mind between his love of Laura and his religious feelings, [90];
the nature of his passion for Laura, [92-94];
brings the feeling of love back from mysticism to experience, [94], v. [515];
his artistic treatment of his subject-matter, iv. [95];
had no strong objective faculty, [96];
his power of self-portraiture, [97];
the dialogue on the Destruction of Cesena, falsely attributed to him, v. [117] note 1
Petrarchistic School in Italian literature, Petrarchists of the trecento, iv. [159];
the revival under Bembo and the purists, [165];
injurious effects of the imitation of Petrarch, v. [249-251], [273];
inattention shown by the Petrarchists to the calamities of Italy, [281]
Petrucci, the, at Siena, supported by the people, i. [87]
—— Antonio, invites Filelfo to Siena, ii. 276;
Cardinal, conspiracy of, i. [436];
his patronage of scholars at Rome, ii. 404;
Pandolfo, his rise to power at Siena, i. [114], [209];
his murder of Borghese, [121] note 1
Philosophy, at the commencement of the Renaissance did not form a separate branch of study, v. [458];
materialism in the Lombard Universities due to physical studies, [458]
Philosophy, Italian:
Italian philosophy unduly neglected in the history of modern thought, v. [448];
three stages of thought in the passage through Renaissance to modern science, [448], [457];
disengagement of the reason from authority due to Italian thinkers, [448], [449], [485-487], [520];
Cicero and Seneca used as models by the humanistic ethicists, [451];
value of the labours of the Florentine Platonists, [452-454];
problems of life posed by ethical rhetoricians, [454-457];
Valla's De Voluptate, [455];
rapid growth of heterodox opinions on immortality during the Renaissance, [470];
influence of Pomponazzi on Italian thought, [479], [520]
Piacenza, destruction of, by the Milanese, i. [152], [162] note 1, [212]
—— University, the, established by Innocent IV., ii. 117
Piagnoni, name of the followers of Savonarola at Florence, i. [290], [529], ii. 355, iii. 252
Piccinino, Jacopo, murdered by Ferdinand of Aragon, i. [113] note 1, [571]
Piccinino, Nicolò, i. [161], ii. 264
Piccolomini, his La Raffaella quoted for Italian ideas of honour in women, i. [485] (cp. ii. 37)
Piccolomini, Æneas Sylvius. (See [Pius II.])
Pico. (See [Mirandola].)
Piero di Cosimo, his studies in natural history, iii. 226;
his eccentricity, 256;
his romantic treatment of classical mythology, 256;
his art as illustrating the poetry of Boiardo, iv. [463];
the Triumph of Death designed by him, [393-395], v. [114]
Piero della Francesca, his fresco of the Resurrection at Borgo San Sepolcro, iii. 234;
his Dream of Constantine at Arezzo, 235;
his portraits of Sigismondo Pandolfo Malatesta and Frederick of Urbino, 235, 275 note 1
Piero da Noceto, private secretary of Nicholas V., ii. 229
Piero delle Vigne, his Perocchè Amore an early instance of a sonnet, iv. [25]
Pilatus, Leontius, Boccaccio's Greek master, ii. 91
Pinturicchio, Bernardo, i. [325], [384] note 1;
competes for the decoration of the Stanze of the Vatican, iii. 300;
his frescoes in the Cathedral Library at Siena, 302;
his affectation, 302, 364 note 1
Pio [Pia], Alberto, the patron of Aldo Manuzio, ii. 374;
a member of the Aldine Academy, 387;
ambassador from France at Rome, 405;
Alda, mother of Veronica Gambara, v. [288];
Lionello, ii. 374
Pippin, named Patrician of Rome, i. [50]
Pirkheimer, Willibad, the friend of Gian Francesco Pico, ii. 423
Pisa, not eminent for literary talent, i. [79];
sale of, to Gian Galeazzo, [148];
its cruel treatment by Florence, [212], [237], [342], [560], ii. 165;
popular outbreak at the entry of Charles VIII., 343, 561
—— Campo Santo, the, story of the sarcophagus there, which influenced the genius of Niccola Pisano, iii. 106;
built by Giovanni Pisano, 110;
the frescoes, 200-204, 209, 219, 242 (cp. iv. [261] note 2);
S. Caterina, Traini's Triumph of S. Thomas, iii. 207;
Simone Martini's altarpiece, 217 note 2;
the Cathedral, iii. 49;
S. Francesco, Taddeo di Bartolo's Visit of the Apostles to the Virgin, 218;
S. Maria della Spina (Spina Chapel), rebuilt by Giovanni Pisano, 110
—— University, the, ii. 117, v. [497];
transfer of the High School from Florence thither, ii. 122
Pisanello, medal struck by him in honour of Vittorino da Feltre, i. [178]
Pisani, the (Giovanni and Niccola), their bas-reliefs at Orvieto, iii. 56;
Vasari's statement that they aided in the façade of Orvieto discussed, 116
—— Giovanni, contrast of his work with that of his father, Niccola, iii. 110, 177;
his architectural labours, 110;
his pulpit in S. Andrea, Pistoja, 111-114;
his allegorical figure of Pisa, 114;
his tomb of Benedict XI. in S. Domenico, Perugia, 115;
Niccola, individuality of his genius, ii. 5;
his influence on sculpture, iii. 101, 177;
the legend of his life, how far trustworthy, 102;
his first work as a sculptor, the Deposition from the Cross, 104;
story of his genius having been aroused by the study of a sarcophagus in the Campo Santo, 106;
the sculptures of the Pisan pulpit, 107, 109 (see also Appendix i.);
degree in which he was indebted to ancient art, 108, 110, v. [506];
contrast of his work with that of his son, Giovanni, iii. 110, 177
—— Ugolino, his Latin play, Philogenia v. [110]
Pistoja, contrast of its history with that of Lucca, i. [194]
—— S. Andrea, Giovanni Pisano's pulpit, iii. 111-114;
the Duomo, Cino da Pistoja's monument, iv. [66] note 1;
Church of the Umiltà (by Vitoni), iii. 83
—— Ospedale del Ceppo, the, its frieze, by the Robbian School, iii. 150 note 1
Pitigliano, Count, general of Alfonso II. of Naples, i. [552]
Pitti, Jacopo, his history of Florence, i. [278], [279];
his democratic spirit, [280], [288], [299] note 2;
his panegyric of Piero Soderini, [289], iii. 391;
ascribes the downfall of Florence to the Ottimati, i. [288];
his style, [291];
his account of Guicciardini, [299], [299] note 1 (cp. iv. [515]);
on the preaching of Frate Francesco, i. [621];
the Life of Giacomini cited for Giacomini's share in Machiavelli's plan for a militia, [313] note 1
—— Luca, his conspiracy against Piero de' Medici, ii. 314
Pius II., in the service of the Emperor before his election, ii. 190;
his reputation as an orator, 191;
his Latin correspondence, 532;
his letter to his nephew, 42 note 1;
contrast between his life before and after his election to the Papacy, i. [380], ii. 358;
his saying on the celibacy of the clergy, i. [459];
his canonisations and love of reliques, [461];
pardons the people of Arpino as fellow-citizens of Cicero, ii. 30;
his epigram on the ruins of Rome, 151;
endeavours to protect the Roman monuments, 429;
founds the College of Abbreviators, 358;
his saying upon Tommaso Parentucelli (Nicholas V.), 224;
his Commentaries cited for his conversations with Frederick Duke of Urbino, i. [178] note 2;
for Gian Galeazzo's saying on Salutato, ii. 105 note 1;
his testimony in another work to Beccadelli's reputation as a stylist, 257 note 1
Pius III., i. [433]
Pius VI., his destruction of the Chapel in the Vatican painted by Mantegna, iii. 277
Plagiarism, commonness of, in the fifteenth century, iv. [194] note 1
Platina, his account of Paul II.'s persecution of the Humanists, i. [384] note 1, [386], [387], ii. 36, 511;
a member of the Roman Academy, ii. 361
Plato, Aldine edition of, ii. 16, 379;
impulse given by Gemistos to Platonic studies, 207;
quarrel of the Platonists and the Aristotelians, 208, 244, 247, 394, v. [454];
the study of Plato prepared the way for rationalism, ii. 209, 325, iv. [447];
influence of Plato at the Renaissance, ii. 323;
Plato not fully comprehended by the thinkers of the Renaissance, 327, v. [452];
celebrations of his birthday by the Florentine Academy, ii. 328;
the Florentine Platonists, iv. [452].
(See also [Ficino] and [Pico Mirandola].)
Plautus, influence of, on the Italian playwrights, v. [122], [136], [148], [161], [181];
representations of Plautus in the original at Rome, [138], [145];
at Ferrara, iv. [499], v. [139-142], [145];
early translations of Plautus, forming the beginnings of Italian comedy, v. [140]
Plethon, Gemistos, settles at Mistra, ii. 199;
his dream of a neo-pagan religion, 200;
his system of philosophy, 201-204;
attends the Council of Florence, 205;
his reception by the Florentines, 206;
impulse given by him to Platonic studies in Italy, 207, 328, v. [452];
his treatises on Fate, and on the differences between Plato and Aristotle, ii. 208;
his controversy with Gennadios, 209;
his remains brought from Greece by Sigismondo Pandolfo Malatesta, i. [173], [461], ii. 34, 209
Plutarch, effect of the study of Plutarch in Italy, i. [165] note 2, [464];
Life of Cleomenes quoted, [235] note 2
Podestà, the place and function of this magistrate, i. [35], [71], [84];
meaning of the word, [67];
sometimes became tyrants, [112]
Poetry, opposition of the medieval Church to, iv. [81]
Poggio, corresponds with Lionello d'Este, i. [173];
his relations to Frederick of Urbino, [179];
account of him by Vespasiano, [275];
attached to the Papal Court, [459], ii. 218, 230;
a scholar of Giovanni da Ravenna, ii. 100, 230;
his funeral oration on Niccolò de' Niccoli quoted for the society founded by Marsigli, 102;
patronised by Salutato, 106;
learns Greek of Chrysoloras, 110, 230;
his copying and sale of MSS., 131;
his discoveries of MSS., i. [21], ii. 134-139;
his zeal and unscrupulousness in the quest, ii. 138;
his translations of Diodorus Siculus and Xenophon, 228, 237, 243;
his debt to Niccolò de' Niccoli, 230 note 1;
description contained in one of his letters of Jerome of Prague before the Council of Constance, 231, 535;
his pictures of foreign manners, 231;
varied character of his talents, 232;
his attacks on the clergy, 233-237;
terror caused by his invectives, 237 (cp. 513);
his quarrel with Filelfo, 238-240;
with Guarino and with Valla, 240-242, 263, 301;
his fight with Trapezuntius, 243;
his criticism of Beccadelli's Hermaphroditus, 255;
his scandalous account of Filelfo's marriage, 269 note 1;
his marriage and life as a citizen of Florence, 245;
the De Nobilitate, i. [186] note 1;
the History of Florence, [81], [274];
its style and value, [275];
the description of the ruins of Rome (the first part of the De Varietate Fortunæ), ii. 152-154, 231, 429, 530
Pole, Cardinal, his friendship with Flaminio and Vittoria Colonna, ii. 498, 502, v. [292]
Polentani, the, of Ravenna, i. [111], [375]
Polenta, Obizzo da, his murder of his brother, i. [119] note 2;
Ostasio da, his murder of his brother, [119] note 2
Polidoro da Caravaggio, the scholar of Raphael, iii. 490
Polissena, Countess of Montalto, her murder, i. [119] note 2
Politici, the, an Academy at Bologna, ii. 366
Poliziano, Angelo, assassination of his father, i. [170] note 1;
present at the murder of Giuliano de' Medici, [265] note 1;
his letter to Antiquari, containing an account of Lorenzo's last interview with Savonarola, [523] note 1, ii. 355 (cp. 533);
wide scope of his genius, ii. 10, iv. [399];
his lectures on the Pandects, ii. 124;
learnt Greek from Callistus, 248, 346;
one of the circle gathered round Lorenzo de' Medici, 322, 323;
his description of Pico della Mirandola, 329;
his wooing of Alessandra Scala, 344;
brought into fame by his Latin version of part of Homer, ii. 346, iv. [401], [411];
his lectures at Florence, i. [171];
their enormous success, ii. 350, 464;
popularity of Poliziano, 353;
his relations to the Medicean family, 354;
his want of self-respect, 354;
Giovio's story of his death, 348 note 2, 354 note 1;
epitaph placed upon his tomb, 357;
his indebtedness to Sacchetti, iv. [155];
his eulogy of Alberti, [214];
one of his letters cited for the Maccaronic Italian used by scholars, [237];
represents the servility of his age in literature, [404];
ideal of life expressed in his works, [423];
erroneous ascription of the Morgante to him, [455] note 3, v. [316] note 1;
his position as an Italian poet, ii. 347, iv. [399-401];
insincerity of emotion in his Italian poems, iv. [423];
popularity of his Italian poems, [409] note 2;
injury caused to his poems by the defects of his temperament, [399];
his mastery of metre, [401-403], v. [212], [230];
surpassed by Ariosto, v. [43];
the Stanze, iv. [401], [403], [406-409], [421];
their importance in Italian literature, [403];
illustrations of the Stanze by contemporary works of art, [408];
translation of passages, [408], [420];
the Orfeo, iv. [357], [409], v. [108], [221];
excellent choice of its subject, iv. [410];
occasion of its being written, [411];
its greatness lyrical, not dramatical, [412-414];
translation of the Chorus of the Mænads, [414];
popular redaction of the Orfeo, [409] note 2;
the Orfeo cited for the tendency of the Italians to unnatural passions, [477] note 1;
his Canzonet, La pastorella si leva per tempo, iv. [268] note 3;
a letter of his to Lorenzo cited for the antiquity of the Rispetti and the cultivation of popular poetry in the Medicean circle, [269], [416] note 1;
translation of a Ballata, [378];
his Rispetti, &c., [416];
more artificial in character than the popular poetry, [417];
the Rispetti continuati, [419];
illustrations of them from contemporary works of art, [419];
the La brunettina mia, La Bella Simonetta, and Monti, valli, antri e colli, [420-422];
part of La Bella Simonetta translated, [420];
the Essay on the Pazzi Conspiracy, i. [265] note 1;
the Miscellanies, ii. 352;
the Greek and Latin poetry, 348;
original character of the Latin poetry, 348, 356, 453-458, 463;
the Lament for Lorenzo, 355, 356;
analysis of the Nutricia, 453-458;
the Eulogy on Lorenzo, 457, iv. [369];
Gyraldus' criticism of the Sylvæ, ii. 459;
the Rusticus, 459, iv. [423], v. [234];
the Manto, ii. 460-462;
the Ambra, 463 (prose translations of passages from the Latin poems will be found 454-463);
the minor poems, 464;
Greek epigram sent to Guidobaldo, Duke of Urbino, i. [182] note 1;
translation of Greek hexameters, ii. 24;
the epigram on Pico when he attacked the astrologers, 337 note 1;
the epigram on the first Greek printers, 375 note 2;
the Sapphics to Innocent VIII., 495;
the verses on Filippo Lippi, iii. 247;
his Latin correspondence, ii. 532
Pollajuolo, Antonio del, his choice of subjects of a passionate character, iii. 146;
his monument of Sixtus IV., 147;
his experiments in colour, 225;
over prominence of anatomy in his works, 232;
his Hercules, illustrating his treatment of the antique, 291;
architect of the Belvedere of the Vatican, i. [384] note 1;
his statue of Innocent VIII., [415], iii. 147;
his portrait of Poggio, ii. 246;
his work as a bronze founder, iii. 78 note 1;
Piero del, aids his brother, Antonio, iii. 147, 225
Polybius, studied by Machiavelli, v. [434] note 1
Pomponazzi, Pietro, studies at Padua, v. [458], [459];
moves from Padua to Ferrara, and finally to Bologna, [460];
his Treatise on the Immortality of the Soul burnt in public at Venice, [460];
controversy raised by that work, [461], [479];
Pomponazzi aimed at stating the doctrines of Aristotle as against the Thomists and Averrhoists, [462];
adopted the views of Alexander of Aphrodisias, [459], [472];
his profession of faith, [476], [477], [480];
powerful personality shown by his writings, [461];
his positivism, [478];
akin in this respect to Machiavelli, [485-487];
his influence on Italian thought, [479];
his materialistic philosophy, i. [456], ii. 124, 394 (cp. 477), iv. [447], v. [312], [314], [518];
the De Immortalitate Animæ, ii. 410, v. [460];
Pomponazzi's doctrine of the soul's materiality there stated, v. [472-476], [520];
the De Incantationibus, [461];
rejects demons and miracles in this work, [476];
acknowledges astral influence, [477];
expresses the opinion that Christianity is doomed to decline, iv. [448] note 1, v. [477];
the Apologia and Defensorium, v. [461];
the De Fato, [461], [477];
description of the philosopher contained there, [478]
Pontano (Jovianus Pontanus), assassination of his father, i. [170] note 1;
his relation to Frederick of Urbino, [179];
tutor to Piero de' Pazzi, ii. 41;
a member of the Roman Academy, 361;
founder of the Neapolitan Academy, 363, v. [198], [272];
his employment by the Kings of Naples, ii. 363;
his oration to Charles VIII., 363;
portrait of him in the Church of Monte Oliveto at Naples, 365, iii. 164, v. [198];
value of his works, ii. 364, v. [220];
the De Immanitate, cited, i. [139] note 1, [481] note 2, [569], [569] note 1, [571] note 1;
the De Liberalitate, cited, [569] note 1;
his merits as a writer of Latin verse, ii. 364, 465, v. [235];
the De Stellis, ii. 466-468, v. [220], [235];
the De Hortis Hesperidum, v. [220], [235];
his Odes to the Saints, iv. [302];
Neapolitan colouring of his poems, ii. 364, v. [213], [235];
their pictures of Neapolitan life, v. [217];
their sensual but unaffected character, [214-217];
Pontano's love of personification, [218];
translation (in prose) of the lines personifying Elegy, [219]
Pontelli, Baccio, architect of the Hospital of Santo Spirito at Rome, i. [384] note 1;
employed as architect upon the Ducal Palace, Urbino, iii. 162 note 1
Pontius, Paulus, his monument of Alberto Pio, ii. 375
Pontormo, Jacopo, his portraits of Cosimo and Lorenzo de' Medici, iii. 498;
his portrait of Ippolito de' Medici, ii. 27;
decorates the cars for the Pageant of the Golden Age, iv. [397]
Ponzoni family, the, of Cremona, i. [145]
Popolo, meaning of the word, [55], [56], [71], iv. [7], [8];
increase in the power of the Popolo, i. [61];
Guicciardini's use of the word, [306] note 1
Porcari, Stefano, his attempt on Nicholas V., i. [376], [377], [386];
influenced by the history of Rienzi, [376], ii. 147
Porcello, Giannantonio, patronised by Alfonso the Magnanimous, ii. 264, 303
Pordenone, iii. 371
Porta, Giacomo della, his work at S. Peter's, iii. 93;
Guglielmo della, his monument of Paul IV., i. [371], iii. 108
Portogallo, Cardinal di, his monument in S. Miniato, iii. 153;
Vespasiano's testimony to his virtues, 154
Portuguese, the, round the Cape, i. [15]
Porzio, Simone, the disciple of Pomponazzi, v. [479];
story of his lecturing at Pisa, [479];
his belief as to the soul, [479]
Pratiche, name of an extraordinary Council in some Italian Communes, i. [35]
Prato, Sack of, iii. 308 note 2, 393;
the Duomo, Mino's pulpit, 158 note 1;
Filippo Lippi's frescoes, 245, v. [54] (cp. iv. [422]);
chapel of the Sacra Cintola, iii. 79
Prendilacqua, his biography of Vittorino da Feltre, cited, i. [178] note 1, ii. 37
Primaticcio, his residence at the Court of France, iii. 445
Princes, effect of, upon Italian literature, iv. [404]
Principi, the Lettere de', quoted, i. [442]
Printers, the early, i. [23];
the first printers in Italy, ii. 306 note 2, 368-391;
labour employed in printing the first editions of the classics, 372
Priors, name of the chief magistrates in some Italian Communes, i. [35], [68], [71];
Priors of the Arts at Florence, i. [224]
Professors, pay of, in the Italian Universities, ii. 121, v. [460];
subordinate position of the humanist professors, ii. 123;

their system of teaching, 124-127, 274;
illustrations of the Italian professorial system at the Renaissance from the Maccaronic writers, v. [332]
Provençal literature, its effect on medieval Italy, iv. [13]
Provence, extinction of heresy there, i. [9]
Ptolemaic System, superseded by the Copernican, i. [15], [16]
Pucci, Antonio, his political poems, iv. [163];
his terza rima version of Villani's Chronicle, [240];
his celebrity as a cantatore, [257]
Pulci, Bernardo, writer of the sacred drama, Barlaam e Josafat, iv. [320], [349];
other works of his, [430];
Luca, his poem on Lorenzo de' Medici's Giostra, iv. [405];
his share in the Ciriffo Calvaneo, [430];
Luigi, one of the circle gathered round Lorenzo de' Medici, ii. 322, iv. [440];
his story of Messer Goro and Pius II., iv. [255];
his Beca da Dicomano, [382], v. [224];
his quarrel with Matteo Franco, and Sonnets, iv. [431], [455] note 3;
the Morgante purely Tuscan, [430], [431];
the burlesque element ready to hand, [440];
the Morgante written to be read in the Medicean circle, [440];
three elements in the poem, [441];
the Morgante a rifacimento of earlier poems, [442];
its plot, [443];
excellence of the delineations of character, [445], [470] note 1;
character of Margutte, [451];
of Astarotte, [452-456];
not a mere burlesque, [446];
its profanity, how explained, [446-448];
instances of Pulci's humour, [448-450];
false ascription of part of the Morgante to Ficino, [455] note 3;
erroneous idea that Poliziano wrote the Morgante, [455] note 3;
bourgeois spirit of the Morgante contrasted with Boiardo's Orlando Innamorato, [456], v. [8]
(see [Appendix v. vol. iv.], for translations from the Morgante);
Monna Antonia (wife of Bernardo), authoress of a Sacra Rappresentazione, iv. [320]
Puritanism, a reaction against the Renaissance, i. [25];
its political services, [27];
antipathy of, to art, iii. 24
QUARREL of the Aristotelians and the Platonists, ii. 208, 244, 247, 394, v. [454];
literary quarrels at the Renaissance, ii. 237-245, 264, 511, iv. [431] note 1, [451], v. [89], [285]
Quercia, Jacopo della, his work as a sculptor in Italian churches, iii. 78 note 1;
his treatment of the story of the creation of Eve, 118 note 2, 130;
his designs in competition for the gates of the Florentine Baptistery, 127;
other works of his—the Fonte Gaja, and the monument of Ilaria del Carretto, 132, 165
Quintilian, discovery of a MSS. of, by Poggio, ii. 134-137.
Quirino, Lauro, his stipend at Padua, ii. 122
RABELAIS, quoted for the feudal idea of honour, i. [483]
Raffaelle da Montelupo, a feeble follower of Michelangelo, iii. 172
Raimond of Tours, quoted to illustrate the gaiety of medieval Florence, iv. [50]
Raimondi, Marc Antonio, imprisoned for engraving a series of obscene designs by Giulio Romano, v. [389]
Raimondo da Capua, the confessor of S. Catherine of Siena, iv. [174]
Ramiro d'Orco, appointed governor of the Romagna by Cesare Borgia, i. [354];
his end, [355]
Rangoni, Count Guido, the patron of Bernardo Tasso, v. [297]
Rapallo, massacre of, i. [557]
Raphael, the question entertained of making him a Cardinal, ii. 403;
his project for the exploration of Rome, ii. 419, 436, iii. 337;
his friendship with Castiglione, ii. 421;
his work in the Loggie and Stanze of the Vatican, ii. 436, 440, iii. 108, 333, v. [229];
Raphael the harmonist of classical and Christian traditions, iii. 35, 333 (cp. v. [26]);
woodwork executed from his designs at Perugia, iii. 78 note 2;
his mosaics in S. Maria del Popolo, 79 note 2, 334;
his work as an architect, 83, 330;
as a sculptor, 329;
his frescoes in the Villa Farnesina, 84, 331, 334, iv. [403];
the Galatea, illustrating his treatment of the antique, [291], [337];
his work on S. Peter's, iii. 91;
borrowed the figure of S. Paul in the Cartoon of Mars' Hill from Filippino Lippi, 248;
the pupil of Perugino, 300;
his power of assimilation, 301, 330-332;
one of the four great painters by whom the Renaissance was fully expressed, 312;
equality, facility, and fertility of his genius, 328;
comparison of his genius with that of Mozart, 328;
his gentleness, 329;
his indebtedness to Fra Bartolommeo, 330;
influence of Michelangelo on his later works, 331, 412;
his school of workmen, 332;
enormous mass of his work, 334;
mental power displayed by him, 335, 338, v. [116];
variety of his genius, iii. 336;
the Madonna di San Sisto, 337, 380;
his humane spirit and avoidance of painful subjects, 338;
the woodcuts of the Hypnerotomachia erroneously ascribed to him, iv. [221] note 1;
the scenery for a representation of the Calandra at Rome painted by him, v. [147]
Rasiglia, Pietro, his murder of Nicolà and Bartolommeo Trinci, i. [122]
Raspanti, the, a faction at Perugia, i. [122]
Raul, Sire, his Chronicle of Milan, i. [251]
Ravenna, i. [46], [118];
battle of, ii. 380, iii. 329;
tomb of Dante, ii. 410
Razzi, his account of the interview of Savonarola with Lorenzo de' Medici on his deathbed, i. [523] note 1
Reali di Francia, illustrates the little influence of Boccaccio's style on his immediate successors, iv. [136];
its stylistic merits, [240];
the most popular of all Italian books, [245], [247];
attributed to Andrea da Barberino, [246]
Realists, the, v. [466]
Recanati, the Bishop of, murder of, v. [297]
Rectors, or Rettori, the magistrates in some Italian cities, i. [35], [68]
Reformation, connected with political liberty, i. [26];
how related to the Renaissance, [25], ii. 536;
inimical to the Fine Arts, iii. 28
Regno, the, early medieval effort to form a monarchy in Italy, i. [50-52]
Religion, opposition between religion and science, i. [15];
a cause of disorder in Italy, [205];
morality and religion disunited in Italy, [174] note 1, [433], [447], [462], ii. 234, 257, iii. 451;
Machiavelli's opinions on religion, i. [453], [454];
vitality of religion, [469];
religion and art:
how far inseparable, iii. 6 note 1;
injury done to religion by the sensuousness of art, iii. 11, 19, 22, 31;
contrast between Greek and Christian religious notions, 12;
the opposition of religion and art, 24-26, 28;
separate spheres and points of contact between religion and art, 30
Reliques, Italian passion for, i. [460]
Renaissance, the, meaning of the term, i. [1-4], [5], [28], v. [489] foll.;
the Renaissance the emancipation of the reason, i. [9], [14], ii. 13, 43, 535, iii. 8, 179, 333, iv. [447], v. [14], [26], [447], [491];
the revelation of nature in the world and man, i. [15] note 1, iii. 325, v. [483], [527], [528];
problem of the Renaissance, v. [523], [527];
the imitation of the Renaissance impossible, [526];
place of the Renaissance in the history of humanity, [527-529];
rise and growth of the Renaissance, i. [26], v. [448];
precursors of the Renaissance, i. [8], [26], [27];
its relation to the Reformation, [26], ii. 536, v. [529], [530];
the Renaissance and modern science, i. [16], [17], v. [483], [491];
aided by the progress of inventions, i. [3], [29];
began in Italy, [30], v. [492], [529];
mingled polish and barbarism of the Italian Renaissance, i. [172], [183], [373], [570], v. [523];
changes in culture effected by the humanism of the Renaissance, i. [185], ii. 393, 543, v. [508];
irreligious character of the Renaissance, i. [174] note 1, [455], ii. 16, 44, 205, 217, 257, 518, iii. 228, v. [486];
the Paganism of the Renaissance, i. [454] note 1, [464], ii. 17, 18, 39, 72, 395 foll., 470, 489, 516, 520, 540, iii. 7, 33-35, 107, 135, 167, 175, 257, iv. [39], [404], v. [216], [486], [492];
indigenous in Italy, iv. [39];
its real character and extent, ii. 395, iv. [106] note 2;
religious sentiment, how influenced by the Renaissance, iv. [207], v. [455];
fitness of the Italian character to work out the Renaissance, ii. 1-4, iv. [10];
fertility of the Renaissance in men of universal genius, ii. 10 (cp. 125), 341;
the Renaissance not so productive in religion and philosophy as in art, 21, 337, iv. [10], v. [447], [492];
introduced a democracy of intellect, ii. 32, 33;
the thirst for fame characteristic of the Renaissance, 38, 80;
criticism a creation of the Renaissance, iv. [447];
the passion for collecting, ii. 139;
effect of the study of Roman antiquities upon the Renaissance, 142 foll., 429 foll. (cp. iii. 48 note 1);
undue influence of rhetoric in the Renaissance, ii. 149, 190, 216, 513, 525, v. [247], [430], [451];
uncritical character of the first scholars of the Renaissance, ii. 296, 327, 337, 382, v. [451], [483];
ideal of life produced by the Renaissance, ii. 330, iv. [219], v. [517];
the Renaissance checked the spontaneity of the Italian intellect, ii. 394, iv. [403];
modern culture a gift of the Renaissance, ii. 9, 408, 506, 524, v. [491], [505], [524];
the Renaissance appreciative of form independently of matter, ii. 471, 513, 514, iv. [403];
the weaknesses of the literary and artistic ideal of the Renaissance, ii. 504, iii. 170, 179;
predominance of art in the Renaissance period, iii. 1-5, v. [6];
difficulty of rendering justice to the poetry of the Renaissance, iii. 2 (cp. iv. [403]);
the Renaissance restored the appreciation of natural beauty, iii. 32;
error of the artists of the Renaissance in imitating the worst side of Paganism, 175, 454, 489;
expression of the Renaissance by the four great painters, Lionardo da Vinci, Michelangelo, Raphael, and Correggio, 312, 319, 323, 325, 346;
different parts borne by Venice and Florence in the Renaissance, iii. 354, iv. [364];
the genius of the Renaissance typified in Boccaccio, iv. [104];
satire on the Church not combined with unorthodoxy in the Renaissance, [109] note 1, [447];
mixture of religious feelings with vices in men of the Renaissance, [384], v. [228];
manner in which the myth of Orpheus expressed the Renaissance, iv. [410], v. [221], [450];
the culture of the Renaissance derived from Latin, not Greek, models, v. [132] note 1;
the completion of the Renaissance announced by the pastoral dramas of Tasso and Guarini, [245];
belief in the efficacy of a classical revival common at the Renaissance, [444];
the dream of a Golden Age, [195], [521];
the volluttà idillica of the Renaissance, [196], [230]
Renaissance architecture:
Brunelleschi's visit to Rome, iii. 68;
task of the first architects of the Renaissance, 69;
criticism of Renaissance architecture, 70;
divided into three periods, 70;
character of the first period, 71, 80;
of the second, 80
of the third, 93;
influence of this third or Palladian period on Northern Europe, 97;
comparison of the various stages of this style with the progress of scholarship towards pedantry, 98;
reasons why this style can never be wholly superseded, 99;
this style the most truly national in Italy, v. [505]
René of Anjou, expelled from Naples by Alfonso, i. [568]
Republics, the Italian: varied character of the Italian republics, i. [193];
their resemblance to the Greek States, [195];
theories of citizenship in them, [195];
their instability, [198];
causes of this, [205];
their smallness, [209];
their disunion, [211];
their mercantile character, [238]
Reuchlin, i. [27], ii. 391;
influenced by Florentine Platonism, ii. 208;
heard Argyropoulos lecture at Rome, 210;
a pupil of Poliziano's, 350;
the friend of Gian Francesco Pico, 423
Revivalism, religious, in Italy, i. [490], ii. 17 (see [Appendix iv. vol. i.]);
unknown at Venice, iii. 358
Reynolds, Sir Joshua, his criticism of Ghiberti, iii. 132
Rhetoric, influence of, at the Renaissance, ii. 149, 190, 216, 513, 525, v. [247], [430], [451];
want of original thought in the oratory of the Renaissance, ii. 191, 278 note 2, 513
Rhosos, Joannes, a member of the Aldine Academy, ii. 387
Riario, Girolamo, i. [389];
murder of, [120], [390];
Pietro, Cardinal di San Sisto, [389];
his extravagant profligacy, [390-392] (cp. iv. [315]);
his convention with Galeazzo Maria Sforza, [392];
Cardinal Raphael, [407];
concerned in Petruccio's conspiracy, [437];
his patronage of scholars at Rome, ii. 404;
buys Michelangelo's Cupid as an antique, iii. 389;
representation of the Fall of Granada before him, v. [117] note 1 (cp. [138])
Ribellamentu Lu, di Sicilia, its doubtful authenticity, iv. [36]
Riccio, Andrea, his work as a bronze founder, iii. 78 note 1
Rienzi, takes the title of Tribune, ii. 30;
his relations to Petrarch, 83, 147-149;
his plan to restore the Republic in Rome, 145 (cp. i. [376]);
his confusion of medieval and classical titles, [146];
his downfall, [147]
Rifacimento, question whether Dino's Chronicle is a work of this class, i. [263], [273];
similar question about the Malespini Chronicle, [252] note 1, iv. [36];
about Pandolfini's Governo della Famiglia, iv. [194];
Rifacimento of the Orlando Innamorato (see [Berni])
Rimini, S. Francesco, adapted by Leo Battista Alberti, i. [172], [326], ii. 34, 210, 342;
the bas-reliefs in the side chapels, iii. 161;
Piero della Francesca's portrait of Sigismondo Pandolfo Malatesta, 235
Rinaldo d'Aquino, his Farewell, iv. [37]
Ripamonti, quoted, i. [163], [167] note 1
Rispetti, meaning of the term, iv. [264];
common character of, throughout Italy, [266];
question of their first origin, [267];
their antiquity, [268];
their themes, [272];
purer in the country than in the towns, [272]
Ristoro da Arezzo, his Composizione del Mondo, iv. [36]
Robbia, Luca della, his work as a sculptor in Italian churches, iii. 78 note 1;
his bas-reliefs in glazed ware, 79;
unaffected by the Pagan spirit of the Renaissance, 135;
his genius contrasted with that of Ghiberti or Donatello, 148;
beauty of his work, 148-150;
Luca della, nephew of the sculptor, his account of his interview with Paolo Boscolo, i. [466], v. [519]
Robbias, the Della, successors of Luca in his manufacture of earthenware, iii. 150
Robert of Anjou, King of Naples, his patronage of Petrarch and Boccaccio, ii. 252, iv. [120] note 1
Robert of Geneva, i. [81]
Robert, illegitimate son of Pandolfo Sigismondo Malatesta, said to have poisoned the Florentine poet, Il Burchiello, iv. [260]
Roberto di Battifolle, poems of, iv. [165]
Roberto da Lecce, his preaching at Perugia and Rome, i. [614];
his attacks on Beccadelli's Hermaphroditus, ii. 256 note 1
Robusti, the (Tintoretto and his son), iii. 371
Rocchi, Cristoforo, his model for the Cathedral of Pavia, iii. 68;
the pupil of Bramante, 82
Rodolph of Hapsburg, his grant to the Papacy, i. [374]
Roland Legend, the: spread of the Roland Romances in Italy, iv. [13], [427];
in the upper classes gave place to the Arthur Legend, [17], [18];
preference of the popular writers for the episode of Rinaldo, [244];
reasons of this, [437];
the Chanson de Roland, [433];
historical basis of the myth, [434-437];
legend that Roland was son of a Roman prefect, [439] (cp. ii. 30)
Rolandino, the Chronicle of, i. [251]
Roman Empire, the old, its dissolution, i. [5];
its place taken by the Papacy, [6]
Roman Empire, the Holy, i. [41];
conflict of the Empire and the Papacy, [59], [60], [68], [97], [100], [374], iv. [6];
power of the Imperial idea, i. [97]
Romances of the Quattro Cento, iv. [244-249];
their positive tone, [248]
Romanesque (Tuscan) Style, the, iii. 47, 49, 111, v. [504]
Romanino, Girolamo, iii. 503
Rome, not included in Theodoric's kingdom, i. [46];
effect of this, [47], [49], [93];
address of the Roman Senate to the Emperor Frederick, [65], iv. [13];
prestige of the name of Rome, i. [92], ii. 57;
Sack of Rome, i. [222], [444], ii. 443, iii. 414, 438, 455, iv. [2];
—— universally recognized as a judgment on its sins, i. [446], ii. 445;
sufferings of the learned in the Sack of Rome, 443, v. [357];
government of Rome in the middle ages, i. [375];
the Romans welcome the accession of Alexander VI. to the Papacy, [407];
state of Rome under Leo X., [437];
pageants at the reception of the head of S. Andrew at Rome, [461], iv. [316];
profligacy of Rome, i. [474], ii. 217, 405-407, v. [190], [386];
effect of the study of the ruins of Rome on the Renaissance, ii. 142 foll., 429 foll. (cp. iii. 48 note 1);
culture flourished less at Rome than Florence, ii. 215, iv. [364], [366], v. [499];
place of Rome in literature and art, i. [79], iii. 181 note 1, 184;
early Roman printers, ii. 368, 405;
reasons for the pre-eminence of Rome in the fourth age of culture, 440;
occupation of the old Roman buildings by the various great families, iii. 46;
Gothic architecture never much practised at Rome, 46;
Cellini's description of Rome under Clement VII., 452;
protection of assassins in Papal Rome, 459;
representations of Plautus and Terence in the original at Rome, v. [138]
—— S. Clemente, Masaccio's fresco of St. Catherine, iii. 229;
S. Maria sopra Minerva, Filippino Lippi's Triumph of S. Thomas, 207, 248;
the Christ of Michelangelo, 414;
S. Maria delle Pace, Raphael's frescoes, 334;
S. Maria del Popolo, Raphael's mosaics, 79 note 3, 334;
S. Maria in Trastevere, Mino's tabernacle, 158 note 1;
S. Peter's, plan of Nicholas V., i. [379], iii. 90;
commenced by Julius II., i. [433], iii. 90;
built with money raised from indulgences, i. [439];
Michelangelo's dome, iii. 88;
the various architects employed, 90-93;
Bernini's colonnade, 93;
the Bronze Gates (by Filarete), 108, v. [424];
Giotto's mosaic, iii. 190;
Michelangelo's Pietà, 389, 420;
S. Pietro in Vincoli, Michelangelo's Moses, 399, 340, 420, 422
—— Sistine Chapel, the, building of, i. [384] note 1;
Michelangelo's frescoes, iii. 403-423. (See [Buonarroti, Michelangelo].)
—— Cancelleria, the, by Bramante, iii. 82;
Villa Farnesina, by Baldassare Peruzzi, 83, 84, 334;
Villa Madama, by Raphael and Giulio Romano, 83;
Pandolfini, by Raphael, 83;
Vidoni, by Raphael, 83
—— Academy, the, founded by Pomponius Lætus, ii. 361, 365, 409, v. [272];
representations of Plautus and Terence in the original by the Academy, v. [138]
—— High School, the (the Sapienza), established by Boniface VIII., ii. 117;
reformed by Leo X., 426;
reasons why it did not rival other Italian universities, 426
Roman School of Painting, the, iii. 183;
reason of its early decadence, 490-492
Romeo and Juliet, story of, i. [74];
treatment of the story by Bandello and Shakspere compared, v. [71]
Romualdo, S., legend of, ii. 339
Rondinelli, Giuliano (or Andrea), the Franciscan chosen to undergo the ordeal of fire with Fra Domenico, i. [533] note 1
Rossellino, Antonio, delicacy and purity of his work, iii. 154;
his monument to the Cardinal di Portogallo, 153;
Bernardo, his monument to Lionardo Bruni, ii. 186, iii. 158 note 2
Rossi, the, at Parma, how they acquired despotic power, i. [112], [114];
overthrown by the Visconti, [145];
reappear after the death of Gian Galeazzo, [150]
Rossi, Porzia de', the mother of Tasso, v. [298];
Roberto de', a scholar of Giovanni da Ravenna, ii. 100;
one of the society in S. Spirito, 102;
visits Chrysoloras at Venice, 109;
learns Greek of him, 110
Rosso de' Rossi, his visit to the Court of France, iii. 445, 498;
his frescoes at the Annunziata, Florence, 498 note 1
Rubens, his transcript of the Battle of the Standard, iii. 145, 321;
his transcript of Mantegna's Triumph of Cæsar, 274, 321 note 1;
compared with Paul Veronese, 372
Rucellai, Bernardo, opens the Rucellai Gardens to the Florentine Academy, v. [236];
Cipriano, his friendship with Palmieri, [549];
Giovanni, his Api, ii. 471, v. [236];
his tragedy of Rosmunda, v. [129], [236];
the Oreste, [133];
compared with the Rosmunda, [134];
his friendship with Giangiorgio Trissino, [236];
Palla, [236]
Rucellai Gardens, the, Machiavelli's discourses there, i. [293], [328], ii. 366, v. [236], [239];
Rucellai's Rosmunda acted before Leo X. there, v. [129]
Ruggieri, Fra, leader of mercenaries in Southern Italy, i. [156]
Ruggieri Pugliese, shows in his Lament traces of genuine Italian feeling, iv. [26]
Ruscelli, Girolamo, his Capitolo on the Spindle, v. [365]
Rusconi family, the, at Como, i. [150]
Rustici, Giovanni Francesco, festivals organised by him, v. [115]
Rusticiano of Pisa, his French version of Marco Polo, iv. [35]
SABADINO, his Porretane, v. [60]
Sabbatini, Andrea, the scholar of Raphael, iii. 490
Sabellicus. (See [Coccio].)
Sacchetti, Franco, his Novelle, iv. [148];
composed in the vernacular Tuscan, [148];
their value as a picture of manners, [149];
comparison between Sacchetti, Masuccio, and Boccaccio, [179];
Sacchetti as a poet, [154-156];
his funeral Ode for Petrarch, [137] note 1;
for Boccaccio, [137];
his political poems, [161], [163];

his Ballata, O vaghe montanine pasturelle, [155], [262], [305];
his admiration for Boccaccio, [148]
Sacre Rappresentazioni, the, i. [477] note 1, [480], iv. [172];
contained the germs of a national theatre, iv. [306], v. [109], [136];
took their origin from the religious practices of the Laudesi, iv. [307];
their relation to the Northern Miracle Plays, [312];
mode in which they were represented, [313];
theory that they arose from a blending of the midsummer festivals at Florence and the Divozioni, [314-320];
their form, [321], v. [182] note 2;
their religious character, iv. [323], v. [112], [519];
their scenic apparatus, iv. [324-327];
how far illustrated from contemporary works of art, [327] note 1, [338], [340], [343];
analysis of the play of S. Uliva, [327-330], [351];
translation of the Dirge of Narcissus and the May Song, [328];
universality of the legend upon which it is founded, [351], [353];
subjects of other plays which have been preserved, [331];
analysis of the play of Mary Magdalen, [331-337];
translation of Christ's Sermon, [333-336];
the Figliuol Prodigo, [337];
elements of comedy in the sacred dramas, [337] note 3;
their treatment of Mary and the Magdalen, [339];
dramas dealing with monastic legends, [341-343];
lack of the romantic element, [343];
show less maturity than the contemporary works of art, [346];
their interest as illustrating Italian imagination, [347], v. [54];
analysis of Teofilo, the Italian Faust, iv. [347-349];
analysis of the Rè Superbo and Barlam e Josafat, [349];
the Stella, Rosana, and Agnolo Ebrao, [353-355];
the three Pilgrimage Plays, [355-357];
failure of the sacred dramas to create a national theatre, [357], v. [112]
Sacrificio, El, a masque played at Siena, v. [143] note 2
Sadoleto, Jacopo, cited for the prevalent belief that the Sack of Rome was a judgment of God on the city, i. [446], ii. 416;
made a Cardinal, ii. 402, 416;
his rise into greatness, 403;
his entertainments of the Roman Academy, 409;
his poem on the Laocoon, 415, 432, 496;
his gravity and sincerity of character, 416;
his friendship with Vittoria Colonna, v. [292];
his 'Commentary on the Romans' placed on the Index, ii. 416
Salaino, Andrea, the favourite pupil of Lionardo da Vinci, iii. 317, 484
Salerno, University of, ii. 117
Salimbene, Fra, his Chronicle of Parma, i. [251];
his account of Frederick II., iv. [21]
Salimbeni, the, at Siena, v. [99]
Salutato, Coluccio, his 'Letters' quoted for the influence of Petrarch on Boccaccio, ii. 90 note 1;
their value, 104 note 1;
their contemporary influence, 104, 531, iv. [175];
his importance as a stylist, ii. 103-105;
one of the circle in S. Spirito, 102;
his patronage of learning, 106, 230;
translates Dante into Latin verse, 103, 106, 449;
causes Petrarch's Africa to be published, 104 note 1, 106;
his invective against the copyists, 130;
saw the desirability of forming public libraries, 166;
his poems, iv. [165]
Salviati, Archbishop of Pisa, his share in the Pazzi Conspiracy, i. [397], [398]
Salviati, Caterina, wife of Nerli, i. [290]
Salviati, Francesco, mentioned by Doni as scene-painter at a representation of comedy in Florence, v. [144] note 4
San Gemignano, Savonarola at, i. [507];
the towers of, [507], iii. 58;
Gozzolo's frescoes, i. [507], iii. 242, v. [54];
Ghirlandajo's frescoes, i. [507], iii. 259;
Da Majano's bas-reliefs, iii. 160
Sancia, Donna, wife of the youngest son of Alexander VI. by Vanozza Catanei, i. [418]
Sanga, Battista, the secretary of Clement VII., v. [380];
addressed by Berni in the suppressed stanzas of the rifacimento of the Orlando Innamorato, [379], [380]
Sanmicheli, Michele, his work as an architect at Verona, iii. 86
Sannazzaro, Jacopo, facts of his life, v. [198];
a member of the Roman Academy, ii. 361;
of the Neapolitan, 363, v. [198];
his friendship with Pontanus, ii. 363, v. [198];
representation of him in the Church of Monte Oliveto at Naples, ii. 365, iii. 164, v. [198];
frigid purism of his De Partu Virginis, ii. 398, 468, 470 (cp. v. [249]);
criticism of Lilius Gyraldus upon it, ii. 469 note 1;
his Latin poems, 468, v. [198-201];
his epigrams on the Borgia and Rovere families, ii. 469, v. [199];
preferred Fracastoro's Syphilis to his own epic, ii. 477;
translation of one of his sonnets, v. [200];
his Arcadia, [202];
first gave form to the Arcadian ideal, [197];
its mixture of autobiography and fable, [202];
idyllic beauty of the episodes, [202];
its art illustrated by the paintings of Mantegna, [203];
by the Quattro Cento painters in general, [204], [207];
its literary style, [203];
representative of the spirit of the Renaissance, [202];
translation of the description of the 'Shrine of Pales,' [205-207];
of the portrait of Amaranta (Carmosina Bonifacia), [207-209];
of the description of the nymphs and shepherds, [209];
of pictures of inanimate nature, [209];
of Carino's Lament, [210];
the Arcadia the model of Sir Philip Sidney's work, [211];
the poetical portions, [211];
translation of a Sestine, [212]
Sanseverini, the, of Rome, Pomponius Lætus said to have been related to them, ii. 33, 359;
their ruin, v. [298]
—— Ferrante, Prince of Salerno, takes Bernardo Tasso into his service, v. [298]
Sansovini, the, their work as sculptors and bronze founders in Italian churches, iii. 78 note 1
—— (1) Andrea Contucci di Monte Sansavino:
his tombs of Ascanio Sforza and Girolamo della Rovere, iii. 156;
straining after effect in his work, 156, 166;
—— (2) Jacopo Tatti, called Il Sansovino: his work as an architect at Venice, iii. 85, 167, 355;
the Library of St. Mark's, 85, 167;
the friend of Titian and Aretino, 167, 168, v. [398], [409];
bravura character of his works in sculpture, iii. 167;
his bronze door of the sacristy of St. Mark, 168, v. [424];
his Bacchus, illustrating the supremacy of pagan motives in the art of the Renaissance, iii. 169;
story of the model who sat for the Bacchus, 233
Santi, Giovanni (father of Raphael), his Chronicle cited, i. [166] note 3;
written in the metre of the Divine Comedy, iv. [172];
his character of Desiderio, iii. 160;
his Madonna, with portraits of his wife and the infant Raphael, 330
Sanudo, a member of the Aldine Academy, ii. 387;
his diary cited for the wealth of the Venetian nobles, i. [235] note 1;
for the disorders caused by the sensuality of Alexander VI., [417] note 1;
for the belief that Alexander died of poison, [429], [430];
for the story that Alexander had sold his soul to the devil, [431];
for the gluttony of the prelates, [479] note 1;
for the pay of jurists in Italian universities, ii. 121;
for the shows at Ferrara on the marriage of Lucrezia Borgia, v. [141] note 2
Sappho, lines on Fame, translated, ii. 40
Saronno, church of, Luini's frescoes, iii. 485-487;
Ferrari's frescoes, 488
Sarto, Andrea del, his visit to the Court of France, iii. 445;
qualities of his colouring, 497;
his pictures wanting in depth of thought and feeling, 497;
creates an epoch in Florentine art, 496, 498
Sarzana, surrender of, by Pietro de' Medici, i. [559]
Satire in the Middle Ages, iv. [108];
in Italy at the Renaissance, v. [310], [381]
Sauli, Stefano, the friend of Flaminio, ii. 501;
his Genoese origin, illustrating the loss of literary supremacy by Florence, 506
Savelli, the, at Rome, i. [375]
Saviozzo da Siena, his political poems, iv. [161];
his commentary upon the Divine Comedy, [163]
Savonarola, his treatise on the Government of Florence, i. [128] note 1, [277], iii. 265, 392 note 1, iv. [386];
the author of the Florentine Constitution of 1494, i. [202], [222], [526];
proclaims Christ the Head of the State, [222], [526], iii. 214, 308;
his hostility to the Parlamento, i. [230] note 1, [526];
his Constitution came too late to save the city, [231];
his admiration of the Venetian polity, [234];
influence of his prophecies at the siege of Florence, [284], [290], [518], [536];
Guicciardini's account of him, [304], [308];
criticism of him by Machiavelli, [345];
Savonarola and Machiavelli contrasted, [368];
confined himself to the reformation of morals, and shrank from the imputation of heresy, [454], [499];
objected to classical learning on the ground of its worldliness, [456] note 1, [499], [505], [506], ii. 326, 396, 516;
his opposition to the arts, iii. 24, 29 note 1, 265, 310;
his denunciations of the Papacy, i. [530];
his testimony to Florentine profligacy, [475], [477] note 1, [480];
story of his life—his boyhood, [499];
takes the cowl, [501];
his account of his vocation, [501];
goes to Florence, [503];
sent to San Gemignano, [506];
his first success at Brescia, [508];
his appearance and style of preaching, [508-514] (cp. iii. 309 note 2);
believed in his own gift of prophecy, 512 note 1;
his visions, 515;
how far he was guided by them, 518;
his error in teaching the Florentines to look for foreign aid, 518;
recalled by Lorenzo de' Medici, 521;
his opposition to Lorenzo, 521;
called to Lorenzo de' Medici's deathbed, 523;
his activity takes a political turn, 524, iv. [384];
the Bonfire of Vanities, i. [527], iv. [392];
his influence begins to decay, i. [529], [531];
his contest with Alexander VI., [529];
weakness of his position in not breaking with Rome, [530], [622];
writes letters summoning a European council, [532];
his letter to Alexander, [532];
the ordeal by fire, [533];
his imprisonment, torture, and death, [533-535];
his canonisation proposed, [535]
Savonarola, Michael, his 'Panegyric of Padua,' quoted for the teaching of perspective in Padua, iii. 236
Savoy, the House of, i. [52], [57], [110], [146] note 1
Scala family, the, how they acquired their power, i. [111];
violent deaths among them, [120], [145];
their tombs at Verona, iii. 124, 163
Scala, Alessandra, Poliziano's wooing of her, ii. 344;
—— Bartolommeo, raised by the Medici from a low station, 344;
his quarrel with Poliziano, 344
Scala, Can Grande della, i. [145];
Mastino della, [145]
Scaliger, Julius Cæsar, his character of Aldo Manuzio (the grandson), ii. 389;
his criticism of Fracastoro's Syphilis, 477
Scamozzi, Vincenzo, character of his architectural work, iii. 96;
his 'Universal Architecture,' 96 note 1
Scandiano, the fief of Boiardo, iv. [456], [457]
Scardeone, Bernardino, describes Odassi as the inventor of Maccaronic verse, v. [329] note 3
Scarparia, Giacomo, journeys to Byzantium with Chrysoloras, ii. 109
Schiavo da Bari, the, his Aphorisms iv. [240]
Scholarship, state of, in the middle ages, ii. 58 foll.
Science, opposition between science and religion, i. [16];
modern science dates from the Renaissance, [16], [17]. v. [483], [491]
Scotti, the, at Piacenza, how they acquired power, i. [112];
overthrown by the Visconti, [145];
reappear after the death of Gian Galeazzo, [150]
Scoronconcolo, the murderer employed by Lorenzino de' Medici against his cousin Alessandro, v. [118]
Scotus, Duns, v. [467], [468]
Scrofa, Camillo, author of the I Cantici di Fidentio Glottogrysio Ludimagistro, v. [328]
Sculpture, why Sculpture yielded to painting in the modern era, iii. 8, 12-21, 31, 120;
the handmaid of architecture, 101;
took a pictorial form with the Italians, 121, 132, 161, 177, 195;
necessarily assumes a subordinate position in Christian architecture, 122;
influence of goldsmith's work over the Florentine sculptors, 126;
the three periods of Italian sculpture, 177;
more precocious in its evolution than painting, 225
Sebastian del Piombo, influence of Michelangelo on his work, iii. 493;
his friendship with Berni, v. [363]
Sebastian of Pontremolo, an early printer, ii. 376
Segni, Bernardo, belonged to the neutral Medicean party, i. [289];
his Florentine History, [278], [279];
its character and value, [292];
his knowledge drawn from practical life, [231], [280];
his account of Savonarola's legislation at Florence, [197] note 1, [526] note 1;
cited for the story of Jacopino Alamanni, [211];
for the factions of Siena, [207] note 2;
for the dedication of Florence to Christ, [222] note 1;
his description of the Parlamento at Florence, [230] note 1;
cited for the corruption of Florence, [231];
for the conduct of the Florentine exiles, [236];
his account of Guicciardini, [299] note 2;
of Giovanni Bandini, [477] note 1
Senarega, cited for the expulsion of the Jews by Ferdinand, i. [400] note 2, [401]
Senato, name of a council in some Italian cities, i. [35]
Senator, supreme official in the Roman republic, i. [35]
Seneca, influence of his tragedies on Italian playwrights, v. [127] note 1, [130], [132] note 1, [135]
Sercambi, Giovanni, his Novelle, iv. [150] note 1
Sereni, the, an Academy at Naples, ii. 366
Serfs, gradual emancipation of the, i. [66]
Sermini, Gentile, his Novelle, v. [60], [97];
story of Anselmo Salimbeni and Carlo Montanini, v. [99]
Sermintese, a form of Italian poetry adapted from the Provençal, iv. [160], [257] note 1
Sesto, Cesare da, the scholar of Lionardo da Vinci, iii. 484
Sforza, Anna, the wife of Alfonso d'Este, v. [140];
Ascanio, Cardinal, i. [163], [405], [565];
his monument by Sansovino, iii. 156;
Caterina Riario (wife of Girolamo Riario), 160 note 1, 390;
Francesco, 86, 88;
enters Milan as conqueror, 87, 154, 163, ii. 281;
supported by Cosimo de' Medici, i. [91], [155];
acquired his despotism as leader of Condottieri, [113] note 1, [153], [160], [163], [361], [364];
the son of a peasant, [116], [153], [160] note 1;
treatment of his history by Machiavelli, [345];
his patronage of Filelfo, ii. 38, 282 (cp. 511);
his hospital at Milan, iii. 59;
Galeazzo, his assassination attempted by Girolamo Gentile, i. [168];
Galeazzo Maria, [165];
his assassination, [163], [166], [397] note 2, [543];
his intrigue with Pietro Riario, [392];
Giovanni Galeazzo, [543];
murdered by his uncle Lodovico, [163], [480] note 2, [555], v. [118];
doubts about his murder, i. [556] note 1;
Lodovico, debt of the Milanese School of Painting to him, [79];
invites the French, [89], [90], [164], [538], [542], [546];
poisons his nephew, [163], [480] note 2, [555], v. [118];
imprisoned in Loches, i. [547];
attempt to assassinate him, [397] note 2;
his usurpation of power, [543], [548];
origin of his surname Il Moro, [547];
his character, [548];
joins the League of Venice against Charles, [576];
representations of Latin plays before him by the Ferrarese actors, iv. [498], v. [140]
Sforza (of Pesaro), Alessandro, his patronage of learning, ii. 302;
Costanzo, his patronage of learning, 302;
Giovanni, the husband of Lucrezia Borgia, i. [420]
Sforzeschi, the, mercenary troops, i. [160], [362]
Shakspere: his treatment of the story of Romeo and Juliet compared with Bandello's, v. [71];
was probably acquainted with Bandello's Novella of Nicuola and the comedy Gli Ingannati before writing the Twelfth Night, [72]
Shelley, quoted to illustrate the character of Venetian landscape, iii. 350;
his opinion of the Orlando Furioso, v. [41] note 1
Sicilian period of Italian literature, iv. [20];
period during which it flourished, [21], [27];
character of the dialect used by the Sicilian poets (the lingua aulica), [22];
artificial nature of this poetry, [25];
translated into Tuscan idioms, [41], [42], [268];
traces of popular feeling in it, [26], v. [504];
its intrinsic weakness, iv. [44]
Sicilies, Kingdom of the Two, united by Frederick II. to the Empire, i. [68];
given by the Papacy to Charles of Anjou, [75]
Sidney, Sir Philip, his ideal of a classic drama, v. [111], [136];
his praise of the tragedy of Gorboduc, [132] note 1, [136];
took Sannazzaro's Arcadia as the model of his own work, [211]
Siena, produced no great work of literature, i. [79];
generally Ghibelline, [194] (cp. [iv. 161]);
discords of Siena, [207-209], [616], ii. 164, iii. 212, 213, 220;
distinguished by religious revivals as well as by factions, i. [620] note 1, iii. 183, 220 (cp. [iv. 281]);
the Sienese bury a statue of Venus in the Florentine territory, ii. 433, iii. 212;
architecture of the Sienese palaces, iii. 60;
independent origin of painting in Siena, 214;
the Sienese dedicate their city to the Virgin, 214, 357;
pageants at Siena in honour of S. Bernardino, iv. [315];
luxury of Siena in the middle ages, v. [96]
—— S. Bernardino, Pacchia's paintings, iii. 501;
S. Domenico, Guido da Siena's Madonna, 214;
Sodoma's S. Catherine at the Execution of Tuldo, 500;
Duomo, the, contrasted with Northern cathedrals, 54;
its façade (by Giovanni Pisano), 110;
its mosaic pavements, 209, 502, iv. [130];
Duccio's altarpiece, iii. 215;
Pinturicchio's frescoes (in the Library), 302;
Church of Fontegiusta, Peruzzi's Augustus and the Sibyl, 501;
Monte Oliveto, Fra Giovanni's wood-carvings, 78 note 2;
Signorelli's Soldiers of Totila, 286;
Sodoma's frescoes, 499, iv. [132], [343], v. [54]
—— Palazzo Pubblico, iii. 61;
Taddeo di Bartolo's frescoes, 209;
Ambrogio Lorenzetti's frescoes, 210;
Simone Martini's Virgin enthroned, 217;
comparison of its decorations with those of the Ducal Palace, Venice, 359
—— University, the: receives a diploma from Charles IV., ii. 118
—— Sienese School in Painting, the, characteristics of the early Sienese masters, iii. 214, 216;
the scholars of Sodoma, 501
Sigismund, the Emperor, crowns Beccadelli poet at Siena, ii. 255;
Filelfo's mission to him at Buda, 268;
pageant in his honour at Lucca, iv. [315]
Signorelli, Luca, his studies from the nude illustrate the changed direction of art, iii. 23, 279, 292;
his frescoes at Orvieto, iii. 56, 280, 281, 282, iv. [414] note 1;
the arabesques, ii. 440, iii. 283;
boldness and vigour of his genius, iii. 279;
indebtedness of Michelangelo to him, 279;
story of his painting his dead son, 280;
his study of human form, 285, 288;
his four types of form, 286, 288;
his quality as a colourist, 289;
the Last Supper at Cortona, 289, 326 note 1;
his treatment of mythology compared with that of other painters, 289-291;
said by Michelangelo to have treated him badly, 292 note 1;
his visit to the Vasaris at Arezzo, 293;
Vasari's character of him, 293;
competes for the decoration of the Stanze of the Vatican, 300
Simone, his bas-reliefs at S. Francesco, Rimini, iii. 162
Simonetta, Cecco, his execution by Lodovico Sforza, i. [543], [548]
Simonetta, La Bella, v. [230];
her relation to Giuliano de' Medici, iv. [403], [406] note 1 (cp. [420-422]);
her portrait by Botticelli, [406] note 1;
painted by Lippo Lippi in his frescoes at Prato, [422]
Simony of the Cardinals at Rome, i. [404], [406]
Simplicity of character, as contemptible in Italy as in Greece during the Peloponnesian war, i. [324]
Sinigaglia, Massacre of, i. [324], [347], [427], [462]
Sismondi, i. [64];
his special pleading for Republican institutions, [78], [115];
his description of Gian Galeazzo, [144];
quoted about the Condottieri, [159];
his account of the withdrawal of the Florentines from military service, [226];
on the Venetian Council of Ten, [234] note 1;
his argument that Italy would have been best off under a confederation, [538] note 1;
his calculation of the decline in number of the free citizens in Italy, [547] note 1
Sitibondi, the, an Academy at Bologna, ii. 366
Sixtus IV., his avarice, sensuality, and brutality, i. [105], [113], [393-396], iii. 146;
his low origin, i. [116], [388];
abettor of the Pazzi conjuration, [168], [396-398], iv. [447], v. [118];
his services to art, i. [384] note 1;
amount of truth in the stories about him, [388] note 1;
began the system of founding principalities for his family, [389];
his wars, [395];
his share in the creation of the Inquisition and the expulsion of the Jews, [399-402];
invites Filelfo to Rome, ii. 285;

opens the Vatican Library to the public, i. [384] note 1, ii. 227, 359;
his destruction of ancient monuments at Rome, 430;
dies of disappointment and rage, i. [396];
his monument by Antonio del Pollajuolo, iii. 147
Smarriti, the, an Academy at Faenza, ii. 366
Soardi Family, the, at Bergamo, i. [150]
Soderini, Antonio, i. [202], [289], [308], [313] note 1;
Cardinal, [414];
concerned in Petrucci's conspiracy, [437]
Soderini, Piero, Gonfaloniere of Florence, i. [289], [314], iii. 308, iv. [393];
Machiavelli's epigram upon him, i. [324], iii. 391;
aids in the reconciliation of Michelangelo with Julius II., iii. 402
Sodoma, competes for the decoration of the Stanze of the Vatican, iii. 300;
his Sebastian, an instance of the introduction of pagan ideas into Christian art, 34, 501;
his Marriage of Alexander, illustrating his treatment of the antique, 291;
studied both under Lionardo da Vinci and Raphael, 499;
inferiority of his later manner, 500;
deficiency in composition of his pictures, 500
Soldanieri, Niccolò, his Lyrics, iv. [156]
Soleri, Anna, i. [581]
Sonnachiosi, the, an Academy at Bologna, ii. 366
Spaniards, cruelty of the, i. [478], ii. 441, 444
Sparta: comparison between Venice and Sparta, i. [234]
Spenser, his mistake in supposing the Orlando Furioso to be an allegory throughout, v. [21]
Speroni, Speron, v. [78];
his correspondence with Aretino, [410] note 1;
his tragedy of Canace, [130];
his pastoral poems, [224];
a passage quoted from his Dialogues to show the spirit in which the Italian purists worked, [252-256];
the Dialogo delle Lingue, [271] note 1
Spina, Bartolommeo di, takes part in the controversy raised by the publication of Pomponazzi's De Immortalitate Animæ, v. [461]
Spinelli, Matteo, doubtful authenticity of his Chronicle, iv. [36], [130] note 1, [415] note 1
Spinello, Aretino, the scholar of Giotto, iii. 197;
vigour of his work, 219;
his love of warlike subjects, 220;
various paintings of his, 219
Spino, Pietro, his Life of Bartolommeo Colleoni, iii. 144
Spirito, Convent of Santo, at Florence, Marsigli's Circle in, ii. 102
Spoleto, a Lombard Duchy, i. [48];
its fate, [48] note 1, [50]
Spoleto, the Cathedral: Filippo Lippi's frescoes, iii. 246
Squarcione, his school of art at Padua, iii. 236, 270
Stampa, Gaspara, v. [288]
Stefani, Marchionne, iv. [176]
Stefano da Bergamo, his tarsia work at Perugia, iii. 78 note 2
Stephani, the Estienne family of printers at Paris, i. [23], ii. 373, 383, 391;
Henricus (the younger) refuses his books to Casaubon, 390 note 3
Stephen II., invites the Franks against the Lombards, i. [50];
Stephen X., [60]
Storditi, the, an Academy at Bologna, ii. 366
Stornelli, meaning of the term, iv. [264];
their antiquity, [269];
their themes, [272];
purer in the country than in the towns, [272]
Strambotti, meaning of the term, iv. [264]
Straparola, Francesco, his Tredici piacevoli Notti, v. [60], [78], [102];
the Novella of the Devil and his Wife compared with Machiavelli's Belphegor, [102]
Strozzi, the, of Ferrara, iv. [457];
their panegyrics of Lucrezia Borgia, i. [422]
—— Ercole, his elegies, ii. 497;
advocates the sole use of Latin against Bembo, 414, v. [259];
assassinated, i. [423];
Lucia, mother of Boiardo, iv. [457]
Strozzi, the, at Florence, i. [210] note 2
—— Alessandra, her Letters, iv. [176], [190] note 1, v. [190];
Filippo (1), account of his building the Palazzo Strozzi, iii. 77 note 1;
Filippo (2), leader of the Florentine Exiles, i. [211], [237], [280];
general agreement of the historians upon his character, [285], [287];
advises Lorenzo de' Medici (Duke of Urbino) to make himself Duke of Florence, [286];
his vices and inconsistent conduct, [286];
his death, [287];
Marietta di Palla, Desiderio's bust of her, iii. 159;
Palla, a scholar of Giovanni da Ravenna, ii. 100;
aids Salutato to found the Chair of Greek at Florence, 106, 109;
learns Greek from Chrysoloras, 110;
his patronage of learning, 165, 223;
first collects books to form a public library, 166;
exiled by Cosimo de' Medici, 167, 170;
Pietro, story of his threat to assassinate Aretino, v. [406]
Sulmona, traditional reverence for Ovid there, ii. 30, iv. [12]
Sulpizio da Veroli, his letter to Cardinal Riario mentioning the representations of Plautus and Terence at Rome, v. [139] note 1
Sweynheim, printer at Rome, ii. 368
Sylvius, Æneas. (See [Pius II.])
Syncerus, Accius. (See [Sannazzaro].)
Syphilis, first noticed in Charles' army at Naples, i. [567], [567] note 1, ii. 477
TADDEO DI BARTOLO, iii. 216;
his frescoes in the Palazzo Pubblico, Siena, 209;
his Visit of the Apostles to the Virgin, in S. Francesco, Pisa, 218
Talento, use of the word, in early Italian writers, iv. [106]
Tansillo, Luigi, his pastoral poems, v. [224]
Tardolus, Laomedon, tortured by the Spaniards at the Sack of Rome, ii. 445
Tarlati di Pietra Mala, Bishop Guido dei, i. [83];
his tomb, iii. 210 note 2
Tasso, Bernardo (father of the poet), the story of his life, v. [297];
his Letters and Miscellaneous Poems, [299];
Aretino's criticism of the Letters, [411];
his Amadigi, [299];
failed to gain popular applause, [299];
his Floridante, [300] note 1;
Torquato, his ascription of part of the Morgante to Ficino, iv. [455] note 3;
his genius representative of the Counter-Reformation, [464], v. [2];
his censure of Ariosto's inductions, v. [23];
contrast of Ariosto and Tasso, [44];
the Aminta with Guarini's Pastor Fido, the perfection of the Italian pastoral drama, [114], [223], [241];
completes the Italian reaction against the middle ages, [244];
the most original dramatic works in Italian, [511];
essentially lyrical nature of the Aminta, [511];
its opposition of an ideal world of freedom to the world of laws, [242];
the chorus on the Age of Gold, illustrative of Italian ideas of honour, i. [486], v. [243]
Taxes, farming of, at Perugia, i. [86] note 1
Tebaldeo, Antonio, his Pastoral Poems, v. [224], [282] note 3
Tedaldi, Pieraccio, his Sonnet on Dante, iv. [162];
discouragement expressed in his poems, [165]
Telesio, v. [449];
Telesio and Campanella, [483];
his importance in the history of thought, [483-485], [500], [518]
Ten, Council of, at Venice. (See [Council of Ten].)
Terence, influence of, on the Italian playwrights, v. [122], [136], [145], [181];
representations of, in the original, at Rome, [138];
at Ferrara, [139-142];
early translations of Terence, forming the beginning of Italian comedy, [140]
Terra Cotta, beauty of Italian, iii. 79, 151, 163
Terracina, Laura, v. [288]
Terzi, Ottobon, i. [150], [151];
assassinated, [120]
Tessiras, a scholar of Poliziano, ii. 350
Theatres, the lack of permanent theatres a hindrance to national drama in Italy, v. [144];
the first, that built by order of Alfonso I. at Ferrara, iv. [499], v. [144];
theatre built by Leo X. at Rome, v. [144];
the Teatro Farnese at Parma, [144]
Theodoric, reign of, i. [46], [47], [51]
Thomas of Aquino, S., the Summa, i. [60], v. [450], [468];
teaching of S. Thomas on the soul, v. [469]
Thucydides, his account of Greek morality compared with the state of Italy at the Renaissance, [325]
Tiburzio, conspiracy of, at Rome, i. [386]
Tiepolo, conspiracy of, at Venice, i. [217] note 1, [218]
Tifernas, Gregorios, translates the Ethics for Nicholas V., ii. 229
Tintoretto [Jacopo Robusti], his sense of beauty, iii. 377;
compared with Titian and Veronese, 378;
inequality of his work, 379;
character of his genius, v. [46];
his Bacchus and Ariadne, illustrating his treatment of the antique, iii. 291;
his Paradise in the Ducal Palace, 358;
his vehemence and imaginativeness, 369, 370, 375;
his preference of subjects more properly belonging to poetry, 376;
story of his offering to paint Aretino's portrait, v. [406]
Titian, his portrait of Cardinal Ippolito de' Medici, ii. 27;
sensuousness of his work, iii. 25;
the friend of Sansovino and Aretino, 167, 168, v. [398], [409];
a letter of his quoted for the project of making Aretino Cardinal, v. [405] note 2;
his Bacchus and Ariadne, illustrating his treatment of the antique, iii. 291;
perfect balance of his powers, 370, 379;
the Three Ages of Man, v. [522];
the Assumption of Madonna, iii. 380
Todi, S. Maria della Consolazione (by Bramante), iii. 82;
birthplace of Jacopone, iv. [285]
Tolommei, Claudio, his Cesano, v. [271] note 1
Tommaso, a Dominican monk, his preaching at Milan, i. [621]
Tommaso (son of Andrea da Pontedera), iii. 123
Tommaso da Sarzana. (See [Nicholas V.])
Tornielli Family, the, of Novara, i. [145]
Torquemada, i. [400]
Torrensi, the, or Della Torre family, at Milan: their rise to power, i. [112];
their downfall, [132], [136]
Torriani, the, of Verona, ii. 506
Torrigiani, his account of Michelangelo's scornfulness, iii. 386 note 2;
his quarrel with Michelangelo, 432, 445;
invites Cellini to accompany him to England, 444;
Cellini's description of him, 445;
his death, 445
Torrigiani, Marchionne, poems of, iv. [164]
Tortello, Giovanni, librarian to Nicholas V., ii. 229
Tortosa, the Cardinal of. (See [Adrian VI.])
Tourneur, Cyril, the plots of his dramas compared with real events in Italian history, v. [117], [118]
Towns, buying and selling of, i. [114], [134], [148]
Traini, Francesco, his Triumph of S. Caterina, Pisa, iii. 207
Translations of the classics, executed by command of Nicholas V., ii. 228
Trapezuntius, Georgios, teaches Greek in Italy, ii. 210;
employed by Nicholas V. in translating Plato and Aristotle, 228;
his quarrel with Valla, 242, 263;
his fight with Poggio, 243;
his controversy with Bessarion, 247
Traversari, Ambrogio (Il Camaldolese), his account of Vittorino's system of education, i. [177];
a scholar of Giovanni da Ravenna, ii. 100;
learns Greek from Chrysoloras, 110;
cited for the high pay of the copyists, 130;
his distraction between scholarship and the claims of the Church, 193-195;
cited in proof of Poggio's account of Filelfo's marriage, 269 note 1;
the only great monastic scholar of the Renaissance, 517;
one of the best class of Humanists, 523
Tremacoldo, his murder of the Vistarini, i. [148] note [1]
Treviso, culture of the Trevisan Court, iv. [6], [15]
—— Monte di Pietà, The Entombment (by Giorgione?), iii. 367 note 2
Tribune, name of magistrate in some Italian cities, i. [35]
Trifone [Trifone Gabrielle], i. [233], v. [78], [253] note 1
Trinci, the, at Foligno, massacres of the, i. [121], [122]
Trissiniana, La, an Academy founded by Giangiorgio Trissino, v. [302]
Trissino, Ciro (son of Giangiorgio Trissino), v. [303];
murdered, [305];
Giangiorgio, story of his life, [300];
the pupil of Demetrius Chalcondylas, [301];
his magnificence and studious retirement, [302];
always attracted to Court life, [303];
his quarrel with his son Giulio, [303-305];
inserts a virulent satire on his son in his Italia Liberata, [304];
accuses him of heresy in a codicil of his will, [304];
his device of the Golden Fleece, [305];
his Italia Liberata, [126], [127], [306];
its dulness and unpoetical character, [307], [520];
compared with Milton's Epics, [308];
his Sofonisba, the first Italian tragedy, [126], [236], [301], [305];
its correctness and lifelessness, [127];
his comedy, the Simillimi, [305];
his testimony to the corruption of Rome, [190], [303];
his friendship with Giovanni Rucellai, [236];
his orthographical disputes with Firenzuola, [271], [306];
his Poetica, [306];
discovers the De Eloquio of Dante, [306];
Giulio (son of Giangiorgio Trissino), his quarrel with his father, [303], [325] note 2;
denounced as a heretic by his father in his will, [304];
condemned by the Inquisition and dies in prison, [304]
Trivulzi, Giovan Jacopo da, i. [552], [573]
Tuldo, Niccolò, story of his execution as related by S. Catherine of Siena, iv. [174]
Tullia di Aragona, the, poetess, v. [288]
Turini, Baldassare, ii. 405
Turks, descent of the, upon Otranto, i. [399], [572] (cp. v. [122])
Turpin, the Chronicle of, iv. [432]
Tuscan, superiority of, to other Italian dialects, iv. [31];
early recognition of this, [31]
Tyrannicide, popular estimation of, in Italy, i. [169];
influence of the study of antiquity in producing tyrannicide, [165], [466], [468], v. [414]
UBERTI, the, at Florence, their houses destroyed as traitors, iii. 63;
Fazio degli, his Dittamondo cited for a description of Rome in desolation, ii. 154, iv. [167];
character of the Dittamondo, iv. [166-168];
his Sermintese on the cities of Italy, [160];
his Ode on Rome, [160]
Uccello, Paolo, his study of perspective, iii. 225, 232;
his love of natural studies, 226, 231 note 1
Ugolini, Baccio, said to have composed music for the Orfeo, iv. [414]
Ugolino da Siena, his painting of the Madonna in Orsammichele, Florence, iii. 125
Uguccione da Fagiuola, tyrant of Lucca, i. [75] note 1, [112];
introduced in the frescoes in the Campo Santo, Pisa, iii. 203
Umbria,
distinguished by its pietism, i. [620] note 1, iii. 182, 220, iv. [281]
—— Umbrian School in painting, the, its originality, [182]
Umidi, Gli, an Academy at Florence, v. [79], [272];
Il Lasca and the Umidi, [79] note 2;
Doni once its secretary, [90]
Umorosi, the, an Academy at Bologna, ii. 366
Universities, Italian, their character, ii. 115;
number of foreigners attending them, 119;
liberality of the town governments to them, 119;
pay of professors in them, 120;
subordinate position of the Humanist professors in them, 123
Urban VIII., consecrates S. Peter's, iii. 93
Urbino, its position in Italian history, v. [498]
—— Castle of, iii. 59, 76;
wood panelling in, 78 note 2
Urbino, Dukes of, first dynasty (see [Montefeltro]);
second dynasty (see [Rovere]);
encouragement of the pottery works of Gubbio by the Princes of Urbino, i. [80]
VALDES, JOHN, his suicide during the Sack of Rome ii. 445
Valeriano, patronised by Ippolito de' Medici, ii. 405;
his De Literatorum Infelicitate quoted for the sufferings of the learned in the Sack of Rome, 443, 542 (cp. 530);
for the Latin periphrases employed by scholars, 397;
cited for Inghirami's eloquence, 425 note 1;
his work on hieroglyphics, 428
Valla, Lorenzo, the tutor of Ferdinand of Naples, i. [174];
his Declamation against the Donation of Constantine, [377] note 2, [386], ii. 260;
his stipend at Pavia, ii. 122;
his translations of Thucydides, Homer, and Herodotus, 228, 262;
appointed Apostolic Scriptor by Nicholas V., 229, 262;
his quarrel with Poggio, 240 note 1, 241, 263;
with Trapezantios and with Morando, 242, 263;
cited for Alfonso the Magnanimous' love of learning, 253;
his opposition to the Church, 258, 261;
the publication of the Elegantiæ brings him into fame, 259 (cp. 526);
invited to Naples by Alfonso, 261;
his appearance before the Inquisition, 262;
his dispute with Fazio, 263;
his character of Aurispa, 302 note 1;
the De Voluptate, v. [455], [457], [519]
Valori, Baccio, i. [230], [285];
Filippo, bears the expense of printing Ficino's Plato, ii. 326
Vandyck, Antony, his portrait of Cardinal de' Bentivogli, ii. 27
Van Eyck, John, his power of colouring, iii. 349;
comparison of his works with those of the Venetian masters, 361
Vanini, his execution, v. [478]
Vannucci, Pietro. (See [Perugino].)
Varallo, S. Maria delle Grazie, iii. 489;
the terra-cotta groups in the Sacro Monte, cited in illustration of the Sacred Drama, iv. [327] note 1
Varani, the, of Camerino, i. [111], [375];
massacre of them, [121], [164] note 1;
members of this family become Condottieri, [161]
Varano, Giovanni, his murder, i. [119] note 2;
Giulio Cesare, story of, [121];
murdered with three of his sons by Cesare Borgia, [122], [353], [427]
Varchi, Benedetto, his Florentine History, i. [278], [279];
employed by Duke Cosimo to write the work, [281];
its character and value, [293];
written in a liberal spirit, [289];
Varchi's labour in writing the History, [249] note 2;
his study of Tacitus and Polybius, [250] note 1;
account of the Florentine government, [195] note 1 (see also [Appendix ii. vol. i.]);
the Genoese constitution of 1528, 201 note 1;
Savonarola's legislation, 202 note 2;
the defects of the Florentine State, 204;
the population of Florence, 209;
censure of the Ordinanze della Giustizia, 225, 244;
the corruption of Florence, 231, 282;
Florentine intelligence, 232;
the conduct of the Florentine exiles, 236;
the dedication of Florence to Christ, 222 note 1;
the Parlamento at Florence, 237 note 2;
character of Guicciardini, 296, 296 note 2, 298 note 1, 299 notes 1, 2 and 3, 300 note 2;
the reception of Machiavelli's Prince at Florence, 326;
character of Machiavelli, 333;
Italian immorality, 477 note 1;
Florentine habits of life, [Appendix ii.] ([p. 595]);
description of the friars who preached in Rome in Clement's Pontificate, 620;
the murder of Alessandro de' Medici by his cousin Lorenzino, v. [118];
—— the Ercolano (Dialogo delleLingue), v. [271] note 1;
its account of Varchi's early training, iv. [237];
the Dissertation on Buonarroti's Sonnets, iii. 520, v. [297];
the pastoral poems, v. [224];
Varchi sides with Caro in his quarrel with Castelvetro, [286];
his Capitoli, [365];
his correspondence with Aretino, [410] note 1
Vasari, Giorgio, finishes the cupola of the Umiltà at Pistoja, iii. 83;
the Lives of the Painters, ii. 36;
their inaccuracy, iii. 103, 116;
ascribes Florentine intelligence to the Tuscan air, i. [232];
his remark on the indebtedness of Michelangelo to Signorelli, iii. 279;
the story of Signorelli's painting his dead son, 280;
his relation of Signorelli's visit to Arezzo, 293;
his character of Signorelli, 293;
his account of Perugino, 297, 299;
on Lionardo da Vinci, 323, 324;
on Raphael's gentleness, 329;
his panegyric of Michelangelo, 424, 494;
his account of Benvenuto Cellini, 440;
the story of the picture painted by Botticelli for Palmieri, iv. [171];
the midsummer festivals at Florence, [318], [325];
the Triumph of Death, [393-395], v. [114];
the festivals organised by Rustici, v. [115];
Vasari's friendship with Michelangelo and Aretino, [409] note 2
Vatican library, its foundation, i. [21], ii. 227, 357;
opened to the public by Sixtus IV., 384 note 1, ii. 227, 359;
librarians of the Vatican from Inghirami to Aleander, 424
Vaucluse, Petrarch's residence at, iv. [87], [96]
Vegio, Matteo, the only writer of Latin verse in the Renaissance who took the cowl, ii. 517
Velletti, Agostino, author of the novel in verse of Ginevra degli Almieri, iv. [250];
analysis of the story, [250]
Venasso, Antonio da, murdered at Sinigaglia by Cesare Borgia, i. [351]
Veneziano, Marco, his friendship with Berni, v. [363]
Venice, defeat of the Venetians by Francesco Sforza, i. [155];
selfish policy of Venetians in not supporting the Milanese, [155];
neutrality of Venice in the French invasion, [550] note 1;
heads the league against Charles VIII., [576];
hostile to the Roman Church, [35], iii. 353, 357, v. [89], [393];
hatred of Venice by other States, i. [91], [214];
never entrusted her armies to Venetians, [157], [220];
contentment of the Venetians with their government, [198], [200], [215], [220], [233], iii. 353;
political isolation of Venice, i. [214];
Venetian constitutional history, [215-219];
good government of the subject cities by Venice, [220];
liberty of life and speech at Venice, iv. [364], v. [393], [497];
estimates of the number of inhabitants, i. [210];
divisions of the population, [215];
trading spirit of Venice, [238], iii. 353;
Venetian luxury, i. [475], iii. 167, 353, iv. [365], v. [191];
unenthusiastic character of Venetian religion, iii. 357-359;
contrast of Venice and Florence, i. [221], [222] note 1, [231], [306] note 2, iii. 182, 354;
comparison between Venice and Sparta, i. [234], [306] note 2;
beauty of Venice, iii. 348;

Venetian art isolated from that of the rest of Italy, iii. 313;
architecture of the Venetian palaces, 60;
literature not encouraged at Venice, i. [79], [233], ii. 108, 212, 247 note 3, 441, v. [497];
early Venetian printers, ii. 369, 376, 386;
the press at Venice, iv. [364], v. [96], [104];
Frari, the, Donatello's (wooden) statue of the Baptist, iii. 136 note 2;
S. Giovanni e Paolo ('S. Zanipolo'), the Tombs of the Doges, 162;
S. Maria dell' Orto, Tintoretto's paintings, 376 note 1;
S. Mark, its style borrowed from the mosques of Alexandria, 44, 45;
the bronze door of the sacristy by Sansovino, 168, v. [424];
S. Zaccaria, Giovanni Bellini's Madonna with Saints, iii. 365
—— Scuola di S. Croce, iii. 363;
its decorations by Gentile Bellini, 363;
Scuola di Sant' Orsula, 363;
its decorations by Carpaccio, 363, iv. [343], v. [54];
Scuola di San Rocco, iii. 85;
Tintoretto's paintings, 375 note 1, 380
—— Ducal Palace, the, iii. 61, 355, 376 note 1;
contrast of its decorations with those of the Public Palace of Siena, 359;
Palazzo Corner, 85;
—— Vendramini Calergi, 85
—— Library of S. Mark's, the, iii. 85
Venetian Masters, the, distinguished by their preference for sensuous beauty, iii. 182, 340, 354, 453, iv. [402];
influence of the peculiar character of Venice upon them, iii. 348;
their art to be compared to that of Greece, 355, 357;
their personification of Venice, 233, iii. 355, 356, 360;
quality of their religion, 357-359, 361, 364;
originality of their art, 361 note 1, 362;
comparison between them and the Flemish masters, 361;
subjects of their art, i. [233], iii. 362;
the unity and solidarity of the Venetian school, 371;
their naturalness, 382
Veniero, Lorenzo, his relations to Aretino, v. [419]
Venusti, Marcello, influence of Michelangelo on his works, iii. 493
Vercelli: Ferrari's frescoes, iii. 489;
High School, the, ii. 116
Vergerio, Pier Paolo (the elder), a scholar of Giovanni da Ravenna, ii. 100
Vergerio, Pier Paolo, Bishop of Capo d'Istria, his attack on Della Casa, v. [275] note 1, [381] note 1;
his account of Berni's conversion to Lutheranism, [378] note 1;
relates that Berni's object in the rifacimento of the Orlando Innamorato was the diffusion of Lutheran opinions, [378-380];
his flattery of Aretino, [410] note 1
Verme, Jacopo dal, leader of Condottieri, i. [150]
Verocchio, Andrea, importance of his influence, iii. 141;
limitations of his genius, 142;
various works of his at Florence, 142, 145;
his equestrian statue of Colleoni, 143
Verona: S. Anastasia, monument of the Cavalli, iii. 163;
tombs of the Scaligers, 124, 163
Veronese, Paolo, his Europa, illustrating his treatment of mythology, iii. 291, 374;
his appearance before the Inquisition, 359, 446 note 1;
his sense of magnificence, 370 (cp. v. [398] note 2);
subjects of his art, iii. 372, 374;
his types of beauty compared with those of Rubens, 372;
his sobriety of imagination and excellence of workmanship, 373-374
Verradi, Carlo, his Ferrandus Servatus, v. [117] note 1
Verucchio, capture of, i. [176]
Vesc, Stephen de, Seneschal de Beaucaire, his influence with Charles VIII., i. [541]
Vespasiano, his contempt for printing, ii. 304, 370;
the last of the copyists, and the first of modern booksellers, 306;
value of his work, and goodness of his character, 307;
reason why he wrote in Italian, iv. [235];
his Biographies, [265] note 1;
his Life of Duke Frederick of Urbino, [174], [176], [179];
the library which he collected for the Duke of Urbino, [175], ii. 304;
cited for the Life of Pandolfino, i. [239] note 1, iv. [199];
does not mention him as author of the Governo della Famiglia, iv. [199];
his account of Poggio and Bruni, i. [275];
his Life of Alfonso the Magnanimous, [480] note 1, [569] note 1;
his Life of San Bernardino, [612];
quoted for Italian profligacy, [477] note 1;
his Life of Piero de' Pazzi, ii. 42 note 1;
his account of how Palla degli Strozzi brought Chrysoloras to Florence, 109;
cited for Strozzi's services to learning, 166;
copies MSS. for Cosimo de' Medici, 174;
relates how he collected books for Cosimo, 175;
quoted for Cosimo's versatility of talent, 176;
his anecdote of Cosimo's pruning his own fruit trees, v. [196];
his Life of Niccolò de' Niccoli, ii. 178;
his Life of Carlo Marsuppini, 186, 530;
his Life of Manetti, 186 note 1;
his description of Tommaso Parentucelli (Nicholas V.) in the Medicean circle at Florence, 224;
the catalogue of Niccolò's MSS. made by Tommaso, 174;
his account of his interview with Tommaso after his election, 226;
his character of Nicholas, 226;
his story of Pope Calixtus in the Vatican Library, 357;
cited for Vittorino da Feltre's purity of character, 297;
for the virtues of the Cardinal di Portogallo, iii. 154, v. [324] note 1
Vespucci, Guido Antonio, i. [201]
Vettori, Francesco, i. [197] note 1, [203] note 1, [230];
the friend of Machiavelli, [315], [317] note 1, [322] note 2, [318];
his Sommario della Storia d' Italia, [Appendix v. vol. i.]
Vicars of the Church, their passage to tyranny, i. [111].
Vicars of the Empire, i. [35], [106], [133];
their passage to tyranny, [111], [156]
Vicenza, early printing at, ii. 376;
luxury of the nobles of Vicenza, v. [191]
—— Palazzo della Ragione, by Palladio, iii. 95;
representation of Anguillara's Edippo there, v. [134]
—— High School, the, ii. 116;
attendance of foreigners there, 119;
its early decline, v. [497]
Vico of the Prefetti at Viterbo, Francesco, murder of, i. [120], [168] note 1
Victor, John Bonifacius, tortured by the Spaniards at the Sack of Rome, ii. 445
Victor II., i. [59]
Vida, made Bishop of Alba, ii. 403, 407;
his Cremonese origin, illustrating the loss of intellectual supremacy by Florence, 506;
frigid purism of his Christiad, 398, 399 (cp. 535, v. [519]);
quoted to illustrate the subjects in which the poets of the Renaissance best succeeded, ii. 400;
the Art of Poetry, 471-476;
the apostrophe to Rome, 475, v. [522];
translated (prose), ii. 475
Vidovero, of Brescia, murdered by Pandolfo Malatesta, i. [113] note 1
Vignajuoli, I, name of an Academy at Rome, ii. 365, v. [227], [272], [357]
Vignate, Giovanni, the millionaire of Lodi, i. [114];
imprisoned in a wooden cage by Filippo Visconti, [120]
Vignola, his labours at S. Peter's, iii. 93;
his 'Treatise on the Orders,' 95, 96 note 1;
character of his genius, 96
Vigonça, the hero of an anonymous Maccaronic poem by a Paduan author, v. [331], [479] note 1
Villani, Chronicle of the, iv. [176];
its value, i. [251-260];
praised by Vespasiano, [276]
—— Filippo, continues the Chronicle of Florence, i. [254];
his Lives of illustrious Florentines, [255];
cited for the story of Boccaccio at the tomb of Virgil, ii. 88, iv. [102];
apologises for his father not having written in Latin, iv. [236];
Giovanni, his Chronicle of Florence, i. [251], [254];
his reasons for undertaking it, [253], ii. 30, 144;
cited for the division of Guelfs and Ghibellines, i. [81];
for the rise of the Condottiere system, [156];
his account of the Flagellants, [618];
his relation of the taxes raised in Florence to build the Cathedral, iii. 64;
his story of the representation of Hell by burghers of the Borgo S. Friano, 198, v. [114];
his description of Florentine festivals, iv. [50], [51];
Matteo, his description of the despots, i. [128];
continues his brother's Chronicle, [254];
cited for the assassination of Matteo Visconti, [137] note 1;
for the cruelty of Bernabo Visconti, [139] note 1;
his account of the 'Black Death,' [259], iv. [111], v. [191];
of the preaching of Fra Jacopo, i. [610];
of the foundation of the Florentine University, ii. 119
Villotta, a name in N.E. Italy for the Rispetti, iv. [264], [266]
Vinci, Lionardo da, universality of his genius, [171], [326], ii. 10, iii. 313, 314, 322, 327 note 1, 382;
the only great Florentine artist not befriended with the Medici, iii. 263;
one of the four great artists by whom the Renaissance was fully expressed, 312;
his studies of beauty and ugliness, 316-318;
his interest in psychological problems, 318 (cp. 35), 323, 363;
his study of the technicalities of art, 320;
his love of strange things, 321;
hisstrong personality, 322 note 3, 329;
his reluctance to finish, 323, 482;
greatness of his aims, 325;
his S. John, as illustrating the introduction of Pagan motives into Christian art, 34, 137, 318;
indebted for the type of face preferred by him to Verocchio, 142, 316;
his models for an equestrian statue of Francesco Sforza, 144, 324, 325;
his Leda and the Swan, illustrating his treatment of the antique, 291, 318;
fate of his works, 325;
the cartoon for the Council Chamber at Florence, 325, 396;
the Last Supper, 323, 326;
Lionardo's visit to the Court of France, 445;
school formed by him at Milan, 482;
his Treatise on Physical Proportions, ii. 37;
his Poems, iii. 314;
translation of a sonnet, 314 note 1
Vinciguerra, Antonio, his satirical poems, v. [381]
Vindelino of Spires, joins his brother John as printer at Venice, ii. 369
Violi, Lorenzo, his notes of Savonarola's sermons, i. [511], [530] note 1
Virago, used without reproach at the time of the Renaissance as a term for accomplished ladies, v. [288]
Virgil, read in the middle ages, i. [20];
honours paid to him at Mantua, [20], ii. 30, 63;
translation of a stanza from a hymn on Virgil used at Mantua, 63;
turned by popular belief into a magician, a Christian, a prophet of Christ, 65, 143;
influence of the Eclogues in forming the ideal of a Golden Age prevalent at the Renaissance, v. [195];
his tomb at Naples, i. [461], ii. 30, iv. [12], [88], [101]
Viridario, the, an Academy at Bologna, ii. 366
Virtù, Machiavelli's use of the word, i. [171], [337] note 1, [345], [482], [484], [493], ii. 35, v. [440];
illustrated by Benvenuto Cellini, iii. 439, 479;
by Aretino, iv. [497], v. [410], [416], [425]
Virtù, Le, the Vitruvian Club at Rome, ii. 366, v. [227]
Visconti, the, i. [81], [116];
quarrel of the Visconti with Florence, [81], [82];
how they acquired their power, [112];
their patronage of art, iii. 42
—— Azzo, i. [133], [134];
his impartiality, [83] note 1;
Bernabo, [136], [139], [140], [141];
Carlo, one of the assassins of Galeazzo Maria Sforza, [165];
Filippo Maria, was afraid of thunder, [119], [152];
imprisons Giovanni Vignate in a wooden cage, [120];
seizes Pavia, [151];
has his wife beheaded, [152] note 2;
his character, [153], ii. 265;
his conduct to Alfonso the Magnanimous, i. [568] note 1;
his patronage of Filelfo, ii. 265, 277;
commissions Filelfo to write an Italian poem on S. John the Baptist, 279, iv. [235];
Gabriello, i. [102], [151];
Galeazzo (1), [133];
Galeazzo (2), [134], [136-140];
Gian Galeazzo, [87], [98], [102], [113] note 1, [138];
his marriage, [138];
succeeds, [140];
murders his uncle, [141];
his love of art, [141];
the grandeur of his schemes, [141];
his wealth, [143];
his character, [144];
his plots against the D'Este Family and the Gonzaghi, [146], [147];
transfers Asti to the House of Orleans, [143] note 1, v. [333];
progress of his conquests, [149];
dies of the plague, [149], iv. [162];
his plan to make himself King of Italy, iv. [161];
his saying on the injury caused him by Salutato's literary powers, ii. 104;
Giovanni, Archbishop of Milan, i. [135], [136];
Giovanni Maria, [151];
his cruelty and lust, [151], [478];
murdered, [152], [397] note 2;
Lucchino, [134];
Matteo, [136];
Otho, Archbishop of Milan, causes the downfall of the Della Torre family, [132];
Stefano, [136];
Valentina, her marriage to Louis d'Orléans, [143] note 1, [154] note 1;
Violante, her marriage to the Duke of Clarence, [137] note 2
Viscounts, creation of the title, i. [53]
Vistarini family, the, their murder by Fisiraga, i. [120];
massacre by Tremacoldo, [148] note 1
Vitelleschi, Cardinal dei, his slaughter of the Trinci, i. [122];
attacked by Valla in the treatise on Constantine's Donation, ii. 260
Vitelli, the, of Città di Castello, their rise to power, i. [114];
members of this family become Condottieri, [161]
—— Vitelozzo, i. [351];
murdered by Cesare Borgia at Sinigaglia, [351], [352], [462]
Viterbo, pageants at, in 1462, on the Corpus Christi festival, iv. [316]
Vitoni, Ventura, his Church of the Umiltà at Pistoja, iii. 83
Vitruvius, his influence on Italian architects, ii. 436, iii. 94 note 1
Vivarini, the, the first masters of the Venetian School, iii. 361
Volaterranus, Jacobus, his character of Julius II., i. [389] note 3
Volterra, Sack of, i. [176] note 1
—— Duomo, the: its roof, iii. 79 note 4;
Mino da Fiesole's Ciborium, 158 note 1
WALTER of Brienne. (See [Duke of Athens].)
Webster, the dramatist, quoted, i. [119] note 2, ii. 35, iii. 155;
his 'White Devil of Italy,' i. [557], v. [69], [117], [288];
his treatment of Italian subjects, [68], [117]
Wenceslaus, the Emperor, i. [148], [154]
Werner of Urslingen, leader of Condottieri, i. [86], [158]
William II., of Sicily, beginning of the Sicilian period of Italian literature at his Court, iv. [21]
Wippo, his panegyric to the Emperor Henry III., cited, iv. [4]
Witchcraft, Bull of Innocent VIII. against, i. [402] note 1, v. [347];
supposed prevalence of witchcraft in the Valtellina and Val Camonica, in the sixteenth century, i. [402] note 1, v. [316], [346] notes [1] and [2], [347];
general belief in witchcraft at that period in Italy, [344];
character of the Italian witches, [345];
Teutonic character of witchcraft in the Lombard district, [347]
Wolfhard, his Life of S. Walpurgis, cited for medieval contempt of antiquity, ii. 60
Women, abuse of, common to the authors of the Renaissance, how explained, iv. [212]
Wool trade, the, of Florence, i. [257]
Worcester, Earl of, Bruni's translation of Aristotle's Politics originally dedicated to him, ii. 184
XENOPHON, the influence of his Œconomicus on Italian writers, iv. [196]
ZANCHIUS, BASILIUS, his verses upon the death of Navagero, ii. 488
Zane, Paolo, his encouragement of learning at Venice, ii. 212;
sends Guarino to Constantinople, 299
Zeno, the Greek Emperor, i. [46]
Zilioli, his account of Doni's life at Monselice, v. [91]