R.
Real, Lorenzo, II. [56].
Renieri, the friend and pupil of
Galileo, II. [57].
Ribeyro, Bernardim, one of the
earliest of the Portuguese poets,
III. [290].
Riccardi, Nicolo, II. [41].
Ricci, Giuliano, I. [312].
Ricci, Ostillo, II. [3].
Riego, the canon, II. [391].
Rienzi, Nicola di, I. [92].
Rioja, Francisco de, III. [223].
Rios, don Vicente de los, III. [121].
Robert, king of Naples, I. [86].
Robertis, Father Dionisio, I. [77].
Robertson, Dr., II. [22].
Rollo, Paolo, I. [238].
Romena, count Alessandro da, I.
[23].
Roxas, Fernando de, III. [95]. Author
of the first genuine Spanish play,
[96].
Rucellai, Cosimo, I. [304].
Rueda, Lope de, celebrated as an
actor and pastoral poet, III. [98].
Ruiz, Juan, arch-priest of Hita;
brief review of his works, III. [12].
S.
Salvani, Provenzano, I. [24].
Salvanorola, I. [130].
Salvatico, conte Guido, I. [28].
Salvi, Giulio, III, [60].
Santillana, the marquess of, remarks
on his poems, III. [13].
Scala, Can' Grande de la, I. [27].
Scala, Alessandro, II. [75].
Scheiner, professor of mathematics
at Ingoldstadt, II. [25].
Schlegel, III. [234].
Scotus, Duns, I. [9].
Serram, Antonio, III. [324].
Serrano, señor Bachiller, III. [122].
Serraville, Giovanni da, bishop of
Fermo, I. [8].
Settimo, Guido, I. [63].
Sforza, Caterina, I. [262].
Sforza, Ippolita, II. [75].
Signa, Martino da, I. [149].
Sixtus IV., pope, I. [160].
Soderini Pietro, I. [288].
Sotomayor, don Alonzo Lopez de
Zuniga y, III. [157].
Spain, early and anonymous poetry
of, III. [1].
Spini Christofano, II. [180].
Stolberg, Louisa de, countess of
Albany, II. [280]. Her attachment
to Alfieri, [285].
Strada, Giovanni da, I. [117].
Strozzi, Oberto, I. [188].
Sylveira, Hector da, III. [321].
T.
Talleyrand, cardinal, I. [100].
Tasso, Bernardo, his birth and
parentage, II. [98]. His early life
and ill-directed love, [99]. At the
age of forty-one, appointed secretary
to Ferrante Sanseverino,
prince of Salerno, [99]. His marriage,
[100]. Commences his poem,
entitled "Amadigi," [100]. His letter
to his sister Afra, [101]. Summoned
away from the delightful
retirement of Sorrento to join his
patron in the war which had
broken out between the emperor
Charles V. and Francis I., [102].
Returns from the army, and enjoys
a brief prolongation of his
domestic quiet, [103]. Declared a
rebel, and his estate confiscated,
along with the adherents of the
duke of Salerno, [104]. His letter
to his daughter, [108]. Flies from
Rome to Ravenna; invited by
the duke of Urbino to Pesara,
where he affords a welcome but
temporary asylum from the persecution
of his enemies, and the
pressure of indigence, [111]. Repairs
to Venice to publish his
work entitled "Amadigi," [113].
Failure of the poem, [119]. Places
his son at Padua to study jurisprudence,
[122]. His interview
with his son at Mantua, [130].
His death, in the seventy-sixth
year of his age, [131].
Tasso, Torquato, review of his life,
II. [96]. His birth, [101]. Nursery
traditions of, [103]. His progress
in the rudiments of knowledge,
under the superintendence of his
mother, [104]. His beautiful and
touching lines on his separation
from her, when called away from
Naples to join his mother at
Rome, [105]. Compared with
Cowper, [106]. His religious sentiments,
[107]. Prosecutes his
studies with indefatigable assiduity
at Rome, [108]. His letter
to Vittoria Colonna, on the subject
of his sister's marriage, [109].
Removes to Bergamo, [111]. Commencement
of his friendship with
the son of the duke d'Urbino,
[112]. Diversities of circumstances,
scene, and company,
calculated to cherish and confirm
all his natural aspirings, [114].
Remark upon a line of Boileau
which has done more injury to
his reputation than all the splenetic
criticisms of Sperone, [115].
Critique on his Writings, [116].
Studies the works of his great
Italian predecessors, [117]. Employed
by his father in transcribing
his multitudinous poems and
letters, [118]. Sudden and passionate
admiration with which his
"Rinaldo" was hailed throughout
Italy, [119]. Placed at Padua
to study jurisprudence, [122]. Gives
up the law, and devotes himself
to philosophy and the Muses, [123].
His reply to his father's remonstrance,
[124]. The appearance of
his "Rinaldo" the dawn of a
new day in the literature of
his country, [124]. All the characteristics
of his peculiar genius
perceptible in the incidents, style,
embellishments, and conduct of
this juvenile essay, [126]. Repairs
to Bologna to pursue his natural
studies, and indulge in his
poetical passion, [127]. Expelled
from Bologna for a literary squib,
[128]. Removes to Padua, where
he is inrolled member of the
Academy degli Eterei, [129]. Devotes
much of his attention to
the works of Aristotle and Plato,
[129]. Remarks on his "Discourse
on Heroic Poetry," [130]. Nominated
one of the personal attendants
of the duke of Ferrara, [131].
Arrives at Ferrara, and is received
into the service of the duke's
brother, [132]. Commencement of
his acquaintance with the princesses
Lucretia and Leonora of
Este, [133]. His description of
his own emotions during his first
visit and sojourn at Ferrara, [134].
Writes an epithalamium on the
marriage of the princess Lucretia,
[136]. His attachment to the
princess Leonora, [137]. Accompanies
the cardinal Luigi to the
court of France, [138]. Personal
anecdotes of, [139]. Accompanies
the embassy to Rome; his interview
with the pope, [140]. Prosecutes
that splendid crusade of
his Muse the poetical siege of
Jerusalem, [140]. His "Aminta"
received with universal admiration
throughout all Italy, [142].
Illness occasioned by his anxiety
about his "Gerusalemme Liberata,"
[144]. Charged with heresy
against Aristotle and good taste
on one hand, and on the other
with heresy against the church
and good morals, [145]. Escapes
from his splendid captivity to
Rome; appointed historiographer
to the house of Este, [146]. Incident
which exhibits him not
less in the character of a hero than
he had hitherto figured in that of
the laureate of poets, [147]. Growing
symptoms of a mind diseased, [148].
His strange melancholy, [149].
Flies secretly to Ferrara to visit
his sister at Sorrento, [150].
Anecdote of, [151]. Committed to
St. Anne's Hospital as a lunatic;
his letter to Scipio Gonzaga
during his confinement, [152]. His
representation of the treatment
which he experienced during his
confinement, [153]. His sonnets
to the cats of the hospital, imploring
them to lend him the
light of their eyes to write by,
[154]. Pursues his studies with
unabated ardour and intensity,
[155].
His wild imaginations, [156].
Liberated at the special intercession
of the prince of Mantua,
[157]. His controversy with the
Della Cruscan Academy during
his imprisonment, [158]. Remarkable
circumstances of his last
days, [159]. Visits Rome, [160].
His death, in the fifty-first year
of his age, [161]. His personal and
poetical character, [161].
Tassoni, Alessandro, his birth, parentage,
and early education;
studies jurisprudence at Ferrara,
II. [169]. Enters the service of
cardinal Colonna; publishes his
"Considerations on various Subjects,"
[171]. Outline of the principal
episode of. "Secchia Rapita,"
[172]. His death, in the
seventy-first year of his age, [173].
Timoneda, III. [99].
Tiraboschi, I. [179].
Torella, Damigella, II. [76].
Tormes, Lazarillo de, III. [101].
Tornabuoni, Lucrezia, I. [167].
Torres, Balthazar de, III. [133].
Torricelli, II. [58].
Turpin, archbishop, I. [169].
U.
Ubaldi, Guido, II. [4].
Ugo IV., king of Cyprus and Jerusalem,
I. [144].
Urban V., pope, I. [145].
Urbino, Gentile d', bishop of Arezzo,
I. [152].
Urbino, captain Diego de, III. [127].
Urbino, donna Isabel de, her marriage
with Lope de Vega, III. [199].
Her death, [200].
Usategui, Luis de, III. [227].
V.
Vega, Garcilaso de la, his birth and
parentage, III. [37]. His early predilection
for poetry and music,
[38]. Commences his career of
arms in the war declared against
France by Charles V., [39]. Incurs
the displeasure of the
emperor, and is exiled to an
island of the Danube, [39]. His
ode in commemoration of his imprisonment
characteristic of his
disposition, [40]. Is recalled, and
attends the emperor in his expedition
against Tunis; is severely
wounded, [41]. Extract from one
of his elegies to Boscan, [42]. Appointed
by the emperor to command
eleven companies of infantry,
in the expedition against
France, [45]. Killed in an engagement
at Muy, near Fréjus, in
the thirty-third year of his age,
[46]. His person and character,
[47]. Review of his poetry, [48].
Mr. Wiffen's translation of his
ode "To the Flower of Gnido,"
[53].
Vega, Lope de, compared with
Cervantes, III. [189]. His birth
and parentage, [190]. Early indications
of talent, [191]. Anecdote
characteristic of his vivacious
disposition, [192]. His intimacy
with the grand inquisitor; enters
the university of Alcala, [193].
Enters the service of the duke
of Alva, [194]. Writes the "Arcadia"
at the request of the
duke of Alva, [195]. Style and
story of the poem, [196]. His
marriage, [198]. Engaged in a
duel, which obliges him to leave
Madrid, [199]. Returns to Madrid,
becomes a soldier, and joins the
In vincible Armada, [200]. Southey's
translation of his sonnets, [202].
Outline of his work entitled
"Dorotea," [204]. His animated
description of the setting forth of
the Armada, [208]. Writes the
"Beauty of Angelica" on the
deck of the San Juan, [210]. Story
of the poem, [211]. His extravagance
and prodigality, [212]. His
advice to his son, [212]. His
domestic afflictions, [214]. Leaves
the gaieties of secular life, and
prepares for the priesthood, [215].
Visits Toledo, and takes orders;
says his first mass in a Carmelite
church, [216]. Becomes a familiar
of the Inquisition, [216]. His rising
character as an author, [217].
His amiable character, [217]. Rises
higher and higher in the estimation
of the public, [219]. Writes a
poem on the death of Mary
queen of Scots, entitled "Corona
Tragica," which he dedicates to
the pope, [220]. Exaggeration with
regard to the number of verses
written by him, [221]. Anecdote
of, [221]. His epistles and other
poems a picture of the tranquillity
of his life as he advanced in age,
[222]. His amiable disposition and
placid temper, [224]. His last illness,
[225]. His death, [226]. His
person and character, [227]. Review
of his writings, [228]. Analysis
of the "Star of Seville,"
[233].
Vella, Antonio de la, III. [140].
Velser, Mark, II. [25].
Vettori, Francesco, I. [292].
Veyga, Luis de, III. [324].
Viardôt, his exertions to discover
the yet hidden circumstances of
Cervantes' life, III. [121].
Vicente, Gil, styled the Portuguese
Plautus, III. [292]. Style of his
writings, [293].
Villalobos, physician of Charles V.,
one of the earliest of the Spanish
dramatists, III. [96].
Villégas, Estévan Manuel de,
named the Anacreon of Spain,
III. [240]. His birth and parentage,
[240]. His death, [240]. His
translation
of Anacreon, [241]. Translation
of his original Anacreontics,
[242].
Villena, the Marquis of, so celebrated
for his acquirements in
natural and metaphysical knowledge,
that he was looked on as
a magician, also admired as a
poet, III. [13].
Virgil, Marcellus, I. [257].
Visconti, Giovanni, I. [101].
Visconti, Galeazzo, I. [103].
Vitelli, Vitellozzo, I. [266].
Viviani, II. [68].
Voss, Gerard, II. [7].