Drag forth that _monstr'horrendum_ from his lair,

And lead him straight to Rayner on his throne;

Folk run together at the brute to stare,

You never saw an ox so overgrown;

And not a man but stops his nostrils there

From the foul stench of wine, sweat, filth unknown;

One calls him Bacchus, and Silenus one,

Or hog, or bag of beastliness, or tun.

"Stand forth before my face," Rainero cries,

"Thou man of God, prophet most reverend!

I know that thou in all the lore art wise,

Of things divine, and what the stars portend;

With thee the freedom of S. Peter lies,

Great freedom though but little pelf to spend!

Stand forth, I say, before me, Father blest;

There are some doubts I'd fain have put to rest.

"Truly thou know'st e'en better how much tripe

Must go to stuff the cupboard of thy prog:

'Tis there are stowed more fish, flesh, onions ripe,

Than there be leaves in forest, field, or bog:

Thy scores of partridge, pheasant, woodcock, snipe,

Outnumber the sea sands, thou gorging dog!

Therefore I honor thee no more nor less

Than a beast filled with filth, a stinking cess.

"Bundle of guts, hast thou no shame to show

Thy visage to the eyes of living wight?

Think'st thou that 'tis for nothing thou dost owe

Thy calling to Christ's sheepfold? By this light,

Judas the traitor did no worse, I know,

Than thou what time he sold his Lord at night;

Caiaphas, Annas, Herod, Pilate, all

Helped Pluto less than thou man's soul to thrall.

"Think'st thou the Benedicts, Pauls, Anthonies,

Gave rules like thine unto their neophytes?

They fed on lentils, beans, peas, cabbages,

Curbing their own rebellious appetites,

Not merely preaching how the spirit flees

From Satan's fraud and his accursed rites;

They slept on sand and marble cold, and sang

Psalms that through night and day unceasing rang.

"Quiet within their cells they stayed, nor dealt

On street or square with idle loitering bands;

Kindly to wayfarers and meek, they knelt

To wash their feet, and not, like you, their hands;

And when they left the cloisters where they dwelt,

To traverse hills or plains in foreign lands,

A staff or crutch upon their pilgrimage

Sufficed to prop the faltering steps of age.

"That frugal diet of plain herb and root

You've changed to-day for quails and partridges;

Some miracle has turned to flesh their fruit,

Their acorns, brambles, and wild strawberries;

The straw they slept on, hath grown dissolute

With down and cushions; their lean visages

Are swathed in fat, with double, treble chins,

Red as the sun's face when the day begins.

"Their staves and crutches, O rare miracle

Wrought by these living Saints! are steeds of price;

Their reed-built cot, refectory or cell,

Soar into palaces that flout the skies;

In many an Abbey now lewd strumpets dwell,

Hounds, hawks, the instruments of pride and vice:--

Fools, madmen, idiots, maniacs are ye,

Who've left to priests or friars your wealth in fee!

"What could be worse impiety than thus

To rob your lawful kindred of their own,

And squander it on those obstreperous

Bell-ringing monks, who let one voice alone

Speak in the Church for twenty?--All that fuss

In praise of poverty is only shown

To bait beneath the shadow of their cowl

Some gudgeon, or birdlime some silly fowl!"

Such things and others full of angry spite

Said Rayner, contrary to sober reason;

For if a man should lose his temper quite,

Sense leaves him, he can't speak one word in season:

But when Church rights and wrongs their wrath excite,

I've noticed that your great men often seize on

Some crazy fad; they fancy, O how silly!

That friars should feed on acorns, willy-nilly.

Then spake the Prior: "Noble Lord and Sir!

With your forbearance I'll speak with precision.

_Ecclesia Dei_ ne'er was known to err;

You may have read in Tully this decision:

The Stagyrite, our sole interpreter

Of Gospel text, confirms this definition--

_Quod merum Laicus non det judicare

Clericam Preti et Fratris scapulare._

"There is a gloss which lays down, _quod Prelatum

Non est subjectus legi Constantina,

Affirmans eo quod nullum peccatum

Accidit in persona et re divina.

Et hoc deinceps fuit roboratum

In capite, Ne agro a Clementina.

Et princeps, qui de Ecclesia se impazzabit,

Scomunicatus cito publicabit_.

"Saith _Thomas_ in a text on which I've pored,

Second distinction of his Chapter _quo_,

_Quod unde Spirtus Sanctum_ hath been stored,

_Possibile non est_ for sin to accrue:

My life hath naught to hide, illustrious Lord,

_In visu verbo et opera_ from you;

For Christ himself our Saviour teaches that,

Speaking to all, _lux vestra luceat_.

"Behold and see how next my skin I wear

A shirt of wool instead of linen fine!

By hair-cloth of this texture you may swear

I circumspectly walk in duty's line.

Look now a little lower!"--Free and fair

Laughed Rayner, when the excellent divine

Shows all he's got--an illustration purer

Than e'er occurred to Saint Bonaventura.

ORLANDINO VIII. 73.

I am no heretic, as to my shame

Before the common folk you christen me!

Perchance your lofty Reverence will claim

Me for a cut-throat, come from Saxony,

To wreak my violence on Rome's dread name!

Yet you are wrong: for, look you, Burgundy

Trusts less in German Bishops, or in French,

Or Spanish, than the mighty Roman Bench.

Far more I trust in the high Trinity,

In Father, Son, and eke the Spirit blest;

In Mary's undefiled virginity,

Since God from her derived his fleshly vest;

I trust in that inscrutable potency

Granted from God to man, by which behest

He dares, if his enormities be great,

Call himself, not God, but God's delegate.

It is my creed that the good Jesus wrought

All that He came to witness here below;

I hold that the predicted sword he brought,

Came to bring peace on earth and also woe;

I hold that a thief's tear, repentance-fraught,

Shuts Hell and opens Heaven; and this I know

That the firm truth of what the Gospel saith,

Is naught but pure and uncorrupted Faith.

I hold that He was fair without one flaw,

Wore beard and locks around his shoulder sprent;

I hold the Lamb's blood abrogates the law

And every type of that old Testament;

Wherefore I hold there differs not a straw

Betwixt the tonsure and the hair unshent;

But I believe the clergy still were known

For rebels to His work and will alone.

I hold that on the motion of a lewd

Pope of that year, with certain Pharisees,

Pilate did nail Him to the cruel wood

Between two thieves with fierce indignities;

I hold that thence for men a pledge accrued,

And memory so sweet that still it frees

Us from God's righteous anger, and discloses

The veil that clung before the eyes of Moses.

I speak of His dire passion, and the boon

Most wondrous of His body and His blood,

Eating the which all persons late or soon

May quit those quails and grouse, their desert food;

I hold that Christ seeks not for eyes that swoon,

Wry necks, and faces set to solemn mood;

But for the heart alone: this is my creed;

If it be wrong, I waste vain breath indeed.

I hold that Hell exists, and Purgatory,

Beyond this world; and here I prove it too:

Wherefore, in concert with S. Paul, I glory

In having passed those many trials through,

Not by my might but that great adjutory,

Who calls aloud with ringing voice and true;

Perils mid hills and robbers, storms and fires,

Perils at sea, and perils from false friars!

My Saviour in the flesh I trust to see,

And hope for ever to enjoy His sight:--

But here the force of faith abandons me;

Help then, thou Bishop, Great Albertus hight!

Son of Nichomachus, I turn to thee,

Dubbed Doctor of the Church by Thomas wight,

Without whose Metaphysic, as I've read,

The _Verbum Dei_ were but ill bestead.

I hold that a lay sinner can repent;

That Churchmen never are what they pretend--

I speak of bad ones:--d'you mistake my bent,

And in God's house defy me to contend?--

Pray softly, softly! It was never meant,

Good servants of our Lord, _your_ fame to rend:

Nay, _you_ I honor, since you please God duly;

Places I'd change with _you_ really and truly:

Gainst scapular and cord I've naught to tell,

Gainst cowl or tassel, breviary or book;

That superstition need not choke you, well

I know; you may be pious as you look:

I swear to all that no man here should smell

Disparagement to monks, from prior to cook;

I'm aiming at those wolves and hirelings fairly,

Who give large orders and perform them sparely.

ORLANDO INNAMORATO, CANTO XX. THE SUPPRESSED INDUCTION.

A brand-new story now compels my song,

To make the twentieth canto bright and clear,

Whence all the world shall plainly learn ere long

Some saints are not such saints as they appear;

For cowls, gray, blue or black, a motley throng,

With dangling breviaries and brows severe,

And often naming on the lips our Lord,

While the heart's cold, no sanctity afford.

A cupping-glass upon your skull, a leech,

A blister, or a tonsure, are all one;

It will not help you though you gird your breech

With several braces or with one alone;

Or wear straight vestments, long and lank, that reach

Like coachmen's great-coats to your heels, or drone

Gibberish and Paternosters:--Sainthood needs

More than fair words for foul and filthy deeds.

The hands are where true charity begins;

Not the mouth, face, or clothes: be mild, humane,

Reticent, sorry for your neighbor's sins,

Pitiful to his suffering and his pain:

Christians need wear no masks; who wears them, wins

A backway to the fold, and brings it bane,

Scaling the wall by craft--a traitor he,

A thief and knave, who deals in subtlety.

These be that tribe of rogues and rascals whom

Our good Lord hates, the race on whom alone

In wrath he uttered that tremendous doom,

Though every other fault he could condone:

Ye whited sepulchers, ye living tomb,

Fire on the surface, in the soul a stone!

Why will ye wash the outside of the platter?

First cleanse your heart--that is the graver matter!

'Tis said by some that by and by the good

Pope and his Prelates will reform their ways:

I tell you that a turnip has no blood,

Nor sick folk health, nor can you hope to raise

Syrup from vinegar to sauce your food:

The Church will be reformed when summer days

Come without gad-flies, when a butcher's store

Has neither bones nor dogs about the door.

Sanga, this lewd age is an age of lead,

Whence Truth is banished both in deed and word:

You're called a fool, poor-spirited, ill-bred,

If you but name S. Peter and our Lord:

Where'er you walk, where'er you turn your head,

Some rascal hypocrite, with scowl abhorred,

Snarls twixt his teeth "Freethinker! Lutheran!"--

And Lutheran means, you know, good Christian.

Those grasping priests have thrown a net full wide:

With bells and anthems, altar-cloth and cope,

They lift their well-decked shrines on every side,

Bent upon life eternal--sorry hope!

This wooden image is the sailor's pride,

That plastered face the soldier's; piss-pots slope

In rows to Cosmo and S. Damian;

The pox belong to stout Sebastian.

Baron S. Anthony hides fire in heart,

Thoughts of the donkey and the swine in head;

Whence comes it that all monks in every part

Stuff paunch and wallet with flesh, wine, and bread:

Yon Abbot, like Silenus, fills a cart;

Yon Cardinal's a Bacchus overfed;

The Pope through Europe sells, a second Mars,

Bulls and indulgences to feed his wars.

The Word of God, aroused from its long trance,

Runs like live fire abroad through Germany;

The work continues, as the days advance,

Unmasking that close-cloaked iniquity,

Which with a false and fraudulent countenance

So long imposed on France, Spain, Italy:

Now by the grace of God we've learned in sooth

What mean the words Church, Charity, Hope, Truth.

O the great goodness of our heavenly Sire!

Behold, his Son once more appears on high,

Treads under foot the proud rebellious ire

Of faithless Churchmen, who by threat and lie

Strove to conceal the Love that did inspire

The mighty Maker of earth, sea, and sky,

What time he served, and bore our flesh, and trod

With blood the path that leads man back to God.

None speaks in this lost land of his pure blood,

That sinless blood of Christ, both God and man,

Which quelled the serpent's stiff and venomous brood,

The powers malign that reigned where Lethe ran!

In his fair bleeding limbs he slew the lewd

Old Adam from whose sin our woes began,

Appeased his Father's wrath, and on the door

Of impious Hell set bars for evermore.

This is that seed thrice holy and thrice blest,

Promised to our first parents, which doth bring

Unto the stairs of heaven our hope oppressed!

This is that puissant and victorious king,

Whose foot treads man's misjudgment on the crest!

This is that calm clear light, whose sunbeams fling

Shade on the souls and darkness o'er the eyes

Of fools in this world's knowledge vainly wise!

O Christians, with the hearts of Hebrews! Ye

Who make a mortal man your chief and head,

Of these new Pharisees first Pharisee!

Your soaring and immortal pinions spread

For that starred shrine, where, through eternity,

The Lamb of God is Pope, whose heart once bled

That men, blind men, from yon pure font on high

Might seek indulgence full and free for aye!

Yet that cooked crayfish hath the face to pray,

Kneeling in chapel opposite that crow,

That Antichrist, upon some holy day--

"Thou art our sail, our rudder!"--when we know

The simple truth requires that he should say

"Thou art the God of ruin and of woe,

Father of infinite hypocrisies,

Of evil customs and all heresies!"--

O Sanga, for our lord Verona's sake,

Put by your Virgil, lay Lucretius down,

Ovid, and him in whom such joy you take,

Tully, of Latin eloquence the crown!

With arms out-spread, our heart's arms, let us make

To Him petition, who, without our own

Merit or diligence or works, can place

Our souls in heaven, made worthy by his grace!

And prithee see that Molza is aware,

And Navagero, and Flaminio too,

That here far other things should be our care

Than Janus, Flora, Thetis, and the crew

Of Homer's gods, who paint their page so fair!

Here we experience the false and true;

Here find that Sun, which shows, without, within,

That man by nature is compact of sin.

O good Fregoso, who hast shut thine ear

To all those siren songs of Poesy,

Abiding by the mirror keen and clear,

In joyance of divine Philosophy

Both Testaments, Old, New, to thee are dear!

Thou hast outworn that ancient fantasy

Which led thee once with Fondulo to call

Plato the link twixt Peter and S. Paul!--

But now Gradasso calls me; I am bid

Back to the follies of my Paladins--

etc., etc.

APPENDIX III.

_On Palmieri's "Citta di Vita."_ (_To illustrate Part I. p. 171._)

In the first part of this sketch of Italian literary history

(_Renaissance in Italy_, vol. iv. p. 171, note 2) I promised, if

possible, to give some further notice of Palmieri's poem entitled the

_Citta di Vita_. This promise I was unable to fulfill in the proper

place. But while my book was going through the press, I obtained the

necessary materials for such a study of Palmieri's work through the

courtesy of a Florentine scholar, Signor A. Gherardi, who sent me

extracts from a MS. existing in the Laurentian Library. This MS.,

which is an illuminated parchment codex, contains, besides the poem,

the commentary of Lionardo Dati, with his Life of the author and two

of his letters addressed to Palmieri. Whether or not the codex is an

autograph, remains uncertain. But it has this singular interest, that

Matteo Palmieri himself presented it to the Art of the Notaries in

Florence, sealed and under the express condition that it should not be

opened so long as he lived imprisoned in his body--"ut non aperiatur

dum in suo religatus corpusculo vivat." After his death, the Republic

decreed a public funeral to their honored magistrate and servant; and

the MS. in question was placed upon his breast in the church of S.

Pier Maggiore, where he was interred in the family chapel of the

Palmieri. Alamanno Rinuccini pronounced the panegyrical oration on

this occasion; and in his speech he alluded to "this bulky volume

which lies upon his breast, a poem in _terza rima_, called by him the

City of Life."

It would appear, from the circumstance of the volume having been

presented under seal to the Art of the Notaries, that Palmieri, while

wishing to secure the safety of his poem, was aware of its liability

to censure. What he may have dreaded, happened after his decease; for

his opinions were condemned as heretical, and the picture Botticelli

painted for him in illustration of his views, was removed from its

place in the Palmieri Chapel of S. Pier Maggiore. This picture is now

in the possession of the Duke of Hamilton.

The MS. of the _Citta di Vita_ passed from the Art of the Notaries

into the Laurentian Library. Since the biographical notices from the

pen of Palmieri's friend, Lionardo Dati, which this MS. contains, form

our most trustworthy source of information about the poet's life, it

may be well to preface the account of his poem with an abstract of

their contents. Matteo Palmieri was a member of an honorable

Florentine family. Born in 1405, he received his first education in

grammar from Sozomeno of Pistoja. Afterwards he studied Greek and

Latin letters in the schools of Carlo Aretino and Ambrogio Traversari.

In early manhood he entered public life, and passed through the

various Florentine magistracies to the dignity of Gonfalonier of

Justice. The Signory employed him upon embassies to Calixtus III.,

Frederick III., Alfonso the Magnanimous and Paul II. Matteo devoted

his leisure to study and composition. The treatise _Della Vita

Civile_, which he wrote in Italian, was a work of his adolescence.

Then followed, in Latin, a Life of Niccolo Acciaiolo, a narrative of

the successful war with Pisa, and a Universal History, which was

subsequently continued by Mattia Palmieri--a Pisan, who, though he

bore the same name, was in no wise related to our author. The _Citta

di Vita_ was a work of his mature age. He died probably in 1478.

Matteo told Lionardo Dati that on the first of August, 1451, while he

was living at Pescia as Governor of the Val di Nievole, he dreamed

that his dead friend Cipriano Rucellai appeared to him, and invited

him to the yearly festival which was celebrated on that day in a

monastery, called Il Paradiso, near Florence. In his dream, Matteo

accompanied the ghost of Cipriano, conversing on the way about the

state of spirits after death--where they dwell, and how they are

permitted to revisit their living friends. Cipriano, moreover,

revealed to him weighty matters concerning the nature of the human

soul. He told him how God first made angels in innumerable hosts.

These angels separated into three companies. The one band followed

Lucifer, when he rebelled. The second held with Michael and abode firm

in their allegiance. The third decided neither for God nor for the

Devil. After Lucifer's defeat, these angels of the third class were

relegated to the Elysian fields, which extend at all points over the

extreme periphery of the highest sphere; and God, wishing to give them

a final chance of determining for good or evil, ordained that they

should, one by one, be sent to dwell in human bodies. There, attended

by a good and a bad spirit, they have the choice of lives, and after

their death in the body, are drafted into the trains of Lucifer or

Michael according to their conduct. Having communicated this doctrine,

Cipriano vanished from his friend's sight with these words upon his

lips:

Misero ad noi quanto mal segno

Rizoron quelli che si fer ribelli

Per porre in aquilon loco piu degno.

Palmieri forgot or neglected the import of his dream until the year

1455, when he was at Alfonso's Court in Naples. There Cipriano

appeared to him again, rebuked him for his carelessness, and bade him

write a poem in _terza rima_, after Dante's method, on the subject of

their former discourse. He also recommended him three books, which

would assist him in the labor. When Palmieri returned to Florence, he

obtained these helps and set about the composition of his poem. It

must have been completed in 1464; for in this year Dati received a

copy, which he styled _opus paene divinum_, and began to annotate. In

1466 Dati wrote again to Palmieri, thanking him for an emended copy of

the work, which the author had sent him from Florence to Rome.

Palmieri's own letter accompanying the gift, refers to the poem as

already published. This proves (as would, indeed, appear from the

title given him by Ficino of _Poeta Theologicus_) that, whatever may

have been his dread of a prosecution for heresy, he had at least

divulged the _Citta di Vita_ to the learned.

The poem consists of three books, divided, like Dante's _Commedia_,

into one hundred Cantos; but the extra Canto has by Palmieri been

assigned to the last instead of the first Cantica. The title _Citta di

Vita_ was given to it, because Palmieri designed to bring the universe

into consideration under the aspect of spiritual existence. The

universe, as he conceived it, is the burgh in which all souls live.

His object was to show how free-will is innate in men, who have the

choice of good and evil, of salvation or perdition, in this life. The

origin of evil he relegates to that prehistoric moment of Lucifer's

revolt, when the third class of angels refused to side with either God

or Devil. In the first book, then, he describes how these angels are

transmitted from the Elysian fields to earth, in order that they may

become men, and in their mortal body be forced to exercise their

faculty of election. In the second book he treats of the way of

perdition. In the third book he deals with the way of salvation.

Following Dante's precedent in the choice of Virgil, he takes the

Sibyl for his guide upon the beginning of this visionary journey.

The heretical portions of the _Citta di Vita_ are Cantos v. ix. x. xi.

of the first Cantica. These deal with the original creation of angelic

essences, and with the transit of the indeterminate angels to our

earth. Regarding the universe from the Ptolemaic point of view,

Palmieri conceives that these angels, who inhabit the Elysian fields

beyond the utmost verge of the stellar spheres, proceed on their

earthward journey through the several planets, till they reach our

globe, which is the center of the whole. On their way, they gradually

submit to animal impressions and prepare themselves for incarnation,

according to that conception which made the human soul itself in a

certain sense corporeal. It is here that Palmieri adjusts the theory

of planetary influences to his theory of free will. For he supposes

that the angels assimilate the qualities of the planetary spheres as

they pass through them, being attracted by curiosity to one planet

rather than another. At the same time they undergo the action of the

three superior elements, which fits them for their final reception

into an earthly habitation. After this wise he ingeniously combined

his theories of the Creation, the Fall, and Free-will, with

Averroistic doctrines of intermediate intelligences and speculations

collected from Platonistic writings.

The path of the descending angels is, to quote the words of Dati, "in

a straight line beneath the first point of Cancer to the cave of

earth, in which line there are ten gates, for each of the planets to

wit, and for the three super-terrestrial elements each his gate. The

whole of this vast body of the universe is by our poet called the City

of Life, forasmuch as in this universe all creatures live. And this

journey of the souls from Elysium to their bodies is performed in one

year." It will be observed that Palmieri affected the precision of his

master Dante. Having thus conducted the soul to earth, he is no less

definite in his description of the two ways, which severally lead to

damnation and salvation. In the second Cantica, he employs the space

of a whole year compressed into one night, in passing through the

eighteen mansions of the passions of the flesh, fortune and the mind.

For this journey he has the guidance of an evil spirit. Afterwards, in

the third Cantica, he employs the same space of one year compressed

into a single day, in traversing the twelve mansions of civil virtue

and purgation, through which the soul arrives at beatific life. In

this voyage he is guided by a good angel. It is not necessary to enter

further into the calculations whereby Palmieri adjusts the chronology

and cosmography of his vision to the Ptolemaic theory of the universe.

Though the material of the poem is thus curious, and the structure

thus ingenious, it does not rise in style above the level of the works

of Frezzi and Uberti (see above vol. iv. chap. 3). In order to give

the reader a specimen of its composition, I will extract a passage

from Cantica I. Canto v., which concerns the Divine Being and the

Creation of Angels:

Sopra ogn'altro potere e questo tale,

che come e' vuole in tutto puo giovare,

sanza potenza di voler far male.

Tal carita volendo ad altri dare

la gloria in se, (?) di se stesso godeva,

degno co' cieli ancor la terra fare.

Et perche cosa far non si poteva

che eterno bene in ciel sempre godesse,

se sempre quel goder non intendeva;

Intelligenza bisogno facesse

con lume di ragione et immortale,

ad chi l'eterno ben tutto si desse.

Creatura fe per questo rationale,

l'angelo et l'huomo accio che 'l somme bene

godessono intendendo quel che e' vale.

Da 'ntenderlo et amar di ragion vene

volerlo possedere, et con letitia

per sempre usar sanza timor di pene.

Ad questo Idio creo la gran militia

del celestiale exercitio et felice,

che 'n parte cadde per la sua malitia.

INDEX.

_In the following Index the volume on the 'Age of the

Despots' is referred to as Vol. I., that on the 'Revival of

Learning' as Vol. II., that on the 'Fine Arts' as Vol. III.,

and the two Volumes on 'Italian Literature' as Vols. IV. and

V._

Abbas Siculus, received 800 scudi yearly as Jurist at Bologna, ii. 122

Abbreviators, college of, founded by Pius II., ii. 358

Abelard, teaching of, i. 9, v. 467

Academies, the Italian, ii. 161, 311;

lose their classical character, 365;

their degeneracy, 367, 542, v. 272;

Milton's commendation of them, ii. 367;

their effect on Italian poetry, v. 272

Academy, the Aldine, at Venice, ii. 385, v. 272

Accaiuolo, Ruberto, i. 197 _note_ 1, 203 _note_ 2

Accaiuolo, Zenobio, made librarian of the Vatican, ii. 425

Accarigi, his Dictionary to Boccaccio, v. 254 _note_ 1

Accolti, Francesco di Michele, his _terza rima_ version of the _Principe

di Salerno_, iv. 250 _note_ 2

Accoramboni, Vittoria, Bandello's _Novella_ upon her trial, v. 54;

use made of it by Webster, 69, 117, 288;

her poetry, v. 288

Achates, Leonard, his edition of Lascari's grammar, ii. 376

Achillini, Professor of Philosophy at Padua, v. 458, 459

Adami, Tobia, the disciple of Campanella, v. 481

Admonition, the Law of, at Florence, i. 226

Adolph of Nassau, pillages Maintz, ii. 368

Adorni, the, at Genoa, i. 201

Adrian VI., the tutor of Charles V., iv. 398;

elected by political intrigues, i. 441;

his simplicity of life and efforts at reform, 441-443 (cp. ii. 434,

442);

Berni's Satire on him, i. 443, v. 368

Agnolo, Baccio d', architect of the Campanile of S. Spirito at Florence,

iii. 86

Agolanti of Padua, i. 114

Agostino, Pre, his _Lamenti_, iv. 172 _note_ 2

Agrippa, his _De Vanitate Scientiarum_ quoted for the corruptions of

Rome, i. 459 _note_ 1

Alamanni, Antonio, writer of the 'Triumph of Death,' iv. 320, 393-395;

translated, 395

Alamanni, Jacopino, story of, i. 211

Alamanni, Luigi, his translation of the _Antigone_, v. 134, 240;

his didactic poem, _La Coltivazione_, 237;

translation (in prose) of a passage on the woes of Italy, 238;

story of his life, 239;

number and variety of his works, 240;

his dramatic poem, the _Flora_, 240;

translation (in prose) of a passage on Rome, 240 _note_ 1;

said to have been a great _improvisatore_, 240;

his satires, 381;

composed in the metre of the Divine Comedy, iv. 172

Alamanni, Luigi di Tommaso, executed for his share in the conspiracy

against Cardinal Giulio de' Medici, v. 239

Albano, Francesco, v. 229

Albergati, Niccolo degli, his patronage of Tommaso Parentucelli

(Nicholas V.), ii. 223

Alberti, the, at Florence, exiled by the Albizzi, iv. 184, 188;

their family history, 190 _note_ 1

Alberti, Leo Battista, his originality, ii. 5;

his many-sided genius, 10, 341-344, iv. 183, 214-219;

one of the circle gathered around Lorenzo de' Medici, ii. 322;

iii. 263;

his cosmopolitan spirit, iv. 184;

recommends the study of Italian, iv. 185, v. 508;

his feelings for the greatness of ancient Rome, iv. 186;

character of his religious sentiment, 206, 216, 217;

tenderness of his character, 218, v. 196, 511;

arranges a poetical competition in Italian at Florence, iv. 238;

architect of S. Francesco at Rimini, i. 172, 326, ii. 34, 210, 342,

iii. 70 _note_ 1, 74;

of S. Andrea at Mantua, ii. 342, iii. 70 _note_ 1, 75, 278;

of the Rucellai Palace at Florence, ii. 342, iii. 75;

other architectural works of Alberti, ii. 342, 440, iii. 74-76;

his admiration of Brunelleschi's dome at Florence, iii. 67 _note_

1, iv. 209 (cp. _ib._ 204), 216;

influence of Boccaccio on his writings, iv. 136;

character of his style, 187;

his narrative of Porcari's attempt on Nicholas V., i. 265 _note_

1, 386;

his description of Nicholas' administration, i. 377;

his Latin play _Philodoxius_, ii. 341, 452, iv. 183, v. 110;

his _Trattato della Famiglia_, ii. 37, iv. 188, v. 190, 518;

its value, iv. 188, 190, v. 455;

analyzed, iv. 191;

question whether Alberti was the original author of the treatise

_Del Governo della Famiglia_, i. 239 _note_ 1, 272, iv. 192-203;

the Dialogues, v. 451, 455;

the _Deiciarchia_, iv. 203;

the _Tranquillita dell'Animo_, 204;

the _Teogenio_, 205;

the Essays on the Arts, 207-209;

the Dedication to Brunelleschi, 208;

the 'Treatise on Building' cited for the influence of Vitruvius on

Italian architects, iii. 94 _note_ 1;

the 'Treatise on Painting,' 127 _note_ 1;

the various discourses upon Love and Matrimony, iv. 209-211;

Alberti the reputed author of 'Ippolito and Leonora,' 212, 250;

his Poems, 213

Alberti, Leo Battista, the anonymous Memoir of Alberti, ii. 37, 184

_note_ 1, 195 _note_ 1, 216 _note_ 1, 218

Albertini, Francesco, aids Mazochi in collecting the Roman Inscriptions,

ii. 429

Albertinelli, Mariotto, his friendship with Fra Bartolommeo, iii. 304,

310

Alberto da Sarteano, Fra, denounces Beccadelli's 'Hermaphroditus,'

ii. 256 _note_ 1

Albertus Magnus, v. 467

Albicante, Giovanni Alberto, probability that he was Aretino's agent

in mutilating Berni's _rifacimento_ of the _Orlando Innamorato_, v.

375-380, 419;

his relations to Aretino, 419

Albigenses, the, i. 9

Albizzi, the, rule of, at Florence, i. 221, iv. 2;

their contest with the Medici, i. 227 _note_ 3, ii. 167, 170, iv.

176, 184, 252;

their exile of the Alberti, iv. 184, 189

Albizzi, Rinaldo degli, his patronage of learning, ii. 165, 223

Alciato, ii. 84

Aldus Manutius. [_See_ Manuzio, Aldo.]

Aleander, his lectures in Hebrew at Paris, i. 27, ii. 424;

a member of the Aldine Academy, ii. 387;

made Cardinal, 402, 424;

sent to Germany as Nuncio, 424

Aleotti, Galeotti, architect of the Teatro Farnese at Parma, v. 144

Alessi, Galeazzo, his work at Genoa, iii. 96;

his church of S. Maria di Carignano there, 96

Alexander of Aphrodisias, his view of Aristotle's doctrine of the

soul, v. 472;

adopted by Pomponazzi, 459, 472

Alexander, a Cretan, joint editor of a Greek Psalter, ii. 376

Alexander III., i. 64

Alexander IV., preaches a crusade against Ezzelino, i. 107 _note_ 1,

iv. 280

Alexander VI., Guiccardini's character of him, i. 308;

invites the French into Italy, 349, 427, 515;

Machiavelli makes him his example of successful hypocrisy, 357;

his additions to the Vatican, 389 _note_ 1;

personal descriptions of him at his accession, 407;

the popular legend of him, 408;

his policy, 410, 427;

his avarice, 413;

his relations with the Sultan and murder of Prince Djem, 415, 566

_note_ 1;

his attitude towards orthodoxy, 416;

his establishment of the censorship, 416, ii. 359, 371;

his sensuality, 417-419;

his exaggerated love of his children, 417;

his grief at the murder of the Duke of Gandia, 425;

his death--was it by poison? 429-431;

the legend that he had sold his soul to the devil, 431;

his attempt to gain over or silence Savonarola, 529;

comes to terms with Charles and saves himself from a General Council,

427, 532 _note_ 1, 565;

joins the League of Venice against Charles VIII., 577;

the _Menaechmi_ represented by his orders at the Vatican at the

espousal of Lucrezia Borgia, v. 139

Alexius, Marcus Attilius, his character of Paul II., i. 385 _note_ 1

Alfonso (the Magnanimous), conquers Naples, i. 88, 568;

Vespasiano's Life of him, 480 _note_ 1, 569 _note_ 1, ii. 352;

wins over the Duke of Milan, 568 _note_ 1;

his nobility of character and love of learning, 569, ii. 38, 252, 265;

his family life, 569;

story of his patient listening to a speech of Manetti, ii. 191

_note_ 1, 254;

his patronage of Manetti, 192

Alfonso II., King of Naples, i. 543, 550;

his avarice, 105;

his league against Charles VIII., 550;

character of him by Comines, 572;

his terrors of conscience and abdication, 119, 572

Alfonso, Prince of Biseglia, husband of Lucrezia Borgia, murder of,

i. 420

Alidosi, the, of Imola, i. 375

Alidosi, Cardinal, his patronage of scholars, ii. 404

Alighieri, Jacopo, his commentary upon the Divine Comedy, iv. 163;

his _Dottrinale_, 240

Alione, Giovan Giorgio, his Maccaronic Satire on the Lombards, v. 333

Allegre, Monseigneur d', captures the mistresses of Alexander III.,

i. 418

Allegretti, Allegretto, cited, i. 165 _note_ 1;

on the reconciliation of factions at Siena, 616, iii. 213

Alopa, Lorenzo, printer of the first edition of Homer, ii. 369, 376

Alticlinio of Padua, i. 114

Amadeo, Antonio, iii. 78 _note_ 1;

dispute about his name, 164;

his work at the Certosa of Pavia, 164;

his monument to Media Colleoni, 165

Amalteo, ii. 506;

his Latin Eclogues, 453, 497

Ambra, his Comedies, v. 123, 181

Ambrogio da Milano, his reliefs in the ducal palace, Urbino, iii. 162

_note_ 1

America, discovery of, i. 3, 15, 29, ii. 112;

given by Alexander VI. to Spain, i. 413

Amerigo di Peguilhan, his _Lament_ on the death of Manfred, iv. 27

Amidei, the, at Florence, i. 74, 210, _note_ 2

Ammanati, Bartolommeo, his work as sculptor and architect in Florence,

iii. 96;

feebleness of his statues, 173;

his regret that he had made so many statues of heathen gods, 174;

his quarrels with Cellini, 477

Ammirato, Scipione, quoted for the friendly rivalry of Giangiorgio

Trissino and Giovanni Rucellai, v. 236

Amurath II., Filelfo's mission to him, ii. 268

Andrea dell'Anguillara, Giovanni, his tragedy of _Edippo_, v. 134;

acted in the Palazzo della Ragione, 134;

his satiric poems, 381

Andrea dell'Aquila, probable sculptor of a monument in S. Bernardino,

Aquila, iii. 141 _note_ 1

Andrea da Barbarino, probably the author of the _Reali di Francia_,

iv. 246;

other romances of his, 246

Andrea of Florence, said to be the painter of frescoes in S. Maria

Novella, iii. 205 _note_ 1

Andrea de Pontadero (_called_ Pisano), his work in bronze and marble,

iii. 119

Andrea di Sicilia, elected Professor at Parma, iv. 315

Angelico, Fra, spirituality of his paintings, iii. 239;

his intense religious feeling, 303, 311;

critical difficulty of deciding his place in the succession of

Florentine painters, 240;

his frescoes at Orvieto, 283 _note_ 1

Angioleri, Cecco, his Sonnets, iv. 56 _note_ 1

Anguillara, i. 114, 404, 545

Annales Bononienses, quoted for the Revival of 1457, i. 617

Annius of Viterbo, his forged Histories, ii. 156 _note_ 2

Antiquari, Jacopo, his Latin correspondence, ii. 288 _note_ 1, 532;

quotation from a letter of his upon Poliziano's Miscellanies, 352;

his verses on Aldo Manuzio, 390 _note_ 2;

his nobility of character, 523

Antonino, Sant', the good archbishop of Florence, i. 470 _note_ 1,

iv. 313, v. 519

Antonio da Tempo, his _Treatise on Italian Poetry_ cited for the

early estimation of Tuscan, iv. 31 _note_ 1

Antonio di San Marco (the Roman goldsmith), his answer to Agostino

Chigi's couplet on Leo X., i. 435

_Anziani_ or Ancients, name of magistrates in some Italian cities,

i. 35, 68, 224

Apollo Belvedere, discovery of the, ii. 431;

description of it by a Venetian envoy, 434

Apostolios Aristoboulos, a compositor employed by Aldo Manuzio, ii. 378;

a member of the Aldine Academy, 387;

Appiano, Gherardo, sells Pisa to Gian Galeazzo, i. 114, 148

Appiano, Jacopo, murders Pietro Gambacorta, i. 148, 148 _note_ 1

Aquila, S. Bernardo, monument of the Countess Montorio, iii. 141 _note_ 1

Arabs, the, their preservation of Greek literature, ii. 66, 68, 251,

iii. 209, v. 468

Arcadia, creation of the Arcadian ideal at the Renaissance, v. 197;

length of time during which it prevailed, 197, 223;

received form at the hands of Sannazzaro, 197;

lent itself to the dramatical presentation of real passion, in

spite of its artificial form, 241. (_See_ Guarini, Sannazzaro,

and Tasso.)

Archio, Latin verse writer, ii. 507

Architecture, Italian architecture rather local than national, ii. 5;

architecture does not require so much individuality in the artist

as painting, 7;

effect on Italian architecture of the ancient Roman buildings, 439,

iii. 48 _note_ 1;

reasons why the middle ages excelled in architecture, iii. 10;

architecture precedes the other arts, 40;

the various building materials used in Italian architecture, 44

Arcimboldi, Gian Angelo, discovered the MS. of Tacitus' _Annals_ at

Corvey, ii. 140, 425

_Ardenti_, the, an Academy at Naples, ii. 366

Aretino, Carlo. (_See_ Marsuppini.)

Aretino, Pietro, parallel between Aretino, Machiavelli, and Cellini,

iii. 479 (cp. v. 384);

said to have died from excessive laughter, iv. 452;

the story probably without foundation, v. 423;

his quarrel with Doni, 90, 419, 422;

his writings placed on the Index after his death, 422, 423;

the Comedies, 40, 123;

their originality and freedom from imitation of the antique, 172,

173 (cp. 269 _note_ 1), 517;

defective in structure, 173;

point of view from which Aretino regards contemporary manners in

them, 174;

celerity of their composition, 414;

the _Cortigiana_, its plot and characters, 176;

intended to expose the Courts, 176, 177, 178 (cp. 386 _note_ 1);

sarcasms of the Prologue on the Italian authors, 180, _note_ 1;

its testimony to the profligacy of Rome, and to the belief that the

sack of the city was a Divine chastisement, i. 446 _note_ 1, v.

176, 190, 226;

to the general corruption of morals in Italy, v. 191;

the _Marescalco_, its plot, 178;

may have supplied hints to Shakspere and Ben Jonson, 178;

the _Talanta_, _Ipocrita_, and _Filosofo_, 179;

comparison of the comedies of Aretino, Bibbiena, and Machiavelli, 180;

passage in the Prologue to the _Ipocrita_, referring to Berni's

_rifacimento_ of the Orlando Innamorato, 376 _note_ 2;

Prologue of the _Talanta_ translated (in prose), 417-419;

his Madrigals and Sonnets, 311;

their badness, 415;

his _Capitoli_, 364, 381, 419;

inferior to Berni's, 415;

the _Dialoghi_, 386, 394, _note_ 1, 415;

their description of life in Roman palaces, 386 _note_ 1;

belief of contemporary society in the good intentions of Aretino

in writing the work, 427;

probability that Aretino was the author of the mutilation of Berni's

_rifacimento_ of the Orlando Innamorato, 375-380, 406;

he sides with Bembo in his dispute with Broccardo, 377;

his place in Italian literature, 383-385;

his boyhood, 385;

enters Agostino Chigi's service, 386;

nature of his position, 386;

stories of his early life, 387;

begins to find his way into Courts, 388;

comes to Rome at the election of Clement VII., 389;

writes a series of sonnets on obscene designs by Giulio Romano, and

is obliged to quit Rome, 389;

makes the friendship of Giovanni de' Medici delle Bande Nere, 390,

391, 424;

narrowly escapes assassination at Rome, 391;

his animosity against Clement VII., 391, 392, 402 _note_ 1;

retires to Venice in order to support himself by literary labour,

392-395;

dread inspired by his talents, ii. 34, 512, iii. 171, v. 392;

trades upon the new power given by the press, v. 393;

secures his reputation by writing religious romances, 394, 519;

their worthlessness, 416, 427;

may have been aided in them by Niccolo Franco, 420;

his life at Venice, 396-399;

amount of money extorted by him, 399;

presents made him by various princes, 400, 405;

question as to the real nature of the influence exercised by him,

392, 401, 404, 406;

partly owing to his force of character, 425-427;

his attractiveness as a writer due to his naturalness and independence,

416;

his employment of lying, abuse, and flattery, 401-404;

his reputation for orthodoxy, 380, 405;

idea of making him Cardinal, ii. 22, 282 _note_ 1, 403, v. 405;

his cowardice, 391, 405, 406;

his relations to Michelangelo, iii. 426, v. 408;

the friend of Sansovino and Titian, iii. 167, 168, v. 398, 405

_note_ 4, 409, 425;

his relations to men of letters, v. 409;

his boasts of ignorance and attacks on the purists, 410-414;

his celerity of composition, 414;

his faults of taste, 417;

effect of his writings on the euphuistic literature of the seventeenth

century, and on the literature of abuse in Europe, 417, 422;

his literary associates, 419-423;

the epitaph composed upon him, 423;

his portrait (1) engraved by Guiseppe Patrini, (2) by Sansovino, on

the door of the sacristy in St. Mark's, iii. 168, v. 424;

his contradictions of character, v. 425, 517;

Aretino embodies the vices of his age, 425, 523;

his Correspondence, 384, _note_ 1, 393 _note_ 1;

its illustrations of the profligacy of Rome, 386 _note_ 1, 387

_note_ 1;

a letter to Titian quoted for a description of a Venetian sunset,

iii. 351, v. 417;

Aretino relates in a letter his life at Mantua, v. 388;

letters of his cited for the death of Giovanni de' Medici delle

Bande Nere, 391 _note_ 2;

the Letter to the Doge of Venice, 395;

letters describing his life at Venice, 396-399;

probability that Aretino tampered with his correspondence before

publication, 398 _note_ 1, 399 _note_ 1;

letter describing his method of flattery, 403 _note_ 1;

another quoted as a specimen of his begging style, 404 _note_ 1;

another written to Vittoria Colonna, who entreated him to devote

himself to pious literature, 407;

another to Bernardo Tasso on epistolary style, 411

Arezzo, the high school at, ii. 116;

receives a diploma from Charles IV., 118

---- Cathedral shrine of S. Donato (by Giovanni Pisano), iii. 110

---- S. Francesco, Piero della Francesca, _Dream of Constantine_,

iii. 235

Argyropoulos, John, the guest of Palla degli Strozzi at Padua, ii. 168;

teaches Greek at Florence and Rome, 210

Ariosto, Gabriele, brother of the poet, finishes _La Scolastica_, iv.

502, v. 150

Ariosto, Giovanni Battista, illegitimate son of the poet, iv. 502

Ariosto, Lodovico, his panegyrics of Lucrezia Borgia, i. 420, 422,

v. 12 _note_ 1;

of the d'Este family, v. 5, 7, 9, 11, 12 _note_ 1, 30;

Ariosto inferior as a poet to Dante, ii. 9;

analogy of his character to that of Boccaccio, iv. 506;

quoted for the word _umanista_, ii. 71 _note_ 1;

had no knowledge of Greek, iv. 493, 517;

facts of his life, 493-503 (cp. 517);

enters the service of Cardinal Ippolito d'Este, 494, (cp. 517);

refuses to enter the Church, 495;

his rupture with the Cardinal, 496;

enters the service of Alfonso I. of Ferrara, 498;

his superintendence of the Ducal Theatre, 498, v. 140, 141, 144;

his marriage, iv. 502, v. 38;

receives a pension from the Marquis of Vasto, iv. 503;

his personal habits, 504;

his device of the pen, 521;

his genius representative of his age, v. 49, 518;

the Satires cited for the nepotism of the Popes, i. 413, _note_ 2,

iv. 509, 518;

on the relations of the Papacy to the nation, ii. 22;

on the bad character of the Humanists, 519, iv. 517;

written in the metre of the Divine Comedy, iv. 172, 519;

revelation of his own character contained in the Satires, 504,

505-508, 517-519, v. 1, 5;

their interest in illustrating the Renaissance, iv. 518;

subjects of the Satires, 508;

the first Satire: ecclesiastical vices, 509 (cp. ii. 406);

the second: dependents upon Courts, character of Ippolito d'Este, 509;

the third: the choice of a wife, 510, v. 38;

fourth and sixth: Court life and place-hunting, iv. 511-513;

the fifth: the poet at Garfagnana, 514;

sketches of contemporaries, 515;

the seventh: a tutor wanted for his son, vices of the Humanists,

516 (for the latter cp. v. 155 _note_ 2);

the _Canzoni_, iv. 520;

the origin of his love for Alessandra Benucci, 520;

Giuliano de' Medici to his widow, 520;

the _Capitoli_, 509 _note_ 1, 519, v. 5;

the _Cinque Canti_, iv. 501, 502;

passage on the Italian tyrants quoted, i. 130, iv. 506 _note_ 2;

the Madrigals and Sonnets, iv. 522;

the Elegies, 519, 521;

his Latin poems, ii. 497, iv. 494, 497 _note_ 1, 506 _note_ 1, 522,

v. 38;

his translations from Latin comedies, v. 140;

the Comedies, 40 _note_ 5, 111, 122, 123, 146 _note_ 1;

the _Negromante_ cited in illustration of the character of Italian

witches, 346 _note_ 1;

plots of the comedies, 148, 153 _note_ 1;

their satire, 150;

the Prologues, 147 _note_ 1, 150;

the _Scolastica_, left unfinished by Ariosto, iv. 502, v. 150;

its plot, v. 150;

excellence of the characters, 151-153;

its satire, 153-155;

artistic merit of the comedies, 156;

criticisms of them by Machiavelli (?) and Cecchi, 156;

their value as sketches of contemporary life, 159;

the _Orlando Furioso_: its relation to the old romances, iv. 248, 249;

his debt to Boiardo, 458 (cp. i. 171), 470, 489, 492;

his silence respecting his indebtedness, 490;

contrast of Ariosto and Boiardo, 463;

continuous labour of Ariosto upon the _Orlando_, 497, 503, v. 42;

the _Orlando_ the final expression of the _Cinque Cento_, v. 2;

Ariosto's choice of a romantic subject, 4-6;

why he set himself to finish Boiardo's poem, 6;

artistic beauty of the _Orlando_, 6, 8, 14, 515;

its subject as illustrating the age, 7;

Ariosto's treatment of romance, 9, 15;

material of the _Orlando_, 9-12;

the connection of its various parts, 15;

its pictorial character, 17-20;

Ariosto's style contrasted with the brevity of Dante, 19;

his power of narrative, 20;

his knowledge of character, 21;

the preludes to the Cantos, 22;

Tasso's censure of them, 23;

the tales interspersed in the narrative, 23-25;

Ariosto's original treatment of the material borrowed by him, 25;

his irony, 26;

illustrated by Astolfo's journey to the moon, 27-30;

illustrated by the episode of S. Michael in the monastery, 31-33;

peculiar character of his imagination, 29;

his humour, 33;

his sublimity and pathos, 34-36;

the story of Olimpia, 36;

Euripidean quality of Ariosto, 35-37;

the female characters in the _Orlando_, 37-40;

Lessing's criticism of the description of Alcina, iv. 116, v. 19;

Ariosto's perfection of style, v. 41;

his advance in versification on Poliziano and Boiardo, 43;

comparison of Ariosto and Tasso, 44;

illustrations of his art from contemporary painters, 45;

his similes 46-49;

the lines on the contemporary poets quoted

---- upon Bembo, 258 _note_ 1;

---- upon Aretino, 385 _note_ 1

Ariosto, Virginio, illegitimate son of the poet, iv. 502;

his Recollections of his father, 502, 504

Aristotle, influence of the Politics at the Renaissance, i. 197

_note_ 1, 250 _note_ 1;

cited, 234 _note_ 1, 235 _note_ 1;

the Lines on Virtue translated, iv. 62;

supposed coffin of Aristotle at Palermo, i. 461;

Aristotle known to the Middle Ages chiefly through the Arabs, ii.

66, 68, iii. 209, v. 468;

regarded in the Middle Ages as a pillar of orthodoxy, ii. 208, v. 462;

his system turned against orthodox doctrines at the Renaissance,

v. 472;

quarrel of the Aristotelians and the Platonists, ii. 208, 244, 247,

394, v. 454;

study of the _Poetics_ by the Italian playwrights, v. 127, 132

_note_ 1, 135;

outlines of the Aristotelian system, 462-466;

problems for speculation successively suggested by Aristotelian

studies, 466-470

Arnold of Brescia, i. 64, iv. 12

Arnolfo del Cambio, ii. 5;

the architect of the Palazzo Vecchio at Florence, iii. 61-63;

impress of his genius on Florence, 63;

his work as a sculptor, 62 _note_ 1;

begins the Duomo, 64;

his intentions, 66

Arpino, traditional reverence for Cicero there, ii. 30, iv. 12

Arrabbiati, name of the extreme Medicean party at Florence, i. 529

Arthur Legends, the, preferred by the Italian nobles to the stories

of Roland, iv. 13, 17, 244, 437, v. 52;

represent a refined and decadent feudalism, v. 52

Arti, the, in Italian cities, i. 35, 72;

at Florence, 224

Arts, degeneracy of the plastic arts in the early Middle Ages, i. 17;

change brought about in them by the Renaissance, 18-20;

predominance of art in the Italian genius, iii. 1-5;

art and religion--how far inseparable, 6 _note_ 1;

the arts of the Renaissance had to combine Pagan and Christian

traditions, 6, 170;

share of the arts in the emancipation of the intellect, 8, 23, 32,

iv. 346 _note_ 1;

the arts invade religion by their tendency to materialize its

ideals, iii. 11, 19, 22, 31;

antagonism of art and religion, 24-26, 28, 31;

the separate spheres and meeting-points of art and religion, 30;

important part played by Tuscany in the development of Italian art,

185 _note_ 1;

fluctuations in the estimation of artists, illustrated by

Botticelli, 249 _note_ 1;

works of art may be judged either by aesthetic quality or as

expressing ideas, 343 _note_ 1;

commercial spirit in which art was pursued in Italy, 442 _note_ 1

Ascanio de' Mori, his _Novelle_, v. 60

Ascham, Roger, quoted for the English opinion on Italy, i. 472

Asolanus, father-in-law and partner of Aldo Manuzio, ii. 388

Assisi, Church of S. Francis, designed by a German architect, iii. 50;

importance of its decorations by Giotto in the history of Italian

art, 195;

Simone Martini's Legend of S. Martin, 217

_Assorditi_, the, an Academy at Urbino, ii. 366

Asti, transferred to the house of Orleans by Gian Galeazzo Visconti,

i. 143 _note_ 2, v. 333;

its half French character, v. 333

Astrology, influence of, in Italy, i. 428 _note_ 1, iii. 77 _note_ 1

Athens, comparison of Athens and Florence, i. 234, 236, ii. 163, 165

Athens, Duke of, i. 75 _note_ 1, 221, iii. 309

Attendolo, Sforza (father of Francesco Sforza), i. 86;

said to have been a peasant, 159;

his murder of Terzi, 121 _note_ 1;

his desertion of Queen Joan of Naples, 361

Aurispa, Giovanni, protected by Nicholas, i. 111, 173;

brings Greek MSS. to Italy, ii. 141, 267, 301;

obliged to leave Florence by Niccoli's opposition, 182;

made Apostolic Secretary by Eugenius IV., 220;

his life at Ferrara, 301

Avanzi, Girolamo, a member of the Aldine Academy, ii. 387

Averrhoes, the arch-heresiarch of medieval imagination, iii. 206-209

(cp. iv. 447), v. 449;

his teaching on immortality, v. 469

Averrhoists, Petrarch's dislike of them, ii. 101, iii. 209;

Pomponazzi and the Averrhoists, v. 462

Avignon, transference of the Papal Court there, i. 77, 80, 101, 374,

iv. 2, 87

_Avvelenato, L'_, name of an Italian ballad, iv. 275;

its correspondence with Northern ballads, 275-278, v. 119 _note_ 1

Baccio Della Porta. (_See_ Bartolommeo, Fra.)

Bacon, Roger, his anticipation of modern science, i. 9;

imprisoned by the Franciscans, 10;

knew the use of the telescope, 29

Baden (Switzerland), Poggio's visit to, ii. 231

Baglioni, the, supported by the people at Perugia, i. 87 (cp. v. 498);

their rise to power, 114, 115, 122, 123;

their misgovernment, 130, 225, iii. 328;

overthrown by Gian Galeazzo, i. 148;

members of this family become Condottieri, 161;

take part in the Diet of La Magione, 351;

attempted massacre of them, 397 _note_ 2

---- Astorre, his comeliness of person, ii. 31;

Gian Paolo, i. 421 _note_ 1;

Machiavelli condemns him for not murdering Julius II., 324, 463;

beheaded by Leo X., 439;

Grifonetto, 168 _note_ 1, iii. 221, v. 118;

Malatesta, betrays Florence, i. 223, 245, 285;

Pandolfo, murder of, 148 _note_ 2

Bajazet, Sultan, his relations with Alexander VI., i. 415

Baldi, Bernardino, his pastoral poems, v. 224

Balduccio, Giovanni, invited to Milan by Azzo Visconti, iii. 123;

carves the shrine of S. Peter Martyr in S. Eutorgio, 123

Baldus, dies of hunger in the sack of Rome, ii. 444

_Balia_, the, at Florence, i. 230, 526

Ballad poetry, general absence of ballads in Italian, iv. 37 (cp.

251), 274, v. 119;

the ballad of _L'Avvelenato_, iv. 275-278;

connection of ballad poetry and the Drama, v. 120

_Ballata_, or _Canzone a Ballo_, meaning of the term in Italian, iv.

261 _note_ 2;

popularity of the _ballate_ in Italy, 261-263

Bambagiuoli, poems of, iv. 164

Bandello, Matteo, belonged to the Dominican order, i. 459 v. 64;

facts of his life, v. 63;

his _Novelle_ cited for the profligacy of Rome and the scandals of

the Church, i. 446 _note_ 1, 458, v. 66;

use of them made by the Reformers against the Church, v. 65, 66;

state of society revealed by them, 65;

their allusions to witchcraft, 346 _note_ 1;

their dedications, 62;

want of tragic and dramatic power in the _Novelle_, 67-69;

their pictures of manners, 68;

Bandello's ability best shown in the romantic tales, 69;

the description of Pomponazzi in one of the novels, 461;

Bandello, a sort of prose-Ariosto, 70;

the tale of Gerardo and Elena, 70;

the tale of Romeo and Juliet: comparison with Shakspere's drama, 71;

the tale of Nicuola: its relation to the _Twelfth Night_, 72;

tale of Edward III. and Alice of Salisbury, 73-75;

comparison of Bandello with Beaumont and Fletcher, 74, 75 _note_ 1;

Bandello's apology for the licentiousness of the _Novelle_, 76;

for their literary style, 77

Bandinelli, Baccio, feebleness of his statues, iii. 173;

legend that he destroyed Michelangelo's cartoon for the _Battle of

Pisa_, 396 _note_ 1;

his quarrel with Cellini, 477 (cp. 173)

Bandini assassinates Giuliano de' Medici, i. 398

Barbaro, Daniello, a letter of his to Aretino quoted for contemporary

opinion of the _Dialogo de le Corti_, v. 427 _note_ 2

Barbaro, Francesco, i. 173;

a scholar of Giovanni da Ravenna, ii. 100;

learns Greek from Chrysoloras, 110;

his account of Poggio's enthusiasm in the quest of MSS., 138;

his patronage of learning at Venice, 212

Barbavara, Francesco, i. 150

Barbiano, Alberico da, leader of Condottieri, i. 150, 159

Barbieri, Gian Maria, sides with Castelvetro in his quarrel with

Caro, v. 286

Bardi, the, at Florence, i. 238;

their loan to Edward III., 257;

their bankruptcy, 258

Bargagli, Scipione, his _Novelle_, v. 60;

the description of the Siege of Siena in the Introduction, 98 (cp. 522)

Barlam, teaches Leontius Pilatus Greek, ii. 90

Baroccio, Federigo, his relation to Correggio, iii. 495

Baroncelli, the Roman conspirator, i. 376

Bartolommeo, Fra, his portraits of Savonarola, i. 508, iii. 309 _note_ 2;

story of his _Sebastian_ in the cloister of San Marco, iii. 28;

his position in the history of Italian art, 304;

his friendship with Albertinelli, 305;

furthered the progress of composition and colouring in painting,

331, 498;

his attempt to imitate Michelangelo, 307;

the painter of adoration, 307;

his unfinished _Madonna with the Patron Saints of Florence_, 308;

influence of Savonarola upon him, 309

Bartolommeo da Montepulciano, discovers the MSS. of Vegetius and

Pompeius Festus, ii. 140

Basaiti, Marco, iii. 362

Basle, Council, question of precedence at, ii. 216

Bassani, the, Venetian painters, iii. 371

Basso, Girolamo, nephew of Sixtus IV., i. 389

Bati, Luca, composes the music for Cecchi's _Elevation of the Cross_,

iv. 326

_Battuti_, the Italian name for the Flagellants, iv. 281, 282, 283

Bazzi. (_See_ Sodoma.)

Beatrice di Tenda, i. 152

Beaufort, Cardinal, invites Poggio to England, ii. 231 _note_ 3

Beaumont and Fletcher, comparison of, with Bandello, v. 74, 75 _note_ 1

Beauty, Greek appreciation of bodily beauty contrasted with Christian

asceticism, iii. 13-18, 19;

the study of human beauty revived by the painters of the

Renaissance, 23;

the delight in the beauty of nature restored by the Renaissance,

33, 107, v. 250;

the later artists wholly absorbed by the pursuit of sensual beauty,

iii. 453-455;

the beauty of wild and uncultivated scenery unappreciated in the

Renaissance, 464, v. 46

Beccadelli, Antonio, tutor of Ferdinand I., i. 174, ii. 257;

in attendance on Alphonso I., 252;

the author of the _Hermaphroditus_, 254 (cp. i. 174 _note_ 1), 452;

favourable reception of his work, 255;

crowned poet by the Emperor Sigismund, 255;

his _Hermaphroditus_ denounced by the Church, 256;

honours paid to him, 256 (cp. 524);

introduces Pontanus at the Court of Naples, 363

Beccafumi, Domenico, the scholar of Sodoma, iii. 501

Beccaria Family, the, of Pavia, i. 145

Begarelli, Antonio, Modanese artist in terra-cotta, iii. 164 _note_ 1

Belcari, Feo, his Alphabet, iv. 240;

his _Vita del Beato Colombino_, 240;

his _Sacre Rappresentazioni_, 320, 340;

Benivieni's Elegy on his death, 321

Belgioioso, Count of, Lodovico Sforza's ambassador to Charles VIII.,

i. 541

Bellincini, Aurelio, communicates Castelvetro's criticisms to Caro,

and so causes the quarrel between them, v. 285

Bellini, Gentile, iii. 362;

his pictures for the Scuola of S. Croce, 363;

Giovanni, 362;

how far influenced by his brother-in-law Mantegna, 277, 362;

his perfection as a colourist, 365;

adhered to the earlier manner of painting, 365;

Jacopo, 362

Bello, Francesco (called _Il Cieco_), language of his _Mambriano_

respecting the Chronicle of Turpin, iv. 439 _note_ 1;

character of Astolfo in it, 470 _note_ 1;

use of episodical _novelle_ in it, 490 _note_ 2;

classed by Folengo with Boiardo, Pulci, and Ariosto, v. 316

Beltraffio, Giovanni Antonio, the scholar of Lionardo da Vinci, iii. 484

Bembo, Bernardo, builds the tomb of Dante at Ravenna, ii. 410

Bembo, Pietro, introduced in Castiglione's 'Cortegiano,' i. 184, ii.

411, v. 260, 265;

his moral quality, i. 459 _note_ 2, v. 261;

his account of De Comines' behaviour before the Venetian Signory,

i. 578 _note_ 1;

a member of the Aldine Academy, ii. 387;

made a Cardinal, 402;

his rise into greatness, 403;

his friendship with Lucrezia Borgia, i. 422, ii. 403, 411, v. 263;

with Veronica Gambara, v. 289;

said to have saved Pomponazzo from ecclesiastical procedure, ii.

410, v. 461;

his life at Urbino, ii. 411, v. 260;

his retirement at Padua, ii. 413;

becomes the dictator of Italian letters, ii. 414, v. 258, 497;

greatness of his personal influence, v. 264;

his quarrel with Broccardo, 377;

his panegyric of Sadoleto's _Laocoon_, ii. 497;

his Venetian origin, illustrating the loss of intellectual supremacy

by Florence, 507, v. 258;

Cellini visits him at Padua and makes a medallion of him, iii. 463;

his advice to Sadoleto not to read St. Paul for fear of spoiling

his taste, ii. 398, 413;

his ridiculous purisms, 400;

his pedantic and mannered style, 413 (cp. 535), v. 259;

his Latin verses, ii. 453, 481-485, v. 249;

Gyraldus' criticism of them, ii. 484;

the _De Galeso_ translated, 483;

the Elegy on Poliziano, 357, 484, v. 258;

translated (in prose), ii. 484;

his cultivation of Italian, 414, v. 258;

the _Gli Asolani_, ii. 411, v. 259, 265;

the Defence of the Vulgar Tongue, v. 259 _note_ 1, 260;

the _Regole Grammaticali_, 261;

the Italian poems, 261;

translation of a sonnet, illustrating the conceits affected by him,

261;

his Letters, 262-264, 360;

mention in one of them of the representations of Latin comedies at

Ferrara, 140.

Benedetti, the, of Todi, the family to which Jacopone da Todi

belonged, iv. 285, 287

Benedict XI., surmise of his death by poison, i. 374, iii. 115;

his monument by Giovanni Pisano, iii. 115

Benedictines, their treatment of the classical literature, i. 10, ii.

133;

their hatred of the Franciscans, v. 325

Benevento, a Lombard duchy, i. 48;

its fate, _note_ 1, 50;

battle of, iv. 21, 27, 48

Benignius, Cornelius, his edition of Pindar, the first Greek book

printed in Rome, i. 405 _note_ 1

Benivieni, i. Girolamo, his elegies in the metre of the Divine

Comedy, iv. 172;

his poetical version of the novel _Tancredi_, 250;

his hymns, v. 519;

two translated, iv. 303;

his Elegy on Feo Belcari, 321 (see Appendix vi. for translation);

his Pastoral Poems, v. 224

Bentivogli, the, supported by the people of Bologna, i. 87, 102;

their rise to power, 114, 123, 124;

claimed descent from King Enzo, 115, iv. 49;

take part in the 'Diet of La Magione,' 351

Bentivogli, Annibale de', v. 140;

Cardinal de', his portrait by Vandyck, ii. 27;

Francesca, murders her husband, Galeotto Manfredi, i. 428 _note_ 1

Bentivoglio, Ercole, his Satiric Poems, v. 381

Benucci, Alessandra, the wife of Ariosto, iv. 502, 520, 521, 522, v. 38

Benvenuto da Imola, his account of Boccaccio's visit to Monte

Cassino, ii. 133

Benzoni Family, the, at Crema, i. 150

Berardo, Girolamo, his versions of the _Casina_ and the _Mostellaria_,

v. 140

Berengar, the last Italian king, i. 51-53

Bergamo, story of Calabrians murdered there, i. 74

---- S. Maria Maggiore, the Capella Colleoni, iii. 165

Bernard, S., the type of medieval contempt for natural beauty, i. 13;

his _Hymn to Christ on the Cross_, iii. 17;

two stanzas translated, _note_ 1

Bernard de Ventadour, iv. 60

Bernardino S. (of Siena), his preaching, i. 611-613, iv. 175;

his attacks on Beccadelli's _Hermaphroditus_, ii. 256 _note_ 1 (cp.

516);

his canonisation, i. 461, iv. 315

Berni, Francesco, related to Cardinal Bibbiena, v. 357;

taken by him to Rome, 357;

enters the Church and becomes Canon of Florence, i. 459, v. 357, 358;

acts as secretary to Giberti, Bishop of Verona, v. 357;

becomes a member of the _Vignajuoli_ Academy at Rome, ii. 366, v. 357;

loses his property in the sack of Rome, v. 357;

retires to Florence, 358;

aids Broccardo against Aretino in his quarrel with Bembo, 377;

mysterious circumstances of his death, 358, 374, 377, 381 (cp. i.

170 _note_ 1);

his easy, genial temper, 357, 359, 368;

his correspondence, 360;

his scantiness of production and avoidance of publication, 361-363;

his refinement of style, 315;

the _Capitoli_, (1) poetical epistles, 363;

(2) occasional poems, 364;

(3) poems on burlesque subjects, 364;

degree in which Berni is responsible for the profligacy of the

_Capitoli_, 366;

manner in which he treated his themes, 366;

the _Capitoli_ written in _terza rima_, 366 (cp. iv. 172);

the _Capitolo_ on Adrian VI.'s election to the Papacy, v. 368, 369

(cp. i. 443);

the sonnet on Pope Clement, v. 368 (cp. i. 443);

translated, v. 368;

the sonnet on Alessandro de' Medici, the force of their satire

weakened by Berni's servility to the Medici, 369;

excellence of Berni's personal caricatures, 370;

the sonnet on Aretino, 371, 389, 390 _note_ 1, 406;

the rustic plays, _Catrina_ and _Mogliazzo_, 224, 311;

the _rifacimento_ of the _Orlando Innamorato_, iv. 491, v. 373;

object of the undertaking, v. 373;

published in a mutilated form, 374;

the question who was guilty of the fraud, 375;

probability that Aretino, with the aid of Albicante, contrived the

mutilation of the MS. or proof-sheets, 375-378, 419;

Vergerio's statement that Berni had embraced Protestantism and

wrote the _rifacimento_ with the view of spreading Lutheran

opinions, 378-380;

the suppressed stanzas, intended by Berni as the Induction to the

twentieth Canto of the _Innamorato_, 379 (for a translation see

Appendix ii. 543);

likelihood that the ecclesiastical authorities may have employed

Aretino, 380

Bernini, adds the Colonnades to S. Peter's, iii. 93

Beroaldo, Filippo, edits Tacitus' Annals for the first edition, ii. 425;

made Librarian of the Vatican, 425;

professor in the Sapienza at Rome, 427;

his version of the _Principe di Salerno_ in Latin elegiacs, iv. 250

_note_ 2

Bertini, Romolo, v. 311

Bertoldo, his work as a bronze founder in Italian churches, iii. 78

_note_ 1

Bertrand du Poiet, i. 81

Bescape, Pietro, his _Bible History_ written for popular use in a

North Italian dialect, iv. 34

Bessarion, Cardinal, a disciple of Gemistos Plethos, ii. 204, 247;

joins the Latin Church, 204, 246;

gives his library to Venice, 247;

his controversy with Trapezuntios, 247

Beyle, Henri, his critique on the frescoes in the Sistine Chapel,

iii. 427

Bianchi and Neri Factions, the, at Pistoja, i. 210 _note_ 2;

at Florence, 221, 225

Bianchino, Il Cieco, his _Incatenatura_, iv. 268

Bibbiena, Cardinal, i. 459;

introduced in Castiglione's 'Cortegiano,' 184, 190;

his kinship with Berni, v. 357;

his rise to greatness, ii. 403, v. 145;

his comedy, _Calandra_, v. 111, 123;

largely indebted to the _Menaechmi_, 145;

its popularity, 146;

its literary style, 146 _note_ 1;

representations of it at Urbino and Rome, 146;

comparison of his comedy with those of Aretino and Machiavelli, 180

Bibboni, Francesco, the murderer of Lorenzino de' Medici, i. 480

_note_ 3 (cp. v. 517)

Bigi, name of the Medicean faction at Florence, i. 529

Bini, Francesco, a member of the _Vignajuoli_ Academy at Rome, v. 357;

the friend and correspondent of Berni, 360;

his _Capitolo_ on the _Mal Franzese_, 365

Biondo, Flavio, ii. 430;

patronized by Eugenius IV., ii. 220;

his prodigious learning, 220, iii. 272;

not duly appreciated by his contemporaries, ii. 221

Bishoprics, the Italian bishoprics in Roman municipia, i. 61

Bishops, the, on the side of the people in their first struggles for

independence, i. 53, 55-61;

the cities claim the privilege of electing their own bishops, 59

Bissolo, Venetian painter, iii. 362

Blastos, Nicolaos, a Greek printer at Venice, ii. 386

Bloodmadness, i. 109, Appendix No. 1

Boccaccino da Cremona, the _Madonna with S. Catherine_, iii. 225

Boccaccio, Giannandrea, cited for the popular detestation of the

Spanish cardinals, i. 410;

for the temperance in eating of Alexander VI., 417

Boccaccio, Giovanni, his services to the Renaissance, i. 11, iv. 142;

learnt Greek late in life, 20, ii. 91, iv. 120 _note_ 2;

cited for the attachment of the Italians to their past history, ii. 30;

influenced by Petrarch, 87, 89, iv. 102;

story of his visit to the tomb of Virgil at Naples, ii. 88, iv. 101;

his enthusiasm for Dante, ii. 89;

the first Greek scholar in Europe, 91;

translates Homer, 93;

his industry as a scholar, 94, iv. 101;

sensuousness of his ideal, ii. 97, iv. 100 _note_, 106, 114, 118,

v. 504, 515;

his visit to Monte Cassino, ii. 133;

his relation to Robert of Anjou, 252, iv. 120 _note_ 1;

his influence on Italian literature, iv. 3, 123, v. 518;

not of pure Italian blood, iv. 98;

the typical Italian of the middle class, 99, 104, 113, 114, 164;

his realism, 99, v. 515;

his nickname of Giovanni della Tranquillita, iv. 100 _note_ 1;

contemporary denunciations of the Decameron, 100;

shallowness of Boccaccio's philosophy, 101, 103;

his frank recognition of genius, 102;

comparison of his character with that of Ariosto, 506;

his devotion to art, 103;

his genius representative of the Renaissance, 110, v. 2;

his descriptions have the nature of painting, iv. 116;

shared the contempt of the learned for the lower classes, 125, 239;

comparison of his prose with that of the other _trecentisti_, 132-135;

influence of his style not paramount till the age of the Academies,

135;

considered by some Italian critics to have established a false

standard of taste, 136;

the life of Dante, ii. 36;

its want of real appreciation for Dante, iv. 101;

the Commentary upon Dante, ii. 89, 96, iv. 163;

the _Genealogia Deorum_, ii. 94;

quoted for Boccaccio's teaching on poetry, 94;

the Decameron: contrasted with the _Divina Commedia_, iv. 104, 127

(cp. 114, 122);

description of the plague, forming the background of the Decameron,

111;

the satire of the Decameron, 112;

its irony, 113;

its beauty, 114;

its superiority to his other works, 127;

its testimony to the corruption of Rome, i. 457;

said by Sacchetti to have been translated into English, iv. 148

_note_ 4;

comparison between Boccaccio, Masuccio, and Sacchetti, 179;

his Minor Poems, 118;

show the feeling of despair common to the last _trecentisti_, 165;

the two sonnets on Dante, 162;

the _Ballata, Il fior che 'l valor perde_, 262;

the _Amorosa Visione_, 114, 119, 123;

the _Ameto_, 123;

the _Fiammetta_, 123;

the first attempt in modern literature to portray subjective

emotion outside the writer, 123;

the _Corbaccio_, 124;

occasion of its being written, 124 (cp. 98);

the _Filicopo_, quoted, 115;

its euphuism, 120;

the song of the angel, 118;

the meeting with Fiammetta quoted as a specimen of Boccaccio's

style, 133;

the _Filostrato_, Boccaccio's finest narrative in verse, 121;

the _Teseide_, 117, 429;

numerous imitations and adaptations of it by other poets, 117;

its value in fixing the form of the _ottava rima_, 118;

the _Ninfale Fiesolano_, 125, 410;

its place in Italian literature, 126

Boccati, Giovanni, picture of his at Perugia, representing

_Disciplinati_ in presence of the Virgin, iv. 203 _note_ 1

Boethius, cult of him at Pavia, i. 20, ii. 30

Boiardo, Matteo Maria, the facts of his life, iv. 457;

contrast between him and Pulci, 456, v. 8;

contrast of Boiardo and Ariosto, iv. 463, v. 8;

neglect of Boiardo, iv. 459, 464, 491;

the _Sonetti e Canzoni_, 458;

the _Orlando Innamorato_: gave Ariosto his theme (cp. i. 171);

its originality in introducing the element of love into the Roland

Legends, iv. 461;

earnestness of the poem, 462;

its relation to the period of its composition, 462;

broken off by the invasion of Charles VIII. 463, v. 282 _note_ 3;

structure of the _Innamorato_, 464-466;

the presentation of personages, 466-470, 478;

the women of the _Innamorato_, 470-472;

translation of the episode of Fiordelisa and the sleeping Rinaldo, 471;

Boiardo's conception of love, 472;

of friendship and comradeship, 472-474 (translation of Orlando's

lament for Rinaldo, 473);

of courage and courtesy as forming the ideal of chivalry, 474-477;

the panegyric of friendship translated, 474;

translation of the conversation of Orlando and Agricane, 475;

freshness of Boiardo's art, 478, 484;

passage on chivalrous indifference to wealth translated, 477;

rapidity of the narration, 479;

roughness of the versification and style, 480;

advance of Ariosto upon Boiardo in this respect, v. 43;

his treatment of the antique, iv. 480-488;

translation of the episode of Rinaldo at Merlin's Fount, 482-484;

of that of Narcissus, 485-487;

Boiardo's use of magic, 488;

of allegory, 489;

his freedom from superstition, 489;

the _Timone_, v. 108

Bologna, annexed to the Milanese, i. 136, 148;

the riot of 1321, 210 _note_ 2;

revival in 1457, 617;

joins the Lombard League, ii. 116;

character of Bologna, as partly determined by local position, iv. 46

---- S. Dominic: the shrine, designed by Niccola Pisano, 109;

Michelangelo's work on it, 131, 389;

S. Petronio, iii. 68 _note_ 1

---- University, the, its rise, i. 62, ii. 115;

its attempted suppression by Frederick II., 116;

number of its students, 116, 119;

attendance of foreigners there, 119;

liberality of the town government to the University, 120;

its reputation in the Middle Ages, iv. 7;

pay of professors there, ii. 122, v. 460;

long continuance of scholasticism at Bologna, v. 457, 481;

different character of Bologna and Padua, 460, 497;

part played by Bologna in the history of Italian thought, 481

---- Bolognese school of Painters, the, their partiality to brutal

motives, iii. 25, 187

---- Bolognese school of poetry, iv. 46-49

Bologna, Gian, his eminence as neo-pagan sculptor, iii. 176

Bombasi Paolo, murdered during the sack of Rome, ii. 444

Bona of Savoy, married to Galeazzo Maria Sforza, i. 164, 543

Bonaccorso da Montemagno, poems of, iv. 165

Bonaventura, S., cited for early representations of the Nativity at

Christmas, iv. 308

Bondini, Alessandro, a member of the Aldine Academy, ii. 386

Bonfadio, Latin verse writer, ii. 507

Boniface VIII., calls in Charles of Valoise, i. 76;

his death, 77, 374;

his witticism on the Florentines, 247, iv. 31;

establishes the high school at Rome, ii. 117;

saying of Jacopone da Todi's about him, iv. 289

Boniface IX., appoints Poggio Apostolic Secretary, ii. 218

Bonifacia, Carmosina, her relations to Sannazzaro, v. 199;

description of her in the _Arcadia_, 207-209

Bonifazio Veneziano, iii. 242 _note_ 2, 368, 371

Bonvesin da Riva, his works written for popular use in a North Italian

dialect, iv. 34

Book, the Golden, at Venice, i. 91, 195

Books, scarcity of, an impediment to medieval culture, ii. 127;

their enormous value, 128;

price of the books issued by Aldo Manuzio, 381

Bordone, Paris, iii. 371

Borghese, Nicola, assassination of, i. 121

Borgia, Alfonso (_see_ Calixtus III.):--Cesare, i. 98;

his visit to the French Court, 117;

his murder of Giulio Varani, 121, 122;

besieges Bologna, 124;

Guicciardini's character of him, 308;

Machiavelli's admiration of him, 324-326, 345-354;

the story of his life, 345-354;

his contest with the Orsini, 349-352;

his massacre of the Orsini faction at Sinigaglia, 324, 347, 352,

iv. 443;

his systematic murders of the heirs of ruling families, i. 353, 427;

made Cardinal, 419;

helps in the murder of Prince Alfonso, 420;

his murder of his brother, the Duke of Gandia, 424;

his murder of Perotto, 426;

his cruelty, 426;

his sickness--was it occasioned by poison? 429-431;

breakdown of his plans, 431;

taken as a hostage by Charles VIII., 566;

escapes, 577;

prided himself on his strength, ii. 29;

John, son of Alexander VI., i. 419;

Lucrezia, her marriage, 419;

the festivities on the occasion, v. 141;

her life at Ferrara, i. 420-424, ii. 42;

her real character, i. 420;

her friendship with Bembo, i. 422, ii. 403, 411, v. 263;

relics of her in the Ambrosian Library, ii. 411;

much of the common legend about her due to Sannazzaro's Epigrams, 469;

Roderigo Lenzuoli (_see_ Alexander VI.)

Borgo San Sepolcro, Piero della Francesca's _Resurrection_, iii. 234;

Signorelli's _Crucifixion_, 280 _note_ 1

Boscoli, Paolo, his conspiracy against the Medici, i. 314;

his confession, 466 (cp. v. 519)

Boson da Gubbio, his commentary upon the Divine Comedy, iv. 163

Botticelli, Sandro, modern hero-worship of him, iii. 249;

his attractiveness, arising from the intermixture of ancient and

modern sentiment in his work, 250, 291;

the qualities of various paintings of his, 251-254;

represents the same stage of culture in painting as Poliziano and

Boiardo in literature, 255;

abandons his art from religious motives, 264, 310;

influenced by Dante, 283 _note_ 2;

incurs a charge of heterodoxy by a _Madonna in Glory_ painted for

Palmieri, iv. 171, v. 549

Bourbon, the Constable, killed at the capture of Rome, i. 444, iii. 455

Bracceschi, the (Condottieri bands formed by Braccio da Montone), i.

160, 362

Braccio da Montone, i. 86, 362;

his aspirations to the throne of Italy, 113 _note_ 1;

aids Corrado Trinci against Pietro Rasiglia, 122;

his government of Perugia, 123, v. 498;

the comrade and opponent of Sforza, 159, 160

Bramante, ii. 5;

his work as an architect, ii. 440, iii. 81, v. 505;

his share in S. Peter's, iii. 90, 398;

Michelangelo's panegyric of his plan, 92, 428;

said to have suggested the employment of Michelangelo on the

Sistine Chapel, 403

Brancaleone, Roman senator (1258), ii. 151

Brantome, describes Cesare Borgia's visit to the French Court, i. 117

_note_ 1

Bregni, the, at Venice, iii. 162

Brescia, Savonarola at, i. 508;

Sack of, 508, ii. 380, iii. 328

Brevio, Monsignor Giovanni, his _Novelle_, v. 60;

the story of the Devil and his wife, compared with Machiavelli's

and Straparola's versions, 103

Briconnet, Bishop of St. Malo, made Cardinal by Alexander VI., i. 532

_note_ 1, 566;

his influence with Charles VIII., 541

Britti (called _Il Cieco_), his _Incatenatura_, iv. 268 _note_ 3

Broccardo, Antonio, introduced in Sperone's Dialogues, v. 256 _note_ 1;

his quarrel with Bembo, 256 _note_ 1, 377;

his death said to have been hastened by the calumnies of Aretino,

377 _note_ 2, 381 _note_ 1

_Broncone, Il_, name of a club at Florence formed by Lorenzo, Duke

of Urbino, iv. 397

Bronzino, Angelo, his portraits, iii. 498 (cp. v. 82);

coldness of his frescoes and allegories, iii. 498;

character of his talent, iv. 380;

mentioned by Doni as scene-painter at a representation of comedy

in Florence, v. 144 _note_ 4;

his _Serenata_, iv. 268;

his _Capitoli_, v. 364 (cp. iii. 499)

Brugiantino, V., turned the Decameron into octave stanzas, iv. 249

_note_ 1

Brunelleschi, Filippo, individuality of his character, ii. 5;

his many-sided genius, 10;

a friend of Niccolo de' Niccoli's, 180;

his work as an architect, 440, v. 505;

builds the dome of the Cathedral of Florence, iii. 67, 73 (cp. i. 562);

his visit to Rome, 68;

his churches of S. Lorenzo and S. Spirito at Florence, 73 (cp. 263);

designs the Pitti Palace, 73;

his plans for the Casa Medici rejected, 76;

his designs in competition for the Baptistery Gates at Florence, 127;

resigns in favour of Ghiberti, 128;

faults of his model, 128;

his study of perspective, 225;

his criticism of Donatello's _Christ_, 233;

jest played by him on the cabinet-maker as related in the novel of

_Il Grasso_, iv. 150 (cp. 253);

his _ingegni_ for the Florentine festivals, 319

Bruni, Lionardo, his History of Florence, i. 274, ii. 182;

its style and value, i. 274;

account of him by Vespasiano, 275;

cited to show the unreasoning admiration of antiquity by the

Italian scholars, ii. 31;

a scholar of Giovanni da Ravenna, 100;

patronised by Salutato, 106, 183;

learns Greek from Chrysoloras, 110-112, 183;

his letter to Poggio upon receiving a copy of Quintilian, 137;

discovers a MS. of Cicero's Letters, 140;

his testimony to Niccolo de' Niccoli's judgment of style, 179;

story of his rise to fame, 182;

his translations from the Classics and other works, 184;

his Italian Lives of Petrarch and Dante, 185, iv. 235;

receives the honour of a public funeral, ii. 185;

made Apostolic Secretary, 218;

his quarrel with Niccoli, 243;

his Latin play, _Polissena_, v. 110

Bruno, Giordano, ii. 394, v. 449;

his execution, v. 478;

his place in the history of thought, 484, 500, 518

Brusati Family, the, at Brescia, i. 145

Budaeus, ii. 391

Buonacolsi, Passerino, murdered by Luigi Gonzaga, i. 145 _note_ 1

Buonarroti, Lodovico (father of Michelangelo), iii. 385, 387

Buonarroti, Michelangelo, his boyhood, iii. 385;

studies under Ghirlandajo, 386, 404;

Michelangelo and Torrigiano, 386 _note_ 2, 445;

effect produced by Savonarola upon him, 491, 509, iii. 311, 344,

382, 388, 435;

one of the circle gathered round Lorenzo de' Medici, ii. 322, 323,

iii. 263, 387, 388, 435;

his political attitude to the Medici, iii. 392-394;

fortifies Samminiato in the Siege of Florence, 393 (cp. i. 318), 414;

invited to Rome by Julius II., 397;

suggests carving the headland of Sarzana into a statue, 401;

leaves Rome in disgust at Julius's treatment of him, 401;

reconciled to him at Bologna, 402 (cp. 397);

his relations to Aretino, 426, v. 408;

the last years of his life, 421, 429, 432 (cp. v. 519);

his purity, iii. 432;

his friendship with Vittoria Colonna, 429, 433, v. 294, 296;

his friendship with Tommaso Cavalieri, 429, 434;

his death, 435;

his greatness in maintaining the dignity of art amidst the general

decline of Italy, 171, 343, 384 (cp. v. 5);

the sublimity of his genius, v. 116;

his genius never immature, iii. 387;

its many-sidedness, ii. 10;

the controversy between his admirers and detractors, iii. 343 _note_

1, 419, 424 _note_ 1, 435, 494;

mistake of his successors in imitating his mannerisms and

extravagances, iii. 493;

number of his unfinished works, 420;

their want of finish not intentional, 420;

comparison between Michelangelo, Dante, and Machiavelli, i. 318,

iii. 395;

between Michelangelo and Beethoven, iii. 386, 410, 413, 418, 432;

between Michelangelo and Milton, 388;

his peculiarity as an architect, 86, 87;

the Sagrestia Nuova, S. Lorenzo, 86;

the Laurentian Library, 87, 393;

the dome of S. Peter's, 88, 398, 428;

his judgment of Bramante's design for S. Peter's, 92, 428;

his own plans, 92;

his four years' work on the facade of S. Lorenzo, 413;

his aim in architecture, v. 505;

his tombs of the Medici, i. 314, 319, iii. 354, 377 _note_ 2, 393,

415-419, 420;

his statues at Florence, ii. 440, iii. 391, 395 _note_ 2;

his work on the shrine of S. Dominic, Bologna, 131, 389;

his _Pieta_ in S. Peter's, 389;

his scheme for the Mausoleum of Julius II., 398-400;

Michelangelo not responsible for the decadence of Italian

sculpture, 173;

the (destroyed) statue of Julius II. at Bologna, 402 (cp. 397);

the frescoes of the Sistine Chapel, 344, 399, 407-410;

their bad condition, 426 _note_ 2;

the true story of Michelangelo's work on them, 404-407;

difference between his creations and those of a Greek, 410-412;

his treatment of the story of the creation of Eve, 118 _note_ 2,

130, 131;

the _Last Judgment_, 346, 422;

its merits and defects, 423-425;

contemporary disapproval on account of the nudity of the figures, 425;

Michelangelo's criticisms of Perugino and Francia, 268 _note_ 1,

386 _note_ 2;

his indebtedness to Signorelli, 279;

influenced by Dante, 283 _note_ 2;

his _Leda and the Swan_, illustrating his treatment of the antique,

291;

his account of Signorelli's bad treatment of him, 293 _note_ 1;

one of the four great painters by whom the Renaissance was fully

expressed, 312, 346;

his reproach of Lionardo da Vinci's dislike of finishing, 323, 386

_note_ 2;

contrast of his genius and life with those of the other great

painters, 342;

the cartoon for _The Battle of Pisa_, 395;

contrast between Michelangelo and Raphael, 412;

his genius not that of a painter, 412 _note_ 1;

his sonnet to Giovanni da Pistoja, quoted, 404 _note_ 1;

one of his sonnets to Vittoria Colonna, quoted, 409;

the madrigal on Florence, translated, 392;

lines placed by Michelangelo in the mouth of his _Night_,

translated, iii. 394;

the Elegy on his father's death, iv. 321 _note_ 1, v. 295;

the sonnet on the death of Mancina Faustina, iv. 226. (For the

Poems _see also_ Appendix ii. of vol. iii., and Appendix vi. of

vol. iv., and cp. v. 296.)

Buonarroti, Michelangelo (the younger), his _Tancia_ and _Fiera_, v. 226

Buondelmonte dei Buondelmonti, i. 74, 210 _note_ 2

Buondelmonti, Vaggia de', the wife of Poggio, ii. 245

_Buonuomini_, name of magistrates in some Italian cities, i. 135;

at Florence, 226

Burchard, value of his testimony, i. 388 _note_ 1;

his evidence that Alexander VI. died of fever, 428, 429;

on the confessions said to have been made by Savonarola during his

torture, 534 _note_ 1

Burchiello, Il, facts of his life, iv. 259;

character of his poems, 260;

Doni's edition of them, v. 92

Bureaucracy, invention of a system of bureaucracy by Gian Galeazzo,

i. 142

Burigozzo, his Chronicles of Milan, quoted, i. 253

Burlamacchi, his account of Lorenzo de' Medici's dying interview

with Savonarola, i. 523 _note_ 1

Byzantium, the Byzantine supremacy in Italy, i. 33, 43, 48, 50

Cabbala, the, ii. 334

Cacciaguida, his speech in the _Paradiso_ quoted, i. 73 _note_ 1

Cademosto, his _Novelle_, v. 60

Caffagiolo, the villa of Lorenzo de' Medici, ii. 322

Cajano, Lorenzo de' Medici's villa, ii. 322, 463

Calcagnini, Celio, teaches in the High School of Ferrara, ii. 427, 506;

his epigram on Raphael's death, 438;

his Latin poems, 497

Calendario, Filippo, influenced by Niccola Pisano, iii. 123;

his work at Venice, 123

Caliari, the, Venetian painters, iii. 371

Calixtus II., his sanction of the Chronicle of Turpin, iv. 432, 438

Calixtus III., i. 380;

his contempt for classical learning, ii. 357

Calliergi, Zacharias, a Greek printer at Venice, ii. 386;

works for Agostino Chigi at Rome, 405 _note_ 1

Callistus, Andronicus, the teacher of Poliziano, ii. 248, 346;

one of the first Greeks who visited France, 248

Calvi, Marco Fabio, translates Vitruvius for Raphael, ii. 436, iii.

94 _note_ 1;

his death, ii. 444;

his nobility of character, 523;

aids Raphael with notes on Greek Philosophy for the _School of

Athens_, iii. 335

Calvo, Francesco, the Milanese publisher of the fraudulent version

of Berni's _rifacimento_ of the _Orlando Innamorato_, v. 374;

Aretino's correspondence with him on the subject, 375, 378, 380

Camaldolese, Il. (_See_ Traversari.)

Cambray, League of, i. 214, 220, 289, 434, ii. 16, 379, 441

Camers, Julianus, his suicide during the Sack of Rome, ii. 444

Cammelli of Pistoja, v. 282 _note_ 3

Camonica, Val, the witches of, i. 402 _note_ 1, v. 316, 346 _notes_

1 and 2, 347;

Teutonic character assumed by witchcraft in this district, 347

Campaldino, battle of, iv. 51;

Dante present, 71

Campanella, Tommaso, ii. 394, v. 448, 449;

his imprisonment, v. 478;

his relations to Telesio, 483;

his importance in the history of thought, 483, 500, 518;

three sonnets of his translated, 481, 482, 483

Campano, Gian Antonio, his description of Demetrius Chalcondylas'

teaching, ii. 249

Campi, the, painters at Cremona, iii. 503.

Campione, Bonino and Matteo da, sculptors of the shrine of

S. Augustine in the Duomo, Pavia, iii. 123

Campo, Antonio, his _Historia di Cremona_ cited for a story of

Gabrino Tondulo, i. 463 _note_ 1

Can Grande. (_See_ Scala, Can Grande, della.)

Canale, Carlo, husband of Vanozza Catanei, i. 417;

Poliziano's _Orfeo_ dedicated to him, iv. 411

Cane, Facino, leader of Condottieri, i. 150, 151

Canetoli, story of the, i. 124

Canisio, Egidio, General of the Augustines, ii. 409;

made Cardinal and Legate at the Court of Spain, 416;

his knowledge of languages, 417

Canossa, Castle of, iv. 494;

the House of, i. 57;

claim of the Buonarroti family to descent from them, iii. 385

_Cantatori in Banca_, professional minstrels in medieval Italy, iv. 257

_Canti Carnascialeschi_, the, i. 476, 505;

collection of them by Il Lasca, iv. 388, v. 79;

utilized by Lorenzo de' Medici, iv. 388, v. 355;

the 'Triumph of Death' described by Vasari, iv. 393-395, v. 114;

the _Trionfo del Vaglio_, iv. 392 _note_ 1;

translated, 392 _note_ 1;

connection of the _Capitoli_ with the Carnival Songs, v. 355, 366

_Cantori di Piazza_, professional minstrels in medieval Italy, iv. 257

_Canzune_, a name of the _Rispetti_ in Sicily, iv. 264, 265

Capanna, Puccio, the scholar of Giotto, iii. 197

Capello, Paolo (Venetian ambassador), cited for the murders in Rome

under Alexander VI., i. 414;

for the murder of Perotto by Cesare Borgia, 426 _note_ 1

Capilupi, Lelio, a member of the Academy of the _Vignajuoli_ at Rome,

v. 357;

a writer of Latin verse, ii. 506

_Capitoli_, the, of Tuscan origin, v. 355;

their relation to the _Canti Carnascialeschi_, 355;

their antiquity, plebeian character, and obscenity, 477 _note_ 1,

ii. 521, v. 355, 365, 366;

Berni's new use of them, v. 356

Caporali, Cesare, his Satiric Poems, v. 381

Capponi, Agostino, conspiracy of, i. 314;

Gino, the chronicler of the Ciompo Rebellion, 265 _note_ 1, iv. 176;

Nicolo, Gonfaloniere at Florence, i. 222 _note_ 1, 232, 284, 289, 292,

536;

Piero, his resistance to the demands of Charles VIII., 563

Captain of the People, name of the supreme magistrate in some Italian

cities, i. 35, 71;

often became tyrant, 75, 77, 84, 112, 156;

at Florence, 224

Caracci, the, iii. 496

Caracciolo, his _De Varietate Fortunae_ cited, i. 520 _notes_ 2 and 3

Caravaggio, defeat of the Venetians at, i. 155

Cardan, Jerome, v. 82;

autobiography of, ii. 36

Cardona, captain of the Florentine forces, i. 157 _note_ 1

Carducci, Francesco, Gonfaloniere of Florence, his part in the Siege

of Florence, i. 284, 288, 289, 536

Careggi, the villa of Lorenzo de' Medici, ii. 322, 460, iv. 383, 415

Cariani, said to have painted pictures commonly assigned to Giorgione,

iii. 368 _note_ 1

Cariteo, of Naples, v. 282 _note_ 3

Carmagnuola, Francesco Bussoni, called Il, story of, i. 161, 362, v. 118

Carmina Burana, the, i. 9;

many of them of French origin, iv. 9;

their nature, 108;

some of them pastorals, 156;

undeveloped Maccaronic poems contained among them, 327

Carnesecchi, Pietro, his friendship with Vittoria Colonna, v. 292;

burned for heresy, 292, 478

Caro, Annibale, story of his life, v. 283;

his Letters, 283;

his translation of _Daphnis and Chloe_, 283;

his Academical exercises: the _Diceria de' Nasi_, ii. 367, 526, v. 284;

the _Ficheide_, v. 284, 365 _note_ 1;

his translation of the _AEneid_, 284;

his literary style, 284;

his Italian Poems, 284;

the quarrel with Castelvetro, 285;

the sonnets produced by the occasion, 381;

he or one of his friends said to have denounced Castelvetro to the

Inquisition, 286;

his correspondence with Aretino, 410 _note_ 1

Carpaccio, Vittore, iii. 362;

his pictures for the Scuola of S. Ursula at Venice, 363, v. 54

Carpi, connection of Aldo Manuzio with, ii. 302, 375