his relations to Frederick of Urbino, 179;
account of him by Vespasiano, 275;
attached to the Papal Court, 459, ii. 218, 230;
a scholar of Giovanni da Ravenna, ii. 100, 230;
his funeral oration on Niccolo de' Niccoli quoted for the society
founded by Marsigli, 102;
patronised by Salutato, 106;
learns Greek of Chrysoloras, 110, 230;
his copying and sale of MSS., 131;
his discoveries of MSS., i. 21, ii. 134-139;
his zeal and unscrupulousness in the quest, ii. 138;
his translations of Diodorus Siculus and Xenophon, 228, 237, 243;
his debt to Niccolo de' Niccoli, 230 _note_ 1;
description contained in one of his letters of Jerome of Prague
before the Council of Constance, 231, 535;
his pictures of foreign manners, 231;
varied character of his talents, 232;
his attacks on the clergy, 233-237;
terror caused by his invectives, 237 (cp. 513);
his quarrel with Filelfo, 238-240;
with Guarino and with Valla, 240-242, 263, 301;
his fight with Trapezuntius, 243;
his criticism of Beccadelli's _Hermaphroditus_, 255;
his scandalous account of Filelfo's marriage, 269 _note_ 1;
his marriage and life as a citizen of Florence, 245;
the _De Nobilitate_, i. 186 _note_ 1;
the _History of Florence_, 81, 274;
its style and value, 275;
the description of the ruins of Rome (the first part of the _De
Varietate Fortunae_), ii. 152-154, 231, 429, 530
Pole, Cardinal, his friendship with Flaminio and Vittoria Colonna,
ii. 498, 502, v. 292
Polentani, the, of Ravenna, i. 111, 375
Polenta, Obizzo da, his murder of his brother, i. 119 _note_ 2;
Ostasio da, his murder of his brother, 119 _note_ 2
Polidoro da Caravaggio, the scholar of Raphael, iii. 490
Polissena, Countess of Montalto, her murder, i. 119 _note_ 2
_Politici_, the, an Academy at Bologna, ii. 366
Poliziano, Angelo, assassination of his father, i. 170 _note_ 1;
present at the murder of Giuliano de' Medici, 265 _note_ 1;
his letter to Antiquari, containing an account of Lorenzo's last
interview with Savonarola, 523 _note_ 1, ii. 355 (cp. 533);
wide scope of his genius, ii. 10, iv. 399;
his lectures on the Pandects, ii. 124;
learnt Greek from Callistus, 248, 346;
one of the circle gathered round Lorenzo de' Medici, 322, 323;
his description of Pico della Mirandola, 329;
his wooing of Alessandra Scala, 344;
brought into fame by his Latin version of part of Homer, ii. 346,
iv. 401, 411;
his lectures at Florence, i. 171;
their enormous success, ii. 350, 464;
popularity of Poliziano, 353;
his relations to the Medicean family, 354;
his want of self-respect, 354;
Giovio's story of his death, 348 _note_ 2, 354 _note_ 1;
epitaph placed upon his tomb, 357;
his indebtedness to Sacchetti, iv. 155;
his eulogy of Alberti, 214;
one of his letters cited for the Maccaronic Italian used by
scholars, 237;
represents the servility of his age in literature, 404;
ideal of life expressed in his works, 423;
erroneous ascription of the _Morgante_ to him, 455 _note_ 3, v.
316 _note_ 1;
his position as an Italian poet, ii. 347, iv. 399-401;
insincerity of emotion in his Italian poems, iv. 423;
popularity of his Italian poems, 409 _note_ 2;
injury caused to his poems by the defects of his temperament, 399;
his mastery of metre, 401-403, v. 212, 230;
surpassed by Ariosto, v. 43;
the _Stanze_, iv. 401, 403, 406-409, 421;
their importance in Italian literature, 403;
illustrations of the _Stanze_ by contemporary works of art, 408;
translation of passages, 408, 420;
the _Orfeo_, iv. 357, 409, v. 108, 221;
excellent choice of its subject, iv. 410;
occasion of its being written, 411;
its greatness lyrical, not dramatical, 412-414;
translation of the Chorus of the Maenads, 414;
popular redaction of the _Orfeo_, 409 _note_ 2;
the _Orfeo_ cited for the tendency of the Italians to unnatural
passions, 477 _note_ 1;
his Canzonet, _La pastorella si leva per tempo_, iv. 268 _note_ 3;
a letter of his to Lorenzo cited for the antiquity of the _Rispetti_
and the cultivation of popular poetry in the Medicean circle, 269,
416 _note_ 1;
translation of a _Ballata_, 378;
his _Rispetti_, &c., 416;
more artificial in character than the popular poetry, 417;
the _Rispetti continuati_, 419;
illustrations of them from contemporary works of art, 419;
the _La brunettina mia_, _La Bella Simonetta_, and _Monti, valli,
antri e colli_, 420-422;
part of _La Bella Simonetta_ translated, 420;
the Essay on the Pazzi Conspiracy, i. 265 _note_ 1;
the Miscellanies, ii. 352;
the Greek and Latin poetry, 348;
original character of the Latin poetry, 348, 356, 453-458, 463;
the Lament for Lorenzo, 355, 356;
analysis of the _Nutricia_, 453-458;
the Eulogy on Lorenzo, 457, iv. 369;
Gyraldus' criticism of the _Sylvae_, ii. 459;
the _Rusticus_, 459, iv. 423, v. 234;
the _Manto_, ii. 460-462;
the _Ambra_, 463 (prose translations of passages from the Latin
poems will be found 454-463);
the minor poems, 464;
Greek epigram sent to Guidobaldo, Duke of Urbino, i. 182 _note_ 1;
translation of Greek hexameters, ii. 24;
the epigram on Pico when he attacked the astrologers, 337 _note_ 1;
the epigram on the first Greek printers, 375 _note_ 2;
the Sapphics to Innocent VIII., 495;
the verses on Filippo Lippi, iii. 247;
his Latin correspondence, ii. 532
Pollajuolo, Antonio del, his choice of subjects of a passionate
character, iii. 146;
his monument of Sixtus IV., 147;
his experiments in colour, 225;
over prominence of anatomy in his works, 232;
his _Hercules_, illustrating his treatment of the antique, 291;
architect of the Belvedere of the Vatican, i. 384 _note_ 1;
his statue of Innocent VIII., 415, iii. 147;
his portrait of Poggio, ii. 246;
his work as a bronze founder, iii. 78 _note_ 1;
Piero del, aids his brother, Antonio, iii. 147, 225
Polybius, studied by Machiavelli, v. 434 _note_ 1
Pomponazzi, Pietro, studies at Padua, v. 458, 459;
moves from Padua to Ferrara, and finally to Bologna, 460;
his Treatise on the Immortality of the Soul burnt in public at
Venice, 460;
controversy raised by that work, 461, 479;
Pomponazzi aimed at stating the doctrines of Aristotle as against
the Thomists and Averrhoists, 462;
adopted the views of Alexander of Aphrodisias, 459, 472;
his profession of faith, 476, 477, 480;
powerful personality shown by his writings, 461;
his positivism, 478;
akin in this respect to Machiavelli, 485-487;
his influence on Italian thought, 479;
his materialistic philosophy, i. 456, ii. 124, 394 (cp. 477), iv.
447, v. 312, 314, 518;
the _De Immortalitate Animae_, ii. 410, v. 460;
Pomponazzi's doctrine of the soul's materiality there stated, v.
472-476, 520;
the _De Incantationibus_, 461;
rejects demons and miracles in this work, 476;
acknowledges astral influence, 477;
expresses the opinion that Christianity is doomed to decline, iv.
448 _note_ 1, v. 477;
the _Apologia_ and _Defensorium_, v. 461;
the _De Fato_, 461, 477;
description of the philosopher contained there, 478
Pontano (Jovianus Pontanus), assassination of his father, i. 170
_note_ 1;
his relation to Frederick of Urbino, 179;
tutor to Piero de' Pazzi, ii. 41;
a member of the Roman Academy, 361;
founder of the Neapolitan Academy, 363, v. 198, 272;
his employment by the Kings of Naples, ii. 363;
his oration to Charles VIII., 363;
portrait of him in the Church of Monte Oliveto at Naples, 365,
iii. 164, v. 198;
value of his works, ii. 364, v. 220;
the _De Immanitate_, cited, i. 139 _note_ 1, 481 _note_ 2, 569,
569 _note_ 1, 571 _note_ 1;
the _De Liberalitate_, cited, 569 _note_ 1;
his merits as a writer of Latin verse, ii. 364, 465, v. 235;
the _De Stellis_, ii. 466-468, v. 220, 235;
the _De Hortis Hesperidum_, v. 220, 235;
his Odes to the Saints, iv. 302;
Neapolitan colouring of his poems, ii. 364, v. 213, 235;
their pictures of Neapolitan life, v. 217;
their sensual but unaffected character, 214-217;
Pontano's love of personification, 218;
translation (in prose) of the lines personifying Elegy, 219
Pontelli, Baccio, architect of the Hospital of Santo Spirito at Rome,
i. 384 _note_ 1;
employed as architect upon the Ducal Palace, Urbino, iii. 162 _note_ 1
Pontius, Paulus, his monument of Alberto Pio, ii. 375
Pontormo, Jacopo, his portraits of Cosimo and Lorenzo de' Medici,
iii. 498;
his portrait of Ippolito de' Medici, ii. 27;
decorates the cars for the Pageant of the Golden Age, iv. 397
Ponzoni family, the, of Cremona, i. 145
_Popolo_, meaning of the word, 55, 56, 71, iv. 7, 8;
increase in the power of the _Popolo_, i. 61;
Guicciardini's use of the word, 306 _note_ 1
Porcari, Stefano, his attempt on Nicholas V., i. 376, 377, 386;
influenced by the history of Rienzi, 376, ii. 147
Porcello, Giannantonio, patronised by Alfonso the Magnanimous, ii.
264, 303
Pordenone, iii. 371
Porta, Giacomo della, his work at S. Peter's, iii. 93;
Guglielmo della, his monument of Paul IV., i. 371, iii. 108
Portogallo, Cardinal di, his monument in S. Miniato, iii. 153;
Vespasiano's testimony to his virtues, 154
Portuguese, the, round the Cape, i. 15
Porzio, Simone, the disciple of Pomponazzi, v. 479;
story of his lecturing at Pisa, 479;
his belief as to the soul, 479
_Pratiche_, name of an extraordinary Council in some Italian
Communes, i. 35
Prato, Sack of, iii. 308 _note_ 2, 393;
the Duomo, Mino's pulpit, 158 _note_ 1;
Filippo Lippi's frescoes, 245, v. 54 (cp. iv. 422);
chapel of the Sacra Cintola, iii. 79
Prendilacqua, his biography of Vittorino da Feltre, cited, i. 178
_note_ 1, ii. 37
Primaticcio, his residence at the Court of France, iii. 445
Princes, effect of, upon Italian literature, iv. 404
_Principi_, the _Lettere de'_, quoted, i. 442
Printers, the early, i. 23;
the first printers in Italy, ii. 306 _note_ 2, 368-391;
labour employed in printing the first editions of the classics, 372
Priors, name of the chief magistrates in some Italian Communes, i.
35, 68, 71;
Priors of the Arts at Florence, i. 224
Professors, pay of, in the Italian Universities, ii. 121, v. 460;
subordinate position of the humanist professors, ii. 123;
their system of teaching, 124-127, 274;
illustrations of the Italian professorial system at the Renaissance
from the Maccaronic writers, v. 332
Provencal literature, its effect on medieval Italy, iv. 13
Provence, extinction of heresy there, i. 9
Ptolemaic System, superseded by the Copernican, i. 15, 16
Pucci, Antonio, his political poems, iv. 163;
his _terza rima_ version of Villani's Chronicle, 240;
his celebrity as a _cantatore_, 257
Pulci, Bernardo, writer of the sacred drama, _Barlaam e Josafat_,
iv. 320, 349;
other works of his, 430;
Luca, his poem on Lorenzo de' Medici's Giostra, iv. 405;
his share in the _Ciriffo Calvaneo_, 430;
Luigi, one of the circle gathered round Lorenzo de' Medici, ii.
322, iv. 440;
his story of Messer Goro and Pius II., iv. 255;
his _Beca da Dicomano_, 382, v. 224;
his quarrel with Matteo Franco, and Sonnets, iv. 431, 455 _note_ 3;
the _Morgante_ purely Tuscan, 430, 431;
the burlesque element ready to hand, 440;
the _Morgante_ written to be read in the Medicean circle, 440;
three elements in the poem, 441;
the _Morgante_ a _rifacimento_ of earlier poems, 442;
its plot, 443;
excellence of the delineations of character, 445, 470 _note_ 1;
character of Margutte, 451;
of Astarotte, 452-456;
not a mere burlesque, 446;
its profanity, how explained, 446-448;
instances of Pulci's humour, 448-450;
false ascription of part of the _Morgante_ to Ficino, 455 _note_ 3;
erroneous idea that Poliziano wrote the _Morgante_, 455 _note_ 3;
_bourgeois_ spirit of the _Morgante_ contrasted with Boiardo's
_Orlando Innamorato_, 456, v. 8
(_see_ Appendix v. vol. iv., for translations from the _Morgante_);
Monna Antonia (wife of Bernardo), authoress of a _Sacra
Rappresentazione_, iv. 320
Puritanism, a reaction against the Renaissance, i. 25;
its political services, 27;
antipathy of, to art, iii. 24
Quarrel of the Aristotelians and the Platonists, ii. 208, 244, 247,
394, v. 454;
literary quarrels at the Renaissance, ii. 237-245, 264, 511, iv.
431 _note_ 1, 451, v. 89, 285
Quercia, Jacopo della, his work as a sculptor in Italian churches,
iii. 78 _note_ 1;
his treatment of the story of the creation of Eve, 118 _note_ 2, 130;
his designs in competition for the gates of the Florentine
Baptistery, 127;
other works of his--the Fonte Gaja, and the monument of Ilaria del
Carretto, 132, 165
Quintilian, discovery of a MSS. of, by Poggio, ii. 134-137.
Quirino, Lauro, his stipend at Padua, ii. 122
Rabelais, quoted for the feudal idea of honour, i. 483
Raffaelle da Montelupo, a feeble follower of Michelangelo, iii. 172
Raimond of Tours, quoted to illustrate the gaiety of medieval
Florence, iv. 50
Raimondi, Marc Antonio, imprisoned for engraving a series of obscene
designs by Giulio Romano, v. 389
Raimondo da Capua, the confessor of S. Catherine of Siena, iv. 174
Ramiro d'Orco, appointed governor of the Romagna by Cesare Borgia,
i. 354;
his end, 355
Rangoni, Count Guido, the patron of Bernardo Tasso, v. 297
Rapallo, massacre of, i. 557
Raphael, the question entertained of making him a Cardinal, ii. 403;
his project for the exploration of Rome, ii. 419, 436, iii. 337;
his friendship with Castiglione, ii. 421;
his work in the Loggie and Stanze of the Vatican, ii. 436, 440,
iii. 108, 333, v. 229;
Raphael the harmonist of classical and Christian traditions, iii.
35, 333 (cp. v. 26);
woodwork executed from his designs at Perugia, iii. 78 _note_ 2;
his mosaics in S. Maria del Popolo, 79 _note_ 2, 334;
his work as an architect, 83, 330;
as a sculptor, 329;
his frescoes in the Villa Farnesina, 84, 331, 334, iv. 403;
the _Galatea_, illustrating his treatment of the antique, 291, 337;
his work on S. Peter's, iii. 91;
borrowed the figure of S. Paul in the Cartoon of _Mars' Hill_ from
Filippino Lippi, 248;
the pupil of Perugino, 300;
his power of assimilation, 301, 330-332;
one of the four great painters by whom the Renaissance was fully
expressed, 312;
equality, facility, and fertility of his genius, 328;
comparison of his genius with that of Mozart, 328;
his gentleness, 329;
his indebtedness to Fra Bartolommeo, 330;
influence of Michelangelo on his later works, 331, 412;
his school of workmen, 332;
enormous mass of his work, 334;
mental power displayed by him, 335, 338, v. 116;
variety of his genius, iii. 336;
the _Madonna di San Sisto_, 337, 380;
his humane spirit and avoidance of painful subjects, 338;
the woodcuts of the _Hypnerotomachia_ erroneously ascribed to him,
iv. 221 _note_ 1;
the scenery for a representation of the _Calandra_ at Rome painted
by him, v. 147
Rasiglia, Pietro, his murder of Nicola and Bartolommeo Trinci, i. 122
_Raspanti_, the, a faction at Perugia, i. 122
Raul, Sire, his Chronicle of Milan, i. 251
Ravenna, i. 46, 118;
battle of, ii. 380, iii. 329;
tomb of Dante, ii. 410
Razzi, his account of the interview of Savonarola with Lorenzo de'
Medici on his deathbed, i. 523 _note_ 1
_Reali di Francia_, illustrates the little influence of Boccaccio's
style on his immediate successors, iv. 136;
its stylistic merits, 240;
the most popular of all Italian books, 245, 247;
attributed to Andrea da Barberino, 246
Realists, the, v. 466
Recanati, the Bishop of, murder of, v. 297
Rectors, or _Rettori_, the magistrates in some Italian cities, i. 35, 68
Reformation, connected with political liberty, i. 26;
how related to the Renaissance, 25, ii. 536;
inimical to the Fine Arts, iii. 28
Regno, the, early medieval effort to form a monarchy in Italy, i. 50-52
Religion, opposition between religion and science, i. 15;
a cause of disorder in Italy, 205;
morality and religion disunited in Italy, 174 _note_ 1, 433, 447,
462, ii. 234, 257, iii. 451;
Machiavelli's opinions on religion, i. 453, 454;
vitality of religion, 469;
religion and art:
how far inseparable, iii. 6 _note_ 1;
injury done to religion by the sensuousness of art, iii. 11, 19,
22, 31;
contrast between Greek and Christian religious notions, 12;
the opposition of religion and art, 24-26, 28;
separate spheres and points of contact between religion and art, 30
Reliques, Italian passion for, i. 460
Renaissance, the, meaning of the term, i. 1-4, 5, 28, v. 489 foll.;
the Renaissance the emancipation of the reason, i. 9, 14, ii. 13,
43, 535, iii. 8, 179, 333, iv. 447, v. 14, 26, 447, 491;
the revelation of nature in the world and man, i. 15 _note_ 1,
iii. 325, v. 483, 527, 528;
problem of the Renaissance, v. 523, 527;
the imitation of the Renaissance impossible, 526;
place of the Renaissance in the history of humanity, 527-529;
rise and growth of the Renaissance, i. 26, v. 448;
precursors of the Renaissance, i. 8, 26, 27;
its relation to the Reformation, 26, ii. 536, v. 529, 530;
the Renaissance and modern science, i. 16, 17, v. 483, 491;
aided by the progress of inventions, i. 3, 29;
began in Italy, 30, v. 492, 529;
mingled polish and barbarism of the Italian Renaissance, i. 172,
183, 373, 570, v. 523;
changes in culture effected by the humanism of the Renaissance, i.
185, ii. 393, 543, v. 508;
irreligious character of the Renaissance, i. 174 _note_ 1, 455,
ii. 16, 44, 205, 217, 257, 518, iii. 228, v. 486;
the Paganism of the Renaissance, i. 454 _note_ 1, 464, ii. 17, 18,
39, 72, 395 foll., 470, 489, 516, 520, 540, iii. 7, 33-35, 107,
135, 167, 175, 257, iv. 39, 404, v. 216, 486, 492;
indigenous in Italy, iv. 39;
its real character and extent, ii. 395, iv. 106 _note_ 2;
religious sentiment, how influenced by the Renaissance, iv. 207,
v. 455;
fitness of the Italian character to work out the Renaissance, ii.
1-4, iv. 10;
fertility of the Renaissance in men of universal genius, ii. 10
(cp. 125), 341;
the Renaissance not so productive in religion and philosophy as in
art, 21, 337, iv. 10, v. 447, 492;
introduced a democracy of intellect, ii. 32, 33;
the thirst for fame characteristic of the Renaissance, 38, 80;
criticism a creation of the Renaissance, iv. 447;
the passion for collecting, ii. 139;
effect of the study of Roman antiquities upon the Renaissance, 142
foll., 429 foll. (cp. iii. 48 _note_ 1);
undue influence of rhetoric in the Renaissance, ii. 149, 190, 216,
513, 525, v. 247, 430, 451;
uncritical character of the first scholars of the Renaissance, ii.
296, 327, 337, 382, v. 451, 483;
ideal of life produced by the Renaissance, ii. 330, iv. 219, v. 517;
the Renaissance checked the spontaneity of the Italian intellect,
ii. 394, iv. 403;
modern culture a gift of the Renaissance, ii. 9, 408, 506, 524,
v. 491, 505, 524;
the Renaissance appreciative of form independently of matter, ii.
471, 513, 514, iv. 403;
the weaknesses of the literary and artistic ideal of the
Renaissance, ii. 504, iii. 170, 179;
predominance of art in the Renaissance period, iii. 1-5, v. 6;
difficulty of rendering justice to the poetry of the Renaissance,
iii. 2 (cp. iv. 403);
the Renaissance restored the appreciation of natural beauty, iii. 32;
error of the artists of the Renaissance in imitating the worst side
of Paganism, 175, 454, 489;
expression of the Renaissance by the four great painters, Lionardo
da Vinci, Michelangelo, Raphael, and Correggio, 312, 319, 323,
325, 346;
different parts borne by Venice and Florence in the Renaissance,
iii. 354, iv. 364;
the genius of the Renaissance typified in Boccaccio, iv. 104;
satire on the Church not combined with unorthodoxy in the
Renaissance, 109 _note_ 1, 447;
mixture of religious feelings with vices in men of the Renaissance,
384, v. 228;
manner in which the myth of Orpheus expressed the Renaissance, iv.
410, v. 221, 450;
the culture of the Renaissance derived from Latin, not Greek,
models, v. 132 _note_ 1;
the completion of the Renaissance announced by the pastoral dramas
of Tasso and Guarini, 245;
belief in the efficacy of a classical revival common at the
Renaissance, 444;
the dream of a Golden Age, 195, 521;
the _vollutta idillica_ of the Renaissance, 196, 230
Renaissance architecture:
Brunelleschi's visit to Rome, iii. 68;
task of the first architects of the Renaissance, 69;
criticism of Renaissance architecture, 70;
divided into three periods, 70;
character of the first period, 71, 80;
of the second, 80;
of the third, 93;
influence of this third or Palladian period on Northern Europe, 97;
comparison of the various stages of this style with the progress
of scholarship towards pedantry, 98;
reasons why this style can never be wholly superseded, 99;
this style the most truly national in Italy, v. 505
Rene of Anjou, expelled from Naples by Alfonso, i. 568
Republics, the Italian: varied character of the Italian republics,
i. 193;
their resemblance to the Greek States, 195;
theories of citizenship in them, 195;
their instability, 198;
causes of this, 205;
their smallness, 209;
their disunion, 211;
their mercantile character, 238
Reuchlin, i. 27, ii. 391;
influenced by Florentine Platonism, ii. 208;
heard Argyropoulos lecture at Rome, 210;
a pupil of Poliziano's, 350;
the friend of Gian Francesco Pico, 423
Revivalism, religious, in Italy, i. 490, ii. 17 (_see_ Appendix iv.
vol. i.);
unknown at Venice, iii. 358
Reynolds, Sir Joshua, his criticism of Ghiberti, iii. 132
Rhetoric, influence of, at the Renaissance, ii. 149, 190, 216, 513,
525, v. 247, 430, 451;
want of original thought in the oratory of the Renaissance, ii.
191, 278 _note_ 2, 513
Rhosos, Joannes, a member of the Aldine Academy, ii. 387
Riario, Girolamo, i. 389;
murder of, 120, 390;
Pietro, Cardinal di San Sisto, 389;
his extravagant profligacy, 390-392 (cp. iv. 315);
his convention with Galeazzo Maria Sforza, 392;
Cardinal Raphael, 407;
concerned in Petruccio's conspiracy, 437;
his patronage of scholars at Rome, ii. 404;
buys Michelangelo's _Cupid_ as an antique, iii. 389;
representation of the _Fall of Granada_ before him, v. 117 _note_
1 (cp. 138)
_Ribellamentu Lu, di Sicilia_, its doubtful authenticity, iv. 36
Riccio, Andrea, his work as a bronze founder, iii. 78 _note_ 1
Rienzi, takes the title of Tribune, ii. 30;
his relations to Petrarch, 83, 147-149;
his plan to restore the Republic in Rome, 145 (cp. i. 376);
his confusion of medieval and classical titles, 146;
his downfall, 147
_Rifacimento_, question whether Dino's Chronicle is a work of this
class, i. 263, 273;
similar question about the Malespini Chronicle, 252 _note_ 1, iv. 36;
about Pandolfini's _Governo della Famiglia_, iv. 194;
_Rifacimento of the Orlando Innamorato_ (_see_ Berni)
Rimini, S. Francesco, adapted by Leo Battista Alberti, i. 172, 326,
ii. 34, 210, 342;
the bas-reliefs in the side chapels, iii. 161;
Piero della Francesca's portrait of Sigismondo Pandolfo Malatesta, 235
Rinaldo d'Aquino, his _Farewell_, iv. 37
Ripamonti, quoted, i. 163, 167 _note_ 1
_Rispetti_, meaning of the term, iv. 264;
common character of, throughout Italy, 266;
question of their first origin, 267;
their antiquity, 268;
their themes, 272;
purer in the country than in the towns, 272
Ristoro da Arezzo, his _Composizione del Mondo_, iv. 36
Robbia, Luca della, his work as a sculptor in Italian churches, iii.
78 _note_ 1;
his bas-reliefs in glazed ware, 79;
unaffected by the Pagan spirit of the Renaissance, 135;
his genius contrasted with that of Ghiberti or Donatello, 148;
beauty of his work, 148-150;
Luca della, nephew of the sculptor, his account of his interview
with Paolo Boscolo, i. 466, v. 519
Robbias, the Della, successors of Luca in his manufacture of
earthenware, iii. 150
Robert of Anjou, King of Naples, his patronage of Petrarch and
Boccaccio, ii. 252, iv. 120 _note_ 1
Robert of Geneva, i. 81
Robert, illegitimate son of Pandolfo Sigismondo Malatesta, said to
have poisoned the Florentine poet, Il Burchiello, iv. 260
Roberto di Battifolle, poems of, iv. 165
Roberto da Lecce, his preaching at Perugia and Rome, i. 614;
his attacks on Beccadelli's _Hermaphroditus_, ii. 256 _note_ 1
Robusti, the (Tintoretto and his son), iii. 371
Rocchi, Cristoforo, his model for the Cathedral of Pavia, iii. 68;
the pupil of Bramante, 82
Rodolph of Hapsburg, his grant to the Papacy, i. 374
Roland Legend, the: spread of the Roland Romances in Italy, iv. 13, 427;
in the upper classes gave place to the Arthur Legend, 17, 18;
preference of the popular writers for the episode of Rinaldo, 244;
reasons of this, 437;
the _Chanson de Roland_, 433;
historical basis of the myth, 434-437;
legend that Roland was son of a Roman prefect, 439 (cp. ii. 30)
Rolandino, the Chronicle of, i. 251
Roman Empire, the old, its dissolution, i. 5;
its place taken by the Papacy, 6
Roman Empire, the Holy, i. 41;
conflict of the Empire and the Papacy, 59, 60, 68, 97, 100, 374, iv. 6;
power of the Imperial idea, i. 97
Romances of the _Quattro Cento_, iv. 244-249;
their positive tone, 248
Romanesque (Tuscan) Style, the, iii. 47, 49, 111, v. 504
Romanino, Girolamo, iii. 503
Rome, not included in Theodoric's kingdom, i. 46;
effect of this, 47, 49, 93;
address of the Roman Senate to the Emperor Frederick, 65, iv. 13;
prestige of the name of Rome, i. 92, ii. 57;
Sack of Rome, i. 222, 444, ii. 443, iii. 414, 438, 455, iv. 2;
---- universally recognized as a judgment on its sins, i. 446, ii. 445;
sufferings of the learned in the Sack of Rome, 443, v. 357;
government of Rome in the middle ages, i. 375;
the Romans welcome the accession of Alexander VI. to the Papacy, 407;
state of Rome under Leo X., 437;
pageants at the reception of the head of S. Andrew at Rome, 461,
iv. 316;
profligacy of Rome, i. 474, ii. 217, 405-407, v. 190, 386;
effect of the study of the ruins of Rome on the Renaissance, ii.
142 foll., 429 foll. (cp. iii. 48 _note_ 1);
culture flourished less at Rome than Florence, ii. 215, iv. 364,
366, v. 499;
place of Rome in literature and art, i. 79, iii. 181 _note_ 1, 184;
early Roman printers, ii. 368, 405;
reasons for the pre-eminence of Rome in the fourth age of culture, 440;
occupation of the old Roman buildings by the various great families,
iii. 46;
Gothic architecture never much practised at Rome, 46;
Cellini's description of Rome under Clement VII., 452;
protection of assassins in Papal Rome, 459;
representations of Plautus and Terence in the original at Rome, v. 138
---- S. Clemente, Masaccio's fresco of St. Catherine, iii. 229;
S. Maria sopra Minerva, Filippino Lippi's _Triumph of S. Thomas_,
207, 248;
the _Christ_ of Michelangelo, 414;
S. Maria delle Pace, Raphael's frescoes, 334;
S. Maria del Popolo, Raphael's mosaics, 79 _note_ 3, 334;
S. Maria in Trastevere, Mino's tabernacle, 158 _note_ 1;
S. Peter's, plan of Nicholas V., i. 379, iii. 90;
commenced by Julius II., i. 433, iii. 90;
built with money raised from indulgences, i. 439;
Michelangelo's dome, iii. 88;
the various architects employed, 90-93;
Bernini's colonnade, 93;
the Bronze Gates (by Filarete), 108, v. 424;
Giotto's mosaic, iii. 190;
Michelangelo's _Pieta_, 389, 420;
S. Pietro in Vincoli, Michelangelo's _Moses_, 399, 340, 420, 422
---- Sistine Chapel, the, building of, i. 384 _note_ 1;
Michelangelo's frescoes, iii. 403-423. (_See_ Buonarroti,
Michelangelo.)
---- Cancelleria, the, by Bramante, iii. 82;
Villa Farnesina, by Baldassare Peruzzi, 83, 84, 334;
Villa Madama, by Raphael and Giulio Romano, 83;
Pandolfini, by Raphael, 83;
Vidoni, by Raphael, 83
---- Academy, the, founded by Pomponius Laetus, ii. 361, 365, 409, v. 272;
representations of Plautus and Terence in the original by the
Academy, v. 138
---- High School, the (the Sapienza), established by Boniface VIII.,
ii. 117;
reformed by Leo X., 426;
reasons why it did not rival other Italian universities, 426
Roman School of Painting, the, iii. 183;
reason of its early decadence, 490-492
Romeo and Juliet, story of, i. 74;
treatment of the story by Bandello and Shakspere compared, v. 71
Romualdo, S., legend of, ii. 339
Rondinelli, Giuliano (or Andrea), the Franciscan chosen to undergo
the ordeal of fire with Fra Domenico, i. 533 _note_ 1
Rossellino, Antonio, delicacy and purity of his work, iii. 154;
his monument to the Cardinal di Portogallo, 153;
Bernardo, his monument to Lionardo Bruni, ii. 186, iii. 158 _note_ 2
Rossi, the, at Parma, how they acquired despotic power, i. 112, 114;
overthrown by the Visconti, 145;
reappear after the death of Gian Galeazzo, 150
Rossi, Porzia de', the mother of Tasso, v. 298;
Roberto de', a scholar of Giovanni da Ravenna, ii. 100;
one of the society in S. Spirito, 102;
visits Chrysoloras at Venice, 109;
learns Greek of him, 110
Rosso de' Rossi, his visit to the Court of France, iii. 445, 498;
his frescoes at the Annunziata, Florence, 498 _note_ 1
Rubens, his transcript of the _Battle of the Standard_, iii. 145, 321;
his transcript of Mantegna's _Triumph of Caesar_, 274, 321 _note_ 1;
compared with Paul Veronese, 372
Rucellai, Bernardo, opens the Rucellai Gardens to the Florentine
Academy, v. 236;
Cipriano, his friendship with Palmieri, 549;
Giovanni, his _Api_, ii. 471, v. 236;
his tragedy of _Rosmunda_, v. 129, 236;
the _Oreste_, 133;
compared with the _Rosmunda_, 134;
his friendship with Giangiorgio Trissino, 236;
Palla, 236
Rucellai Gardens, the, Machiavelli's discourses there, i. 293, 328,
ii. 366, v. 236, 239;
Rucellai's _Rosmunda_ acted before Leo X. there, v. 129
Ruggieri, Fra, leader of mercenaries in Southern Italy, i. 156
Ruggieri Pugliese, shows in his _Lament_ traces of genuine Italian
feeling, iv. 26
Ruscelli, Girolamo, his _Capitolo_ on the Spindle, v. 365
Rusconi family, the, at Como, i. 150
Rustici, Giovanni Francesco, festivals organised by him, v. 115
Rusticiano of Pisa, his French version of Marco Polo, iv. 35
Sabadino, his _Porretane_, v. 60
Sabbatini, Andrea, the scholar of Raphael, iii. 490
Sabellicus. (_See_ Coccio.)
Sacchetti, Franco, his _Novelle_, iv. 148;
composed in the vernacular Tuscan, 148;
their value as a picture of manners, 149;
comparison between Sacchetti, Masuccio, and Boccaccio, 179;
Sacchetti as a poet, 154-156;
his funeral Ode for Petrarch, 137 _note_ 1;
for Boccaccio, 137;
his political poems, 161, 163;
his _Ballata, O vaghe montanine pasturelle_, 155, 262, 305;
his admiration for Boccaccio, 148
_Sacre Rappresentazioni_, the, i. 477 _note_ 1, 480, iv. 172;
contained the germs of a national theatre, iv. 306, v. 109, 136;
took their origin from the religious practices of the _Laudesi_,
iv. 307;
their relation to the Northern Miracle Plays, 312;
mode in which they were represented, 313;
theory that they arose from a blending of the midsummer festivals
at Florence and the _Divozioni_, 314-320;
their form, 321, v. 182 _note_ 2;
their religious character, iv. 323, v. 112, 519;
their scenic apparatus, iv. 324-327;
how far illustrated from contemporary works of art, 327 _note_ 1,
338, 340, 343;
analysis of the play of S. _Uliva_, 327-330, 351;
translation of the Dirge of Narcissus and the May Song, 328;
universality of the legend upon which it is founded, 351, 353;
subjects of other plays which have been preserved, 331;
analysis of the play of Mary Magdalen, 331-337;
translation of Christ's Sermon, 333-336;
the _Figliuol Prodigo_, 337;
elements of comedy in the sacred dramas, 337 _note_ 3;
their treatment of Mary and the Magdalen, 339;
dramas dealing with monastic legends, 341-343;
lack of the romantic element, 343;
show less maturity than the contemporary works of art, 346;
their interest as illustrating Italian imagination, 347, v. 54;
analysis of _Teofilo_, the Italian Faust, iv. 347-349;
analysis of the _Re Superbo_ and _Barlam e Josafat_, 349;
the _Stella_, _Rosana_, and _Agnolo Ebrao_, 353-355;
the three Pilgrimage Plays, 355-357;
failure of the sacred dramas to create a national theatre, 357, v. 112
_Sacrificio, El_, a masque played at Siena, v. 143 _note_ 2
Sadoleto, Jacopo, cited for the prevalent belief that the Sack of
Rome was a judgment of God on the city, i. 446, ii. 416;
made a Cardinal, ii. 402, 416;
his rise into greatness, 403;
his entertainments of the Roman Academy, 409;
his poem on the _Laocoon_, 415, 432, 496;
his gravity and sincerity of character, 416;
his friendship with Vittoria Colonna, v. 292;
his 'Commentary on the Romans' placed on the Index, ii. 416
Salaino, Andrea, the favourite pupil of Lionardo da Vinci, iii. 317, 484
Salerno, University of, ii. 117
Salimbene, Fra, his Chronicle of Parma, i. 251;
his account of Frederick II., iv. 21
Salimbeni, the, at Siena, v. 99
Salutato, Coluccio, his 'Letters' quoted for the influence of
Petrarch on Boccaccio, ii. 90 _note_ 1;
their value, 104 _note_ 1;
their contemporary influence, 104, 531, iv. 175;
his importance as a stylist, ii. 103-105;
one of the circle in S. Spirito, 102;
his patronage of learning, 106, 230;
translates Dante into Latin verse, 103, 106, 449;
causes Petrarch's _Africa_ to be published, 104 _note_ 1, 106;
his invective against the copyists, 130;
saw the desirability of forming public libraries, 166;
his poems, iv. 165
Salviati, Archbishop of Pisa, his share in the Pazzi Conspiracy, i.
397, 398
Salviati, Caterina, wife of Nerli, i. 290
Salviati, Francesco, mentioned by Doni as scene-painter at a
representation of comedy in Florence, v. 144 _note_ 4
San Gemignano, Savonarola at, i. 507;
the towers of, 507, iii. 58;
Gozzolo's frescoes, i. 507, iii. 242, v. 54;
Ghirlandajo's frescoes, i. 507, iii. 259;
Da Majano's bas-reliefs, iii. 160
Sancia, Donna, wife of the youngest son of Alexander VI. by Vanozza
Catanei, i. 418
Sanga, Battista, the secretary of Clement VII., v. 380;
addressed by Berni in the suppressed stanzas of the _rifacimento_
of the _Orlando Innamorato_, 379, 380
Sanmicheli, Michele, his work as an architect at Verona, iii. 86
Sannazzaro, Jacopo, facts of his life, v. 198;
a member of the Roman Academy, ii. 361;
of the Neapolitan, 363, v. 198;
his friendship with Pontanus, ii. 363, v. 198;
representation of him in the Church of Monte Oliveto at Naples,
ii. 365, iii. 164, v. 198;
frigid purism of his _De Partu Virginis_, ii. 398, 468, 470 (cp.
v. 249);
criticism of Lilius Gyraldus upon it, ii. 469 _note_ 1;
his Latin poems, 468, v. 198-201;
his epigrams on the Borgia and Rovere families, ii. 469, v. 199;
preferred Fracastoro's _Syphilis_ to his own epic, ii. 477;
translation of one of his sonnets, v. 200;
his _Arcadia_, 202;
first gave form to the Arcadian ideal, 197;
its mixture of autobiography and fable, 202;
idyllic beauty of the episodes, 202;
its art illustrated by the paintings of Mantegna, 203;
by the _Quattro Cento_ painters in general, 204, 207;
its literary style, 203;
representative of the spirit of the Renaissance, 202;
translation of the description of the 'Shrine of Pales,' 205-207;
of the portrait of Amaranta (Carmosina Bonifacia), 207-209;
of the description of the nymphs and shepherds, 209;
of pictures of inanimate nature, 209;
of Carino's Lament, 210;
the _Arcadia_ the model of Sir Philip Sidney's work, 211;
the poetical portions, 211;
translation of a Sestine, 212
Sanseverini, the, of Rome, Pomponius Laetus said to have been related
to them, ii. 33, 359;
their ruin, v. 298
---- Ferrante, Prince of Salerno, takes Bernardo Tasso into his
service, v. 298
Sansovini, the, their work as sculptors and bronze founders in
Italian churches, iii. 78 _note_ 1
---- (1) Andrea Contucci di Monte Sansavino:
his tombs of Ascanio Sforza and Girolamo della Rovere, iii. 156;
straining after effect in his work, 156, 166;
---- (2) Jacopo Tatti, called Il Sansovino: his work as an architect
at Venice, iii. 85, 167, 355;
the Library of St. Mark's, 85, 167;
the friend of Titian and Aretino, 167, 168, v. 398, 409;
_bravura_ character of his works in sculpture, iii. 167;
his bronze door of the sacristy of St. Mark, 168, v. 424;
his _Bacchus_, illustrating the supremacy of pagan motives in the
art of the Renaissance, iii. 169;
story of the model who sat for the _Bacchus_, 233
Santi, Giovanni (father of Raphael), his Chronicle cited, i. 166
_note_ 3;
written in the metre of the Divine Comedy, iv. 172;
his character of Desiderio, iii. 160;
his _Madonna_, with portraits of his wife and the infant Raphael, 330
Sanudo, a member of the Aldine Academy, ii. 387;
his diary cited for the wealth of the Venetian nobles, i. 235 _note_ 1;
for the disorders caused by the sensuality of Alexander VI., 417
_note_ 1;
for the belief that Alexander died of poison, 429, 430;
for the story that Alexander had sold his soul to the devil, 431;
for the gluttony of the prelates, 479 _note_ 1;
for the pay of jurists in Italian universities, ii. 121;
for the shows at Ferrara on the marriage of Lucrezia Borgia, v.
141 _note_ 2
Sappho, lines on Fame, translated, ii. 40
Saronno, church of, Luini's frescoes, iii. 485-487;
Ferrari's frescoes, 488
Sarto, Andrea del, his visit to the Court of France, iii. 445;
qualities of his colouring, 497;
his pictures wanting in depth of thought and feeling, 497;
creates an epoch in Florentine art, 496, 498
Sarzana, surrender of, by Pietro de' Medici, i. 559
Satire in the Middle Ages, iv. 108;
in Italy at the Renaissance, v. 310, 381
Sauli, Stefano, the friend of Flaminio, ii. 501;
his Genoese origin, illustrating the loss of literary supremacy by
Florence, 506
Savelli, the, at Rome, i. 375
Saviozzo da Siena, his political poems, iv. 161;
his commentary upon the Divine Comedy, 163
Savonarola, his treatise on the Government of Florence, i. 128
_note_ 1, 277, iii. 265, 392 _note_ 1, iv. 386;
the author of the Florentine Constitution of 1494, i. 202, 222, 526;
proclaims Christ the Head of the State, 222, 526, iii. 214, 308;
his hostility to the _Parlamento_, i. 230 _note_ 1, 526;
his Constitution came too late to save the city, 231;
his admiration of the Venetian polity, 234;
influence of his prophecies at the siege of Florence, 284, 290,
518, 536;
Guicciardini's account of him, 304, 308;
criticism of him by Machiavelli, 345;
Savonarola and Machiavelli contrasted, 368;
confined himself to the reformation of morals, and shrank from the
imputation of heresy, 454, 499;
objected to classical learning on the ground of its worldliness,
456 _note_ 1, 499, 505, 506, ii. 326, 396, 516;
his opposition to the arts, iii. 24, 29 _note_ 1, 265, 310;
his denunciations of the Papacy, i. 530;
his testimony to Florentine profligacy, 475, 477 _note_ 1, 480;
story of his life--his boyhood, 499;
takes the cowl, 501;
his account of his vocation, 501;
goes to Florence, 503;
sent to San Gemignano, 506;
his first success at Brescia, 508;
his appearance and style of preaching, 508-514 (cp. iii. 309 _note_ 2);
believed in his own gift of prophecy, 512 _note_ 1;
his visions, 515;
how far he was guided by them, 518;
his error in teaching the Florentines to look for foreign aid, 518;
recalled by Lorenzo de' Medici, 521;
his opposition to Lorenzo, 521;
called to Lorenzo de' Medici's deathbed, 523;
his activity takes a political turn, 524, iv. 384;
the Bonfire of Vanities, i. 527, iv. 392;
his influence begins to decay, i. 529, 531;
his contest with Alexander VI., 529;
weakness of his position in not breaking with Rome, 530, 622;
writes letters summoning a European council, 532;
his letter to Alexander, 532;
the ordeal by fire, 533;
his imprisonment, torture, and death, 533-535;
his canonisation proposed, 535
Savonarola, Michael, his 'Panegyric of Padua,' quoted for the
teaching of perspective in Padua, iii. 236
Savoy, the House of, i. 52, 57, 110, 146 _note_ 1
Scala family, the, how they acquired their power, i. 111;
violent deaths among them, 120, 145;
their tombs at Verona, iii. 124, 163
Scala, Alessandra, Poliziano's wooing of her, ii. 344;
---- Bartolommeo, raised by the Medici from a low station, 344;
his quarrel with Poliziano, 344
Scala, Can Grande della, i. 145;
Mastino della, 145
Scaliger, Julius Caesar, his character of Aldo Manuzio (the grandson),
ii. 389;
his criticism of Fracastoro's _Syphilis_, 477
Scamozzi, Vincenzo, character of his architectural work, iii. 96;
his 'Universal Architecture,' 96 _note_ 1
_Scandiano_, the fief of Boiardo, iv. 456, 457
Scardeone, Bernardino, describes Odassi as the inventor of Maccaronic
verse, v. 329 _note_ 3
Scarparia, Giacomo, journeys to Byzantium with Chrysoloras, ii. 109
Schiavo da Bari, the, his Aphorisms iv. 240
Scholarship, state of, in the middle ages, ii. 58 foll.
Science, opposition between science and religion, i. 16;
modern science dates from the Renaissance, 16, 17. v. 483, 491
Scotti, the, at Piacenza, how they acquired power, i. 112;
overthrown by the Visconti, 145;
reappear after the death of Gian Galeazzo, 150
Scoronconcolo, the murderer employed by Lorenzino de' Medici against
his cousin Alessandro, v. 118
Scotus, Duns, v. 467, 468
Scrofa, Camillo, author of the _I Cantici di Fidentio Glottogrysio
Ludimagistro_, v. 328
Sculpture, why Sculpture yielded to painting in the modern era, iii.
8, 12-21, 31, 120;
the handmaid of architecture, 101;
took a pictorial form with the Italians, 121, 132, 161, 177, 195;
necessarily assumes a subordinate position in Christian
architecture, 122;
influence of goldsmith's work over the Florentine sculptors, 126;
the three periods of Italian sculpture, 177;
more precocious in its evolution than painting, 225
Sebastian del Piombo, influence of Michelangelo on his work, iii. 493;
his friendship with Berni, v. 363
Sebastian of Pontremolo, an early printer, ii. 376
Segni, Bernardo, belonged to the neutral Medicean party, i. 289;
his Florentine History, 278, 279;
its character and value, 292;
his knowledge drawn from practical life, 231, 280;
his account of Savonarola's legislation at Florence, 197 _note_ 1,
526 _note_ 1;
cited for the story of Jacopino Alamanni, 211;
for the factions of Siena, 207 _note_ 2;
for the dedication of Florence to Christ, 222 _note_ 1;
his description of the _Parlamento_ at Florence, 230 _note_ 1;
cited for the corruption of Florence, 231;
for the conduct of the Florentine exiles, 236;
his account of Guicciardini, 299 _note_ 2;
of Giovanni Bandini, 477 _note_ 1
Senarega, cited for the expulsion of the Jews by Ferdinand, i. 400
_note_ 2, 401
_Senato_, name of a council in some Italian cities, i. 35
Senator, supreme official in the Roman republic, i. 35
Seneca, influence of his tragedies on Italian playwrights, v. 127
_note_ 1, 130, 132 _note_ 1, 135
Sercambi, Giovanni, his _Novelle_, iv. 150 _note_ 1
_Sereni_, the, an Academy at Naples, ii. 366
Serfs, gradual emancipation of the, i. 66
Sermini, Gentile, his _Novelle_, v. 60, 97;
story of Anselmo Salimbeni and Carlo Montanini, v. 99
_Sermintese_, a form of Italian poetry adapted from the Provencal,
iv. 160, 257 _note_ 1
Sesto, Cesare da, the scholar of Lionardo da Vinci, iii. 484
Sforza, Anna, the wife of Alfonso d'Este, v. 140;
Ascanio, Cardinal, i. 163, 405, 565;
his monument by Sansovino, iii. 156;
Caterina Riario (wife of Girolamo Riario), 160 _note_ 1, 390;
Francesco, 86, 88;
enters Milan as conqueror, 87, 154, 163, ii. 281;
supported by Cosimo de' Medici, i. 91, 155;
acquired his despotism as leader of Condottieri, 113 _note_ 1,
153, 160, 163, 361, 364;
the son of a peasant, 116, 153, 160 _note_ 1;
treatment of his history by Machiavelli, 345;
his patronage of Filelfo, ii. 38, 282 (cp. 511);
his hospital at Milan, iii. 59;
Galeazzo, his assassination attempted by Girolamo Gentile, i. 168;
Galeazzo Maria, 165;
his assassination, 163, 166, 397 _note_ 2, 543;
his intrigue with Pietro Riario, 392;
Giovanni Galeazzo, 543;
murdered by his uncle Lodovico, 163, 480 _note_ 2, 555, v. 118;
doubts about his murder, i. 556 _note_ 1;
Lodovico, debt of the Milanese School of Painting to him, 79;
invites the French, 89, 90, 164, 538, 542, 546;
poisons his nephew, 163, 480 _note_ 2, 555, v. 118;
imprisoned in Loches, i. 547;
attempt to assassinate him, 397 _note_ 2;
his usurpation of power, 543, 548;
origin of his surname _Il Moro_, 547;
his character, 548;
joins the League of Venice against Charles, 576;
representations of Latin plays before him by the Ferrarese actors,
iv. 498, v. 140
Sforza (of Pesaro), Alessandro, his patronage of learning, ii. 302;
Costanzo, his patronage of learning, 302;
Giovanni, the husband of Lucrezia Borgia, i. 420
Sforzeschi, the, mercenary troops, i. 160, 362
Shakspere: his treatment of the story of Romeo and Juliet compared
with Bandello's, v. 71;
was probably acquainted with Bandello's _Novella_ of _Nicuola_ and
the comedy _Gli Ingannati_ before writing the _Twelfth Night_, 72
Shelley, quoted to illustrate the character of Venetian landscape,
iii. 350;
his opinion of the _Orlando Furioso_, v. 41 _note_ 1
Sicilian period of Italian literature, iv. 20;
period during which it flourished, 21, 27;
character of the dialect used by the Sicilian poets (the _lingua
aulica_), 22;
artificial nature of this poetry, 25;
translated into Tuscan idioms, 41, 42, 268;
traces of popular feeling in it, 26, v. 504;
its intrinsic weakness, iv. 44
Sicilies, Kingdom of the Two, united by Frederick II. to the Empire,
i. 68;
given by the Papacy to Charles of Anjou, 75
Sidney, Sir Philip, his ideal of a classic drama, v. 111, 136;
his praise of the tragedy of _Gorboduc_, 132 _note_ 1, 136;
took Sannazzaro's _Arcadia_ as the model of his own work, 211
Siena, produced no great work of literature, i. 79;
generally Ghibelline, 194 (cp. iv. 161);
discords of Siena, 207-209, 616, ii. 164, iii. 212, 213, 220;
distinguished by religious revivals as well as by factions, i. 620
_note_ 1, iii. 183, 220 (cp. iv. 281);
the Sienese bury a statue of Venus in the Florentine territory,
ii. 433, iii. 212;
architecture of the Sienese palaces, iii. 60;
independent origin of painting in Siena, 214;
the Sienese dedicate their city to the Virgin, 214, 357;
pageants at Siena in honour of S. Bernardino, iv. 315;
luxury of Siena in the middle ages, v. 96
---- S. Bernardino, Pacchia's paintings, iii. 501;
S. Domenico, Guido da Siena's _Madonna_, 214;
Sodoma's _S. Catherine at the Execution of Tuldo_, 500;
Duomo, the, contrasted with Northern cathedrals, 54;
its facade (by Giovanni Pisano), 110;
its mosaic pavements, 209, 502, iv. 130;
Duccio's altarpiece, iii. 215;
Pinturicchio's frescoes (in the Library), 302;
Church of Fontegiusta, Peruzzi's _Augustus and the Sibyl_, 501;
Monte Oliveto, Fra Giovanni's wood-carvings, 78 _note_ 2;
Signorelli's _Soldiers of Totila_, 286;
Sodoma's frescoes, 499, iv. 132, 343, v. 54
---- Palazzo Pubblico, iii. 61;
Taddeo di Bartolo's frescoes, 209;
Ambrogio Lorenzetti's frescoes, 210;
Simone Martini's _Virgin enthroned_, 217;
comparison of its decorations with those of the Ducal Palace,
Venice, 359
---- University, the: receives a diploma from Charles IV., ii. 118
---- Sienese School in Painting, the, characteristics of the early
Sienese masters, iii. 214, 216;
the scholars of Sodoma, 501
Sigismund, the Emperor, crowns Beccadelli poet at Siena, ii. 255;
Filelfo's mission to him at Buda, 268;
pageant in his honour at Lucca, iv. 315
Signorelli, Luca, his studies from the nude illustrate the changed
direction of art, iii. 23, 279, 292;
his frescoes at Orvieto, iii. 56, 280, 281, 282, iv. 414 _note_ 1;
the arabesques, ii. 440, iii. 283;
boldness and vigour of his genius, iii. 279;
indebtedness of Michelangelo to him, 279;
story of his painting his dead son, 280;
his study of human form, 285, 288;
his four types of form, 286, 288;
his quality as a colourist, 289;
the _Last Supper_ at Cortona, 289, 326 _note_ 1;
his treatment of mythology compared with that of other painters,
289-291;
said by Michelangelo to have treated him badly, 292 _note_ 1;
his visit to the Vasaris at Arezzo, 293;
Vasari's character of him, 293;
competes for the decoration of the Stanze of the Vatican, 300
Simone, his bas-reliefs at S. Francesco, Rimini, iii. 162
Simonetta, Cecco, his execution by Lodovico Sforza, i. 543, 548
Simonetta, La Bella, v. 230;
her relation to Giuliano de' Medici, iv. 403, 406 _note_ 1 (cp.
420-422);
her portrait by Botticelli, 406 _note_ 1;
painted by Lippo Lippi in his frescoes at Prato, 422
Simony of the Cardinals at Rome, i. 404, 406
Simplicity of character, as contemptible in Italy as in Greece during
the Peloponnesian war, i. 324
Sinigaglia, Massacre of, i. 324, 347, 427, 462
Sismondi, i. 64;
his special pleading for Republican institutions, 78, 115;
his description of Gian Galeazzo, 144;
quoted about the Condottieri, 159;
his account of the withdrawal of the Florentines from military
service, 226;
on the Venetian Council of Ten, 234 _note_ 1;
his argument that Italy would have been best off under a
confederation, 538 _note_ 1;
his calculation of the decline in number of the free citizens in
Italy, 547 _note_ 1
_Sitibondi_, the, an Academy at Bologna, ii. 366
Sixtus IV., his avarice, sensuality, and brutality, i. 105, 113,
393-396, iii. 146;
his low origin, i. 116, 388;
abettor of the Pazzi conjuration, 168, 396-398, iv. 447, v. 118;
his services to art, i. 384 _note_ 1;
amount of truth in the stories about him, 388 _note_ 1;
began the system of founding principalities for his family, 389;
his wars, 395;
his share in the creation of the Inquisition and the expulsion of
the Jews, 399-402;
invites Filelfo to Rome, ii. 285;
opens the Vatican Library to the public, i. 384 _note_ 1, ii. 227, 359;
his destruction of ancient monuments at Rome, 430;
dies of disappointment and rage, i. 396;
his monument by Antonio del Pollajuolo, iii. 147
_Smarriti_, the, an Academy at Faenza, ii. 366
Soardi Family, the, at Bergamo, i. 150
Soderini, Antonio, i. 202, 289, 308, 313 _note_ 1;
Cardinal, 414;
concerned in Petrucci's conspiracy, 437
Soderini, Piero, Gonfaloniere of Florence, i. 289, 314, iii. 308,
iv. 393;
Machiavelli's epigram upon him, i. 324, iii. 391;
aids in the reconciliation of Michelangelo with Julius II., iii. 402
Sodoma, competes for the decoration of the Stanze of the Vatican,
iii. 300;
his _Sebastian_, an instance of the introduction of pagan ideas
into Christian art, 34, 501;
his _Marriage of Alexander_, illustrating his treatment of the
antique, 291;
studied both under Lionardo da Vinci and Raphael, 499;
inferiority of his later manner, 500;
deficiency in composition of his pictures, 500
Soldanieri, Niccolo, his Lyrics, iv. 156
Soleri, Anna, i. 581
_Sonnachiosi_, the, an Academy at Bologna, ii. 366
Spaniards, cruelty of the, i. 478, ii. 441, 444
Sparta: comparison between Venice and Sparta, i. 234
Spenser, his mistake in supposing the _Orlando Furioso_ to be an
allegory throughout, v. 21
Speroni, Speron, v. 78;
his correspondence with Aretino, 410 _note_ 1;
his tragedy of _Canace_, 130;
his pastoral poems, 224;
a passage quoted from his Dialogues to show the spirit in which
the Italian purists worked, 252-256;
the _Dialogo delle Lingue_, 271 _note_ 1
Spina, Bartolommeo di, takes part in the controversy raised by the
publication of Pomponazzi's _De Immortalitate Animae_, v. 461
Spinelli, Matteo, doubtful authenticity of his Chronicle, iv. 36,
130 _note_ 1, 415 _note_ 1
Spinello, Aretino, the scholar of Giotto, iii. 197;
vigour of his work, 219;
his love of warlike subjects, 220;
various paintings of his, 219
Spino, Pietro, his _Life of Bartolommeo Colleoni_, iii. 144
Spirito, Convent of Santo, at Florence, Marsigli's Circle in, ii. 102
Spoleto, a Lombard Duchy, i. 48;
its fate, 48 _note_ 1, 50
Spoleto, the Cathedral: Filippo Lippi's frescoes, iii. 246
Squarcione, his school of art at Padua, iii. 236, 270
Stampa, Gaspara, v. 288
Stefani, Marchionne, iv. 176
Stefano da Bergamo, his tarsia work at Perugia, iii. 78 _note_ 2
Stephani, the Estienne family of printers at Paris, i. 23, ii. 373,
383, 391;
Henricus (the younger) refuses his books to Casaubon, 390 _note_ 3
Stephen II., invites the Franks against the Lombards, i. 50;
Stephen X., 60
_Storditi_, the, an Academy at Bologna, ii. 366
_Stornelli_, meaning of the term, iv. 264;
their antiquity, 269;
their themes, 272;
purer in the country than in the towns, 272
_Strambotti_, meaning of the term, iv. 264
Straparola, Francesco, his _Tredici piacevoli Notti_, v. 60, 78, 102;
the _Novella_ of the Devil and his Wife compared with Machiavelli's
_Belphegor_, 102
Strozzi, the, of Ferrara, iv. 457;
their panegyrics of Lucrezia Borgia, i. 422
---- Ercole, his elegies, ii. 497;
advocates the sole use of Latin against Bembo, 414, v. 259;
assassinated, i. 423;
Lucia, mother of Boiardo, iv. 457
Strozzi, the, at Florence, i. 210 _note_ 2
---- Alessandra, her Letters, iv. 176, 190 _note_ 1, v. 190;
Filippo (1), account of his building the Palazzo Strozzi, iii. 77
_note_ 1;
Filippo (2), leader of the Florentine Exiles, i. 211, 237, 280;
general agreement of the historians upon his character, 285, 287;
advises Lorenzo de' Medici (Duke of Urbino) to make himself Duke
of Florence, 286;
his vices and inconsistent conduct, 286;
his death, 287;
Marietta di Palla, Desiderio's bust of her, iii. 159;
Palla, a scholar of Giovanni da Ravenna, ii. 100;
aids Salutato to found the Chair of Greek at Florence, 106, 109;
learns Greek from Chrysoloras, 110;
his patronage of learning, 165, 223;
first collects books to form a public library, 166;
exiled by Cosimo de' Medici, 167, 170;
Pietro, story of his threat to assassinate Aretino, v. 406
Sulmona, traditional reverence for Ovid there, ii. 30, iv. 12
Sulpizio da Veroli, his letter to Cardinal Riario mentioning the
representations of Plautus and Terence at Rome, v. 139 _note_ 1
Sweynheim, printer at Rome, ii. 368
Sylvius, AEneas. (_See_ Pius II.)
Syncerus, Accius. (_See_ Sannazzaro.)
Syphilis, first noticed in Charles' army at Naples, i. 567, 567
_note_ 1, ii. 477
Taddeo di Bartolo, iii. 216;
his frescoes in the Palazzo Pubblico, Siena, 209;
his _Visit of the Apostles to the Virgin_, in S. Francesco, Pisa, 218
_Talento_, use of the word, in early Italian writers, iv. 106
Tansillo, Luigi, his pastoral poems, v. 224
Tardolus, Laomedon, tortured by the Spaniards at the Sack of Rome,
ii. 445
Tarlati di Pietra Mala, Bishop Guido dei, i. 83;
his tomb, iii. 210 _note_ 2
Tasso, Bernardo (father of the poet), the story of his life, v. 297;
his Letters and Miscellaneous Poems, 299;
Aretino's criticism of the Letters, 411;
his _Amadigi_, 299;
failed to gain popular applause, 299;
his _Floridante_, 300 _note_ 1;
Torquato, his ascription of part of the _Morgante_ to Ficino,
iv. 455 _note_ 3;
his genius representative of the Counter-Reformation, 464, v. 2;
his censure of Ariosto's inductions, v. 23;
contrast of Ariosto and Tasso, 44;
the _Aminta_ with Guarini's _Pastor Fido_, the perfection of the
Italian pastoral drama, 114, 223, 241;
completes the Italian reaction against the middle ages, 244;
the most original dramatic works in Italian, 511;
essentially lyrical nature of the _Aminta_, 511;
its opposition of an ideal world of freedom to the world of laws,
242;
the chorus on the Age of Gold, illustrative of Italian ideas of
honour, i. 486, v. 243
Taxes, farming of, at Perugia, i. 86 _note_ 1
Tebaldeo, Antonio, his Pastoral Poems, v. 224, 282 _note_ 3
Tedaldi, Pieraccio, his Sonnet on Dante, iv. 162;
discouragement expressed in his poems, 165
Telesio, v. 449;
Telesio and Campanella, 483;
his importance in the history of thought, 483-485, 500, 518
Ten, Council of, at Venice. (_See_ Council of Ten.)
Terence, influence of, on the Italian playwrights, v. 122, 136, 145, 181;
representations of, in the original, at Rome, 138;
at Ferrara, 139-142;
early translations of Terence, forming the beginning of Italian
comedy, 140
Terra Cotta, beauty of Italian, iii. 79, 151, 163
Terracina, Laura, v. 288
Terzi, Ottobon, i. 150, 151;
assassinated, 120
Tessiras, a scholar of Poliziano, ii. 350
Theatres, the lack of permanent theatres a hindrance to national
drama in Italy, v. 144;
the first, that built by order of Alfonso I. at Ferrara, iv. 499,
v. 144;
theatre built by Leo X. at Rome, v. 144;
the Teatro Farnese at Parma, 144
Theodoric, reign of, i. 46, 47, 51
Thomas of Aquino, S., the _Summa_, i. 60, v. 450, 468;
teaching of S. Thomas on the soul, v. 469
Thucydides, his account of Greek morality compared with the state of
Italy at the Renaissance, 325
Tiburzio, conspiracy of, at Rome, i. 386
Tiepolo, conspiracy of, at Venice, i. 217 _note_ 1, 218
Tifernas, Gregorios, translates the _Ethics_ for Nicholas V., ii. 229
Tintoretto [Jacopo Robusti], his sense of beauty, iii. 377;
compared with Titian and Veronese, 378;
inequality of his work, 379;
character of his genius, v. 46;
his _Bacchus and Ariadne_, illustrating his treatment of the
antique, iii. 291;
his _Paradise_ in the Ducal Palace, 358;
his vehemence and imaginativeness, 369, 370, 375;
his preference of subjects more properly belonging to poetry, 376;
story of his offering to paint Aretino's portrait, v. 406
Titian, his portrait of Cardinal Ippolito de' Medici, ii. 27;
sensuousness of his work, iii. 25;
the friend of Sansovino and Aretino, 167, 168, v. 398, 409;
a letter of his quoted for the project of making Aretino Cardinal,
v. 405 _note_ 2;
his _Bacchus and Ariadne_, illustrating his treatment of the
antique, iii. 291;
perfect balance of his powers, 370, 379;
the _Three Ages of Man_, v. 522;
the _Assumption of Madonna_, iii. 380
Todi, S. Maria della Consolazione (by Bramante), iii. 82;
birthplace of Jacopone, iv. 285
Tolommei, Claudio, his _Cesano_, v. 271 _note_ 1
Tommaso, a Dominican monk, his preaching at Milan, i. 621
Tommaso (son of Andrea da Pontedera), iii. 123
Tommaso da Sarzana. (_See_ Nicholas V.)
Tornielli Family, the, of Novara, i. 145
Torquemada, i. 400
Torrensi, the, or Della Torre family, at Milan: their rise to power,
i. 112;
their downfall, 132, 136
Torriani, the, of Verona, ii. 506
Torrigiani, his account of Michelangelo's scornfulness, iii. 386
_note_ 2;
his quarrel with Michelangelo, 432, 445;
invites Cellini to accompany him to England, 444;
Cellini's description of him, 445;
his death, 445
Torrigiani, Marchionne, poems of, iv. 164
Tortello, Giovanni, librarian to Nicholas V., ii. 229
Tortosa, the Cardinal of. (_See_ Adrian VI.)
Tourneur, Cyril, the plots of his dramas compared with real events in
Italian history, v. 117, 118
Towns, buying and selling of, i. 114, 134, 148
Traini, Francesco, his _Triumph of S. Caterina_, Pisa, iii. 207
Translations of the classics, executed by command of Nicholas V., ii. 228
Trapezuntius, Georgios, teaches Greek in Italy, ii. 210;
employed by Nicholas V. in translating Plato and Aristotle, 228;
his quarrel with Valla, 242, 263;
his fight with Poggio, 243;
his controversy with Bessarion, 247
Traversari, Ambrogio (Il Camaldolese), his account of Vittorino's
system of education, i. 177;
a scholar of Giovanni da Ravenna, ii. 100;
learns Greek from Chrysoloras, 110;
cited for the high pay of the copyists, 130;
his distraction between scholarship and the claims of the Church,
193-195;
cited in proof of Poggio's account of Filelfo's marriage, 269 _note_ 1;
the only great monastic scholar of the Renaissance, 517;
one of the best class of Humanists, 523
Tremacoldo, his murder of the Vistarini, i. 148 note 1
Treviso, culture of the Trevisan Court, iv. 6, 15
---- Monte di Pieta, _The Entombment_ (by Giorgione?), iii. 367 _note_ 2
Tribune, name of magistrate in some Italian cities, i. 35
Trifone [Trifone Gabrielle], i. 233, v. 78, 253 _note_ 1
Trinci, the, at Foligno, massacres of the, i. 121, 122
Trissiniana, La, an Academy founded by Giangiorgio Trissino, v. 302
Trissino, Ciro (son of Giangiorgio Trissino), v. 303;
murdered, 305;
Giangiorgio, story of his life, 300;
the pupil of Demetrius Chalcondylas, 301;
his magnificence and studious retirement, 302;
always attracted to Court life, 303;
his quarrel with his son Giulio, 303-305;
inserts a virulent satire on his son in his _Italia Liberata_, 304;
accuses him of heresy in a codicil of his will, 304;
his device of the Golden Fleece, 305;
his _Italia Liberata_, 126, 127, 306;
its dulness and unpoetical character, 307, 520;
compared with Milton's Epics, 308;
his _Sofonisba_, the first Italian tragedy, 126, 236, 301, 305;
its correctness and lifelessness, 127;
his comedy, the _Simillimi_, 305;
his testimony to the corruption of Rome, 190, 303;
his friendship with Giovanni Rucellai, 236;
his orthographical disputes with Firenzuola, 271, 306;
his _Poetica_, 306;
discovers the _De Eloquio_ of Dante, 306;
Giulio (son of Giangiorgio Trissino), his quarrel with his father,
303, 325 _note_ 2;
denounced as a heretic by his father in his will, 304;
condemned by the Inquisition and dies in prison, 304
Trivulzi, Giovan Jacopo da, i. 552, 573
Tuldo, Niccolo, story of his execution as related by S. Catherine of
Siena, iv. 174
Tullia di Aragona, the, poetess, v. 288
Turini, Baldassare, ii. 405
Turks, descent of the, upon Otranto, i. 399, 572 (cp. v. 122)
Turpin, the Chronicle of, iv. 432
Tuscan, superiority of, to other Italian dialects, iv. 31;
early recognition of this, 31
Tyrannicide, popular estimation of, in Italy, i. 169;
influence of the study of antiquity in producing tyrannicide, 165,
466, 468, v. 414
Uberti, the, at Florence, their houses destroyed as traitors, iii. 63;
Fazio degli, his _Dittamondo_ cited for a description of Rome in
desolation, ii. 154, iv. 167;
character of the _Dittamondo_, iv. 166-168;
his _Sermintese_ on the cities of Italy, 160;
his _Ode on Rome_, 160
Uccello, Paolo, his study of perspective, iii. 225, 232;
his love of natural studies, 226, 231 _note_ 1
Ugolini, Baccio, said to have composed music for the _Orfeo_, iv. 414
Ugolino da Siena, his painting of the Madonna in Orsammichele,
Florence, iii. 125
Uguccione da Fagiuola, tyrant of Lucca, i. 75 _note_ 1, 112;
introduced in the frescoes in the Campo Santo, Pisa, iii. 203
Umbria,
distinguished by its pietism, i. 620 _note_ 1, iii. 182, 220, iv. 281
---- Umbrian School in painting, the, its originality, 182
_Umidi, Gli_, an Academy at Florence, v. 79, 272;
Il Lasca and the _Umidi_, 79 _note_ 2;
Doni once its secretary, 90
_Umorosi_, the, an Academy at Bologna, ii. 366
Universities, Italian, their character, ii. 115;
number of foreigners attending them, 119;
liberality of the town governments to them, 119;
pay of professors in them, 120;
subordinate position of the Humanist professors in them, 123
Urban VIII., consecrates S. Peter's, iii. 93
Urbino, its position in Italian history, v. 498
---- Castle of, iii. 59, 76;
wood panelling in, 78 _note_ 2
Urbino, Dukes of, first dynasty (_see_ Montefeltro);
second dynasty (_see_ Rovere);
encouragement of the pottery works of Gubbio by the Princes of
Urbino, i. 80
Valdes, John, his suicide during the Sack of Rome ii. 445
Valeriano, patronised by Ippolito de' Medici, ii. 405;
his _De Literatorum Infelicitate_ quoted for the sufferings of the
learned in the Sack of Rome, 443, 542 (cp. 530);
for the Latin periphrases employed by scholars, 397;
cited for Inghirami's eloquence, 425 _note_ 1;
his work on hieroglyphics, 428
Valla, Lorenzo, the tutor of Ferdinand of Naples, i. 174;
his Declamation against the Donation of Constantine, 377 _note_ 2,
386, ii. 260;
his stipend at Pavia, ii. 122;
his translations of Thucydides, Homer, and Herodotus, 228, 262;
appointed Apostolic Scriptor by Nicholas V., 229, 262;
his quarrel with Poggio, 240 _note_ 1, 241, 263;
with Trapezantios and with Morando, 242, 263;
cited for Alfonso the Magnanimous' love of learning, 253;
his opposition to the Church, 258, 261;
the publication of the _Elegantiae_ brings him into fame, 259 (cp. 526);
invited to Naples by Alfonso, 261;
his appearance before the Inquisition, 262;
his dispute with Fazio, 263;
his character of Aurispa, 302 _note_ 1;
the _De Voluptate_, v. 455, 457, 519
Valori, Baccio, i. 230, 285;
Filippo, bears the expense of printing Ficino's Plato, ii. 326
Vandyck, Antony, his portrait of Cardinal de' Bentivogli, ii. 27
Van Eyck, John, his power of colouring, iii. 349;
comparison of his works with those of the Venetian masters, 361
Vanini, his execution, v. 478
Vannucci, Pietro. (_See_ Perugino.)
Varallo, S. Maria delle Grazie, iii. 489;
the terra-cotta groups in the Sacro Monte, cited in illustration of
the Sacred Drama, iv. 327 _note_ 1
Varani, the, of Camerino, i. 111, 375;
massacre of them, 121, 164 _note_ 1;
members of this family become Condottieri, 161
Varano, Giovanni, his murder, i. 119 _note_ 2;
Giulio Cesare, story of, 121;
murdered with three of his sons by Cesare Borgia, 122, 353, 427
Varchi, Benedetto, his Florentine History, i. 278, 279;
employed by Duke Cosimo to write the work, 281;
its character and value, 293;
written in a liberal spirit, 289;
Varchi's labour in writing the History, 249 _note_ 2;
his study of Tacitus and Polybius, 250 _note_ 1;
account of the Florentine government, 195 _note_ 1 (_see_ also
Appendix ii. vol. i.);
the Genoese constitution of 1528, 201 _note_ 1;
Savonarola's legislation, 202 _note_ 2;
the defects of the Florentine State, 204;
the population of Florence, 209;
censure of the _Ordinanze della Giustizia_, 225, 244;
the corruption of Florence, 231, 282;
Florentine intelligence, 232;
the conduct of the Florentine exiles, 236;
the dedication of Florence to Christ, 222 _note_ 1;
the _Parlamento_ at Florence, 237 _note_ 2;
character of Guicciardini, 296, 296 _note_ 2, 298 _note_ 1, 299
_notes_ 1, 2 and 3, 300 _note_ 2;
the reception of Machiavelli's _Prince_ at Florence, 326;
character of Machiavelli, 333;
Italian immorality, 477 _note_ 1;
Florentine habits of life, Appendix ii. (p. 595);
description of the friars who preached in Rome in Clement's
Pontificate, 620;
the murder of Alessandro de' Medici by his cousin Lorenzino, v. 118;
---- the _Ercolano_ (_Dialogo delleLingue_), v. 271 _note_ 1;
its account of Varchi's early training, iv. 237;
the Dissertation on Buonarroti's Sonnets, iii. 520, v. 297;
the pastoral poems, v. 224;
Varchi sides with Caro in his quarrel with Castelvetro, 286;
his _Capitoli_, 365;
his correspondence with Aretino, 410 _note_ 1
Vasari, Giorgio, finishes the cupola of the Umilta at Pistoja, iii. 83;
the Lives of the Painters, ii. 36;
their inaccuracy, iii. 103, 116;
ascribes Florentine intelligence to the Tuscan air, i. 232;
his remark on the indebtedness of Michelangelo to Signorelli, iii. 279;
the story of Signorelli's painting his dead son, 280;
his relation of Signorelli's visit to Arezzo, 293;
his character of Signorelli, 293;
his account of Perugino, 297, 299;
on Lionardo da Vinci, 323, 324;
on Raphael's gentleness, 329;
his panegyric of Michelangelo, 424, 494;
his account of Benvenuto Cellini, 440;
the story of the picture painted by Botticelli for Palmieri, iv. 171;
the midsummer festivals at Florence, 318, 325;
the _Triumph of Death_, 393-395, v. 114;
the festivals organised by Rustici, v. 115;
Vasari's friendship with Michelangelo and Aretino, 409 _note_ 2
Vatican library, its foundation, i. 21, ii. 227, 357;
opened to the public by Sixtus IV., 384 _note_ 1, ii. 227, 359;
librarians of the Vatican from Inghirami to Aleander, 424
Vaucluse, Petrarch's residence at, iv. 87, 96
Vegio, Matteo, the only writer of Latin verse in the Renaissance who
took the cowl, ii. 517
Velletti, Agostino, author of the novel in verse of Ginevra degli
Almieri, iv. 250;
analysis of the story, 250
Venasso, Antonio da, murdered at Sinigaglia by Cesare Borgia, i. 351
Veneziano, Marco, his friendship with Berni, v. 363
Venice, defeat of the Venetians by Francesco Sforza, i. 155;
selfish policy of Venetians in not supporting the Milanese, 155;
neutrality of Venice in the French invasion, 550 _note_ 1;
heads the league against Charles VIII., 576;
hostile to the Roman Church, 35, iii. 353, 357, v. 89, 393;
hatred of Venice by other States, i. 91, 214;
never entrusted her armies to Venetians, 157, 220;
contentment of the Venetians with their government, 198, 200, 215,
220, 233, iii. 353;
political isolation of Venice, i. 214;
Venetian constitutional history, 215-219;
good government of the subject cities by Venice, 220;
liberty of life and speech at Venice, iv. 364, v. 393, 497;
estimates of the number of inhabitants, i. 210;
divisions of the population, 215;
trading spirit of Venice, 238, iii. 353;
Venetian luxury, i. 475, iii. 167, 353, iv. 365, v. 191;
unenthusiastic character of Venetian religion, iii. 357-359;
contrast of Venice and Florence, i. 221, 222 _note_ 1, 231, 306
_note_ 2, iii. 182, 354;
comparison between Venice and Sparta, i. 234, 306 _note_ 2;
beauty of Venice, iii. 348;
Venetian art isolated from that of the rest of Italy, iii. 313;
architecture of the Venetian palaces, 60;
literature not encouraged at Venice, i. 79, 233, ii. 108, 212, 247
_note_ 3, 441, v. 497;
early Venetian printers, ii. 369, 376, 386;
the press at Venice, iv. 364, v. 96, 104;
Frari, the, Donatello's (wooden) statue of the Baptist, iii. 136
_note_ 2;
S. Giovanni e Paolo ('S. Zanipolo'), the Tombs of the Doges, 162;
S. Maria dell' Orto, Tintoretto's paintings, 376 _note_ 1;
S. Mark, its style borrowed from the mosques of Alexandria, 44, 45;
the bronze door of the sacristy by Sansovino, 168, v. 424;
S. Zaccaria, Giovanni Bellini's _Madonna with Saints_, iii. 365
---- Scuola di S. Croce, iii. 363;
its decorations by Gentile Bellini, 363;
Scuola di Sant' Orsula, 363;
its decorations by Carpaccio, 363, iv. 343, v. 54;
Scuola di San Rocco, iii. 85;
Tintoretto's paintings, 375 _note_ 1, 380
---- Ducal Palace, the, iii. 61, 355, 376 _note_ 1;
contrast of its decorations with those of the Public Palace of
Siena, 359;
Palazzo Corner, 85;
---- Vendramini Calergi, 85
---- Library of S. Mark's, the, iii. 85
Venetian Masters, the, distinguished by their preference for sensuous
beauty, iii. 182, 340, 354, 453, iv. 402;
influence of the peculiar character of Venice upon them, iii. 348;
their art to be compared to that of Greece, 355, 357;
their personification of Venice, 233, iii. 355, 356, 360;
quality of their religion, 357-359, 361, 364;
originality of their art, 361 _note_ 1, 362;
comparison between them and the Flemish masters, 361;
subjects of their art, i. 233, iii. 362;
the unity and solidarity of the Venetian school, 371;
their naturalness, 382
Veniero, Lorenzo, his relations to Aretino, v. 419
Venusti, Marcello, influence of Michelangelo on his works, iii. 493
Vercelli: Ferrari's frescoes, iii. 489;
High School, the, ii. 116
Vergerio, Pier Paolo (the elder), a scholar of Giovanni da Ravenna,
ii. 100
Vergerio, Pier Paolo, Bishop of Capo d'Istria, his attack on Della
Casa, v. 275 _note_ 1, 381 _note_ 1;
his account of Berni's conversion to Lutheranism, 378 _note_ 1;
relates that Berni's object in the _rifacimento_ of the _Orlando
Innamorato_ was the diffusion of Lutheran opinions, 378-380;
his flattery of Aretino, 410 _note_ 1
Verme, Jacopo dal, leader of Condottieri, i. 150
Verocchio, Andrea, importance of his influence, iii. 141;
limitations of his genius, 142;
various works of his at Florence, 142, 145;
his equestrian statue of Colleoni, 143
Verona: S. Anastasia, monument of the Cavalli, iii. 163;
tombs of the Scaligers, 124, 163
Veronese, Paolo, his _Europa_, illustrating his treatment of
mythology, iii. 291, 374;
his appearance before the Inquisition, 359, 446 _note_ 1;
his sense of magnificence, 370 (cp. v. 398 _note_ 2);
subjects of his art, iii. 372, 374;
his types of beauty compared with those of Rubens, 372;
his sobriety of imagination and excellence of workmanship, 373-374
Verradi, Carlo, his _Ferrandus Servatus_, v. 117 _note_ 1
Verucchio, capture of, i. 176
Vesc, Stephen de, Seneschal de Beaucaire, his influence with Charles
VIII., i. 541
Vespasiano, his contempt for printing, ii. 304, 370;
the last of the copyists, and the first of modern booksellers, 306;
value of his work, and goodness of his character, 307;
reason why he wrote in Italian, iv. 235;
his Biographies, 265 _note_ 1;
his Life of Duke Frederick of Urbino, 174, 176, 179;
the library which he collected for the Duke of Urbino, 175, ii. 304;
cited for the Life of Pandolfino, i. 239 _note_ 1, iv. 199;
does not mention him as author of the _Governo della Famiglia_,
iv. 199;
his account of Poggio and Bruni, i. 275;
his Life of Alfonso the Magnanimous, 480 _note_ 1, 569 _note_ 1;
his Life of San Bernardino, 612;
quoted for Italian profligacy, 477 _note_ 1;
his Life of Piero de' Pazzi, ii. 42 _note_ 1;
his account of how Palla degli Strozzi brought Chrysoloras to
Florence, 109;
cited for Strozzi's services to learning, 166;
copies MSS. for Cosimo de' Medici, 174;
relates how he collected books for Cosimo, 175;
quoted for Cosimo's versatility of talent, 176;
his anecdote of Cosimo's pruning his own fruit trees, v. 196;
his Life of Niccolo de' Niccoli, ii. 178;
his Life of Carlo Marsuppini, 186, 530;
his Life of Manetti, 186 _note_ 1;
his description of Tommaso Parentucelli (Nicholas V.) in the
Medicean circle at Florence, 224;
the catalogue of Niccolo's MSS. made by Tommaso, 174;
his account of his interview with Tommaso after his election, 226;
his character of Nicholas, 226;
his story of Pope Calixtus in the Vatican Library, 357;
cited for Vittorino da Feltre's purity of character, 297;
for the virtues of the Cardinal di Portogallo, iii. 154, v. 324
_note_ 1
Vespucci, Guido Antonio, i. 201
Vettori, Francesco, i. 197 _note_ 1, 203 _note_ 1, 230;
the friend of Machiavelli, 315, 317 _note_ 1, 322 _note_ 2, 318;
his _Sommario della Storia d' Italia_, Appendix v. vol. i.
Vicars of the Church, their passage to tyranny, i. 111.
Vicars of the Empire, i. 35, 106, 133;
their passage to tyranny, 111, 156
Vicenza, early printing at, ii. 376;
luxury of the nobles of Vicenza, v. 191
---- Palazzo della Ragione, by Palladio, iii. 95;
representation of Anguillara's _Edippo_ there, v. 134
---- High School, the, ii. 116;
attendance of foreigners there, 119;
its early decline, v. 497
Vico of the Prefetti at Viterbo, Francesco, murder of, i. 120, 168
_note_ 1
Victor, John Bonifacius, tortured by the Spaniards at the Sack of
Rome, ii. 445
Victor II., i. 59
Vida, made Bishop of Alba, ii. 403, 407;
his Cremonese origin, illustrating the loss of intellectual
supremacy by Florence, 506;
frigid purism of his _Christiad_, 398, 399 (cp. 535, v. 519);
quoted to illustrate the subjects in which the poets of the
Renaissance best succeeded, ii. 400;
the _Art of Poetry_, 471-476;
the apostrophe to Rome, 475, v. 522;
translated (prose), ii. 475
Vidovero, of Brescia, murdered by Pandolfo Malatesta, i. 113 _note_ 1
_Vignajuoli, I_, name of an Academy at Rome, ii. 365, v. 227, 272, 357
Vignate, Giovanni, the millionaire of Lodi, i. 114;
imprisoned in a wooden cage by Filippo Visconti, 120
Vignola, his labours at S. Peter's, iii. 93;
his 'Treatise on the Orders,' 95, 96 _note_ 1;
character of his genius, 96
Vigonca, the hero of an anonymous Maccaronic poem by a Paduan author,
v. 331, 479 _note_ 1
Villani, Chronicle of the, iv. 176;
its value, i. 251-260;
praised by Vespasiano, 276
---- Filippo, continues the Chronicle of Florence, i. 254;
his Lives of illustrious Florentines, 255;
cited for the story of Boccaccio at the tomb of Virgil, ii. 88,
iv. 102;
apologises for his father not having written in Latin, iv. 236;
Giovanni, his Chronicle of Florence, i. 251, 254;
his reasons for undertaking it, 253, ii. 30, 144;
cited for the division of Guelfs and Ghibellines, i. 81;
for the rise of the Condottiere system, 156;
his account of the Flagellants, 618;
his relation of the taxes raised in Florence to build the Cathedral,
iii. 64;
his story of the representation of Hell by burghers of the Borgo S.
Friano, 198, v. 114;
his description of Florentine festivals, iv. 50, 51;
Matteo, his description of the despots, i. 128;
continues his brother's Chronicle, 254;
cited for the assassination of Matteo Visconti, 137 _note_ 1;
for the cruelty of Bernabo Visconti, 139 _note_ 1;
his account of the 'Black Death,' 259, iv. 111, v. 191;
of the preaching of Fra Jacopo, i. 610;
of the foundation of the Florentine University, ii. 119
_Villotta_, a name in N.E. Italy for the _Rispetti_, iv. 264, 266
Vinci, Lionardo da, universality of his genius, 171, 326, ii. 10,
iii. 313, 314, 322, 327 _note_ 1, 382;
the only great Florentine artist not befriended with the Medici,
iii. 263;
one of the four great artists by whom the Renaissance was fully
expressed, 312;
his studies of beauty and ugliness, 316-318;
his interest in psychological problems, 318 (cp. 35), 323, 363;
his study of the technicalities of art, 320;
his love of strange things, 321;
hisstrong personality, 322 _note_ 3, 329;
his reluctance to finish, 323, 482;
greatness of his aims, 325;
his _S. John_, as illustrating the introduction of Pagan motives
into Christian art, 34, 137, 318;
indebted for the type of face preferred by him to Verocchio, 142, 316;
his models for an equestrian statue of Francesco Sforza, 144, 324, 325;
his _Leda and the Swan_, illustrating his treatment of the antique,
291, 318;
fate of his works, 325;
the cartoon for the Council Chamber at Florence, 325, 396;
the _Last Supper_, 323, 326;
Lionardo's visit to the Court of France, 445;
school formed by him at Milan, 482;
his Treatise on Physical Proportions, ii. 37;
his Poems, iii. 314;
translation of a sonnet, 314 _note_ 1
Vinciguerra, Antonio, his satirical poems, v. 381
Vindelino of Spires, joins his brother John as printer at Venice, ii. 369
Violi, Lorenzo, his notes of Savonarola's sermons, i. 511, 530 _note_ 1
Virago, used without reproach at the time of the Renaissance as a
term for accomplished ladies, v. 288
Virgil, read in the middle ages, i. 20;
honours paid to him at Mantua, 20, ii. 30, 63;
translation of a stanza from a hymn on Virgil used at Mantua, 63;
turned by popular belief into a magician, a Christian, a prophet
of Christ, 65, 143;
influence of the Eclogues in forming the ideal of a Golden Age
prevalent at the Renaissance, v. 195;
his tomb at Naples, i. 461, ii. 30, iv. 12, 88, 101
_Viridario_, the, an Academy at Bologna, ii. 366
_Virtu_, Machiavelli's use of the word, i. 171, 337 _note_ 1, 345,
482, 484, 493, ii. 35, v. 440;
illustrated by Benvenuto Cellini, iii. 439, 479;
by Aretino, iv. 497, v. 410, 416, 425
_Virtu, Le_, the Vitruvian Club at Rome, ii. 366, v. 227
Visconti, the, i. 81, 116;
quarrel of the Visconti with Florence, 81, 82;
how they acquired their power, 112;
their patronage of art, iii. 42
---- Azzo, i. 133, 134;
his impartiality, 83 _note_ 1;
Bernabo, 136, 139, 140, 141;
Carlo, one of the assassins of Galeazzo Maria Sforza, 165;
Filippo Maria, was afraid of thunder, 119, 152;
imprisons Giovanni Vignate in a wooden cage, 120;
seizes Pavia, 151;
has his wife beheaded, 152 _note_ 2;
his character, 153, ii. 265;
his conduct to Alfonso the Magnanimous, i. 568 _note_ 1;
his patronage of Filelfo, ii. 265, 277;
commissions Filelfo to write an Italian poem on S. John the
Baptist, 279, iv. 235;
Gabriello, i. 102, 151;
Galeazzo (1), 133;
Galeazzo (2), 134, 136-140;
Gian Galeazzo, 87, 98, 102, 113 _note_ 1, 138;
his marriage, 138;
succeeds, 140;
murders his uncle, 141;
his love of art, 141;
the grandeur of his schemes, 141;
his wealth, 143;
his character, 144;
his plots against the D'Este Family and the Gonzaghi, 146, 147;
transfers Asti to the House of Orleans, 143 _note_ 1, v. 333;
progress of his conquests, 149;
dies of the plague, 149, iv. 162;
his plan to make himself King of Italy, iv. 161;
his saying on the injury caused him by Salutato's literary
powers, ii. 104;
Giovanni, Archbishop of Milan, i. 135, 136;
Giovanni Maria, 151;
his cruelty and lust, 151, 478;
murdered, 152, 397 _note_ 2;
Lucchino, 134;
Matteo, 136;
Otho, Archbishop of Milan, causes the downfall of the Della Torre
family, 132;
Stefano, 136;
Valentina, her marriage to Louis d'Orleans, 143 _note_ 1, 154 _note_ 1;
Violante, her marriage to the Duke of Clarence, 137 _note_ 2
Viscounts, creation of the title, i. 53
Vistarini family, the, their murder by Fisiraga, i. 120;
massacre by Tremacoldo, 148 _note_ 1
Vitelleschi, Cardinal dei, his slaughter of the Trinci, i. 122;
attacked by Valla in the treatise on _Constantine's Donation_, ii. 260
Vitelli, the, of Citta di Castello, their rise to power, i. 114;
members of this family become Condottieri, 161
---- Vitelozzo, i. 351;
murdered by Cesare Borgia at Sinigaglia, 351, 352, 462
Viterbo, pageants at, in 1462, on the Corpus Christi festival, iv. 316
Vitoni, Ventura, his Church of the Umilta at Pistoja, iii. 83
Vitruvius, his influence on Italian architects, ii. 436, iii. 94 _note_ 1
Vivarini, the, the first masters of the Venetian School, iii. 361
Volaterranus, Jacobus, his character of Julius II., i. 389 _note_ 3
Volterra, Sack of, i. 176 _note_ 1
---- Duomo, the: its roof, iii. 79 _note_ 4;
Mino da Fiesole's Ciborium, 158 _note_ 1
Walter of Brienne. (_See_ Duke of Athens.)
Webster, the dramatist, quoted, i. 119 _note_ 2, ii. 35, iii. 155;
his 'White Devil of Italy,' i. 557, v. 69, 117, 288;
his treatment of Italian subjects, 68, 117
Wenceslaus, the Emperor, i. 148, 154
Werner of Urslingen, leader of Condottieri, i. 86, 158
William II., of Sicily, beginning of the Sicilian period of Italian
literature at his Court, iv. 21
Wippo, his panegyric to the Emperor Henry III., cited, iv. 4
Witchcraft, Bull of Innocent VIII. against, i. 402 _note_ 1, v. 347;
supposed prevalence of witchcraft in the Valtellina and Val
Camonica, in the sixteenth century, i. 402 _note_ 1, v. 316, 346
_notes_ 1 and 2, 347;
general belief in witchcraft at that period in Italy, 344;
character of the Italian witches, 345;
Teutonic character of witchcraft in the Lombard district, 347
Wolfhard, his Life of S. Walpurgis, cited for medieval contempt of
antiquity, ii. 60
Women, abuse of, common to the authors of the Renaissance, how
explained, iv. 212
Wool trade, the, of Florence, i. 257
Worcester, Earl of, Bruni's translation of Aristotle's _Politics_
originally dedicated to him, ii. 184
Xenophon, the influence of his _Oeconomicus_ on Italian writers, iv. 196
Zanchius, Basilius, his verses upon the death of Navagero, ii. 488
Zane, Paolo, his encouragement of learning at Venice, ii. 212;
sends Guarino to Constantinople, 299
Zeno, the Greek Emperor, i. 46
Zilioli, his account of Doni's life at Monselice, v. 91
_TRANSLATIONS IN VERSE BY AUTHOR._
Alamanni, Triumph of Death, iv. 395
Aretino, Epitaph on, v. 423
Aristotle, Lines on Virtue, iv. 62
Bembo, De Galeso, ii. 483;
a Sonnet, v. 262
Benivieni, Song of Divine Madness, i. 481, iv. 304;
Laud to Jesus, iv. 303;
Passage from an Elegy, 561
Bernard, S., Stanzas from the Passion Hymn, iii. 17
Berni, Sonnet on Clement VII., v. 368;
Confession of Faith from the _Rifacimento_ of _Orlando Innamorato_,
543-547
Boiardo, Sleeping Rinaldo, iv. 471;
Apostrophe of Orlando, 473;
on Friendship, 474;
Discourse of Orlando with Agricane, 475-477;
on Chivalrous Indifference to Wealth, 477;
Rinaldo at Merlin's Well, 482-484;
Tale of Narcissus, 485-487
Buonarroti, Madrigal on Florence, iii. 392;
Quatrain on _La Notte_, 394;
Twenty-three Sonnets, Appendix ii.;
Passage from an Elegy, iv. 561
Campanella, Three Sonnets, v. 481-483
_Canto Carnascialesco_, The Triumph of the Sieve, iv. 392
Della Casa, Six Sonnets, v. 279
Donati, Three Madrigals, iv. 531
Folengo, Two Stanzas from the _Orlandino_, v. 320 _note_ 2;
Berta's Prayer from ditto, 356;
Rainero's Discourse on Monks from ditto, 537-540;
Rainero's Confession of Faith from ditto, 541-543
Folgore da San Gemignano, Ten Sonnets, iv. 526-530
Guidiccioni, A Sonnet, v. 282
Ibycus, On Peace, iv. 52
Jacopone, Fra, _Presepio_, iv. 532-534;
_Corrotto_, 535-538;
Stanzas from the Hymn of Love, 539-542
Machiavelli, Epigram on Soderini, i. 297
Medici, Lorenzo de', Sonnet to Venus, iv. 373;
Sonnet to the Evening Star, 374;
Passages from _Le Selve_, 376-380;
Passage from _Corinto_, 377;
Song of Baccus and Ariadne, 390
Molza, Five Stanzas from the _Ninfa Tiberina_, v. 231-233
Poliziano, Pantheistic Hymn, ii. 24;
_Ballata_ of Roses, iv. 378;
Golden Age, 408;
Chorus of Maenads, 414;
Passages from the _Canzoni_ and _Giostra_, 420
Popular Songs, Four, iv. 264-266
Pulci, Character of Margutte, iv. 543, 549;
Discourses of Astarotte, 549-556;
Description of the Storm at Saragossa, 557;
Autobiographical Stanza, 558;
Death of Baldwin, 559
_Sacre Rappresentazioni_, _S. Uliva_: Dirge for Narcissus, iv. 328;
May Song 329;
_S. Maddalena_: Christ's Sermon, 333-336
Sannazzaro, Sonnet on Jealousy, v. 200;
Sestine from the _Arcadia_, 212
Sappho, On Fame, ii. 41
Vinci, Lionardo da, Sonnet, iii. 314
Virgil, Stanza from the Hymn on, ii. 63