the origin of his love for Alessandra Benucci,520;Giuliano de' Medici to his widow,520;theCapitoli,509note1,519, v.5;theCinque Canti, iv.501,502;passage on the Italian tyrants quoted, i.130, iv.506note2;the Madrigals and Sonnets, iv.522;the Elegies,519,521;his Latin poems, ii. 497, iv.494,497note1,506note1,522, v.38;his translations from Latin comedies, v.140;the Comedies,40note5,111,122,123,146note1;theNegromantecited in illustration of the character of Italian witches,346note1;plots of the comedies,148,153note1;their satire,150;the Prologues,147note1,150;theScolastica, 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;theOrlando 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 theOrlando,497,503, v.42;theOrlandothe final expression of theCinque 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 theOrlando,6,8,14,515;its subject as illustrating the age,7;Ariosto's treatment of romance,9,15;material of theOrlando,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 theOrlando,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 similes46-49;the lines on the contemporary poets quoted—— upon Bembo,258note1;—— upon Aretino,385note1Ariosto, Virginio, illegitimate son of the poet, iv.502;his Recollections of his father,502,504Aristotle, influence of the Politics at the Renaissance, i.197note1,250note1;cited,234note1,235note1;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 thePoeticsby the Italian playwrights, v.127,132note1,135;outlines of the Aristotelian system,462-466;problems for speculation successively suggested by Aristotelian studies,466-470Arnold of Brescia, i.64, iv.12Arnolfo 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, 62note1;begins the Duomo, 64;his intentions, 66Arpino, traditional reverence for Cicero there, ii. 30, iv.12Arrabbiati, name of the extreme Medicean party at Florence, i.529Arthur 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.52Arti, the, in Italian cities, i.35,72;at Florence,224Arts, 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, 6note1;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.346note1;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, 185note1;fluctuations in the estimation of artists, illustrated by Botticelli, 249note1;works of art may be judged either by æsthetic quality or as expressing ideas, 343note1;commercial spirit in which art was pursued in Italy, 442note1Ascanio de' Mori, hisNovelle, v.60Ascham, Roger, quoted for the English opinion on Italy, i.472Asolanus, father-in-law and partner of Aldo Manuzio, ii. 388Assisi, 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, 217Assorditi, the, an Academy at Urbino, ii. 366Asti, transferred to the house of Orleans by Gian Galeazzo Visconti, i.143note2, v.333;its half French character, v.333Astrology, influence of, in Italy, i.428note1, iii. 77note1Athens, comparison of Athens and Florence, i.234,236, ii. 163, 165Athens, Duke of, i.75note1,221, iii. 309Attendolo, Sforza (father of Francesco Sforza), i.86;said to have been a peasant,159;his murder of Terzi,121note1;his desertion of Queen Joan of Naples,361Aurispa, 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, 301Avanzi, Girolamo, a member of the Aldine Academy, ii. 387Averrhoes, the arch-heresiarch of medieval imagination, iii. 206-209 (cp. iv.447), v.449;his teaching on immortality, v.469Averrhoists, Petrarch's dislike of them, ii. 101, iii. 209;Pomponazzi and the Averrhoists, v.462Avignon, transference of the Papal Court there, i.77,80,101,374, iv.2,87Avvelenato, L', name of an Italian ballad, iv.275;its correspondence with Northern ballads,275-278, v.119note1BACCIO DELLA PORTA. (SeeBartolommeo, Fra.)Bacon, Roger, his anticipation of modern science, i.9;imprisoned by the Franciscans,10;knew the use of the telescope,29Baden (Switzerland), Poggio's visit to, ii. 231Baglioni, 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,397note2—— Astorre, his comeliness of person, ii. 31;Gian Paolo, i.421note1;Machiavelli condemns him for not murdering Julius II.,324,463;beheaded by Leo X.,439;Grifonetto,168note1, iii. 221, v.118;Malatesta, betrays Florence, i.223,245,285;Pandolfo, murder of,148note2Bajazet, Sultan, his relations with Alexander VI., i.415Baldi, Bernardino, his pastoral poems, v.224Balduccio, Giovanni, invited to Milan by Azzo Visconti, iii. 123;carves the shrine of S. Peter Martyr in S. Eutorgio, 123Baldus, dies of hunger in the sack of Rome, ii. 444Balia, the, at Florence, i.230,526Ballad poetry, general absence of ballads in Italian, iv.37(cp.251),274, v.119;the ballad ofL'Avvelenato, iv.275-278;connection of ballad poetry and the Drama, v.120Ballata, orCanzone a Ballo, meaning of the term in Italian, iv.261note2;popularity of theballatein Italy,261-263Bambagiuoli, poems of, iv.164Bandello, Matteo, belonged to the Dominican order, i.459v.64;facts of his life, v.63;hisNovellecited for the profligacy of Rome and the scandals of the Church, i.446note1,458, 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,346note1;their dedications,62;want of tragic and dramatic power in theNovelle,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 theTwelfth Night,72;tale of Edward III. and Alice of Salisbury,73-75;comparison of Bandello with Beaumont and Fletcher,74,75note1;Bandello's apology for the licentiousness of theNovelle,76;for their literary style,77Bandinelli, Baccio, feebleness of his statues, iii. 173;legend that he destroyed Michelangelo's cartoon for theBattle of Pisa, 396note1;his quarrel with Cellini, 477 (cp. 173)Bandini assassinates Giuliano de' Medici, i.398Barbaro, Daniello, a letter of his to Aretino quoted for contemporary opinion of theDialogo de le Corti, v.427note2Barbaro, 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, 212Barbavara, Francesco, i.150Barbiano, Alberico da, leader of Condottieri, i.150,159Barbieri, Gian Maria, sides with Castelvetro in his quarrel with Caro, v.286Bardi, the, at Florence, i.238;their loan to Edward III.,257;their bankruptcy,258Bargagli, Scipione, hisNovelle, v.60;the description of the Siege of Siena in the Introduction,98(cp.522)Barlam, teaches Leontius Pilatus Greek, ii. 90Baroccio, Federigo, his relation to Correggio, iii. 495Baroncelli, the Roman conspirator, i.376Bartolommeo, Fra, his portraits of Savonarola, i.508, iii. 309note2;story of hisSebastianin 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 unfinishedMadonna with the Patron Saints of Florence, 308;influence of Savonarola upon him, 309Bartolommeo da Montepulciano, discovers the MSS. of Vegetius and Pompeius Festus, ii. 140Basaiti, Marco, iii. 362Basle, Council, question of precedence at, ii. 216Bassani, the, Venetian painters, iii. 371Basso, Girolamo, nephew of Sixtus IV., i.389Bati, Luca, composes the music for Cecchi'sElevation of the Cross, iv.326Battuti, the Italian name for the Flagellants, iv.281,282,283Bazzi. (SeeSodoma.)Beatrice di Tenda, i.152Beaufort, Cardinal, invites Poggio to England, ii. 231note3Beaumont and Fletcher, comparison of, with Bandello, v.74,75note1Beauty, 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.46Beccadelli, Antonio, tutor of Ferdinand I., i.174, ii. 257;in attendance on Alphonso I., 252;the author of theHermaphroditus, 254 (cp. i.174note1),452;favourable reception of his work,255;crowned poet by the Emperor Sigismund,255;hisHermaphroditusdenounced by the Church,256;honours paid to him,256(cp.524);introduces Pontanus at the Court of Naples,363Beccafumi, Domenico, the scholar of Sodoma, iii. 501Beccaria Family, the, of Pavia, i.145Begarelli, Antonio, Modanese artist in terra-cotta, iii. 164note1Belcari, Feo, his Alphabet, iv.240;hisVita del Beato Colombino,240;hisSacre Rappresentazioni,320,340;Benivieni's Elegy on his death,321Belgioioso, Count of, Lodovico Sforza's ambassador to Charles VIII., i.541Bellincini, Aurelio, communicates Castelvetro's criticisms to Caro, and so causes the quarrel between them, v.285Bellini, 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, 362Bello, Francesco (calledIl Cieco), language of hisMambrianorespecting the Chronicle of Turpin, iv.439note1;character of Astolfo in it,470note1;use of episodicalnovellein it,490note2;classed by Folengo with Boiardo, Pulci, and Ariosto, v.316Beltraffio, Giovanni Antonio, the scholar of Lionardo da Vinci, iii. 484Bembo, Bernardo, builds the tomb of Dante at Ravenna, ii. 410Bembo, Pietro, introduced in Castiglione's 'Cortegiano,' i.184, ii. 411, v.260,265;his moral quality, i.459note2, v.261;his account of De Comines' behaviour before the Venetian Signory, i.578note1;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'sLaocoon, 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;theDe Galesotranslated, 483;the Elegy on Poliziano, 357, 484, v.258;translated (in prose), ii. 484;his cultivation of Italian, 414, v.258;theGli Asolani, ii. 411, v.259,265;the Defence of the Vulgar Tongue, v.259note1,260;theRegole 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.285,287Benedict XI., surmise of his death by poison, i.374, iii. 115;his monument by Giovanni Pisano, iii. 115Benedictines, their treatment of the classical literature, i.10, ii. 133;their hatred of the Franciscans, v.325Benevento, a Lombard duchy, i.48;its fate,note1,50;battle of, iv.21,27,48Benignius, Cornelius, his edition of Pindar, the first Greek book printed in Rome, i.405note1Benivieni, i. Girolamo, his elegies in the metre of the Divine Comedy, iv.172;his poetical version of the novelTancredi,250;his hymns, v.519;two translated, iv.303;his Elegy on Feo Belcari,321(seeAppendix vi.for translation);his Pastoral Poems, v.224Bentivogli, 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,'351Bentivogli, Annibale de', v.140;Cardinal de', his portrait by Vandyck, ii. 27;Francesca, murders her husband, Galeotto Manfredi, i.428note1Bentivoglio, Ercole, his Satiric Poems, v.381Benucci, Alessandra, the wife of Ariosto, iv.502,520,521,522, v.38Benvenuto da Imola, his account of Boccaccio's visit to Monte Cassino, ii. 133Benzoni Family, the, at Crema, i.150Berardo, Girolamo, his versions of theCasinaand theMostellaria, v.140Berengar, the last Italian king, i.51-53Bergamo, story of Calabrians murdered there, i.74—— S. Maria Maggiore, the Capella Colleoni, iii. 165Bernard, S., the type of medieval contempt for natural beauty, i.13;hisHymn to Christ on the Cross, iii. 17;two stanzas translated,note1Bernard de Ventadour, iv.60Bernardino S. (of Siena), his preaching, i.611-613, iv.175;his attacks on Beccadelli'sHermaphroditus, ii. 256note1 (cp. 516);his canonisation, i.461, iv.315Berni, 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 theVignajuoliAcademy 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.170note1);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;theCapitoli, (1) poetical epistles,363;(2) occasional poems,364;(3) poems on burlesque subjects,364;degree in which Berni is responsible for the profligacy of theCapitoli,366;manner in which he treated his themes,366;theCapitoliwritten interza rima,366(cp. iv.172);theCapitoloon Adrian VI.'s election to the Papacy, v.368,369(cp. i.443);the sonnet on Pope Clement, v.368(cp. i.443);