translated, v.368;the sonnet on Alessandro de' Medici, the force of their satire weakened by Berni's servility to the Medici,369;excellence of Berni's personal caricatures,370;the sonnet on Aretino,371,389,390note1,406;the rustic plays,CatrinaandMogliazzo,224,311;therifacimentoof theOrlando Innamorato, iv.491, v.373;object of the undertaking, v.373;published in a mutilated form,374;the question who was guilty of the fraud,375;probability that Aretino, with the aid of Albicante, contrived the mutilation of the MS. or proof-sheets,375-378,419;Vergerio's statement that Berni had embraced Protestantism and wrote therifacimentowith the view of spreading Lutheran opinions,378-380;the suppressed stanzas, intended by Berni as the Induction to the twentieth Canto of theInnamorato,379(for a translation seeAppendix ii.543);likelihood that the ecclesiastical authorities may have employed Aretino,380Bernini, adds the Colonnades to S. Peter's, iii. 93Beroaldo, Filippo, edits Tacitus' Annals for the first edition, ii. 425;made Librarian of the Vatican, 425;professor in the Sapienza at Rome, 427;his version of thePrincipe di Salernoin Latin elegiacs, iv.250note2Bertini, Romolo, v.311Bertoldo, his work as a bronze founder in Italian churches, iii. 78note1Bertrand du Poiet, i.81Bescapé, Pietro, hisBible Historywritten for popular use in a North Italian dialect, iv.34Bessarion, Cardinal, a disciple of Gemistos Plethos, ii. 204, 247;joins the Latin Church, 204, 246;gives his library to Venice, 247;his controversy with Trapezuntios, 247Beyle, Henri, his critique on the frescoes in the Sistine Chapel, iii. 427Bianchi and Neri Factions, the, at Pistoja, i.210note2;at Florence,221,225Bianchino, Il Cieco, hisIncatenatura, iv.268Bibbiena, Cardinal, i.459;introduced in Castiglione's 'Cortegiano,'184,190;his kinship with Berni, v.357;his rise to greatness, ii. 403, v.145;his comedy,Calandra, v.111,123;largely indebted to theMenæchmi,145;its popularity,146;its literary style,146note1;representations of it at Urbino and Rome,146;comparison of his comedy with those of Aretino and Machiavelli,180Bibboni, Francesco, the murderer of Lorenzino de' Medici, i.480note3 (cp. v.517)Bigi, name of the Medicean faction at Florence, i.529Bini, Francesco, a member of theVignajuoliAcademy at Rome, v.357;the friend and correspondent of Berni,360;hisCapitoloon theMal Franzese,365Biondo, Flavio, ii. 430;patronized by Eugenius IV., ii. 220;his prodigious learning, 220, iii. 272;not duly appreciated by his contemporaries, ii. 221Bishoprics, the Italian bishoprics in Roman municipia, i.61Bishops, the, on the side of the people in their first struggles for independence, i.53,55-61;the cities claim the privilege of electing their own bishops,59Bissolo, Venetian painter, iii. 362Blastos, Nicolaos, a Greek printer at Venice, ii. 386Bloodmadness, i.109,Appendix No. i.Boccaccino da Cremona, theMadonna with S. Catherine, iii. 225Boccaccio, Giannandrea, cited for the popular detestation of the Spanish cardinals, i.410;for the temperance in eating of Alexander VI.,417Boccaccio, Giovanni, his services to the Renaissance, i.11, iv.142;learnt Greek late in life,20, ii. 91, iv.120note2;cited for the attachment of the Italians to their past history, ii. 30;influenced by Petrarch, 87, 89, iv.102;story of his visit to the tomb of Virgil at Naples, ii. 88, iv.101;his enthusiasm for Dante, ii. 89;the first Greek scholar in Europe, 91;translates Homer, 93;his industry as a scholar, 94, iv.101;sensuousness of his ideal, ii. 97, iv.100note,106,114,118, v.504,515;his visit to Monte Cassino, ii. 133;his relation to Robert of Anjou, 252, iv.120note1;his influence on Italian literature, iv.3,123, v.518;not of pure Italian blood, iv.98;the typical Italian of the middle class,99,104,113,114,164;his realism,99, v.515;his nickname of Giovanni della Tranquillità, iv.100note1;contemporary denunciations of the Decameron,100;shallowness of Boccaccio's philosophy,101,103;his frank recognition of genius,102;comparison of his character with that of Ariosto,506;his devotion to art,103;his genius representative of the Renaissance,110, v.2;his descriptions have the nature of painting, iv.116;shared the contempt of the learned for the lower classes,125,239;comparison of his prose with that of the othertrecentisti,132-135;influence of his style not paramount till the age of the Academies,135;considered by some Italian critics to have established a false standard of taste,136;the life of Dante, ii. 36;its want of real appreciation for Dante, iv.101;the Commentary upon Dante, ii. 89, 96, iv.163;theGenealogia Deorum, ii. 94;quoted for Boccaccio's teaching on poetry, 94;the Decameron: contrasted with theDivina Commedia, iv.104,127(cp.114, 122);description of the plague, forming the background of the Decameron,111;the satire of the Decameron,112;its irony,113;its beauty,114;its superiority to his other works,127;its testimony to the corruption of Rome, i.457;said by Sacchetti to have been translated into English, iv.148note4;comparison between Boccaccio, Masuccio, and Sacchetti,179;his Minor Poems,118;show the feeling of despair common to the lasttrecentisti,165;the two sonnets on Dante,162;theBallata, Il fior che 'l valor perde,262;theAmorosa Visione,114,119,123;theAmeto,123;theFiammetta,123;the first attempt in modern literature to portray subjective emotion outside the writer,123;theCorbaccio,124;occasion of its being written,124(cp.98);theFilicopo, quoted,115;its euphuism,120;the song of the angel,118;the meeting with Fiammetta quoted as a specimen of Boccaccio's style,133;theFilostrato, Boccaccio's finest narrative in verse,121;theTeseide,117,429;numerous imitations and adaptations of it by other poets,117;its value in fixing the form of theottava rima,118;theNinfale Fiesolano,125,410;its place in Italian literature,126Boccati, Giovanni, picture of his at Perugia, representingDisciplinatiin presence of the Virgin, iv.203note1Boethius, cult of him at Pavia, i.20, ii. 30Boiardo, Matteo Maria, the facts of his life, iv.457;contrast between him and Pulci,456, v.8;contrast of Boiardo and Ariosto, iv.463, v.8;neglect of Boiardo, iv.459,464,491;theSonetti e Canzoni,458;theOrlando Innamorato: gave Ariosto his theme (cp. i.171);its originality in introducing the element of love into the Roland Legends, iv.461;earnestness of the poem,462;its relation to the period of its composition,462;broken off by the invasion of Charles VIII.463, v.282note3;structure of theInnamorato,464-466;the presentation of personages,466-470,478;the women of theInnamorato,470-472;translation of the episode of Fiordelisa and the sleeping Rinaldo,471;Boiardo's conception of love,472;of friendship and comradeship,472-474(translation of Orlando's lament for Rinaldo, 473);of courage and courtesy as forming the ideal of chivalry,474-477;the panegyric of friendship translated,474;translation of the conversation of Orlando and Agricane,475;freshness of Boiardo's art,478,484;passage on chivalrous indifference to wealth translated,477;rapidity of the narration,479;roughness of the versification and style,480;advance of Ariosto upon Boiardo in this respect, v.43;his treatment of the antique, iv.480-488;translation of the episode of Rinaldo at Merlin's Fount,482-484;of that of Narcissus,485-487;Boiardo's use of magic,488;of allegory,489;his freedom from superstition,489;theTimone, v.108Bologna, annexed to the Milanese, i.136,148;the riot of 1321,210note2;revival in 1457,617;joins the Lombard League, ii. 116;character of Bologna, as partly determined by local position, iv.46—— S. Dominic: the shrine, designed by Niccola Pisano,109;Michelangelo's work on it,131,389;S. Petronio, iii. 68note1—— University, the, its rise, i.62, ii. 115;its attempted suppression by Frederick II., 116;number of its students, 116, 119;attendance of foreigners there, 119;liberality of the town government to the University, 120;its reputation in the Middle Ages, iv.7;pay of professors there, ii. 122, v.460;long continuance of scholasticism at Bologna, v.457,481;different character of Bologna and Padua,460,497;part played by Bologna in the history of Italian thought,481—— Bolognese school of Painters, the, their partiality to brutal motives, iii. 25, 187—— Bolognese school of poetry, iv.46-49Bologna, Gian, his eminence as neo-pagan sculptor, iii. 176Bombasi Paolo, murdered during the sack of Rome, ii. 444Bona of Savoy, married to Galeazzo Maria Sforza, i.164,543Bonaccorso da Montemagno, poems of, iv.165Bonaventura, S., cited for early representations of the Nativity at Christmas, iv.308Bondini, Alessandro, a member of the Aldine Academy, ii. 386Bonfadio, Latin verse writer, ii. 507Boniface VIII., calls in Charles of Valoise, i.76;his death,77,374;his witticism on the Florentines,247, iv.31;establishes the high school at Rome, ii. 117;saying of Jacopone da Todi's about him, iv.289Boniface IX., appoints Poggio Apostolic Secretary, ii. 218Bonifacia, Carmosina, her relations to Sannazzaro, v.199;description of her in theArcadia,207-209Bonifazio Veneziano, iii. 242note2, 368, 371Bonvesin da Riva, his works written for popular use in a North Italian dialect, iv.34Book, the Golden, at Venice, i.91,195Books, scarcity of, an impediment to medieval culture, ii. 127;their enormous value, 128;price of the books issued by Aldo Manuzio, 381Bordone, Paris, iii. 371Borghese, Nicolà, assassination of, i.121Borgia, Alfonso (seeCalixtus III.);Cesare, i.98;his visit to the French Court,117;his murder of Giulio Varani,121,122;besieges Bologna,124;Guicciardini's character of him,308;Machiavelli's admiration of him,324-326,345-354;the story of his life,345-354;his contest with the Orsini,349-352;his massacre of the Orsini faction at Sinigaglia,324,347,352, iv.443;his systematic murders of the heirs of ruling families, i.353,427;made Cardinal,419;helps in the murder of Prince Alfonso,420;his murder of his brother, the Duke of Gandia,424;his murder of Perotto,426;his cruelty,426;his sickness—was it occasioned by poison?429-431;breakdown of his plans,431;taken as a hostage by Charles VIII.,566;escapes,577;prided himself on his strength, ii. 29;John, son of Alexander VI., i.419;Lucrezia, her marriage,419;the festivities on the occasion, v.141;her life at Ferrara, i.420-424, ii. 42;her real character, i.420;her friendship with Bembo, i.422, ii. 403, 411, v.263;relics of her in the Ambrosian Library, ii. 411;much of the common legend about her due to Sannazzaro's Epigrams, 469;Roderigo Lenzuoli (seeAlexander VI.)Borgo San Sepolcro, Piero della Francesca'sResurrection, iii. 234;Signorelli'sCrucifixion, 280note1Boscoli, Paolo, his conspiracy against the Medici, i.314;his confession,466(cp. v.519)Boson da Gubbio, his commentary upon the Divine Comedy, iv.163Botticelli, Sandro, modern hero-worship of him, iii. 249;his attractiveness, arising from the intermixture of ancient and modern sentiment in his work, 250, 291;the qualities of various paintings of his, 251-254;represents the same stage of culture in painting as Poliziano and Boiardo in literature, 255;abandons his art from religious motives, 264, 310;influenced by Dante, 283note2;incurs a charge of heterodoxy by aMadonna in Glorypainted for Palmieri, iv.171, v.549Bourbon, the Constable, killed at the capture of Rome, i.444, iii. 455Bracceschi, the (Condottieri bands formed by Braccio da Montone), i.160,362Braccio da Montone, i.86,362;his aspirations to the throne of Italy,113note1;aids Corrado Trinci against Pietro Rasiglia,122;his government of Perugia,123, v.498;the comrade and opponent of Sforza,159,160Bramante, ii. 5;his work as an architect, ii. 440, iii. 81, v.505;his share in S. Peter's, iii. 90, 398;Michelangelo's panegyric of his plan, 92, 428;said to have suggested the employment of Michelangelo on the Sistine Chapel, 403Brancaleone, Roman senator (1258), ii. 151Brantôme, describes Cesare Borgia's visit to the French Court, i.117note1Bregni, the, at Venice, iii. 162Brescia, Savonarola at, i.508;Sack of,508, ii. 380, iii. 328Brevio, Monsignor Giovanni, hisNovelle, v.60;the story of the Devil and his wife, compared with Machiavelli's and Straparola's versions,103Briçonnet, Bishop of St. Malo, made Cardinal by Alexander VI., i.532note1,566;his influence with Charles VIII.,541Britti (calledIl Cieco), hisIncatenatura, iv.268note3Broccardo, Antonio, introduced in Sperone's Dialogues, v.256note1;his quarrel with Bembo,256note1,377;his death said to have been hastened by the calumnies of Aretino,377note2,381note1Broncone, Il, name of a club at Florence formed by Lorenzo, Duke of Urbino, iv.397Bronzino, Angelo, his portraits, iii. 498 (cp. v.82);coldness of his frescoes and allegories, iii. 498;character of his talent, iv.380;mentioned by Doni as scene-painter at a representation of comedy in Florence, v.144note4;hisSerenata, iv.268;hisCapitoli, v.364(cp. iii. 499)Brugiantino, V., turned the Decameron into octave stanzas, iv.249note1Brunelleschi, Filippo, individuality of his character, ii. 5;his many-sided genius, 10;a friend of Niccolò de' Niccoli's, 180;his work as an architect, 440, v.505;builds the dome of the Cathedral of Florence, iii. 67, 73 (cp. i.562);his visit to Rome,68;his churches of S. Lorenzo and S. Spirito at Florence,73(cp.263);designs the Pitti Palace,73;his plans for the Casa Medici rejected,76;his designs in competition for the Baptistery Gates at Florence,127;resigns in favour of Ghiberti,128;faults of his model,128;his study of perspective,225;his criticism of Donatello'sChrist,233;jest played by him on the cabinet-maker as related in the novel ofIl Grasso, iv.150(cp.253);hisingegnifor the Florentine festivals,319Bruni, Lionardo, his History of Florence, i.274, ii. 182;its style and value, i.274;account of him by Vespasiano,275;cited to show the unreasoning admiration of antiquity by the Italian scholars, ii. 31;a scholar of Giovanni da Ravenna, 100;patronised by Salutato, 106, 183;learns Greek from Chrysoloras, 110-112, 183;his letter to Poggio upon receiving a copy of Quintilian, 137;discovers a MS. of Cicero's Letters, 140;his testimony to Niccolò de' Niccoli's judgment of style, 179;story of his rise to fame, 182;his translations from the Classics and other works, 184;his Italian Lives of Petrarch and Dante, 185, iv.235;receives the honour of a public funeral, ii. 185;made Apostolic Secretary, 218;his quarrel with Niccoli, 243;his Latin play,Polissena, v.110Bruno, Giordano, ii. 394, v.449;his execution, v.478;his place in the history of thought,484,500,518Brusati Family, the, at Brescia, i.145Budæus, ii. 391Buonacolsi, Passerino, murdered by Luigi Gonzaga, i.145note1Buonarroti, Lodovico (father of Michelangelo), iii. 385, 387Buonarroti, Michelangelo, his boyhood, iii. 385;studies under Ghirlandajo, 386, 404;Michelangelo and Torrigiano, 386note2, 445;effect produced by Savonarola upon him, 491, 509, iii. 311, 344, 382, 388, 435;one of the circle gathered round Lorenzo de' Medici, ii. 322, 323, iii. 263, 387, 388, 435;his political attitude to the Medici, iii. 392-394;fortifies Samminiato in the Siege of Florence, 393 (cp. i.318),414;invited to Rome by Julius II.,397;suggests carving the headland of Sarzana into a statue,401;leaves Rome in disgust at Julius's treatment of him,401;reconciled to him at Bologna,402(cp.397);his relations to Aretino,426, v.408;the last years of his life,421,429,432(cp. v.519);his purity, iii. 432;his friendship with Vittoria Colonna, 429, 433, v.294,296;his friendship with Tommaso Cavalieri,429,434;his death,435;his greatness in maintaining the dignity of art amidst the general decline of Italy,171,343,384(cp. v.5);the sublimity of his genius, v.116;his genius never immature, iii. 387;its many-sidedness, ii. 10;the controversy between his admirers and detractors, iii. 343note1, 419, 424note1, 435, 494;mistake of his successors in imitating his mannerisms and extravagances, iii. 493;number of his unfinished works, 420;their want of finish not intentional, 420;comparison between Michelangelo, Dante, and Machiavelli, i.318, iii. 395;between Michelangelo and Beethoven, iii. 386, 410, 413, 418, 432;between Michelangelo and Milton, 388;his peculiarity as an architect, 86, 87;the Sagrestia Nuova, S. Lorenzo, 86;the Laurentian Library, 87, 393;the dome of S. Peter's, 88, 398, 428;his judgment of Bramante's design for S. Peter's, 92, 428;his own plans, 92;his four years' work on the façade of S. Lorenzo, 413;his aim in architecture, v.505;his tombs of the Medici, i.314,319, iii. 354, 377note2, 393, 415-419, 420;his statues at Florence, ii. 440, iii. 391, 395note2;his work on the shrine of S. Dominic, Bologna, 131, 389;hisPietàin S. Peter's, 389;his scheme for the Mausoleum of Julius II., 398-400;Michelangelo not responsible for the decadence of Italian sculpture, 173;the (destroyed) statue of Julius II. at Bologna, 402 (cp. 397);the frescoes of the Sistine Chapel, 344, 399, 407-410;their bad condition, 426note2;the true story of Michelangelo's work on them, 404-407;difference between his creations and those of a Greek, 410-412;his treatment of the story of the creation of Eve, 118note2, 130, 131;theLast Judgment, 346, 422;its merits and defects, 423-425;contemporary disapproval on account of the nudity of the figures, 425;Michelangelo's criticisms of Perugino and Francia, 268note1, 386note2;his indebtedness to Signorelli, 279;influenced by Dante, 283note2;hisLeda and the Swan, illustrating his treatment of the antique, 291;his account of Signorelli's bad treatment of him, 293note1;one of the four great painters by whom the Renaissance was fully expressed, 312, 346;his reproach of Lionardo da Vinci's dislike of finishing, 323, 386note2;contrast of his genius and life with those of the other great painters, 342;the cartoon forThe Battle of Pisa, 395;contrast between Michelangelo and Raphael, 412;his genius not that of a painter, 412note1;his sonnet to Giovanni da Pistoja, quoted, 404note1;one of his sonnets to Vittoria Colonna, quoted, 409;the madrigal on Florence, translated, 392;lines placed by Michelangelo in the mouth of hisNight, translated, iii. 394;the Elegy on his father's death, iv.321note1, v.295;