Clement II., i.59Clement V., founds the High School at Perugia, ii. 117Clement VI., i.135;gives charters to the Universities of Pisa and Florence, ii. 118Clement VII., commissions Machiavelli to write theHistory of Florence, i.327;the conspiracy against him,314, ii. 366, v.239;his patronage of scholars, ii. 404;advances Giovio, Vida, and Giberti in the Church, 402-417;sends Castiglione to Madrid, 421;his election to the papacy, i.443;his conduct during the Sack of Rome,444;employs the troops which had sacked Rome against Florence,283,446;puts Guicciardini in command of Florence after the siege,298;makes Guicciardini Lieutenant-General of the Papal army,297;his management of Florence in the Medicean interest,222,277,285;said by Pitti to have wished to give Florence a liberal government,288note1;Macaulay's account of him erroneous,320;correctness of the character of him given by Berni's Sonnet,443note1, v.368;Aretino's attacks on him, v.391,392,402note1;absolves Cellini for stealing gold given him to melt down, iii. 465Cléomadés (an old French romance), quoted to illustrate the gaiety of medieval Florence, iv.50Cocaius, Merlinus. (SeeFolengo.)Coccio, Marco Antonio (Sabellicus), a member of the Roman Academy, ii. 361;of the Aldine Academy, 387;his account of the representations of Plautus and Terence by the Roman Academy, v.138note3Coliseum Passion, the, question of the date of its first representation, iv.310;suppressed by Paul III.,310note1Colle, paper factory of, ii. 371Collenuccio, Pandolfo, his version of theAmphitryon, v.140Colleoni Family, the, at Bergamo, i.150Colleoni, Bartolommeo, i.170note1;his statue at Venice, ii. 39, iii. 143;description of him by Spino, iii. 144;monument erected by him to his daughter Medea, 165;his daughter Cassandra married to Nicolò da Correggio, v.139note3Colocci, Angelo, secretary of Leo X., ii. 409;his losses in the Sack of Rome, 444Colonna, the house of:contest of the Colonnesi with Cesare Borgia, i.349;their rise to power,375;destroyed by Alexander VI.,413;friendly to the French,551—— Giovanni, the friend of Petrarch, ii. 149;Fabrizio, the father of Vittoria Colonna, v.289;Sciarra, i.77;Stefano, disloyal to Florence,284;Vittoria, her married life, v.289;her virtues and genius,292,293;the society gathered round her,292;her leaning to the Reformation,292note1;Flaminio's Elegy on her death, ii. 503;her friendship with Michelangelo, iii. 429, 433, v.294,296;her correspondence with Aretino, v.407,408,416;theRime,294;(1) the sonnets on the death of her husband;genuineness of their feeling,294;(2) the sonnets on religious subjects,295Colonna, Egidio, hisDe Regimine Principumtranslated into Italian, iv.35,130Colonna, Francesco, author of theHypnerotomachia, iv.219;Maccaronic dialect (lingua pedantesca) of the work,219,238, v.328;its illustrations erroneously ascribed to Raphael, iv.221note1;its historical value,221,225,227,229-232;analysed,222-225;its basis of reality,227-229;its imaginativeness,232Columbus discovers America, i.15,29,411;question of his indebtedness for the discovery to classical writers, ii. 19Comet, a comet supposed by Gian Galeazzo to foreshow his death, i.149Comines, Philip de, his descriptions of Siena and Venice, i.207note2,214note1;praises Venice for piety,475note1;on the humanity of the Italian peasants,478note2;his character of Charles VIII.,541;quoted for the popular belief that Charles' invasion was guided by Providence,553note1;for the expense of the invasion,553note2;for Charles' want of money,563note1;on the avarice of Ferdinand of Aragon,571note2;his character of Ferdinand and Alfonso II.,572;his account of the communication of the news of the Venetian League,578;his witness to the brutality and avarice of the French in the invasion,583note2Commedia dell'Anima(old Italian religious drama), iv.75Commissaries, i.35Communes, the Italian, their rise, i.33,53-82;the differences between them,35,36, iii. 43;their quarrels, i.36-38,62,66;why the historian cannot confine his attention to the communes,51;their willingness to submit to the authority of the Emperor,64,97;why they did not advance to federal unity,95-98;their public spirit, iii. 42;the real life of the Italian nation, iv.27,459, v.493Como, traditional reverence for the Plinies there, ii. 30, iv.12—— the Cathedral, Luini's paintings, iii. 487note3Compagnacci, the young aristocratic opponents of Savonarola, so called, i.531,533, iii. 307Comparini, Paoli, representation of theManæchmiby his pupils, v.138Conceptualists, the, v.466,467Condivi, his Biography of Michelangelo, ii. 36, iii. 399, 402note1, 406Condottieri, the, i.86,87,113,131,143;their origin,156-158;members of noble Italian houses become Condottieri,158,160, iv.459;their mode of campaigning,159,160note1;the Condottieri system took its rise from the mercantile character of the Italian states,244;Machiavelli traces the ruin of Italy to the Condottieri,160note2,312,361, v.436Confusi, the, an Academy at Bologna, ii. 366Conrad II., i.58Conservatori, name of magistrates in some Italian cities, i.35Consigliodel Comune, in Italian cities, i.35,71;di Dieci,35;della Parte,71;del Popolo,35,71;de' Savi,35;di Tre,35Constance, Council of, ii. 134;Jerome of Prague before the Council, 231, 535;Peace of, 64, iv.6;not signed by Venice,214Constantinople, Fall of, i.89, ii. 285, iv.2Constitution, the, of Genoa, i.201;of Florence,201,222(see alsoAppendix ii.);of Siena,207;of Venice,214Constitution-making, in the Italian Republics, i.201Consuls, magistrates of Italian Communes, i.35,56,83;their part in Italian history,61,62,68Contado, the, i.66,67;original meaning of the word,55note1Contarini, Cardinal,his friendship with Flaminio, ii. 498, 502;—— with Vittoria Colonna, v.292;his work upon the Commonwealth of Venice, ii. 502;his Venetian origin, illustrating the loss of intellectual supremacy of Florence, 506;his Formulary of Faith, v.286;Marcantonio Flavio, takes part in the controversy raised by the publication of Pomponazzi'sDe Immortalitate Animæ,460Conte Lando, the, leader of Condottieri, i.86Conversation, the art of, invented by the Italians, ii. 34Copernicus, discoveries of, i.15,29;their importance,15,16;question of his indebtedness to the classical writers, ii. 19Coppola, Francesco, execution of, by Ferdinand of Aragon, i.571note3Copyists, their inaccuracy, ii. 129;their pay, 130;their opposition to the new art of printing, 370Cordegliaghi, Venetian painter, iii. 362Corio, quoted, i.135,137note1,137note2,138note1,141note2,150note1,152note1,160note1,167note1;his witness to the corruption of the Milanese Court,326,548note1,554, v.191;his character of Paul II.,385note1;his description of the reception of Leonora of Aragon by Cardinal Pietro Riario,390;cited for the death of the Cardinal,392notes1and2,393;for the history of Alfonso the Magnanimous,568note1;his account of the Flagellants,619;his value as an historian, iv.177Cornaro, Cardinal, abandons Cellini to the Pope in exchange for a bishopric, iii. 466;Caterina, Queen of Cyprus, i.233;Lodovico, Autobiography of, ii. 36Cornazano, Antonio, hisProverbi, v.60,101Corneto, Cardinal, his connection with the death of Alexander VI., i.429-431Corniole, Giovanni della, his portrait of Savonarola, i.509Corrado, Gregorio, his Latin Play,Progne, v.110Correggi, the, at Parma, v.139note3;how they rose to power, i.112;overthrown by the Visconti,145;reappear after the death of Gian Galleazzo,150—— Ghiberto da, (1) the pupil of Vittoria da Feltre, i.177;(2) the husband of Veronica Gambara, v.289Correggio, Antonio Allegri, sensuousness of his work, iii. 25, 495;his introduction of Pagan motives into Christian art, 137;founded no school of local artists, 184;hisDanaëandIo, illustrating his treatment of mythology, 291;one of the four great painters by whom the Renaissance was fully expressed, 312, 339;manner in which his genius differed from that of Michelangelo, Raphael, or Lionardo da Vinci, 339;beauty and joyousness of his works, 340;the imitations of his style in the period ofbaroccoarchitecture, 495Corrotto, meaning of the term, iv.294note1,309,538Corso, Rinaldo, his account of the society around Veronica Gambara, v.289Cortese, Ersilia, v.288Cortesi, Paolo, hisHyppolyti et Deyaniræ Historia, iv.213Cortesia, meaning of the word in Italian, v.13Cortona, Signorelli'sLast Supper, iii. 289Coryat, cited for the profligacy of Venice, i.475Corycius. (SeeGoritz.)Cosimo I. (SeeMedici, Cosimo de', first Grand Duke.)Council, the Grand, of Venice, i.215-217—— of Ten, the, at Venice,215note1;its powers,218;comparison of, with the Spartan Ephorate,234Counts, the, opposed to the Communes, i.55,66,67Crasso, Leonardo, defrayed the cost of printing theHypnerotomachia, iv.221Credenza, name for the Privy Council in Italian cities, i.35,57,71Credi, Lorenzo di, the pupil of Verrocchio, iii. 142;influence of Savonarola upon him, 310Crema, the Duomo, i.74, iii. 53Cremona, Gabbriello da, a pupil of Vittorino da Feltre's, i.177Cremonini, Cesare, epitaph on himself said to have been composed by him, v.480;said to be the author of the saying,Foris ut moris, intus ut libet,480Cretans, number of Cretans who aided Aldo Manuzio, ii. 378, 386Cristina of Lorraine, her marriage to Ferrando de' Medici, iv.325Criticism: criticism in the modern sense unknown to the ancients, i.24, ii. 59note1;created by the Renaissance, ii. 67;uncritical character of the first scholars, 296, 327, 337, 382Crivelli, Crivello, iii. 362Cronaca, Il, architect, iii. 76Crusades, the, i.7;joined in by the Italians mainly from commercial motives, iv.426(cp. v.505)Culture, the culture of modern Europe due to the Italians of the Renaissance, ii. 9, 408, 506, 524, v.491,505;intricacy of the history of culture in Italy, ii. 158-140;growth of, at the Roman Court, 406D'ALBORNOZ, Egidio, i.81Dalla Viuola, his musical compositions for the theatre, v.143Damasus II., i.59Damiano, Fra, da Bergamo, his tarsia work at Perugia, iii. 78note2Daniel da Volterra, employed to paint clothes on the nude figures in Michelangelo'sLast Judgment, iii. 426;influenced by Michelangelo, 493Dante, the facts of his life, iv.70-73;refused the poet's crown unless he could receive it in Florence,86,88;his devotion to the Imperial idea, i.76,77note1, iv.161;veneration of the Ghibelline poets for Dante, iv.162;his firmness in exile contrasted with Machiavelli's servility, i.318, iii. 395 (cp. iv.86);his denunciations of the Papacy, i.457;his idea of nobility,186note1;Dante and Petrarch compared, ii. 70, iv.85-89,90;Dante depreciated by Petrarch, ii. 82;points of contrast between Dante and Ariosto, v.15,19,21,28;Dante's genius never immature, iii. 387;the poet of medieval Christianity, v.2,194,449;between the ancient and the modern world, i.10, ii. 13, 39, 69, iv.84;the first exponent of Italian genius, iv.84;his superiority in lyric to his predecessors,66;not wholly free from scholasticism,67;his relation to theSumma, i.60, v.449;theConvito, iv.71;Dante's censure in it of the writers who preferred French to Italian,16;theDe Monarchiâ, i.60,260, ii. 57, iii. 261, iv.88;theVita Nuova, ii. 31, 35, iv.68-70,86,123;the meeting with Beatrice quoted as a specimen of Dante's style,133;Dante's treatment of love in theVita Nuova,90;theDe Vulgari Eloquio, i.261,272, iv.28,66note2;its citations of vernacular poetry, iv.20,32;ideal of language proposed in the work,33,42, v.246;Dante's account in it of the Sicilian poets, iv.21;the mention of Guittone of Arezzo,46;Dante's remark in it on the subjects of poetry,117note1;translated by Trissino, v.306;theDivina Commedia: Dante himself the hero, iv.78;its scientific structure,79;the allegories of theCommedia,81;its characteristic Italian realism,82, v.514;Dante finds no place for those who stood aloof from faction, i.73;contrast of theCommediaand theDecameron, iv.104;theCommediaas an epic of Italian tyranny, i.77note1;influence exercised by it on the painters, iii. 283note2 (cp. 406);Dante's own explanation of theDivina Commedia, iv.75-77;its comprehensive spirit,77;quotations:—theInferno: the speech of Ulysses, ii. 330note2;the ancient poets, ii. 32, iii. 283note2;mention of the story of Roland, iv.433;theParadiso: Cacciaguida's speech, i.73note1;the miseries of patronage,318;the planet Mercury, ii. 39;character of S. Dominic, iii. 205;lines quoted to show the clinging of the Italians to their past history, iv.12(cp.151);thePurgatory: the apostrophe to Italy, i.77note1;the speech of Manfred,133note1;the fickleness of Florence,237;the fleetingness of fame, ii. 39;the Sacred City, Rome, 144;the sculpture seen by Dante in Purgatory, iii. 149;the Trevisan Court, iv.15;the praise of Guido Guinicelli,47;the mention of Guittone of Arezzo,48;the Canzone—Donne ch'avete intelletto d'amore,62;philosophical treatment of love in the poem,62;the song of theGhirlandetta: its popularity,261Dati, Goro di Stagio, iv.176;his description of May festivals at Florence,52Dati, Leonardo, his Cosmographical History, iv.240Dati, Leonardo, theologian and friend of Palmieri, v.549;comments on theCittà di Vita,548,549Dattiri, Altobello, assassination of, i.121D'Avalos, Alfonso, Marquis of Vasto, gives Ariosto a pension, iv.503—— Ferrante Francesco, Marquis of Pescara, marries Vittoria Colonna, v.289;his reputed treason,290(cp. i.245)Dazzi, Andrea, devises the cars for the Pageant of the Golden Age, iv.397Death, the Black, its effects at Florence, i.259, ii. 120, iv.111, v.191;description of, in the Decameron, iv.111Decembrio, Candido, his account of Filippo Maria Visconti, i.153note1, ii. 266;followed the model of Suetonius, ii. 533;patronised by Eugenius IV., 220;translates Appian and Homer, and aids Trapezuntius in translating theRepublic, for Nicholas V., 228, 266;appointed Secretary of the Abbreviators by Nicholas, 229;his position at Milan, 266;cited for Filelfo's conceit, 271note1Decorative Art, wealth of, in Italian palaces and Churches, iii. 54, 56, 78Decretals, the false, i.3Della Casa, Giovanni, Bishop of Benevento, facts of his life, v.274;his morality, i.459note2 (cp. v.274);a member of theVignajuoliAcademy at Rome, ii. 366, v.357;said to have been refused the Cardinalate on account of theCapitolo del Forno, v.275;his relations with Pier Paolo Vergerio,275note1,381note1;theGalateo, i.183note1, ii. 37, v.275;a code of social etiquette æsthetically treated, v.430;theCapitolo del Forno,40,275,278,364;the Latin Lyrics, ii. 497, v.276;his Correspondence, v.276,360;the Italian Poems: sternness and sadness of their tone,277;translations of six sonnets,279Della Casa, Quirino (son of Giovanni della Casa), v.274Della CruscaAcademy, the, at Florence, ii. 366;Il Lasca and theDella Crusca, v.79note2Della Rovere Family, the, Sixtus IV. claims kindred with them, i.388;their armorial bearings,388, ii. 495—— Francesco (seeSixtus IV.):Francesco Maria, Duke of Urbino, ii. 419;his violence of temper, i.393;neglects to defend Rome in 1527,245,297,444;Giovanni della, Duke of Urbino,182note2,389,393, ii. 419;Cardinal Girolamo, his monument by Sansovino, iii. 156;Giuliano (seeJulius II.);Lionardo, i.389;Nicolò, marries Laura, daughter of Alexander VI.,407note1Demetrius of Crete, aids in the first printing of Greek books in Italy, ii. 375;furnishes the model for the Greek type of the first edition of Homer, 376Democracy, the Renaissance and democracy, i.27,28, v.489;gradual approach of the Italian cities to democracy,72Democratic principles of modern society, i.28Desiderio da Settignano, his monument to Carlo Marsuppini, ii. 186, iii. 158note2, 159;his bust of Marietta Strozzi, iii. 159;Giovanni Santi's description of him, 160Desiosi, the, an Academy at Bologna, ii. 366Despots, the Italian, i.42;their rise,75-77,81;their services to art and literature,78-80, iii. 42;popular with the middle classes and the people, i.83,116;disarm their subjects,85;their downfall,89,90;