divergent character of the Italian cities,34,35, iii. 43, 181, iv.361, v.137;reasons why the Italians failed to attain political unity, i.90,98, iii. 261, iv.5;their dislike to monarchy, i.92,369, v.503,504;feudalism alien to their temper, i.42,58,61,62,100,359,484, ii. 3, iii. 51, iv.6,7,27,44,73,140,405,426,459, v.492,503,505,524,530;their estimation of tyrannicide, i.169,464;their notions of nobility,186note1;their tendency towards despotism,190;had no conception of representative government or confederation,196,211, ii. 3 (cp. v.438), v.495;did not aim at national independence, i.457, ii. 509;their civilisation in advance of that of Northern Europe, i.100,260,586, iii. 42, v.50;Italian ideas about the Pope, i.418,462-464, iii. 471;reasons why the Italians held to the Papacy, i.470, iv.438;their attachment to the Imperial idea, iv.438;independent attitude of the Italians to the Empire and Church, v.502,524;ready means of intercourse between the Italian provinces in the middle ages, iv.270;the local divisions of Italy a source of intellectual strength as well as political weakness, ii. 8, iv.493,518;the modern development of the Italians precocious and never matured, i.495, iv.146;their ignorance of the power of the Northern nations, i.538;the Italian lower classes welcomed the French invasion,549note1,583note2;Italy 'revealed to the North' by the invasion,583;fascination exercised by Italy over the Northern fancy,119note2, v.117;complete change in Italy between 1375-1470, iv.366;confidence of the Italians at the Renaissance in the fortune of the age, ii. 208, iv.396, v.281,522;physical and ethnographical character of the Italians, i.12, ii. 24, v.500;persistence of the Italic type through all historical mutations, v.501-504,509;hold retained by their past history upon the Italians, ii. 30, 56, 505, iv.5,7,11,141,187note1,242,273, v.492;essential unity of the Italian nation, i.32,42,47note1,54,65;formation of the national character,100, ii. 1-4. iv.146, v.505;preoccupation of the Italians in the middle ages with the idea of death, iii. 198, iv.74;Italian morality at the Renaissance, i.323, v.365;morality and religion disunited in Italy, i.174note1,433,447,462, ii. 234, 257, iii. 451;material and irreligious temperament of the Italians, i.454,490,493, ii. 17, 205. iv.10,39,128,140,146,426, v.114,486,504,509,514;difference of their religious feelings from those of Northern nations, iv.306,323, v.486,514;decay of religious feeling in Italy between the time of Dante and Poliziano, iv.207, v.194,493,516;unwillingness of Italian thinkers to break with Catholicism, i.454, v.293;Italian passion for reliques, i.461;defects of their imagination, iv.249,253,273,343, v.18,504,509,514;reasons for these defects, iv.344;character of the Italian imagination illustrated from theSacre Rappresentazioni,347;lack of sterner passion in the Italian æsthetic temperament, v.114(cp.515);organising faculty of the Italians,504,513;foreign judgments of Italian morality, i.472, ii. 408;anomaly of the corruption of Italy while the arts and literature were at their height, v.494;profligacy of the Italians, i.474(cp. Bandello's Apology for hisNovelle, v.76, and the Analysis of Machiavelli'sMandragola, v.165-170);their addiction to unnatural vices, i.476;their cruelty and debauchery,476-479;their love of poisoning and assassination,480, v.523;their notions of honour and female fidelity, i.481-486(cp v.163note1);their admiration of generosity, iv.356;the Italians had not adopted chivalry, i.359,482, iv.6.27,44,60,73, v.13,505;character of thebourgeoisieas drawn in Italian comedies, v.183;refinement and toleration of the Italians, i.486-488, ii. 14, 408;cosmopolitan nature of their ideals, ii. 15, 55, iv.184;the art of conversation invented by the Italians, ii. 34;free play given to personality in Italy, i.488, ii. 3, 4, 6;superior morals of the lower classes illustrated from Italian art, i.488-490;the same fact proved by contemporary biographies and memoirs, v.190;revivalism in Italy, i.490(seeAppendix iv. vol. i.; alsoFlagellantsandLaudesi);Italian architecture local rather than national, ii. 5, iii. 45;Gothic architecture never fully understood in Italy, iii. 51, 66, 69, iv.345, v.505;Italian feeling for spatial proportion in architecture, iii. 67;reasons why the Italians succeeded better in sculpture and painting than architecture, ii. 7;Italian genius best shown in painting, iii. 5, 31, v.495;universal feeling for art in the Italians, iii. 1, 4;their æsthetic enthusiasm, 3;their innate susceptibility to beauty, iv.242, v.526;the Italian artists were contented to work out old motives, iii. 118, v.6;Italian love of cultivated landscape beauty, v.196,511;the cosmopolitan culture of the Italians implied some sacrifice of national personality, ii. 9, 394, v.137;the Italians contented to accept the primacy in culture instead of national independence, ii. 39, 475;respect of the Italians for culture, iv.447;Italian unity only attained in literature and art, iii. 261, iv.147,367, v.137,248,495;the recovery of the classics equivalent to the recovery of national consciousness in Italy, iv.142, v.505;the Roman element in Italian genius, v.501-516;persistency of the Italians in carrying out the Revival, ii. 509, v.505,525;injurious effects of the Revival upon them, ii. 516, v.193;decay of learning in Italy, ii. 540, v.480;the Italians cease to study Greek, ii. 543;work achieved by the Italians in educating the Northern nations, 544, v.530;attention paid by the Italians to biography, ii. 35;their susceptibility to rhetoric, 149, 190, 216, 513, 525, iii. 3, v.512;questioning spirit of the Italian intellect, iv.448, v.500;contempt of the early Italian scholars for Italian, ii. 448, 532note1, iv.4,7,143,176,234-238,365, v.137,247,506,508;growth of Italian out of Latin, iv.28-32;the development of Italian slower than that of other modern languages,3-8;Italian superseded French as the literary language in the middle of the thirteenth century,20;character of the various Italian dialects,30;early popular works in the dialects,34,129;artificial character of the Italian literary language, ii. 448, iv.8, v.246;revival of Italian in the fourth period of culture, ii. 393, iv.3,365, v.246;manner in which Tuscan was made into the standard Italian, iv.33, v.246,508;problem presented by language to the writers of Italian, v.247;Petrarch and Boccaccio taken as models, iv.164, v.248;manner in which their influence was injurious,(1) the imitation of Petrarch's affectation and melancholy, v.249-251;(2) of Boccaccio's ornate and complicated style,251(cp. iv.136);effect of purism on Italian literature, v.256-258;false position of thePetrarchisti,249,520;they show no sympathy for the calamities of Italy,281,522;erroneous conception of poetry implied in Petrarchism,273;want of a natural means of expression in thePetrarchisti,250;the unity of Italy is now producing a common Italian, ii. 450, v.270;Italian literature brought to perfection between 1300 and 1530, iv.1;subdivisions of that period,1;positive spirit in which the Italians treated ancient legends and sagas,5,11;effect produced by their free political life on early Italian writers,8;degree of superiority in the use of Latin obtained by medieval Italian writers,9;effect of Provençal and French literature on the Italians,13foll.;the Italian hendecasyllabic,24(seealsoAppendix i. vol iv.);history of theottava rima,25,308;effect on Italian literature produced by the want of a central Court,33,365, v.112,257;origin of Italian prose, iv.35,128;inferiority of the first attempts,130;beginnings of Italian poetry,37;the modern Italians never had a national Epic, ii. 4, iv.5,7,244, v.503;general absence of Ballad poetry in Italian, iv.37(cp.251),274, v.11;exceptions to this, iv.274;early poems treating of obscene subjects, iv.38, v.356note1;Italian literature in the middle ages created no feminine ideal like those of the old romances, iv.63;Italian prose-writers of theTrecento,131;exaggerated admiration of modern Italians for theTrecentisti,132, v.270;importance of theQuattro Centoin Italian literature, iv.147;sentiment of disappointment and despair common to the laterTrecentisti,165;employment of theterza rimaby the poets after Dante,166,172;materials afforded for studying the growth of Italian prose by familiar letters,175, v.262;improvements effected in Italian prose by the popular writers of theQuattro Cento, iv.240;appreciation of the great Italian poets by the mass of the people,241;popular poems upon contemporary events during theQuattro Cento,255;erotic spirit of Italian hymns,305;rarity of Miracle Plays in Italy,306;their place supplied byDivozioniandSacre Rappresentazioni,307;the best manner of dealing with Italian literature between 1470-1530,359foll.;typical men of genius during this period,362;share of the different cities in literature,364-366;degeneracy of Italian poetry during the Renaissance,404,463;the classification of the Italian narrative poems, v.3;the literature of theCinque Centoinfluenced by the manners of thebourgeoisie,52;injury occasioned to Italian literature by the absence of a general public,52,190note2;number of popular works issued by the Venetian press,96;burlesque considered as a counterpoise to serious poetry in Italy,310,382;survival of ancient satiric humour in Italy,512(cp.366);no great satire produced by the Italians,512;burlesque poetry in Italy a medium for free thought,311,315;association at the Reformation of Lutheran opinions and immorality in Italy,325;number of Italian poetesses,287;identity of male and female education in Renaissance Italy,287note1;comparison of Italian and Latin art and literature,509-514;Italian love of didactic poetry,512;general characteristics of Italian literature,518;results achieved by the Italians during the Renaissance,526JACOPO DEL BUSSOLARO, Fra, preaching of, i.490,610,611Jacopo da Lentino, iv.25,43,60Jacopo della Marca, Fra, preaches at Perugia, i.491,613Jacopone da Todi, the legend of his life, iv.285-289;his Italian hymns,40,283;their ecstatic spirit,284;their simplicity,284;specimens of them,289-292;the Dialogue between Mary and Christ on the Cross,292-295,309;many of the hymns ascribed to him belong to his followers,295;specimens of these,297-302;his saying about Boniface VIII.,289. (SeeAppendix iv. vol. iv.for translations.)Jenson, Nicholas, joins John of Spires as printer at Venice, ii. 369Jerome of Prague, Poggio's description of him at the Council of Constance, ii. 231, 535Jeronimo, his preaching at Milan, i.620Jews, expulsion of the, from Spain, i.400Joachim (of Flora) saying of his, i.9, iii. 36Joanna of Naples, i.361,574;married to her nephew Ferdinand,575note1John of Maintz, early printer at Florence, ii. 369John of Spires, establishes himself as printer at Venice, ii. 369John of Vicenza, preaching of, i.490,607-610Jonson, Ben, hisEpicœnecompared with Dolce'sRagazzo, v.162note1;may have been partially indebted to Aretino'sMarescalcofor its humour,178;more successful in the fusion of ancient and modern elements than the Italian comedies,182Jovius. (SeeGiovio.)Jubilee, the (of 1300), iv.2;visited by Dante and Villani, i.253, ii. 144;(of 1450), i.377,378, iv.173Julia, corpse of, said to have been discovered on the Appian Way, i.22, ii. 31, 433Julius II., i.157;character of him by Volaterranus,389note2;his hostility to the Borgias,406,432;his services to art,433;commences St. Peter's,433, iii. 90, 398;his policy, i.434;contrast of Julius and Leo,438;saying ascribed to him, ii. 17;story of his wishing to be represented with a sword in his statue, iii. 397;his project for a mausoleum, 398;his reconciliation with Michelangelo, 401;his impatience with Michelangelo during the painting of the Sistine Chapel, 407Julius III., makes Aretino a Knight of S. Peter, v.404Justinian, his conquest of Italy, i.47;the Code of Justinian enthusiastically studied in medieval Italy,62KYDONIOS, Demetrios, ii. 109LADISLAUS, KING, Filelfo's mission to him on his marriage, ii. 268Lætus, Pomponius, i.386;his relation to the Sanseverini, ii. 33, 359;his letter to his kindred, 359;assimilated his life to that of the ancients, 360;founds the Roman Academy, 361, 409, v.272;his apology for his life, ii. 362;his funeral, 362;his nobility of character, 523;causes plays of Terence and Plautus to be represented in the original by the Roman Academy, v.138La Magione, the Diet of (the conspiracy against Cesare Borgia), i.351Lambertazzi, Imelda, i.74,210note2Lampugnani, Giannandrea, one of the assassins of Galeazzo Maria Sforza i.166Landi Family, the, at Bobbio, i.150Landini, Taddeo di Leonardo, architect at the representation of Cecchi'sElevation of the Cross, iv.325Landino, Cristoforo, one of the circle gathered round Lorenzo de' Medici, ii. 322;his labours as Professor at Florence, 338;his edition of Dante, 338, iv.235;theCamaldolese Discussions,338-341, iv.206, v.451,455;his preference of Latin to Italian, iv.236,237Landriani, Gherardo, discovers a MS. of Cicero at Lodi, ii. 140Langue d'Oc, iv.13,14,16Langue d'Oïl, iv.13,14,16Languschi Family, the, of Pavia, i.145Laocoon, discovery of the, ii. 415, 431;description of it, by a Venetian ambassador, 435;transcends the limits of ancient sculpture, iii. 18Laonicenus, a Cretan, joint editor of a Greek Psalter, ii. 376Lapaccini, Fra Giuliano, copies MSS. for Cosimo de' Medici, ii. 174Lasca, Il, origin, of hisnom de plume, v.79;depreciates Burchiello in comparison with Berni, iv.261, v.362note1;edits the poems of Berni, v.361;his collection ofCanti Carnascialeschi, iv.388, v.79,356note1;quoted in proof of their invention by Lorenzo de' Medici, iv.388;hisCene, v.79,80;introduction to the work,81;its obscenity and cruelty,80-82;the better stories contained in it,82;theNovellaofZoroastro, cited in illustration of Italian witchcraft,346note1;his criticism of contemporary comedy,122,124,143note1,187;his comedies,181Lascaris, John, his Greek Grammar the first Greek book printed in Italy, ii. 375;the edition of Vicenza, 376;his edition of four plays of Euripides, 383note1;a member of the Aldine Academy, 386;his visits to France, 386, 427;invited by Leo to Rome, 427;his epitaph on himself, 428Lateran, Council of the (1513),reasserts the Thomistic doctrine on the soul, v.470Latin,the transformation of,into the modern Romance languages, iv.28-32;reasons why the Italian scholars preferred Latin to Italian, ii. 447;imperfection of their first attempts at Latin versification, 451, 482, 486;Latinisation of names and phrases by scholars at the Renaissance, 397 (cp. 480note2, iv.120, v. 507)Latini, Brunetto,hisTesoro, originally written in French, iv.16;translated into Italian,35,130;Dante studies under him,70;reputed author of many early popular Italian works,129Laudesi, the (Umbrian religious societies),origin of the name iv.283;gave rise by their religious practices to theDivozioniand theSacre Rappresentazioni,307Laudi, the,popular hymns in Italian, originally produced by the Umbrian religious societies, iv.40,283,302, v.519;set to the tunes of popular songs, iv.263,305Laura (daughter of Alexander VI.),marries Nicolò della Rovere, i.407note1Laurentian library,its formation by Cosimo de' Medici, ii. 175;its architectural features, iii. 87Lazzari, Bramante. (SeeBramante.)Legates, i.35Legnano, battle of, i.42,64,95, iv.6Leo III.,crowns Charles the Great as Emperor, i.50Leo IX.,59Leo X.,Machiavelli'sDiscorso sul Reggimento di Firenzededicated to him,197note1,203;his management of Florence in the Medicean interest,222,277,438;said by Pitti to have wished to give a liberal government to Florence,288note1;makes Guicciardini governor of Reggio and Modena,296;confers the Dukedom of Urbino on his nephew,322,438, ii. 420;his remark on the election of Alexander VI., 409;on Lionardo da Vinci's love of experiment, iii. 323;his saying, 'Let us enjoy the Papacy since God has given it us,' i.437, ii. 17, 412;his policy, i.98,322;his character,435, ii. 401, 412;his extravagance, 436-438;contrast of Leo and Julius, 438;hisimprimaturto the editors of Tacitus, ii. 40, 425;Aldo Manuzio's edition of Plato dedicated to him, 379;his patronage of scholars, 404, 415, 470;reforms the Sapienza at Rome, 426;his visit to Florence after his election, iv.396;