representation of Rucellai'sRosmundabefore him at Florence, v.129;his sympathy for popular literature,138note1;theatre built by him at Rome,144,147;his love of plays,146;causes theCalandrato be represented before Isabella of Mantua,146;Paolucci's account of Leo's behaviour at a representation of theSuppositi,147;representations of theMandragolabefore Leo,170,325note1;his dislike of the monks,170;presides over the Lateran Council of 1513,470;his doubts upon the Thomistic doctrine of immortality,471Leo the Isaurian, i.50Leoniceno, Nicolao,his 'De Morbo Gallico,' i.567note1;his praise of Aldo Manuzio, ii. 391;teacher in the High School of Ferrara, 427Leonora of Aragon,her reception by Pietro Riario at Rome, i.390, iv.315Leopardi, Alessandro,his statue of Colleoni at Venice, iii. 78note1, 143Lessing,his criticism of Ariosto's Alcina, iv.116, v.19Lezia, Virginia Maria,her trial for witchcraft, v.346note1Libraries,formation of the great libraries, i.21;smallness of ancient, ii. 127;first ideas of the formation of a public library, 166;libraries founded by Cosmo de' Medici, 173-176. (SeealsoBessarion,Petrarch, &c.)Ligorio, Piero,his labours at S. Peter's, iii. 93Linacre, a pupil of Poliziano and Chalcondylas, ii. 350, 387;a member of the Aldine Academy, 387;founds the Greek Chair at Oxford, 387, 391Lingua Aulica, name given by Dante to the dialect adopted by the Sicilian poets, iv.6,22Lippi, Filippino, hisTriumph of S. Thomasin S. Maria sopra Minerva, Rome, iii. 207;story that he was the son of Filippo Lippi, 247;powerfully influenced by revived classicism, 248Lippi, Fra Filippo, his genius cramped by his enforced attention to religious subjects, iii. 244;his frescoes at Prato, 245, iv.422, v.54;his frescoes at Spoleto, iii. 246;his friendship with Lorenzo de' Medici, 247, 263Livy, tomb of, at Padua, i.462, ii. 30Lodovico da Vezzano, his Tragedy of Jacopo Piccinino, v.117note1Lomazzo, hisHistory of Painting, iii. 322note3;emblems assigned by him to the great painters, 337, 488Lombards, the, come into Italy, i.48;the laws of the Lombards,49,62;effect of their rule,48,49;the Lombard kings join the Catholic communion,49;their error in this,49,94;the Pope brings in the Franks against the Lombards,50,51;war of the Lombard cities with Frederic Barbarossa,63,64,67,68,95, iv.6;little trace left by this war on Italian art, iii. 220Lombardy, part played by, in the history of Italian art and literature, ii. 506, iii. 482-490, v.497—— Lombard architecture, use of the term, iii. 43;character of the style, 47 (cp. v.504)—— Lombard School of Painting, the, owed its origin to Lodovico Sforza, i.79;Lombard masters after Lionardo da Vinci, iii. 183, 482-484;piety of their art, 489;richness of the Italian lake district in works of this school, 490note1 (cp. iv.338)Longo, Alberigo, Lodovico Castelvetro accused of his murder, v.286Lorenzetti, Ambrogio, his frescoes in the Palazzo Pubblico, Siena,210Lorenzetti, Ambrogio and Pietro, scholars of Giotto, iii. 197, 226;probably the painters of the frescoes in the Campo Santo, Pisa, 200;free from the common pietism of the Sienese painters, 216, 218Lori, hisCapitoloon Apples, v.365Lo Scalza, his statuary at Orvieto and elsewhere, iii. 56, 78note1;his statue of S. Sebastian at Orvieto, illustrating the pagan motives introduced by the Renaissance into Christian art, 170note1Losco, Antonio, made Apostolic Secretary by Gregory XII., ii. 218;his praises of Beccadelli'sHermaphroditus, 255Lotto, Lorenzo, iii. 503Louis d'Orléans, his marriage to Valentina Visconti, i.143note1,154Louis XI., of France, confers thefleurs de lyson the Medici, iv.405Louis XII., of France:Machiavelli's criticism of his policy in Italy, i.339;invited into Italy by Alexander VI.,349,427,584;his alliance with Ferdinand the Catholic,427;marriage of his daughter Renée to Ercole d'Este, v.297Louis of Bavaria, i.81,133Love, the ideal of, in chivalrous poetry, iv.59;reality of the feeling in the medieval poets,64;brought back by Petrarch to experience,94;its character in popular Italian poetry,272,419Lucca, its political history, i.194—— the Duomo:monument of Ilaria del Carretto, iii. 132, 165;monuments, &c., by Civitale, 157Lucca:S. Frediano, Francia'sAssumption, 303note1—— S. Martino, Pisano's bas-relief, 105—— University, the:receives a diploma from Charles IV., ii. 118Lugano:Church of the Angeli, Luini's frescoes, iii. 485-487 (cp. iv.340)Luigi da Porto, hisNovelle, v.60;his version of the story of Romeo and Juliet,71note1Luigini, Federigo, hisLibro della Bella Donna, ii. 37, v.85note3Luini, Bernardino, the scholar of Lionardo da Vinci, iii. 484;idyllic religious beauty of his frescoes, 485-487;their defects of composition, 487Luna, hisVocabolario di cinque mila vocaboli toschi, v.254note1Luther:effect of his Reformation, i.2,26;his visit to Rome, ii. 408;the Lutheran leanings of Vittoria Colonna and her circle, v.292;Lutheran opinions expressed by the burlesque poets,312,315,325;association in Italy, at the Reformation, of Lutheran opinions and immorality,325Luziano, architect of the Ducal palace at Urbino, iii. 162note1MACALO, battle of, i.161Macaulay, his essay on Machiavelli criticised, i.320note1;quoted,329Maccaronic Poetry, its origin, v.327Machiavelli, the facts of his life, i.232,308, foll.;his description of his country life,314-317;accused of complicity in the plot against Giulio de' Medici,314, ii. 366, v.239;his servility to the Medici, i.317, v.170,370;his Epigram on Piero, Soderini, i.324, iii. 391 (translated i. 325);his plan for a national militia, i.311;his cynicism,278,292, v.160note1,168,312,385;his analysis of character contrasted with that of Ariosto, v.22(cp.432);comparison of Machiavelli, Michelangelo, and Dante, i.318, iii. 395;of Machiavelli, Aretino, and Cellini, iii. 479;of Machiavelli and Pomponazzi, v.485;Machiavelli and Savonarola contrasted, i.368;Varchi's character of him,333;his knowledge of the Greek classics scanty,310, iv.493;indirectly indebted to Aristotle, i.197note1;directly to Polybius, v.434note1;chiefly used Livy, i.250note1;plainness and directness of his style in contrast to the prevailing love of rhetoric and form, v.431;division of his works into four classes,433;light thrown by his letters on the complications of his character,433;his aim partly practical, partly speculative,435;his opinion upon the place of religion in the State, i.453,454, v.437;his contempt for Christianity, i.453note1 (cp. v.520);his analysis of the causes of the decay of Italy,(1) the corruptions and ambition of the Papacy,96,382,448-451, v.436,438,442;(2) the Condottiere system, i.160note2,311, v.436;(3) the want of a central power, i.214,321,449,450, v.436;difference between Machiavelli's views on the last point and those of Guicciardini, i.44note1,45note1;calls Italy 'the corruption of the world,' v.493;his conception ofpatria, v.435,436,442,446;his analysis of democracy, i.236;has no idea of representative government, v.438;urges the training of the citizens to arms,438,439;indifferent as to means if his political aims could be carried out,439-441;his use of the wordvirtù, i.171,337note1,345,482,484,493, ii. 35, iii. 439, 479, v.410,416,425,440;the ideal Prince or Saviour of Society, i.98,214,321, v.435,439,441;weakness of the conception, v.441;Machiavelli's belief in the power of legislation, i.202, v.439,442,444;his experience of the small Italian States prevented him from forming an adequate conception of national action, v.443;shared with the Humanists the belief in the possibility of a revival of the past,444;his severance of ethics and politics,440,441,445;his greatness based upon the scientific spirit in which he treated his subjects,445,447,519;genuineness of his patriotism,445;thePrince, v.519;composed in his retirement, i.317;analysis of the work,336-367;criticised,367-370;theories on the object of thePrince,326;its real character,334-336, v.443;Machiavelli's admiration of Cesare Borgia, i.324,326,345-356, v.385;Alexander VI. made an example of successful hypocrisy, i.357;observation that the temporal power of the Papacy was created by Alexander,413;passage quoted on the courtesy shown by the Condottieri among themselves,162note1;Hegel's criticism of thePrince,367;the ethics of thePrince,321-326,482,484,494. ii. 37, 312, iii. 479, v.441;theIstorie Fiorentine, i.331,332, v.432;written by desire of the Cardinal Giulio de' Medici, i.331;critique of Bruni and Poggio in the Proemium;—— Machiavelli's own conception of history,249;remark on the divisions of Florence,227;passage on the growth of the Condottiere system,245;passage on Venetian policy,215note1;the censure of theOrdinanze della Giustizia,225,244;the policy of Cosimo and Lorenzo de' Medici,229note1,231, iv.386;the contention between Church and Empire, i.82note1;the execution of Beatrice di Tenda,152note2;visit of the Duke of Milan to Florence—its effect on Florentine manners,165;negative testimony of Machiavelli to the natural death of Alexander VI.,430;theDiscorsi,328, v.432,519;Machiavelli's debt to Polybius, v.434note1;not really in discord with thePrincipe,435;passage quoted for Machiavelli's opinion that a city which had once been under a tyrant will never become free, i.84,115;on the policy of enfeebling a hostile prince by making him odious to his subjects,146;treatment of tyrannicide in theDiscorsi,169;censure of aristocracy,186note1;cynical account of Gianpaolo Baglioni's omission to assassinate Julius II.,324,463;theArte della Guerra,329, v.432,438,439,444;theDescrizione della Peste, iii. 188, v.433;Discorso sopra la Riforma dello stato di Firenze, i.328note1, v.432,439;its Aristotelian air, i.197note1;theVita di Castruccio Castracane,76note1,112, ii. 37, v.432;theBelphegor, v.60,433;compared with Straparola's version of the story,102;criticism of Ariosto's comedies ascribed to Machiavelli, v.156;translation of theAndria,157;the comedies—doubtful authenticity of theCommedia in Prosaand theCommedia in Versi,157,159note1;their plots,157;character of Fra Alberigo,158(cp. i.460);of Margherita,159;of Caterina and Amerigo,160;theClizia, its plot,161;the characters,162-164;coarseness of the moral sentiment,163;sarcasm and irony of the comedy,164;theMandragola,111,123,165;the plot,165-168;character of Fra Timoteo,166(cp. i.460, v. 394);state of society revealed by the play,168-170;mistake to suppose that theMandragolawas written with a moral purpose,434;its Prologue, as illustrating the character of Machiavelli,170-172;Machiavelli's comedies compared with those of Aretino and Bibbiena,180Maderno, Carlo, finishes S. Peter's in disregard of Michelangelo's scheme, iii. 93Maestro Ferrara, the, his poems in thelangue d'oc, iv.16Maggi, the, a survival, in regard to form, of the old Sacred Drama, iv.311Magiolini, Laura, Filelfo's third wife, ii. 280, 287Maglioli, Sperando, traditionally said to have made the bust of Mantegna in S. Andrea, Mantua, iii. 278Mainus, Jason, his panegyric of Alexander VI., i.408Maitani, Lorenzo, the architect of the Duomo of Orvieto, iii. 117Maius, Junianus, the tutor of Sannazzaro, v.198Majano, Benedetto da, builds the Strozzi Palace at Florence, iii. 76, 77, 161;his work as a sculptor in Italian churches, 78note1;purity and delicacy of his work, 152;pictorial character of his bas-reliefs, 161;story of his journey to King Matthias Corvinus, 161note1Malaspina, the Marchese Alberto, his poems in thelangue d'oc, iv.16Malatesti, the, how they rose to power, i.111;sell Cervia to Venice,114;members of this family become Condottieri,161Malatesta, Carlo, throws a statue of Virgil into the Mincio, ii. 433;Galeazzo, sells Pesaro and Fossombrone, i.114;Novello, his library at Cesena, ii. 303;Pandolfo, murders Vidovero, i.113note1;Raimondo and Pandolfo, assassination of,121;Sigismondo Pandolfo, contradictions of his character,173, ii. 303;his crimes, i.421note1,428note1;his removal of Pletho's remains to Rimini,173,461, ii. 34, 209;his portrait by Piero della Francesca, iii. 235Malespini Family, the, Chronicle of, i.251;its disputed authorship,252note1, iv.36Malespini, Celio, hisDucento Novelle, v.60Mallory, Sir Thomas, comparison of hisMort d'Arthurwith theReali di Francia, iv.246Malpaga, Castle of, the frescoes there attributed to Cariani, iii. 368note1Mancina, Faustina, the Roman courtesan, ii. 488, v.225,226Manetti, Giannozzo, one of the circle in Santo Spirito, ii. 102, 188;learns Greek from Chrysoloras and Traversari, 110, 189;ruined by Cosimo de' Medici, 170, 191;pronounces the funeral oration over Bruni, 185;his industry in acquiring knowledge, 188;his reputation for oratory, 190;maintained by Nicholas V. after his exile, 192, 228;greatness of his character, 192;attempted to harmonise Christian and classical traditions, 332Manfred, King of Sicily, his death at the battle of Benevento, iv.21,27,48;story of his wandering with music of evenings through Barletta,415note1Manfredi di Boccaccio, sentiment of despair expressed in his poems, iv.165Manfredi, the, of Faenza, i.111,353,375,428—— Astorre (1), sells Faenza and Imola, i.114;Astorre (2),292;murdered by Cæsar Borgia,428note1;Galeotto, murdered by his wife, Francesca Bentivogli,119note2,428note1;Taddeo, one of Vittorino da Feltre's scholars,177Mangini della Motta, Giovanni, his poem on the downfall of Antonio della Scala, v.117note1Mansueti, Venetian painter, iii. 362Mantegna, Andrea, founded no school of local artists, iii. 184;owed his training to Squarcione, 270note1;his frescoes in the Eremitani, Padua, 270;his inspiration derived from the antique, 272, 362, 382;theTriumph of Julius Cæsar, 273, 277;tragic power of his compositions, 274;theMadonna of the Victory, 275;enters the service of the Gonzaga family at Mantua, 276;his visit to Rome, 277;his domestic circumstances, 277;his monument in S. Andrea, Mantua, 278;his treatment of the antique compared with that of Signorelli and Botticelli, 291;his art illustrated by theArcadiaof Sannazzaro, v.203Mantegna, Francesco (son of Andrea), iii. 277Mantovano, Battista, cited for the irreligiousness and pride of the Humanists, ii. 518, 521Mantovano, Francesco, his drama upon the history of General Lautrec, iv.358Mantua: San Andrea (by Alberti), ii. 342, iii. 70note1, 75;Mantegna's monument, 278;Palazzo del Te, decorations of, by Giulio Romano, ii. 440, iii. 83, 492, iv.403, v.229,389Manuscripts: the quest of manuscripts at the commencement of the Renaissance, ii. 131-140Manuzio, Aldo, i.24, ii. 368, 373;his panegyrics of Lucrezia Borgia, i.422;story of the appearance of his edition of Plato, ii. 16 (cp. 379);his dedication of Aristotle quoted, 330note2;his birth and education, 373;his Greek Press at Venice, 377, v.497;his assistants, ii. 378;his industry, 378;his generous spirit and love of his art, 380, 390;original prices of his editions, 381;list of first editions of Greek classics printed by him, 382;his Latin and Italian publications, 383;his Academy at Venice, 385, v.272;his marriage and death, ii. 388;his successors, 389;meaning of his motto, 389;his modesty and nobility of character, 368, 390, 523;greatness of his work, 391;his prefaces, &c., cited for the sufferings of scholars, 542;Aldo, the grandson, ii. 389;Antonio, son of Aldo, 388;Manutio, son of Aldo, 388;Paolo, son of Aldo, 385, 388Marcello, Cristoforo, tortured by the Spaniards during the Sack of Rome, ii. 444Marchesa, Cassandra, her relations to Sannazzaro, v.199Marco Polo, translation of hisTravelsinto Italian, iv.35Marcolini, Francesco, his account of Aretino's life at Venice, v.398note2,400note3Marescotti, the, at Bologna, their history, i.124,427Margaret of Castile (wife of Alfonso the Magnanimous);her murder of Margaret de Hijar, i.570Margaret de Hijar, murder of her by Queen Margaret, i.570Mariconda, Antonio, hisNovelle, v.60Marino, Giovanni Battista, theAdone, v.244,257;his conceits referred to Aretino's mannerism,417Marliano, Bartolommeo, his Topography of Rome, ii. 428Marlowe, hisEdward II.quoted for the character of Italian plays, v.111Marone, his losses in the Sack of Rome, ii. 444Marrani, popular name of contempt for the Spaniards in Italy, i.410,553Marsigli, Luigi, influence of, through the society founded by him in S. Spirito, ii. 101-103, 189Marston (the dramatist), his testimony to the profligacy of Venice, i.473;his Prologue toAntonio and Mellidaquoted, v.115,521Marsuppini, Carlo, a scholar of Giovanni da Ravenna, ii. 100;learns Greek from Chrysoloras, 110;his lectures at Florence, and public funeral there, 186 (cp. 530);story of his being surpassed by Manetti in speaking before Frederick III., 190;made Papal Secretary by Eugenius IV., 220Martelli, Lodovico, his Tragedy ofTullia, v.135;disputes the genuineness of Dante'sDe Vulgari Eloquioagainst Trissone,306;Niccolò, his correspondence with Aretino,410note1Martin V., story of his irritation at the verses sung by the Florentines beneath his window, iv.258Martini, Simone, reputed painter of frescoes in S. Maria Novella, iii. 205note1, 217;not wholly free from the faults of the Sienese painters, 216, 218;his fame during his lifetime, 216;various works by him, 217;mention of him by Petrarch, 217note1Masaccio, i.170note1;the pupil of Masolino, iii. 229note1;the greatest of the early painters of the Renaissance, 229;comparison of Masaccio and Giotto, 230;his early death, 231;comparison of Masaccio and Fra Angelico, 240Masolino, the master of Masaccio, iii. 229note1Massimi, the, at Rome, their protection of Sweynheim and Pannartz, ii. 368Masuccio, quoted for the corruptions of the Roman Church, i.458note2, iv.180,181(cp. v.499);for the Italian ideas of honour,486note2;his style modelled on the Decameron, iv.136,178;character of his language,179;comparison between Masuccio, Boccaccio, and Sacchetti,179;his aristocratic feeling,179;his earnestness,180;his art,181;superior in moral feeling to Boccaccio,183;alluded to by Pulci,255note1Matarazzo, cited, i.22,158note1,