his account of Savonarola,290,292,511note1,512note1,534note1;his account of Guicciardini,299note2;cited for the murder of the Manfredi,292,428note1;acts as peacemaker in Cellini's quarrel with the Florentine exiles, iii. 463;aids in the composition of the Pageant of the Golden Age, iv.397.(SeeAppendix ii., vol. i.for translation of a passage on the government of Florence.)Narses, brings the Lombards into Italy, i.47Navagero, Andrea, a member of the Aldine Academy, ii. 387;his flattery of Julius II., 494;his Venetian origin, illustrating the loss of intellectual supremacy by Florence, 506;his Latin poems, their beauty and grace, 453, 485-488;translations (prose) 485-488Naviglio Grande, construction of the, iii. 41Nelli, Giustiniano, hisNovelle, v.60Nepotism of the Popes, i.113,303,372,375,388,392,413,434Neri and Bianchi factions, the, at Florence, i.221,225;at Pistoja,210note2Nerli, Filippo, his History of Florence, i.278,279;took part in the political events of his time,280;belonged to the Medicean party,290;value of his work,293;his account of Machiavelli's Discourses in the Rucellai Gardens,328, ii. 366;cited for the downfall of Cesare Borgia's plans after the death of his father, i.431Neroni, Diotisalvi, his conspiracy against Piero de' Medici, ii. 314Niccolò da Correggio, his drama ofCefalo, iv.357, v.221;acted before Duke Ercole at Ferrara, v.139Niccoli, Niccolò de', turns Piero de' Pazzi from a life of pleasure to study, ii. 41;one of the circle in Santo Spirito, 102;helps to bring Chrysoloras to Florence, 109, 110;cited for the practice of scholars making their own copies of MSS., 131, 179;generosity of Cosimo de' Medici to him, 173;his bequest of MSS., 174, 178;his zeal in collecting MSS., 178;his judgment of style, 179;his literary dictatorship at Florence, 180;Vespasiano's account of him, 181;his exacting temperament, 182, 275;did not know Greek, 194note1;his kindness to Poggio, 230note1;his quarrel with Bruni, 243;his contempt for Dante, iv.436Niccolò da Padova, quotes Turpin as his authority for his History of Charlemagne, iv.439note1Nicholas of Breslau, an early printer at Florence, ii. 369Nicholas II., i.60Nicholas V., his catalogue of Niccolò Niccoli's MSS., ii. 174, 175, 225;his humble birth, 222;comes to Florence, 223;acts as tutor in the households of Rinaldo degli Albizzi and Palla degli Strozzi, 165, 223;generosity of Cosimo de' Medici to him while Bishop of Bologna, 173;his character, 244 (cp. 523);his election to the Papacy, i.371, ii. 173, 225;his speech to Vespasiano after his election, ii. 226;restores the Papal Court to Rome, i.88;his treaty with the great Italian States,89;description of his administration by Leo Alberti,377;receives Manetti after his exile, ii. 192, 228;founds the Vatican Library, i.21, ii. 227;his policy, i.377-380, ii. 227;his project for rebuilding St. Peter's, i.379, iii. 90;why he did nothing for the Roman University, ii. 227;translations executed by his command, 228, 402;rewards Filelfo for his Satires, 236 (cp. 514);employs Poggio against the Anti-Pope Felix, 237;his toleration, as shown by his protection of Valla, 262;his destruction of ancient monuments at Rome, 430;his Will, i.379Nicholas of Treves, sends a MS. of Plautus to Rome, ii. 140Nifo, Agostino, takes part in the controversy raised by the publication of Pomponazzi'sDe Immortalitate Animæ, v.460Niger, Hieronymus, cited for the wickedness of Rome, ii. 446Nino (son of Andrea da Pontedera), sculptor of theMadonna della Rosain the Spina Chapel, iii. 123Nobility, Italian ideas of, i.186note1, iv.125Nobles, the, excluded from the government of Florence, i.224, iv.27,51Nocera, establishment of a Saracen colony there by Frederick II., i.105Nominalists, the, v.466,467Norcia, one of the two chief centres of Italian witchcraft, v.346Normans, the Norman conquest of Southern Italy, i.58, ii. 251Novelists, the Italian, their testimony to the corruption of the Roman Church, i.458,476,486note1, ii. 406, iv.180,181;to Florentine immorality, iv.337note2;importance of thenovellain the history of the Renaissance,158;thenovellaespecially suited to the Italian genius,426, v.52,53,106,114-116;manner in which women are treated by the novelists, iv.212, v.185;versified novels of theQuattro Cento, iv.249-255;testimony of the novelists to the great intercourse between the Italian provinces from 1200-1550,271;theNovellewritten for the amusement of thebourgeoisie, v.52;definition of the wordnovella,54;theNovelleoriginally recitations,55;subjects and material of theNovelle,55-57,59;their object was amusement,56,57;their indelicacy, as illustrating contemporary manners,58;inequality of merit among them,58;reasons why the Elizabethan dramatists were attracted to them,59,117;the Introductions of theNovelle,61;degree in which they are to be accepted as fiction,81;characteristics of the novelists of Siena,96;the scope and limitations of theNovelle,107;influence of theNovelleupon the theatre,161,181,187Novellino, Il, orLe Novelle Antiche, the first collection of Italian stories, iv.107,129Novels, defect of the Italians in true novels of the modern type, v.120OCHINO, Fra Bernardino, his friendship with Vittoria Colonna, v.292Odasio, the tutor of Guidobaldo, Duke of Urbino, i.181Odassi, Tifi, said to have been the inventor of Maccaronic verse, v.329note3;quoted in illustration of its character,328note1;the description of a bad painter,330;possibly the author of the anonymous poem on Vigonça,331;his use of the Maccaronic style,336Oddi, the, at Perugia, i.225;worsted by the Baglioni,115,123Odo delle Colonne, shows in hisLamenttraces of genuine Italian feeling, iv.26Odoacer, i.46Oggiono, Marco d', the Scholar of Lionardo da Vinci, iii. 484Ognibene da Lonigo, effect of his teaching at Vicenza, ii. 249Olgiati, Girolamo, one of the assassins of Galeazzo Maria Sforza, i.166,466, v.119Oliverotto da Fermo, his murder of his uncle, i.119note2,168note1,354;takes part in the Diet of La Magione,351;murdered at Sinigaglia by Cesare Borgia,351Onestà, Italian ideas of, i.485Onesto, Bolognese poet, iv.48Onore, use of the word in Italian, i.481,485, iv.180note1 (seeTasso);illustrated by the life of Benvenuto Cellini, iii. 449Orange, the Prince of, in command at the Siege of Florence, iii. 414;wounded at the capture of Rome, 455;his troops destroy Sannazzaro's villa at Naples, v.199Orcagna (Andrea Arcagnuolo di Cione), completes the Church of Orsammichele, Florence, iii. 63, 124;comprehensiveness of his genius, 124;the tabernacle there, 125;architect of the Loggia del Bigallo, 125;influence of his master, Giotto, upon him, 125, 197;his frescoes in the Strozzi Chapel, S. Maria Novella, 199;beauty of his faces, 200note1;probably not the painter of the frescoes in the Campo Santo, Pisa, 200;his sincerity, v.195;influenced by Dante, iii. 283note2;his Sonnet on Love, iv.39note1Ordelaffi, the, of Forli, i.111,375;their patronage of learning, ii. 302Ordinanze della Giustizia, the, at Florence, i.224,238,244Orlandi, the Pisan orator, i.343Orlandini, Zuccagni, his estimation of the population of Florence, i.209Orleans, claim of the house of Orleans to Milan, i.154note1,339Orleans, Duke of, i.577,579,581Orpheus, fitness of his legend to express the Renaissance, iv.410, v.450;theOrfeo(seePoliziano)Orsini, the, members of this family become Condottieri, i.161;their rise to power,375;contest between the Orsini and Cesare Borgia,349-352;destroyed by Alexander VI.,413;devoted to Naples,543;related by marriage to the Medici,543, ii. 314, 354;—— Clarice, wife of Lorenzo de' Medici, i.314, ii. 354;Francesco, murdered at Sinigaglia by Cesare Borgia, 351, 353;Paolo, murdered at Sinigaglia by Cesare Borgia, 351;Cardinal, takes part in the Diet of La Magione, 351;Virginio, 552;buys Anguillara from Franceschetto Cibo, 545;makes terms with Charles VIII., 564Ortolana, the, an Academy at Piacenza: Domenichi and Doni members, v.88Orvieto, Duomo, the, illustrates the defects of Italian Gothic, iii. 53;contrasted with Northern cathedrals, 56;Signorelli's frescoes, ii. 440, iii. 56, 280, 281, 282;its façade, iii. 116;importance of its sculptures in the history of Italian art, 117;Fra Angelico's frescoes, 283note1;Perugino invited to work there, 296note1, 299Osnaga, Orsina, Filelfo's second wife, ii. 280Otho I., i.52;assumes the title of King of Italy,52,53Ottimati, name given to the party of the oligarchy at Florence, ii. 441Oziosi, the, an Academy at Bologna, ii. 366PACCHIA, GIROLAMO DEL, the scholar of Sodoma, iii. 501Padua, traditional reverence for Livy there, iv.12Padua, S. Antonio: Andrea Riccio's candelabrum, iii. 78note1;Donatello's bas-reliefs, 140, 270note1;Chapel of the Arena, iii. 190, iv.298;the Eremitani, Mantegna's frescoes, iii. 270;Hall of theRagione, 60, iv.130—— University, the, ii. 116;pay of professors there, 122;its state at the end of the fifteenth century, 506;long continuance of scholasticism at Padua, v.457;different character of Padua from other Lombard universities,460;closing of the schools in 1509,460Padua, Chronicle of, cited for a description of the Flagellants, iv.280Paganism, mixture of Paganism and Christianity in the Renaissance, i.456note1,464, iii. 1, 33-35, 107.(SeeRenaissance.)Pagello, Bartolommeo, his panegyric of Ognibeno da Lonigo, ii. 249Painting, demands more independence in the artist than architecture, ii. 7;character of Greek painting, 8;effect on Italian painting of the discoveries of ancient works of art, 439;painting the best gauge of Italian genius, iii. 5, iv.116,338, v.18,20,49,515;how painting instead of sculpture became the exponent of modern feeling, iii. 8, 12-21, 31, 120;the problem for Italian painting, 10-20, v.515;difficulties presented to the first painters, iii. 21;first attempts in painting to make beauty an end in itself, 22, 32;Italian painting in the first period devoted to setting forth the Catholic mythology, 27, 185;why painting has lost its earlier importance, 37;the personality of the different Italian cities visible in painting, 181;contrast between the Florentine and Venetian painters, 182;character of the Umbrian school, 182;the so-called 'schools': how far the term is justified, 183;general course taken by Italian painting, i.17-20, iii. 185-187, v.506;changes introduced by Giotto into painting, iii. 192;character of the Sienese masters, 214;characteristics of Italian painting from 1400-1470, 224 (cp. v.204);theQuattro Centoa period of effort, iii. 227;exaggerated study of perspective and anatomy by these painters, 232;the painters of the Renaissance—how to be classified, 266-269;influence of Dante on Italian painters, 283note2;the perfection of painting in Michelangelo, Lionardo da Vinci, Raphael, and Correggio, 312;over attention paid to the nude after Michelangelo, 397, 453;the decline of painting, 481, 504Palæologus, Andrea, sells the title of Emperor of Constantinople to Charles VIII., i.576note1;John, attends the Council of Florence, ii. 196, 205;takes Filelfo into his service, 268Paleario, Aonio, ii. 394;his Latin poem on theImmortality of the Soul, 497;his execution, v.478Palermo: Norman, Arabic and Byzantine influence on Palermitan architecture, iii. 44, 45Palimpsests, ii. 129Palladio, his judgment of Sansovino's Library of S. Mark, iii. 85;character of his architectural work, 94, v.505;the Palazzo della Ragione at Vicenza, iii. 95;Palladio's treatise on Architecture, 96note1Palladius, Blosius, ii. 409Pallavicini, Battista, i.177Palma, iii. 371;hisVenus, illustrating his treatment of the antique, 291Palmieri, Matteo, facts of his life, v.549(Appendix iii.);pronounces the funeral oration over Marsuppini, ii. 187;hisChroniclequoted for a description of the Florentine festivals, iv.316;author of theCittà di Vita,188, v.548;history of the MS. of the work, v.548;origin of the poem,549;its doctrine on the Soul and Fallen Angels, iv.171, v.551;the work brings him into suspicion of heresy, iv.171;theDella Vita Civile, v.549;influence of Xenophon on the work,196note1;Mattia, continues Matteo Palmieri'sChronicle,549Panciatichi, Lorenzo, alludes to the balladL'Avvelenato, iv.276Panciroli, his testimony to the kindness of Boiardo, iv.458Pandects, the MS. of the, taken by Florence from Pisa, i.62, ii. 351Pandolfini, Agnolo, his treatiseDel Governo della Famiglia, i.239-243,481;said to have been really written by Leo Battista Alberti,239note1,273, ii. 37, iv.192-203Panicale, Perugino's fresco of S. Sebastian, iii. 295Pannartz, the printer at Rome, ii. 368Panvinius, cited for the murders committed by Alexander VI., i.414Paolo da Castro, his salary from the University of Padua, ii. 122Paolucci, his account of the behaviour of Leo X. at a representation of theSuppositi, v.147Papacy, the, 'the ghost of the Roman Empire,' i.5;rise of the Papal power,7,32;its history cosmopolitan,41,60;invites the Franks against the Lombards,50;compact of the Papacy with Charlemagne,50,94;war between the Papacy and the Empire,59,60,68,97,100,374, iv.6;election of the Popes transferred from the Emperor to the Cardinals, i.60;summons Charles of Anjou into Italy,75;calls in Charles of Valois,76;transference of the Papal Court to Avignon,77,80,374, iv.7;restored to Rome, i.88;the Papacy prevented the unification of Italy,93-95, ii. 2;Machiavelli's criticism of the Papacy, i.96,382,448-451, v.436,438,442;the only Italian power which survived all changes, i.98;connivance of the Popes at crime,170;paradoxical character of the Papacy during the Renaissance,371-374,401;Guicciardini's observations on the Papacy,451,452;universal testimony to its corruption,446,457,460;Italian ideas about the Pope,418,462-464, iii. 471;worldliness of the Papacy at the Renaissance, ii. 263;more tolerant of obscenity than of heterodoxy, 22;corruption of the Papal Court under Leo X., 402, 406, 408, 516;flattery of the Popes by the Latin poets of the Renaissance, 493-496;the organisation of the Papacy due to Italian genius, iv.7, v.513Papal Secretaries, their rise into importance owing to the influence of rhetoric at the Renaissance, ii. 216Paper, where first made in Italy, ii. 371Paquara, reconciliation of the Lombard cities at, i.108,608Parabosco, Girolamo, hisDiporti, v.60;its Introduction,62Paravisini, Dionysius, the first printer of Greek in Italy, ii. 375Parentucelli, Tommaso. (SeeNicholas V.)Parhasius, Janus, a member of the Roman Academy, ii. 361;professor in the Sapienza at Rome, 426Parisio, Gianpaolo. (SeeParhasius, Janus.)Parlamenti, name of the popular assemblies in Italian cities, i.35,57—— theParlamentoat Florence under the Medici,229,526Parma, sold by Obizzo d'Este, i.134;pageant got up by the students at the election of Andrea di Sicilia to a professorship, iv.315—— the Teatro Farnese (by Aleotti), v.144Parmigianino (Mazzola, Francesco), story of him at the Sack of Rome, ii. 16;the follower of Correggio, iii. 495Parte Guelfa, in Italian cities, i.35;at Florence,70note1Party strife, effects of, in Italy, i.199,206,207,584Paruta, the Venetian historian, i.233Passavanti, Jacopo, hisSpecchio della vera Penitenza, iv.131, v.270Paterini, the, an heretical sect, i.9, iv.109,279Patria, Machiavelli's use of the term, v.435,436Patrician, title of dignity in Italian cities, i.35Patrini, Giuseppe, engraver of a portrait of Aretino, v.423Paul II., becomes Pope, i.383;his love of show,383;his services to art,384,384note1;his persecution of the Roman Platonists,385, ii. 359, 362, 511;claimed descent from the Ahenobarbi, ii. 31;his destruction of ancient monuments at Rome, 430;his death, i.387Paul III., i.297, iii. 438;his monument in St. Peter's, i.417note2, iii. 108;a member of the Roman Academy, ii. 361;advances Sadoleto, Bembo, and Aleander to the Cardinalate, ii. 402, 416, 424;his patronage of scholars while Cardinal, 404, 498, 500, 504;employs Michelangelo to paint theLast Judgment, iii. 422;his character, 422, 438, 472, 473,note1Pavia, becomes the capital of the Lombards, i.48,49—— the Cathedral (by Rocchi), iii. 82;shrine of S. Augustine, 123;the Certosa, 42, 165;the façade characteristic of the first period of Renaissance architecture, 72—— University, the, eclipsed by the School of Bologna, i.62;raised to eminence by Gian Galeazzo,142, ii. 118;staff of the University in 1400, ii. 120;pay of professors there, 122Pazzi, Alessandro de', his Discourse on the Florentine Constitution, i.197note1,203note1;Piero de', called to study by Niccolò de Niccoli, ii. 41Pazzi Conspiracy, the, i.168,396,398,466,505, ii. 287, iv.443,447, v.118Pedantesco, name given to a kind of pseudo-Maccaronic verse, v.328;specimen from Scrofa,329Pelacane, Biagio, master of Vittorino da Feltre in mathematics, ii. 289Pelavicini, the, become feudatories of the See of Parma, i.57note1;overthrown by the Visconti,145Pellegrini, the, an Academy at Venice, v.90,272Penni, Francesco, the scholar of Raphael, iii. 490Pepoli, Romeo, his rise to power at Bologna, i.114,116Peregrinus, Bononiensis, an early printer at Venice, ii. 376Perino, a Milanese, carved the tomb of Mastino II. della Scala, iii. 124note1Perino del Vaga, the scholar of Raphael, iii. 490Perotti, Niccolò, a pupil of Vittorino da Feltre, i.177;author of theCornucopia,179;translates Polybius, ii. 228;takes part in the quarrel of Poggio and Valla, 240, 241;Pirro, his preface to his uncle'sCornucopia, i.179Perotto, murder of, by Cesare Borgia, i.426Perrucci, Antonelli, execution of, by Ferdinand of Aragon, i.571note3Perugia, seized by Gian Galeazzo, i.148;generally Guelf,194;excitable and emotional character of the people of Perugia, iii. 221;peculiar position of Perugia in Italian art and literature, v.498;standards of the religious confraternities preserved at Perugia, iv.283note1—— S. Bernardino, its façade, iii. 79note1, 150;S. Domencio, monument of Benedict XI., 115;S. Pietro de' Cassinensi, tarsia work, 78note2;Mino da Fiesole's altar in the Baglioni Chapel, 158note1—— the Sala del Cambio, tarsia work designed by Perugino, iii. 78note2;Perugino's frescoes, 210, 295, 296—— High School, the, founded by Clement V., ii. 117Perugino (Pietro Vannucci), i.325, v.498;his arabesques at Perugia, ii. 440;his designs for tarsia work there, in the Sala del Cambio, iii. 78note2;his frescoes in the Sala, 210, 295;Michelangelo's criticism of him, 296, 298note1, 300, 386note2;character of his genius, 294;his artistic development impaired by his commercial character, 296, 298, 299;the problem of his personal character, 297, 298 (cp. i.170note1);competes for the decoration of the Stanze of the Vatican,300;his influence upon Italian art,300,303;his adherence to the older manner of painting,303,365Peruzzi, the, at Florence, i.238;