their loan to Edward III.,257;their bankruptcy,258Peruzzi, Baldassare, church built by him at Carpi, ii. 374;architect of the Villa Farnesina at Rome, iii. 83, 84;his work at S. Peter's, 91;how far influenced by Sodoma in painting, 501;employed as scene-painter at the representation of theCalandrain the Vatican, v.143,146Pescara, Marquis of. (SeeD'Avalos, Ferrante Francesco.)Peselli, the, Florentine painters, introduced new methods of colouring, iii. 225Petrarch, his love of antique culture, i.11, ii. 13;ignorant of Greek, i.20, ii. 74, 75, 90;his autobiographical tracts, ii. 36, iv.91,123;present at the marriage of the Duke of Clarence, i.138;his remark on Florentine intelligence,250;his denunciations of Papal profligacy,457;his conception of self-culture, ii. 4;belongs less than Dante to the middle ages, 13, iv.91,140, v.2;Dante and Petrarch compared, ii. 70, iv.85-89,90;greatness of his services to culture, ii. 71, 86;his love of Cicero and Virgil, 73, 76;his liberal spirit, 75, 78, iv.87(cp. v.504);his judgments of poetry and oratory, ii. 76, 77, 450;his vanity and inconsistency of conduct, 79-84;depreciated Dante, 82;his relations to Rienzi, 83, 147-149;his philosophical creed, 84-86, v.450;despaired of getting Greek learning from Constantinople, ii. 92note1, 142note1;his invective against the copyists, 129;began the search for MSS. of the classics, 132 (cp. 530);his study of the ruins of Rome, 149;his description of Rome in desolation, 154;conceives the idea of forming a public library, 166;his friendship with Robert of Anjou, 252, iv.120note1;his denunciation of the astrologers, ii. 75, 336;Aldo Manusio's Italic types imitated from his handwriting, 381;began the fashion of Ciceronian letter-writing, 530;his description of death illustrated by frescoes in the Campo Santo, Pisa, iii. 202;his mention of Simone Martini and Giotto, 217note1;his account of the Sicilian poets, iv.21;attained the conception of Italy as a whole,87;crowned in the Capitol,88;his language free from dialect,89;his treatment of love,89;conflict in his mind between his love of Laura and his religious feelings,90;the nature of his passion for Laura,92-94;brings the feeling of love back from mysticism to experience,94, v.515;his artistic treatment of his subject-matter, iv.95;had no strong objective faculty,96;his power of self-portraiture,97;the dialogue on the Destruction of Cesena, falsely attributed to him, v.117note1Petrarchistic School in Italian literature, Petrarchists of thetrecento, iv.159;the revival under Bembo and the purists,165;injurious effects of the imitation of Petrarch, v.249-251,273;inattention shown by the Petrarchists to the calamities of Italy,281Petrucci, the, at Siena, supported by the people, i.87—— Antonio, invites Filelfo to Siena, ii. 276;Cardinal, conspiracy of, i.436;his patronage of scholars at Rome, ii. 404;Pandolfo, his rise to power at Siena, i.114,209;his murder of Borghese,121note1Philosophy, at the commencement of the Renaissance did not form a separate branch of study, v.458;materialism in the Lombard Universities due to physical studies,458Philosophy, Italian:Italian philosophy unduly neglected in the history of modern thought, v.448;three stages of thought in the passage through Renaissance to modern science,448,457;disengagement of the reason from authority due to Italian thinkers,448,449,485-487,520;Cicero and Seneca used as models by the humanistic ethicists,451;value of the labours of the Florentine Platonists,452-454;problems of life posed by ethical rhetoricians,454-457;Valla'sDe Voluptate,455;rapid growth of heterodox opinions on immortality during the Renaissance,470;influence of Pomponazzi on Italian thought,479,520Piacenza, destruction of, by the Milanese, i.152,162note1,212—— University, the, established by Innocent IV., ii. 117Piagnoni, name of the followers of Savonarola at Florence, i.290,529, ii. 355, iii. 252Piccinino, Jacopo, murdered by Ferdinand of Aragon, i.113note1,571Piccinino, Nicolò, i.161, ii. 264Piccolomini, hisLa Raffaellaquoted for Italian ideas of honour in women, i.485(cp. ii. 37)Piccolomini, Æneas Sylvius. (SeePius II.)Pico. (SeeMirandola.)Piero di Cosimo, his studies in natural history, iii. 226;his eccentricity, 256;his romantic treatment of classical mythology, 256;his art as illustrating the poetry of Boiardo, iv.463;theTriumph of Deathdesigned by him,393-395, v.114Piero della Francesca, his fresco of theResurrectionat Borgo San Sepolcro, iii. 234;hisDream of Constantineat Arezzo, 235;his portraits of Sigismondo Pandolfo Malatesta and Frederick of Urbino, 235, 275note1Piero da Noceto, private secretary of Nicholas V., ii. 229Piero delle Vigne, hisPerocchè Amorean early instance of a sonnet, iv.25Pilatus, Leontius, Boccaccio's Greek master, ii. 91Pinturicchio, Bernardo, i.325,384note1;competes for the decoration of the Stanze of the Vatican, iii. 300;his frescoes in the Cathedral Library at Siena, 302;his affectation, 302, 364note1Pio [Pia], Alberto, the patron of Aldo Manuzio, ii. 374;a member of the Aldine Academy, 387;ambassador from France at Rome, 405;Alda, mother of Veronica Gambara, v.288;Lionello, ii. 374Pippin, named Patrician of Rome, i.50Pirkheimer, Willibad, the friend of Gian Francesco Pico, ii. 423Pisa, not eminent for literary talent, i.79;sale of, to Gian Galeazzo,148;its cruel treatment by Florence,212,237,342,560, ii. 165;popular outbreak at the entry of Charles VIII., 343, 561—— Campo Santo, the, story of the sarcophagus there, which influenced the genius of Niccola Pisano, iii. 106;built by Giovanni Pisano, 110;the frescoes, 200-204, 209, 219, 242 (cp. iv.261note2);S. Caterina, Traini'sTriumph of S. Thomas, iii. 207;Simone Martini's altarpiece, 217note2;the Cathedral, iii. 49;S. Francesco, Taddeo di Bartolo'sVisit of the Apostles to the Virgin, 218;S. Maria della Spina (Spina Chapel), rebuilt by Giovanni Pisano, 110—— University, the, ii. 117, v.497;transfer of the High School from Florence thither, ii. 122Pisanello, medal struck by him in honour of Vittorino da Feltre, i.178Pisani, the (Giovanni and Niccola), their bas-reliefs at Orvieto, iii. 56;Vasari's statement that they aided in the façade of Orvieto discussed, 116—— Giovanni, contrast of his work with that of his father, Niccola, iii. 110, 177;his architectural labours, 110;his pulpit in S. Andrea, Pistoja, 111-114;his allegorical figure of Pisa, 114;his tomb of Benedict XI. in S. Domenico, Perugia, 115;Niccola, individuality of his genius, ii. 5;his influence on sculpture, iii. 101, 177;the legend of his life, how far trustworthy, 102;his first work as a sculptor, theDeposition from the Cross, 104;story of his genius having been aroused by the study of a sarcophagus in the Campo Santo, 106;the sculptures of the Pisan pulpit, 107, 109 (seealso Appendix i.);degree in which he was indebted to ancient art, 108, 110, v.506;contrast of his work with that of his son, Giovanni, iii. 110, 177—— Ugolino, his Latin play,Philogeniav.110Pistoja, contrast of its history with that of Lucca, i.194—— S. Andrea, Giovanni Pisano's pulpit, iii. 111-114;the Duomo, Cino da Pistoja's monument, iv.66note1;Church of the Umiltà (by Vitoni), iii. 83—— Ospedale del Ceppo, the, its frieze, by the Robbian School, iii. 150note1Pitigliano, Count, general of Alfonso II. of Naples, i.552Pitti, Jacopo, his history of Florence, i.278,279;his democratic spirit,280,288,299note2;his panegyric of Piero Soderini,289, iii. 391;ascribes the downfall of Florence to theOttimati, i.288;his style,291;his account of Guicciardini,299,299note1 (cp. iv.515);on the preaching of Frate Francesco, i.621;the Life of Giacomini cited for Giacomini's share in Machiavelli's plan for a militia,313note1—— Luca, his conspiracy against Piero de' Medici, ii. 314Pius II., in the service of the Emperor before his election, ii. 190;his reputation as an orator, 191;his Latin correspondence, 532;his letter to his nephew, 42note1;contrast between his life before and after his election to the Papacy, i.380, ii. 358;his saying on the celibacy of the clergy, i.459;his canonisations and love of reliques,461;pardons the people of Arpino as fellow-citizens of Cicero, ii. 30;his epigram on the ruins of Rome, 151;endeavours to protect the Roman monuments, 429;founds the College of Abbreviators, 358;his saying upon Tommaso Parentucelli (Nicholas V.), 224;his Commentaries cited for his conversations with Frederick Duke of Urbino, i.178note2;for Gian Galeazzo's saying on Salutato, ii. 105note1;his testimony in another work to Beccadelli's reputation as a stylist, 257note1Pius III., i.433Pius VI., his destruction of the Chapel in the Vatican painted by Mantegna, iii. 277Plagiarism, commonness of, in the fifteenth century, iv.194note1Platina, his account of Paul II.'s persecution of the Humanists, i.384note1,386,387, ii. 36, 511;a member of the Roman Academy, ii. 361Plato, Aldine edition of, ii. 16, 379;impulse given by Gemistos to Platonic studies, 207;quarrel of the Platonists and the Aristotelians, 208, 244, 247, 394, v.454;the study of Plato prepared the way for rationalism, ii. 209, 325, iv.447;influence of Plato at the Renaissance, ii. 323;Plato not fully comprehended by the thinkers of the Renaissance, 327, v.452;celebrations of his birthday by the Florentine Academy, ii. 328;the Florentine Platonists, iv.452.(SeealsoFicinoandPico Mirandola.)Plautus, influence of, on the Italian playwrights, v.122,136,148,161,181;representations of Plautus in the original at Rome,138,145;at Ferrara, iv.499, v.139-142,145;early translations of Plautus, forming the beginnings of Italian comedy, v.140Plethon, Gemistos, settles at Mistra, ii. 199;his dream of a neo-pagan religion, 200;his system of philosophy, 201-204;attends the Council of Florence, 205;his reception by the Florentines, 206;impulse given by him to Platonic studies in Italy, 207, 328, v.452;his treatises on Fate, and on the differences between Plato and Aristotle, ii. 208;his controversy with Gennadios, 209;his remains brought from Greece by Sigismondo Pandolfo Malatesta, i.173,461, ii. 34, 209Plutarch, effect of the study of Plutarch in Italy, i.165note2,464;Life of Cleomenes quoted,235note2Podestà , the place and function of this magistrate, i.35,71,84;meaning of the word,67;sometimes became tyrants,112Poetry, opposition of the medieval Church to, iv.81Poggio, corresponds with Lionello d'Este, i.173;his relations to Frederick of Urbino,179;account of him by Vespasiano,275;attached to the Papal Court,459, ii. 218, 230;a scholar of Giovanni da Ravenna, ii. 100, 230;his funeral oration on Niccolò de' Niccoli quoted for the society founded by Marsigli, 102;patronised by Salutato, 106;learns Greek of Chrysoloras, 110, 230;his copying and sale of MSS., 131;his discoveries of MSS., i.21, ii. 134-139;his zeal and unscrupulousness in the quest, ii. 138;his translations of Diodorus Siculus and Xenophon, 228, 237, 243;his debt to Niccolò de' Niccoli, 230note1;description contained in one of his letters of Jerome of Prague before the Council of Constance, 231, 535;his pictures of foreign manners, 231;varied character of his talents, 232;his attacks on the clergy, 233-237;terror caused by his invectives, 237 (cp. 513);his quarrel with Filelfo, 238-240;with Guarino and with Valla, 240-242, 263, 301;his fight with Trapezuntius, 243;his criticism of Beccadelli'sHermaphroditus, 255;his scandalous account of Filelfo's marriage, 269note1;his marriage and life as a citizen of Florence, 245;theDe Nobilitate, i.186note1;theHistory of Florence,81,274;its style and value,275;the description of the ruins of Rome (the first part of theDe Varietate Fortunæ), ii. 152-154, 231, 429, 530Pole, Cardinal, his friendship with Flaminio and Vittoria Colonna, ii. 498, 502, v.292Polentani, the, of Ravenna, i.111,375Polenta, Obizzo da, his murder of his brother, i.119note2;Ostasio da, his murder of his brother,119note2Polidoro da Caravaggio, the scholar of Raphael, iii. 490Polissena, Countess of Montalto, her murder, i.119note2Politici, the, an Academy at Bologna, ii. 366Poliziano, Angelo, assassination of his father, i.170note1;present at the murder of Giuliano de' Medici,265note1;his letter to Antiquari, containing an account of Lorenzo's last interview with Savonarola,523note1, ii. 355 (cp. 533);wide scope of his genius, ii. 10, iv.399;his lectures on the Pandects, ii. 124;learnt Greek from Callistus, 248, 346;one of the circle gathered round Lorenzo de' Medici, 322, 323;his description of Pico della Mirandola, 329;his wooing of Alessandra Scala, 344;brought into fame by his Latin version of part of Homer, ii. 346, iv.401,411;his lectures at Florence, i.171;their enormous success, ii. 350, 464;popularity of Poliziano, 353;his relations to the Medicean family, 354;his want of self-respect, 354;Giovio's story of his death, 348note2, 354note1;epitaph placed upon his tomb, 357;his indebtedness to Sacchetti, iv.155;his eulogy of Alberti,214;one of his letters cited for the Maccaronic Italian used by scholars,237;represents the servility of his age in literature,404;ideal of life expressed in his works,423;erroneous ascription of theMorganteto him,455note3, v.316note1;his position as an Italian poet, ii. 347, iv.399-401;insincerity of emotion in his Italian poems, iv.423;popularity of his Italian poems,409note2;injury caused to his poems by the defects of his temperament,399;his mastery of metre,401-403, v.212,230;surpassed by Ariosto, v.43;theStanze, iv.401,403,406-409,421;their importance in Italian literature,403;illustrations of theStanzeby contemporary works of art,408;translation of passages,408,420;theOrfeo, iv.357,409, v.108,221;excellent choice of its subject, iv.410;occasion of its being written,411;its greatness lyrical, not dramatical,412-414;translation of the Chorus of the Mænads,414;popular redaction of theOrfeo,409note2;theOrfeocited for the tendency of the Italians to unnatural passions,477note1;his Canzonet,La pastorella si leva per tempo, iv.268note3;a letter of his to Lorenzo cited for the antiquity of theRispettiand the cultivation of popular poetry in the Medicean circle,269,416note1;translation of aBallata,378;hisRispetti, &c.,416;more artificial in character than the popular poetry,417;theRispetti continuati,419;illustrations of them from contemporary works of art,419;theLa brunettina mia,La Bella Simonetta, andMonti, valli, antri e colli,420-422;part ofLa Bella Simonettatranslated,420;the Essay on the Pazzi Conspiracy, i.265note1;the Miscellanies, ii. 352;the Greek and Latin poetry, 348;original character of the Latin poetry, 348, 356, 453-458, 463;the Lament for Lorenzo, 355, 356;analysis of theNutricia, 453-458;the Eulogy on Lorenzo, 457, iv.369;Gyraldus' criticism of theSylvæ, ii. 459;theRusticus, 459, iv.423, v.234;theManto, ii. 460-462;theAmbra, 463 (prose translations of passages from the Latin poems will be found 454-463);the minor poems, 464;Greek epigram sent to Guidobaldo, Duke of Urbino, i.182note1;translation of Greek hexameters, ii. 24;the epigram on Pico when he attacked the astrologers, 337note1;the epigram on the first Greek printers, 375note2;the Sapphics to Innocent VIII., 495;the verses on Filippo Lippi, iii. 247;his Latin correspondence, ii. 532Pollajuolo, Antonio del, his choice of subjects of a passionate character, iii. 146;his monument of Sixtus IV., 147;his experiments in colour, 225;over prominence of anatomy in his works, 232;hisHercules, illustrating his treatment of the antique, 291;architect of the Belvedere of the Vatican, i.384note1;his statue of Innocent VIII.,415, iii. 147;his portrait of Poggio, ii. 246;his work as a bronze founder, iii. 78note1;Piero del, aids his brother, Antonio, iii. 147, 225Polybius, studied by Machiavelli, v.434note1Pomponazzi, Pietro, studies at Padua, v.458,459;moves from Padua to Ferrara, and finally to Bologna,460;his Treatise on the Immortality of the Soul burnt in public at Venice,460;controversy raised by that work,461,479;Pomponazzi aimed at stating the doctrines of Aristotle as against the Thomists and Averrhoists,462;adopted the views of Alexander of Aphrodisias,459,472;his profession of faith,476,477,480;powerful personality shown by his writings,461;his positivism,478;akin in this respect to Machiavelli,485-487;his influence on Italian thought,479;his materialistic philosophy, i.456, ii. 124, 394 (cp. 477), iv.447, v.312,314,518;theDe Immortalitate Animæ, ii. 410, v.460;Pomponazzi's doctrine of the soul's materiality there stated, v.472-476,520;theDe Incantationibus,461;rejects demons and miracles in this work,476;acknowledges astral influence,477;expresses the opinion that Christianity is doomed to decline, iv.448note1, v.477;theApologiaandDefensorium, v.461;theDe Fato,461,477;description of the philosopher contained there,478Pontano (Jovianus Pontanus), assassination of his father, i.170note1;his relation to Frederick of Urbino,179;tutor to Piero de' Pazzi, ii. 41;a member of the Roman Academy, 361;founder of the Neapolitan Academy, 363, v.198,272;his employment by the Kings of Naples, ii. 363;his oration to Charles VIII., 363;portrait of him in the Church of Monte Oliveto at Naples, 365, iii. 164, v.198;value of his works, ii. 364, v.220;theDe Immanitate, cited, i.139note1,481note2,569,569note1,571note1;theDe Liberalitate, cited,569note1;his merits as a writer of Latin verse, ii. 364, 465, v.235;theDe Stellis, ii. 466-468, v.220,235;theDe Hortis Hesperidum, v.220,235;his Odes to the Saints, iv.302;Neapolitan colouring of his poems, ii. 364, v.213,235;their pictures of Neapolitan life, v.217;their sensual but unaffected character,214-217;Pontano's love of personification,218;translation (in prose) of the lines personifying Elegy,219Pontelli, Baccio, architect of the Hospital of Santo Spirito at Rome, i.384note1;employed as architect upon the Ducal Palace, Urbino, iii. 162note1Pontius, Paulus, his monument of Alberto Pio, ii. 375Pontormo, Jacopo, his portraits of Cosimo and Lorenzo de' Medici, iii. 498;his portrait of Ippolito de' Medici, ii. 27;decorates the cars for the Pageant of the Golden Age, iv.397Ponzoni family, the, of Cremona, i.145Popolo, meaning of the word,55,56,71, iv.7,8;increase in the power of thePopolo, i.61;Guicciardini's use of the word,306note1Porcari, Stefano, his attempt on Nicholas V., i.376,377,386;influenced by the history of Rienzi,376, ii. 147Porcello, Giannantonio, patronised by Alfonso the Magnanimous, ii. 264, 303Pordenone, iii. 371Porta, Giacomo della, his work at S. Peter's, iii. 93;Guglielmo della, his monument of Paul IV., i.371, iii. 108Portogallo, Cardinal di, his monument in S. Miniato, iii. 153;Vespasiano's testimony to his virtues, 154Portuguese, the, round the Cape, i.15Porzio, Simone, the disciple of Pomponazzi, v.479;story of his lecturing at Pisa,479;his belief as to the soul,479Pratiche, name of an extraordinary Council in some Italian Communes, i.35Prato, Sack of, iii. 308note2, 393;the Duomo, Mino's pulpit, 158note1;Filippo Lippi's frescoes, 245, v.54(cp. iv.422);chapel of the Sacra Cintola, iii. 79Prendilacqua, his biography of Vittorino da Feltre, cited, i.178note1, ii. 37Primaticcio, his residence at the Court of France, iii. 445Princes, effect of, upon Italian literature, iv.404Principi, theLettere de', quoted, i.442Printers, the early, i.23;the first printers in Italy, ii. 306note2, 368-391;labour employed in printing the first editions of the classics, 372Priors, name of the chief magistrates in some Italian Communes, i.35,68,71;Priors of the Arts at Florence, i.224Professors, pay of, in the Italian Universities, ii. 121, v.460;subordinate position of the humanist professors, ii. 123;