their system of teaching, 124-127, 274;illustrations of the Italian professorial system at the Renaissance from the Maccaronic writers, v.332Provençal literature, its effect on medieval Italy, iv.13Provence, extinction of heresy there, i.9Ptolemaic System, superseded by the Copernican, i.15,16Pucci, Antonio, his political poems, iv.163;histerza rimaversion of Villani's Chronicle,240;his celebrity as acantatore,257Pulci, Bernardo, writer of the sacred drama,Barlaam e Josafat, iv.320,349;other works of his,430;Luca, his poem on Lorenzo de' Medici's Giostra, iv.405;his share in theCiriffo Calvaneo,430;Luigi, one of the circle gathered round Lorenzo de' Medici, ii. 322, iv.440;his story of Messer Goro and Pius II., iv.255;hisBeca da Dicomano,382, v.224;his quarrel with Matteo Franco, and Sonnets, iv.431,455note3;theMorgantepurely Tuscan,430,431;the burlesque element ready to hand,440;theMorgantewritten to be read in the Medicean circle,440;three elements in the poem,441;theMorgantearifacimentoof earlier poems,442;its plot,443;excellence of the delineations of character,445,470note1;character of Margutte,451;of Astarotte,452-456;not a mere burlesque,446;its profanity, how explained,446-448;instances of Pulci's humour,448-450;false ascription of part of theMorganteto Ficino,455note3;erroneous idea that Poliziano wrote theMorgante,455note3;bourgeoisspirit of theMorgantecontrasted with Boiardo'sOrlando Innamorato,456, v.8(seeAppendix v. vol. iv., for translations from theMorgante);Monna Antonia (wife of Bernardo), authoress of aSacra Rappresentazione, iv.320Puritanism, a reaction against the Renaissance, i.25;its political services,27;antipathy of, to art, iii. 24QUARREL of the Aristotelians and the Platonists, ii. 208, 244, 247, 394, v.454;literary quarrels at the Renaissance, ii. 237-245, 264, 511, iv.431note1,451, v.89,285Quercia, Jacopo della, his work as a sculptor in Italian churches, iii. 78note1;his treatment of the story of the creation of Eve, 118note2, 130;his designs in competition for the gates of the Florentine Baptistery, 127;other works of his—the Fonte Gaja, and the monument of Ilaria del Carretto, 132, 165Quintilian, discovery of a MSS. of, by Poggio, ii. 134-137.Quirino, Lauro, his stipend at Padua, ii. 122RABELAIS, quoted for the feudal idea of honour, i.483Raffaelle da Montelupo, a feeble follower of Michelangelo, iii. 172Raimond of Tours, quoted to illustrate the gaiety of medieval Florence, iv.50Raimondi, Marc Antonio, imprisoned for engraving a series of obscene designs by Giulio Romano, v.389Raimondo da Capua, the confessor of S. Catherine of Siena, iv.174Ramiro d'Orco, appointed governor of the Romagna by Cesare Borgia, i.354;his end,355Rangoni, Count Guido, the patron of Bernardo Tasso, v.297Rapallo, massacre of, i.557Raphael, the question entertained of making him a Cardinal, ii. 403;his project for the exploration of Rome, ii. 419, 436, iii. 337;his friendship with Castiglione, ii. 421;his work in the Loggie and Stanze of the Vatican, ii. 436, 440, iii. 108, 333, v.229;Raphael the harmonist of classical and Christian traditions, iii. 35, 333 (cp. v.26);woodwork executed from his designs at Perugia, iii. 78note2;his mosaics in S. Maria del Popolo, 79note2, 334;his work as an architect, 83, 330;as a sculptor, 329;his frescoes in the Villa Farnesina, 84, 331, 334, iv.403;theGalatea, illustrating his treatment of the antique,291,337;his work on S. Peter's, iii. 91;borrowed the figure of S. Paul in the Cartoon ofMars' Hillfrom Filippino Lippi, 248;the pupil of Perugino, 300;his power of assimilation, 301, 330-332;one of the four great painters by whom the Renaissance was fully expressed, 312;equality, facility, and fertility of his genius, 328;comparison of his genius with that of Mozart, 328;his gentleness, 329;his indebtedness to Fra Bartolommeo, 330;influence of Michelangelo on his later works, 331, 412;his school of workmen, 332;enormous mass of his work, 334;mental power displayed by him, 335, 338, v.116;variety of his genius, iii. 336;theMadonna di San Sisto, 337, 380;his humane spirit and avoidance of painful subjects, 338;the woodcuts of theHypnerotomachiaerroneously ascribed to him, iv.221note1;the scenery for a representation of theCalandraat Rome painted by him, v.147Rasiglia, Pietro, his murder of Nicolà and Bartolommeo Trinci, i.122Raspanti, the, a faction at Perugia, i.122Raul, Sire, his Chronicle of Milan, i.251Ravenna, i.46,118;battle of, ii. 380, iii. 329;tomb of Dante, ii. 410Razzi, his account of the interview of Savonarola with Lorenzo de' Medici on his deathbed, i.523note1Reali di Francia, illustrates the little influence of Boccaccio's style on his immediate successors, iv.136;its stylistic merits,240;the most popular of all Italian books,245,247;attributed to Andrea da Barberino,246Realists, the, v.466Recanati, the Bishop of, murder of, v.297Rectors, orRettori, the magistrates in some Italian cities, i.35,68Reformation, connected with political liberty, i.26;how related to the Renaissance,25, ii. 536;inimical to the Fine Arts, iii. 28Regno, the, early medieval effort to form a monarchy in Italy, i.50-52Religion, opposition between religion and science, i.15;a cause of disorder in Italy,205;morality and religion disunited in Italy,174note1,433,447,462, ii. 234, 257, iii. 451;Machiavelli's opinions on religion, i.453,454;vitality of religion,469;religion and art:how far inseparable, iii. 6note1;injury done to religion by the sensuousness of art, iii. 11, 19, 22, 31;contrast between Greek and Christian religious notions, 12;the opposition of religion and art, 24-26, 28;separate spheres and points of contact between religion and art, 30Reliques, Italian passion for, i.460Renaissance, the, meaning of the term, i.1-4,5,28, v.489foll.;the Renaissance the emancipation of the reason, i.9,14, ii. 13, 43, 535, iii. 8, 179, 333, iv.447, v.14,26,447,491;the revelation of nature in the world and man, i.15note1, iii. 325, v.483,527,528;problem of the Renaissance, v.523,527;the imitation of the Renaissance impossible,526;place of the Renaissance in the history of humanity,527-529;rise and growth of the Renaissance, i.26, v.448;precursors of the Renaissance, i.8,26,27;its relation to the Reformation,26, ii. 536, v.529,530;the Renaissance and modern science, i.16,17, v.483,491;aided by the progress of inventions, i.3,29;began in Italy,30, v.492,529;mingled polish and barbarism of the Italian Renaissance, i.172,183,373,570, v.523;changes in culture effected by the humanism of the Renaissance, i.185, ii. 393, 543, v.508;irreligious character of the Renaissance, i.174note1,455, ii. 16, 44, 205, 217, 257, 518, iii. 228, v.486;the Paganism of the Renaissance, i.454note1,464, ii. 17, 18, 39, 72, 395 foll., 470, 489, 516, 520, 540, iii. 7, 33-35, 107, 135, 167, 175, 257, iv.39,404, v.216,486,492;indigenous in Italy, iv.39;its real character and extent, ii. 395, iv.106note2;religious sentiment, how influenced by the Renaissance, iv.207, v.455;fitness of the Italian character to work out the Renaissance, ii. 1-4, iv.10;fertility of the Renaissance in men of universal genius, ii. 10 (cp. 125), 341;the Renaissance not so productive in religion and philosophy as in art, 21, 337, iv.10, v.447,492;introduced a democracy of intellect, ii. 32, 33;the thirst for fame characteristic of the Renaissance, 38, 80;criticism a creation of the Renaissance, iv.447;the passion for collecting, ii. 139;effect of the study of Roman antiquities upon the Renaissance, 142 foll., 429 foll. (cp. iii. 48note1);undue influence of rhetoric in the Renaissance, ii. 149, 190, 216, 513, 525, v.247,430,451;uncritical character of the first scholars of the Renaissance, ii. 296, 327, 337, 382, v.451,483;ideal of life produced by the Renaissance, ii. 330, iv.219, v.517;the Renaissance checked the spontaneity of the Italian intellect, ii. 394, iv.403;modern culture a gift of the Renaissance, ii. 9, 408, 506, 524, v.491,505,524;the Renaissance appreciative of form independently of matter, ii. 471, 513, 514, iv.403;the weaknesses of the literary and artistic ideal of the Renaissance, ii. 504, iii. 170, 179;predominance of art in the Renaissance period, iii. 1-5, v.6;difficulty of rendering justice to the poetry of the Renaissance, iii. 2 (cp. iv.403);the Renaissance restored the appreciation of natural beauty, iii. 32;error of the artists of the Renaissance in imitating the worst side of Paganism, 175, 454, 489;expression of the Renaissance by the four great painters, Lionardo da Vinci, Michelangelo, Raphael, and Correggio, 312, 319, 323, 325, 346;different parts borne by Venice and Florence in the Renaissance, iii. 354, iv.364;the genius of the Renaissance typified in Boccaccio, iv.104;satire on the Church not combined with unorthodoxy in the Renaissance,109note1,447;mixture of religious feelings with vices in men of the Renaissance,384, v.228;manner in which the myth of Orpheus expressed the Renaissance, iv.410, v.221,450;the culture of the Renaissance derived from Latin, not Greek, models, v.132note1;the completion of the Renaissance announced by the pastoral dramas of Tasso and Guarini,245;belief in the efficacy of a classical revival common at the Renaissance,444;the dream of a Golden Age,195,521;thevolluttà idillicaof the Renaissance,196,230Renaissance architecture:Brunelleschi's visit to Rome, iii. 68;task of the first architects of the Renaissance, 69;criticism of Renaissance architecture, 70;divided into three periods, 70;character of the first period, 71, 80;of the second, 80of the third, 93;influence of this third or Palladian period on Northern Europe, 97;comparison of the various stages of this style with the progress of scholarship towards pedantry, 98;reasons why this style can never be wholly superseded, 99;this style the most truly national in Italy, v.505René of Anjou, expelled from Naples by Alfonso, i.568Republics, the Italian: varied character of the Italian republics, i.193;their resemblance to the Greek States,195;theories of citizenship in them,195;their instability,198;causes of this,205;their smallness,209;their disunion,211;their mercantile character,238Reuchlin, i.27, ii. 391;influenced by Florentine Platonism, ii. 208;heard Argyropoulos lecture at Rome, 210;a pupil of Poliziano's, 350;the friend of Gian Francesco Pico, 423Revivalism, religious, in Italy, i.490, ii. 17 (seeAppendix iv. vol. i.);unknown at Venice, iii. 358Reynolds, Sir Joshua, his criticism of Ghiberti, iii. 132Rhetoric, influence of, at the Renaissance, ii. 149, 190, 216, 513, 525, v.247,430,451;want of original thought in the oratory of the Renaissance, ii. 191, 278note2, 513Rhosos, Joannes, a member of the Aldine Academy, ii. 387Riario, Girolamo, i.389;murder of,120,390;Pietro, Cardinal di San Sisto,389;his extravagant profligacy,390-392(cp. iv.315);his convention with Galeazzo Maria Sforza,392;Cardinal Raphael,407;concerned in Petruccio's conspiracy,437;his patronage of scholars at Rome, ii. 404;buys Michelangelo'sCupidas an antique, iii. 389;representation of theFall of Granadabefore him, v.117note1 (cp.138)Ribellamentu Lu, di Sicilia, its doubtful authenticity, iv.36Riccio, Andrea, his work as a bronze founder, iii. 78note1Rienzi, takes the title of Tribune, ii. 30;his relations to Petrarch, 83, 147-149;his plan to restore the Republic in Rome, 145 (cp. i.376);his confusion of medieval and classical titles,146;his downfall,147Rifacimento, question whether Dino's Chronicle is a work of this class, i.263,273;similar question about the Malespini Chronicle,252note1, iv.36;about Pandolfini'sGoverno della Famiglia, iv.194;Rifacimento of the Orlando Innamorato(seeBerni)Rimini, S. Francesco, adapted by Leo Battista Alberti, i.172,326, ii. 34, 210, 342;the bas-reliefs in the side chapels, iii. 161;Piero della Francesca's portrait of Sigismondo Pandolfo Malatesta, 235Rinaldo d'Aquino, hisFarewell, iv.37Ripamonti, quoted, i.163,167note1Rispetti, meaning of the term, iv.264;common character of, throughout Italy,266;question of their first origin,267;their antiquity,268;their themes,272;purer in the country than in the towns,272Ristoro da Arezzo, hisComposizione del Mondo, iv.36Robbia, Luca della, his work as a sculptor in Italian churches, iii. 78note1;his bas-reliefs in glazed ware, 79;unaffected by the Pagan spirit of the Renaissance, 135;his genius contrasted with that of Ghiberti or Donatello, 148;beauty of his work, 148-150;Luca della, nephew of the sculptor, his account of his interview with Paolo Boscolo, i.466, v.519Robbias, the Della, successors of Luca in his manufacture of earthenware, iii. 150Robert of Anjou, King of Naples, his patronage of Petrarch and Boccaccio, ii. 252, iv.120note1Robert of Geneva, i.81Robert, illegitimate son of Pandolfo Sigismondo Malatesta, said to have poisoned the Florentine poet, Il Burchiello, iv.260Roberto di Battifolle, poems of, iv.165Roberto da Lecce, his preaching at Perugia and Rome, i.614;his attacks on Beccadelli'sHermaphroditus, ii. 256note1Robusti, the (Tintoretto and his son), iii. 371Rocchi, Cristoforo, his model for the Cathedral of Pavia, iii. 68;the pupil of Bramante, 82Rodolph of Hapsburg, his grant to the Papacy, i.374Roland Legend, the: spread of the Roland Romances in Italy, iv.13,427;in the upper classes gave place to the Arthur Legend,17,18;preference of the popular writers for the episode of Rinaldo,244;reasons of this,437;theChanson de Roland,433;historical basis of the myth,434-437;legend that Roland was son of a Roman prefect,439(cp. ii. 30)Rolandino, the Chronicle of, i.251Roman Empire, the old, its dissolution, i.5;its place taken by the Papacy,6Roman Empire, the Holy, i.41;conflict of the Empire and the Papacy,59,60,68,97,100,374, iv.6;power of the Imperial idea, i.97Romances of theQuattro Cento, iv.244-249;their positive tone,248Romanesque (Tuscan) Style, the, iii. 47, 49, 111, v.504Romanino, Girolamo, iii. 503Rome, not included in Theodoric's kingdom, i.46;effect of this,47,49,93;address of the Roman Senate to the Emperor Frederick,65, iv.13;prestige of the name of Rome, i.92, ii. 57;Sack of Rome, i.222,444, ii. 443, iii. 414, 438, 455, iv.2;—— universally recognized as a judgment on its sins, i.446, ii. 445;sufferings of the learned in the Sack of Rome, 443, v.357;government of Rome in the middle ages, i.375;the Romans welcome the accession of Alexander VI. to the Papacy,407;state of Rome under Leo X.,437;pageants at the reception of the head of S. Andrew at Rome,461, iv.316;profligacy of Rome, i.474, ii. 217, 405-407, v.190,386;effect of the study of the ruins of Rome on the Renaissance, ii. 142 foll., 429 foll. (cp. iii. 48note1);culture flourished less at Rome than Florence, ii. 215, iv.364,366, v.499;place of Rome in literature and art, i.79, iii. 181note1, 184;early Roman printers, ii. 368, 405;reasons for the pre-eminence of Rome in the fourth age of culture, 440;occupation of the old Roman buildings by the various great families, iii. 46;Gothic architecture never much practised at Rome, 46;Cellini's description of Rome under Clement VII., 452;protection of assassins in Papal Rome, 459;representations of Plautus and Terence in the original at Rome, v.138—— S. Clemente, Masaccio's fresco of St. Catherine, iii. 229;S. Maria sopra Minerva, Filippino Lippi'sTriumph of S. Thomas, 207, 248;theChristof Michelangelo, 414;S. Maria delle Pace, Raphael's frescoes, 334;S. Maria del Popolo, Raphael's mosaics, 79note3, 334;S. Maria in Trastevere, Mino's tabernacle, 158note1;S. Peter's, plan of Nicholas V., i.379, iii. 90;commenced by Julius II., i.433, iii. 90;built with money raised from indulgences, i.439;Michelangelo's dome, iii. 88;the various architects employed, 90-93;Bernini's colonnade, 93;the Bronze Gates (by Filarete), 108, v.424;Giotto's mosaic, iii. 190;Michelangelo'sPietà, 389, 420;S. Pietro in Vincoli, Michelangelo'sMoses, 399, 340, 420, 422—— Sistine Chapel, the, building of, i.384note1;Michelangelo's frescoes, iii. 403-423. (SeeBuonarroti, Michelangelo.)—— Cancelleria, the, by Bramante, iii. 82;Villa Farnesina, by Baldassare Peruzzi, 83, 84, 334;Villa Madama, by Raphael and Giulio Romano, 83;Pandolfini, by Raphael, 83;Vidoni, by Raphael, 83—— Academy, the, founded by Pomponius Lætus, ii. 361, 365, 409, v.272;representations of Plautus and Terence in the original by the Academy, v.138—— High School, the (the Sapienza), established by Boniface VIII., ii. 117;reformed by Leo X., 426;reasons why it did not rival other Italian universities, 426Roman School of Painting, the, iii. 183;reason of its early decadence, 490-492Romeo and Juliet, story of, i.74;treatment of the story by Bandello and Shakspere compared, v.71Romualdo, S., legend of, ii. 339Rondinelli, Giuliano (or Andrea), the Franciscan chosen to undergo the ordeal of fire with Fra Domenico, i.533note1Rossellino, Antonio, delicacy and purity of his work, iii. 154;his monument to the Cardinal di Portogallo, 153;Bernardo, his monument to Lionardo Bruni, ii. 186, iii. 158note2Rossi, the, at Parma, how they acquired despotic power, i.112,114;overthrown by the Visconti,145;reappear after the death of Gian Galeazzo,150Rossi, Porzia de', the mother of Tasso, v.298;Roberto de', a scholar of Giovanni da Ravenna, ii. 100;one of the society in S. Spirito, 102;visits Chrysoloras at Venice, 109;learns Greek of him, 110Rosso de' Rossi, his visit to the Court of France, iii. 445, 498;his frescoes at the Annunziata, Florence, 498note1Rubens, his transcript of theBattle of the Standard, iii. 145, 321;his transcript of Mantegna'sTriumph of Cæsar, 274, 321note1;compared with Paul Veronese, 372Rucellai, Bernardo, opens the Rucellai Gardens to the Florentine Academy, v.236;Cipriano, his friendship with Palmieri,549;Giovanni, hisApi, ii. 471, v.236;his tragedy ofRosmunda, v.129,236;theOreste,133;compared with theRosmunda,134;his friendship with Giangiorgio Trissino,236;Palla,236Rucellai Gardens, the, Machiavelli's discourses there, i.293,328, ii. 366, v.236,239;Rucellai'sRosmundaacted before Leo X. there, v.129Ruggieri, Fra, leader of mercenaries in Southern Italy, i.156Ruggieri Pugliese, shows in hisLamenttraces of genuine Italian feeling, iv.26Ruscelli, Girolamo, hisCapitoloon the Spindle, v.365Rusconi family, the, at Como, i.150Rustici, Giovanni Francesco, festivals organised by him, v.115Rusticiano of Pisa, his French version of Marco Polo, iv.35SABADINO, hisPorretane, v.60Sabbatini, Andrea, the scholar of Raphael, iii. 490Sabellicus. (SeeCoccio.)Sacchetti, Franco, hisNovelle, iv.148;composed in the vernacular Tuscan,148;their value as a picture of manners,149;comparison between Sacchetti, Masuccio, and Boccaccio,179;Sacchetti as a poet,154-156;his funeral Ode for Petrarch,137note1;for Boccaccio,137;his political poems,161,163;