hisBallata, O vaghe montanine pasturelle,155,262,305;his admiration for Boccaccio,148Sacre Rappresentazioni, the, i.477note1,480, iv.172;contained the germs of a national theatre, iv.306, v.109,136;took their origin from the religious practices of theLaudesi, iv.307;their relation to the Northern Miracle Plays,312;mode in which they were represented,313;theory that they arose from a blending of the midsummer festivals at Florence and theDivozioni,314-320;their form,321, v.182note2;their religious character, iv.323, v.112,519;their scenic apparatus, iv.324-327;how far illustrated from contemporary works of art,327note1,338,340,343;analysis of the play of S.Uliva,327-330,351;translation of the Dirge of Narcissus and the May Song,328;universality of the legend upon which it is founded,351,353;subjects of other plays which have been preserved,331;analysis of the play of Mary Magdalen,331-337;translation of Christ's Sermon,333-336;theFigliuol Prodigo,337;elements of comedy in the sacred dramas,337note3;their treatment of Mary and the Magdalen,339;dramas dealing with monastic legends,341-343;lack of the romantic element,343;show less maturity than the contemporary works of art,346;their interest as illustrating Italian imagination,347, v.54;analysis ofTeofilo, the Italian Faust, iv.347-349;analysis of theRè SuperboandBarlam e Josafat,349;theStella,Rosana, andAgnolo Ebrao,353-355;the three Pilgrimage Plays,355-357;failure of the sacred dramas to create a national theatre,357, v.112Sacrificio, El, a masque played at Siena, v.143note2Sadoleto, Jacopo, cited for the prevalent belief that the Sack of Rome was a judgment of God on the city, i.446, ii. 416;made a Cardinal, ii. 402, 416;his rise into greatness, 403;his entertainments of the Roman Academy, 409;his poem on theLaocoon, 415, 432, 496;his gravity and sincerity of character, 416;his friendship with Vittoria Colonna, v.292;his 'Commentary on the Romans' placed on the Index, ii. 416Salaino, Andrea, the favourite pupil of Lionardo da Vinci, iii. 317, 484Salerno, University of, ii. 117Salimbene, Fra, his Chronicle of Parma, i.251;his account of Frederick II., iv.21Salimbeni, the, at Siena, v.99Salutato, Coluccio, his 'Letters' quoted for the influence of Petrarch on Boccaccio, ii. 90note1;their value, 104note1;their contemporary influence, 104, 531, iv.175;his importance as a stylist, ii. 103-105;one of the circle in S. Spirito, 102;his patronage of learning, 106, 230;translates Dante into Latin verse, 103, 106, 449;causes Petrarch'sAfricato be published, 104note1, 106;his invective against the copyists, 130;saw the desirability of forming public libraries, 166;his poems, iv.165Salviati, Archbishop of Pisa, his share in the Pazzi Conspiracy, i.397,398Salviati, Caterina, wife of Nerli, i.290Salviati, Francesco, mentioned by Doni as scene-painter at a representation of comedy in Florence, v.144note4San Gemignano, Savonarola at, i.507;the towers of,507, iii. 58;Gozzolo's frescoes, i.507, iii. 242, v.54;Ghirlandajo's frescoes, i.507, iii. 259;Da Majano's bas-reliefs, iii. 160Sancia, Donna, wife of the youngest son of Alexander VI. by Vanozza Catanei, i.418Sanga, Battista, the secretary of Clement VII., v.380;addressed by Berni in the suppressed stanzas of therifacimentoof theOrlando Innamorato,379,380Sanmicheli, Michele, his work as an architect at Verona, iii. 86Sannazzaro, Jacopo, facts of his life, v.198;a member of the Roman Academy, ii. 361;of the Neapolitan, 363, v.198;his friendship with Pontanus, ii. 363, v.198;representation of him in the Church of Monte Oliveto at Naples, ii. 365, iii. 164, v.198;frigid purism of hisDe Partu Virginis, ii. 398, 468, 470 (cp. v.249);criticism of Lilius Gyraldus upon it, ii. 469note1;his Latin poems, 468, v.198-201;his epigrams on the Borgia and Rovere families, ii. 469, v.199;preferred Fracastoro'sSyphilisto his own epic, ii. 477;translation of one of his sonnets, v.200;hisArcadia,202;first gave form to the Arcadian ideal,197;its mixture of autobiography and fable,202;idyllic beauty of the episodes,202;its art illustrated by the paintings of Mantegna,203;by theQuattro Centopainters in general,204,207;its literary style,203;representative of the spirit of the Renaissance,202;translation of the description of the 'Shrine of Pales,'205-207;of the portrait of Amaranta (Carmosina Bonifacia),207-209;of the description of the nymphs and shepherds,209;of pictures of inanimate nature,209;of Carino's Lament,210;theArcadiathe model of Sir Philip Sidney's work,211;the poetical portions,211;translation of a Sestine,212Sanseverini, the, of Rome, Pomponius Lætus said to have been related to them, ii. 33, 359;their ruin, v.298—— Ferrante, Prince of Salerno, takes Bernardo Tasso into his service, v.298Sansovini, the, their work as sculptors and bronze founders in Italian churches, iii. 78note1—— (1) Andrea Contucci di Monte Sansavino:his tombs of Ascanio Sforza and Girolamo della Rovere, iii. 156;straining after effect in his work, 156, 166;—— (2) Jacopo Tatti, called Il Sansovino: his work as an architect at Venice, iii. 85, 167, 355;the Library of St. Mark's, 85, 167;the friend of Titian and Aretino, 167, 168, v.398,409;bravuracharacter of his works in sculpture, iii. 167;his bronze door of the sacristy of St. Mark, 168, v.424;hisBacchus, illustrating the supremacy of pagan motives in the art of the Renaissance, iii. 169;story of the model who sat for theBacchus, 233Santi, Giovanni (father of Raphael), his Chronicle cited, i.166note3;written in the metre of the Divine Comedy, iv.172;his character of Desiderio, iii. 160;hisMadonna, with portraits of his wife and the infant Raphael, 330Sanudo, a member of the Aldine Academy, ii. 387;his diary cited for the wealth of the Venetian nobles, i.235note1;for the disorders caused by the sensuality of Alexander VI.,417note1;for the belief that Alexander died of poison,429,430;for the story that Alexander had sold his soul to the devil,431;for the gluttony of the prelates,479note1;for the pay of jurists in Italian universities, ii. 121;for the shows at Ferrara on the marriage of Lucrezia Borgia, v.141note2Sappho, lines on Fame, translated, ii. 40Saronno, church of, Luini's frescoes, iii. 485-487;Ferrari's frescoes, 488Sarto, Andrea del, his visit to the Court of France, iii. 445;qualities of his colouring, 497;his pictures wanting in depth of thought and feeling, 497;creates an epoch in Florentine art, 496, 498Sarzana, surrender of, by Pietro de' Medici, i.559Satire in the Middle Ages, iv.108;in Italy at the Renaissance, v.310,381Sauli, Stefano, the friend of Flaminio, ii. 501;his Genoese origin, illustrating the loss of literary supremacy by Florence, 506Savelli, the, at Rome, i.375Saviozzo da Siena, his political poems, iv.161;his commentary upon the Divine Comedy,163Savonarola, his treatise on the Government of Florence, i.128note1,277, iii. 265, 392note1, iv.386;the author of the Florentine Constitution of 1494, i.202,222,526;proclaims Christ the Head of the State,222,526, iii. 214, 308;his hostility to theParlamento, i.230note1,526;his Constitution came too late to save the city,231;his admiration of the Venetian polity,234;influence of his prophecies at the siege of Florence,284,290,518,536;Guicciardini's account of him,304,308;criticism of him by Machiavelli,345;Savonarola and Machiavelli contrasted,368;confined himself to the reformation of morals, and shrank from the imputation of heresy,454,499;objected to classical learning on the ground of its worldliness,456note1,499,505,506, ii. 326, 396, 516;his opposition to the arts, iii. 24, 29note1, 265, 310;his denunciations of the Papacy, i.530;his testimony to Florentine profligacy,475,477note1,480;story of his life—his boyhood,499;takes the cowl,501;his account of his vocation,501;goes to Florence,503;sent to San Gemignano,506;his first success at Brescia,508;his appearance and style of preaching,508-514(cp. iii. 309note2);believed in his own gift of prophecy, 512note1;his visions, 515;how far he was guided by them, 518;his error in teaching the Florentines to look for foreign aid, 518;recalled by Lorenzo de' Medici, 521;his opposition to Lorenzo, 521;called to Lorenzo de' Medici's deathbed, 523;his activity takes a political turn, 524, iv.384;the Bonfire of Vanities, i.527, iv.392;his influence begins to decay, i.529,531;his contest with Alexander VI.,529;weakness of his position in not breaking with Rome,530,622;writes letters summoning a European council,532;his letter to Alexander,532;the ordeal by fire,533;his imprisonment, torture, and death,533-535;his canonisation proposed,535Savonarola, Michael, his 'Panegyric of Padua,' quoted for the teaching of perspective in Padua, iii. 236Savoy, the House of, i.52,57,110,146note1Scala family, the, how they acquired their power, i.111;violent deaths among them,120,145;their tombs at Verona, iii. 124, 163Scala, Alessandra, Poliziano's wooing of her, ii. 344;—— Bartolommeo, raised by the Medici from a low station, 344;his quarrel with Poliziano, 344Scala, Can Grande della, i.145;Mastino della,145Scaliger, Julius Cæsar, his character of Aldo Manuzio (the grandson), ii. 389;his criticism of Fracastoro'sSyphilis, 477Scamozzi, Vincenzo, character of his architectural work, iii. 96;his 'Universal Architecture,' 96note1Scandiano, the fief of Boiardo, iv.456,457Scardeone, Bernardino, describes Odassi as the inventor of Maccaronic verse, v.329note3Scarparia, Giacomo, journeys to Byzantium with Chrysoloras, ii. 109Schiavo da Bari, the, his Aphorisms iv.240Scholarship, state of, in the middle ages, ii. 58 foll.Science, opposition between science and religion, i.16;modern science dates from the Renaissance,16,17. v.483,491Scotti, the, at Piacenza, how they acquired power, i.112;overthrown by the Visconti,145;reappear after the death of Gian Galeazzo,150Scoronconcolo, the murderer employed by Lorenzino de' Medici against his cousin Alessandro, v.118Scotus, Duns, v.467,468Scrofa, Camillo, author of theI Cantici di Fidentio Glottogrysio Ludimagistro, v.328Sculpture, why Sculpture yielded to painting in the modern era, iii. 8, 12-21, 31, 120;the handmaid of architecture, 101;took a pictorial form with the Italians, 121, 132, 161, 177, 195;necessarily assumes a subordinate position in Christian architecture, 122;influence of goldsmith's work over the Florentine sculptors, 126;the three periods of Italian sculpture, 177;more precocious in its evolution than painting, 225Sebastian del Piombo, influence of Michelangelo on his work, iii. 493;his friendship with Berni, v.363Sebastian of Pontremolo, an early printer, ii. 376Segni, Bernardo, belonged to the neutral Medicean party, i.289;his Florentine History,278,279;its character and value,292;his knowledge drawn from practical life,231,280;his account of Savonarola's legislation at Florence,197note1,526note1;cited for the story of Jacopino Alamanni,211;for the factions of Siena,207note2;for the dedication of Florence to Christ,222note1;his description of theParlamentoat Florence,230note1;cited for the corruption of Florence,231;for the conduct of the Florentine exiles,236;his account of Guicciardini,299note2;of Giovanni Bandini,477note1Senarega, cited for the expulsion of the Jews by Ferdinand, i.400note2,401Senato, name of a council in some Italian cities, i.35Senator, supreme official in the Roman republic, i.35Seneca, influence of his tragedies on Italian playwrights, v.127note1,130,132note1,135Sercambi, Giovanni, hisNovelle, iv.150note1Sereni, the, an Academy at Naples, ii. 366Serfs, gradual emancipation of the, i.66Sermini, Gentile, hisNovelle, v.60,97;story of Anselmo Salimbeni and Carlo Montanini, v.99Sermintese, a form of Italian poetry adapted from the Provençal, iv.160,257note1Sesto, Cesare da, the scholar of Lionardo da Vinci, iii. 484Sforza, Anna, the wife of Alfonso d'Este, v.140;Ascanio, Cardinal, i.163,405,565;his monument by Sansovino, iii. 156;Caterina Riario (wife of Girolamo Riario), 160note1, 390;Francesco, 86, 88;enters Milan as conqueror, 87, 154, 163, ii. 281;supported by Cosimo de' Medici, i.91,155;acquired his despotism as leader of Condottieri,113note1,153,160,163,361,364;the son of a peasant,116,153,160note1;treatment of his history by Machiavelli,345;his patronage of Filelfo, ii. 38, 282 (cp. 511);his hospital at Milan, iii. 59;Galeazzo, his assassination attempted by Girolamo Gentile, i.168;Galeazzo Maria,165;his assassination,163,166,397note2,543;his intrigue with Pietro Riario,392;Giovanni Galeazzo,543;murdered by his uncle Lodovico,163,480note2,555, v.118;doubts about his murder, i.556note1;Lodovico, debt of the Milanese School of Painting to him,79;invites the French,89,90,164,538,542,546;poisons his nephew,163,480note2,555, v.118;imprisoned in Loches, i.547;attempt to assassinate him,397note2;his usurpation of power,543,548;origin of his surnameIl Moro,547;his character,548;joins the League of Venice against Charles,576;representations of Latin plays before him by the Ferrarese actors, iv.498, v.140Sforza (of Pesaro), Alessandro, his patronage of learning, ii. 302;Costanzo, his patronage of learning, 302;Giovanni, the husband of Lucrezia Borgia, i.420Sforzeschi, the, mercenary troops, i.160,362Shakspere: his treatment of the story of Romeo and Juliet compared with Bandello's, v.71;was probably acquainted with Bandello'sNovellaofNicuolaand the comedyGli Ingannatibefore writing theTwelfth Night,72Shelley, quoted to illustrate the character of Venetian landscape, iii. 350;his opinion of theOrlando Furioso, v.41note1Sicilian period of Italian literature, iv.20;period during which it flourished,21,27;character of the dialect used by the Sicilian poets (thelingua aulica),22;artificial nature of this poetry,25;translated into Tuscan idioms,41,42,268;traces of popular feeling in it,26, v.504;its intrinsic weakness, iv.44Sicilies, Kingdom of the Two, united by Frederick II. to the Empire, i.68;given by the Papacy to Charles of Anjou,75Sidney, Sir Philip, his ideal of a classic drama, v.111,136;his praise of the tragedy ofGorboduc,132note1,136;took Sannazzaro'sArcadiaas the model of his own work,211Siena, produced no great work of literature, i.79;generally Ghibelline,194(cp.iv. 161);discords of Siena,207-209,616, ii. 164, iii. 212, 213, 220;distinguished by religious revivals as well as by factions, i.620note1, iii. 183, 220 (cp.iv. 281);the Sienese bury a statue of Venus in the Florentine territory, ii. 433, iii. 212;architecture of the Sienese palaces, iii. 60;independent origin of painting in Siena, 214;the Sienese dedicate their city to the Virgin, 214, 357;pageants at Siena in honour of S. Bernardino, iv.315;luxury of Siena in the middle ages, v.96—— S. Bernardino, Pacchia's paintings, iii. 501;S. Domenico, Guido da Siena'sMadonna, 214;Sodoma'sS. Catherine at the Execution of Tuldo, 500;Duomo, the, contrasted with Northern cathedrals, 54;its façade (by Giovanni Pisano), 110;its mosaic pavements, 209, 502, iv.130;Duccio's altarpiece, iii. 215;Pinturicchio's frescoes (in the Library), 302;Church of Fontegiusta, Peruzzi'sAugustus and the Sibyl, 501;Monte Oliveto, Fra Giovanni's wood-carvings, 78note2;Signorelli'sSoldiers of Totila, 286;Sodoma's frescoes, 499, iv.132,343, v.54—— Palazzo Pubblico, iii. 61;Taddeo di Bartolo's frescoes, 209;Ambrogio Lorenzetti's frescoes, 210;Simone Martini'sVirgin enthroned, 217;comparison of its decorations with those of the Ducal Palace, Venice, 359—— University, the: receives a diploma from Charles IV., ii. 118—— Sienese School in Painting, the, characteristics of the early Sienese masters, iii. 214, 216;the scholars of Sodoma, 501Sigismund, the Emperor, crowns Beccadelli poet at Siena, ii. 255;Filelfo's mission to him at Buda, 268;pageant in his honour at Lucca, iv.315Signorelli, Luca, his studies from the nude illustrate the changed direction of art, iii. 23, 279, 292;his frescoes at Orvieto, iii. 56, 280, 281, 282, iv.414note1;the arabesques, ii. 440, iii. 283;boldness and vigour of his genius, iii. 279;indebtedness of Michelangelo to him, 279;story of his painting his dead son, 280;his study of human form, 285, 288;his four types of form, 286, 288;his quality as a colourist, 289;theLast Supperat Cortona, 289, 326note1;his treatment of mythology compared with that of other painters, 289-291;said by Michelangelo to have treated him badly, 292note1;his visit to the Vasaris at Arezzo, 293;Vasari's character of him, 293;competes for the decoration of the Stanze of the Vatican, 300Simone, his bas-reliefs at S. Francesco, Rimini, iii. 162Simonetta, Cecco, his execution by Lodovico Sforza, i.543,548Simonetta, La Bella, v.230;her relation to Giuliano de' Medici, iv.403,406note1 (cp.420-422);her portrait by Botticelli,406note1;painted by Lippo Lippi in his frescoes at Prato,422Simony of the Cardinals at Rome, i.404,406Simplicity of character, as contemptible in Italy as in Greece during the Peloponnesian war, i.324Sinigaglia, Massacre of, i.324,347,427,462Sismondi, i.64;his special pleading for Republican institutions,78,115;his description of Gian Galeazzo,144;quoted about the Condottieri,159;his account of the withdrawal of the Florentines from military service,226;on the Venetian Council of Ten,234note1;his argument that Italy would have been best off under a confederation,538note1;his calculation of the decline in number of the free citizens in Italy,547note1Sitibondi, the, an Academy at Bologna, ii. 366Sixtus IV., his avarice, sensuality, and brutality, i.105,113,393-396, iii. 146;his low origin, i.116,388;abettor of the Pazzi conjuration,168,396-398, iv.447, v.118;his services to art, i.384note1;amount of truth in the stories about him,388note1;began the system of founding principalities for his family,389;his wars,395;his share in the creation of the Inquisition and the expulsion of the Jews,399-402;invites Filelfo to Rome, ii. 285;