Chapter XXIV: Appendix

I. POEMS CONTAINING REFERENCE TO ITALIAN ART.

1. Pauline, 1833.
2. Paracelsus, 1835.
3. Sordello, 1840.
4. Pippa Passes, 1841.
5. My Last Duchess, 1842.
6. In a Gondola, 1842.
7. Waring, 1842.
8. The Boy and the Angel, 1845.
9. Time’s Revenges, 1845.
10. The Bishop orders his Tomb at St. Praxed’s Church, 1845.
11. Pictor Ignotus, 1845.
12. The Italian in England, 1845.
13. Luria, 1846.
14. A Soul’s Tragedy, 1846.
15. Christmas-Eve and Easter-Day, 1850.
16. Up at a Villa, 1855.
17. A Toccata of Galuppi’s, 1855.
18. Old Pictures in Florence, 1855.
19. By the Fireside, 1855.
20. Any Wife to Any Husband, 1855.
21. In Three Days, 1855.
22. The Guardian Angel, 1855.
23. Master Hugues of Saxe-Gotha, 1855.
24. The Statue and the Bust, 1855.
25. How it Strikes a Contemporary, 1855.
26. Fra Lippo Lippi, 1855.
27. Andrea del Sarto, 1855.
28. Bishop Blougram’s Apology, 1855.
29. One Word More, 1855.
30. James Lee’s Wife, 1864.
31. Abt Vogler, 1864.
32. Youth and Art, 1864.
33. A Face, 1864.
34. Apparent Failure, 1864.
35. The Ring and the Book, 1868-9.
36. Prince Hohenstiel-Schwangau, 1871.
37. Fifine at the Fair, 1872.
38. Red Cotton Night-Cap Country, 1873.
39. The Inn Album, 1875.
40. Pacchiarotto, 1876.
41. Cenciaja, 1876.
42. Filippo Baldinucci, 1876.
43. Pietro of Abano, 1880.
44. Christina and Monaldeschi, 1883.
45. With Christopher Smart, 1887.
46. With Francis Furini, 1887.
47. With Charles Avison, 1887.
48. Ponte dell’ Angelo, Venice, 1889.
49. Beatrice Signorini, 1889.

II. TABULATION OF REFERENCES TO INDIVIDUAL ARTS.

SCULPTURE

I. _Sordello._
1. Niccolo Pisano (1206-1278). By his study of nature
and the ancients, gave the death-blow to
Byzantinism and heralded the Renaissance.
2. Giovanni Pisano (c. 1250-1330). His many pupils
carried the continuation of his father’s principles
throughout northern Italy.

II. _Pippa Passes._
1. Canova (1757-1822). A refined, classical, but
somewhat artificial reviver of Italian sculpture in
the modern era.
a. The Psiche-fanciulla--Psycheas a young girl
with a butterfly, in the Possagno Gallery.
b. Pietà--a statue of the Virgin with the dead
Christ in her arms, in Possagno Church.
2. Jules. An imaginary young sculptor, studying
Italian models.
a. Almaign Kaiser.
b. Hippolyta.
c. Psyche.
d. Tydeus.

III. _My Last Duchess._
1. Claus of Innsbruck. An imaginary Renaissance
sculptor.
a. Neptune taming a sea-horse.

IV. _The Bishop orders his Tomb at St. Praxed’s Church._
1. Tomb of the Bishop.
2. Globe in the Church of Il Gesu.

V. _Christmas-Eve and Easter-Day._
1. Early Christian attitude toward art.

VI. _Old Pictures in Florence._
1. Niccolo Pisano.
2. Ghiberti (1378-1455). A Florentine sculptor, also
important for perspective in painting, whose ideal
combined religious feeling with classical beauty.

VII. _The Statue and the Bust._
1. Giovanni da Bologna (John of Douay) (c. 1524-1608).
An Italian Renaissance sculptor who combines
technical knowledge with fine poetic feeling.
a. Statue of Duke Ferdinand, by Giovanni.
b. A bust of the Lady.

VIII. _The Ring and the Book._
(I.) 1. Baccio’s marble (by Baccio Bandinelli)--statue of
John of the Black Bands, father of Cosimo de’
Medici.
2. Bernini’s Triton.
(III.) 3. Bernini’s Triton.
(VI.) 4. Pasquin’s statue.
(VII.) 5. Marble lion in San Lorenzo.
6. Virgin at Pompilia’s street corner.
(XI.) 7. Bocca-dell’-Verità--the fabled test for the verity
of witnesses, a mask of stone in the portico of the
Church Santa Maria in Cosmedin.

MUSIC

I. _The Englishman in Italy._
1. Bellini (1801-1835). An Italian opera composer.

II. _A Toccata of Galuppi’s._
1. Galuppi (1706-1785). A composer of melodious
rather than original operas, whose workmanship was
superior to that of his contemporaries in harmony
and orchestration.

III. _Master Hugues of Saxe-Gotha._
1. Master Hugues of Saxe-Gotha. An imaginary
composer.
2. Palestrina (1526-1594). Famous for saving music to
the church by submitting some that met with
approval when ecclesiastical authorities were about
to forbid its use.

IV. _Bishop Blougram’s Apology._
1. Verdi (1813-1901). One of the greatest modern
Italian composers, best known by _Il Trovatore_,
_Rigoletto_, and _La Traviata_.
2. Rossini (1782-1868). A composer whose success
antedates that of Verdi; best known by his opera
_William Tell_.

V. _Abt Vogler._
1. Abt or Abbe Vogler (1749-1814). An organist and
composer of Bavarian birth, some of whose study and
public work were done in Italy. Though he invented
a new system of musical theory, his ideas were
empirical.

VI. _Youth and Art._
1. Grisi (1811-1869). An Italian opera singer.

VII. _The Ring and the Book._
(I.) 1. Corelli (1653-1713). A violin player and composer
who, though he employed only a limited part of his
instrument’s compass, made an epoch in chamber
music and influenced Bach.
(IV.) 2. Magnificat--Catholic music.
3. Nunc Dimittis.
(VI.) 4. Ave.
5. Angelus.
(VII.) 6. Ave Maria.
(X.) 7. Sanctus et Benedictus.
(XII.) 8. Pater.
9. Ave.
10. Salve Regina Cœli.

VIII. _Red Cotton Night-Cap Country._
1. Guarnerius (1687-1745). Joseph del Gesu, one of the
most famous violin makers, who worked for boldness
of outline and massive construction, securing in
consequence, a robust tone.
2. Antonius Stradivarius (1644-1737). His final model,
with its soft varnish, now irrecoverable, brought
violin making to its highest perfection.
3. Corelli.
4. Paganini (1784-1840). A violin player who achieved
such brilliant success that his name still stands
for all that is wonderful in execution on that
instrument.

IX. _Parleyings with Charles Avison._
1. Buononcini (1672-1750). The author of a musical
treatise; his chief claim to fame being the fact
that he influenced Handel and Scarlotti.
2. Geminiani (c. 1680-1762). A violinist of
considerable ability, but as a composer, dry and
deficient in melody.

POETRY

I. _Paracelsus._
1. Aprile. An imaginary poet.

II. _Sordello._
1. Sordello (13th. century). The most famous of the
Mantuan troubadours.
2. Nina. A contemporary of Sordello.
3. Alcamo. A contemporary of Sordello.
4. Plara. An imaginary poet.
5. Bocafoli. An imaginary poet.
6. Eglamor. An imaginary poet.
7. Dante. (1265-1321).

III. _Time’s Revenges._
1. Dante.

IV. _A Soul’s Tragedy._
1. Stiatta. An imaginary poet.

V. _Up at a Villa._
1. Dante.
2. Petrarch (1304-1374).
3. Boccaccio (1313-1375).

VI. _Old Pictures in Florence._
1. Dante.

VII. _One Word More._
1. Dante--The _Inferno_.

VIII. _Apparent Failure._
1. Petrarch.

IX. _The Ring and the Book._
(III). 1. _Hundred Merry Tales._ (Boccaccio).
(V). 2. Boccaccio.
3. Sacchetti (1335-1400). A poet and novelist who left
many unpublished sonnetti, canzoni, ballate, and
madrigale, and whose novelle throw light on the
manners of his age.
(VI). 4. A Marinesque Adoniad.
5. Marino (1569-1625). A poet of disreputable life,
leader of the Secentisimo period, whose aim was to
excite wonder by novelties and to cloak poverty of
subject under form.
6. Dante.
7. Pietro Aretino (1492-1556). Author of satirical
sonnets, burlesques, comedies; and a man of
profligate life.
(X). 8. Aretino.
(XI). 9. _Merry Tales_ (Boccaccio).
10. Aretino.
(XII). 11. Petrarch.
12. Tommaseo (1803-1874). A modern Italian poet,
author of the inscription to Mrs. Browning placed
by the city of Florence on the walls of Casa Guidi.

X. _The Inn Album._
1. Dante--The _Inferno_.

ARCHITECTURE

I. _Sordello._
1. Goito. An imaginary 13th century castle, used to
influence the life of Sordello by its beauty and
solitude.
2. St. Mark’s. A great landmark of Italian
architecture, in construction from the ninth to the
fifteenth century, and the most splendid
polychromatic building in Europe.
3. Piombi. Torture cells under the Ducal Palace at
Venice.
4. San Pietro (Martire). A Veronese Gothic church of
1350.
5. St. Francis. A Lombard Gothic church at Bassano.
6. Castle Angelo. A huge Roman fortress constructed in
the time of Hadrian.
7. San Miniato. A Florentine church built in Central
Romanesque style.
8. Sant’ Eufemia. A 13th century Veronese church, now
modernized internally.

II. _Pippa Passes._
1. St. Mark’s--Venice.
2. Possagno Church. Designed by Canova in 1819, as a
place for statues of religious subjects.
3. Fenice--or Phoenix. The best modern theatre of
Venice, built in 1836.
4. Academy of Fine Arts. A Renaissance building in
Venice.
Asolo Group.
5. Duomo of Asolo.
6. Pippa’s Tower. Later the studio of Browning’s son.
7. Church.
8. Castle of Kate--of which the banqueting hall is now
a theatre.
9. Turret.
10. Palace.
11. Mill--now a lace school.

III. _In a Gondola._
1. Pulci Palace--Venice.

IV. _The Boy and the Angel._
1. St. Peter’s. In process of construction during the
16th and 17th centuries; the building that best
typifies the importance of the church during the
middle ages. Built on the Greek cross plan, it is
surmounted by the dome of Michael Angelo, the most
nobly beautiful of architectural creations.

V. _The Italian in England._
1. Duomo at Padua. A 16th century building of
admirable proportions.

VI. _The Bishop orders his Tomb at St. Praxed’s Church._
1. Santa Prassede--or St. Praxed’s. A church in Rome,
founded on the former site of a refuge for
persecuted Christians. It is notable for the beauty
of its stone work and mosaics, one of its rich
chapels being called Orto del Paradiso. The
building is old but was restored in the 15th
century.
2. Il Gesu. An ornate 16th century church in Rome,
representing the retrograde movement in
architecture.

VII. _Luria._
1. Duomo. The Florentine cathedral, famous for its
dome of 1420, its beautiful sculptured exterior and
its cold brown interior.
2. Towers of Florence--San Romano, Sant’ Evola, San
Miniato, Santa Scala, and Sant’ Empoli.

VIII. _Christmas-Eve and Easter-Day._
1. St. Peter’s--Rome.

IX. _A Toccata of Galuppi’s._
1. St. Mark’s--Venice.

X. _The Guardian Angel._
1. Chapel at Fano.

XI. _Old Pictures in Florence._
1. Giotto (1267-1337). Architect, and the humanizer of
painting, as well as the builder of the Campanile.
2. Campanile. The bell tower of the Florentine Duomo,
built by Giotto in 1332; an architectural triumph
in beauty and splendor.
3. Santo Spirito. A 14th century Florentine church.
4. Duomo--Florence.
5. Ognissanti--Florence.

XII. _By the Fireside._
1. Chapel near Bagni di Lucca.

XIII. _The Statue and the Bust._
1. Antinori Palace. An example of Renaissance secular
architecture, built about 1481, in Florence.
2. Riccardi Palace. A Florentine castle, the earliest
and finest example of secular Renaissance
architecture.

XIV. _Fra Lippo Lippi._
1. Santa Maria del Carmine. A 15th century church and
convent in Florence, containing frescoes by
Masaccio and Filippino Lippi.
2. Palace of the Medici--Florence.
3. St. Lawrence--or San Lorenzo. A Florentine
Renaissance church, rebuilt about 1425.
4. St. Ambrose. A Florentine edifice, the reputed
scene of a transubstantiation miracle in 1746.

XV. _Bishop Blougram’s Apology._
1. Vatican. The papal palace at Rome, most of which as
it exists now, was built no earlier than the
fifteenth century.

XVI. _Andrea del Sarto._
1. Chapel and the Convent--Florence.

XVII. _One Word More._
1. San Miniato--Florence.

XVIII. _Abt Vogler._
1. St. Peter’s.

XIX. _The Ring and the Book._
(I). 1. San Lorenzo. The original building by Brunelleschi
in 1425 or perhaps 1420, was entrusted to Michael
Angelo for the facade. Florence.
2. Riccardi Palace--Florence.
3. San Felice Church. A little grey-walled Florentine
church, mostly in a very ancient Romanesque style,
which could be seen from the windows of Casa Guidi.
4. Fiano Palace. An example of secular architecture
in Rome, built about 1300.
5. Ruspoli Palace. Built by the Rucellai family in
1586; has one of the finest white marble stair
cases in Rome.
(II). 6. San Lorenzo--Rome. Founded by Sixtus III in 440 and
modernized in 1506; has a Crucifixion by Guido
Reni, above the high altar.
7. Ruspoli Palace--Rome.
(III). 8. Saint Anna’s. A monastery in Rome.
9. San Lorenzo--Rome.
(IV). 10. San Lorenzo--Rome.
11. Vatican--Rome.
(V). 12. Tordinona--Rome.
13. New Prisons--Rome.
14. San Lorenzo--Rome.
(VI). 15. Pieve, or Santa Maria della Pieve. A great church
in Arezzo, built in the capricious, extravagant
style of the 13th century.
16. San Lorenzo--Rome.
17. Duomo--Arezzo.
(VII.) 18. San Lorenzo--Rome.
19. San Giovanni. A Tuscan church built in Rome at the
expense of the Florentines.
20. Pieve--Arezzo.
(VIII). 21. Sistine Chapel. Chapel of the Vatican, at Rome; a
most extreme example of figure painting in
decoration, but justified by the excellence of the
work. The ceiling is Michael Angelo’s, and on the
altar wall is his “Last Judgment.”
(X). 22. Vatican--Rome.
23. Pieve--Arezzo.
24. Monastery of the Convertites--Rome. Founded in
1584, for the spiritual care of the sick at Rome.
(XI). 25. Certosa. A beautifully situated, very richly built
monastery of the Carthusians in Val d’ Ema, four
miles from Florence, built in the 14th century
Gothic style.
26. Vallombrosa Convent. Situated near Florence;
founded about 1650, by a repentant profligate.
27. Palace in Via Larga. Secular Florentine
architecture.
28. San Lorenzo--Rome.
29. Vatican--Rome.
(XII). 30. New Prisons--Rome.
31. San Lorenzo--Rome.
32. Monastery of the Convertites--Rome.

XX. _Fifine at the Fair._
1. St. Mark’s--Venice.

XXI. _Pacchiarotto._
1. San Bernardino. A Renaissance church at Siena, with
an Oratory, containing work of Beccafumi, Pacchia,
and Pacchiarotto.
2. Duomo at Siena. An unfinished cathedral, the most
purely Gothic of all of those of Italy, of
unrivalled solemnity and splendor.

XXII. _Filippo Baldinucci._
1. San Frediano. A modern Florentine church.

XXIII. _Pietro of Abano._
1. Lateran. Formerly the Papal residence, though the
present structure, of 1586, was never used for that
purpose and is now a museum of classical sculpture
and early Christian remains.

XXIV. _With Francis Furini._
1. San Sano, or Ansano. A Florentine parish church.

XXV. _Ponte del Angelo, Venice._
1. House along the Bridge, of no importance
architecturally, but connected with an old legend
which is the subject of the poem.

PAINTING

I. _Pauline._
1. Andromeda. By Polidoro da Caravaggio--the picture
of Perseus freeing her from the sea monster.

II. _Sordello._
1. Guido of Siena (c. 1250--). The disputed artist of
a Virgin and Child, the date of which may be either
1221 or 1281. If it be the former, some of
Cimabue’s claims are disturbed by Guido’s earlier
work.
2. Guido Reni (1575-1642). A prime master in the
Bolognese school, faithful to its eclectic
principles and working with considerable artistic
feeling, but still with a certain “core of the
commonplace.”
3. Andromeda. By Caravaggio.

III. _Pippa Passes._
1. Annibale Carracci (burlesque--“Hannibal Scratchy”)
(1560-1609). With his brother and his uncle founded
the Bolognese school, which was eclectic and
comprised the good points of all the great masters.
2. Correggio (1494-1534). The head of the Lombard
School at Parma, a painter of graceful naturalness
and sweetness and of great technical power in
chiaroscuro.
3. Titian (1477-1576). A Venetian painter who lacked
inventiveness but was the greatest of colorists.
a. Annunciation--in the Cathedral at Treviso,
painted by Titian in 1519.

IV. _My Last Duchess._
1. Fra Pandolf. An imaginary artist.

V. _In a Gondola._
1. Schidone (c. 1570-1615). A portrait painter of the
Lombard school.
a. Eager Duke. An imaginary picture.
2. Luca Giordano (1632-1705). Called Luke-work-fast
because of his father’s miserly urging; a painter
of superficiality and facility.
a. Prim Saint. An imaginary picture.
3. Giorgione (Castelfranco) (1477-1510). A Venetian
painter who did for his school what Leonardo da
Vinci had done for Florence twenty years earlier.
a. Magdalen--imaginary.
4. Titian.
a. Ser (a picture).

VI. _Waring._
1. Polidoro da Caravaggio.

VII. _Pictor Ignotus._
1. Pictor Ignotus--an imaginary painter of Italy.

VIII. _Christmas-Eve and Easter-Day._
1. Michael Angelo and discussion of painting.

IX. _Old Pictures in Florence._
1. Michael Angelo (1475-1564). A Florentine master in
painting, sculpture, and architecture. No other
single person ever so dominated art as he, with his
Italian “terribilita”, or stormy energy of
conception, and his great dramatic power.
2. Raphael (1483-1520). A master of combined
draughtsmanship, coloring, and graceful
composition; popular and unexcelled in versatility.
3. Leonardo da Vinci (1452-1519). The earliest of the
great masters of the High Renaissance, and the
first to completely master anatomy and technique.
4. Cavaliere Dello (c. 1404-c. 1464). An unimportant
Florentine painter of frescoes.
5. Stefano (1324?-1357?). Called the “Ape of Nature”
because he followed her closely in an age of
unrealistic painting.
6. Cimabue (1240-c. 1302). The first painter of
importance in the revival of that art, the one who
formed its first principles, though he owed
something to the Pisan sculptors.
7. Ghirlandajo (1449-1494). Good in his general
attainment but lacking in originality, and
remembered for one famous pupil--Michael Angelo.
8. Sandro (Botticelli) (1444-1510). A Florentine
painter, imbued with a strain of fantasy,
mysticism, and allegory.
9. Lippino (1460-1505). The son of Fra Lippo Lippi, a
painter of considerable skill, the first to
introduce detail in antique costumes.
10. Fra Angelico (1387-1455). A holy, self-denying
painter of faces that showed a “sexless
religiosity.”
11. Lorenzo Monaco (1370-1425). A Florentine monk and
painter of much religious sentiment.
12. Pollajolo (1429-1498). An important painter whose
works show brutality, but who was a close student
of muscular anatomy.
13. Baldovinetti (1427-1499). A Florentine; one of a
group of scientific realists and naturalists.
14. Margheritone (c. 1236-1289). An early Tuscan
painter whose work shows the stiffness and crude
color of the Byzantine artists.
15. Carlo Dolci (1616-1686). An unimportant Florentine
painter of careful workmanship and religious
sentimentality.
16. Giotto (1267?-1337). A painter and architect, the
real humanizer of painting.
17. Andrea Orgagna (1308-1368). A Florentine painter
and artist in other lines as well.
18. Taddeo Gaddi (c. 1300-1366). Painter and architect.

X. _In Three Days._
1. General reference to early art.

XI. _The Guardian Angel._
1. Guercino (1591-1666). The “squint-eyed”; a
Bolognese painter.
a. Angel at Fano.

XII. _Any Wife to Any Husband._
1. Titian’s Venus.

XIII. _How it Strikes a Contemporary._
1. Titian.

XIV. _Fra Lippo Lippi._
1. Lippi (1406-1469). A realist of good coloring and
technique, a painter of enjoyable pictures showing
power of observation.
a. Jerome.
b. St. Lawrence.
c. Coronation of the Virgin--in St. Ambrose.
2. Angelico.
3. Monaco.
4. Guidi Masaccio (1402-1429). A Florentine; the
master of Lippi, the first to make considerable
advancement in atmospheric perspective and to paint
architectural background in proportion to the human
figures.
5. Giotto.

XV. _Andrea del Sarto._
1. Andrea (1487-1513). A Florentine, the “faultless
painter,” who lacked elevation and ideality in his
works.
2. Raphael.
3. Vasari (1511-1571). A Florentine artist, student of
Michael Angelo, imitative and feeble as a painter,
but interesting as an art historian.
4. Michael Angelo.
5. Leonardo da Vinci.

XVI. _Bishop Blougram’s Apology._
1. Correggio.
a. Jerome.
2. Giulio Romano (1429-1546). A rather ornate artist,
the executor of some work on the Vatican.
3. Raphael.
4. Michael Slaying the Dragon--by Raphael.

XVII. _One Word More._
1. Raphael.
a. Sistine Madonna.
b. Madonna Foligno.
c. Madonna of the Grand Duke.
d. Madonna of the Lilies.
2. Guido Reni.
3. Lippi.
4. Andrea.

XVIII. _James Lee’s Wife._
1. Leonardo da Vinci.

XIX. _A Face._
1. Correggio.
2. General reference to the early art of Tuscany.

XX. _The Ring and the Book._
(I). 1. Luigi Ademollo (1764-1849). A Florentine painter of
historical and fresco works, whose works show
superficial skill.
2. Joconde, or Mona Lisa, by Da Vinci--the woman of
the mysterious smile, recently returned to the
Louvre.
(II). 3. Guido Reni.
a. Crucifixion, in San Lorenzo at Rome.
(III). 4. Carlo Maratta (1625-1713). A painter at Rome, an
imitator of Raphael and the Carracci.
(IV). 5. Raphael.
6. Correggio.
a. Leda.
(V). 7. Pietro da Cortona (1596-1669). Mainly a scenic and
fresco painter, the estimate of whom has declined
since his own time.
8. Ciro Ferri (1634-1689). A pupil of Pietro, so
imitative of his master that the work of the two
cannot be distinguished.
(VI). 9. Raphael.
(VII). 10. St. George Slaying the Dragon--by Vasari.
(VIII). 11. Carlo Maratta.
(IX). 12. Maratta.
13. Luca Giordano.
14. Michael Angelo.
15. Raphael.
16. Pietro da Cortona.
17. Ciro Ferri.
(X). 18. St. Michael.
(XI). 19. Albani (1587-1660). A Bolognese who also worked at
Rome; a painter of minute elaboration and finish,
and one of the first to devote himself to cabinet
painting.
20. Picture in Vallombrosa Convent.
21. Raphael--any picture.
22. Titian.
23. Fra Angelico.
24. Michael Angelo.
(XII). 25. Michael Angelo.

XXI. _Prince Hohenstiel-Schwangau._
1. Raphael.
2. Salvator Rosa (1615-1673). A Neapolitan painter of
battle scenes and landscapes, with a tendency
toward the picturesque and romantic.

XXII. _Fifine at the Fair._
1. Raphael.
2. Bazzi (1477-1594). An Italian Renaissance painter
who was greatly influenced by Leonardo da Vinci,
and in turn, had great influence on the Sienese
school.
3. Michael Angelo.

XXIII. _Red Cotton Night-Cap Country._
1. Michael Angelo.
2. Correggio.
a. Leda.

XXIV. _Pacchiarotto and How He Worked in Distemper._
1. Pacchiarotto (1474-?). A Sienese painter, reformer,
and conspirator.
2. Pacchia (b. 1477). A Sienese painter contemporary
to Pacchiarotto, and also a reformer and
conspirator.
3. Fungaio (c. 1460-c. 1516). One of the last of the
old school. His works have rigidity and awkward
stiffness.
4. Bazzi.
5. Beccafumi (1486-1551). A Sienese painter who weakly
imitated Angelo and attempted to rival Sodoma.
6. Giotto.

XXV. _Filippo Baldinucci._
1. Buti. The painter’s name under which Baldinucci, in
his history of art, records the events forming the
subject of Browning’s poem.
2. Titian.
a. Leda.
3. Baldinucci (1624-1696). A Florentine art historian
who attempted to prove the theory that all art was
derived from his native city.

XXVI. _Cenciaja._
1. Titian.

XXVII. _Christina and Monaldeschi._
1. Primaticcio (1504-1570). An Italian painter of the
Bolognese school, who did the first important
stucco and fresco work in France.

XXVIII. _Mary Wollstonecraft and Fuseli._
1. Fuseli. (1741-1825). An English painter of
exaggerated style, who attempted to be Italianate
and changed his name to harmonize with the attempt.

XXIX. _Parleyings with Christopher Smart._
1. Michael Angelo.
2. Raphael.

XXX. _Parleyings with Francis Furini._
1. Furini (1600-1649). A Florentine artist and an
excellent painter of the nude, who later became a
parish priest and wished his undraped pictures
destroyed.
2. Michael Angelo.
3. Baldinucci.
4. Da Vinci.

INDEX

_Abt Vogler_, 14, 15, 23, 25, 26, 36, 48, 49, 53, 58, 64

Academy of Fine Arts, Venice, 62

Ademollo, Luigi, 71

_Agamemnon_, 14

Albani, 71

Alcamo (in _Sordello_), 29, 30, 31, 60

_Andrea del Sarto_, 27, 42, 43, 44, 45, 46, 47, 48, 49, 53, 64, 70

“Andromeda,” Caravaggio’s, 41, 44, 66, 67

_Any Wife to Any Husband_, 44, 69

_Apparent Failure_, 60

Aprile (in _Paracelsus_), 29, 30, 31, 60

Aretino, Pietro, 29, 33, 61

_Aristophanes’ Apology_, 14

Augustus, a bust by Browning, 12

Baldovinetti, 69

Bandinelli, Baccio, 15, 21, 57

Bazzi, Giovanni Antonio, 45, 48, 72

_Beatrice Signorini_, 41, 44, 45, 46

Beccafumi, 66, 72

Beethoven, 10

Bellini, Vincenzo, 23, 24, 25, 27, 58

Bernini, 15, 57

_Bishop Blougram’s Apology_, 26, 27, 36, 44, 58, 64, 70

_Bishop orders his Tomb, The_, 16, 17, 18, 19, 22, 36, 38, 49, 50, 57,
62

Bocafoli (in _Sordello_), 29, 30, 31, 53, 60

Boccaccio, 29, 32, 33, 60, 61

“Bocca-dell’-Verita,” 15, 21, 58

Botticelli, 68

_Boy and the Angel, The_, 36, 62

Browning, Elizabeth Barrett, 10, 11, 12, 13, 26, 34, 41, 42, 43, 49,
61

Browning, Wiedemann, 10, 11

Buononcini, Giovanni Battista, 23, 25, 59

Buti, 73

Byron, Lord, 23, 38

_By the Fireside_, 9, 36, 63

Campanile, The, Florence, 35, 36, 43, 63

Canova, 12, 15, 18, 22, 56, 57, 62

Caravaggio, 41, 44, 66, 67, 68

Carracci, Annibale, 12, 67

Castle Angelo, 61

Catholic Hymns, 23-24, 59

_Cenciaja_, 45, 73

Chapel near Bagni di Lucca, 63;
at Fano, 63;
at Florence, 64

_Charles Avison, Parleyings with_, 25, 26, 45, 48, 59

_Christina and Monaldeschi_, 73

_Christmas-Eve and Easter-Day_, 9, 16, 17, 20, 22, 36, 38, 50, 57, 63,
68

_Christopher Smart, Parleyings with_, 45, 73

Churches, Italian:
Il Gesu, 57, 63;
Ognissanti, 63;
Pieve at Arezzo, 37, 65;
Possagno, 57, 62;
St. Francis, 61;
St. Mark’s, 36, 61, 62, 63, 66;
St. Peter’s, 36, 38, 39, 50, 62, 63, 64;
S. Ambrogio, 47, 64, 70;
S. Bernardino, 66;
S. Empoli, 63;
S. Eufemia, 62;
S. Evola, 63;
S. Felice, 64;
S. Frediano, 66;
S. Giovanni, 65;
S. Lorenzo, 36, 58, 64, 65, 66, 71;
S. Miniato, 61, 63, 64;
S. Maria della Scala, 63;
S. Maria del Carmine, 64;
S. Maria in Cosmedin, 58;
S. Pietro Martire, 61;
S. Pressede (St. Praxed’s), 19, 38, 62;
S. Romano, 63;
S. Sano, 66;
S. Spirito, 63

Cimabue, 40, 42, 66, 68

Claus of Innsbruck (in _My Last Duchess_), 15, 19, 57

Convent, at Florence, 64; Vallombrosa, 65, 72

Corelli, Arcangelo, 23, 25, 59

Correggio, 12, 40, 44, 67, 70, 71, 72;
his “Jerome”, 70, 72;
“Leda”, 71, 72

“Crucifixion”, Guido’s, 37, 71

Dante, 29, 32, 33, 34, 60, 61

“David”, Domenichino’s, 12

Da Vinci, Leonardo, 12, 40, 44, 67, 68, 70, 71, 72, 73;
“Mona Lisa”, 71

_Decameron_, The, 33, 60, 61

Dello di Niccolo Delli, 40, 68

_De Vulgario Eloquio_, 32

_Divine Comedy, The_, 32

Dolci, Carlo, 69

Domenichino, 12

Dore, Gustave, 45

Dramatic Monologue, Use of, 49

Dulwich Gallery, 10, 11

Duomo, The, at Arezzo, 65;
at Asolo, 62;
at Florence, 36, 63;
at Padua, 62;
at Siena, 66

Dvorak, Antonin, 25

“Eager Duke, The”, (in _In a Gondola_), 67

Eastlake, Sir Charles, 13

Eglamor (in _Sordello_), 29, 30, 60

_Elegy on Newstead Abbey_, Byron’s, 38

_Englishman in Italy, The_, 24, 58

_Epistle of Karshish, An_, 14

_Face, A_, 45, 49, 71

Fauveau, Mme. de, 11

Fenice Theatre, Venice, 62

Ferdinand, Statue of Duke, 15, 20, 57

_Ferishtah’s Fancies_, 14

Ferri, Ciro, 45, 71

_Fifine at the Fair_, 45, 48, 66, 72

_Filippo Baldinucci_, 44, 45, 46, 49, 66, 73

Fisher, Mr., 11

_Flight of the Duchess, The_, 9

Fountain of the Tritons, 15, 21, 57

Fra Angelico, 69, 70, 72

_Fra Lippo Lippi_, 14, 15, 36, 42, 44, 45, 46, 47, 48, 49, 53, 64, 68,
69, 70

_Francis Furini, Parleyings with_, 45, 46, 53, 66, 73

Fungaio, 72

Fuseli, 73

Gaddi, Taddeo, 35, 69

Galuppi, Baldassaro, 23, 27, 58

Geminiani, Francesco, 23, 25, 59

Ghiberti, Lorenzo, 15, 57

Ghirlandajo, 42, 43, 68

Gibson, John, 11

Giorgione, 67

Giordano, Luca, 45, 67, 71

_Giorno di Regno, Un_, Verdi’s, 27

Giottino, 42

Giotto, 35, 39, 42, 63, 69, 70, 72

Giovanni da Bologna (John of Douay), 15, 57

Goito Castle, 20, 38, 61

_Gold Hair_, 14

Grisi, Giulia, 23, 25, 27, 59

_Guardian Angel, The_, 42, 43, 45, 49, 63, 69

Guarnerius (Joseph del Jesu), 23, 25, 59

Guercino, 12, 43, 69

Guido of Siena, 66

Handel, George Frederick, 25, 59

Haworth, Miss, 11, 12, 22

_Herakles_, 14

Horne, R. H., 13, 42

Hosmer, Harriet, 11

_How it Strikes a Contemporary_, 29, 69

_In a Gondola_, 36, 62, 67

_Inn Album, The_, 61

_Inside of the King’s College Chapel_ (Wordsworth), 38

_In the Cathedral at Cologne_ (Wordsworth), 38

_In Three Days_, 44, 69

_Italian in England, The_, 36, 62

_James Lee’s Wife_, 44, 71

Jameson, Mrs., 12, 42

“John of the Black Bands,” statue of, 15, 57

Jules (in _Pippa Passes_), 15, 18, 44, 50, 57

Keats, 9

Kenyon, Frederick G., 10, 37, 43

Kirkup, Mr., 11, 42

Kugler, Franz, _Handbook of the History of Art_, 13

_Lady and the Painter, The_, 20

Lateran, The, 66

Leighton, Frederick, 11, 28, 36

Lippi, Filippino, 40, 64, 68

Liszt, Franz, 25

_Luria_, 14, 36, 63

Madonna, Raphael’s, 44, 53

Magdalen (_In a Gondola_), 67

Maratta, Carlo, 44, 45, 71

Margheritone, 69

Marino, 29, 61

_Mary Wollstonescraft and Fuseli_, 73

Masaccio, Guidi, 47, 64, 70

_Master Hugues of Saxe-Gotha_, 23, 25, 26, 49, 58

_Memorabilia_, 32, 34

_Men and Women_, 12

_Merry Tales_, Sacchetti’s, 33

Michael Angelo, 27, 40, 43, 45, 48, 53, 62, 64, 65, 68, 70, 71, 72, 73

Michael, Raphael’s, 44, 70

Monaco, Lorenzo, 69, 70

Monastery, Certosa, 65;
of the Convertites, 65, 66;
of St. Anna, 65

_My Last Duchess_, 15, 16, 17, 18, 19, 22, 49, 57, 67

Neptune, (statue in _My Last Duchess_), 19, 57

Nina (in _Sordello_), 29, 30, 31, 60

_Old Abbeys_ (Wordsworth), 38

_Old Pictures in Florence_, 15, 16, 17, 22, 35, 36, 39, 40, 42, 43,
45, 49, 50, 52, 57, 60, 63, 68

_One Word More_, 29, 32, 36, 42, 45, 49, 60, 64, 70

Orgagna, 69

Orr’s, Mrs., _Life of Browning_, 10, 11, 41

Pacchia, 66, 72

_Pacchiarotto_, 36, 45, 46, 53, 66, 72

Paganini, Niccolo, 23, 25, 27, 59

Page, William, 11

Palace, Antinori, 63;
Ducal, Venice, 61;
Fiano, 64;
Medici, 64;
Pulci, 62;
Riccardi, 64;
Ruspoli, 64, 65;
Via Larga, 65

Palestrina, 23, 58

Pandolf, Fra (in _My Last Duchess_), 67

_Paracelsus_, 29, 30, 31, 42, 60

Pasquin’s statue, 15, 21, 58

_Pauline_, 9, 29, 30, 32, 34, 41, 44, 66

Petrarch, 29, 32, 60, 61

_Pheidippides_, 14

_Pictor Ignotus_, 42, 45, 46, 49, 53, 68

“Pieta”, Canova’s, 15, 57

Pietro d’ Abano, 66

Pietro da Cortona, 45, 71

_Pippa Passes_, 9, 15, 16, 17, 18, 19, 22, 36, 42, 44, 50, 56, 62, 67

Pisano, Giovanni, 15, 16, 17, 56, 68

Pisano, Niccolo, 15, 16, 17, 56, 57, 68

Plara (in _Sordello_), 29, 30, 31, 53, 60

Pollajola, Antonio, 40, 69

_Ponte dell’ Angelo, Venice_, 66

Powers, Hiram, 11, 28

Primaticcio, 73

“Prim Saint” (in _In a Gondola_), 67

_Prince Hohenstiel-Schwangau_, 72

“Psiche-fanciulla”, Canova’s, 15, 57

Psyche, a bust by Browning, 12

Raphael, 27, 40, 43, 44, 45, 48, 53, 68, 70, 71, 72, 73

_Red Cotton Night-Cap Country_, 25, 45, 59, 72

Reni, Guido, 12, 43, 65, 67, 69, 70, 71

_Ring and the Book, The_, 12, 14, 16, 20, 21, 22, 24, 33, 36, 37, 38,
40, 44, 45, 53, 57, 58, 59, 60, 64, 65, 71

Romanelli, 46, 47

Romano, Giulio, 44, 70

Rossetti, W. M., 47

Rossini, 23, 25, 27, 28, 58

Sacchetti, Franco, 29, 33, 34, 53, 60

St. George, Vasari’s, 71

Salvator Rosa, 72

_Saul_, 23

Schidone, 67

Ser (a picture), 67

Ser Giovanni, 65

Shelley, 9, 30, 32, 34, 48

_Sonnet on Chillon_, Byron’s, 38

_Sordello_, 12, 16, 17, 20, 21, 22, 29, 30, 31, 32, 34, 36, 37, 38,
42, 44, 53, 56, 60, 61, 66

_Soul’s Tragedy, A_, 18, 29, 60

_Statue and the Bust, The_, 16, 17, 20, 22, 36, 38, 52, 57, 63

Stefano, 40, 68

Stiatta (in _A Soul’s Tragedy_), 29, 60

Story, W. W., 11, 12, 28

Stradivarius, Antonius, 23, 25, 59

_Strafford_, 29

Tasso, Torquato, 29

Technical Art Terms, Browning’s use of, 21, 26

_Time’s Revenges_, 32, 60

Titian, 40, 44, 67, 72, 73;
“Annunciation,” 67;
“Venus,” 44, 69

_Toccata of Galuppi’s, A_, 23, 25, 26, 36, 49, 58, 63

Tommaseo, Niccolo, 29, 34, 61

Tordinona, 65

Towers of Florence, 63

_Trovatore, Il_, Verdi’s, 26, 58

_Two Poets of Croisic_, The, 14

_Up at a Villa_, 32, 60

Vallombrosa Convent, 65, 72

Vasari, Giorgio, 13, 42, 44, 70

Vatican, The, 36, 64, 65, 70;
Sistine Chapel, 65

Verdi, Giuseppe, 23, 25, 26, 27, 58

_Vita Nuova, La_, 32

Wagner, Richard, 25

_Waring_, 44, 68

Wilde, Mr., 11

Wordsworth, 9, 38, 48

_Youth and Art_, 25, 59

FOOTNOTES:

[163] Mrs. Sutherland Orr’s _Life of Browning_, revised by Frederick G. Kenyon.

[164] Mrs. Orr: _op. cit._

[165] For the sources and nature of this interest, see below, Chapter II and p. 50.

[166] Bavarian by birth, Abt Vogler was ordained a priest at Rome, and played in that city for years. His significance in musical history seems associated with Italy rather than Bavaria.

[167] See _An Epistle of Karshish_; _Ferishtah’s Fancies_.

[168] See _Pheidippides_; _Aristophanes’ Apology_; _Herakles_; _Agamemnon_.

[169] See _Gold Hair, A Story of Pornic_; _The Two Poets of Croisic_.

[170] See the next page.

[171] See below, pp. 44, 46.

[172] See above, p. 12.

[173] See _Ring and the Book_, I.

[174] Line 382.

[175] Letter by Mrs. Browning, December, 1847.

[176] See above, p. 10.

[177] _Op. cit._

[178] August, 1848.

[179] See Chapter IV, p. 30 and _passim_.

[180] See above, p. 12.

BULLETIN OF THE UNIVERSITY OF KANSAS
HUMANISTIC STUDIES

_Vol. I_ _January 1, 1915_ _No. 4_

THE SEMANTICS OF
-MENTUM, -BULUM, AND -CULUM

BY

EDMUND D. CRESSMAN, Ph. D.
_Assistant Professor of Latin in the University of Kansas_

LAWRENCE, JANUARY, 1915
PUBLISHED BY THE UNIVERSITY