Chapter XXX: Appendix: III (1)

_On Palmieri's "Citta di Vita."_ (_To illustrate Part I. p. 171._)

In the first part of this sketch of Italian literary history (_Renaissance in Italy_, vol. iv. p. 171, note 2) I promised, if possible, to give some further notice of Palmieri's poem entitled the _Citta di Vita_. This promise I was unable to fulfill in the proper place. But while my book was going through the press, I obtained the necessary materials for such a study of Palmieri's work through the courtesy of a Florentine scholar, Signor A. Gherardi, who sent me extracts from a MS. existing in the Laurentian Library. This MS., which is an illuminated parchment codex, contains, besides the poem, the commentary of Lionardo Dati, with his Life of the author and two of his letters addressed to Palmieri. Whether or not the codex is an autograph, remains uncertain. But it has this singular interest, that Matteo Palmieri himself presented it to the Art of the Notaries in Florence, sealed and under the express condition that it should not be opened so long as he lived imprisoned in his body--"ut non aperiatur dum in suo religatus corpusculo vivat." After his death, the Republic decreed a public funeral to their honored magistrate and servant; and the MS. in question was placed upon his breast in the church of S. Pier Maggiore, where he was interred in the family chapel of the Palmieri. Alamanno Rinuccini pronounced the panegyrical oration on this occasion; and in his speech he alluded to "this bulky volume which lies upon his breast, a poem in _terza rima_, called by him the City of Life."

It would appear, from the circumstance of the volume having been presented under seal to the Art of the Notaries, that Palmieri, while wishing to secure the safety of his poem, was aware of its liability to censure. What he may have dreaded, happened after his decease; for his opinions were condemned as heretical, and the picture Botticelli painted for him in illustration of his views, was removed from its place in the Palmieri Chapel of S. Pier Maggiore. This picture is now in the possession of the Duke of Hamilton.

The MS. of the _Citta di Vita_ passed from the Art of the Notaries into the Laurentian Library. Since the biographical notices from the pen of Palmieri's friend, Lionardo Dati, which this MS. contains, form our most trustworthy source of information about the poet's life, it may be well to preface the account of his poem with an abstract of their contents. Matteo Palmieri was a member of an honorable Florentine family. Born in 1405, he received his first education in grammar from Sozomeno of Pistoja. Afterwards he studied Greek and Latin letters in the schools of Carlo Aretino and Ambrogio Traversari. In early manhood he entered public life, and passed through the various Florentine magistracies to the dignity of Gonfalonier of Justice. The Signory employed him upon embassies to Calixtus III., Frederick III., Alfonso the Magnanimous and Paul II. Matteo devoted his leisure to study and composition. The treatise _Della Vita Civile_, which he wrote in Italian, was a work of his adolescence. Then followed, in Latin, a Life of Niccolo Acciaiolo, a narrative of the successful war with Pisa, and a Universal History, which was subsequently continued by Mattia Palmieri--a Pisan, who, though he bore the same name, was in no wise related to our author. The _Citta di Vita_ was a work of his mature age. He died probably in 1478.

Matteo told Lionardo Dati that on the first of August, 1451, while he was living at Pescia as Governor of the Val di Nievole, he dreamed that his dead friend Cipriano Rucellai appeared to him, and invited him to the yearly festival which was celebrated on that day in a monastery, called Il Paradiso, near Florence. In his dream, Matteo accompanied the ghost of Cipriano, conversing on the way about the state of spirits after death--where they dwell, and how they are permitted to revisit their living friends. Cipriano, moreover, revealed to him weighty matters concerning the nature of the human soul. He told him how God first made angels in innumerable hosts. These angels separated into three companies. The one band followed Lucifer, when he rebelled. The second held with Michael and abode firm in their allegiance. The third decided neither for God nor for the Devil. After Lucifer's defeat, these angels of the third class were relegated to the Elysian fields, which extend at all points over the extreme periphery of the highest sphere; and God, wishing to give them a final chance of determining for good or evil, ordained that they should, one by one, be sent to dwell in human bodies. There, attended by a good and a bad spirit, they have the choice of lives, and after their death in the body, are drafted into the trains of Lucifer or Michael according to their conduct. Having communicated this doctrine, Cipriano vanished from his friend's sight with these words upon his lips:

Misero ad noi quanto mal segno
Rizoron quelli che si fer ribelli
Per porre in aquilon loco piu degno.

Palmieri forgot or neglected the import of his dream until the year 1455, when he was at Alfonso's Court in Naples. There Cipriano appeared to him again, rebuked him for his carelessness, and bade him write a poem in _terza rima_, after Dante's method, on the subject of their former discourse. He also recommended him three books, which would assist him in the labor. When Palmieri returned to Florence, he obtained these helps and set about the composition of his poem. It must have been completed in 1464; for in this year Dati received a copy, which he styled _opus paene divinum_, and began to annotate. In 1466 Dati wrote again to Palmieri, thanking him for an emended copy of the work, which the author had sent him from Florence to Rome. Palmieri's own letter accompanying the gift, refers to the poem as already published. This proves (as would, indeed, appear from the title given him by Ficino of _Poeta Theologicus_) that, whatever may have been his dread of a prosecution for heresy, he had at least divulged the _Citta di Vita_ to the learned.

The poem consists of three books, divided, like Dante's _Commedia_, into one hundred Cantos; but the extra Canto has by Palmieri been assigned to the last instead of the first Cantica. The title _Citta di Vita_ was given to it, because Palmieri designed to bring the universe into consideration under the aspect of spiritual existence. The universe, as he conceived it, is the burgh in which all souls live. His object was to show how free-will is innate in men, who have the choice of good and evil, of salvation or perdition, in this life. The origin of evil he relegates to that prehistoric moment of Lucifer's revolt, when the third class of angels refused to side with either God or Devil. In the first book, then, he describes how these angels are transmitted from the Elysian fields to earth, in order that they may become men, and in their mortal body be forced to exercise their faculty of election. In the second book he treats of the way of perdition. In the third book he deals with the way of salvation. Following Dante's precedent in the choice of Virgil, he takes the Sibyl for his guide upon the beginning of this visionary journey.

The heretical portions of the _Citta di Vita_ are Cantos v. ix. x. xi. of the first Cantica. These deal with the original creation of angelic essences, and with the transit of the indeterminate angels to our earth. Regarding the universe from the Ptolemaic point of view, Palmieri conceives that these angels, who inhabit the Elysian fields beyond the utmost verge of the stellar spheres, proceed on their earthward journey through the several planets, till they reach our globe, which is the center of the whole. On their way, they gradually submit to animal impressions and prepare themselves for incarnation, according to that conception which made the human soul itself in a certain sense corporeal. It is here that Palmieri adjusts the theory of planetary influences to his theory of free will. For he supposes that the angels assimilate the qualities of the planetary spheres as they pass through them, being attracted by curiosity to one planet rather than another. At the same time they undergo the action of the three superior elements, which fits them for their final reception into an earthly habitation. After this wise he ingeniously combined his theories of the Creation, the Fall, and Free-will, with Averroistic doctrines of intermediate intelligences and speculations collected from Platonistic writings.

The path of the descending angels is, to quote the words of Dati, "in a straight line beneath the first point of Cancer to the cave of earth, in which line there are ten gates, for each of the planets to wit, and for the three super-terrestrial elements each his gate. The whole of this vast body of the universe is by our poet called the City of Life, forasmuch as in this universe all creatures live. And this journey of the souls from Elysium to their bodies is performed in one year." It will be observed that Palmieri affected the precision of his master Dante. Having thus conducted the soul to earth, he is no less definite in his description of the two ways, which severally lead to damnation and salvation. In the second Cantica, he employs the space of a whole year compressed into one night, in passing through the eighteen mansions of the passions of the flesh, fortune and the mind. For this journey he has the guidance of an evil spirit. Afterwards, in the third Cantica, he employs the same space of one year compressed into a single day, in traversing the twelve mansions of civil virtue and purgation, through which the soul arrives at beatific life. In this voyage he is guided by a good angel. It is not necessary to enter further into the calculations whereby Palmieri adjusts the chronology and cosmography of his vision to the Ptolemaic theory of the universe.

Though the material of the poem is thus curious, and the structure thus ingenious, it does not rise in style above the level of the works of Frezzi and Uberti (see above vol. iv. chap. 3). In order to give the reader a specimen of its composition, I will extract a passage from Cantica I. Canto v., which concerns the Divine Being and the Creation of Angels:

Sopra ogn'altro potere e questo tale,
che come e' vuole in tutto puo giovare,
sanza potenza di voler far male.
Tal carita volendo ad altri dare
la gloria in se, (?) di se stesso godeva,
degno co' cieli ancor la terra fare.
Et perche cosa far non si poteva
che eterno bene in ciel sempre godesse,
se sempre quel goder non intendeva;
Intelligenza bisogno facesse
con lume di ragione et immortale,
ad chi l'eterno ben tutto si desse.
Creatura fe per questo rationale,
l'angelo et l'huomo accio che 'l somme bene
godessono intendendo quel che e' vale.
Da 'ntenderlo et amar di ragion vene
volerlo possedere, et con letitia
per sempre usar sanza timor di pene.
Ad questo Idio creo la gran militia
del celestiale exercitio et felice,
che 'n parte cadde per la sua malitia.

INDEX.

_In the following Index the volume on the 'Age of the
Despots' is referred to as Vol. I., that on the 'Revival of
Learning' as Vol. II., that on the 'Fine Arts' as Vol. III.,
and the two Volumes on 'Italian Literature' as Vols. IV. and
V._

Abbas Siculus, received 800 scudi yearly as Jurist at Bologna, ii. 122

Abbreviators, college of, founded by Pius II., ii. 358

Abelard, teaching of, i. 9, v. 467

Academies, the Italian, ii. 161, 311;
lose their classical character, 365;
their degeneracy, 367, 542, v. 272;
Milton's commendation of them, ii. 367;
their effect on Italian poetry, v. 272

Academy, the Aldine, at Venice, ii. 385, v. 272

Accaiuolo, Ruberto, i. 197 _note_ 1, 203 _note_ 2

Accaiuolo, Zenobio, made librarian of the Vatican, ii. 425

Accarigi, his Dictionary to Boccaccio, v. 254 _note_ 1

Accolti, Francesco di Michele, his _terza rima_ version of the _Principe
di Salerno_, iv. 250 _note_ 2

Accoramboni, Vittoria, Bandello's _Novella_ upon her trial, v. 54;
use made of it by Webster, 69, 117, 288;
her poetry, v. 288

Achates, Leonard, his edition of Lascari's grammar, ii. 376

Achillini, Professor of Philosophy at Padua, v. 458, 459

Adami, Tobia, the disciple of Campanella, v. 481

Admonition, the Law of, at Florence, i. 226

Adolph of Nassau, pillages Maintz, ii. 368

Adorni, the, at Genoa, i. 201

Adrian VI., the tutor of Charles V., iv. 398;
elected by political intrigues, i. 441;
his simplicity of life and efforts at reform, 441-443 (cp. ii. 434,
442);
Berni's Satire on him, i. 443, v. 368

Agnolo, Baccio d', architect of the Campanile of S. Spirito at Florence,
iii. 86

Agolanti of Padua, i. 114

Agostino, Pre, his _Lamenti_, iv. 172 _note_ 2

Agrippa, his _De Vanitate Scientiarum_ quoted for the corruptions of
Rome, i. 459 _note_ 1

Alamanni, Antonio, writer of the 'Triumph of Death,' iv. 320, 393-395;
translated, 395

Alamanni, Jacopino, story of, i. 211

Alamanni, Luigi, his translation of the _Antigone_, v. 134, 240;
his didactic poem, _La Coltivazione_, 237;
translation (in prose) of a passage on the woes of Italy, 238;
story of his life, 239;
number and variety of his works, 240;
his dramatic poem, the _Flora_, 240;
translation (in prose) of a passage on Rome, 240 _note_ 1;
said to have been a great _improvisatore_, 240;
his satires, 381;
composed in the metre of the Divine Comedy, iv. 172

Alamanni, Luigi di Tommaso, executed for his share in the conspiracy
against Cardinal Giulio de' Medici, v. 239

Albano, Francesco, v. 229

Albergati, Niccolo degli, his patronage of Tommaso Parentucelli
(Nicholas V.), ii. 223

Alberti, the, at Florence, exiled by the Albizzi, iv. 184, 188;
their family history, 190 _note_ 1

Alberti, Leo Battista, his originality, ii. 5;
his many-sided genius, 10, 341-344, iv. 183, 214-219;
one of the circle gathered around Lorenzo de' Medici, ii. 322;
iii. 263;
his cosmopolitan spirit, iv. 184;
recommends the study of Italian, iv. 185, v. 508;
his feelings for the greatness of ancient Rome, iv. 186;
character of his religious sentiment, 206, 216, 217;
tenderness of his character, 218, v. 196, 511;
arranges a poetical competition in Italian at Florence, iv. 238;
architect of S. Francesco at Rimini, i. 172, 326, ii. 34, 210, 342,
iii. 70 _note_ 1, 74;
of S. Andrea at Mantua, ii. 342, iii. 70 _note_ 1, 75, 278;
of the Rucellai Palace at Florence, ii. 342, iii. 75;
other architectural works of Alberti, ii. 342, 440, iii. 74-76;
his admiration of Brunelleschi's dome at Florence, iii. 67 _note_
1, iv. 209 (cp. _ib._ 204), 216;
influence of Boccaccio on his writings, iv. 136;
character of his style, 187;
his narrative of Porcari's attempt on Nicholas V., i. 265 _note_
1, 386;
his description of Nicholas' administration, i. 377;
his Latin play _Philodoxius_, ii. 341, 452, iv. 183, v. 110;
his _Trattato della Famiglia_, ii. 37, iv. 188, v. 190, 518;
its value, iv. 188, 190, v. 455;
analyzed, iv. 191;
question whether Alberti was the original author of the treatise
_Del Governo della Famiglia_, i. 239 _note_ 1, 272, iv. 192-203;
the Dialogues, v. 451, 455;
the _Deiciarchia_, iv. 203;
the _Tranquillita dell'Animo_, 204;
the _Teogenio_, 205;
the Essays on the Arts, 207-209;
the Dedication to Brunelleschi, 208;
the 'Treatise on Building' cited for the influence of Vitruvius on
Italian architects, iii. 94 _note_ 1;
the 'Treatise on Painting,' 127 _note_ 1;
the various discourses upon Love and Matrimony, iv. 209-211;
Alberti the reputed author of 'Ippolito and Leonora,' 212, 250;
his Poems, 213

Alberti, Leo Battista, the anonymous Memoir of Alberti, ii. 37, 184
_note_ 1, 195 _note_ 1, 216 _note_ 1, 218

Albertini, Francesco, aids Mazochi in collecting the Roman Inscriptions,
ii. 429

Albertinelli, Mariotto, his friendship with Fra Bartolommeo, iii. 304,
310

Alberto da Sarteano, Fra, denounces Beccadelli's 'Hermaphroditus,'
ii. 256 _note_ 1

Albertus Magnus, v. 467

Albicante, Giovanni Alberto, probability that he was Aretino's agent
in mutilating Berni's _rifacimento_ of the _Orlando Innamorato_, v.
375-380, 419;
his relations to Aretino, 419

Albigenses, the, i. 9

Albizzi, the, rule of, at Florence, i. 221, iv. 2;
their contest with the Medici, i. 227 _note_ 3, ii. 167, 170, iv.
176, 184, 252;
their exile of the Alberti, iv. 184, 189

Albizzi, Rinaldo degli, his patronage of learning, ii. 165, 223

Alciato, ii. 84

Aldus Manutius. [_See_ Manuzio, Aldo.]

Aleander, his lectures in Hebrew at Paris, i. 27, ii. 424;
a member of the Aldine Academy, ii. 387;
made Cardinal, 402, 424;
sent to Germany as Nuncio, 424

Aleotti, Galeotti, architect of the Teatro Farnese at Parma, v. 144

Alessi, Galeazzo, his work at Genoa, iii. 96;
his church of S. Maria di Carignano there, 96

Alexander of Aphrodisias, his view of Aristotle's doctrine of the
soul, v. 472;
adopted by Pomponazzi, 459, 472

Alexander, a Cretan, joint editor of a Greek Psalter, ii. 376

Alexander III., i. 64

Alexander IV., preaches a crusade against Ezzelino, i. 107 _note_ 1,
iv. 280

Alexander VI., Guiccardini's character of him, i. 308;
invites the French into Italy, 349, 427, 515;
Machiavelli makes him his example of successful hypocrisy, 357;
his additions to the Vatican, 389 _note_ 1;
personal descriptions of him at his accession, 407;
the popular legend of him, 408;
his policy, 410, 427;
his avarice, 413;
his relations with the Sultan and murder of Prince Djem, 415, 566
_note_ 1;
his attitude towards orthodoxy, 416;
his establishment of the censorship, 416, ii. 359, 371;
his sensuality, 417-419;
his exaggerated love of his children, 417;
his grief at the murder of the Duke of Gandia, 425;
his death--was it by poison? 429-431;
the legend that he had sold his soul to the devil, 431;
his attempt to gain over or silence Savonarola, 529;
comes to terms with Charles and saves himself from a General Council,
427, 532 _note_ 1, 565;
joins the League of Venice against Charles VIII., 577;
the _Menaechmi_ represented by his orders at the Vatican at the
espousal of Lucrezia Borgia, v. 139

Alexius, Marcus Attilius, his character of Paul II., i. 385 _note_ 1

Alfonso (the Magnanimous), conquers Naples, i. 88, 568;
Vespasiano's Life of him, 480 _note_ 1, 569 _note_ 1, ii. 352;
wins over the Duke of Milan, 568 _note_ 1;
his nobility of character and love of learning, 569, ii. 38, 252, 265;
his family life, 569;
story of his patient listening to a speech of Manetti, ii. 191
_note_ 1, 254;
his patronage of Manetti, 192

Alfonso II., King of Naples, i. 543, 550;
his avarice, 105;
his league against Charles VIII., 550;
character of him by Comines, 572;
his terrors of conscience and abdication, 119, 572

Alfonso, Prince of Biseglia, husband of Lucrezia Borgia, murder of,
i. 420

Alidosi, the, of Imola, i. 375

Alidosi, Cardinal, his patronage of scholars, ii. 404

Alighieri, Jacopo, his commentary upon the Divine Comedy, iv. 163;
his _Dottrinale_, 240

Alione, Giovan Giorgio, his Maccaronic Satire on the Lombards, v. 333

Allegre, Monseigneur d', captures the mistresses of Alexander III.,
i. 418

Allegretti, Allegretto, cited, i. 165 _note_ 1;
on the reconciliation of factions at Siena, 616, iii. 213

Alopa, Lorenzo, printer of the first edition of Homer, ii. 369, 376

Alticlinio of Padua, i. 114

Amadeo, Antonio, iii. 78 _note_ 1;
dispute about his name, 164;
his work at the Certosa of Pavia, 164;
his monument to Media Colleoni, 165

Amalteo, ii. 506;
his Latin Eclogues, 453, 497

Ambra, his Comedies, v. 123, 181

Ambrogio da Milano, his reliefs in the ducal palace, Urbino, iii. 162
_note_ 1

America, discovery of, i. 3, 15, 29, ii. 112;
given by Alexander VI. to Spain, i. 413

Amerigo di Peguilhan, his _Lament_ on the death of Manfred, iv. 27

Amidei, the, at Florence, i. 74, 210, _note_ 2

Ammanati, Bartolommeo, his work as sculptor and architect in Florence,
iii. 96;
feebleness of his statues, 173;
his regret that he had made so many statues of heathen gods, 174;
his quarrels with Cellini, 477

Ammirato, Scipione, quoted for the friendly rivalry of Giangiorgio
Trissino and Giovanni Rucellai, v. 236

Amurath II., Filelfo's mission to him, ii. 268

Andrea dell'Anguillara, Giovanni, his tragedy of _Edippo_, v. 134;
acted in the Palazzo della Ragione, 134;
his satiric poems, 381

Andrea dell'Aquila, probable sculptor of a monument in S. Bernardino,
Aquila, iii. 141 _note_ 1

Andrea da Barbarino, probably the author of the _Reali di Francia_,
iv. 246;
other romances of his, 246

Andrea of Florence, said to be the painter of frescoes in S. Maria
Novella, iii. 205 _note_ 1

Andrea de Pontadero (_called_ Pisano), his work in bronze and marble,
iii. 119

Andrea di Sicilia, elected Professor at Parma, iv. 315

Angelico, Fra, spirituality of his paintings, iii. 239;
his intense religious feeling, 303, 311;
critical difficulty of deciding his place in the succession of
Florentine painters, 240;
his frescoes at Orvieto, 283 _note_ 1

Angioleri, Cecco, his Sonnets, iv. 56 _note_ 1

Anguillara, i. 114, 404, 545

Annales Bononienses, quoted for the Revival of 1457, i. 617

Annius of Viterbo, his forged Histories, ii. 156 _note_ 2

Antiquari, Jacopo, his Latin correspondence, ii. 288 _note_ 1, 532;
quotation from a letter of his upon Poliziano's Miscellanies, 352;
his verses on Aldo Manuzio, 390 _note_ 2;
his nobility of character, 523

Antonino, Sant', the good archbishop of Florence, i. 470 _note_ 1,
iv. 313, v. 519

Antonio da Tempo, his _Treatise on Italian Poetry_ cited for the
early estimation of Tuscan, iv. 31 _note_ 1

Antonio di San Marco (the Roman goldsmith), his answer to Agostino
Chigi's couplet on Leo X., i. 435

_Anziani_ or Ancients, name of magistrates in some Italian cities,
i. 35, 68, 224

Apollo Belvedere, discovery of the, ii. 431;
description of it by a Venetian envoy, 434

Apostolios Aristoboulos, a compositor employed by Aldo Manuzio, ii. 378;
a member of the Aldine Academy, 387;

Appiano, Gherardo, sells Pisa to Gian Galeazzo, i. 114, 148

Appiano, Jacopo, murders Pietro Gambacorta, i. 148, 148 _note_ 1

Aquila, S. Bernardo, monument of the Countess Montorio, iii. 141 _note_ 1

Arabs, the, their preservation of Greek literature, ii. 66, 68, 251,
iii. 209, v. 468

Arcadia, creation of the Arcadian ideal at the Renaissance, v. 197;
length of time during which it prevailed, 197, 223;
received form at the hands of Sannazzaro, 197;
lent itself to the dramatical presentation of real passion, in
spite of its artificial form, 241. (_See_ Guarini, Sannazzaro,
and Tasso.)

Archio, Latin verse writer, ii. 507

Architecture, Italian architecture rather local than national, ii. 5;
architecture does not require so much individuality in the artist
as painting, 7;
effect on Italian architecture of the ancient Roman buildings, 439,
iii. 48 _note_ 1;
reasons why the middle ages excelled in architecture, iii. 10;
architecture precedes the other arts, 40;
the various building materials used in Italian architecture, 44

Arcimboldi, Gian Angelo, discovered the MS. of Tacitus' _Annals_ at
Corvey, ii. 140, 425

_Ardenti_, the, an Academy at Naples, ii. 366

Aretino, Carlo. (_See_ Marsuppini.)

Aretino, Pietro, parallel between Aretino, Machiavelli, and Cellini,
iii. 479 (cp. v. 384);
said to have died from excessive laughter, iv. 452;
the story probably without foundation, v. 423;
his quarrel with Doni, 90, 419, 422;
his writings placed on the Index after his death, 422, 423;
the Comedies, 40, 123;
their originality and freedom from imitation of the antique, 172,
173 (cp. 269 _note_ 1), 517;
defective in structure, 173;
point of view from which Aretino regards contemporary manners in
them, 174;
celerity of their composition, 414;
the _Cortigiana_, its plot and characters, 176;
intended to expose the Courts, 176, 177, 178 (cp. 386 _note_ 1);
sarcasms of the Prologue on the Italian authors, 180, _note_ 1;
its testimony to the profligacy of Rome, and to the belief that the
sack of the city was a Divine chastisement, i. 446 _note_ 1, v.
176, 190, 226;
to the general corruption of morals in Italy, v. 191;
the _Marescalco_, its plot, 178;
may have supplied hints to Shakspere and Ben Jonson, 178;
the _Talanta_, _Ipocrita_, and _Filosofo_, 179;
comparison of the comedies of Aretino, Bibbiena, and Machiavelli, 180;
passage in the Prologue to the _Ipocrita_, referring to Berni's
_rifacimento_ of the Orlando Innamorato, 376 _note_ 2;
Prologue of the _Talanta_ translated (in prose), 417-419;
his Madrigals and Sonnets, 311;
their badness, 415;
his _Capitoli_, 364, 381, 419;
inferior to Berni's, 415;
the _Dialoghi_, 386, 394, _note_ 1, 415;
their description of life in Roman palaces, 386 _note_ 1;
belief of contemporary society in the good intentions of Aretino
in writing the work, 427;
probability that Aretino was the author of the mutilation of Berni's
_rifacimento_ of the Orlando Innamorato, 375-380, 406;
he sides with Bembo in his dispute with Broccardo, 377;
his place in Italian literature, 383-385;
his boyhood, 385;
enters Agostino Chigi's service, 386;
nature of his position, 386;
stories of his early life, 387;
begins to find his way into Courts, 388;
comes to Rome at the election of Clement VII., 389;
writes a series of sonnets on obscene designs by Giulio Romano, and
is obliged to quit Rome, 389;
makes the friendship of Giovanni de' Medici delle Bande Nere, 390,
391, 424;
narrowly escapes assassination at Rome, 391;
his animosity against Clement VII., 391, 392, 402 _note_ 1;
retires to Venice in order to support himself by literary labour,
392-395;
dread inspired by his talents, ii. 34, 512, iii. 171, v. 392;
trades upon the new power given by the press, v. 393;
secures his reputation by writing religious romances, 394, 519;
their worthlessness, 416, 427;
may have been aided in them by Niccolo Franco, 420;
his life at Venice, 396-399;
amount of money extorted by him, 399;
presents made him by various princes, 400, 405;
question as to the real nature of the influence exercised by him,
392, 401, 404, 406;
partly owing to his force of character, 425-427;
his attractiveness as a writer due to his naturalness and independence,
416;
his employment of lying, abuse, and flattery, 401-404;
his reputation for orthodoxy, 380, 405;
idea of making him Cardinal, ii. 22, 282 _note_ 1, 403, v. 405;
his cowardice, 391, 405, 406;
his relations to Michelangelo, iii. 426, v. 408;
the friend of Sansovino and Titian, iii. 167, 168, v. 398, 405
_note_ 4, 409, 425;
his relations to men of letters, v. 409;
his boasts of ignorance and attacks on the purists, 410-414;
his celerity of composition, 414;
his faults of taste, 417;
effect of his writings on the euphuistic literature of the seventeenth
century, and on the literature of abuse in Europe, 417, 422;
his literary associates, 419-423;
the epitaph composed upon him, 423;
his portrait (1) engraved by Guiseppe Patrini, (2) by Sansovino, on
the door of the sacristy in St. Mark's, iii. 168, v. 424;
his contradictions of character, v. 425, 517;
Aretino embodies the vices of his age, 425, 523;
his Correspondence, 384, _note_ 1, 393 _note_ 1;
its illustrations of the profligacy of Rome, 386 _note_ 1, 387
_note_ 1;
a letter to Titian quoted for a description of a Venetian sunset,
iii. 351, v. 417;
Aretino relates in a letter his life at Mantua, v. 388;
letters of his cited for the death of Giovanni de' Medici delle
Bande Nere, 391 _note_ 2;
the Letter to the Doge of Venice, 395;
letters describing his life at Venice, 396-399;
probability that Aretino tampered with his correspondence before
publication, 398 _note_ 1, 399 _note_ 1;
letter describing his method of flattery, 403 _note_ 1;
another quoted as a specimen of his begging style, 404 _note_ 1;
another written to Vittoria Colonna, who entreated him to devote
himself to pious literature, 407;
another to Bernardo Tasso on epistolary style, 411

Arezzo, the high school at, ii. 116;
receives a diploma from Charles IV., 118

---- Cathedral shrine of S. Donato (by Giovanni Pisano), iii. 110

---- S. Francesco, Piero della Francesca, _Dream of Constantine_,
iii. 235

Argyropoulos, John, the guest of Palla degli Strozzi at Padua, ii. 168;
teaches Greek at Florence and Rome, 210

Ariosto, Gabriele, brother of the poet, finishes _La Scolastica_, iv.
502, v. 150

Ariosto, Giovanni Battista, illegitimate son of the poet, iv. 502

Ariosto, Lodovico, his panegyrics of Lucrezia Borgia, i. 420, 422,
v. 12 _note_ 1;
of the d'Este family, v. 5, 7, 9, 11, 12 _note_ 1, 30;
Ariosto inferior as a poet to Dante, ii. 9;
analogy of his character to that of Boccaccio, iv. 506;
quoted for the word _umanista_, ii. 71 _note_ 1;
had no knowledge of Greek, iv. 493, 517;
facts of his life, 493-503 (cp. 517);
enters the service of Cardinal Ippolito d'Este, 494, (cp. 517);
refuses to enter the Church, 495;
his rupture with the Cardinal, 496;
enters the service of Alfonso I. of Ferrara, 498;
his superintendence of the Ducal Theatre, 498, v. 140, 141, 144;
his marriage, iv. 502, v. 38;
receives a pension from the Marquis of Vasto, iv. 503;
his personal habits, 504;
his device of the pen, 521;
his genius representative of his age, v. 49, 518;
the Satires cited for the nepotism of the Popes, i. 413, _note_ 2,
iv. 509, 518;
on the relations of the Papacy to the nation, ii. 22;
on the bad character of the Humanists, 519, iv. 517;
written in the metre of the Divine Comedy, iv. 172, 519;
revelation of his own character contained in the Satires, 504,
505-508, 517-519, v. 1, 5;
their interest in illustrating the Renaissance, iv. 518;
subjects of the Satires, 508;
the first Satire: ecclesiastical vices, 509 (cp. ii. 406);
the second: dependents upon Courts, character of Ippolito d'Este, 509;
the third: the choice of a wife, 510, v. 38;
fourth and sixth: Court life and place-hunting, iv. 511-513;
the fifth: the poet at Garfagnana, 514;
sketches of contemporaries, 515;
the seventh: a tutor wanted for his son, vices of the Humanists,
516 (for the latter cp. v. 155 _note_ 2);
the _Canzoni_, iv. 520;
the origin of his love for Alessandra Benucci, 520;
Giuliano de' Medici to his widow, 520;
the _Capitoli_, 509 _note_ 1, 519, v. 5;
the _Cinque Canti_, iv. 501, 502;
passage on the Italian tyrants quoted, i. 130, iv. 506 _note_ 2;
the Madrigals and Sonnets, iv. 522;
the Elegies, 519, 521;
his Latin poems, ii. 497, iv. 494, 497 _note_ 1, 506 _note_ 1, 522,
v. 38;
his translations from Latin comedies, v. 140;
the Comedies, 40 _note_ 5, 111, 122, 123, 146 _note_ 1;
the _Negromante_ cited in illustration of the character of Italian
witches, 346 _note_ 1;
plots of the comedies, 148, 153 _note_ 1;
their satire, 150;
the Prologues, 147 _note_ 1, 150;
the _Scolastica_, left unfinished by Ariosto, iv. 502, v. 150;
its plot, v. 150;
excellence of the characters, 151-153;
its satire, 153-155;
artistic merit of the comedies, 156;
criticisms of them by Machiavelli (?) and Cecchi, 156;
their value as sketches of contemporary life, 159;
the _Orlando Furioso_: its relation to the old romances, iv. 248, 249;
his debt to Boiardo, 458 (cp. i. 171), 470, 489, 492;
his silence respecting his indebtedness, 490;
contrast of Ariosto and Boiardo, 463;
continuous labour of Ariosto upon the _Orlando_, 497, 503, v. 42;
the _Orlando_ the final expression of the _Cinque Cento_, v. 2;
Ariosto's choice of a romantic subject, 4-6;
why he set himself to finish Boiardo's poem, 6;
artistic beauty of the _Orlando_, 6, 8, 14, 515;
its subject as illustrating the age, 7;
Ariosto's treatment of romance, 9, 15;
material of the _Orlando_, 9-12;
the connection of its various parts, 15;
its pictorial character, 17-20;
Ariosto's style contrasted with the brevity of Dante, 19;
his power of narrative, 20;
his knowledge of character, 21;
the preludes to the Cantos, 22;
Tasso's censure of them, 23;
the tales interspersed in the narrative, 23-25;
Ariosto's original treatment of the material borrowed by him, 25;
his irony, 26;
illustrated by Astolfo's journey to the moon, 27-30;
illustrated by the episode of S. Michael in the monastery, 31-33;
peculiar character of his imagination, 29;
his humour, 33;
his sublimity and pathos, 34-36;
the story of Olimpia, 36;
Euripidean quality of Ariosto, 35-37;
the female characters in the _Orlando_, 37-40;
Lessing's criticism of the description of Alcina, iv. 116, v. 19;
Ariosto's perfection of style, v. 41;
his advance in versification on Poliziano and Boiardo, 43;
comparison of Ariosto and Tasso, 44;
illustrations of his art from contemporary painters, 45;
his similes 46-49;
the lines on the contemporary poets quoted
---- upon Bembo, 258 _note_ 1;
---- upon Aretino, 385 _note_ 1

Ariosto, Virginio, illegitimate son of the poet, iv. 502;
his Recollections of his father, 502, 504

Aristotle, influence of the Politics at the Renaissance, i. 197
_note_ 1, 250 _note_ 1;
cited, 234 _note_ 1, 235 _note_ 1;
the Lines on Virtue translated, iv. 62;
supposed coffin of Aristotle at Palermo, i. 461;
Aristotle known to the Middle Ages chiefly through the Arabs, ii.
66, 68, iii. 209, v. 468;
regarded in the Middle Ages as a pillar of orthodoxy, ii. 208, v. 462;
his system turned against orthodox doctrines at the Renaissance,
v. 472;
quarrel of the Aristotelians and the Platonists, ii. 208, 244, 247,
394, v. 454;
study of the _Poetics_ by the Italian playwrights, v. 127, 132
_note_ 1, 135;
outlines of the Aristotelian system, 462-466;
problems for speculation successively suggested by Aristotelian
studies, 466-470

Arnold of Brescia, i. 64, iv. 12

Arnolfo del Cambio, ii. 5;
the architect of the Palazzo Vecchio at Florence, iii. 61-63;
impress of his genius on Florence, 63;
his work as a sculptor, 62 _note_ 1;
begins the Duomo, 64;
his intentions, 66

Arpino, traditional reverence for Cicero there, ii. 30, iv. 12

Arrabbiati, name of the extreme Medicean party at Florence, i. 529

Arthur Legends, the, preferred by the Italian nobles to the stories
of Roland, iv. 13, 17, 244, 437, v. 52;
represent a refined and decadent feudalism, v. 52

Arti, the, in Italian cities, i. 35, 72;
at Florence, 224

Arts, degeneracy of the plastic arts in the early Middle Ages, i. 17;
change brought about in them by the Renaissance, 18-20;
predominance of art in the Italian genius, iii. 1-5;
art and religion--how far inseparable, 6 _note_ 1;
the arts of the Renaissance had to combine Pagan and Christian
traditions, 6, 170;
share of the arts in the emancipation of the intellect, 8, 23, 32,
iv. 346 _note_ 1;
the arts invade religion by their tendency to materialize its
ideals, iii. 11, 19, 22, 31;
antagonism of art and religion, 24-26, 28, 31;
the separate spheres and meeting-points of art and religion, 30;
important part played by Tuscany in the development of Italian art,
185 _note_ 1;
fluctuations in the estimation of artists, illustrated by
Botticelli, 249 _note_ 1;
works of art may be judged either by aesthetic quality or as
expressing ideas, 343 _note_ 1;
commercial spirit in which art was pursued in Italy, 442 _note_ 1

Ascanio de' Mori, his _Novelle_, v. 60

Ascham, Roger, quoted for the English opinion on Italy, i. 472

Asolanus, father-in-law and partner of Aldo Manuzio, ii. 388

Assisi, Church of S. Francis, designed by a German architect, iii. 50;
importance of its decorations by Giotto in the history of Italian
art, 195;
Simone Martini's Legend of S. Martin, 217

_Assorditi_, the, an Academy at Urbino, ii. 366

Asti, transferred to the house of Orleans by Gian Galeazzo Visconti,
i. 143 _note_ 2, v. 333;
its half French character, v. 333

Astrology, influence of, in Italy, i. 428 _note_ 1, iii. 77 _note_ 1

Athens, comparison of Athens and Florence, i. 234, 236, ii. 163, 165

Athens, Duke of, i. 75 _note_ 1, 221, iii. 309

Attendolo, Sforza (father of Francesco Sforza), i. 86;
said to have been a peasant, 159;
his murder of Terzi, 121 _note_ 1;
his desertion of Queen Joan of Naples, 361

Aurispa, Giovanni, protected by Nicholas, i. 111, 173;
brings Greek MSS. to Italy, ii. 141, 267, 301;
obliged to leave Florence by Niccoli's opposition, 182;
made Apostolic Secretary by Eugenius IV., 220;
his life at Ferrara, 301

Avanzi, Girolamo, a member of the Aldine Academy, ii. 387

Averrhoes, the arch-heresiarch of medieval imagination, iii. 206-209
(cp. iv. 447), v. 449;
his teaching on immortality, v. 469

Averrhoists, Petrarch's dislike of them, ii. 101, iii. 209;
Pomponazzi and the Averrhoists, v. 462

Avignon, transference of the Papal Court there, i. 77, 80, 101, 374,
iv. 2, 87

_Avvelenato, L'_, name of an Italian ballad, iv. 275;
its correspondence with Northern ballads, 275-278, v. 119 _note_ 1

Baccio Della Porta. (_See_ Bartolommeo, Fra.)

Bacon, Roger, his anticipation of modern science, i. 9;
imprisoned by the Franciscans, 10;
knew the use of the telescope, 29

Baden (Switzerland), Poggio's visit to, ii. 231

Baglioni, the, supported by the people at Perugia, i. 87 (cp. v. 498);
their rise to power, 114, 115, 122, 123;
their misgovernment, 130, 225, iii. 328;
overthrown by Gian Galeazzo, i. 148;
members of this family become Condottieri, 161;
take part in the Diet of La Magione, 351;
attempted massacre of them, 397 _note_ 2

---- Astorre, his comeliness of person, ii. 31;
Gian Paolo, i. 421 _note_ 1;
Machiavelli condemns him for not murdering Julius II., 324, 463;
beheaded by Leo X., 439;
Grifonetto, 168 _note_ 1, iii. 221, v. 118;
Malatesta, betrays Florence, i. 223, 245, 285;
Pandolfo, murder of, 148 _note_ 2

Bajazet, Sultan, his relations with Alexander VI., i. 415

Baldi, Bernardino, his pastoral poems, v. 224

Balduccio, Giovanni, invited to Milan by Azzo Visconti, iii. 123;
carves the shrine of S. Peter Martyr in S. Eutorgio, 123

Baldus, dies of hunger in the sack of Rome, ii. 444

_Balia_, the, at Florence, i. 230, 526

Ballad poetry, general absence of ballads in Italian, iv. 37 (cp.
251), 274, v. 119;
the ballad of _L'Avvelenato_, iv. 275-278;
connection of ballad poetry and the Drama, v. 120

_Ballata_, or _Canzone a Ballo_, meaning of the term in Italian, iv.
261 _note_ 2;
popularity of the _ballate_ in Italy, 261-263

Bambagiuoli, poems of, iv. 164

Bandello, Matteo, belonged to the Dominican order, i. 459 v. 64;
facts of his life, v. 63;
his _Novelle_ cited for the profligacy of Rome and the scandals of
the Church, i. 446 _note_ 1, 458, v. 66;
use of them made by the Reformers against the Church, v. 65, 66;
state of society revealed by them, 65;
their allusions to witchcraft, 346 _note_ 1;
their dedications, 62;
want of tragic and dramatic power in the _Novelle_, 67-69;
their pictures of manners, 68;
Bandello's ability best shown in the romantic tales, 69;
the description of Pomponazzi in one of the novels, 461;
Bandello, a sort of prose-Ariosto, 70;
the tale of Gerardo and Elena, 70;
the tale of Romeo and Juliet: comparison with Shakspere's drama, 71;
the tale of Nicuola: its relation to the _Twelfth Night_, 72;
tale of Edward III. and Alice of Salisbury, 73-75;
comparison of Bandello with Beaumont and Fletcher, 74, 75 _note_ 1;
Bandello's apology for the licentiousness of the _Novelle_, 76;
for their literary style, 77

Bandinelli, Baccio, feebleness of his statues, iii. 173;
legend that he destroyed Michelangelo's cartoon for the _Battle of
Pisa_, 396 _note_ 1;
his quarrel with Cellini, 477 (cp. 173)

Bandini assassinates Giuliano de' Medici, i. 398

Barbaro, Daniello, a letter of his to Aretino quoted for contemporary
opinion of the _Dialogo de le Corti_, v. 427 _note_ 2

Barbaro, Francesco, i. 173;
a scholar of Giovanni da Ravenna, ii. 100;
learns Greek from Chrysoloras, 110;
his account of Poggio's enthusiasm in the quest of MSS., 138;
his patronage of learning at Venice, 212

Barbavara, Francesco, i. 150

Barbiano, Alberico da, leader of Condottieri, i. 150, 159

Barbieri, Gian Maria, sides with Castelvetro in his quarrel with
Caro, v. 286

Bardi, the, at Florence, i. 238;
their loan to Edward III., 257;
their bankruptcy, 258

Bargagli, Scipione, his _Novelle_, v. 60;
the description of the Siege of Siena in the Introduction, 98 (cp. 522)

Barlam, teaches Leontius Pilatus Greek, ii. 90

Baroccio, Federigo, his relation to Correggio, iii. 495

Baroncelli, the Roman conspirator, i. 376

Bartolommeo, Fra, his portraits of Savonarola, i. 508, iii. 309 _note_ 2;
story of his _Sebastian_ in the cloister of San Marco, iii. 28;
his position in the history of Italian art, 304;
his friendship with Albertinelli, 305;
furthered the progress of composition and colouring in painting,
331, 498;
his attempt to imitate Michelangelo, 307;
the painter of adoration, 307;
his unfinished _Madonna with the Patron Saints of Florence_, 308;
influence of Savonarola upon him, 309

Bartolommeo da Montepulciano, discovers the MSS. of Vegetius and
Pompeius Festus, ii. 140

Basaiti, Marco, iii. 362

Basle, Council, question of precedence at, ii. 216

Bassani, the, Venetian painters, iii. 371

Basso, Girolamo, nephew of Sixtus IV., i. 389

Bati, Luca, composes the music for Cecchi's _Elevation of the Cross_,
iv. 326

_Battuti_, the Italian name for the Flagellants, iv. 281, 282, 283

Bazzi. (_See_ Sodoma.)

Beatrice di Tenda, i. 152

Beaufort, Cardinal, invites Poggio to England, ii. 231 _note_ 3

Beaumont and Fletcher, comparison of, with Bandello, v. 74, 75 _note_ 1

Beauty, Greek appreciation of bodily beauty contrasted with Christian
asceticism, iii. 13-18, 19;
the study of human beauty revived by the painters of the
Renaissance, 23;
the delight in the beauty of nature restored by the Renaissance,
33, 107, v. 250;
the later artists wholly absorbed by the pursuit of sensual beauty,
iii. 453-455;
the beauty of wild and uncultivated scenery unappreciated in the
Renaissance, 464, v. 46

Beccadelli, Antonio, tutor of Ferdinand I., i. 174, ii. 257;
in attendance on Alphonso I., 252;
the author of the _Hermaphroditus_, 254 (cp. i. 174 _note_ 1), 452;
favourable reception of his work, 255;
crowned poet by the Emperor Sigismund, 255;
his _Hermaphroditus_ denounced by the Church, 256;
honours paid to him, 256 (cp. 524);
introduces Pontanus at the Court of Naples, 363

Beccafumi, Domenico, the scholar of Sodoma, iii. 501

Beccaria Family, the, of Pavia, i. 145

Begarelli, Antonio, Modanese artist in terra-cotta, iii. 164 _note_ 1

Belcari, Feo, his Alphabet, iv. 240;
his _Vita del Beato Colombino_, 240;
his _Sacre Rappresentazioni_, 320, 340;
Benivieni's Elegy on his death, 321

Belgioioso, Count of, Lodovico Sforza's ambassador to Charles VIII.,
i. 541

Bellincini, Aurelio, communicates Castelvetro's criticisms to Caro,
and so causes the quarrel between them, v. 285

Bellini, Gentile, iii. 362;
his pictures for the Scuola of S. Croce, 363;
Giovanni, 362;
how far influenced by his brother-in-law Mantegna, 277, 362;
his perfection as a colourist, 365;
adhered to the earlier manner of painting, 365;
Jacopo, 362

Bello, Francesco (called _Il Cieco_), language of his _Mambriano_
respecting the Chronicle of Turpin, iv. 439 _note_ 1;
character of Astolfo in it, 470 _note_ 1;
use of episodical _novelle_ in it, 490 _note_ 2;
classed by Folengo with Boiardo, Pulci, and Ariosto, v. 316

Beltraffio, Giovanni Antonio, the scholar of Lionardo da Vinci, iii. 484

Bembo, Bernardo, builds the tomb of Dante at Ravenna, ii. 410

Bembo, Pietro, introduced in Castiglione's 'Cortegiano,' i. 184, ii.
411, v. 260, 265;
his moral quality, i. 459 _note_ 2, v. 261;
his account of De Comines' behaviour before the Venetian Signory,
i. 578 _note_ 1;
a member of the Aldine Academy, ii. 387;
made a Cardinal, 402;
his rise into greatness, 403;
his friendship with Lucrezia Borgia, i. 422, ii. 403, 411, v. 263;
with Veronica Gambara, v. 289;
said to have saved Pomponazzo from ecclesiastical procedure, ii.
410, v. 461;
his life at Urbino, ii. 411, v. 260;
his retirement at Padua, ii. 413;
becomes the dictator of Italian letters, ii. 414, v. 258, 497;
greatness of his personal influence, v. 264;
his quarrel with Broccardo, 377;
his panegyric of Sadoleto's _Laocoon_, ii. 497;
his Venetian origin, illustrating the loss of intellectual supremacy
by Florence, 507, v. 258;
Cellini visits him at Padua and makes a medallion of him, iii. 463;
his advice to Sadoleto not to read St. Paul for fear of spoiling
his taste, ii. 398, 413;
his ridiculous purisms, 400;
his pedantic and mannered style, 413 (cp. 535), v. 259;
his Latin verses, ii. 453, 481-485, v. 249;
Gyraldus' criticism of them, ii. 484;
the _De Galeso_ translated, 483;
the Elegy on Poliziano, 357, 484, v. 258;
translated (in prose), ii. 484;
his cultivation of Italian, 414, v. 258;
the _Gli Asolani_, ii. 411, v. 259, 265;
the Defence of the Vulgar Tongue, v. 259 _note_ 1, 260;
the _Regole Grammaticali_, 261;
the Italian poems, 261;
translation of a sonnet, illustrating the conceits affected by him,
261;
his Letters, 262-264, 360;
mention in one of them of the representations of Latin comedies at
Ferrara, 140.

Benedetti, the, of Todi, the family to which Jacopone da Todi
belonged, iv. 285, 287

Benedict XI., surmise of his death by poison, i. 374, iii. 115;
his monument by Giovanni Pisano, iii. 115

Benedictines, their treatment of the classical literature, i. 10, ii.
133;
their hatred of the Franciscans, v. 325

Benevento, a Lombard duchy, i. 48;
its fate, _note_ 1, 50;
battle of, iv. 21, 27, 48

Benignius, Cornelius, his edition of Pindar, the first Greek book
printed in Rome, i. 405 _note_ 1

Benivieni, i. Girolamo, his elegies in the metre of the Divine
Comedy, iv. 172;
his poetical version of the novel _Tancredi_, 250;
his hymns, v. 519;
two translated, iv. 303;
his Elegy on Feo Belcari, 321 (see Appendix vi. for translation);
his Pastoral Poems, v. 224

Bentivogli, the, supported by the people of Bologna, i. 87, 102;
their rise to power, 114, 123, 124;
claimed descent from King Enzo, 115, iv. 49;
take part in the 'Diet of La Magione,' 351

Bentivogli, Annibale de', v. 140;
Cardinal de', his portrait by Vandyck, ii. 27;
Francesca, murders her husband, Galeotto Manfredi, i. 428 _note_ 1

Bentivoglio, Ercole, his Satiric Poems, v. 381

Benucci, Alessandra, the wife of Ariosto, iv. 502, 520, 521, 522, v. 38

Benvenuto da Imola, his account of Boccaccio's visit to Monte
Cassino, ii. 133

Benzoni Family, the, at Crema, i. 150

Berardo, Girolamo, his versions of the _Casina_ and the _Mostellaria_,
v. 140

Berengar, the last Italian king, i. 51-53

Bergamo, story of Calabrians murdered there, i. 74

---- S. Maria Maggiore, the Capella Colleoni, iii. 165

Bernard, S., the type of medieval contempt for natural beauty, i. 13;
his _Hymn to Christ on the Cross_, iii. 17;
two stanzas translated, _note_ 1

Bernard de Ventadour, iv. 60

Bernardino S. (of Siena), his preaching, i. 611-613, iv. 175;
his attacks on Beccadelli's _Hermaphroditus_, ii. 256 _note_ 1 (cp.
516);
his canonisation, i. 461, iv. 315

Berni, Francesco, related to Cardinal Bibbiena, v. 357;
taken by him to Rome, 357;
enters the Church and becomes Canon of Florence, i. 459, v. 357, 358;
acts as secretary to Giberti, Bishop of Verona, v. 357;
becomes a member of the _Vignajuoli_ Academy at Rome, ii. 366, v. 357;
loses his property in the sack of Rome, v. 357;
retires to Florence, 358;
aids Broccardo against Aretino in his quarrel with Bembo, 377;
mysterious circumstances of his death, 358, 374, 377, 381 (cp. i.
170 _note_ 1);
his easy, genial temper, 357, 359, 368;
his correspondence, 360;
his scantiness of production and avoidance of publication, 361-363;
his refinement of style, 315;
the _Capitoli_, (1) poetical epistles, 363;
(2) occasional poems, 364;
(3) poems on burlesque subjects, 364;
degree in which Berni is responsible for the profligacy of the
_Capitoli_, 366;
manner in which he treated his themes, 366;
the _Capitoli_ written in _terza rima_, 366 (cp. iv. 172);
the _Capitolo_ on Adrian VI.'s election to the Papacy, v. 368, 369
(cp. i. 443);
the sonnet on Pope Clement, v. 368 (cp. i. 443);
translated, v. 368;
the sonnet on Alessandro de' Medici, the force of their satire
weakened by Berni's servility to the Medici, 369;
excellence of Berni's personal caricatures, 370;
the sonnet on Aretino, 371, 389, 390 _note_ 1, 406;
the rustic plays, _Catrina_ and _Mogliazzo_, 224, 311;
the _rifacimento_ of the _Orlando Innamorato_, iv. 491, v. 373;
object of the undertaking, v. 373;
published in a mutilated form, 374;
the question who was guilty of the fraud, 375;
probability that Aretino, with the aid of Albicante, contrived the
mutilation of the MS. or proof-sheets, 375-378, 419;
Vergerio's statement that Berni had embraced Protestantism and
wrote the _rifacimento_ with the view of spreading Lutheran
opinions, 378-380;
the suppressed stanzas, intended by Berni as the Induction to the
twentieth Canto of the _Innamorato_, 379 (for a translation see
Appendix ii. 543);
likelihood that the ecclesiastical authorities may have employed
Aretino, 380

Bernini, adds the Colonnades to S. Peter's, iii. 93

Beroaldo, Filippo, edits Tacitus' Annals for the first edition, ii. 425;
made Librarian of the Vatican, 425;
professor in the Sapienza at Rome, 427;
his version of the _Principe di Salerno_ in Latin elegiacs, iv. 250
_note_ 2

Bertini, Romolo, v. 311

Bertoldo, his work as a bronze founder in Italian churches, iii. 78
_note_ 1

Bertrand du Poiet, i. 81

Bescape, Pietro, his _Bible History_ written for popular use in a
North Italian dialect, iv. 34

Bessarion, Cardinal, a disciple of Gemistos Plethos, ii. 204, 247;
joins the Latin Church, 204, 246;
gives his library to Venice, 247;
his controversy with Trapezuntios, 247

Beyle, Henri, his critique on the frescoes in the Sistine Chapel,
iii. 427

Bianchi and Neri Factions, the, at Pistoja, i. 210 _note_ 2;
at Florence, 221, 225

Bianchino, Il Cieco, his _Incatenatura_, iv. 268

Bibbiena, Cardinal, i. 459;
introduced in Castiglione's 'Cortegiano,' 184, 190;
his kinship with Berni, v. 357;
his rise to greatness, ii. 403, v. 145;
his comedy, _Calandra_, v. 111, 123;
largely indebted to the _Menaechmi_, 145;
its popularity, 146;
its literary style, 146 _note_ 1;
representations of it at Urbino and Rome, 146;
comparison of his comedy with those of Aretino and Machiavelli, 180

Bibboni, Francesco, the murderer of Lorenzino de' Medici, i. 480
_note_ 3 (cp. v. 517)

Bigi, name of the Medicean faction at Florence, i. 529

Bini, Francesco, a member of the _Vignajuoli_ Academy at Rome, v. 357;
the friend and correspondent of Berni, 360;
his _Capitolo_ on the _Mal Franzese_, 365

Biondo, Flavio, ii. 430;
patronized by Eugenius IV., ii. 220;
his prodigious learning, 220, iii. 272;
not duly appreciated by his contemporaries, ii. 221

Bishoprics, the Italian bishoprics in Roman municipia, i. 61

Bishops, the, on the side of the people in their first struggles for
independence, i. 53, 55-61;
the cities claim the privilege of electing their own bishops, 59

Bissolo, Venetian painter, iii. 362

Blastos, Nicolaos, a Greek printer at Venice, ii. 386

Bloodmadness, i. 109, Appendix No. 1

Boccaccino da Cremona, the _Madonna with S. Catherine_, iii. 225

Boccaccio, Giannandrea, cited for the popular detestation of the
Spanish cardinals, i. 410;
for the temperance in eating of Alexander VI., 417