Chapter XXXIV: Appendix: III (5)

Muzio, his Life of Duke Frederick of Urbino, quoted, i. 174

Muzio, Girolamo, his _Battaglie_, v. 271 _note_ 1

Nantiporto, quoted, i. 22

Naples, entry of the French into Naples, i. 566, 575, ii. 363;
history of the Neapolitan Kingdom under the Aragonese Dynasty, 567-574;
hostility of Naples to the Church, ii. 260, 265;
feudalism lasted longer in Naples than in other parts of Italy,
251, iv. 460, v. 499;
insecurity of life in Naples, i. 569;
Neapolitan manners described in the Poems of Pontano, v. 217;
beauty of Naples, 201;
traces of French influence on Neapolitan architecture, iii. 44;
character of Neapolitan culture, ii. 250, 265;
Neapolitan influence on literature, v. 213 foll.;
sensuousness of Neapolitan writers, ii. 251, 364, 468, iv. 26, 364,
v. 213, 499, 521

---- Monte Oliveto, Fra Giovanni's tarsia-work. iii. 78 _note_ 2;
Rosellino's altarpiece, 153;
Benedetto's _Annunciation_, 160;
Mazzoni's _Pieta_, ii. 365, iii. 163, v. 198

---- Academy, the, ii. 362, 364

---- University, the, founded by Frederick II., ii. 116;
its subsequent vicissitudes, 117

Neapolitan School of Painters, the, their brutality, iii. 25, 187

Nardi, Jacopo, cited, i. 226, 229 _note_ 2;
pleads for the Florentine exiles before Charles V., 232, 280;
his History of Florence, 278, 279;
on the democratic side, 290;
character and value of his work, 291, 292;
his account of Savonarola, 290, 292, 511 _note_ 1, 512 _note_ 1,
534 _note_ 1;
his account of Guicciardini, 299 _note_ 2;
cited for the murder of the Manfredi, 292, 428 _note_ 1;
acts as peacemaker in Cellini's quarrel with the Florentine exiles,
iii. 463;
aids in the composition of the Pageant of the Golden Age, iv. 397.
(_See_ Appendix ii., vol. i. for translation of a passage on the
government of Florence.)

Narses, brings the Lombards into Italy, i. 47

Navagero, Andrea, a member of the Aldine Academy, ii. 387;
his flattery of Julius II., 494;
his Venetian origin, illustrating the loss of intellectual
supremacy by Florence, 506;
his Latin poems, their beauty and grace, 453, 485-488;
translations (prose) 485-488

Naviglio Grande, construction of the, iii. 41

Nelli, Giustiniano, his _Novelle_, v. 60

Nepotism of the Popes, i. 113, 303, 372, 375, 388, 392, 413, 434

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

Nerli, Filippo, his History of Florence, i. 278, 279;
took part in the political events of his time, 280;
belonged to the Medicean party, 290;
value of his work, 293;
his account of Machiavelli's Discourses in the Rucellai Gardens,
328, ii. 366;
cited for the downfall of Cesare Borgia's plans after the death of
his father, i. 431

Neroni, Diotisalvi, his conspiracy against Piero de' Medici, ii. 314

Niccolo da Correggio, his drama of _Cefalo_, iv. 357, v. 221;
acted before Duke Ercole at Ferrara, v. 139

Niccoli, Niccolo de', turns Piero de' Pazzi from a life of pleasure
to study, ii. 41;
one of the circle in Santo Spirito, 102;
helps to bring Chrysoloras to Florence, 109, 110;
cited for the practice of scholars making their own copies of MSS.,
131, 179;
generosity of Cosimo de' Medici to him, 173;
his bequest of MSS., 174, 178;
his zeal in collecting MSS., 178;
his judgment of style, 179;
his literary dictatorship at Florence, 180;
Vespasiano's account of him, 181;
his exacting temperament, 182, 275;
did not know Greek, 194 _note_ 1;
his kindness to Poggio, 230 _note_ 1;
his quarrel with Bruni, 243;
his contempt for Dante, iv. 436

Niccolo da Padova, quotes Turpin as his authority for his History of
Charlemagne, iv. 439 _note_ 1

Nicholas of Breslau, an early printer at Florence, ii. 369

Nicholas II., i. 60

Nicholas V., his catalogue of Niccolo Niccoli's MSS., ii. 174, 175, 225;
his humble birth, 222;
comes to Florence, 223;
acts as tutor in the households of Rinaldo degli Albizzi and Palla
degli Strozzi, 165, 223;
generosity of Cosimo de' Medici to him while Bishop of Bologna, 173;
his character, 244 (cp. 523);
his election to the Papacy, i. 371, ii. 173, 225;
his speech to Vespasiano after his election, ii. 226;
restores the Papal Court to Rome, i. 88;
his treaty with the great Italian States, 89;
description of his administration by Leo Alberti, 377;
receives Manetti after his exile, ii. 192, 228;
founds the Vatican Library, i. 21, ii. 227;
his policy, i. 377-380, ii. 227;
his project for rebuilding St. Peter's, i. 379, iii. 90;
why he did nothing for the Roman University, ii. 227;
translations executed by his command, 228, 402;
rewards Filelfo for his Satires, 236 (cp. 514);
employs Poggio against the Anti-Pope Felix, 237;
his toleration, as shown by his protection of Valla, 262;
his destruction of ancient monuments at Rome, 430;
his Will, i. 379

Nicholas of Treves, sends a MS. of Plautus to Rome, ii. 140

Nifo, Agostino, takes part in the controversy raised by the
publication of Pomponazzi's _De Immortalitate Animae_, v. 460

Niger, Hieronymus, cited for the wickedness of Rome, ii. 446

Nino (son of Andrea da Pontedera), sculptor of the _Madonna della
Rosa_ in the Spina Chapel, iii. 123

Nobility, Italian ideas of, i. 186 _note_ 1, iv. 125

Nobles, the, excluded from the government of Florence, i. 224, iv. 27, 51

Nocera, establishment of a Saracen colony there by Frederick II., i. 105

Nominalists, the, v. 466, 467

Norcia, one of the two chief centres of Italian witchcraft, v. 346

Normans, the Norman conquest of Southern Italy, i. 58, ii. 251

Novelists, the Italian, their testimony to the corruption of the
Roman Church, i. 458, 476, 486 _note_ 1, ii. 406, iv. 180, 181;
to Florentine immorality, iv. 337 _note_ 2;
importance of the _novella_ in the history of the Renaissance, 158;
the _novella_ especially suited to the Italian genius, 426, v. 52,
53, 106, 114-116;
manner in which women are treated by the novelists, iv. 212, v. 185;
versified novels of the _Quattro Cento_, iv. 249-255;
testimony of the novelists to the great intercourse between the
Italian provinces from 1200-1550, 271;
the _Novelle_ written for the amusement of the _bourgeoisie_, v. 52;
definition of the word _novella_, 54;
the _Novelle_ originally recitations, 55;
subjects and material of the _Novelle_, 55-57, 59;
their object was amusement, 56, 57;
their indelicacy, as illustrating contemporary manners, 58;
inequality of merit among them, 58;
reasons why the Elizabethan dramatists were attracted to them, 59, 117;
the Introductions of the _Novelle_, 61;
degree in which they are to be accepted as fiction, 81;
characteristics of the novelists of Siena, 96;
the scope and limitations of the _Novelle_, 107;
influence of the _Novelle_ upon the theatre, 161, 181, 187

_Novellino, Il_, or _Le Novelle Antiche_, the first collection of
Italian stories, iv. 107, 129

Novels, defect of the Italians in true novels of the modern type, v. 120

Ochino, Fra Bernardino, his friendship with Vittoria Colonna, v. 292

Odasio, the tutor of Guidobaldo, Duke of Urbino, i. 181

Odassi, Tifi, said to have been the inventor of Maccaronic verse, v.
329 _note_ 3;
quoted in illustration of its character, 328 _note_ 1;
the description of a bad painter, 330;
possibly the author of the anonymous poem on Vigonca, 331;
his use of the Maccaronic style, 336

Oddi, the, at Perugia, i. 225;
worsted by the Baglioni, 115, 123

Odo delle Colonne, shows in his _Lament_ traces of genuine Italian
feeling, iv. 26

Odoacer, i. 46

Oggiono, Marco d', the Scholar of Lionardo da Vinci, iii. 484

Ognibene da Lonigo, effect of his teaching at Vicenza, ii. 249

Olgiati, Girolamo, one of the assassins of Galeazzo Maria Sforza, i.
166, 466, v. 119

Oliverotto da Fermo, his murder of his uncle, i. 119 _note_ 2, 168
_note_ 1, 354;
takes part in the Diet of La Magione, 351;
murdered at Sinigaglia by Cesare Borgia, 351

_Onesta_, Italian ideas of, i. 485

Onesto, Bolognese poet, iv. 48

_Onore_, use of the word in Italian, i. 481, 485, iv. 180 _note_ 1
(_see_ Tasso);
illustrated by the life of Benvenuto Cellini, iii. 449

Orange, the Prince of, in command at the Siege of Florence, iii. 414;
wounded at the capture of Rome, 455;
his troops destroy Sannazzaro's villa at Naples, v. 199

Orcagna (Andrea Arcagnuolo di Cione), completes the Church of
Orsammichele, Florence, iii. 63, 124;
comprehensiveness of his genius, 124;
the tabernacle there, 125;
architect of the Loggia del Bigallo, 125;
influence of his master, Giotto, upon him, 125, 197;
his frescoes in the Strozzi Chapel, S. Maria Novella, 199;
beauty of his faces, 200 _note_ 1;
probably not the painter of the frescoes in the Campo Santo, Pisa, 200;
his sincerity, v. 195;
influenced by Dante, iii. 283 _note_ 2;
his Sonnet on Love, iv. 39 _note_ 1

Ordelaffi, the, of Forli, i. 111, 375;
their patronage of learning, ii. 302

_Ordinanze della Giustizia_, the, at Florence, i. 224, 238, 244

Orlandi, the Pisan orator, i. 343

Orlandini, Zuccagni, his estimation of the population of Florence, i. 209

Orleans, claim of the house of Orleans to Milan, i. 154 _note_ 1, 339

Orleans, Duke of, i. 577, 579, 581

Orpheus, fitness of his legend to express the Renaissance, iv. 410,
v. 450;
the _Orfeo_ (_see_ Poliziano)

Orsini, the, members of this family become Condottieri, i. 161;
their rise to power, 375;
contest between the Orsini and Cesare Borgia, 349-352;
destroyed by Alexander VI., 413;
devoted to Naples, 543;
related by marriage to the Medici, 543, ii. 314, 354;

---- Clarice, wife of Lorenzo de' Medici, i. 314, ii. 354;
Francesco, murdered at Sinigaglia by Cesare Borgia, 351, 353;
Paolo, murdered at Sinigaglia by Cesare Borgia, 351;
Cardinal, takes part in the Diet of La Magione, 351;
Virginio, 552;
buys Anguillara from Franceschetto Cibo, 545;
makes terms with Charles VIII., 564

_Ortolana_, the, an Academy at Piacenza: Domenichi and Doni members,
v. 88

Orvieto, Duomo, the, illustrates the defects of Italian Gothic, iii. 53;
contrasted with Northern cathedrals, 56;
Signorelli's frescoes, ii. 440, iii. 56, 280, 281, 282;
its facade, iii. 116;
importance of its sculptures in the history of Italian art, 117;
Fra Angelico's frescoes, 283 _note_ 1;
Perugino invited to work there, 296 _note_ 1, 299

Osnaga, Orsina, Filelfo's second wife, ii. 280

Otho I., i. 52;
assumes the title of King of Italy, 52, 53

_Ottimati_, name given to the party of the oligarchy at Florence, ii. 441

_Oziosi_, the, an Academy at Bologna, ii. 366

Pacchia, Girolamo del, the scholar of Sodoma, iii. 501

Padua, traditional reverence for Livy there, iv. 12

Padua, S. Antonio: Andrea Riccio's candelabrum, iii. 78 _note_ 1;
Donatello's bas-reliefs, 140, 270 _note_ 1;
Chapel of the Arena, iii. 190, iv. 298;
the Eremitani, Mantegna's frescoes, iii. 270;
Hall of the _Ragione_, 60, iv. 130

---- University, the, ii. 116;
pay of professors there, 122;
its state at the end of the fifteenth century, 506;
long continuance of scholasticism at Padua, v. 457;
different character of Padua from other Lombard universities, 460;
closing of the schools in 1509, 460

Padua, Chronicle of, cited for a description of the Flagellants, iv. 280

Paganism, mixture of Paganism and Christianity in the Renaissance,
i. 456 _note_ 1, 464, iii. 1, 33-35, 107.
(_See_ Renaissance.)

Pagello, Bartolommeo, his panegyric of Ognibeno da Lonigo, ii. 249

Painting, demands more independence in the artist than architecture,
ii. 7;
character of Greek painting, 8;
effect on Italian painting of the discoveries of ancient works of
art, 439;
painting the best gauge of Italian genius, iii. 5, iv. 116, 338,
v. 18, 20, 49, 515;
how painting instead of sculpture became the exponent of modern
feeling, iii. 8, 12-21, 31, 120;
the problem for Italian painting, 10-20, v. 515;
difficulties presented to the first painters, iii. 21;
first attempts in painting to make beauty an end in itself, 22, 32;
Italian painting in the first period devoted to setting forth the
Catholic mythology, 27, 185;
why painting has lost its earlier importance, 37;
the personality of the different Italian cities visible in
painting, 181;
contrast between the Florentine and Venetian painters, 182;
character of the Umbrian school, 182;
the so-called 'schools': how far the term is justified, 183;
general course taken by Italian painting, i. 17-20, iii. 185-187,
v. 506;
changes introduced by Giotto into painting, iii. 192;
character of the Sienese masters, 214;
characteristics of Italian painting from 1400-1470, 224 (cp. v. 204);
the _Quattro Cento_ a period of effort, iii. 227;
exaggerated study of perspective and anatomy by these painters, 232;
the painters of the Renaissance--how to be classified, 266-269;
influence of Dante on Italian painters, 283 _note_ 2;
the perfection of painting in Michelangelo, Lionardo da Vinci,
Raphael, and Correggio, 312;
over attention paid to the nude after Michelangelo, 397, 453;
the decline of painting, 481, 504

Palaeologus, Andrea, sells the title of Emperor of Constantinople to
Charles VIII., i. 576 _note_ 1;
John, attends the Council of Florence, ii. 196, 205;
takes Filelfo into his service, 268

Paleario, Aonio, ii. 394;
his Latin poem on the _Immortality of the Soul_, 497;
his execution, v. 478

Palermo: Norman, Arabic and Byzantine influence on Palermitan
architecture, iii. 44, 45

Palimpsests, ii. 129

Palladio, his judgment of Sansovino's Library of S. Mark, iii. 85;
character of his architectural work, 94, v. 505;
the Palazzo della Ragione at Vicenza, iii. 95;
Palladio's treatise on Architecture, 96 _note_ 1

Palladius, Blosius, ii. 409

Pallavicini, Battista, i. 177

Palma, iii. 371;
his _Venus_, illustrating his treatment of the antique, 291

Palmieri, Matteo, facts of his life, v. 549 (Appendix iii.);
pronounces the funeral oration over Marsuppini, ii. 187;
his _Chronicle_ quoted for a description of the Florentine
festivals, iv. 316;
author of the _Citta di Vita_, 188, v. 548;
history of the MS. of the work, v. 548;
origin of the poem, 549;
its doctrine on the Soul and Fallen Angels, iv. 171, v. 551;
the work brings him into suspicion of heresy, iv. 171;
the _Della Vita Civile_, v. 549;
influence of Xenophon on the work, 196 _note_ 1;
Mattia, continues Matteo Palmieri's _Chronicle_, 549

Panciatichi, Lorenzo, alludes to the ballad _L'Avvelenato_, iv. 276

Panciroli, his testimony to the kindness of Boiardo, iv. 458

Pandects, the MS. of the, taken by Florence from Pisa, i. 62, ii. 351

Pandolfini, Agnolo, his treatise _Del Governo della Famiglia_, i.
239-243, 481;
said to have been really written by Leo Battista Alberti, 239
_note_ 1, 273, ii. 37, iv. 192-203

Panicale, Perugino's fresco of S. Sebastian, iii. 295

Pannartz, the printer at Rome, ii. 368

Panvinius, cited for the murders committed by Alexander VI., i. 414

Paolo da Castro, his salary from the University of Padua, ii. 122

Paolucci, his account of the behaviour of Leo X. at a representation
of the _Suppositi_, v. 147

Papacy, the, 'the ghost of the Roman Empire,' i. 5;
rise of the Papal power, 7, 32;
its history cosmopolitan, 41, 60;
invites the Franks against the Lombards, 50;
compact of the Papacy with Charlemagne, 50, 94;
war between the Papacy and the Empire, 59, 60, 68, 97, 100, 374, iv. 6;
election of the Popes transferred from the Emperor to the
Cardinals, i. 60;
summons Charles of Anjou into Italy, 75;
calls in Charles of Valois, 76;
transference of the Papal Court to Avignon, 77, 80, 374, iv. 7;
restored to Rome, i. 88;
the Papacy prevented the unification of Italy, 93-95, ii. 2;
Machiavelli's criticism of the Papacy, i. 96, 382, 448-451, v. 436,
438, 442;
the only Italian power which survived all changes, i. 98;
connivance of the Popes at crime, 170;
paradoxical character of the Papacy during the Renaissance, 371-374,
401;
Guicciardini's observations on the Papacy, 451, 452;
universal testimony to its corruption, 446, 457, 460;
Italian ideas about the Pope, 418, 462-464, iii. 471;
worldliness of the Papacy at the Renaissance, ii. 263;
more tolerant of obscenity than of heterodoxy, 22;
corruption of the Papal Court under Leo X., 402, 406, 408, 516;
flattery of the Popes by the Latin poets of the Renaissance, 493-496;
the organisation of the Papacy due to Italian genius, iv. 7, v. 513

Papal Secretaries, their rise into importance owing to the influence
of rhetoric at the Renaissance, ii. 216

Paper, where first made in Italy, ii. 371

Paquara, reconciliation of the Lombard cities at, i. 108, 608

Parabosco, Girolamo, his _Diporti_, v. 60;
its Introduction, 62

Paravisini, Dionysius, the first printer of Greek in Italy, ii. 375

Parentucelli, Tommaso. (_See_ Nicholas V.)

Parhasius, Janus, a member of the Roman Academy, ii. 361;
professor in the Sapienza at Rome, 426

Parisio, Gianpaolo. (_See_ Parhasius, Janus.)

_Parlamenti_, name of the popular assemblies in Italian cities, i. 35, 57

---- the _Parlamento_ at Florence under the Medici, 229, 526

Parma, sold by Obizzo d'Este, i. 134;
pageant got up by the students at the election of Andrea di Sicilia
to a professorship, iv. 315

---- the Teatro Farnese (by Aleotti), v. 144

Parmigianino (Mazzola, Francesco), story of him at the Sack of Rome,
ii. 16;
the follower of Correggio, iii. 495

_Parte Guelfa_, in Italian cities, i. 35;
at Florence, 70 _note_ 1

Party strife, effects of, in Italy, i. 199, 206, 207, 584

Paruta, the Venetian historian, i. 233

Passavanti, Jacopo, his _Specchio della vera Penitenza_, iv. 131, v. 270

Paterini, the, an heretical sect, i. 9, iv. 109, 279

_Patria_, Machiavelli's use of the term, v. 435, 436

Patrician, title of dignity in Italian cities, i. 35

Patrini, Giuseppe, engraver of a portrait of Aretino, v. 423

Paul II., becomes Pope, i. 383;
his love of show, 383;
his services to art, 384, 384 _note_ 1;
his persecution of the Roman Platonists, 385, ii. 359, 362, 511;
claimed descent from the Ahenobarbi, ii. 31;
his destruction of ancient monuments at Rome, 430;
his death, i. 387

Paul III., i. 297, iii. 438;
his monument in St. Peter's, i. 417 _note_ 2, iii. 108;
a member of the Roman Academy, ii. 361;
advances Sadoleto, Bembo, and Aleander to the Cardinalate, ii. 402,
416, 424;
his patronage of scholars while Cardinal, 404, 498, 500, 504;
employs Michelangelo to paint the _Last Judgment_, iii. 422;
his character, 422, 438, 472, 473, _note_ 1

Pavia, becomes the capital of the Lombards, i. 48, 49

---- the Cathedral (by Rocchi), iii. 82;
shrine of S. Augustine, 123;
the Certosa, 42, 165;
the facade characteristic of the first period of Renaissance
architecture, 72

---- University, the, eclipsed by the School of Bologna, i. 62;
raised to eminence by Gian Galeazzo, 142, ii. 118;
staff of the University in 1400, ii. 120;
pay of professors there, 122

Pazzi, Alessandro de', his Discourse on the Florentine Constitution,
i. 197 _note_ 1, 203 _note_ 1;
Piero de', called to study by Niccolo de Niccoli, ii. 41

Pazzi Conspiracy, the, i. 168, 396, 398, 466, 505, ii. 287, iv. 443,
447, v. 118

_Pedantesco_, name given to a kind of pseudo-Maccaronic verse, v. 328;
specimen from Scrofa, 329

Pelacane, Biagio, master of Vittorino da Feltre in mathematics, ii. 289

Pelavicini, the, become feudatories of the See of Parma, i. 57 _note_ 1;
overthrown by the Visconti, 145

_Pellegrini_, the, an Academy at Venice, v. 90, 272

Penni, Francesco, the scholar of Raphael, iii. 490

Pepoli, Romeo, his rise to power at Bologna, i. 114, 116

Peregrinus, Bononiensis, an early printer at Venice, ii. 376

Perino, a Milanese, carved the tomb of Mastino II. della Scala, iii.
124 _note_ 1

Perino del Vaga, the scholar of Raphael, iii. 490

Perotti, Niccolo, a pupil of Vittorino da Feltre, i. 177;
author of the _Cornucopia_, 179;
translates Polybius, ii. 228;
takes part in the quarrel of Poggio and Valla, 240, 241;
Pirro, his preface to his uncle's _Cornucopia_, i. 179

Perotto, murder of, by Cesare Borgia, i. 426

Perrucci, Antonelli, execution of, by Ferdinand of Aragon, i. 571
_note_ 3

Perugia, seized by Gian Galeazzo, i. 148;
generally Guelf, 194;
excitable and emotional character of the people of Perugia, iii. 221;
peculiar position of Perugia in Italian art and literature, v. 498;
standards of the religious confraternities preserved at Perugia,
iv. 283 _note_ 1

---- S. Bernardino, its facade, iii. 79 _note_ 1, 150;
S. Domencio, monument of Benedict XI., 115;
S. Pietro de' Cassinensi, tarsia work, 78 _note_ 2;
Mino da Fiesole's altar in the Baglioni Chapel, 158 _note_ 1

---- the Sala del Cambio, tarsia work designed by Perugino, iii. 78
_note_ 2;
Perugino's frescoes, 210, 295, 296

---- High School, the, founded by Clement V., ii. 117

Perugino (Pietro Vannucci), i. 325, v. 498;
his arabesques at Perugia, ii. 440;
his designs for tarsia work there, in the Sala del Cambio, iii. 78
_note_ 2;
his frescoes in the Sala, 210, 295;
Michelangelo's criticism of him, 296, 298 _note_ 1, 300, 386 _note_ 2;
character of his genius, 294;
his artistic development impaired by his commercial character, 296,
298, 299;
the problem of his personal character, 297, 298 (cp. i. 170 _note_ 1);
competes for the decoration of the Stanze of the Vatican, 300;
his influence upon Italian art, 300, 303;
his adherence to the older manner of painting, 303, 365

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

Peruzzi, Baldassare, church built by him at Carpi, ii. 374;
architect of the Villa Farnesina at Rome, iii. 83, 84;
his work at S. Peter's, 91;
how far influenced by Sodoma in painting, 501;
employed as scene-painter at the representation of the _Calandra_
in the Vatican, v. 143, 146

Pescara, Marquis of. (_See_ D'Avalos, Ferrante Francesco.)

Peselli, the, Florentine painters, introduced new methods of
colouring, iii. 225

Petrarch, his love of antique culture, i. 11, ii. 13;
ignorant of Greek, i. 20, ii. 74, 75, 90;
his autobiographical tracts, ii. 36, iv. 91, 123;
present at the marriage of the Duke of Clarence, i. 138;
his remark on Florentine intelligence, 250;
his denunciations of Papal profligacy, 457;
his conception of self-culture, ii. 4;
belongs less than Dante to the middle ages, 13, iv. 91, 140, v. 2;
Dante and Petrarch compared, ii. 70, iv. 85-89, 90;
greatness of his services to culture, ii. 71, 86;
his love of Cicero and Virgil, 73, 76;
his liberal spirit, 75, 78, iv. 87 (cp. v. 504);
his judgments of poetry and oratory, ii. 76, 77, 450;
his vanity and inconsistency of conduct, 79-84;
depreciated Dante, 82;
his relations to Rienzi, 83, 147-149;
his philosophical creed, 84-86, v. 450;
despaired of getting Greek learning from Constantinople, ii. 92
_note_ 1, 142 _note_ 1;
his invective against the copyists, 129;
began the search for MSS. of the classics, 132 (cp. 530);
his study of the ruins of Rome, 149;
his description of Rome in desolation, 154;
conceives the idea of forming a public library, 166;
his friendship with Robert of Anjou, 252, iv. 120 _note_ 1;
his denunciation of the astrologers, ii. 75, 336;
Aldo Manusio's Italic types imitated from his handwriting, 381;
began the fashion of Ciceronian letter-writing, 530;
his description of death illustrated by frescoes in the Campo Santo,
Pisa, iii. 202;
his mention of Simone Martini and Giotto, 217 _note_ 1;
his account of the Sicilian poets, iv. 21;
attained the conception of Italy as a whole, 87;
crowned in the Capitol, 88;
his language free from dialect, 89;
his treatment of love, 89;
conflict in his mind between his love of Laura and his religious
feelings, 90;
the nature of his passion for Laura, 92-94;
brings the feeling of love back from mysticism to experience, 94,
v. 515;
his artistic treatment of his subject-matter, iv. 95;
had no strong objective faculty, 96;
his power of self-portraiture, 97;
the dialogue on the Destruction of Cesena, falsely attributed to
him, v. 117 _note_ 1

Petrarchistic School in Italian literature, Petrarchists of the
_trecento_, iv. 159;
the revival under Bembo and the purists, 165;
injurious effects of the imitation of Petrarch, v. 249-251, 273;
inattention shown by the Petrarchists to the calamities of Italy, 281

Petrucci, the, at Siena, supported by the people, i. 87

---- Antonio, invites Filelfo to Siena, ii. 276;
Cardinal, conspiracy of, i. 436;
his patronage of scholars at Rome, ii. 404;
Pandolfo, his rise to power at Siena, i. 114, 209;
his murder of Borghese, 121 _note_ 1

Philosophy, at the commencement of the Renaissance did not form a
separate branch of study, v. 458;
materialism in the Lombard Universities due to physical studies, 458

Philosophy, Italian:
Italian philosophy unduly neglected in the history of modern
thought, v. 448;
three stages of thought in the passage through Renaissance to
modern science, 448, 457;
disengagement of the reason from authority due to Italian thinkers,
448, 449, 485-487, 520;
Cicero and Seneca used as models by the humanistic ethicists, 451;
value of the labours of the Florentine Platonists, 452-454;
problems of life posed by ethical rhetoricians, 454-457;
Valla's _De Voluptate_, 455;
rapid growth of heterodox opinions on immortality during the
Renaissance, 470;
influence of Pomponazzi on Italian thought, 479, 520

Piacenza, destruction of, by the Milanese, i. 152, 162 _note_ 1, 212

---- University, the, established by Innocent IV., ii. 117

_Piagnoni_, name of the followers of Savonarola at Florence, i. 290,
529, ii. 355, iii. 252

Piccinino, Jacopo, murdered by Ferdinand of Aragon, i. 113 _note_ 1, 571

Piccinino, Nicolo, i. 161, ii. 264

Piccolomini, his _La Raffaella_ quoted for Italian ideas of honour in
women, i. 485 (cp. ii. 37)

Piccolomini, AEneas Sylvius. (_See_ Pius II.)

Pico. (_See_ Mirandola.)

Piero di Cosimo, his studies in natural history, iii. 226;
his eccentricity, 256;
his romantic treatment of classical mythology, 256;
his art as illustrating the poetry of Boiardo, iv. 463;
the _Triumph of Death_ designed by him, 393-395, v. 114

Piero della Francesca, his fresco of the _Resurrection_ at Borgo San
Sepolcro, iii. 234;
his _Dream of Constantine_ at Arezzo, 235;
his portraits of Sigismondo Pandolfo Malatesta and Frederick of
Urbino, 235, 275 _note_ 1

Piero da Noceto, private secretary of Nicholas V., ii. 229

Piero delle Vigne, his _Perocche Amore_ an early instance of a sonnet,
iv. 25

Pilatus, Leontius, Boccaccio's Greek master, ii. 91

Pinturicchio, Bernardo, i. 325, 384 _note_ 1;
competes for the decoration of the Stanze of the Vatican, iii. 300;
his frescoes in the Cathedral Library at Siena, 302;
his affectation, 302, 364 _note_ 1

Pio [Pia], Alberto, the patron of Aldo Manuzio, ii. 374;
a member of the Aldine Academy, 387;
ambassador from France at Rome, 405;
Alda, mother of Veronica Gambara, v. 288;
Lionello, ii. 374

Pippin, named Patrician of Rome, i. 50

Pirkheimer, Willibad, the friend of Gian Francesco Pico, ii. 423

Pisa, not eminent for literary talent, i. 79;
sale of, to Gian Galeazzo, 148;
its cruel treatment by Florence, 212, 237, 342, 560, ii. 165;
popular outbreak at the entry of Charles VIII., 343, 561

---- Campo Santo, the, story of the sarcophagus there, which
influenced the genius of Niccola Pisano, iii. 106;
built by Giovanni Pisano, 110;
the frescoes, 200-204, 209, 219, 242 (cp. iv. 261 _note_ 2);
S. Caterina, Traini's _Triumph of S. Thomas_, iii. 207;
Simone Martini's altarpiece, 217 _note_ 2;
the Cathedral, iii. 49;
S. Francesco, Taddeo di Bartolo's _Visit of the Apostles to the
Virgin_, 218;
S. Maria della Spina (Spina Chapel), rebuilt by Giovanni Pisano, 110

---- University, the, ii. 117, v. 497;
transfer of the High School from Florence thither, ii. 122

Pisanello, medal struck by him in honour of Vittorino da Feltre, i. 178

Pisani, the (Giovanni and Niccola), their bas-reliefs at Orvieto,
iii. 56;
Vasari's statement that they aided in the facade of Orvieto
discussed, 116

---- Giovanni, contrast of his work with that of his father, Niccola,
iii. 110, 177;
his architectural labours, 110;
his pulpit in S. Andrea, Pistoja, 111-114;
his allegorical figure of Pisa, 114;
his tomb of Benedict XI. in S. Domenico, Perugia, 115;
Niccola, individuality of his genius, ii. 5;
his influence on sculpture, iii. 101, 177;
the legend of his life, how far trustworthy, 102;
his first work as a sculptor, the _Deposition from the Cross_, 104;
story of his genius having been aroused by the study of a
sarcophagus in the Campo Santo, 106;
the sculptures of the Pisan pulpit, 107, 109 (_see_ also Appendix
i.);
degree in which he was indebted to ancient art, 108, 110, v. 506;
contrast of his work with that of his son, Giovanni, iii. 110, 177

---- Ugolino, his Latin play, _Philogenia_ v. 110

Pistoja, contrast of its history with that of Lucca, i. 194

---- S. Andrea, Giovanni Pisano's pulpit, iii. 111-114;
the Duomo, Cino da Pistoja's monument, iv. 66 _note_ 1;
Church of the Umilta (by Vitoni), iii. 83

---- Ospedale del Ceppo, the, its frieze, by the Robbian School,
iii. 150 _note_ 1

Pitigliano, Count, general of Alfonso II. of Naples, i. 552

Pitti, Jacopo, his history of Florence, i. 278, 279;
his democratic spirit, 280, 288, 299 _note_ 2;
his panegyric of Piero Soderini, 289, iii. 391;
ascribes the downfall of Florence to the _Ottimati_, i. 288;
his style, 291;
his account of Guicciardini, 299, 299 _note_ 1 (cp. iv. 515);
on the preaching of Frate Francesco, i. 621;
the Life of Giacomini cited for Giacomini's share in Machiavelli's
plan for a militia, 313 _note_ 1

---- Luca, his conspiracy against Piero de' Medici, ii. 314

Pius II., in the service of the Emperor before his election, ii. 190;
his reputation as an orator, 191;
his Latin correspondence, 532;
his letter to his nephew, 42 _note_ 1;
contrast between his life before and after his election to the
Papacy, i. 380, ii. 358;
his saying on the celibacy of the clergy, i. 459;
his canonisations and love of reliques, 461;
pardons the people of Arpino as fellow-citizens of Cicero, ii. 30;
his epigram on the ruins of Rome, 151;
endeavours to protect the Roman monuments, 429;
founds the College of Abbreviators, 358;
his saying upon Tommaso Parentucelli (Nicholas V.), 224;
his Commentaries cited for his conversations with Frederick Duke
of Urbino, i. 178 _note_ 2;
for Gian Galeazzo's saying on Salutato, ii. 105 _note_ 1;
his testimony in another work to Beccadelli's reputation as a
stylist, 257 _note_ 1

Pius III., i. 433

Pius VI., his destruction of the Chapel in the Vatican painted by
Mantegna, iii. 277

Plagiarism, commonness of, in the fifteenth century, iv. 194 _note_ 1

Platina, his account of Paul II.'s persecution of the Humanists, i.
384 _note_ 1, 386, 387, ii. 36, 511;
a member of the Roman Academy, ii. 361

Plato, Aldine edition of, ii. 16, 379;
impulse given by Gemistos to Platonic studies, 207;
quarrel of the Platonists and the Aristotelians, 208, 244, 247,
394, v. 454;
the study of Plato prepared the way for rationalism, ii. 209, 325,
iv. 447;
influence of Plato at the Renaissance, ii. 323;
Plato not fully comprehended by the thinkers of the Renaissance,
327, v. 452;
celebrations of his birthday by the Florentine Academy, ii. 328;
the Florentine Platonists, iv. 452.
(_See_ also Ficino and Pico Mirandola.)

Plautus, influence of, on the Italian playwrights, v. 122, 136, 148,
161, 181;
representations of Plautus in the original at Rome, 138, 145;
at Ferrara, iv. 499, v. 139-142, 145;
early translations of Plautus, forming the beginnings of Italian
comedy, v. 140

Plethon, Gemistos, settles at Mistra, ii. 199;
his dream of a neo-pagan religion, 200;
his system of philosophy, 201-204;
attends the Council of Florence, 205;
his reception by the Florentines, 206;
impulse given by him to Platonic studies in Italy, 207, 328, v. 452;
his treatises on Fate, and on the differences between Plato and
Aristotle, ii. 208;
his controversy with Gennadios, 209;
his remains brought from Greece by Sigismondo Pandolfo Malatesta,
i. 173, 461, ii. 34, 209

Plutarch, effect of the study of Plutarch in Italy, i. 165 _note_ 2, 464;
Life of Cleomenes quoted, 235 _note_ 2

Podesta, the place and function of this magistrate, i. 35, 71, 84;
meaning of the word, 67;
sometimes became tyrants, 112

Poetry, opposition of the medieval Church to, iv. 81

Poggio, corresponds with Lionello d'Este, i. 173;
his relations to Frederick of Urbino, 179;
account of him by Vespasiano, 275;
attached to the Papal Court, 459, ii. 218, 230;
a scholar of Giovanni da Ravenna, ii. 100, 230;
his funeral oration on Niccolo de' Niccoli quoted for the society
founded by Marsigli, 102;
patronised by Salutato, 106;
learns Greek of Chrysoloras, 110, 230;
his copying and sale of MSS., 131;
his discoveries of MSS., i. 21, ii. 134-139;
his zeal and unscrupulousness in the quest, ii. 138;
his translations of Diodorus Siculus and Xenophon, 228, 237, 243;
his debt to Niccolo de' Niccoli, 230 _note_ 1;
description contained in one of his letters of Jerome of Prague
before the Council of Constance, 231, 535;
his pictures of foreign manners, 231;
varied character of his talents, 232;
his attacks on the clergy, 233-237;
terror caused by his invectives, 237 (cp. 513);
his quarrel with Filelfo, 238-240;
with Guarino and with Valla, 240-242, 263, 301;
his fight with Trapezuntius, 243;
his criticism of Beccadelli's _Hermaphroditus_, 255;
his scandalous account of Filelfo's marriage, 269 _note_ 1;
his marriage and life as a citizen of Florence, 245;
the _De Nobilitate_, i. 186 _note_ 1;
the _History of Florence_, 81, 274;
its style and value, 275;
the description of the ruins of Rome (the first part of the _De
Varietate Fortunae_), ii. 152-154, 231, 429, 530

Pole, Cardinal, his friendship with Flaminio and Vittoria Colonna,
ii. 498, 502, v. 292

Polentani, the, of Ravenna, i. 111, 375

Polenta, Obizzo da, his murder of his brother, i. 119 _note_ 2;
Ostasio da, his murder of his brother, 119 _note_ 2

Polidoro da Caravaggio, the scholar of Raphael, iii. 490

Polissena, Countess of Montalto, her murder, i. 119 _note_ 2

_Politici_, the, an Academy at Bologna, ii. 366

Poliziano, Angelo, assassination of his father, i. 170 _note_ 1;
present at the murder of Giuliano de' Medici, 265 _note_ 1;
his letter to Antiquari, containing an account of Lorenzo's last
interview with Savonarola, 523 _note_ 1, ii. 355 (cp. 533);
wide scope of his genius, ii. 10, iv. 399;
his lectures on the Pandects, ii. 124;
learnt Greek from Callistus, 248, 346;
one of the circle gathered round Lorenzo de' Medici, 322, 323;
his description of Pico della Mirandola, 329;
his wooing of Alessandra Scala, 344;
brought into fame by his Latin version of part of Homer, ii. 346,
iv. 401, 411;
his lectures at Florence, i. 171;
their enormous success, ii. 350, 464;
popularity of Poliziano, 353;
his relations to the Medicean family, 354;
his want of self-respect, 354;
Giovio's story of his death, 348 _note_ 2, 354 _note_ 1;
epitaph placed upon his tomb, 357;
his indebtedness to Sacchetti, iv. 155;
his eulogy of Alberti, 214;
one of his letters cited for the Maccaronic Italian used by
scholars, 237;
represents the servility of his age in literature, 404;
ideal of life expressed in his works, 423;
erroneous ascription of the _Morgante_ to him, 455 _note_ 3, v.
316 _note_ 1;
his position as an Italian poet, ii. 347, iv. 399-401;
insincerity of emotion in his Italian poems, iv. 423;
popularity of his Italian poems, 409 _note_ 2;
injury caused to his poems by the defects of his temperament, 399;
his mastery of metre, 401-403, v. 212, 230;
surpassed by Ariosto, v. 43;
the _Stanze_, iv. 401, 403, 406-409, 421;
their importance in Italian literature, 403;
illustrations of the _Stanze_ by contemporary works of art, 408;
translation of passages, 408, 420;
the _Orfeo_, iv. 357, 409, v. 108, 221;
excellent choice of its subject, iv. 410;
occasion of its being written, 411;
its greatness lyrical, not dramatical, 412-414;
translation of the Chorus of the Maenads, 414;
popular redaction of the _Orfeo_, 409 _note_ 2;
the _Orfeo_ cited for the tendency of the Italians to unnatural
passions, 477 _note_ 1;
his Canzonet, _La pastorella si leva per tempo_, iv. 268 _note_ 3;
a letter of his to Lorenzo cited for the antiquity of the _Rispetti_
and the cultivation of popular poetry in the Medicean circle, 269,
416 _note_ 1;
translation of a _Ballata_, 378;
his _Rispetti_, &c., 416;
more artificial in character than the popular poetry, 417;
the _Rispetti continuati_, 419;
illustrations of them from contemporary works of art, 419;
the _La brunettina mia_, _La Bella Simonetta_, and _Monti, valli,
antri e colli_, 420-422;
part of _La Bella Simonetta_ translated, 420;
the Essay on the Pazzi Conspiracy, i. 265 _note_ 1;
the Miscellanies, ii. 352;
the Greek and Latin poetry, 348;
original character of the Latin poetry, 348, 356, 453-458, 463;
the Lament for Lorenzo, 355, 356;
analysis of the _Nutricia_, 453-458;
the Eulogy on Lorenzo, 457, iv. 369;
Gyraldus' criticism of the _Sylvae_, ii. 459;
the _Rusticus_, 459, iv. 423, v. 234;
the _Manto_, ii. 460-462;
the _Ambra_, 463 (prose translations of passages from the Latin
poems will be found 454-463);
the minor poems, 464;
Greek epigram sent to Guidobaldo, Duke of Urbino, i. 182 _note_ 1;
translation of Greek hexameters, ii. 24;
the epigram on Pico when he attacked the astrologers, 337 _note_ 1;
the epigram on the first Greek printers, 375 _note_ 2;
the Sapphics to Innocent VIII., 495;
the verses on Filippo Lippi, iii. 247;
his Latin correspondence, ii. 532

Pollajuolo, Antonio del, his choice of subjects of a passionate
character, iii. 146;
his monument of Sixtus IV., 147;
his experiments in colour, 225;
over prominence of anatomy in his works, 232;
his _Hercules_, illustrating his treatment of the antique, 291;
architect of the Belvedere of the Vatican, i. 384 _note_ 1;
his statue of Innocent VIII., 415, iii. 147;
his portrait of Poggio, ii. 246;
his work as a bronze founder, iii. 78 _note_ 1;
Piero del, aids his brother, Antonio, iii. 147, 225

Polybius, studied by Machiavelli, v. 434 _note_ 1

Pomponazzi, Pietro, studies at Padua, v. 458, 459;
moves from Padua to Ferrara, and finally to Bologna, 460;
his Treatise on the Immortality of the Soul burnt in public at
Venice, 460;
controversy raised by that work, 461, 479;
Pomponazzi aimed at stating the doctrines of Aristotle as against
the Thomists and Averrhoists, 462;
adopted the views of Alexander of Aphrodisias, 459, 472;
his profession of faith, 476, 477, 480;
powerful personality shown by his writings, 461;
his positivism, 478;
akin in this respect to Machiavelli, 485-487;
his influence on Italian thought, 479;
his materialistic philosophy, i. 456, ii. 124, 394 (cp. 477), iv.
447, v. 312, 314, 518;
the _De Immortalitate Animae_, ii. 410, v. 460;
Pomponazzi's doctrine of the soul's materiality there stated, v.
472-476, 520;
the _De Incantationibus_, 461;
rejects demons and miracles in this work, 476;
acknowledges astral influence, 477;
expresses the opinion that Christianity is doomed to decline, iv.
448 _note_ 1, v. 477;
the _Apologia_ and _Defensorium_, v. 461;
the _De Fato_, 461, 477;
description of the philosopher contained there, 478

Pontano (Jovianus Pontanus), assassination of his father, i. 170
_note_ 1;
his relation to Frederick of Urbino, 179;
tutor to Piero de' Pazzi, ii. 41;
a member of the Roman Academy, 361;
founder of the Neapolitan Academy, 363, v. 198, 272;
his employment by the Kings of Naples, ii. 363;
his oration to Charles VIII., 363;
portrait of him in the Church of Monte Oliveto at Naples, 365,
iii. 164, v. 198;
value of his works, ii. 364, v. 220;
the _De Immanitate_, cited, i. 139 _note_ 1, 481 _note_ 2, 569,
569 _note_ 1, 571 _note_ 1;
the _De Liberalitate_, cited, 569 _note_ 1;
his merits as a writer of Latin verse, ii. 364, 465, v. 235;
the _De Stellis_, ii. 466-468, v. 220, 235;
the _De Hortis Hesperidum_, v. 220, 235;
his Odes to the Saints, iv. 302;
Neapolitan colouring of his poems, ii. 364, v. 213, 235;
their pictures of Neapolitan life, v. 217;
their sensual but unaffected character, 214-217;
Pontano's love of personification, 218;
translation (in prose) of the lines personifying Elegy, 219

Pontelli, Baccio, architect of the Hospital of Santo Spirito at Rome,
i. 384 _note_ 1;
employed as architect upon the Ducal Palace, Urbino, iii. 162 _note_ 1

Pontius, Paulus, his monument of Alberto Pio, ii. 375

Pontormo, Jacopo, his portraits of Cosimo and Lorenzo de' Medici,
iii. 498;
his portrait of Ippolito de' Medici, ii. 27;
decorates the cars for the Pageant of the Golden Age, iv. 397

Ponzoni family, the, of Cremona, i. 145

_Popolo_, meaning of the word, 55, 56, 71, iv. 7, 8;
increase in the power of the _Popolo_, i. 61;
Guicciardini's use of the word, 306 _note_ 1

Porcari, Stefano, his attempt on Nicholas V., i. 376, 377, 386;
influenced by the history of Rienzi, 376, ii. 147

Porcello, Giannantonio, patronised by Alfonso the Magnanimous, ii.
264, 303

Pordenone, iii. 371

Porta, Giacomo della, his work at S. Peter's, iii. 93;
Guglielmo della, his monument of Paul IV., i. 371, iii. 108

Portogallo, Cardinal di, his monument in S. Miniato, iii. 153;
Vespasiano's testimony to his virtues, 154

Portuguese, the, round the Cape, i. 15

Porzio, Simone, the disciple of Pomponazzi, v. 479;
story of his lecturing at Pisa, 479;
his belief as to the soul, 479

_Pratiche_, name of an extraordinary Council in some Italian
Communes, i. 35

Prato, Sack of, iii. 308 _note_ 2, 393;
the Duomo, Mino's pulpit, 158 _note_ 1;
Filippo Lippi's frescoes, 245, v. 54 (cp. iv. 422);
chapel of the Sacra Cintola, iii. 79

Prendilacqua, his biography of Vittorino da Feltre, cited, i. 178
_note_ 1, ii. 37

Primaticcio, his residence at the Court of France, iii. 445

Princes, effect of, upon Italian literature, iv. 404

_Principi_, the _Lettere de'_, quoted, i. 442

Printers, the early, i. 23;
the first printers in Italy, ii. 306 _note_ 2, 368-391;
labour employed in printing the first editions of the classics, 372

Priors, name of the chief magistrates in some Italian Communes, i.
35, 68, 71;
Priors of the Arts at Florence, i. 224

Professors, pay of, in the Italian Universities, ii. 121, v. 460;
subordinate position of the humanist professors, ii. 123;
their system of teaching, 124-127, 274;
illustrations of the Italian professorial system at the Renaissance
from the Maccaronic writers, v. 332

Provencal literature, its effect on medieval Italy, iv. 13

Provence, extinction of heresy there, i. 9

Ptolemaic System, superseded by the Copernican, i. 15, 16

Pucci, Antonio, his political poems, iv. 163;
his _terza rima_ version of Villani's Chronicle, 240;
his celebrity as a _cantatore_, 257

Pulci, Bernardo, writer of the sacred drama, _Barlaam e Josafat_,
iv. 320, 349;
other works of his, 430;
Luca, his poem on Lorenzo de' Medici's Giostra, iv. 405;
his share in the _Ciriffo Calvaneo_, 430;
Luigi, one of the circle gathered round Lorenzo de' Medici, ii.
322, iv. 440;
his story of Messer Goro and Pius II., iv. 255;
his _Beca da Dicomano_, 382, v. 224;
his quarrel with Matteo Franco, and Sonnets, iv. 431, 455 _note_ 3;
the _Morgante_ purely Tuscan, 430, 431;
the burlesque element ready to hand, 440;
the _Morgante_ written to be read in the Medicean circle, 440;
three elements in the poem, 441;
the _Morgante_ a _rifacimento_ of earlier poems, 442;
its plot, 443;
excellence of the delineations of character, 445, 470 _note_ 1;
character of Margutte, 451;
of Astarotte, 452-456;
not a mere burlesque, 446;
its profanity, how explained, 446-448;
instances of Pulci's humour, 448-450;
false ascription of part of the _Morgante_ to Ficino, 455 _note_ 3;
erroneous idea that Poliziano wrote the _Morgante_, 455 _note_ 3;
_bourgeois_ spirit of the _Morgante_ contrasted with Boiardo's
_Orlando Innamorato_, 456, v. 8
(_see_ Appendix v. vol. iv., for translations from the _Morgante_);
Monna Antonia (wife of Bernardo), authoress of a _Sacra
Rappresentazione_, iv. 320

Puritanism, a reaction against the Renaissance, i. 25;
its political services, 27;
antipathy of, to art, iii. 24

Quarrel of the Aristotelians and the Platonists, ii. 208, 244, 247,
394, v. 454;
literary quarrels at the Renaissance, ii. 237-245, 264, 511, iv.
431 _note_ 1, 451, v. 89, 285

Quercia, Jacopo della, his work as a sculptor in Italian churches,
iii. 78 _note_ 1;
his treatment of the story of the creation of Eve, 118 _note_ 2, 130;
his designs in competition for the gates of the Florentine
Baptistery, 127;
other works of his--the Fonte Gaja, and the monument of Ilaria del
Carretto, 132, 165

Quintilian, discovery of a MSS. of, by Poggio, ii. 134-137.

Quirino, Lauro, his stipend at Padua, ii. 122

Rabelais, quoted for the feudal idea of honour, i. 483

Raffaelle da Montelupo, a feeble follower of Michelangelo, iii. 172

Raimond of Tours, quoted to illustrate the gaiety of medieval
Florence, iv. 50

Raimondi, Marc Antonio, imprisoned for engraving a series of obscene
designs by Giulio Romano, v. 389

Raimondo da Capua, the confessor of S. Catherine of Siena, iv. 174

Ramiro d'Orco, appointed governor of the Romagna by Cesare Borgia,
i. 354;
his end, 355

Rangoni, Count Guido, the patron of Bernardo Tasso, v. 297

Rapallo, massacre of, i. 557

Raphael, the question entertained of making him a Cardinal, ii. 403;
his project for the exploration of Rome, ii. 419, 436, iii. 337;
his friendship with Castiglione, ii. 421;
his work in the Loggie and Stanze of the Vatican, ii. 436, 440,
iii. 108, 333, v. 229;
Raphael the harmonist of classical and Christian traditions, iii.
35, 333 (cp. v. 26);
woodwork executed from his designs at Perugia, iii. 78 _note_ 2;
his mosaics in S. Maria del Popolo, 79 _note_ 2, 334;
his work as an architect, 83, 330;
as a sculptor, 329;
his frescoes in the Villa Farnesina, 84, 331, 334, iv. 403;
the _Galatea_, illustrating his treatment of the antique, 291, 337;
his work on S. Peter's, iii. 91;
borrowed the figure of S. Paul in the Cartoon of _Mars' Hill_ from
Filippino Lippi, 248;
the pupil of Perugino, 300;
his power of assimilation, 301, 330-332;
one of the four great painters by whom the Renaissance was fully
expressed, 312;
equality, facility, and fertility of his genius, 328;
comparison of his genius with that of Mozart, 328;
his gentleness, 329;
his indebtedness to Fra Bartolommeo, 330;
influence of Michelangelo on his later works, 331, 412;
his school of workmen, 332;
enormous mass of his work, 334;
mental power displayed by him, 335, 338, v. 116;
variety of his genius, iii. 336;
the _Madonna di San Sisto_, 337, 380;
his humane spirit and avoidance of painful subjects, 338;
the woodcuts of the _Hypnerotomachia_ erroneously ascribed to him,
iv. 221 _note_ 1;
the scenery for a representation of the _Calandra_ at Rome painted
by him, v. 147

Rasiglia, Pietro, his murder of Nicola and Bartolommeo Trinci, i. 122

_Raspanti_, the, a faction at Perugia, i. 122

Raul, Sire, his Chronicle of Milan, i. 251

Ravenna, i. 46, 118;
battle of, ii. 380, iii. 329;
tomb of Dante, ii. 410

Razzi, his account of the interview of Savonarola with Lorenzo de'
Medici on his deathbed, i. 523 _note_ 1

_Reali di Francia_, illustrates the little influence of Boccaccio's
style on his immediate successors, iv. 136;
its stylistic merits, 240;
the most popular of all Italian books, 245, 247;
attributed to Andrea da Barberino, 246

Realists, the, v. 466

Recanati, the Bishop of, murder of, v. 297

Rectors, or _Rettori_, the magistrates in some Italian cities, i. 35, 68

Reformation, connected with political liberty, i. 26;
how related to the Renaissance, 25, ii. 536;
inimical to the Fine Arts, iii. 28

Regno, the, early medieval effort to form a monarchy in Italy, i. 50-52

Religion, opposition between religion and science, i. 15;
a cause of disorder in Italy, 205;
morality and religion disunited in Italy, 174 _note_ 1, 433, 447,
462, ii. 234, 257, iii. 451;
Machiavelli's opinions on religion, i. 453, 454;
vitality of religion, 469;
religion and art:
how far inseparable, iii. 6 _note_ 1;
injury done to religion by the sensuousness of art, iii. 11, 19,
22, 31;
contrast between Greek and Christian religious notions, 12;
the opposition of religion and art, 24-26, 28;
separate spheres and points of contact between religion and art, 30

Reliques, Italian passion for, i. 460

Renaissance, the, meaning of the term, i. 1-4, 5, 28, v. 489 foll.;
the Renaissance the emancipation of the reason, i. 9, 14, ii. 13,
43, 535, iii. 8, 179, 333, iv. 447, v. 14, 26, 447, 491;
the revelation of nature in the world and man, i. 15 _note_ 1,
iii. 325, v. 483, 527, 528;
problem of the Renaissance, v. 523, 527;
the imitation of the Renaissance impossible, 526;
place of the Renaissance in the history of humanity, 527-529;
rise and growth of the Renaissance, i. 26, v. 448;
precursors of the Renaissance, i. 8, 26, 27;
its relation to the Reformation, 26, ii. 536, v. 529, 530;
the Renaissance and modern science, i. 16, 17, v. 483, 491;
aided by the progress of inventions, i. 3, 29;
began in Italy, 30, v. 492, 529;
mingled polish and barbarism of the Italian Renaissance, i. 172,
183, 373, 570, v. 523;
changes in culture effected by the humanism of the Renaissance, i.
185, ii. 393, 543, v. 508;
irreligious character of the Renaissance, i. 174 _note_ 1, 455,
ii. 16, 44, 205, 217, 257, 518, iii. 228, v. 486;
the Paganism of the Renaissance, i. 454 _note_ 1, 464, ii. 17, 18,
39, 72, 395 foll., 470, 489, 516, 520, 540, iii. 7, 33-35, 107,
135, 167, 175, 257, iv. 39, 404, v. 216, 486, 492;
indigenous in Italy, iv. 39;
its real character and extent, ii. 395, iv. 106 _note_ 2;
religious sentiment, how influenced by the Renaissance, iv. 207,
v. 455;
fitness of the Italian character to work out the Renaissance, ii.
1-4, iv. 10;
fertility of the Renaissance in men of universal genius, ii. 10
(cp. 125), 341;
the Renaissance not so productive in religion and philosophy as in
art, 21, 337, iv. 10, v. 447, 492;
introduced a democracy of intellect, ii. 32, 33;
the thirst for fame characteristic of the Renaissance, 38, 80;
criticism a creation of the Renaissance, iv. 447;
the passion for collecting, ii. 139;
effect of the study of Roman antiquities upon the Renaissance, 142
foll., 429 foll. (cp. iii. 48 _note_ 1);
undue influence of rhetoric in the Renaissance, ii. 149, 190, 216,
513, 525, v. 247, 430, 451;
uncritical character of the first scholars of the Renaissance, ii.
296, 327, 337, 382, v. 451, 483;
ideal of life produced by the Renaissance, ii. 330, iv. 219, v. 517;
the Renaissance checked the spontaneity of the Italian intellect,
ii. 394, iv. 403;
modern culture a gift of the Renaissance, ii. 9, 408, 506, 524,
v. 491, 505, 524;
the Renaissance appreciative of form independently of matter, ii.
471, 513, 514, iv. 403;
the weaknesses of the literary and artistic ideal of the
Renaissance, ii. 504, iii. 170, 179;
predominance of art in the Renaissance period, iii. 1-5, v. 6;
difficulty of rendering justice to the poetry of the Renaissance,
iii. 2 (cp. iv. 403);
the Renaissance restored the appreciation of natural beauty, iii. 32;
error of the artists of the Renaissance in imitating the worst side
of Paganism, 175, 454, 489;
expression of the Renaissance by the four great painters, Lionardo
da Vinci, Michelangelo, Raphael, and Correggio, 312, 319, 323,
325, 346;
different parts borne by Venice and Florence in the Renaissance,
iii. 354, iv. 364;
the genius of the Renaissance typified in Boccaccio, iv. 104;
satire on the Church not combined with unorthodoxy in the
Renaissance, 109 _note_ 1, 447;
mixture of religious feelings with vices in men of the Renaissance,
384, v. 228;
manner in which the myth of Orpheus expressed the Renaissance, iv.
410, v. 221, 450;
the culture of the Renaissance derived from Latin, not Greek,
models, v. 132 _note_ 1;
the completion of the Renaissance announced by the pastoral dramas
of Tasso and Guarini, 245;
belief in the efficacy of a classical revival common at the
Renaissance, 444;
the dream of a Golden Age, 195, 521;
the _vollutta idillica_ of the Renaissance, 196, 230

Renaissance architecture:
Brunelleschi's visit to Rome, iii. 68;
task of the first architects of the Renaissance, 69;
criticism of Renaissance architecture, 70;
divided into three periods, 70;
character of the first period, 71, 80;
of the second, 80;
of the third, 93;
influence of this third or Palladian period on Northern Europe, 97;
comparison of the various stages of this style with the progress
of scholarship towards pedantry, 98;
reasons why this style can never be wholly superseded, 99;
this style the most truly national in Italy, v. 505

Rene of Anjou, expelled from Naples by Alfonso, i. 568

Republics, the Italian: varied character of the Italian republics,
i. 193;
their resemblance to the Greek States, 195;
theories of citizenship in them, 195;
their instability, 198;
causes of this, 205;
their smallness, 209;
their disunion, 211;
their mercantile character, 238

Reuchlin, i. 27, ii. 391;
influenced by Florentine Platonism, ii. 208;
heard Argyropoulos lecture at Rome, 210;
a pupil of Poliziano's, 350;
the friend of Gian Francesco Pico, 423

Revivalism, religious, in Italy, i. 490, ii. 17 (_see_ Appendix iv.
vol. i.);
unknown at Venice, iii. 358

Reynolds, Sir Joshua, his criticism of Ghiberti, iii. 132

Rhetoric, influence of, at the Renaissance, ii. 149, 190, 216, 513,
525, v. 247, 430, 451;
want of original thought in the oratory of the Renaissance, ii.
191, 278 _note_ 2, 513

Rhosos, Joannes, a member of the Aldine Academy, ii. 387

Riario, Girolamo, i. 389;
murder of, 120, 390;
Pietro, Cardinal di San Sisto, 389;
his extravagant profligacy, 390-392 (cp. iv. 315);
his convention with Galeazzo Maria Sforza, 392;
Cardinal Raphael, 407;
concerned in Petruccio's conspiracy, 437;
his patronage of scholars at Rome, ii. 404;
buys Michelangelo's _Cupid_ as an antique, iii. 389;
representation of the _Fall of Granada_ before him, v. 117 _note_
1 (cp. 138)

_Ribellamentu Lu, di Sicilia_, its doubtful authenticity, iv. 36