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diff --git a/44235-h/44235-h.htm b/44235-h/44235-h.htm index 8eae9f0..f5963f2 100644 --- a/44235-h/44235-h.htm +++ b/44235-h/44235-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml"> <head> -<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" /> +<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" /> <title>The Project Gutenberg eBook of Memoirs of the Dukes of Urbino, Volume II (of 3), by James Dennistoun</title> <style type="text/css"> @@ -183,28 +183,10 @@ ul {list-style: none;} </style> </head> <body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 44235 ***</div> <h1>The Project Gutenberg eBook, Memoirs of the Dukes of Urbino, Volume II (of 3), by James Dennistoun, Edited by Edward Hutton</h1> -<p>This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a></p> -<p>Title: Memoirs of the Dukes of Urbino, Volume II (of 3)</p> -<p> Illustrating the Arms, Arts, and Literature of Italy, from 1440 To 1630.</p> -<p>Author: James Dennistoun</p> -<p>Editor: Edward Hutton</p> -<p>Release Date: November 21, 2013 [eBook #44235]</p> -<p>Language: English</p> -<p>Character set encoding: ISO-8859-1</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK MEMOIRS OF THE DUKES OF URBINO, VOLUME II (OF 3)***</p> <p> </p> -<h4>E-text prepared by Suzanne Lybarger, Linda Cantoni,<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images generously made available by<br /> - Internet Archive/Canadian Libraries<br /> - (<a href="https://archive.org/details/toronto">https://archive.org/details/toronto</a>)</h4> <p> </p> <table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> <tr> @@ -334,11 +316,11 @@ DUKES DI MONTEFELTRO AT URBINO</span></h3> <tr><td colspan="2" class="center"><a href="#CHAPTER_XXV">CHAPTER XXV</a></td></tr> <tr><td>Poetry under the Montefeltri—Sonnets—The Filelfi—Giovanni Sanzi—Porcellio Pandonio—Angelo Galli—Federigo Veterani—Urbani Urbinate—Antonio Rustico—Naldio—Improvisatori—Bernardo Accolti—Serafino d'Aquila—Agostino Staccoli—Early comedies—<i>La Calandra</i>—Corruption of morals—Social position of women</td><td class="vabr"><a href='#Page_130'>130</a></td></tr> <tr><td colspan="2" class="center"><a href="#CHAPTER_XXVI">CHAPTER XXVI</a></td></tr> -<tr><td>Mediæval art chiefly religious—Innovations of Naturalism, Classicism, and Paganism—Character and tendencies of Christian painting ill-understood in England—Influence of St. Francis</td><td class="vabr"><a href='#Page_157'>157</a></td></tr> +<tr><td>Mediæval art chiefly religious—Innovations of Naturalism, Classicism, and Paganism—Character and tendencies of Christian painting ill-understood in England—Influence of St. Francis</td><td class="vabr"><a href='#Page_157'>157</a></td></tr> <tr><td colspan="2" class="center"><a href="#CHAPTER_XXVII">CHAPTER XXVII</a></td></tr> <tr><td>The Umbrian School of Painting, its scholars and influence—Fra Angelico da Fiesole—Gentile da Fabriano—Pietro Perugino—Artists at Urbino—Piero della Francesca—Fra Carnevale—Francesco di Giorgio</td><td class="vabr"><a href='#Page_184'>184</a></td></tr> <tr><td colspan="2" class="center"><a href="#CHAPTER_XXVIII">CHAPTER XXVIII</a></td></tr> -<tr><td>Giovanni Sanzi of Urbino—His son, the immortal Raffaele—Early influences on his mind—Paints at Perugia, Città di Castello, Siena, and Florence—His visits to Urbino, and works there</td><td class="vabr"><a href='#Page_216'>216</a><span class="pagenum"><a name="Page_vii" id="Page_vii">-vii-</a></span></td></tr> +<tr><td>Giovanni Sanzi of Urbino—His son, the immortal Raffaele—Early influences on his mind—Paints at Perugia, Città di Castello, Siena, and Florence—His visits to Urbino, and works there</td><td class="vabr"><a href='#Page_216'>216</a><span class="pagenum"><a name="Page_vii" id="Page_vii">-vii-</a></span></td></tr> <tr><td colspan="2" class="center"><a href="#CHAPTER_XXIX">CHAPTER XXIX</a></td></tr> <tr><td>Raffaele is called to Rome, and employed upon the Stanze—His frescoes there—His other works—Change in his manner—Compared with Michael Angelo—His death, character, and style</td><td class="vabr"><a href='#Page_235'>235</a></td></tr> <tr><td colspan="2" class="center"><a href="#CHAPTER_XXX">CHAPTER XXX</a></td></tr> @@ -412,7 +394,7 @@ FOURTH DUKE OF URBINO</span></h3> <tr><td>Elisabetta Gonzaga, Duchess of Urbino. From a lead medal by Adriano Fiorentino in the British Museum. By the courtesy of G.F. Hill, Esq.</td><td class="vabr"><a href="#GONZAGA_MEDAL">72</a></td></tr> <tr><td>Emilia Pia. From a medal by Adriano Fiorentino in the Vienna Museum. By the courtesy of G.F. Hill, Esq.</td><td class="vabr"><a href="#PIA_MEDAL">72</a></td></tr> <tr><td>Hair dressing in the sixteenth century. After a picture by Bissolo. (Photo Alinari)</td><td class="vabr"><a href="#HAIR_16C">76</a></td></tr> -<tr><td>Portrait of a lady in mourning. After the picture by Pordenone in the Dresden Gallery. (Photo R. Tammé)</td><td class="vabr"><a href="#MOURNING">84</a></td></tr> +<tr><td>Portrait of a lady in mourning. After the picture by Pordenone in the Dresden Gallery. (Photo R. Tammé)</td><td class="vabr"><a href="#MOURNING">84</a></td></tr> <tr><td>S. Martin and S. Thomas with Guidobaldo, Duke of Urbino, and Bishop Arrivabeni. After the picture by Timoteo Viti in the Duomo of Urbino. (Photo Alinari)</td><td class="vabr"><a href="#MARTIN">88</a></td></tr> <tr><td>Baldassare Castiglione. After the picture by Raphael in the Louvre.</td><td class="vabr"><a href="#CASTIGLIONE_RAPHAEL">120</a></td></tr> <tr><td>Madonna del Belvedere. After the fresco by Ottaviano Nelli in S. Maria Nuova, Gubbio</td><td class="vabr"><a href="#MADONNA">190</a><span class="pagenum"><a name="Page_x" id="Page_x">-x-</a></span></td></tr> @@ -673,7 +655,7 @@ FOURTH DUKE OF URBINO</span></h3> <h3><a href="#CHAPTER_XXVI">CHAPTER XXVI</a></h3> <table style="width: 100%" border="0" cellpadding="6" cellspacing="0" summary="chronology"> -<tr><td style="width: 10%" class="vat"> </td><td style="width: 11%" class="vat"> </td><td class="vat">Mediæval art almost exclusively religious</td><td class="vabr"><a href='#Page_157'>157</a></td></tr> +<tr><td style="width: 10%" class="vat"> </td><td style="width: 11%" class="vat"> </td><td class="vat">Mediæval art almost exclusively religious</td><td class="vabr"><a href='#Page_157'>157</a></td></tr> <tr><td class="vat"> </td><td class="vat"> </td><td class="vat">The introduction of types and traditionary forms</td><td class="vabr"><a href='#Page_157'>157</a></td></tr> <tr><td class="vat"> </td><td class="vat"> </td><td class="vat">A picture by Botticelli denounced as heretical (note)</td><td class="vabr"><a href='#Page_158'>158</a></td></tr> <tr><td class="vat"> </td><td class="vat"> </td><td class="vat">The choice and treatment of sacred themes</td><td class="vabr"><a href='#Page_159'>159</a></td></tr> @@ -763,7 +745,7 @@ FOURTH DUKE OF URBINO</span></h3> <tr><td class="vat"> </td><td class="vat"> </td><td class="vat">His appearance happily timed</td><td class="vabr"><a href='#Page_221'>221</a></td></tr> <tr><td class="vat"> </td><td class="vat"> </td><td class="vat">First pictorial influences on his mind</td><td class="vabr"><a href='#Page_222'>222</a></td></tr> <tr><td class="vat">1495.</td><td class="vat"> </td><td class="vat">He goes to the school of Perugino</td><td class="vabr"><a href='#Page_223'>223</a></td></tr> -<tr><td class="vat">1500-1504.</td><td class="vat"> </td><td class="vat">His earliest independent works at Città di Castello</td><td class="vabr"><a href='#Page_225'>225</a></td></tr> +<tr><td class="vat">1500-1504.</td><td class="vat"> </td><td class="vat">His earliest independent works at Città di Castello</td><td class="vabr"><a href='#Page_225'>225</a></td></tr> <tr><td class="vat"><span class="ind1">”</span><span class="ind2">”</span></td><td class="vat"> </td><td class="vat">Returns to paint at Perugia</td><td class="vabr"><a href='#Page_226'>226</a></td></tr> <tr><td class="vat"><span class="ind1">”</span><span class="ind2">”</span></td><td class="vat"> </td><td class="vat">Visits Siena and Florence</td><td class="vabr"><a href='#Page_226'>226</a></td></tr> <tr><td class="vat"><span class="ind1">”</span><span class="ind2">”</span></td><td class="vat"> </td><td class="vat">Returns to paint at Urbino</td><td class="vabr"><a href='#Page_227'>227</a></td></tr> @@ -844,7 +826,7 @@ FOURTH DUKE OF URBINO</span></h3> <tr><td class="vat"> </td><td class="vat"> </td><td class="vat">His patronage of art</td><td class="vabr"><a href='#Page_287'>287</a></td></tr> <tr><td class="vat"> </td><td class="vat"> </td><td class="vat">And of the Vatican Library</td><td class="vabr"><a href='#Page_289'>289</a></td></tr> <tr><td class="vat"> </td><td class="vat"> </td><td class="vat">Portrait there of himself and nephews</td><td class="vabr"><a href='#Page_289'>289</a></td></tr> -<tr><td class="vat"> </td><td class="vat"> </td><td class="vat">Painted by Melozzo da Forlì</td><td class="vabr"><a href='#Page_290'>290</a></td></tr> +<tr><td class="vat"> </td><td class="vat"> </td><td class="vat">Painted by Melozzo da Forlì</td><td class="vabr"><a href='#Page_290'>290</a></td></tr> <tr><td class="vat"> </td><td class="vat"> </td><td class="vat">His brother Giovanni della Rovere</td><td class="vabr"><a href='#Page_291'>291</a></td></tr> <tr><td class="vat">1474.</td><td class="vat">Oct. 12.</td><td class="vat">Made vicar of Sinigaglia</td><td class="vabr"><a href='#Page_291'>291</a></td></tr> <tr><td class="vat"><span class="ind1">”</span></td><td class="vat"><span class="indhalf">”</span> <span class="ind1">28.</span></td><td class="vat">His marriage with Princess Giovanna of Urbino</td><td class="vabr"><a href='#Page_291'>291</a></td></tr> @@ -1114,7 +1096,7 @@ FOURTH DUKE OF URBINO</span></h3> <tr><td class="vat"><span class="ind1">”</span></td><td class="vat"> </td><td class="vat">The Colonna rebel against the Pope</td><td class="vabr"><a href='#Page_443'>443</a></td></tr> <tr><td class="vat"><span class="ind1">”</span></td><td class="vat">Sep. 20.</td><td class="vat">They surprise Rome, and pillage the Borgo</td><td class="vabr"><a href='#Page_444'>444</a></td></tr> <tr><td class="vat"><span class="ind1">”</span></td><td class="vat"><span class="indhalf">”</span></td><td class="vat">Francesco Maria visits his Duchess</td><td class="vabr"><a href='#Page_445'>445</a></td></tr> -<tr><td class="vat"><span class="ind1">”</span></td><td class="vat">Nov.</td><td class="vat">Fründesberg brings the lansquenets into Lombardy</td><td class="vabr"><a href='#Page_445'>445</a></td></tr> +<tr><td class="vat"><span class="ind1">”</span></td><td class="vat">Nov.</td><td class="vat">Fründesberg brings the lansquenets into Lombardy</td><td class="vabr"><a href='#Page_445'>445</a></td></tr> <tr><td class="vat"><span class="ind1">”</span></td><td class="vat"> </td><td class="vat">The Duke's plans of defence considered</td><td class="vabr"><a href='#Page_446'>446</a></td></tr> <tr><td class="vat"><span class="ind1">”</span></td><td class="vat">Nov. 30.</td><td class="vat">Battle of Borgoforte, and death of Giovanni de' Medici <i><span lang="it" xml:lang="it">delle bande nere</span></i></td><td class="vabr"><a href='#Page_446'>446</a></td></tr> <tr><td class="vat">1527.</td><td class="vat"> </td><td class="vat">Tortuous policy of Clement</td><td class="vabr"><a href='#Page_447'>447</a></td></tr> @@ -1406,9 +1388,9 @@ and cruelty unparalleled in the annals of human civilisation.<a name="FNanchor_5 <p>Gianpaolo Baglioni having fled to Siena, Valentino followed him in that direction, after taking possession of Perugia, and learning -that Città di Castello, abandoned by the adherents of the Vitelli, +that Città di Castello, abandoned by the adherents of the Vitelli, had been plundered by his own partizans. On the 18th of January, -hearing at Città della Pieve of the blow struck by his father against +hearing at Città della Pieve of the blow struck by his father against the Orsini, and that Fabio, who escaped the snare at Sinigaglia, was ravaging the Campagna, he handed over Paolo and the Duke of Gravina to the tender mercies of Michelotto, whose noose quickly @@ -1468,7 +1450,7 @@ gave matters another aspect, and occasioned surprise to those who knew the cruel perfidy of their new master. Various notorious abuses were put down under severe penalties, especially the acceptance of presents by judges, and the following up of private vengeance. -The deputy governor, Giovanni da Forlì, was however a man of quite +The deputy governor, Giovanni da Forlì, was however a man of quite opposite temperament, whose harshness soon counteracted these gentler influences, and occasioned general disgust. But the people heard with satisfaction the tragedy of Sinigaglia; for to the perfidy @@ -1774,7 +1756,7 @@ conquests of Cesare:—</p> <table style="width: 100%" border="0" cellpadding="2" cellspacing="0" summary="Cesare's conquests"> <tr><td style="width: 25%"><b>City.</b></td><td style="width: 25%"><b>Family.</b></td><td style="width: 25%"><b>Date.</b></td><td style="width: 25%"><b>Campaign.</b></td></tr> <tr><td>Imola</td><td>Riarii</td><td>Nov. 27, 1499</td><td>First.</td></tr> -<tr><td>Forlì</td><td>Riarii</td><td>Jan. 12, 1500</td><td>First.</td></tr> +<tr><td>Forlì</td><td>Riarii</td><td>Jan. 12, 1500</td><td>First.</td></tr> <tr><td>Rimini</td><td>Malatesta</td><td>Oct. 10, 1500</td><td>Second.</td></tr> <tr><td>Pesaro</td><td>Sforza</td><td>Oct. 21, 1500</td><td>Second.</td></tr> <tr><td>Faenza</td><td>Manfredi</td><td>April 25, 1501</td><td>Second.</td></tr> @@ -1782,7 +1764,7 @@ conquests of Cesare:—</p> <tr><td>Urbino</td><td>Montefeltri</td><td>June 21, 1502</td><td>Third.</td></tr> <tr><td>Camerino</td><td>Varani</td><td>July 29, 1502</td><td>Third.</td></tr> <tr><td>Sinigaglia</td><td>Roveri</td><td>Dec. 28, 1502</td><td>Third.</td></tr> -<tr><td>Città di Castello</td><td>Vitelli</td><td>Jan. 2, 1503</td><td>Third.</td></tr> +<tr><td>Città di Castello</td><td>Vitelli</td><td>Jan. 2, 1503</td><td>Third.</td></tr> <tr><td>Perugia</td><td>Baglioni</td><td>Jan. 6, 1503</td><td>Third.</td></tr> <tr><td>Siena</td><td>Petrucci</td><td>Jan. (end), 1503</td><td>Third.</td></tr> </table> @@ -1840,7 +1822,7 @@ each.<a name="FNanchor_13_14" id="FNanchor_13_14"></a><a href="#Footnote_13_14" and the other principalities; and by October, a confederacy for their common maintenance and defence, under oaths and a mutual bond of 10,000 ducats, was organised by these three states, along with -Camerino, Perugia, Piombino, Città di Castello, and Rimini, in all +Camerino, Perugia, Piombino, Città di Castello, and Rimini, in all which the exiled seigneurs had resumed their ascendancy.</p> <p>It was a condition of this league, that no step or engagement should @@ -1908,7 +1890,7 @@ Consistory stood in such awe, as Giulio della Rovere. Yet did his master-spirit overcome all opposition. On the day preceding the conclave he effected a reconciliation with the Spaniards, and his ancient rival Ascanio Sforza sought his friendship. As he rode to -enter upon its duties, the cortège of attendant<span class="pagenum"><a name="Page_27" id="Page_27">-27-</a></span> prelates equalled +enter upon its duties, the cortège of attendant<span class="pagenum"><a name="Page_27" id="Page_27">-27-</a></span> prelates equalled that which usually swelled the train of an elected pope. Before the door was closed, bets of eighty-two to a hundred were made on his success, one hundred to six being offered against any other @@ -1966,7 +1948,7 @@ and Cesenatico, whereupon the messenger reported him to the Doge as "a good Christian, but in want of some one to counsel him."</p> <p>In this exigency, Cesare proposed to surrender to the Pope the -citadels of Cesena, Bertinoro, Forlì, and Forlimpopoli, as a means +citadels of Cesena, Bertinoro, Forlì, and Forlimpopoli, as a means of immediately arresting the progress of their assailants, and of cutting short the schemes of Venice, offering to serve the Church during the rest of his<span class="pagenum"><a name="Page_29" id="Page_29">-29-</a></span> life in any capacity that was thought @@ -2029,7 +2011,7 @@ ground of his dangerous character. At length he made his escape by a rope-ladder or cord, under circumstances so fool-hardy as to be ascribed by the country people to supernatural aid, and reached the King of Navarre, who gave him the command of an expedition against -the Count de Lérin. On the 10th of<span class="pagenum"><a name="Page_31" id="Page_31">-31-</a></span> March, 1507, he fell into an +the Count de Lérin. On the 10th of<span class="pagenum"><a name="Page_31" id="Page_31">-31-</a></span> March, 1507, he fell into an ambuscade near Viane, and was cut to pieces fighting desperately. By a singular coincidence, his stripped and plundered body, having been recognised by a servant, was interred in the church of Pampeluna, the @@ -2040,7 +2022,7 @@ his dignities and distinctions, realising the distich of Sannazaro,</p> <table border="0" cellpadding="2" cellspacing="0" summary="poem"> <tr> <td> -"<span class="smcap">Cæsar</span>, he aimed at all, he vanquished all;<br /> +"<span class="smcap">Cæsar</span>, he aimed at all, he vanquished all;<br /> <span style="margin-left: 1em;">In all he fails, a <span class="sm">CYPHER</span> in his fall."<a name="FNanchor_17_18" id="FNanchor_17_18"></a><a href="#Footnote_17_18" class="fnanchor">[17]</a></span> </td> </tr> @@ -2076,7 +2058,7 @@ festivities for his own restoration and for the election of Julius, he performed the journey in a litter, his gout preventing him from riding. On the eleventh day, being the 20th of November, he was met at the Ponte Molle by a superbly caparisoned mule, and on it was -painfully but honourably escorted by an imposing cortège to his +painfully but honourably escorted by an imposing cortège to his apartment in the Vatican, under a salute from the artillery of St. Angelo. Notwithstanding his fatigue, he was bidden by the impatient Pontiff to supper that evening, and was received by his Holiness on @@ -2167,7 +2149,7 @@ confederates, the death of the Pope, and the Duke's restoration to his rights.</p> <p>The garrisons of Cesena and Bertinoro had surrendered ere Guidobaldo -took the field, that of Forlì came to terms as soon as his troops +took the field, that of Forlì came to terms as soon as his troops appeared. With it passed the last wreck of the Borgian substantial power and vast ambition, within a year from the death of Alexander, leaving to future times no memorial but a name doomed to lasting @@ -2260,7 +2242,7 @@ regularly attested in notorial instruments, the solemnity ended.<a name="FNancho against the claims of Julius upon their recent acquisitions of Romagna, which they regarded as fairly conquered from Borgia. They possessed in this way the states of Ravenna, Faenza, and Rimini, and -had gained footing upon the territories of Imola, Forlì, and Cesena, +had gained footing upon the territories of Imola, Forlì, and Cesena, the inhabitants of which loudly complained of their aggressions. Of all these places the Church was the acknowledged superior, and the old investitures held under her by their respective princely @@ -2315,7 +2297,7 @@ into the pay of Julius for his expedition against Bologna. The Pope, elated by the ease with which so formidable an opponent had been disposed of, pressed on preparations for attacking the Bentivoglii. He reached Urbino on the 25th of September, accompanied by twenty-two -cardinals, with a suitable cortège, and a guard of four<span class="pagenum"><a name="Page_40" id="Page_40">-40-</a></span> hundred men. +cardinals, with a suitable cortège, and a guard of four<span class="pagenum"><a name="Page_40" id="Page_40">-40-</a></span> hundred men. Beyond the walls he was received by forty-five noble youths, dressed in doublets and hose of white silk, who, on his alighting, seized as their perquisite his richly caparisoned mule, which was afterwards @@ -2610,7 +2592,7 @@ author's charming letters, will find there many more attractive and not less veracious touches of the Montefeltrian court, where learning and accomplishment were often called upon to give dignity and grace to social pastimes. Thus, the Duchess is represented as -singing to her lute those verses from the fourth <i>Æneid</i>, in which, +singing to her lute those verses from the fourth <i>Æneid</i>, in which, at the moment of self-immolation, Dido apostrophised the garments forgotten by her faithless lover when he fled from her charms, until, Orpheus-like, she had wiled the savage animals from their lairs, and @@ -2715,7 +2697,7 @@ its fostering influence were fully developed those fine qualities which nature and early training had formed in Castiglione. His first essay was as captain of fifty men-at-arms, with 400 ducats of nominal pay, besides allowances; and his earliest exploit in -this new service was the reduction of Forlì, in 1504. The finances +this new service was the reduction of Forlì, in 1504. The finances of Guidobaldo were necessarily at a low ebb, and it is amusing to find Baldassare's frequent lamentations to his mother, over the arrears of his pay:—"Our doings are jolly but inconsiderable, that @@ -3074,7 +3056,7 @@ sovereignty she became distinguished as a patroness of letters. The intimacy which sprang up between this princess and Bembo has given rise to some controversy as to the purity of its platonism, a discussion into which we need not enter. The life of the lady, the -writings of the Abbé, and the morals of their time combine to justify +writings of the Abbé, and the morals of their time combine to justify suspicion, where proofs can hardly be looked for.<a name="FNanchor_45_46" id="FNanchor_45_46"></a><a href="#Footnote_45_46" class="fnanchor">[*45]</a></p> <table border="0" cellpadding="2" cellspacing="0" summary="poem"> @@ -3139,7 +3121,7 @@ have accepted this dignity unwillingly, but having done so, he had the good sense at all events to "cleanse the outside of the cup and platter." His mistress was now dead; he laid aside<span class="pagenum"><a name="Page_65" id="Page_65">-65-</a></span> poetry, literature, and pagan idioms, and, devoting himself to theological -studies, at which he had formerly sneered in the habit of an abbé, +studies, at which he had formerly sneered in the habit of an abbé, he entered holy orders at the mature age of sixty-nine. In 1541 he succeeded Fregoso, his early companion at Urbino, in the bishopric of Gubbio, to which was added that of Bergamo. How little these @@ -3699,7 +3681,7 @@ have wished to quit.<a name="FNanchor_60_61" id="FNanchor_60_61"></a><a href="#F <p>The body was borne on shoulders to Urbino during the following night, surrounded by multitudes carrying torches, their numbers swollen, as they advanced, by influx of the country population through which the -funeral cortège passed. Castiglione, who accompanied it, describes +funeral cortège passed. Castiglione, who accompanied it, describes the night as one of mysterious dread, in which the wailing of the people ever and anon was broken upon by piercing shrieks echoed from the mountains, and repeated by the distant howling of alarmed @@ -3717,7 +3699,7 @@ lined with white silk damask.</p> <div class="illo" style="width: 376px"><a id="MOURNING"></a> <p class="center border"><img src="images/mourning.jpg" width="376" height="500" alt="mourning" title="mourning" /></p> -<p class="cap1">R. Tammé</p> +<p class="cap1">R. Tammé</p> <p class="cap2">PORTRAIT OF A LADY IN MOURNING</p> <p class="cap3">After the picture by Pordenone in the Dresden Gallery</p> </div> @@ -3903,7 +3885,7 @@ rarely found in his rhetorical periods.<a name="FNanchor_62_63" id="FNanchor_62_ <p>An anonymous and now lost complimentary poem, written about 1512, and formerly in the library of S. Salvadore at Bologna, celebrated Elisabetta's charitable aid in the establishment of a <i><span lang="it" xml:lang="it">monte di -pietà</span></i>,<a name="FNanchor_63_64" id="FNanchor_63_64"></a><a href="#Footnote_63_64" class="fnanchor">[63]</a> at Fabriano, and alluded to her prudent government of +pietà </span></i>,<a name="FNanchor_63_64" id="FNanchor_63_64"></a><a href="#Footnote_63_64" class="fnanchor">[63]</a> at Fabriano, and alluded to her prudent government of the state in the Duke's absence. The terms of affection with which she regarded her husband's adopted heir underwent no change after her bereavement; and his marriage to her niece Leonora Gonzaga @@ -4070,7 +4052,7 @@ its genial influence was unknown in some other petty courts. Again, if we turn to the papal throne, we shall find the accomplished Nicolas, Pius, Sixtus, Julius, and Leo, sitting alternately with the Bœotian Calixtus, Paul, Innocent, and Alexander. From an impartial -review of Italian mediæval history it appears that democratic +review of Italian mediæval history it appears that democratic institutions were by no means indispensable to the expansion of genius, since the progress of letters and arts was upon the whole nearly equal in the republics and the seigneuries, under the tyranny @@ -4210,7 +4192,7 @@ happily combined enthusiasm for classic models with the power to rival them in a language simultaneously matured by themselves for the daring undertaking. The fifteenth century arrived; it was an epoch of reaction; one of other tendencies and tastes, when genius, -as Ginguené has happily observed, was superseded by erudition. +as Ginguené has happily observed, was superseded by erudition. Entering the path which Petrarch had partially explored, its pioneers neglected the better portion of his example. They spent their energies in rummaging obscure recesses of monastic libraries, @@ -4311,7 +4293,7 @@ alone mind was then exercised, or its operations studied. The rival system of Plato came directly from its native soil; and was first publicly taught in Italy early in the fifteenth century, by Gemistus Plato,<a name="FNanchor_67_68" id="FNanchor_67_68"></a><a href="#Footnote_67_68" class="fnanchor">[*67]</a> of Constantinople. It attracted the notice of Cosimo -<span class="smcap">Pater Patriæ</span>, who after having Marsilio Ficino, son of his +<span class="smcap">Pater Patriæ</span>, who after having Marsilio Ficino, son of his physician, grounded in its mysteries by Greeks of learning, placed him at the head of an academy in Florence, instituted by himself for the dissemination of its doctrines. From thence these radiated, @@ -4968,7 +4950,7 @@ him from the task, and which may account for, if it cannot excuse, the superficial character of the narrative, the poverty of graphic details, and the teasing absence of dates. On the composition, too, his classic mania has left its withering traces. It was his ambition -here to rival the Commentaries of Cæsar; and, in perfecting the +here to rival the Commentaries of Cæsar; and, in perfecting the idiom of a dead language, he has constrained freedom of thought, and polished away the life and spirit of his theme. We have examined his pages, as an indispensable authority upon events which occupy several @@ -4985,7 +4967,7 @@ upon the fulsome flattery and elaborate verbiage which he labours to reduce into Ciceronian terseness. Though entitled a "Book," the whole occupies but a hundred pages in the octavo edition of his works (1567), whereof scarcely one third is original matter. It is -addressed to Nicolò Tiepolo, a literary gentleman of Venice, and +addressed to Nicolò Tiepolo, a literary gentleman of Venice, and professes to have been committed to writing for the satisfaction of some Venetians<span class="pagenum"><a name="Page_126" id="Page_126">-126-</a></span> who, feeling an interest in Guidobaldo as their former guest, had applied to the father of Bembo for some account of @@ -5042,7 +5024,7 @@ sixteenth century, but the style and substance alike render it unpalatable to modern amateurs of light reading. His Latin treatise <i>De Imitatione</i> is a dull defence of his Ciceronian mannerisms; his essay in the same language upon Virgil and Terence a laboured -philological critique; his <i>De Ætna Liber</i> a report of physical +philological critique; his <i>De Ætna Liber</i> a report of physical observations during an early residence near that volcano. His poetry, both Latin and Italian, enjoyed high reputation at a period when imitations of Petrarch had degenerated into common-place; for he @@ -5182,7 +5164,7 @@ the number and variety of his compositions. He sought audiences in many cities of Italy and Provence for his prelections in grammar and philosophy, as well as for his improvisations of Latin or Italian verse; and among the numerous patrons he thus courted was the good -King René, who bestowed on him the laurel crown, a guerdon which his +King René, who bestowed on him the laurel crown, a guerdon which his rude numbers ill-deserved at the hands of that graceful troubadour. Tiraboschi makes no allusion to his intercourse with Duke Federigo, whereof we know little beyond two works which he inscribed to that @@ -5199,7 +5181,7 @@ the Duke of Urbino:—</p> <tr> <td> <span lang="la" xml:lang="la"> -"Primus et in Martem quæ sint pia fata Tonantis,<br /> +"Primus et in Martem quæ sint pia fata Tonantis,<br /> <span style="margin-left: 1em;">Et manibus nati monstra parenta refert;</span><br /> At liber et bellis laudatque et honore secundus,<br /> <span style="margin-left: 1em;">Et gestis magnum rebus in orbe Ducem."</span></span> @@ -5271,13 +5253,13 @@ Forse leggiendol' ne fia alcun dilecto,<br /> Pur che 'l non sia di tutto il vano orciuolo<br /> <span style="margin-left: 1em;">Col qual l'aqua si tira, da le donne</span><br /> <span style="margin-left: 1em;">Che feciono ai mariti si gran duolo.</span><br /> -Ogni casa non è posta in colonne;<br /> -<span style="margin-left: 1em;">Ognuno esser non può Dante o Patrarcha;</span><br /> +Ogni casa non è posta in colonne;<br /> +<span style="margin-left: 1em;">Ognuno esser non può Dante o Patrarcha;</span><br /> <span style="margin-left: 1em;">Ognun non porta pretiose gonne.</span><br /> Ma spesse volte piccoletta barcha<br /> <span style="margin-left: 1em;">Arriva in luoco, ove andando s'anniegha</span><br /> -<span style="margin-left: 1em;">Tal grossa nave che molto è men charcha.</span><br /> -De! s'al huom val quanto il Signor più priegha,<br /> +<span style="margin-left: 1em;">Tal grossa nave che molto è men charcha.</span><br /> +De! s'al huom val quanto il Signor più priegha,<br /> <span style="margin-left: 1em;">China la fronte altiera a questa scorza,</span><br /> <span style="margin-left: 1em;">Ch'in questo mio arbor del pieta non niegha.</span><br /> Et come il navichare hor poggia, hor orza,<br /> @@ -5290,8 +5272,8 @@ Qual l'autunno ogni verde arbor spoglia,<br /> <span style="margin-left: 1em;">Inverno asciugha, e primavera inverde,</span><br /> <span style="margin-left: 1em;">Tal varia e nostra externa et mental voglia.</span><br /> Ma tristo chiunque indarno il tempo perde,<br /> -<span style="margin-left: 1em;">Ch'è peggio ch'esser rozzo e senza lima,</span><br /> -<span style="margin-left: 1em;">Però che chi non è mai non riverde.</span><br /> +<span style="margin-left: 1em;">Ch'è peggio ch'esser rozzo e senza lima,</span><br /> +<span style="margin-left: 1em;">Però che chi non è mai non riverde.</span><br /> De! leggi, Signor mio, la vulghar ryma,<br /> <span style="margin-left: 1em;">Et sia ti un modo da cacciar la noia,</span><br /> <span style="margin-left: 1em;">Quando di gran facciende hai maggior stima."</span><br /> @@ -5315,12 +5297,12 @@ Gentile Bellini.</p> <span style="margin-left: 1em;">Hor confess'io che sei fra gli altri degno,</span><br /> <span style="margin-left: 1em;">D'haver qual hebbe Apelle ogni alto honore.</span><br /> Veduta ho l'opra tua col suo cholore,<br /> -<span style="margin-left: 1em;">La venustà col suo sguardo benegno,</span><br /> +<span style="margin-left: 1em;">La venustà col suo sguardo benegno,</span><br /> <span style="margin-left: 1em;">Ogni suo movimento et nobil segno</span><br /> <span style="margin-left: 1em;">Che ben demonstri il tuo gientil valore.</span><br /> Gientile! io t'ero affectionato assai,<br /> -<span style="margin-left: 1em;">Parendomi la tua virtu più rara</span><br /> -<span style="margin-left: 1em;">Che soglia esser l'ucciel che è solo al mondo;</span><br /> +<span style="margin-left: 1em;">Parendomi la tua virtu più rara</span><br /> +<span style="margin-left: 1em;">Che soglia esser l'ucciel che è solo al mondo;</span><br /> Ne pingier sa chi da te non impara,<br /> <span style="margin-left: 1em;">Che gloria a quegli antiqui hormai tolta hai,</span><br /> <span style="margin-left: 1em;">In chi questa arte postha ogni suo pondo.</span><br /> @@ -5362,7 +5344,7 @@ the manuscript.</p> <hr class="med" /> -<p>Another <i><span lang="fr" xml:lang="fr">protégé</span></i> of Duke Federigo was <span class="smcap">Porcellio Pandonio</span>, +<p>Another <i><span lang="fr" xml:lang="fr">protégé</span></i> of Duke Federigo was <span class="smcap">Porcellio Pandonio</span>, of Naples,<a name="FNanchor_84_85" id="FNanchor_84_85"></a><a href="#Footnote_84_85" class="fnanchor">[*84]</a> whose pen was ever at command of the readiest patron, as historiographer or laureate. From his partiality to the designations of bard and secretary to Alfonso of Naples, it would @@ -5377,7 +5359,7 @@ which it is his object vividly to portray. In his printed work, on the campaigns of 1451-2, between Venice and Milan, he uniformly disguises Sforza and Piccinino, their respective commanders, as Scipio and Hannibal, under which <i><span lang="fr" xml:lang="fr">noms de guerre</span></i> it requires a -constant effort to recognise mediæval warriors, or to recollect +constant effort to recognise mediæval warriors, or to recollect that we are considering events dating some two thousand years after those who really bore them had been committed to the dust. The same affectation, common to many authors of his day, mars his unpublished @@ -5400,10 +5382,10 @@ to the state of Italy at the outbreak of the war:—</p> <tr> <td> <span lang="la" xml:lang="la"> -"Jamque erat Ausoniæ populos pax alta per omnes,<br /> +"Jamque erat Ausoniæ populos pax alta per omnes,<br /> Et tranquilla quies: jam nulli Martis ad aras<br /> Collucent ignes; jam victima nulla cadebat.<br /> -Dantur thura Jovi; fumabat oliva Minervæ:<br /> +Dantur thura Jovi; fumabat oliva Minervæ:<br /> Sus erat in pretio, Cereris aptissima sacris,<br /> Pampineique dei caper, et qui vitibus amens<br /> Officit, atque merum ante aras cum sanguine fundit."</span> @@ -5482,7 +5464,7 @@ detailed analysis of the work, as we have formerly drawn upon its most valuable portions for the history of Duke Federigo. When considering the state of the fine arts, we shall have to notice a very important part of the poem touching upon that subject—an -æsthetic episode on the art and artists of his day, which is +æsthetic episode on the art and artists of his day, which is introduced on occasion of the Duke's visit to Federigo I., Marquis of Mantua. In regard to the merit of this epic, due allowance must be made for the taste of the age. Its great length necessarily infers a @@ -5554,7 +5536,7 @@ Yet 'tis appointed him to die.<br /> <br /> <span lang="it" xml:lang="it"><span style="margin-left: 1em;">"Che el facto d'arme se devea fare</span><br /> <span style="margin-left: 1em;">Sol per due cose, e l'altre lassar gire:</span><br /> -L'uno è per lo avantagio singolare<br /> +L'uno è per lo avantagio singolare<br /> <span style="margin-left: 1em;">E grande oltra misura; e in caso extremo</span><br /> <span style="margin-left: 1em;">Si deve l'huomo a la fortuna dare."</span></span><br /> <br /> @@ -5580,7 +5562,7 @@ finely:—</p> <span style="margin-left: 1em;">Che noi facciam per questo falso mondo,</span><br /> <span style="margin-left: 1em;">Anzi un pugno di terra al ver narrare,</span><span class="pagenum"><a name="Page_142" id="Page_142">-142-</a></span><br /> Dove, con tanto afanno e tanto pondo,<br /> -<span style="margin-left: 1em;">De dì e nocte, e inextimabil cure,</span><br /> +<span style="margin-left: 1em;">De dì e nocte, e inextimabil cure,</span><br /> <span style="margin-left: 1em;">Cerchiam sallire in alto e andamo al fondo.</span><br /> Qual e quel si potente che asicure<br /> <span style="margin-left: 1em;">Ogi la vita sua per l'altro giorno,</span><br /> @@ -5679,7 +5661,7 @@ Non tangeria, s'il ver ch'io non errasse.<br /> Forsa che la natura in paradiso<br /> Per aiuto sali ad informarte,<br /> E poi per divin arte<span class="pagenum"><a name="Page_144" id="Page_144">-144-</a></span><br /> -A gloria de se eterna giù te trasse.<br /> +A gloria de se eterna giù te trasse.<br /> Qual oro si micante s'aguagliasse<br /> Cum sua chiareza a tui biondi capegli!<br /> E gli occhi, ch'a vede gli<br /> @@ -5703,11 +5685,11 @@ Real costume, aspetto di signora,<br /> Viso di dea e d'angioli a favella.<br /> <br /> Ma questa donna, ch'a la mente diva,<br /> -Depinge di honestà omne suo gesto:<br /> +Depinge di honestà omne suo gesto:<br /> Non pur suo guardo honesto,<br /> Ma li suo panni, gridan' pudicitia.<br /> <br /> -Questa madonna è el mar' de tutto el senno<br /> +Questa madonna è el mar' de tutto el senno<br /> Renchiuso, e posto dentro da bel ciglio,<br /> Chi vuol vecchio consiglio<br /> Recinga ai teneri anni di costei.<br /> @@ -5746,11 +5728,11 @@ deplores:—</p> Le cui memorie sempre al mondo fixe<br /> <span style="margin-left: 1em;">Sonno e seranno; e ben certo si crede,</span><br /> <span style="margin-left: 1em;">Mentre sta el mondo e la natura in pede</span><br /> -<span style="margin-left: 1em;">Ch'ogni virtù dal cielo in lui venisse.</span><br /> +<span style="margin-left: 1em;">Ch'ogni virtù dal cielo in lui venisse.</span><br /> Quello mi piango, e mai ho 'l viso asciutto;<br /> <span style="margin-left: 1em;">Quel chiamo, quel mi sogno, e quel mi stringo</span><br /> <span style="margin-left: 1em;">Ai labri, sculpto in cara tavletta;</span><br /> -La qual, così machiata del mio lucto,<br /> +La qual, così machiata del mio lucto,<br /> <span style="margin-left: 1em;">Adoro, honoro in verso, e vivo el fingo,</span><br /> Per lenimento di mia vita abiecta."<a name="FNanchor_90_91" id="FNanchor_90_91"></a><a href="#Footnote_90_91" class="fnanchor">[90]</a> </span> @@ -5759,7 +5741,7 @@ Per lenimento di mia vita abiecta."<a name="FNanchor_90_91" id="FNanchor_90_91"> </table> <p>But, in addition to his miscellaneous avocations, Veterani was a -copious versifier. Besides an epic, De Progenie Domus Feretranæ, +copious versifier. Besides an epic, De Progenie Domus Feretranæ, there are other volumes of poetry, apparently his, remaining unedited in the library,<a name="FNanchor_91_92" id="FNanchor_91_92"></a><a href="#Footnote_91_92" class="fnanchor">[91]</a> of which he continued custodian until the reign of Francesco Maria I. One of those beautiful manuscripts, the fair @@ -5786,7 +5768,7 @@ Hunc ego jamdudum Federicus, stante Feretro,<br /> Quem modo vel semper fas est lugere parentem,<br /> <span class="pagenum"><a name="Page_146" id="Page_146">-146-</a></span><span style="margin-left: 1em;">Et dominum qui me nutriit,) atque diu</span><br /> Pagina testis erit, lacrymis interlita multis,<br /> -<span style="margin-left: 1em;">Hæc tibi, qui moesta hæc carmina pauca legis.</span><br /> +<span style="margin-left: 1em;">Hæc tibi, qui moesta hæc carmina pauca legis.</span><br /> Et si dissimilis conclusit littera librum,<br /> <span style="margin-left: 1em;">Scriptorem ignarum me dolor ipse facit."</span> </span> @@ -5813,7 +5795,7 @@ memoirs.<a name="FNanchor_93_94" id="FNanchor_93_94"></a><a href="#Footnote_93_9 Guidobaldo's court, we mentioned Bernardo Accolti, and endeavoured to explain the inadequacy of his published works to sustain his contemporary reputation, by supposing that his strength lay in -extemporé recitation. The high place which his vanity claimed, in +extemporé recitation. The high place which his vanity claimed, in assuming "the Unique" as a surname, appears to have been freely accorded by the most able of his contemporaries. Ariosto says of him, not perhaps without a sneer at his notorious conceit,—</p> @@ -5841,7 +5823,7 @@ Italian courtlets, a celebrity from which posterity has withheld its seal. A solution of this success may perhaps be found in the circumstance that many of these owed it either to personal popularity or to their musical accomplishments. Thus <span class="smcap">Serafino d'Aquila</span>, -who either improviséed his verses, or chanted them to his own +who either improviséed his verses, or chanted them to his own accompaniment on the lute, was generally preferred to Petrarch. He died at thirty-four, in 1500, after being sought by all the petty sovereigns from Milan to Naples, and ere two generations had @@ -5900,7 +5882,7 @@ the theatre:—</p> <tr> <td> <span class="msm">"'BOTH WARS ABROAD AND SPORTS AT HOME<br /> -<span class="ind1">GREAT CÆSAR PATRONISED;</span><br /> +<span class="ind1">GREAT CÆSAR PATRONISED;</span><br /> LIKE DOUBLE CARE BY MIGHTY MINDS<br /> <span class="ind1">'MONGST US SHOULD STILL BE PRIZED.'</span></span></td> </tr> @@ -6039,7 +6021,7 @@ entertainment, and the racy humour of the dialogue. In order to let these be appreciated, an analysis larger than our space can permit would be necessary, and neither the character nor the wit of the piece could be preserved without introducing intrigues and language -repugnant to modern decency. Ginguené has conveyed a tolerable +repugnant to modern decency. Ginguené has conveyed a tolerable idea of the comedy without greatly shocking the reader, but has consequently suppressed much of its fun, and to his pages we must refer<span class="pagenum"><a name="Page_153" id="Page_153">-153-</a></span> for detail.<a name="FNanchor_98_99" id="FNanchor_98_99"></a><a href="#Footnote_98_99" class="fnanchor">[98]</a> The story turns upon the adventures of twins, @@ -6090,7 +6072,7 @@ Christendom, to continue exempt from corruption and licentiousness."</p> <p>In no language, perhaps, does there exist a jest-book more disgustingly prurient or so full of sacrilegious ribaldry as -the <i>Facetiæ</i> of Poggio Bracciolini. Were such a work published +the <i>Facetiæ</i> of Poggio Bracciolini. Were such a work published now-a-days, the author would be hooted from society, and the printer laid hold of as a common nuisance. Though the parties to above half its obscene anecdotes are from the clergy or the monastic orders, @@ -6140,7 +6122,7 @@ when unsustained by public and private virtue."<a name="FNanchor_101_102" id="FN <h2><a name="CHAPTER_XXVI" id="CHAPTER_XXVI">CHAPTER XXVI</a></h2> <div class="blockquot"> -<p class="subhead">Mediæval art chiefly religious—Innovations of Naturalism, +<p class="subhead">Mediæval art chiefly religious—Innovations of Naturalism, Classicism, and Paganism—character and tendencies of Christian painting ill understood in England—influence of St. Francis—Mariolatry.</p> @@ -6298,7 +6280,7 @@ divine grace, in order that we may attain to a good beginning and ending of all our undertakings, whether of word or work, prefacing all in the name and to the honour of the <span class="smcap">Most Holy Trinity</span>. And since spiritual things are, and should be, far preferable and -more precious than temporal, let us commence by regulating the fête +more precious than temporal, let us commence by regulating the fête of our patron, the venerable and glorious St Luke," &c. Several subsequent rules relate to the observance of other festivals, whereof fifty-seven are enjoined to be strictly kept without working, a @@ -6362,7 +6344,7 @@ borrowed from ordinary life, is to detract from the awe and mystery whereof they ought to be especially suggestive.</p> <p>But here it may be well to premise that, our observations upon -Christian art being purely æsthetical, it forms no part of our plan +Christian art being purely æsthetical, it forms no part of our plan to analyse its influences in a doctrinal view, or to discuss the Roman system of teaching religion to the laity, by attracting them to devotional observances through pictures and sculpture, to the @@ -6453,7 +6435,7 @@ authorised, fresh novelties.</p> <p>The modifications thus introduced have been distinguished in modern phrase by the term naturalism, in contradistinction to those traditional forms and spiritualised countenances which constitute -the mysticism of mediæval art. It would lead us too far from +the mysticism of mediæval art. It would lead us too far from our subject to trace the progress of naturalism from such early symptoms as we have indicated, until portraits, at first interponed as donors of the picture, or as spectators of its incident, were @@ -6512,7 +6494,7 @@ long forgotten, but at length reviving lore. The "new manner," as it was called, had, in Michael Angelo, a supporter whose mighty genius lent to its solecisms an irresistible charm. Yet against such innovations protests were long occasionally recorded. An anonymous -writer, in 1549, mentions a <i><span lang="it" xml:lang="it">Pietà</span></i>, said to have been designed +writer, in 1549, mentions a <i><span lang="it" xml:lang="it">Pietà </span></i>, said to have been designed by "Michael Angelo Buonarroti, that inventor of filthy trash, who adheres to art without devotion. Indeed, all the modern painters and sculptors, following the like Lutheran [that<span class="pagenum"><a name="Page_170" id="Page_170">-170-</a></span> is, impious] caprices @@ -6537,7 +6519,7 @@ to squalid beggars.<a name="FNanchor_114_116" id="FNanchor_114_116"></a><a href= <p>The brief sketch which we have thus introduced of the progress and tendency of Christian art, may be fittingly concluded by the definition of it supplied by Baron v. Rumohr, one of the laborious, -learned, and felicitous expositors of mediæval art whom the reviving +learned, and felicitous expositors of mediæval art whom the reviving taste of later times produced. "It is consecrated to religion alone; its object is sometimes to induce the mind to the contemplation of sacred subjects, sometimes to regulate the passions, by awakening @@ -6588,7 +6570,7 @@ Sienese paintings can be understood only after long examination and elevated thought. The former, therefore, gratify the unintelligent many, the latter delight an enlightened few.</p> -<p>The difficulty of justly appreciating this branch of æsthetics is +<p>The difficulty of justly appreciating this branch of æsthetics is greater among ourselves than is generally imagined, as our best authorities have entirely misled us, from themselves overlooking its true bent. More alive to the naturalism and technical merits @@ -6606,7 +6588,7 @@ and insipid," and avers that until Masaccio, art was so barbarous, explanation applicable to assertions thus inconsistent at once with fact and with sound criticism, in a writer so candid and generally so careful. Living in an age devoid of Catholic feeling (we employ -the phrase in an æsthetic sense), which classed in the same category +the phrase in an æsthetic sense), which classed in the same category of contempt<span class="pagenum"><a name="Page_173" id="Page_173">-173-</a></span> all painting before Michael Angelo, and speaking of "an excellence addressed to a faculty which he did not possess," he assumed, without observation or inquiry, that "the simplicity @@ -6694,7 +6676,7 @@ such tastes among ourselves, as is too generally supposed. The present reaction in favour of Romanist views, prevalent in England among a class of persons, many of whom are distinguished by high and cultivated intellect, as well as by youthful enthusiasm, takes -naturally an æsthetic as well as theological direction. The faith +naturally an æsthetic as well as theological direction. The faith and discipline, which they labour to revive, having borrowed some winning illustrations and<span class="pagenum"><a name="Page_176" id="Page_176">-176-</a></span> much imposing pageantry from painting, sculpture, and architecture, their neophytes gladly avail themselves @@ -6809,7 +6791,7 @@ to despise. This influx of treasure had the usual destination of monastic wealth, being chiefly dedicated to the decoration of its sanctuary. During the thirteenth and fourteenth centuries the best artists in Italy competed for its embellishment, and even now it -is there that the student of mediæval art ought most to seek for +is there that the student of mediæval art ought most to seek for enlightenment.</p> <p><span class="pagenum"><a name="Page_179" id="Page_179">-179-</a></span></p> @@ -7047,7 +7029,7 @@ students whose minds were preoccupied by tales of St. Francis, and thus it is unnecessary here to notice them further. The Sienese school is in an entirely different category. Without encumbering ourselves at present by the definitions and distinctions of German -æsthetic criticism, we shall merely remark that the painters of +æsthetic criticism, we shall merely remark that the painters of Siena, from Guido until late in the fifteenth century, never lost sight of that sentimental devotion which we have already described as the soul of Christian art, and which so curiously pervades the @@ -7402,7 +7384,7 @@ less by angelic choirs of cherubim and seraphim, than by the great ones of the earth in their trappings of dignity; and of all sacred themes, the Epiphany, or adoration of the Magi kings at the stable of Bethlehem, was his choice. Such is the magnificent altar-panel -which he wrought in 1423, for the church of the S. Trinità at +which he wrought in 1423, for the church of the S. Trinità at Florence, now one of the most precious monuments in the Belle Arti there. Still more gorgeous is his crowded composition painted for the Zeni of Venice; but there he has contaminated the purist spirit @@ -7432,7 +7414,7 @@ lines and compartments, such as we see in the Dutch gardens of the seventeenth century. But to this question we must return.</p> <p>Among the artists who maintained in Umbria the influences left -by Ottaviano and Gentile, two were of special merit, <span class="smcap">Nicolò +by Ottaviano and Gentile, two were of special merit, <span class="smcap">Nicolò Alunno</span>, of Foligno, and <span class="smcap">Benedetto Bonfigli</span>, of Perugia. Their works have been often confounded, but with the latter only have we to do, for, besides being nearer to Gentile both in @@ -7455,7 +7437,7 @@ other hand, we contrast the placid features which Vannucci uniformly limned, rarely ruffled by sorrow, never clouded by sin, with the furious mien and restless energy of Michael Angelo's creations, we may well credit Vasari's story of their quarrel, and can account -for the scrimp justice accorded to the painter of Città della Pieve +for the scrimp justice accorded to the painter of Città della Pieve by his<span class="pagenum"><a name="Page_200" id="Page_200">-200-</a></span> Florentine biographer. They pretend not, indeed, to the bold character of Signorelli, nor even to the severity of Mantegna, or Piero della Francesca; but those who criticise them as stiff, @@ -7635,7 +7617,7 @@ blind during five lustres; a circumstance which, though not entirely inconsistent with his cultivation of the exact sciences, would occasion an impediment not likely to be passed over by him, when pleading as an apology the disabilities of age. The researches of -Abbé Pungeleoni have, however, established that no such calamity +Abbé Pungeleoni have, however, established that no such calamity had befallen our painter in 1469, when he was the guest of Giovanni Sanzi, at Urbino; and it is no way referred to in Pacioli's dedication, written in 1494, while he was still alive. Altogether, @@ -7707,7 +7689,7 @@ is introduced a detached group of three figures in conversation, magnificently attired, who are generally called at Urbino the successive sovereigns Oddantonio, Federigo, and Guidobaldo I.; but their ages, compared with that of the painter, are irreconcileable -with such a supposition. The<span class="pagenum"><a name="Page_209" id="Page_209">-209-</a></span> Abbé Pungeleoni, in his <i>Life of +with such a supposition. The<span class="pagenum"><a name="Page_209" id="Page_209">-209-</a></span> Abbé Pungeleoni, in his <i>Life of Sanzi</i>, considers them to represent Count Guidantonio and his successors, Oddantonio and Federigo; or they may more probably be portraits of Oddantonio and the two evil counsellors who led him and @@ -7737,7 +7719,7 @@ decorations and very clever perspective;<span class="pagenum"><a name="Page_210" introduced, but the subjects are not known.<a name="FNanchor_153_155" id="FNanchor_153_155"></a><a href="#Footnote_153_155" class="fnanchor">[*153]</a> To these, and still more to some of his earlier productions, may be applied the observation of Fra Castiglione, that "the works of Pietro, and those -of his contemporary, Melozzo da Forlì, with their perspective effects +of his contemporary, Melozzo da Forlì, with their perspective effects and intricacies of art, are appreciated by connoisseurs rather than admired by the uninitiated."<a name="FNanchor_154_156" id="FNanchor_154_156"></a><a href="#Footnote_154_156" class="fnanchor">[*154]</a></p> @@ -7745,7 +7727,7 @@ admired by the uninitiated."<a name="FNanchor_154_156" id="FNanchor_154_156"></a confirmed by Vasari, in naming among his scholars Perugino and Signorelli, the latter of whom worked at Urbino in 1484, and again, ten years later. But were our information as to his pupils more -ample, we might probably find among them Melozzo da Forlì, to whom, +ample, we might probably find among them Melozzo da Forlì, to whom, and to other names connected with the duchy we shall return in our <a href="#CHAPTER_XXXI">thirty-first chapter</a>. Prominently among its painters, Lanzi has enumerated Bartolomeo Corradi, who became a predicant friar by the @@ -7766,7 +7748,7 @@ the church of the Zoccolantines at Sinigaglia, in which two accessory figures probably represent the Prefect Giovanni della Rovere and his wife, the sister of Duke Guidobaldo I.; but their marriage only took place about the supposed time of this painter's death; and, at all -events, had the Abbé ever seen it, he could not have mistaken it for +events, had the Abbé ever seen it, he could not have mistaken it for a sketch of the altar-piece of S. Bernardino. The latter remains in the Brera, at Milan, among the unrestored French plunder; and I have sought in vain for other identified works of Carnevale in the duchy, @@ -7903,13 +7885,13 @@ first established its importance and methodised its application.</p> <div class="blockquot"> <p class="subhead">Giovanni Sanzi of Urbino—His son the immortal Raffaele—Early influences on his mind—Paints at Perugia, -Città di Castello, Siena, and Florence—His visits to +Città di Castello, Siena, and Florence—His visits to Urbino, and works there.</p> </div> <p class="tp"><span class="dropcap">W</span>ITH <span class="smcap">Giovanni Sanzi</span><a name="FNanchor_161_163" id="FNanchor_161_163"></a><a href="#Footnote_161_163" class="fnanchor">[*161]</a> we have already made acquaintance -as an epic poet. The patient labour of the Abbé Pungeleoni, and +as an epic poet. The patient labour of the Abbé Pungeleoni, and the critical acumen of Passavant, have amply refuted Malvasia's spiteful, and Lanzi's careless but often quoted assertions, that the father of Raffaele was an obscure potter, or, at best, an @@ -7963,7 +7945,7 @@ partakes generally of the Umbrian character,—grave, reflective, self-possessed, without aiming at dramatic effect or artificial embellishment, yet not deficient in variety, or graceful expression. More severe than Perugino, he approaches the serious figures of -Melozzo da Forlì, but subdues their naturalism by an infusion of +Melozzo da Forlì, but subdues their naturalism by an infusion of devotional sincerity and simple feeling. He is partial to slender forms and delicately drawn feet and hands, but the contours are dark and hard, the flesh-tints dull and heavy, tending to cold gray in the @@ -8004,7 +7986,7 @@ pronounce a satisfactory judgment as to the master, from the load of over-painting in oil. Though called a Madonna and Child, it seems rather a gentle mother, who, having hushed her babe to sleep upon her knee, reads from the breviary on a stand by her seat, and the -composition and attitudes present a charming naïveté and natural +composition and attitudes present a charming naïveté and natural expression. Connoisseurs agree in rejecting its claims as a work of Raffaele; nor does it quite resemble his father's usual type, though it is difficult to substitute any more plausible theory for the @@ -8014,7 +7996,7 @@ belongs to the pencil of a merciless restorer.</p> <div class="illo" style="width: 311px"><a id="RAPHAEL"></a> <p class="center border"><img src="images/raphael.jpg" width="311" height="500" alt="Raphael" title="Raphael" /></p> -<p class="cap3">Rafaello Sanzi di Anni Sei nato il dì 6 apr. 1483 +<p class="cap3">Rafaello Sanzi di Anni Sei nato il dì 6 apr. 1483 Sanzi Padre dipinse</p> <p class="cap1"><span style="margin-right: 45%">Gio. Sanzi pinx.</span> L. Ceroni sculp.</p> <p class="cap2">RAPHAEL, AGED SIX YEARS</p> @@ -8188,9 +8170,9 @@ Italy banished from his thoughts the congenial pursuits of peace, and he repaired to Venice to take part in the coming strife. There was little inducement for the young Sanzio to establish himself at the board of an ungracious stepmother, so he set forth to try -his fortunes at the neighbouring capital of Vitelli, and Città di +his fortunes at the neighbouring capital of Vitelli, and Città di Castello was enriched by the first works undertaken on his own -account. One of these, S. Nicolò di Tolentino crowned by the Madonna, +account. One of these, S. Nicolò di Tolentino crowned by the Madonna, has disappeared in the rapine of the French revolutionary invasion; but another altar-picture of the Crucifixion, lately obtained from the Fesch Gallery by Lord Ward, enables us to appreciate @@ -8200,7 +8182,7 @@ Perugino in which he was assisted by his pupil; and such as best know the paintings of that master at his happiest<span class="pagenum"><a name="Page_226" id="Page_226">-226-</a></span> moment, can most appreciate the compliment of classing with them the unaided though imitative efforts of a lad of seventeen. The Sposalizio of the -Madonna, abstracted from Città di Castello by the French, and now at +Madonna, abstracted from Città di Castello by the French, and now at Milan, is of four years later date, being marked 1504; but it was little more than a repetition of a similar work of his master, which, during the same havoc, was carried across the Alps, and remains at @@ -8286,7 +8268,7 @@ Lordship.</p> <p>"From Urbino, 1st October, 1504.</p> <p class="right">"<span class="smcap">Joanna Feltria de Ruvere</span>,<br /> -Ducissa Soræ et Urbis Prefectissa."</p> +Ducissa Soræ et Urbis Prefectissa."</p> </div> <p>This letter probably obtained him more civility than substantial @@ -8334,7 +8316,7 @@ elevated caste.</p> <p class="cap3">After the picture by Timoteo Viti in the Palazzo Ducale, Urbino</p> </div> -<p>In an æsthetic view, the paintings and drawings executed by Raffaele +<p>In an æsthetic view, the paintings and drawings executed by Raffaele at Florence are of infinite importance, but it would lead us much too far to examine the progressive development and naturalist tendencies which they display.<span class="pagenum"><a name="Page_230" id="Page_230">-230-</a></span> We have not attempted to separate his various @@ -8445,7 +8427,7 @@ of that order: it was painted by the Duke's command in commemoration of his receiving this distinction; and in all probability was carried as a present to Henry VII. by Castiglione, in 1506, when he went to London as proxy at his master's installation. There it -graced the palace of the Tudors and Stuarts until sold for £150 by +graced the palace of the Tudors and Stuarts until sold for £150 by the Commonwealth to Lord Pembroke. It was subsequently purchased by Catherine of Russia from the Crozat Collection, in which it is engraved.</p> @@ -8963,7 +8945,7 @@ to have left 16,000 ducats, including 5000 in cash, to be divided for the most part among his friends and household; the house of Bramante,<a name="FNanchor_188_190" id="FNanchor_188_190"></a><a href="#Footnote_188_190" class="fnanchor">[188]</a> which he purchased for 3000 ducats, he has given to the Cardinal [Bibbiena] of S. Maria in Portico. He was buried at the -Rotonda, whither he was borne by a distinguished cortège. His soul +Rotonda, whither he was borne by a distinguished cortège. His soul is beyond a doubt gone to contemplate those heavenly mansions where no trouble enters, but his memory and his name will linger long on earth, in his works and in the minds of virtuous men.—Much less @@ -9155,7 +9137,7 @@ of Lippo Dalmasio, of whom we have already spoken,<a name="FNanchor_192_194" id= fresco, representing the Madonna and Child between two saints, which is over the door of S. Procul at Bologna. There we find a pensive cast of head gently bent on one side in dreamy contemplation,—the -sweetly naïve features, with less indeed of a divine or seraphic +sweetly naïve features, with less indeed of a divine or seraphic expression than we see in those<span class="pagenum"><a name="Page_255" id="Page_255">-255-</a></span> imagined by the Florentine and Sienese masters, but whose look seems to indicate that, though of earth, their owner was not earthy,—though a child of fallen @@ -9228,7 +9210,7 @@ Office.</p> <p>Two altar-pictures by Timoteo remain in the cathedral-sacristy of his native city,<a name="FNanchor_194_196" id="FNanchor_194_196"></a><a href="#Footnote_194_196" class="fnanchor">[*194]</a> besides a St. Apollonia in the church of -the Trinità. These exhibit much soft expression and devotional +the Trinità . These exhibit much soft expression and devotional feeling, combined with considerable breadth of execution; yet they scarcely possess the simple sentiment of the earlier Umbrian artificers, the noble character of Sanzi, or the fervour and finish @@ -9328,7 +9310,7 @@ pictorial works were produced, and where some frescoes may still be seen, meriting no ordinary meed of approbation, and particularly distinguished by fidelity in portraits and accuracy of architectural perspective; qualities learned, doubtless, from the productions of -Melozzo da Forlì and Piero della Francesca. Of these mural paintings, +Melozzo da Forlì and Piero della Francesca. Of these mural paintings, the most interesting remains in the church of the Canepa, at Pavia, and exhibits the artist presenting a model for that building to its founder, Duke Gian Galeazzo Sforza, his Duchess, and his mother. @@ -9468,7 +9450,7 @@ his solid and enduring style.</p> devotion sought scope in the exercise of Christian art, and who is generally considered a follower of Raffaele, although this is doubted by Grossi. Nor does it much matter, for the only work now identified -with his name is an altar-piece of the Pietà with two attendant +with his name is an altar-piece of the Pietà with two attendant saints, in the church of his order at Cagli. Still less is<span class="pagenum"><a name="Page_265" id="Page_265">-265-</a></span> known of one <span class="smcap">Crocchia</span> of Urbino, named by Baldinucci as a pupil of Raffaele. His countryman, Centogatti, is said to have exercised @@ -9610,11 +9592,11 @@ varying from one to four and a half inches in diameter; many bear the names of well-known sculptors and painters as their artists, and exhibit a grandeur of conception unequalled in other numismatic productions.<a name="FNanchor_204_206" id="FNanchor_204_206"></a><a href="#Footnote_204_206" class="fnanchor">[*204]</a> About three hundred and seventy-five such medals -have been published in the Trésor de Numismatique et de Glyptique, -and although the <i><span lang="fr" xml:lang="fr">procédé Collas</span></i> there adopted in general fails +have been published in the Trésor de Numismatique et de Glyptique, +and although the <i><span lang="fr" xml:lang="fr">procédé Collas</span></i> there adopted in general fails to preserve the sharpness and finish given to the originals by careful retouching, no work of art is so delightful a companion -to Italian mediæval history. Zannetti's elaborate collections on +to Italian mediæval history. Zannetti's elaborate collections on Italian coinages, and the fifth volume of Cicognara's great work upon sculpture, may also be consulted with pleasure and advantage.</p> @@ -9626,7 +9608,7 @@ said to have ornamented the great hall of the palace with six round bas-reliefs of Duke Federigo's exploits. Seven medals of that prince have come to my knowledge, all of extreme rarity: the first five are described and engraved in the <i>Zecca di Gubbio</i>; the first, second, -and fourth in the Trésor de Numismatique; the sixth is probably +and fourth in the Trésor de Numismatique; the sixth is probably unnoticed elsewhere. The heads of all are in profile.</p> <p>No. I. A medallion of 3<span class="num">5</span>/<span class="den">8</span> inches diameter. The Duke's bust is in @@ -9638,7 +9620,7 @@ bonnet. The legend is a Latin couplet, signifying,</p> <table border="0" cellpadding="2" cellspacing="0" summary="inscription"> <tr> <td> -"<span class="smcap">He comes, another Cæsar and another Roman Scipio,<br /> +"<span class="smcap">He comes, another Cæsar and another Roman Scipio,<br /> Whether he gives to the Nations Peace or fierce Wars</span>." </td> </tr> @@ -9698,7 +9680,7 @@ interest. On a medal 4¾ inches across, clasped round by the badge and gothic motto of the Garter, is a noble bust of Federigo in armour, his massive bald head uncovered. The reverse has five winged loves supporting an ample basin, from whence issue two grape-laden -cornu<span class="pagenum"><a name="Page_272" id="Page_272">-272-</a></span>copiæ; between them the crowned eagle of Montefeltro sits on +cornu<span class="pagenum"><a name="Page_272" id="Page_272">-272-</a></span>copiæ; between them the crowned eagle of Montefeltro sits on a globe of command, gazing sunward, and supporting the armorial shield of that house, with the papal arms in pale as borne by the Gonfaloniere: the contracted inscription "<span class="smcap">Duke Fe</span>." appears @@ -9892,7 +9874,7 @@ left:—</p> <p>1. <span class="smcap">Cardinal Pietro Riario</span>, the favourite of his Uncle Sixtus IV., who died in 1474.</p> - <p>2. <span class="smcap">Girolamo</span>, Lord of Forlì, and, in right of his + <p>2. <span class="smcap">Girolamo</span>, Lord of Forlì, and, in right of his wife, Caterina Sforza, sovereign of Imola, whose name is familiar to those who have followed our narrative, and who was assassinated in 1488. Among their children were @@ -9978,7 +9960,7 @@ Luchina had—</p> and his public revenues, amounting to 40,000 ducats a year, were liberally administered in the patronage of letters.</p> - <p>5. <span class="smcap">Nicolò</span>, who left a son Giulio.</p> + <p>5. <span class="smcap">Nicolò</span>, who left a son Giulio.</p> <p>6. <span class="smcap">Lucrezia</span>, wife of Marc Antonio Colonna, who fell at the siege of Milan, in 1522.<a name="FNanchor_209_211" id="FNanchor_209_211"></a><a href="#Footnote_209_211" class="fnanchor">[209]</a></p> @@ -10006,7 +9988,7 @@ Ottavia, daughter of Giulio Colonna. A scandalous intrigue of Maria in her widowhood will be mentioned in the life of her brother,<a name="FNanchor_210_212" id="FNanchor_210_212"></a><a href="#Footnote_210_212" class="fnanchor">[210]</a> but it did not prevent her finding a second husband in Galeazzo, son of Girolamo Riario, Lord of -Forlì.</p> +Forlì.</p> <p>4. <span class="smcap">Costanza</span>, who died unmarried at Rome in November, 1507.</p> @@ -10205,7 +10187,7 @@ emerged to lavish ill-gotten gold with rarely equalled prodigality; whilst in the cold and unimpassioned countenance of Giuliano, we vainly seek for those massive features, and that angry scowl, which the pencil of Raffaele subsequently immortalised. The group is -completed by the two younger nephews, Girolamo, Lord of Forlì, gawky +completed by the two younger nephews, Girolamo, Lord of Forlì, gawky and common-place in figure, with the Prefect Giovanni, of blunt and burly aspect. It would be difficult satisfactorily to render so large a group in these pages, but we give an unedited and speaking likeness @@ -10586,7 +10568,7 @@ as well as to the perils of those troubled times. But, considering himself even there insecure, he ere long withdrew to Naples, whence, after narrowly escaping seizure by the Pope's emissaries, he again reached Ostia in an open boat. On the approach of an army under -Nicolò Count of Pittigliano, he fled thence to France, leaving the +Nicolò Count of Pittigliano, he fled thence to France, leaving the garrison in charge of the Prefect, who soon capitulated, on condition that neither he nor his brother should incur ecclesiastical censures. Grotto Ferrata was about the same time seized and delivered over to @@ -10653,7 +10635,7 @@ duty to beware <i><span lang="la" xml:lang="la">ne aliquid detrimenti respublica content with resisting such further "detriment to the commonwealth," and with recovering the ground recently lost, his conscience, more perhaps than his ambition, urged him to new triumphs. He was a great -pontiff after the mediæval estimate of the papacy. Little occupying +pontiff after the mediæval estimate of the papacy. Little occupying himself with the bulwarks of a faith which he presumed impregnable, or the dogmas of a church still paramount over Christendom, he considered the temporal sovereignty and aggrandisement of the Keys to @@ -10835,7 +10817,7 @@ and, as then usual, testified gratitude by the selection of his baptismal names. St. Francis was the established tutelary saint of the family, under whose guidance Sixtus IV. believed himself to have obtained the tiara, and to whom his brother the Prefect addressed his -orisons for a male child. It came into the world on the fête of the +orisons for a male child. It came into the world on the fête of the Annunciation, and was immediately christened Francesco Maria,<a name="FNanchor_230_232" id="FNanchor_230_232"></a><a href="#Footnote_230_232" class="fnanchor">[*230]</a> in honour of the saint and of the Madonna. In this, his only male offspring, centred the hopes and interests of the Lord of Sinigaglia; @@ -10875,7 +10857,7 @@ relation. The lad, though small in stature for his years, was remarkable for strength and activity, as well as for an active temperament and lively talents. He was liberal, and even careless, of money; but all his pleasure was in the military art, all his -ambition centred in martial glory, for Nicolò of Fossombrone, +ambition centred in martial glory, for Nicolò of Fossombrone, and another famous astrologer, had predicted from his horoscope high deeds of arms. After passing hours in the study of history and classical literature, and of those sciences wherein princes @@ -11029,7 +11011,7 @@ bearing upon any theories of self-government, Baldi has entered into no details of these demands: their object may, however, be guessed at from the municipal concessions made by Francesco Maria on the 31st of May, whereby precedence was granted to the gonfaloniere over -the podestà; and the salaries of the city physician, lawyer, and +the podestà ; and the salaries of the city physician, lawyer, and schoolmaster were undertaken by the sovereign, who also consented to a modification of the imposts on agricultural produce.<a name="FNanchor_234_236" id="FNanchor_234_236"></a><a href="#Footnote_234_236" class="fnanchor">[*234]</a></p> @@ -11066,7 +11048,7 @@ as a public instrument. From Urbino, this 25th of April, 1508.</p> <p class="right">"<span class="smcap">Franciscus Maria Dux Urbini,<br /> -Almæ Urbis Præfectus</span>."</p> +Almæ Urbis Præfectus</span>."</p> </div> <p>The deputations willingly rendered the required homage, for they @@ -11114,7 +11096,7 @@ Assured of support from their ally of France, the Signory offered compliance, on condition of his going unarmed: but, spurning such terms, he, in February, moved with an army upon the valley of Trent. He was, however, effectually held in check by the Venetian generals, -Nicolò da Petigliano and Bartolomeo d'Alviano; whilst Louis, besides +Nicolò da Petigliano and Bartolomeo d'Alviano; whilst Louis, besides sending Gian Giacomo Trivulzio to their support, instigated the Duke of Gueldres to carry fire and sword into Lower Germany. Maximilian, finding his hands full, made a hasty truce with the Venetians in @@ -11193,7 +11175,7 @@ more passionate; and declares that he had never met with a more comely, merry, or sweet girl, who, to a most amiable disposition, added a surprisingly precocious judgment, which gained for her general admiration.<a name="FNanchor_238_240" id="FNanchor_238_240"></a><a href="#Footnote_238_240" class="fnanchor">[238]</a> This event was hailed at Urbino with great -public rejoicings and sumptuous fêtes, and the triumphal arches, +public rejoicings and sumptuous fêtes, and the triumphal arches, theatres, and other architectural and pictorial works required for the occasion, were executed under the direction of Timoteo Vite and Girolamo Genga. In 1843 I saw, in the hands of Padre Cellani, at @@ -11253,7 +11235,7 @@ taken by surprise, but with great presence of mind he ordered an advance upon Faenza as the readiest means of restoring order. The gloom of twilight now settled down upon the camp, augmenting the embarrassment, and ere the troops evacuated it, a good many Spaniards -had been cut down in the <i><span lang="fr" xml:lang="fr">mêlée</span></i>. Military discipline at length +had been cut down in the <i><span lang="fr" xml:lang="fr">mêlée</span></i>. Military discipline at length prevailed, and the Duke, finding the town on its guard, returned to quarters. Ramocciotto's reappearance appeased the originators of the tumult, but it was not till next day that a stern inquiry detected @@ -11604,7 +11586,7 @@ he made with his cavalry upon their assailants, their officers would have given way to a general panic, and the army must have been annihilated. The coolness of their juvenile commander so far reassured them that the retiring army encamped on the morrow between -Forlì and Cesena, without much further loss than their artillery +Forlì and Cesena, without much further loss than their artillery and baggage.<a name="FNanchor_243_245" id="FNanchor_243_245"></a><a href="#Footnote_243_245" class="fnanchor">[243]</a> The vast quantity of booty obtained for this misconducted affair the nick-name of "donkey-day."</p> @@ -12106,7 +12088,7 @@ his company of two hundred men-at-arms, and a hundred light cavalry; nor could words exceed the kindness of the letter in which Bembo intimated this to him on behalf of the Pope.<a name="FNanchor_254_256" id="FNanchor_254_256"></a><a href="#Footnote_254_256" class="fnanchor">[254]</a></p> -<p>When the coronation fêtes were over, he returned home to enjoy one of +<p>When the coronation fêtes were over, he returned home to enjoy one of those brief intervals of repose which rarely<span class="pagenum"><a name="Page_355" id="Page_355">-355-</a></span> fell to his lot. His almost continual absence on military service had indeed been greatly felt in his capital, and most of the distinguished men who frequented @@ -12160,7 +12142,7 @@ an imposing tower of three commodious stories built here by the Malatesta. Hither was conducted, on her first arrival, Camilla of Aragon, bride of Costanzo Sforza Lord of Pesaro; and its inaccessible situation did not prevent a splendid manifestation of the general -joy, in fêtes and pageants, commemorated in a volume of excessive +joy, in fêtes and pageants, commemorated in a volume of excessive rarity, which seem more proportioned to the affectionate gallantry of her husband and subjects, than to the resources of their state, or to the conveniences of<span class="pagenum"><a name="Page_357" id="Page_357">-357-</a></span> this palace. Representations of the community @@ -13142,7 +13124,7 @@ a general massacre, was the Cardinal Bibbiena, not de' Medici, as accidentally misstated by Roscoe. After long employing his diplomatic talents against his former friend, the Lord of Urbino, he now compassed his final ruin by exertions of the camp, for which he was -less qualified. The mutinous <i><span lang="fr" xml:lang="fr">mêlée</span></i> which he had witnessed prepared +less qualified. The mutinous <i><span lang="fr" xml:lang="fr">mêlée</span></i> which he had witnessed prepared him for the discovery, that moneys raised by extraordinary exertions were ill-spent upon an army "thrice as numerous on pay-day as in action." It was, therefore,<span class="pagenum"><a name="Page_388" id="Page_388">-388-</a></span> to the commissariat and finance that @@ -13818,7 +13800,7 @@ Piacenza for the Church by his means. To men in the Duke of Urbino's desperate position, any convulsion would be welcome, as offering the chance of better things. The impression left by his biographers, that he maintained a cautious neutrality in the contest thus opening, -is disproved by some documents in the Bibliothèque du Roi, which +is disproved by some documents in the Bibliothèque du Roi, which establish him as a retained adherent of the French monarch.<a name="FNanchor_280_282" id="FNanchor_280_282"></a><a href="#Footnote_280_282" class="fnanchor">[280]</a> One of them is an undated draft of articles proposed by him, his nephew Sigismondo Varana, Camillo Orsini, the Baglioni, and the @@ -14114,7 +14096,7 @@ possession of Camerino, sought so to occupy the Duke of Urbino as to prevent his espousing the cause of Sigismondo, its rightful lord. The latter also looked for support to his wife's uncle, Cardinal Prospero Colonna, whilst the interests of his competitor were backed -by Cardinal Innocenzo Cibò, his brother-in-law. But ere these +by Cardinal Innocenzo Cibò, his brother-in-law. But ere these respective claims could be tested, they were sadly set at rest by the death of "poor dear but ill-starred Sigismondo," as he is called by Castiglione, who was set upon and slain on the 24th of June by @@ -14185,7 +14167,7 @@ with gold brocade coverlets, and the curtains very handsome. Next morning, after breakfast, the guests went to the palace to wait upon the Duchesses, who met them in the fourth ante-room, whence, after sundry ceremonies, they<span class="pagenum"><a name="Page_422" id="Page_422">-422-</a></span> handed the ladies and their attendants into -the presence-chamber, newly done up with arrases, gilding, and a daïs +the presence-chamber, newly done up with arrases, gilding, and a daïs of silk. After conversing in an under-tone for three-quarters of an hour, they retired with the like formalities. On Easter Sunday, after vespers, they had an audience of leave, when the younger @@ -14455,7 +14437,7 @@ as they glided along the glassy surface. At length they stopped at the massive, but now crumbling, Foscari palace, to witness a race of four-oared gondolas, and concluded the entertainment with a supper on the Rialto. Next day their sports were renewed, with addition of -a déjeuner, where fancy confections were presented to the principal +a déjeuner, where fancy confections were presented to the principal guests—a triumphal chariot to Francesco Maria, an eagle to the imperial ambassador, and so forth.</p> @@ -14731,7 +14713,7 @@ your most illustrious Lordship. From Rome, 11th July, 1526.</p> <i><span lang="la" xml:lang="la">Humillimum manicipium</span></i>,</p> <p class="right">"<span class="smcap"><span class="err" title="Transcriber's Note: In the original, the C and the S at the ends of these words have tildes over them, signifying abbreviations. In the absence of such HTML characters, carons are used here instead.">Hič. Epš.</span> -Wigornieñ.</span>"<a name="FNanchor_304_306" id="FNanchor_304_306"></a><a href="#Footnote_304_306" class="fnanchor">[304]</a></p> +Wigornieñ.</span>"<a name="FNanchor_304_306" id="FNanchor_304_306"></a><a href="#Footnote_304_306" class="fnanchor">[304]</a></p> </div> <p>The prejudices of Guicciardini are admitted by the Venetian Paruta, @@ -14879,7 +14861,7 @@ in Lombardy. The papal troops had been withdrawn; the garrison of Cremona, whose services the Venetians would not retain at his suggestion, had entered into new engagements with the enemy; fourteen thousand <i><span lang="de" xml:lang="de">lanznechts</span></i>, alias <i><span lang="fr" xml:lang="fr">lansquenet</span></i> infantry, under Georg v. -Fründesberg, were marching from Germany by the Val di Sabbia to +Fründesberg, were marching from Germany by the Val di Sabbia to support the imperial cause. His first care was to check the pillage of Cremona, a service which the citizens acknowledged by presenting to him a golden vase weighing twenty pounds, and beautifully chased @@ -14893,13 +14875,13 @@ the Duke for not supporting the naval attack made by the French upon Genoa, a scheme for which we have seen him contending at an earlier period. But a passage in his own <i>Discorsi Militari</i> expressly states the Venetian force at four thousand infantry and five thousand -cavalry, to keep in check both Fründesberg's lansquenets and ten +cavalry, to keep in check both Fründesberg's lansquenets and ten thousand men at Milan; and it explains his tactics to consist in making Cremona the centre of a line of defence, embracing Bergamo on the right, and Genoa on the left, which, being vastly too extended for his force, necessitated his keeping his men together, in order to move upon any exposed point. Accordingly, considering it most -incumbent to intercept the battalions of Fründesberg, he, after +incumbent to intercept the battalions of Fründesberg, he, after throwing garrisons into some important places on his right flank, pushed towards Mantua with about ten thousand men. Although sadly impeded by dreadful weather, and by difficulties of transport, the @@ -14919,7 +14901,7 @@ brilliancy from the attempts of some writers to elevate his fame at Francesco Maria's expense. In this unworthy effort—as on too many like occasions—Guicciardini has been followed by<span class="pagenum"><a name="Page_447" id="Page_447">-447-</a></span> the historian of the Italian republics. The charges of misconduct adduced against -the Duke of Urbino, in his movement against Fründesberg, are by no +the Duke of Urbino, in his movement against Fründesberg, are by no means borne out by the more detailed accounts supplied by Leoni and Baldi. He seems to have done everything that the state of the elements would allow; and even accused himself of occasioning the @@ -14933,7 +14915,7 @@ out of respect for their leader, assumed those mourning scarfs which procured them the name <i><span lang="it" xml:lang="it">delle bande nere</span></i>; and most of them soon after passed to Rome in the papal service.</p> -<p>The German lansquenets, whom Fründesberg had brought into Italy, +<p>The German lansquenets, whom Fründesberg had brought into Italy, were in fact a free company, levied by himself on a mere plundering adventure, without the pretext of pay. Alarmed at a reinforcement of so obnoxious a character, the confederates bethought themselves @@ -14990,10 +14972,10 @@ feathered tribes are said to become victims of their reptile-foe.</p> <p>That foe was Charles Duke of Bourbon, son of Gilbert Count de Montpensier, who died at Pozzuoli, in 1495, by Chiara Gonzaga, sister of Elisabetta Duchess of Urbino. He was next heir to the -crown of France, after Francis Duke of Angoulême, who succeeded to -it as Francis I., and Charles Duke d'Alençon, whose blood had been +crown of France, after Francis Duke of Angoulême, who succeeded to +it as Francis I., and Charles Duke d'Alençon, whose blood had been attainted for treason. Louis XII., having removed this attainder, -and restored the d'Alençon branch to their rights, incurred the deep +and restored the d'Alençon branch to their rights, incurred the deep displeasure of Bourbon, who was, however, pacified by receiving, at the age of twenty-six, the office of grand constable,—the highest dignity of the realm. He greatly distinguished himself in Francis's @@ -15044,7 +15026,7 @@ was therefore resolved upon, and as occupation and pillage were the only chances of keeping together such dis<span class="pagenum"><a name="Page_451" id="Page_451">-451-</a></span>organised troops, he led them in search of both. Indifferent whether the spoils of Florence or Romagna should prove the more convenient prey, he effected a junction -with Fründesberg's new levies, whose circumstances and objects +with Fründesberg's new levies, whose circumstances and objects exactly corresponded with those of his own forces, and on the 30th of January their united divisions passed the Po.</p> @@ -15065,7 +15047,7 @@ by Guicciardini. Judging from the results of the campaign, there can be no doubt that the imperialists ought to have been attacked at this juncture; and if a general onset had been ordered on the 13th of March, when they broke out into open mutiny, Bourbon being -obliged to fly for his life, or, a few days after, when Fründesberg, +obliged to fly for his life, or, a few days after, when Fründesberg, a monster of sacrilege and blasphemy, according to the Italian historians, died of apoplexy, they would in all probability have been totally exterminated. But they were the reserved instrument of @@ -15409,10 +15391,10 @@ followinge:—</p> <p>"<span lang="la" xml:lang="la">Ego Guido Ubaldus, Dei Gratia Dux Urbinatis, honorificentissimi atque approbatissimi Ordinis Garterii Miles et Confrater electus, -juro ad hæc sancta Dei evangelia per me corporaliter tacta, quod +juro ad hæc sancta Dei evangelia per me corporaliter tacta, quod omnia et singula statuta leges et ordinationes ipsius dignissimi Ordinis bene sincere et inviolabiliter observabo. Ita me Deus -adjuvet, et hæc sancta Dei evangelia!</span></p> +adjuvet, et hæc sancta Dei evangelia!</span></p> <p>"Which othe geven, Sir Gybert Talbot shall deliver the Garter to hym, and cause the same in good and honorable manner to be put about his @@ -15421,8 +15403,8 @@ followinge:—</p> <p><span class="pagenum"><a name="Page_465" id="Page_465">-465-</a></span></p> -<p>"<span lang="la" xml:lang="la">Ad laudem et honorem summi atque omnipotentis Dei, intemeratæ -Virginis et Matris suæ Mariæ, ac gloriosissimi martiris Georgii, +<p>"<span lang="la" xml:lang="la">Ad laudem et honorem summi atque omnipotentis Dei, intemeratæ +Virginis et Matris suæ Mariæ, ac gloriosissimi martiris Georgii, hujus Ordinis Patroni, circumcingo tibiam tuam hoc Garterio, ut possis in isto bello firmiter stare et fortiter vincere, in signum Ordinis et augmentum tui honoris</span>.</p> @@ -15432,8 +15414,8 @@ saide Duke the gowne of purple couler, and cause hym to apparrell hymself with the same, the saide Abbot of Glastonburye sayinge thes wordes followinge, at the doinge on of the same:—</p> -<p>"<span lang="la" xml:lang="la">Accipe vestem hanc purpuream, quâ semper munitus non verearis pro -fide Christi, libertate ecclesiæ et oppressorum tuitione fortiter +<p>"<span lang="la" xml:lang="la">Accipe vestem hanc purpuream, quâ semper munitus non verearis pro +fide Christi, libertate ecclesiæ et oppressorum tuitione fortiter dimicare, et sanguinem effundere, in signum Ordinis et augmentum tui honoris</span>.</p> @@ -15454,7 +15436,7 @@ George abowt his necke, the saide Abbott saying thes wordes:—</p> <p>"<span lang="la" xml:lang="la">Imaginem gloriosissimi martiris Georgii, hujus Ordinis patroni, in collo tuo deferes, cujus fultus presidio hujus mundi prospera et adversa sic pertranseas, ut hostibus corporis et animi devictis, -non modo temporalis militiæ gloriam, sed perennis victoriæ palmam +non modo temporalis militiæ gloriam, sed perennis victoriæ palmam accipere valeas, in signum Ordinis et augmentum tui honoris</span>."</p> <p>Hollinshed, following Hall, informs us that "Sir Gilbert Talbot, @@ -15512,21 +15494,21 @@ et vigesimo die quam sedere coeperat. Creatur in ejus locum Julianus, Cardinalis Sti. Petri ad Vincula, patria Ligur, dictusque est Julius Secundus. Huic postea illi tres regis oratores congratulatum inerunt, quos Hadrianus Castellensis episcopus Herefordensis, quem paulo -ante Alexander Cardinalem fecerat, Romæ hospitio excepit. Hunc rex +ante Alexander Cardinalem fecerat, Romæ hospitio excepit. Hunc rex Henricus sub idem tempus ab Herefordensi sede ad Bathoniensem ac -Wellensem transferri curavit. At Hadrianus, ut præter sua quotidiana -obsequia, quæ tam regi quam Anglis omnibus libens præstabat, aliquo -diuturniori memoriæ monumento relinqueret, apud omnes testatum se +Wellensem transferri curavit. At Hadrianus, ut præter sua quotidiana +obsequia, quæ tam regi quam Anglis omnibus libens præstabat, aliquo +diuturniori memoriæ monumento relinqueret, apud omnes testatum se memorem fuisse acceptorum beneficiorum ab Henrico, atque nomen -Anglicum amasse, donavit regi palatium magnificum quod ipse Romæ -in Vaticano ædificaverat, ornavitque regis insignibus, ut in +Anglicum amasse, donavit regi palatium magnificum quod ipse Romæ +in Vaticano ædificaverat, ornavitque regis insignibus, ut in ea luce hominum aliquod egregium opus nomini Anglico dedicatum conspiceretur.<a name="FNanchor_317_319" id="FNanchor_317_319"></a><a href="#Footnote_317_319" class="fnanchor">[317]</a> Item, iidem oratores detulerunt habitum Garterii -ordinis Guidoni Duci Urbini, principi seculo nostro Latinæ Linguæ -simul ac Græcæ ac militaris disciplinæ peritissimo, quem Rex paulo +ordinis Guidoni Duci Urbini, principi seculo nostro Latinæ Linguæ +simul ac Græcæ ac militaris disciplinæ peritissimo, quem Rex paulo ante in Collegium ipsius Ordinis asciverat. Dux postea destinavit in Angliam Baldasarem Castilliorum, natione Mantuanum, equitem tam -doctrinâ quam bellicâ virtute præstantem, ut suo nomine ejus Ordinis +doctrinâ quam bellicâ virtute præstantem, ut suo nomine ejus Ordinis cerimonias exequeret. Fuit Baldaser ab Henrico perbenigne exceptus, atque comiter habitus; qui, finitis ceremoniis, non indonatus, postmodum ad suum Decem redivit</span>."<a name="FNanchor_318_320" id="FNanchor_318_320"></a><a href="#Footnote_318_320" class="fnanchor">[318]</a></p> @@ -16109,22 +16091,22 @@ Sinigaglia in the nave of Sta. Maria delle Grazie, runs thus:—</p> <br /> <span class="ind2"><span class="smcap">Johannes de Ruvere</span>,</span><br /> <br /> -Senogalliæ vetustissimæ civitatis<br /> -Dominus, Almæ urbis Prefectus,<br /> -Sori Arcanæque Dux, exercituum Sixti<br /> +Senogalliæ vetustissimæ civitatis<br /> +Dominus, Almæ urbis Prefectus,<br /> +Sori Arcanæque Dux, exercituum Sixti<br /> Quarti, Innocentii Octavi, summus Imperator,<br /> Maximorum Pontificium Sixti nepos,<br /> -Julii Secundi frater, cum uxore suâ<br /> -Joannâ Monfeltriâ, Federici Urbini<br /> -Ducis filiâ, præstantioribus<br /> +Julii Secundi frater, cum uxore suâ<br /> +Joannâ Monfeltriâ, Federici Urbini<br /> +Ducis filiâ, præstantioribus<br /> Et nobilioribus feminis, adversis<br /> -Secundisque rebus, conferendâ et<br /> -Preferendâ, magnum hoc templum<br /> +Secundisque rebus, conferendâ et<br /> +Preferendâ, magnum hoc templum<br /> Affundamentis erexit; et multis<br /> Egregiis tam bello quam pace actis,<br /> Procaci abreptus morte,<br /> Anno Domini <span class="sm">MDI</span>.,<br /> -Ætatisque suæ quadragesimo quarto,<br /> +Ætatisque suæ quadragesimo quarto,<br /> Hic tumulatur.</span> </td> </tr> @@ -16154,7 +16136,7 @@ Pope and the Church by secretly plotting for restoration of the Bentivoglii, and for defeat of the army under command of the Duke, as well as by withdrawing to Ravenna on pretext of terror, but in fact to conceal his treason. That having, by these and many other -enormities, incurred the guilt of treason and lèse-majesty, he was +enormities, incurred the guilt of treason and lèse-majesty, he was slain by Francesco Maria; and that, on a complaint of this outrage being preferred, his Holiness, judging from the first aspect of the affair that this crime against the dignity of the purple afforded so @@ -16186,7 +16168,7 @@ a papal brief of the 10th of January, 1513, addressed to himself, wherein it was stated that he had been accused by many of maintaining intelligence with the King of France before the battle of Ravenna, and of other intrigues against the Roman Government, as well as of -various crimes, including slaughter of cardinals and lèse-majesty, +various crimes, including slaughter of cardinals and lèse-majesty, and that he had in consequence been deprived of his dukedom and dignities; but that having experienced his zeal and good faith in the like matters, the Pontiff could not persuade himself of his @@ -16203,19 +16185,19 @@ clauses. The brief is addressed, but has no counter-signature; a transumpt of it in the same archive has the name "Baldassar Tuerdus" as a counter-signature.</p> -<p><span lang="la" xml:lang="la">"Motu proprio, et ex certâ nostrâ scientiâ ac maturâ deliberatione, -et apostolice potestatis plenitudine, apostolicâ auctoritate, tenore +<p><span lang="la" xml:lang="la">"Motu proprio, et ex certâ nostrâ scientiâ ac maturâ deliberatione, +et apostolice potestatis plenitudine, apostolicâ auctoritate, tenore presentium, tibi et illis plenarie remittimus pariter et indulgemus, teque ac illos, et illorum singulos, ab omnibus sententiis censuris et penis quibuslibet, spiritualibus et temporalibus, a jure vel ab -homine quomodolibet promulgatis, auctoritate scientiâ et potestate +homine quomodolibet promulgatis, auctoritate scientiâ et potestate predictis, absolvimus et liberamus, ac te tuosque filios, natos et nascituros ac heredes quoscunque, ad Vicariatum, Ducatum, Comitatus, teque ac subditos, adherentes, complices ac sequaces, ac singulorum eorundem heredes, ad feuda, dominia, honores et dignitates, offitia, privelegia, bona ac jura, ac ad actus legitimos, quibus forsan -premissorum, et aliâ quâcunque occasione, etiam de necessitate -experimendâ privati, censeri possetis, auctoritate scientiâ et +premissorum, et aliâ quâcunque occasione, etiam de necessitate +experimendâ privati, censeri possetis, auctoritate scientiâ et potestate premissis restituimus, et etiam reintegramus, et ad eundem statum reducimus et reponimus, in quo tu et illi eratis ante tempus quo premissa commisissetis; districtius inhibentes quibuscunque @@ -16572,7 +16554,7 @@ children are denoted by a wavy line, here represented by a dotted line.</p> <td colspan="12"> </td> <td colspan="7" class="vatc"><span class="smcap">Galeotto</span>, Cardinal<br />of S. Pietro<br />in Vincula.</td> <td> </td> - <td colspan="4" class="vatc"><span class="smcap">Nicolò</span></td> + <td colspan="4" class="vatc"><span class="smcap">Nicolò</span></td> <td colspan="2" class="vatc">=</td> <td colspan="4" class="vatc"><span class="smcap">——</span></td> <td> </td> @@ -16691,12 +16673,12 @@ children are denoted by a wavy line, here represented by a dotted line.</p> <td colspan="4" class="br"> </td> <td> </td> <td colspan="3" class="vatc"><span class="smcap">Giulia</span></td> - <td colspan="2" class="vatc"><span class="msm">1548.</span><br />=<br />§</td> + <td colspan="2" class="vatc"><span class="msm">1548.</span><br />=<br />§</td> <td colspan="6" class="vatc"><span class="smcap">Alfonso d’Este</span>,<br />Marq. of<br />Montecchio, of<br />whom the Dukes<br />of Modena.</td> <td> </td> <td colspan="4" class="vatc"><span class="smcap">Elisabetta</span>,<br />d. 1561.</td> - <td colspan="2" class="vatc"><span class="msm">1552.</span><br />=<br />§</td> - <td colspan="4" class="vatc"><span class="smcap">Alberico<br />Cibò</span>,<br />Marquis<br />of Massa.</td> + <td colspan="2" class="vatc"><span class="msm">1552.</span><br />=<br />§</td> + <td colspan="4" class="vatc"><span class="smcap">Alberico<br />Cibò</span>,<br />Marquis<br />of Massa.</td> <td> </td> <td colspan="4" class="vatc"><span class="smcap">Giulio</span>,<br />Cardinal<br />Archbishop<br />of Urbino,<br />1533,<br />d. 1578.</td> </tr> @@ -16840,7 +16822,7 @@ children are denoted by a wavy line, here represented by a dotted line.</p> <tr> <td colspan="17"> </td> <td colspan="6" class="vatc"><span class="smcap">Vittoria</span>,<br />b. 1622, d. 1694.</td> - <td colspan="2" class="vatc"><span class="msm">1637.</span><br />=<br />§</td> + <td colspan="2" class="vatc"><span class="msm">1637.</span><br />=<br />§</td> <td colspan="8" class="vatc"><span class="smcap">Ferdinand II.</span>,<br />Grand Duke of Florence,<br />b. 1630, d. 1670.</td> <td colspan="17"> </td> </tr> @@ -16852,7 +16834,7 @@ children are denoted by a wavy line, here represented by a dotted line.</p> <hr class="med" /> <h3><a id="MEDICI_DESCENT"></a>DESCENT OF THE MEDICI, as connected with URBINO.</h3> -<p class="center"><i>From <span lang="fr" xml:lang="fr">Les Généaologies Souveraines</span>.</i></p> +<p class="center"><i>From <span lang="fr" xml:lang="fr">Les Généaologies Souveraines</span>.</i></p> <div class="treebody"> <table style="font-size: 85%; width: 100%" border="0" cellpadding="0" cellspacing="0" summary="Medici descent"> @@ -17033,7 +17015,7 @@ children are denoted by a wavy line, here represented by a dotted line.</p> <td> </td> <td colspan="4" class="vatc"><span class="smcap">Maddalena</span></td> <td class="vatc">=</td> - <td colspan="6" class="vatc"><span class="smcap">Francesco Cibò</span>,<br />Count of Anguillara.</td> + <td colspan="6" class="vatc"><span class="smcap">Francesco Cibò</span>,<br />Count of Anguillara.</td> <td class="br"> </td> <td colspan="6"> </td> </tr> @@ -17266,7 +17248,7 @@ children are denoted by a wavy line, here represented by a dotted line.</p> <td colspan="7" class="vatc"><span class="smcap">Imperiale Colonna</span>.</td> <td colspan="5"> </td> <td colspan="4" class="vatc"><span class="smcap">Caterina</span>,<br />d. 1438.</td> - <td class="vatc">=<br />§</td> + <td class="vatc">=<br />§</td> <td colspan="6" class="vatc"><span class="smcap">Guidantonio</span>,<br />Count of Urbino.</td> </tr> <!-- Row 8 --> @@ -17326,7 +17308,7 @@ children are denoted by a wavy line, here represented by a dotted line.</p> <!-- Row 15 --> <tr> <td colspan="6" class="vatc"><span class="smcap">Ascanio</span>, Grand<br />Constable of Naples,<br />claimant of Urbino,<br />d. 1557.</td> - <td class="vatc">=<br />§</td> + <td class="vatc">=<br />§</td> <td colspan="7" class="vatc"><span class="smcap">Giovanna d’Aragona</span>,<br />natural branch of<br />the Crown of Naples.</td> <td> </td> <td colspan="4" class="vatc"><span class="smcap">Vittoria</span>,<br />b. 1490,<br />d. 1548.</td> @@ -17487,7 +17469,7 @@ short but excellent account in English of the whole Sienese affair, <tr> <td> <span lang="la" xml:lang="la"> -"Neque enim lex æquior ulla<br /> +"Neque enim lex æquior ulla<br /> Quam necis artifices arte perire sua."<br /> <span style="margin-left: 5em"><span class="smcap">Ovid</span>. <i>Ar. Amat.</i> i. 655.</span> </span> @@ -17544,8 +17526,8 @@ append a brief list of authorities for the Borgia:—</p> <li><span class="smcap">Leonetti</span>, <i>Papa Alessandro VI.</i> (1880).</li> <li><span class="smcap">d'Epinois</span>, in <i>Revue des Questions Historiques</i> (April, 1881).</li> <li><span class="smcap">Vehon</span>, <i>Les Borgia</i> (1882).</li> -<li><span class="smcap">Maricourt</span>, <i>Le Procès des Borgia</i> (1883).</li> -<li><span class="smcap">Yriarte</span>, <i>César Borgia</i> (1887).</li> +<li><span class="smcap">Maricourt</span>, <i>Le Procès des Borgia</i> (1883).</li> +<li><span class="smcap">Yriarte</span>, <i>César Borgia</i> (1887).</li> <li>—— <i>Autour des Borgias</i> (1891).</li> </ul> </div> @@ -17614,7 +17596,7 @@ rhetoric.</p></div> <tr> <td> <span lang="la" xml:lang="la"> -"Omnia vincebas, sperabas omnia Cæsar;<br /> +"Omnia vincebas, sperabas omnia Cæsar;<br /> <span style="margin-left: 1em;">Omnia deficiunt, incipis esse nihil."</span></span> </td> </tr> @@ -17880,7 +17862,7 @@ Lungo</span>, <i>La Recitazione dei Menaechmi in Firenze e il doppio prologo della Calandria</i>, in the <i>Arch. Stor. Ital.</i>, series III., vol. XXII., pp. 346-51. Machiavelli's estimate of Bibbiena will be found in <i>Lettere Famil. di N. Machiavelli</i>, Firenze, 1883, p. 304, -"<span lang="it" xml:lang="it">Bibbiena, hora cardinale, in verità ha gentile ingegno, ed è homo +"<span lang="it" xml:lang="it">Bibbiena, hora cardinale, in verità ha gentile ingegno, ed è homo faceto et discreto, et ha durato a' suoi di gran fatica</span>."</p></div> <div class="footnote"> @@ -17918,7 +17900,7 @@ quoted works with which I am familiar.</p> sec. XVI.</i>, in <i>Nuova Antologia</i> (new series), vol. XI., fasc. 19-20. </p> <p> -<span class="smcap">Frati</span>, <i>La Donna Italiana secondo i più recenti studi</i> +<span class="smcap">Frati</span>, <i>La Donna Italiana secondo i più recenti studi</i> (Torino, 1889). </p> <p> @@ -17930,7 +17912,7 @@ in una serie di Conferenze</i> (Firenze, 1890). </p> <p> <span class="smcap">Dazzi</span>, <i>Alcune lettere familiari del sec. XIV.</i> in -<i>Curiosità Letterarie</i>, fasc. XC. (Bologna, 1868). +<i>Curiosità Letterarie</i>, fasc. XC. (Bologna, 1868). </p> <p> <span class="smcap">Anon.</span>, <i>Difesa delle Donne</i> (Bologna, 1876). @@ -18066,12 +18048,12 @@ delle donne</i> (Milano, 1862), pp. 30, 31. Senese</i>, vol. VI., fasc. 1. </p> <p> -<span class="smcap">Sansovino</span>, <i>Venetia città nobilissima e singolare</i> (1663), +<span class="smcap">Sansovino</span>, <i>Venetia città nobilissima e singolare</i> (1663), fol. 150 <i>et seq.</i> </p> <p> -<span class="smcap">Yriarte</span>, <i>La vie d'un Patricien de Venise au 16<span class="super">me</span> siècle</i> -(Les femmes à Venise) (Paris, 1874), and see rare authorities there +<span class="smcap">Yriarte</span>, <i>La vie d'un Patricien de Venise au 16<span class="super">me</span> siècle</i> +(Les femmes à Venise) (Paris, 1874), and see rare authorities there quoted. In Venice, the prescribed bridal dress seems to have been that of Titian's Flora—the hair fell free on the shoulders. The <i>Proveditori alle Pompe</i> were established in Venice in 1514. @@ -18117,11 +18099,11 @@ assumed as the origin of many fatal maladies.</p></div> <tr> <td> <span lang="it" xml:lang="it"> -"Una stagion fu già, che sì il terreno<br /> +"Una stagion fu già , che sì il terreno<br /> Arse, che 'l sol di nuovo a Faetonte<br /> De' suoi corsier parea aver dato il freno:<br /> <span style="margin-left: 1em;">Secco ogni pozzo, secco era ogni fonte,</span><br /> -Gli stagni, i rivi, e i fiumi più famosi,<br /> +Gli stagni, i rivi, e i fiumi più famosi,<br /> Tutti passar si potean senza ponte."<br /> <span style="margin-left: 9em"><span class="smcap">Ariosto</span>, <i>Satira</i> iii.</span></span> </td> @@ -18157,8 +18139,8 @@ uncle's death, mentions his partaking of the last sacraments from the Bishop of Fossombrone, in these terms, "<span lang="la" xml:lang="la">Quiquidem Deos illi superos atque manes placavit</span>"? Such idioms will not bear retranslation. The expression employed by Castiglione, though tinged with the cold -formality of classicism, is less startling: "<span lang="la" xml:lang="la">Ut ungeretur more sanctæ -matris ecclesiæ rogavit</span>." But a pagan taint may often be sadly traced +formality of classicism, is less startling: "<span lang="la" xml:lang="la">Ut ungeretur more sanctæ +matris ecclesiæ rogavit</span>." But a pagan taint may often be sadly traced upon the devotion of this age. In the first volume of Vaissieux's <i>Archivio Storico d'Italia</i>, the last hours of a convict, condemned at Florence in 1500, are thus narrated by an eye-witness:—Pietro @@ -18169,7 +18151,7 @@ an ordinary <i><span lang="la" xml:lang="la">viaticum</span></i>. Refusing to be of St. Mark's, he adjured an attendant friend to aid in getting Brutus out of his head, in order that he might make a Christian end. Nor was this heterodoxy exclusively Italian. Cervantes, in a -recently recovered fragment, <i>El Buscapié</i>, says, "I dislike to see +recently recovered fragment, <i>El Buscapié</i>, says, "I dislike to see the graceful and pious language befitting the Christian muse mingled with the profane phraseology of heathenism. Who can be otherwise than displeased to find the name of God, of the Holy Virgin, and @@ -18198,12 +18180,12 @@ It is too long to quote. Cf. <span class="smcap">Luzio</span> and <span class="s <div class="footnote"> -<p><a name="Footnote_62_63" id="Footnote_62_63"></a><a href="#FNanchor_62_63"><span class="label">[62]</span></a> "<span lang="la" xml:lang="la">Itaque multas sæpè feminas vidi, audivi etiàm esse -plures, quæ certarum omninò virtutum, optimarum quidem illarum atque -clarissimarum, sed tamèn perpaucarum splendore illustrarentur: in -quâ verò omnes collectæ conjunctæque virtutes conspicerentur, hæc -una extitit, cujus omninò parem atque similem aut etiam inferiorem -paulò, non modò non vidi ullam, sed ea ubi esset etiàm ne audivi +<p><a name="Footnote_62_63" id="Footnote_62_63"></a><a href="#FNanchor_62_63"><span class="label">[62]</span></a> "<span lang="la" xml:lang="la">Itaque multas sæpè feminas vidi, audivi etià m esse +plures, quæ certarum omninò virtutum, optimarum quidem illarum atque +clarissimarum, sed tamèn perpaucarum splendore illustrarentur: in +quâ verò omnes collectæ conjunctæque virtutes conspicerentur, hæc +una extitit, cujus omninò parem atque similem aut etiam inferiorem +paulò, non modò non vidi ullam, sed ea ubi esset etià m ne audivi quidem</span>."—Bembo de Guidobaldo.</p></div> <div class="footnote"> @@ -18232,13 +18214,13 @@ because of the old. Burckhardt, one of the greatest students of our time, seems to have understood this also with his usual happiness. M. Auguste Gerard tells us in his notice of the life of its author, which serves as a Preface to the French edition of <i>Le Cicerone</i>, -that "<span lang="fr" xml:lang="fr">Burckhardt en vrai disciple de la Renaissance considérait -l'Italie comme un tout continu; et dans l'histoire de l'art de même -que dans l'énumération des œuvres, il ne séparait pas l'Italie -antique de l'Italie moderne. La section du <i>Cicerone</i> qui était -dédiée à l'architecture commençait aux temples de Paestum pour -finir aux villas Napolitaines et Génoises des XVII<span class="super">e</span> et XVIII<span class="super">e</span> -siècles</span>." In that idea lies the future of all criticism.</p></div> +that "<span lang="fr" xml:lang="fr">Burckhardt en vrai disciple de la Renaissance considérait +l'Italie comme un tout continu; et dans l'histoire de l'art de même +que dans l'énumération des œuvres, il ne séparait pas l'Italie +antique de l'Italie moderne. La section du <i>Cicerone</i> qui était +dédiée à l'architecture commençait aux temples de Paestum pour +finir aux villas Napolitaines et Génoises des XVII<span class="super">e</span> et XVIII<span class="super">e</span> +siècles</span>." In that idea lies the future of all criticism.</p></div> <div class="footnote"> @@ -18261,7 +18243,7 @@ real sense the gods in exile, they are excellent imitations of them.</p></div> with which he was hailed by Cosimo de' Medici. Cf. Ficino in preface to his <i>Plotini Epitome</i> (Firenze, 1492). "<span lang="la" xml:lang="la">Magnus Cosimus, quo tempore concilium inter Graecos et Latinos, sub Eugenio pontefice -Florentinæ tractabatur, philosophum Graecum, nomine Gemistum +Florentinæ tractabatur, philosophum Graecum, nomine Gemistum cognomine Plethonem, quasi Platonem alterum de mysteriis Platonicis disputantem frequenter audivit; e cujus ore ferventi sic afflatus est protinus, sic animatus, ut inde Academiam quandam alta mente @@ -18332,7 +18314,7 @@ to notice them.</p></div> <div class="footnote"> <p><a name="Footnote_73_74" id="Footnote_73_74"></a><a href="#FNanchor_73_74"><span class="label">[73]</span></a> The MS. is No. 497-8 of the Vat. Urb. MSS. An edition -in folio was published at Bâle in 1546.</p></div> +in folio was published at Bâle in 1546.</p></div> <div class="footnote"> @@ -18346,7 +18328,7 @@ delle sue biografie</i> (Pisa, 1887).</p></div> <div class="footnote"> -<p><a name="Footnote_75_76" id="Footnote_75_76"></a><a href="#FNanchor_75_76"><span class="label">[75]</span></a> <i>Spicilegium Romanum</i>, tom. I. (Romæ, 1839). Vat. Urb. +<p><a name="Footnote_75_76" id="Footnote_75_76"></a><a href="#FNanchor_75_76"><span class="label">[75]</span></a> <i>Spicilegium Romanum</i>, tom. I. (Romæ, 1839). Vat. Urb. MSS. 941.</p></div> <div class="footnote"> @@ -18377,7 +18359,7 @@ seq.</i></p></div> <span lang="la" xml:lang="la"> "Disce, puer, virtutem ex me, verumque laborem;<br /> Fortunam ex aliis."<br /> -<span style="margin-left: 13em"><i>Æneid</i> XII., 345.</span></span> +<span style="margin-left: 13em"><i>Æneid</i> XII., 345.</span></span> </td> </tr> </table> @@ -18387,7 +18369,7 @@ Dryden has missed the point of this passage.</p></div> <div class="footnote"> <p><a name="Footnote_79_80" id="Footnote_79_80"></a><a href="#FNanchor_79_80"><span class="label">[79]</span></a> "<span lang="la" xml:lang="la">Quid autem ineptius quam, toto seculo renovato, -religione, imperiis, magistratibus, locorum vocabulis, ædificiis, +religione, imperiis, magistratibus, locorum vocabulis, ædificiis, cultu, moribus, non aliter audire, loqui, quam locutus est Cicero? Si revivisceret ipse Cicero, rideret hoc Ciceronianorum genus</span>."—<span class="smcap">Erasmus</span>.</p></div> @@ -18422,8 +18404,8 @@ i.</p></div> of Alphonso I. of Aragon and of Naples, and later the secretary and familiar of Sigismondo Malatesta. Porcellio seems to have hated Basinio, another court poet, whose works, with a long commentary, -have been published (<span class="smcap">Battaglini</span>, <i>Basinii, Parmensis Poetæ -Opera Præstantiora</i> (Rimini, 1794)). Basinio seems to have proved +have been published (<span class="smcap">Battaglini</span>, <i>Basinii, Parmensis Poetæ +Opera Præstantiora</i> (Rimini, 1794)). Basinio seems to have proved before the Court of Rimini that Porcellio was ignorant of Greek. "One can be a fine Latin poet without knowing Greek," he answered in a rage, but truly enough. Basinio, however, asserted that not only @@ -18452,7 +18434,7 @@ e docum. per la vita di Giov. Santi e di Raffaello Santi da Urbino</i> (Modena, 1870); <span class="smcap">Guerrini</span>, <i>Elogio Stor. di Giov. Santi</i> (Urbino, 1822); <span class="smcap">Schmarzow</span>, <i>Giovanni Santi der Vater Raffaels</i>, in <i>Kunstchronik</i> (Leipsig), An. XXIII., No. 27; -<span class="smcap">Schmarzow</span>, <i>Giovanni Santi</i> in <i>Vierteljahrsschrift für +<span class="smcap">Schmarzow</span>, <i>Giovanni Santi</i> in <i>Vierteljahrsschrift für Kultur und Lett. der Renaissance</i> (Leipsig), vol. II., Nos. 2-4. Cf. also <span class="smcap">Crowe & Cavalcaselle</span>, <i>History of Painting in Italy</i>, vol. III.</p></div> @@ -18568,7 +18550,7 @@ classical.</p></div> <p><a name="Footnote_105_106" id="Footnote_105_106"></a><a href="#FNanchor_105_106"><span class="label">[105]</span></a> A large picture of the Glorification of the Madonna, long placed in the Belle Arti at Florence, was painted by Sandro Botticelli for Matteo Palmieri, who, in his Dantesque poem entitled -<i>La Città della Vita</i>, has advanced a theory that, in Lucifer's +<i>La Città della Vita</i>, has advanced a theory that, in Lucifer's rebellion, a certain number of angels assumed a neutral attitude, as a punishment for which they were doomed to a term of trial in the quality of human souls. Although never printed, this work was @@ -18739,7 +18721,7 @@ Simone Martini, the Sienese, in S. Francesco, at Assisi.</p></div> <div class="footnote"> -<p><a name="Footnote_130_132" id="Footnote_130_132"></a><a href="#FNanchor_130_132"><span class="label">[130]</span></a> The Ordo Officiorum Senensis Ecclesiæ, a MS. of 1215, +<p><a name="Footnote_130_132" id="Footnote_130_132"></a><a href="#FNanchor_130_132"><span class="label">[130]</span></a> The Ordo Officiorum Senensis Ecclesiæ, a MS. of 1215, in the library of Siena, has been ascribed to him, by confusion with another Oderico, a canon there; it possesses no artistic merit whatever.</p></div> @@ -18906,7 +18888,7 @@ Oddantonio. See below, <a href="#CHAPTER_XXX">ch. xxx.</a></p></div> <div class="footnote"> <p><a name="Footnote_152_154" id="Footnote_152_154"></a><a href="#FNanchor_152_154"><span class="label">[152]</span></a> It is very unsatisfactorily engraved in -<span class="smcap">Bonnard's</span> <i>Costumes du Treizième au Quinzième Siècle</i>.</p></div> +<span class="smcap">Bonnard's</span> <i>Costumes du Treizième au Quinzième Siècle</i>.</p></div> <div class="footnote"> @@ -18984,7 +18966,7 @@ Artistiche.</p></div> <div class="footnote"> <p><a name="Footnote_162_164" id="Footnote_162_164"></a><a href="#FNanchor_162_164"><span class="label">[162]</span></a> <i>Elogio Storico di Giovanni Santi</i>; Rafael von Urbino. -The few facts of importance which the Abbé's microscopic researches +The few facts of importance which the Abbé's microscopic researches have ascertained are scarcely extricable from the confusion that prevails in his eulogy and its accompanying, or rather darkening, notes. The catalogue of Sanzi's works is useful to travellers, though @@ -19059,7 +19041,7 @@ Dennistoun (Edinburgh, 1842).</li> <p><a name="Footnote_167_169" id="Footnote_167_169"></a><a href="#FNanchor_167_169"><span class="label">[167]</span></a> We have already accounted for the change of his surname to Sanzio, at <a href="#Page_216">p. 216</a>. His Christian name, in modern Italian -Raffaello, seems to have been spelt by himself Raphællo and Raffaele. +Raffaello, seems to have been spelt by himself Raphællo and Raffaele. *Raphael was born on Good Friday, 28 March, 1483.</p></div> <div class="footnote"> @@ -19104,7 +19086,7 @@ without the Sacraments of the Church, rests on no good foundation.</p></div> <p><a name="Footnote_175_177" id="Footnote_175_177"></a><a href="#FNanchor_175_177"><span class="label">[*175]</span></a> The first independent picture which he painted after coming to Perugia was the <i>Crucifixion</i>, now in the possession of Mr. Ludwig Mond. This was painted in 1501 or early in 1502, because the -Vitelli for whom it was painted were driven out of Città di Castello +Vitelli for whom it was painted were driven out of Città di Castello in the latter year. I know nothing of any return to Urbino in 1499. He went back in 1504.</p></div> @@ -19219,7 +19201,7 @@ wish to pass into the painters' studio.</p></div> <p><a name="Footnote_194_196" id="Footnote_194_196"></a><a href="#FNanchor_194_196"><span class="label">[*194]</span></a> In the Cathedral sacristy is the St. Martin and St. Thomas of 1504, with the founders beside them. In the Pinacoteca there is a half figure of S. Sebastian, the figures of S. Roch and of -Tobias with the Angel. The S. Apollonia, once in S. Trinità is now in +Tobias with the Angel. The S. Apollonia, once in S. Trinità is now in the Gallery. Of these, the S. Sebastian, S. Roch, and Tobias show the influence of Giovanni Santi, the other two the influence of Raphael.</p></div> @@ -19258,7 +19240,7 @@ Prassede.</p></div> <div class="footnote"> <p><a name="Footnote_200_202" id="Footnote_200_202"></a><a href="#FNanchor_200_202"><span class="label">[200]</span></a> <i>Sketches of the History of Christian Art</i>, Letter -VIII., especially part II., §§ 1, 2, 4, and part III., § 6.</p></div> +VIII., especially part II., §§ 1, 2, 4, and part III., § 6.</p></div> <div class="footnote"> @@ -19388,7 +19370,7 @@ and <span class="smcap">Marcucci</span>, <i>Francesco Maria I. della Rovere</i>, (Ulm, 1496). Cf. <span class="smcap">Burchard</span> (ed. Thuasne), I., p. 528. The amount seems to have been 45,000 ducats. See especially <span class="smcap">Heidenheimer</span>, <i>Korrespondenz Bajazet II.'s mit Alexander -VI.</i>, in <i>Zeitschrift für Kirchengeschichte</i>, vol. V., p. 511 <i>et +VI.</i>, in <i>Zeitschrift für Kirchengeschichte</i>, vol. V., p. 511 <i>et seq.</i> As usual, Creighton's account, <i>op. cit.</i>, vol. IV., is most excellent, written with the pen of a statesman. Heidenheimer maintains the authenticity of the letters, and Creighton agrees @@ -19436,7 +19418,7 @@ and printed by Masse in his <i>Histoire du Pape Alexander VI.</i>, pp. <div class="footnote"> <p><a name="Footnote_226_228" id="Footnote_226_228"></a><a href="#FNanchor_226_228"><span class="label">[*226]</span></a> For authorities for Pope Julius II., cf. -<span class="smcap">Creighton</span>, vol. V., pp. 305-6, where an excellent <i><span lang="fr" xml:lang="fr">résumé</span></i> +<span class="smcap">Creighton</span>, vol. V., pp. 305-6, where an excellent <i><span lang="fr" xml:lang="fr">résumé</span></i> is given.</p></div> <div class="footnote"> @@ -19800,8 +19782,8 @@ by Leone, p. 222.</p></div> <div class="footnote"> <p><a name="Footnote_272_274" id="Footnote_272_274"></a><a href="#FNanchor_272_274"><span class="label">[*272]</span></a> "<span lang="it" xml:lang="it">Gli pareva gran vergogna della Chiesa che ad un -duchetto basti l'animo di fare questa novità; e il papa tremeva, ed -era quasi fuor di sè</span>." Cf. <span class="smcap">Giorgi</span>, <i>Relazioni Venete</i>, 2nd +duchetto basti l'animo di fare questa novità ; e il papa tremeva, ed +era quasi fuor di sè</span>." Cf. <span class="smcap">Giorgi</span>, <i>Relazioni Venete</i>, 2nd series, vol. III., p. 47.</p></div> <div class="footnote"> @@ -20171,7 +20153,7 @@ Vergilio, see above, <a href="#Page_115">pp. 115-18</a>.</p></div> <p><a name="Footnote_319_321" id="Footnote_319_321"></a><a href="#FNanchor_319_321"><span class="label">[319]</span></a> I can find nothing in support of Roscoe's assertion that he was wounded while aiding Guidobaldo to recover his duchy, and -the whole facts seem to contradict it. <i>Leo X.</i>, ch. vii., § 7, note. +the whole facts seem to contradict it. <i>Leo X.</i>, ch. vii., § 7, note. That usually accurate writer has fallen into the mistake of ascribing to the Count's <i>sister</i> his interment and monumental inscription in the church of the Minims, near Mantua, while the epitaph which he has @@ -20243,360 +20225,6 @@ appropriate HTML characters, carons are used instead.</p> </div> <p> </p> -<hr class="full" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK MEMOIRS OF THE DUKES OF URBINO, VOLUME II (OF 3)***</p> -<p>******* This file should be named 44235-h.txt or 44235-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/4/4/2/3/44235">http://www.gutenberg.org/4/4/2/3/44235</a></p> -<p> -Updated editions will replace the previous one--the old editions -will be renamed.</p> - -<p> -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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