CABINET OF BIOGRAPHY. (continued 8)

He had lost all; poverty clung to him, and the last hope of seeing her he loved again, was taken away. Fame and glory only remained. His poem was finished; and weary of hard services in wars—whose objects he condemned, and in reward for which he received but the slender pay of a volunteer—he desired to return to his native country, to publish his poem, and to receive the welcome of his friends, and perhaps the reward of his sovereign. He had left Portugal with an embittered spirit; but his misfortunes in India made him turn with a longing eye to his native land, where he might hope that his enemies would cease to persecute him, and he obtain favour from his sovereign.

Pedro Barreto (a name unlucky for the poet) was appointed governor of Sofala, in the Mozambique, and invited Camoens to accompany him. Whether he offered him an office, or only allured him with the hope of facilitating his return to Portugal, Sofala being on the way, we are not told. It seems likely that Camoens went, induced by the latter motive, and trusting to the friendship of a low-minded and hard-hearted man. Arrived at Sofala, he obtained no situation; it was his place to dine at the governor's table, to follow in his train, and to tell the world that he, a gallant soldier and a poet, who inherited immortality, was the dependant of Pedro Barreto. His proud spirit revolted, and he was content to endure the extreme of poverty, rather than play the servile part of parasite and hanger-on. It is probable that some absolute quarrel ensued, or at least that Barreto was so ill pleased with the independent deportment of the man whom he believed that he held in his power, that he expressed his dissatisfaction with an insolence which Camoens resented. At this juncture some of his Indian friends arrived in the Santa Fé; they found him in a most deplorable condition, dependent on others for his subsistence; in want of clothes and every necessary. They supplied his wants, and invited him to accompany them, a proposal Camoens gladly accepted; when the dastardly and malevolent Barreto refused to permit his departure, until he had been paid 200 ducats, which he alleged he had spent in his behalf. The newly-arrived gentlemen, indignant at this meanness, were only the more eager to rescue their friend out of such a person's hands: they subscribed the money, and as Faria expresses it, "ransomed him; so that at the same time the person of Luis Camoens, and the reputation of Pedro Barreto, were bought and sold at the same price;" and if, as men of genius and virtue fondly think, renown for good or ill in this world is an acquisition to be sought, or to be avoided, even with the loss of life, Pedro Barreto, as he counted his paltry ducats, had better have cast them and himself into the sea, than have put them into his pocket; but even the sea could not have washed out the stain of moral infamy. These friends of Camoens were cavaliers, who loved literature and honoured the writer. Their names have been preserved: Hector da Sylveira, Duarte de Abreu, Diogo de Couto, Antonio Cabral, Antonio Serram, and Luis de Veyga. He was the intimate friend of Hector da Sylveira, who showed himself the most active and friendly, and who contributed the largest share to the payment of the debt, even if he did not, as has been asserted, pay the whole. Sylveira is mentioned in a Barmecide feast, Camoens describes as having given at Goa; and they composed redondillhas and other light verses together. The reputation of Couto is known. He was an historian of great merit.

Camoens felt keenly the depth of adversity in which he had sunk. "Oh, how long drawn out," he exclaims in a sonnet, "year by year, is my weary pilgrimage! I go hastening towards age, while my ills increase; every bright hope becomes a dark deceit, and I follow a good which I never reach. I fail midway in the path, yet falling a thousand times, I have still hoped." And in another, driven by despair into feelings unlike his natural ones, he asks, "where he may find a desert place, unvisited even by the brute creation; some gloomy wood or darksome forest—a place as dismal as his own thoughts, wherein to dwell for ever!"

During the voyage home, however, his spirit revived, refreshed by the kindness and admiration of his friends. They read, they praised, and anticipated success for the "Lusiad." Couto wrote a commentary on it, which was unfortunately lost; and the same writer tells us that Camoens employed himself, on the passage, in composing a work of great erudition and philosophy, which he entitled "Parnasso de Luis Camoens," and which Couto says was stolen from him, and irretrievably lost. Late commentators suppose that this must have been a collection of his minor poems: but as Couto speaks of its erudition, and had read it, he would have been aware of this, and expressed himself differently.

The sanguine spirit of the poet, to whom kindness was medicine, and the hope of fame the dearest joy, again dared look forward—again he trusted. 1569. Ætat. 45. A young and gallant monarch had just ascended the throne, and he hoped to propitiate his favour by his patriotic work. The moment of his landing, however, was unfavourable; for the plague was raging at Lisbon, and the minds of even the great and prosperous were absorbed by the fear of death. The political state of the kingdom was also disadvantageous. Sebastian had succeeded to the crown when only three years old. The queen, Catherine of Austria, had been appointed regent by the will of the late king; but the cardinal Henrique, uncle to the infant sovereign, so disgusted her with his intrigues, that she resigned her power in his favour. Henrique did not show himself unworthy of the trust; but as Sebastian grew up, the courtiers around him were eager that he should take the government of the kingdom into his own hands. Sebastian's own heart was set on military glory and conquests in Africa: a project favoured by all the young and ambitious, and deprecated by the experienced, who saw only a useless expenditure of life and money in the design. The cardinal, meanwhile, endeavoured to prolong his sway. Camoens must have found it difficult to trim his sail between the actual power of the cardinal and the anticipated influence of the favourites of the king. He wrote the verses in which he dedicates his poem to the young monarch; he corrected and polished it; but the publication lingered, and it was two years after his return to his native country before it appeared. It was hailed with enthusiasm, and reprinted within the year. 1571. Ætat. 47. The king heard of it, it is said, and granted the poet a pension of 15,000 reis—about five pounds sterling—and required him to live within the precincts of the court, and obtain its payment half-yearly. A soldier who had fought as Camoens had done for his country, would have had his sufferings and mutilation better rewarded. It has been impossible to discover what occasioned the paltriness of the grant; if, indeed, it was not his half-pay as a military man, rather than a pension given to the poet. Some commentators fancy that the cardinal scowled on the poem, as likely to excite the martial ardour of the king, which he wished to repress. This fear almost seems to have gone the length of withholding the book altogether; for had Sebastian read the poem, he would surely have found in it a voice that echoed the emotions of his own heart, and would have regarded its writer with more favour; and when he sailed on his ill-fated expedition to Africa, and selected Diego Bernardes to accompany him as his poet, he would rather have chosen a man who could so well achieve and so well describe deeds of arms, as Camoens had proved that he could do.[155]

But in mentioning this we anticipate. Sebastian did not undertake his fatal expedition until the lapse of several years. Meanwhile the darkest shadows clouded the poet's fate. No court favour, no preferment was extended to him. Her he loved was dead; his poem was finished, published, read, admired; yet it proved barren of any advantage, except what he must have felt to be empty reputation, to its unfortunate writer. The poetry of his life faded before realities the most heartbreaking and oppressive. He continued to reside at Lisbon. He did not write, for he had fallen into a state of ill-health, the consequence of the many hardships he had endured, and the climate of India. He lived, he says, "in the knowledge of many, and the society of few." He enjoyed the acquaintance and conversation of some learned men, who belonged to the convent of S. Domingos de Lisboa, near which he lived.

The most melancholy circumstances attended his last days. He was sick and poor; his very life was supported by charity. His servant Antonio, a native of Java, by whom some say his life was saved when wrecked on the coast of Cochin, whom he had brought with him from India, was accustomed to steal out at night, and beg for bread, to support his miserable master during the following day.

While in this afflicting state, a fidalgo, Ruy Diaz de Camara, paid him a visit in his wretched dwelling, to complain that he had not fulfilled a promise which the poet had made of translating the penitential psalms. Camoens regarded with resentment the man who could urge him to write while starving. "When I wrote those verses," he replied, "I was young, well off, and in love; I possessed the affection of many friends, and was favoured of ladies, which imparted a poetic fire. Now I have neither spirit nor peace of mind for any thing. There stands my Javanese, who asks me for two pieces, to buy fuel, and I have none to give him." We are told, though it seems incredible, that "the cavalier closed his heart and purse and quitted the room." Thus shewing himself as base-minded as he was silly. Yet even in this state, so keen and patriotic were the poet's feelings, that his illness is said to have been increased by the tidings of Sebastian's overthrow and death in Africa.

Prophesying that the ruin of his country would result from this defeat, he says, in a letter written at that time,—"At least I shall die with it!"—and this sad reflection was a consolation. Southey conjectures that those friends who were kindest to him perished in this defeat, and that thus he lost that aid which had hitherto stood between him and absolute want.

1778. Ætat. 54.

At length illness and suffering reduced him to so low a state that he was incapable of all exertion. He felt that his death was near, and, as a last effort, he expressed in a letter some of the bitter feelings excited by the miserable circumstances with which it came attended. 1779. Ætat. 55. "Who ever heard," he says, "that fortune should wish to represent such vast misfortunes on the little theatre of a poor bed! and I, as if they were not sufficient, make myself her ally; for it would appear effrontery to attempt to resist such ill."

But the last scene was saddest of all. He breathed his last in an hospital. The month and day of his decease are alike unknown. The sheet in which he was shrouded was the gift of a noble, Don Francisco de Portugal, whose name deserves no praise for so meagre an offering to the dead, whose life a small portion of wealth might have rendered easy. A moralising monk watched his last hours. "How miserable a thing," he writes, "to see so great a genius so ill rewarded! I saw him die in a hospital at Lisbon, without possessing a shroud to cover his remains, after having borne arms victoriously in India, and having sailed 5500 leagues:—a warning for those who weary themselves by studying night and day without profit, as the spider who spins his web to catch flies."[156]

After his death his body was removed to the church of Santa Anna, where he was interred; but no tomb or monumental inscription marked the spot, till sixteen years after his death, don Gonçalo Coutinho placed a stone to his memory, with this inscription—

HERE LIES LOUIS DE CAMOENS, PRINCE OF THE POETS OF HIS TIME. HE LIVED POOR AND MISERABLE, AND THUS DIED, IN THE YEAR MDLXXIX. D. GONÇALO COUTINHO ORDERED THIS STONE TO BE PLACED HERE, UNDER WHICH NO OTHER PERSON SHOULD BE BURIED.[157]

We are told that Camoens was handsome in person; and Faria y Sousa speaks of him as elegant and prepossessing in person before he went to India. Hardships and disappointments on his return bowed him down, destroyed his cheerfulness, and made him old before his time.

Camoens was a great man, not only as poet, but in the qualities of his mind and heart. He entered life full of aspiration after the good and beautiful. He loved tenderly and fondly one who was as pure and good as she was lovely; and in absence, and through hardship and sorrow, still he worshipped her idea and mourned her fate. He was gallant and brave in doing, as well as in the harder task of bearing. No mean, no servile, no even dubious act is recorded of him, during the course of many misfortunes, when spirits less high might have bowed before the rich and powerful. He was naturally cheerful, friendly, and fond of society, which he enlivened and adorned by his wit and genius. Fortune warred with him long in vain, but she conquered at last, when poor, and sick, and friendless, he grew melancholy and despairing. At the commencement we compared his fortunes with those of Cervantes; but the career of Camoens was the most disastrous. Every act of his life had an adverse termination. In the early season of youth he loved tenderly and ardently; and this feeling had not injured his fortunes, if his attachment had not been returned. A modern poet asks, "What makes it fatal in this world of ours, to be loved?" It was the love that Dona Catarina bore the poet, that awakened the enmity of her powerful relations, and cast his whole life into shadow. From the hour he was banished for her sake, he succeeded in nothing. He fought for his country in Africa, only to be maimed and deformed for life. He visited India only to encounter the same hardships in a worse climate; he amassed a fortune, and lost it in shipwreck; he trusted to the kind feelings of the powerful, and found himself reduced to absolute want. The most adverse period of Cervantes' life was his captivity at Algiers[158], when he had the spirit of early manhood, the love and admiration of his companions, his own conscience, and stirring hopes and fears to animate him. The happiest portion of Camoens' existence, we are told, were the years he spent at Macao, away from every friend, with hope only to cheer him, and his imagination, while he looked over the wide distant sea that separated him from the dearest objects of life. In his last moments, Cervantes had wife and relation near; and, when dying, he said farewell, to joy; farewell to his friends. In Camoens' last hour his spirit was broken: want and penury, in their most loathsome guise, were his death-bed companions, in a wretched hospital. Southey justly remarks, however, that he is not to be considered a martyr to literature; for he in no way depended on that for bread. He was a martyr to that political system which created a body of men, (the younger sons of the nobility), who, if they inherited no property, could acquire a livelihood only by court favour; and that is never bestowed upon the worthiest. He sought advancement, as well as the "bubble, honour, at the cannon's mouth." He gained the latter only; and unless his spirit now enjoys the fame which he desired during life, it was a bubble indeed, without substance to support him in his necessity. Had he lived a little longer, we are told Philip II. desired to see him when at Lisbon; and he would have found assistance in him. Many is the reprieve fate sends to the suffering after they are dead, as if to show her power, and to impress us with the idea that all depends on her fiat. Wherefore Heaven has established a law, that the best men are to suffer most in this life, is a mystery. All we know is, that so it is, and so learn at least to revere those cast in adversity, and to glory rather than feel shame in the frowns of fortune.[159]

It seems strange that men should let a fellow-creature die as Camoens died; a man, too, who possessed the much-coveted advantage of birth, who had fought for his country, and celebrated her glories in his verse. Long did these very verses—the "Lusiad," and the reputation it promised—bear him up; yet some hope he lost as he concluded it, and at last he breaks off impatiently,—

We have dwelt so long on the various and melancholy circumstances of Camoens' lot, that small space is left to speak of his works. Of his lesser poems, his lyrics, and sonnets, such mention has been made in the foregoing pages as have informed the reader of their high merit. Impassioned yet tender, earnest, yet soft—full of heart, and all the better feelings of the soul, they are the type of Camoens, and deserve the same praise as he himself merits.

Patriotism, warmed by the heroic deeds of the discoverers of the passage to India, inspired him with the idea of the Lusiad. He named it "Os Lusitanos," that is to say, the Lusitanians or Portuguese. It opens with the arrival of Vasco de Gama in the Mozambique; it carries him thence, after many dangers, to Calicut, and brings him thence home. Episodical narrations vary the poem. It has faults.[160] Its mythology is clumsy. While bringing forward Christians as Moslems in contention, the introduction of the heathen deities, of Bacchus and Venus, is ridiculous; yet the description of Venus presenting herself to Jupiter, in the second canto, may make any lover of the beautiful pardon the incongruity. The Lusiad is full of beauties: stanzas that rise to sublimity, touch the heart by their pathos, or charm it by descriptive beauties, abound. Above all, there is fire, a heart, a soul—flesh and blood, enthusiasm, and the poet's best spirit, to adorn it with magnanimous sentiments, patriotism, and piety.

As such, the Lusiad is an immortal poem, and Camoens a poet that the world may be proud to have brought forth. He has been considered such, and his poem translated into many languages. In English Mickles' is the modern and popular one; but it has no pretension to fidelity; and, though Mickle was a man of taste and a poet, we turn impatiently from his paraphrase to the truer, though uncouth version of Fanshaw.[161]

END OF THE THIRD VOLUME.

INDEX

A.

ABDORBHAMAN III., his efforts for the advancement of literature, III. 4. Abreu, Duarte de, III. 324. Acciajuolo, the seneschal, of Naples, I. 142. Acquaviva, cardinal, III. 125. Aga, Hassan, dey of Algiers, III. 138. Aguirre, Lope de, III. 110. Agyropylo, Giovanni, I. 163. Alfieri, Vittorio, his birth and parentage, II. 250. His early education; placed at a public school at Turin, 252. System of education pursued at the academy, 253. Progress of his education, 255. Circumstances of his life greatly altered, 256. Anecdote characteristic of the obstinacy of his disposition, 258. Visits his mother at Genoa, 259. Admitted as ensign into the provincial regiment of Asti, 260. Visits Rome and Naples under the care of an English catholic, 261. Regards coldly those objects which render Rome a city of absolute enchantment, 262. Visits France and England, 263. Singularities of his character, 261. Circumstances of his entrance into Paris, 265. His enthusiasm on visiting London, 266. Becomes really in love, 267. Disappointed in a matrimonial project proposed to him by his brother-in-law, 268. Comes of age, according to the laws of his country, and sets out on his travels with an income of 1200l. a-year, and a large sum in ready money, 268. Visits England; his attachment to a lady of rank, 269. Is challenged by her husband, 270. Leaves his unworthy mistress, and pursues his travels, 271. Anecdote characteristic of the violence of his temper, 272. Becomes a cavalier servente to a lady of rank, 273. Determines to break off the disgraceful intercourse, 274. Gives the first token of the spirit of composition, in a sonnet in commemoration of the freedom he had acquired, 274. At the age of seven and twenty, enters into the difficult engagement with the public and himself, to become the writer of tragedies, 275. Difficulties which he had to overcome, 276. Resolves to pass six months in Tuscany, to learn, hear, and feel Tuscan only, 277. His labours in literature confined chiefly to formation of style, 278. Commencement of his friendship with Gori, 279. Commencement of his attachment to Louisa Stolberg, countess of Albany, 280. Energy and conciseness the distinguishing marks of his dramas, 282. Outline of his tragedy, entitled "Philip," 284. Takes up his residence at Rome, 286. Remarks on his sacred dramas, 287. His continued intimacy with the countess of Albany, 288. Goes into voluntary exile, to prevent any actual measures of prohibition and banishment, 290. Returns to Italy after two years, absence, 291. Outline of his tragedy, entitled "Myrrha," 292. Accompanies the countess of Albany to Paris, and establishes himself there, 293. Betakes himself to writing the memoirs of his life, 294. Remarks on his translation of the Æneid, 295. Driven from France by the revolution of 1791, 296. Returns to Florence with the countess of Albany, 297. His translation of "Sallust," an excellent specimen of style, 293. At the age of forty-six, applies himself with ardour to the study of the Greek language, 299. His melancholy increased by the irritation caused by political events, 300. His last illness and death, in the fifty-sixth year of his age, 301. Translation from a sonnet, in which he describes his own person, 302. Alfonso, duke of Ferrara, I. 207. Allegri, Francesco, I. 145. Alphonso X., his zeal for literature; his poetry, III. 11. Alphonso XI., his poems, III. 12. Amalasunta, the Gothic queen of Spain, III. 3. Andrea, prince of Hungary, I. 91. Angelo, Michael, I. 34. Angulo, doctor Gregorio de, III. 201. Antiquário, Jacopo, I. 165. Aquinas, Thomas, I. 9. Archimedes, II. 3. Aretino, I. 11. Ariosto, Ludovico, his birth, parentage, and early education, I. 196. Composes a drama on the story of Pyramus and Thisbe, 197. Becomes eminent among his contemporaries for the critical skill with which he elucidated obscure passages in Horace and Ovid, 198. The golden age of his life shortened by the death of his father, 199. Obliged, at the age of four and twenty, to turn from quiet to active duties, and exchange Homer for waste books and ledgers, 200. Remarks on his satires, 201. Courted, admired, applauded, and of course envied, in the first circle of Italian society, both for his conversation, his learning, and his poetry, 202. Remarks on his work, entitled "Astolpho's Journey to the Moon," 203. Remarks on his "Orlando Furioso," 204. Sent by the duke of Ferrara, as ambassador to Rome, to pacify the wrath of Julius II., 205. His second embassy to Rome, and uncourteous reception from the pontiff, 206. Singular manner in which the duke retaliates for the indignity shown to himself and his representative, 207. Causes for the principal interruptions in his literary labours, 208. Refuses to accompany the cardinal Hippolito to visit his archbishopric in Segovia, 209. His whimsical letter to his brother Alessandro on the subject, 212. Persuaded to enter into the service of the duke of Ferrara, 217. His literary pursuits retarded by his struggles against the solicitudes, discomforts, and mortifications of narrow and precarious circumstances, 218. His curious reasons for not taking priest's orders, 219. Is patronised by Leo X., 219. His own account of Leo's ingratitude, 220. Extracts from his satires, 222. His description of his visit to Rome, and his specious reception by Leo, 223. Further extracts from his satires, 224. Simple, yet facetious, style of his fables, 225. Appointed to the government of Graffagnana, a mountainous district, lying between Modena and Lucca, 226. Story of a rencontre with some of his uncouth neighbours, 227. Extract from his Fifth Satire, 229. Invited to accept a third embassy to Rome, 230. His reason for refusing, as given in the Seventh Satire, 231. After three years, being released from the cares of his government, he returns with entire devotion of his time and talents to the "Sacred College of the Muses," 232. Anecdote, characteristic at once of his phlegm and his acuteness in his art, 233. Critique on his Seven Satires, 233. His last illness and death, 234. His person and character, 236. No poet of any age has more inseparably identified his conception with his language, 238. Impossibility of translating them, 239. Anecdote of, 241. Whimsical peculiarities of his personal habits, 242. His last hours, 243. Monuments to his memory, 244. Remarks on his works in general, 245. Review of his "Orlando Furioso," 250. Immoral tendency of his writings, 254. Aristotle, II. 5. Attila the Hun, I. 2. Audibert de Noves, I. 68. Ayala, III. 12.

B.

Barbariccia, I. 15. Barbato, the chancellor of the king of Naples, I. 120. Bardi, cavalier de, I. 6. Barlaam, Bernardo, I. 91. Barreto, Pedro, governor of Sofala, III. 323. Barrili, Giovanni, I. 120. Basseville, Hugh, II. 314. Bazan, Don Alvaro, III. 113. Beatrice Portinari, I. 6. Bella, the mother of Dante, I. 2. Bellarmine, cardinal, II. 33. Bembo, Bernardo, I. 35. Bembo, cardinal, I. 204. Benavides, don Diego de, III. 141. Bene, Sennucio del, I. 90. Benedict XII., pope, I. 89. Bermudez, Geronimo, a monk of the order of St. Dominic, author of the first original tragedy published in Spain, III. 97. Berni, Francesco, his birth and early life, I. 188. Notice of his writings, 189. Bianchi, I. 18. Bibbiena, cardinal, I. 188. Boccaccio, Giovanni di, his birth and parentage, I. 116. His early education, 117. His sensations on visiting the tomb of Virgil, 119. His first meeting with Petrarch, 120. His own account of his attachment to the lady Mary, natural daughter of Robert, king of Naples, 121. Description of her person, 122. Outline of his poem, entitled "Filocopo," 123. The first to render the ottava rima familiar to the Italians, 124. Obliged to return to Florence, 125. The "Decameron," a model of the Tuscan dialect, 125. Writes his "Ameto," a composition of mingled prose and verse, the first of the kind, 126. Returns to Naples on his father's second marriage, 126. His description of the plague in Florence, 129. His works preached against and prohibited by Salvanorola, 130. Returns to Florence on the death of his father. Commencement of his intimacy with Petrarch, 131. Sent on various embassies, 132. His political negotiations, 133. His letter to Petrarch, expressing his regret and disappointment on his having taken up his abode at Milan, under the protection of Giovanni Visconti, 133. Petrarch's moderate answer, 134. Popularity of the "Decameron," 134. His disinterested love of letters, and extraordinary efforts to create and diffuse a knowledge of the Greek language and writers, 135. Spends large sums of money in the acquisition of ancient manuscripts, 136. Anecdote illustrative of his anxiety for the possession of them, 136. His unwearied and successful labour in the cause of Hellenic literature, 137. Obtains a decree from the Florentine government for the erection of a Greek professorship in their university, 138. Beneficial change in moral habits brought about by the admonitions and example of Petrarch, 138. The work begun by Petrarch, achieved by a singular circumstance, 139. His letter to Petrarch on the subject, 140. Adopts the clerical dress, and endeavours to suppress those writings which scandalised the pious, 142. Retreats from Florence, and takes up his abode at the castle of Certaldo, 143. Brief review of his later works, 144. Appointed, on two occasions, ambassador to pope Urban V., 145. His letter to Petrarch, describing his visit to the daughter and son-in-law of that poet, 146. Retires to the quiet of Certaldo, where he busies himself in the publication of his work of the "Genealogy of the Gods," 147. Appointed by the Florentine government to the professorship for the public explanation of the "Divina Commedia," 148. His last illness and death, 149. Bojardo, Matteo Maria, his birth, parentage, and early life, I. 181. His marriage and death, 182. Abstract of the story of his "Orlando Innamorato," 183. Boniface, pepe, VIII., I. 66. Borgia, Cæsar, his early life, I. 265. His remorseless cruelty, 267. His conversations with Machiavelli, 268. Anecdote characteristic of his system of government, 279. His downfal, 281. His imprisonment and death, 284. Boscan Almogaver, Mosen Juan, the first Spanish poet who introduced the Italian style, III. 21. Outline of his life, 22. Circumstances which induced him to introduce the Italian style, 23. His translation of Castiglione's "Libro del Cortigiano," 24. Commencement of his friendship with Diego de Mendoza, 25. Translation of his epistles in imitation of Horace, 26. His death, 32. His person, 33. Review of his writings, 34. Boutervek, III. 8. Bowring, Dr. his translation of the Spanish Cancionero, III. 9. Bozzole, Federigo da, II. 66. Bracciolini, Poggio, I. 151. Brossana, Francesco, I. 105. Bruni, Leonardo, I. 18. Bruno, Giordano, II. 4. Bubwith, Nicholas, bishop of Bath, I. 8. Bulgarelli, Marianna, the prima donna, II. 191. Her friendship for Metastasio, 192. Her death, 198. Buondelmonte, Zanobi, I. 304. Burchiello, the word "burlesque" derived from his name and the style of his writings, I. 180. Burney, Dr., his account of his visit to Metastasio in 1772, II. 210.

C.

Cabassoles, Philip de, bishop of Cavaillon, his intimacy with Petrarch, I. 83. Cabral, Antonio, III. 324. Cabral, Fernando Alvares, III. 311. Cacciaguida, I. 2. Caccini, his personal attack upon Galileo from the pulpit, II. 31. Cassalpinus, Andrew, the celebrated botanist, II. 3. Cæsarini, Virginio, II. 37. Caffarelli, general, II. 375. Calderon, don Pedro, his birth, parentage, and early education, III. 279. His fame established as a poet, 280. Enters the military service at the age of five and twenty, 280. Summoned to court by a royal order, for the sake of writing a drama for a palace festival, 281. Quits the army, and becomes a priest, 281. His death and character, 282. Review of his writings, 283. Calistus II., pope, I. 169. Caloria, Tommaso, I. 87. Caluso, the abate, II. 274. Camara, Ruy Diaz de, III. 327. Camerlingo, cardinal, II. 163. Camoens, Vasco Perez de, his birth and parentage, III. 296. Extract from his "Lusiad," 299. Translation of a sonnet in commemoration of that attachment which shed a disastrous influence over the rest of his life, 303. Compared with Petrarch, 304. Dr. Southey's translation of one of his sonnets, 306. His exile, 307. Mutilated in the wars of his country, but receives neither reward nor preferment, 310. His pathetic description of his friend Noronha's exile, 312. Offers to serve as a volunteer, and accompanies Vasconcellos in his expedition against the Mahometans, 315. Suspected of composing another satire; arrested, and banished to China, 316. Retires from the details of business, to pursue his poetical occupations, 317. Obtains leave to return to Goa; is wrecked at the mouth of the Mecon, 315. Pursues his voyage to Goa, where he is received by the viceroy with kindness and distinction, 320. Extracts from the seventh canto of the "Lusiad," 321. His poem commemorating the death of Caterina d'Atayde, 322. Accompanies Baretto, when he was appointed governor of Sofala, 323. Returns to Portugal, 324. Political state of the country disadvantageous to him, 325. Writes the "Parnasso de Luis Camoens," 325. A pension of 15,000 reis granted to him, 326. His illness and poverty, 327. His interview with the cavalier Camara, 328. His death, 329. His person, 329. Review of his life, 330. Review of his writings, 332. Campaldino, the battle of, I. 14. Camporese, the renowned philosopher, II. 189. Cancionero, the, III. 9. Canigiani, Eletta, the mother of Petrarch, I. 61. Caprona, the siege of, I. 15. Carafa, Federigo, III. 41. Carnescecchi, Pietro, II. 81. Caro, Rodrigo, III. 83. Casavecchia, Filippo, I. 296. Castañeda, Gabrièl de, III. 133. Castelli, Benedetti, II. 28. Castillano, Diego, III. 138. Castillejo, Cristoval, III. 93. Specimen of his style, 94. Cavalcanti, Guido, I. 19. Cavalcanti, Mainardo de', I. 134. Caza, Francesco della, I. 263. Celsi, Lorenzo, doge of Venice, I. 105. Cervantes, III. 120. His birth and parentage; little known of his early life, 123. Enters a student in the university of Salamanca, 124. His poems published at Madrid, 125. Leaves Madrid in the service of cardinal Acquaviva, 125. Visits Rome; changes the whole course of his life; and volunteers to be a soldier, 126. His services during the Turkish war, 127. Wounded in the battle of Lepanto, 128. Receives an increase of pay, and is passed into a company of the tercio of Figueroa, 128. Visits Rome, Florence, Venice, Bologna, Naples, and Palermo, 129. Taken prisoner by an Algerine squadron on his return to Spain, 130 Interesting details of his captivity, 131. Makes several attempts to regain his liberty, 133. Detected in planning his escape; is sentenced to the bastinado, 137. His courage and heroism excite the respect of the friars of the Order of Mercy, who resided at Algiers for the purpose of treating for the ransom of the Christian captives, 139. Ransomed for 500 golden ducats, and left free to return to Spain, 140. Determines to refute certain calumnies of which he was the object, 141. Returns to his native land depressed by poverty, and obscured by want, 142. Becomes again a soldier by profession, 143. First appears as an author in the year 1584, 144. His marriage with donna Catilina de Palacios y Salazar, 145. Commences writing for the theatre; endeavours to rectify the deficiencies of the stage and scenery, 146. Accepts the situation of commissary, and sets out with his family for Seville, 147. His office abolished; he becomes the agent to various municipalities, corporations, and wealthy individuals, 148. During his distasteful employment at Seville, acquires the bitter view of human affairs displayed in Don Quixote, 149. Translation of his verses to the monument of the kings at Seville, 150. Various annoyances which he suffered in his financial occupations at Seville, 151. Anecdote, displaying the style in which justice was carried on in Spain, 152. Removes with his family to Valladolid, 153. His poverty the great and clinging evil of his life, 153. His letter to his uncle during his imprisonment at La Mancha, 154. Writes "Don Quixote" during his imprisonment, 155. Fails in his attempt to introduce himself to the duke of Lerma, 156. Difficulties which he encounters in publishing "Don Quixote," 157. The "Buscapié" attributed to him, 158. Success of "Don Quixote" excites the enmity of the men of letters of his day, 160. Suspected of murder, and thrown with his entire family into prison, 162. Is set at liberty, 162. Publishes his "Voyage to Parnassus," 164. Anecdote, showing the high esteem in which "Don Quixote" was held, 165. Brings cut his "Twelve Tales," which raises yet higher his character as an author, 167. His portrait of himself, in his preface to the "Twelve Tales," 168. His account of the origin of the Spanish drama, and the amelioration that he in his younger days introduced, 169. Publishes his "Persiles and Sigismunda," and the second part of "Don Quixote," 170. His dedication of it to the count of Lemos, 171. His last illness, 172. His interview with the student of Toledo, 173. His farewell letter to the count of Lemos, 174. His death, in the sixty-ninth year of his age, 174. His character, 174. Brief review of his works, 175. Extract from his "Numantia," 176. Extract from the comedy of "Life in Algiers," 178. Extract from his "Voyage to Parnassus," 184. Cetina, III. 93. Charlemagne, I. 2. Charles of Valois, I. 20. Chiabrera, Gabbriello, his birth, parentage, and early education, II. 163. Enters into the service of cardinal Camerlingo, 163. Writes some odes in imitation of Pindar; makes the Greek lyrical poets his models, 164. Wishes to transfuse the spirit of the Greeks into the Italian language, 165. Style of his poetry, 166. Specimen of his serious style, as translated by Wordsworth, 166. His death and character, 168. Chiaramonte, Scipio, II. 44. Chrysoloras, Emanuel, I. 151. Ciani, a Carthusian monk; his visit to Boccaccio, I. 139. Clement VI., pope, I. 89. Colombe, Lodovico delle, II. 28. Colonna, Giacomo, commencement of his friendship with Petrarch, I. 66. Colonna, cardinal, I. 73. Colonna, Vittoria, her birth, parentage, and marriage, II. 77. Her letter to her husband during his imprisonment, 78. Her grief at his death, 79. Extracts from her poems, 80. Her death, 81. Conrad III., emperor, I. 2. Consalvo, the Spanish general, I. 284. Convennole, I. 63. Copernicus, II. 7. Corregio, Azzo, I. 87. Coutinho, Miguel Rodriguez, III. 321. Couto, Diogo de III. 324.

D.

Dante Alighieri, his parentage, I. 1. Born in the spring of 1265, 2. Fable concerning his birth, 3. Extracts from his "Paradiso," and his "Inferno," 4. His early education, 5. Enters upon his noviciate at a convent of the Minor Friars, but withdraws before the term of probation was ended, 6. Story of his early love for Beatrice, 7. Pursues his studies in the universities of Padua, Bologna, and Paris, 8. Supposed to have visited Oxford, 8. High estimation in which his works were held in England, 9. His progress in the schools of divinity and philosophy, 9. His marriage with Madonna Gemma, 10. Style of his poetry, 11. His domestic discomforts, 12. His character as a citizen, a soldier, and a magistrate, 13. Serves among the cavalry in the battle of Campaldino, 14. His extraordinary valour during that engagement; his allusion to it in Canto XII. of the "Inferno," 15. Is again in the field at the siege of Caprona, 15. Extract from Canto XXI. of the "Inferno," alluding to this action, 16. Traditional account of his embassies to the courts of Hungary, Naples, and France, 16. Chosen in the year 1300, by the suffrages of the people, chief prior of his native city, 17. His endeavours to put down the factions of the Bianchi and Neri, 18. Appeals to the people at large to support the executive government, 19. Accused of partiality to the Bianchi, 20. Undertakes an embassy to Rome, to solicit the good offices of the pope towards pacifying his fellow citizens without foreign interference, 21. Anecdote of, 21. During his absence, his dwelling demolished by the Neri, his property confiscated, and a fine of 8000 lire decreed against him, with banishment for two years, 22. Joins himself with the Bianchi, who transfer their affections to the Ghibellines, deeming the adherents of the emperor less the enemies of their country than their adversaries, 23. Withdraws from the confederacy in disgust, 23. Extract from his "Del Paradiso," in allusion to this subject, 24. Extract from his "Purgatorio," 25. Endeavours to obtain a reversal of his unrighteous sentence, 25. Appeals to Henry of Luxemburgh; dedicates his political treatise, entitled "De Monarchia," to that prince, 26. A third decree passed against him; he retires to France, 27. Anecdotes of his caustic humour, 28. Compared with Marius, 29. His mental sufferings during his nineteen years' banishment, 30. His letter, refusing the conditions offered by the Florentine government, 31. His death, on the 14th of September, 1321, 33. His splendid funeral, 34. Monuments raised to his memory, 35. His confiscated property restored to his family, 35. His memory execrated, and his writings proscribed by pope John XXII., 35. His person, as described by Boccaccio, 37. Anecdote of, 38. His family, 39. Notice of his writings, 40. Origin of the "Divina Commedia," 42. Dramatic character of the work, 44. Extract from Canto X. of the "Inferno," 46. His character as a man and a poet, 54. Character of his poetry, 58. Demisiano, II. 15. Demourier, General, II. 315. Digby, Sir Kenelm, II. 11. Donati, Corso, I. 12. Donati Lucretia, I. 156. Dramatists, the, of Spain, III. 95.

E.

Elia, the faithful servant of Alfieri, II. 266. Enriquez, Feliciano, III. 141. Enzina, Juan, style of his writing, III. 17. Translation of one of his songs, 18. Ercilla, don Alonzo de, III. 103. His birth, parentage, and early education, 103. Appointed page to prince Philip, 104. Leaves the personal service of the prince to join the expedition sent against the Araucanos, an Indian tribe, in South America, which had risen against Spain, 106. His account of the expedition, 107. Narrowly escapes an early and disastrous end, 108. Leaves Chili in disgust, without having been duly rewarded for his services, 110. Proceeds to the Terceiras, and thence to Spain, 111. His marriage, 111. Appointed chamberlain to Maximilian, 112. Anecdote of, 112. Only known in the literary world by his poem, "La Araucana," 113. Critique on his poem, 114. Espinel, Vicente, his birth and parentage, III. 239. His death, 240. Este, cardinal Hippolito d', I. 203. Anecdote illustrative of his cruelty, 209. Esto, Bianca d', II. 76. Exarch, Onofrio, III. 138. Ezpeleta, don Gaspar de, III. 161.

F.

Fabricius, John, II. 25. Fabbroni, II. 10. Faggiuolo, signori della, I. 28. Faliero, Marino, doge of Venice, I. 105. Falucci, the conti, I. 28. Fantoni, Sebastian, II. 51. Farinelli, the singer, his friendship for Metastasio, II. 209. Farnese, Orazio, III. 62. Fedele, Cassandra, II. 76. Her death, 76. Feliciana de Vega, III. 227. Fermo, Oliverotto da, I. 266. Ferranti, Pietro, I. 21. Ferrara, Cieco da, his writings, I. 179. Ferreira, Antonio, mentioned as the classic poet of Portugal, III. 292. His death and character, 293. Style of his writings, 294. Ficino, Marsiglio, I. 152. His birth and early education, 159. Brief review of his works, 160. His death, in the sixty-sixth year of his age, 161. Figueroa, don Lope, III. 127. Filicaja, Vincenzo da; his birth, parentage, and early education, II. 180. His marriage, 181. His enthusiastic piety, 181. His characteristics, facil dignity, and clearness, 182. Fills several law offices of great power and emolument, 183. His death, in the sixty-fifth year of his age, 184. Foscarinus, Paul Anthony, II. 51. Foscolo, Ugo, his birth and parentage, II. 354. His early education, 355. Resolves to follow the steps of Alfieri, and to acquire fame as a tragedian; produces his drama of "Thyestes" at the early age of nineteen, 356. Political allusions that gave it its chief interest, 357. Extracts from his work, entitled "Letters of Jacopo Ortis," 358. Leaves Venice, and takes the road to Tuscany, 360. Pursues his way to Milan, the then capital of the Cisalpine republic, 361. His indignation at the sentence passed by the great council against the Latin language, 362. Falls in love with a young lady of Pisa, 362. His attachment not fortunate; he suffers all the throes of disappointment and grief, 363. Becomes an officer in the Lombard legion, 363. His bravery during the siege of Geneva, 364. His letter to Napoleon, 364. Returns to Milan after the battle of Marengo, 365. Increases his fame by the publication of his "Last Letters of Jacopo Ortis," 365. Outline of the piece, 366. Its success immediate and striking, 369. His person, as described by Pecchio, 369. Anecdotes of, 370. Publishes an oration to Bonaparte, 371. Its style forcible and rhetorical, 372. Enters on the study of the Greek language; undertakes the translation of Sterne's "Sentimental Journey," 373. His egotistical account of his own singularities, 374. Undertakes to make a new edition of the military works of Montecucoli, with notes, 375. Writes his "Ode on Sepulchres;" outline of the poem, 376. Publishes his translation of the first book of the Iliad, 377. Installed professor in the university of Pavia, 377. His introductory oration on the origin and use of letters, 378. Retreats from the university, to the seclusion of the Lake of Como, 378. Commences his "Ode to the Graces," 379. Political tendency of his writings, 380. Submits to an exile from Milan, and again visits Tuscany, 381. Style of his writings in general, 382. Resumes his military duties; promoted to the rank of colonel, 384. His conversation with Pecchio; leaves Italy in disguise, and takes refuge in Switzerland, 385. Repairs to England, and is received with open arms by the Whig party, 386. Ceases to be a lion, and retires to the neighbourhood of St. John's Wood, near the Regent's Park, 387. Supports himself chiefly by writing for the Quarterly Review, 387. Outline of his tragedy of "Ricciarda," 388. Delivers a course of lectures on Italian literature, 389. Obliged to provide for daily necessity, by writing for various reviews and magazines, 390. His illness, 391. His death, 392. His character and literary merits, 393. Francesca, daughter of Petrarch, I. 106. Frangipani, I. 1. Franzesi, don Juan, III, 62. Fuccarius, II. 13.

G.

Gærtner, II. 15. Gassendi, II. 15. Galileo, the history of his life and labours, pregnant with a peculiar interest to the general reader, as well as the philosopher, II. 1. His birth and parentage, 2. His early years spent in the construction of instruments and pieces of machinery, which were calculated chiefly to amuse himself and his schoolfellows, 2. Music, drawing, and painting, the occupations of his leisure hours, 3. Papers from the elementary works of geometry to the writings of Archimedes, 3. Writes an essay on the hydrostatical balance, 3. Engaged to investigate the centre of gravity in solid bodies, 4. Appointed lecturer on mathematics at Pisa, 4. His reiterated and successful attacks against the followers and doctrines of Aristotle, 5. Resigns his professorship at Pisa, and is appointed to fill the chair of mathematics in the university of Padua, 6. Obliged to add to his income by the labours of his pen, 6. His own account of his conversion to the Copernican system of philosophy, 7. Teaches the Ptolemaic out of compliance with the popular feeling, after he had convinced himself of the truth of the Copernican doctrines, 8. His reputation widely extended over Europe, 9. Completes the first period of his engagement at Padua, and is re-elected for other six years with an increased salary of 320 florins, 9. His observations on the new star, which attracted the notice of astronomers in 1604, 10. Again appointed to the professorship at Padua, with an augmented stipend of 520 florins, 10. His attention occupied with the examination of the properties of the loadstone, 10. In 1607, he first directs his telescope to the heavens, 11. Solicited by Cosmo de' Medici to return to Padua, 12. The professorship conferred on him for life, and his salary raised to 1000 florins, 13. Invents that form of telescope which still bears his name, 14. Interest which the exhibition of the telescope excited at Venice, 15. The first celestial object to which he applied it, was the moon, 15. His observations on the moon, 16. His examination of the fixed stars and the planets, 17. His discovery of the Medicean stars, 18. Dedicated his work, entitled the "Sidereal Messenger," to Cosmo de' Medici, 19. Reception which his discoveries met with, 20. Resigns his professorship at Padua, and takes up his residence at Florence as philosopher and principal mathematician to the grand duke of Tuscany, 21. The first and sole discoverer of Jupiter and satellites, 22. Excites the curiosity of astronomers by the publication of his first enigma, 23. Visits Rome, where he is received with honour by princes, cardinals, and prelates, 24. Erects his telescope in the Quirinal Gardens, 24. His solar observations, 26. Publishes his discourse on floating bodies, chiefly remarkable as a specimen of the sagacity and intellectual power of its author, 28. His discoveries place him at the head of the great men of his age, 29. His letter to his friend and pupil, the abbé Castelli, to prove that the Scriptures were not intended to teach us science and philosophy, 31. Publishes a longer letter, of seventy pages, defending and illustrating his former views respecting the influence of scriptural language on the two contending systems, 32. Summoned before the inquisition, to answer for the heretical doctrines which he published, 33. Acquitted on condition that he renounced the obnoxious doctrines, and pledged himself that he would neither teach, defend, nor publish them in future, 33. His controversial discussion at Rome, 34. Discovers a method of finding the longitude at sea, 35. Unable, from illness, to partake in the general interest excited by the three comets, which visited our system in 1618, 36. Replies to the attack of Oratio Grassi, in a volume entitled "Il Saggiatore," 37. Undertakes a journey to Rome, to congratulate his friend Barberini upon his elevation to the papal chair, 38. Endeavours to bespeak the good will of the cardinal towards the Copernican system, 39. His theory of the tides, 40. Ties which bound him to the Romish hierarchy, 41. Publishes a work, demonstrating the Copernican system, 42. Influence of this work on the public mind, 43. Summoned a second time before the inquisition, 45. His trial, 46. His defence, 47. Sentence of the court, 49. His abjuration of his doctrines, 50. The sentence of abjuration read at several universities, and his friends and his disciples summoned to witness the public degradation of their master, 52. Returns to Tuscany, 58. His melancholy and indisposition, 53. Obtains leave from the pope to return to Florence, 54. Publishes his "Dialogues on Local Motion," 55. Discovers the moon's diurnal liberation, 55. Becomes totally blind, 56. Renieri undertakes to arrange and complete his observations and calculations, 57. His death, 58. The inquisition disputes his right of making a will, and of being buried in consecrated ground, 58. His character as a man of science, and as a member of the social circle, 60. His person, 61. Gamba, Marina, II. 10. Gano, of Mayence, I. 170. Garci Sanchez, remarks on his poetry, III. 13. Garibay, Esteban de, III. 162. Gavasa, Alberto, III. 231. Geraldi, Cinthio, I. 28. Giacomo, king of Majorca, I. 147. Gil, Juan, III. 140. Gilbert, Dr., II. 11. Giovanni, queen of Naples, I. 91. Goldoni, Carlo, his birth and parentage, II. 213. His predilection for the drama, 214. Placed at school at Perugia, 215. Taken by his father to Rimini, to pursue his studies under a celebrated professor, 216. Leaves Rimini with a company of strolling comedians, 217. Arrives at Chiozza; his dislike to the medical profession, 218. Repairs to Venice to study law under his uncle, 219. Enters the university of Pavia, 220. Expelled the college for writing a satire; accompanies his father to Udine, where he studies law under an eminent advocate, 221. Proceeds to Modena to pursue his legal studies, 222. His letter to his parents, declaring his resolve of entering the order of Capuchin monks, 223. Returns to Chiozza, cured of every wish to shut himself up in a cloister, 223. Appointed to a situation under government, 224. His account of his first love, 224. Enters the profession of barrister at Venice, 225. Incident which occurred to destroy his prospects, 226. Leaves Venice; obtains letters of introduction at Milan, 227. Failure of his opera, entitled "Amalasunta," 228. Appointed gentleman in the palace of signor Bartolini, 229. Dismissed from his situation; sets out for Modena, where his mother resided, 230. Attacked by robbers on his journey, 231. Installed poet to the theatrical company at Venice; success of his "Belisarius," 232. Accompanies the manager to Genoa and Florence, 233. His marriage, 233. Commences his long meditated reform of the Italian theatre, 234. Obtains the Genoese consulship at Venice, 235. Embarks for Bologna; his journey full of accidents by flood and field, 236. Returns to Rimini, 237. Becomes a pleader once again, and for three years practices at the Pisan bar, 238. Outline of his tragedy, entitled "La Donna di Garbo," 239. His drama on the subject of Richardson's novel of "Pamela," 240. Writes sixteen comedies in the course of one season, 241. His illness occasioned by his extraordinary exertion, 242. Becomes the censor of the manners and satirist of the follies of his country, 242. Outline of his comedies, 243. Invited to Rome during the carnival, 244. Receives an offer from the French court of an engagement for two years, on very advantageous terms, 245. His debût as an author in the French capital, 246. His death, in the eighty-fifth year of his age, 246. Gongora, don Luis de, III. 243. His birth, parentage, and early education, 243. His death, in the sixty-sixth year of his age, 244. His person, 245. Specimen of his style, 246. Lope de Vega, essay upon him and his system, 248. Gonzaga, cardinal, I. 35. Gori, Francesco, II. 278. Grassi, Oratio, II. 37. Gravina, Vincenzo, the celebrated jurisconsult, II. 185. Grazia, M. Vincenzo di, II. 28. Gualdo, Paolo, II. 14. Guarini, Battista, his birth, parentage, and early education, II. 82 Named counsellor and secretary of state by Alfonso, duke of Ferrara, 83. Sent by him to negotiate his election to the Polish throne; his letter to his wife on the subject, 83. His letter to a friend on the subject of his "Pastor Fido," 87. Extract from Fanshawe's translation of the poem, the "Pastor Fido," the principal monument of his poetic genius, 88. Review of the poem looked on as second only to Tasso among the poets of the age, 91. Returns to his post at court; sent on a mission to Umbria and Milan, 92. His pecuniary difficulties and domestic afflictions; leaves Ferrara privately and in haste, 93. Establishes himself at Florence, where he is honourably received by the grand duke Ferdinand, 94. His irascible temper, 94. His death, in the seventy-fifth year of his age, 95. Gubbio, Busone da, I. 27. Guevara, Antonio de, III. 147. Guicciardini, Francesco, his birth and parentage, II. 63. At an early age takes a doctor's degree in law; and is appointed by the government to read the Institute in the university of Florence, 61. His marriage, 64. Sent by the republic as ambassador to Ferdinand, king of Aragon, 65. Sent to receive the pope at Cortona, 65. Named by the pope consistorial advocate, also governor of Reggio and Modena, 66. Prudence, firmness, and severity, the characteristics of his administration, 67. Named lieutenant general of the pontifical army in the ecclesiastical states, 67. Enters, with all the zeal of personal resentment, into the cause of the Medici, 69. Named by the pope governor of Bologna, 70. Retires from the government on the death of Clement VII., 71. Withdraws himself from public life, and retires to his country seat at Montici, 72. Solicited by Paul III. to leave his retreat, and to enter again on public life, 73. His death, 73. His person and character, 74. Guiducci, Marco, an astronomer of Florence, II. 36.

H.

Halam, Robert, bishop of Salisbury, I. 8. Harrington, Sir John, the first English translator of Ariosto, I. 216. Harriot, Thomas, II. 22. Herrera, Fernando date of his birth and family unknown, III. 83. Critique on his poetry; list of his prose works, 84. His "Ode to Sleep," 87. Hohenzoller, cardinal, II. 38. Hoyos, Juan Lopez de, III. 124. Hugh de Sâde, I. 68. Huygens, Constantine, II. 57.

I.

Immola, Benvenuta da, I. 2. Isotta of Padua, II. 76. Istria, count Capo d', II. 392. Isunza, Pedro, III. 148. Ivaldi, don, II. 251.

J.

Jane, queen of Naples, I. 125. Jansen, the inventor of the Dutch telescope, II. 13. John I. of Aragon, III. 6. John of Florence, canon of Pisa, I. 65. John II. of Aragon, his love of poetry and learning secure him the affections of his adherents; and, in the midst of civil commotion, despite his deficiency of resolution, gathers round him a court faithful to his cause, and civilised by its love of letters, III. 12. John XXII., pope, II. 101. Jordí, Mosen Jordi de Sant, the first and best known of the Spanish troubadours, III. 6. Jovius, Paul, I. 257. Julius II., pope, I. 64.

K.

Kepler, II. 19.

L.

Labadini, Lazzaro, II. 169. Landino, Christofero, I. 152. Latini, Brunetto, tutor to Dante, I. 4. Laura de Sâde, her first meeting with Petrarch, I. 68. Her death, 95. Leon, Luis Ponce de, his birth, parentage, and education, III. 71. Style of his writings, 72. Made doctor of theology by the university of Salamanca, 72. Elected to chair of St. Thomas, 72. Confined in a dungeon of the inquisition for translating the Scriptures into the vulgar tongue, 73. Translation of his "Ode to the Virgin," composed during his imprisonment, 74. Liberated at the end of five years, and restored to all his honours and employments, 76. His death, in the sixty-fourth year of his age, 76. His person, 76. His amiable character, 77. Brief review of his writings, 78. Mr. Wiffen's translation of his "Ode on the Moorish Invasion," 79. Lippa Ariosta, I. 196. Lobeira, Vasco, author of the first romance of chivalry, III. 10. Louis of Bavaria, I. 133. Lima, Simon Freire de, III. 151. Luna, don Juan de, III. 61.

M.

Machiavelli, Niccolo, his birth and parentage, I. 257. Placed as secretary under Marcellus Virgil, 258. Elected chancellor of the second court, 259. Named secretary of the Council of Ten, 259. His missions to various sovereigns and states, 259. Convulsed state of Italy at this period, 260. His mission to Caterina Sforza, 262. His letters to the state during this and all his other missions, 262. The great doubt that clouds his character, regards the spirit in which he wrote the "Prince," 263. Accused of being the confidant of Cæsar Borgia in his plots, 264. Sent by the Florentine government to the duke of Imola, 267. His letter to his government on the subject of his mission, 268. His letter to the signoria of Florence, 269. His minute details of his conversations with Borgia, 270. His unsuccessful solicitations to be recalled, 271. His efforts to discover Borgia's secret views, 272. His letters to the government, earnestly desiring to be recalled, 273. His letters, describing Borgia's movements, 274. His account of Borgia's treacherous and cruel act of revenge, 276. Expressions in his letter, characteristic of Italian policy and morals at that period, 277. Returns to Florence, and is replaced by an ambassador of more authority, 278. Outline of "The Decenal," 278. Anecdote relating to Borgia's system of government, related in the "Prince," 279. Sent on a legation to Rome, just at the time of the downfal of Cæsar Borgia, 280. His frequent interviews with the fallen prince, 282. His succeeding embassies, 284. Succeeds in persuading the signoria of Florence to form a native militia, 285. His embassy to the emperor Maximilian, 286. His observations on the state of Germany, 286. Employed to convey to Mantua the money composing a part of the subsidy to the emperor, 287. His letters during this mission disclose a curious system of bribery with regard to the minister of Louis XII., 287. His interview with the French king at Blois, 288. His letter, detailing the expedition of the allies against the republic, 289. Review of his fourteen services, 290. His imprisonment, and liberation, 291. His letter to the Florentine ambassador, 292. Review of his private correspondence, and his other writings, 293. His letter to Vettori, the Florentine ambassador, 294. Analysis of his work, entitled the "Prince," 298. Review of his "Essay on the First Decade of Livy," and his other works, 304. His despairing letters to Vettori, 305. His "Essay on the Reform of the Government of Florence," written at the request of Leo X., 306. His correspondence with Francesco Guicciardini, the celebrated historian, 307. Commences his "History of Florence;" receives a regular but limited salary as historiographer, from Clement VII., 308. Employed to inspect the progress of the fortification of Rome, 309. Returns to Florence full of hope, and is disappointed, 310. His death, 311. His person, ib. Madonna Gemma, wife of Dante, I. 10. Malegucci, Sigismondo, I. 204. Malespina, the marchese, I. 28. Manrique, Jorge, remarks on his poetry, III. 13. Manrique, don Geronimo, grand inquisitor, III. 193. Manso, marquess of Villa, II. 159. Manuel, don Juan, brief review of his works, III. 12. Maraffi, Luigi, II. 31. Marcias, remarks on his poetry, III. 13. His melancholy death. Mariner, Vicente, III. 199. Marini, Giambattista, his birth and parentage, II. 174. Encouraged by Tasso to pursue his poetic career, 174. Publishes a volume of lyrical poetry, which establishes his fame, 175. His literary quarrels, 176. Publishes his "Adone" while at Paris; outline of the story, 177. Returns to Italy; is again involved in literary squabbles, 178. His death, in the fifty-sixth year of his age, 179. Marmont, general, II. 318. Marotto, Domenico, I. 227. Mary, natural daughter of Robert, king of Naples, I. 122. Marzemedici, archbishop of Florence, II. 128. Mascheroni, Lorenzo, a celebrated mathematician, II. 323. Mathew Corvino, king of Hungary, I. 160. Matrapillo, Morato Raez, III. 138. Mayer, Simon, II. 21. Medici, Cosmo de', founder of the Medicean library, I. 152. Medici, Lorenzo de', his early life, I. 152. Devotes most of his time and fortune to the cultivation of literature and the fine arts, 153. Institutes a yearly celebration of the anniversary of Plato's birth and death, 153. His chief merit derived from the revival of his native language, 154. Commentary on his first sonnets, 155. Extract of a translation of one of his sonnets, 156. Brief review of his other poems, 157. His death, at the early age of forty-four, 159. Memmi, Simon, I. 84. Mena, Juan de, the most renowned of the early writers, III. 14. Review of his works, 15. His death, 15. Extracts from his poems, 16. Analysis of the "Labyrinto," 17. Mendoza, don Diego Hurtado de, his birth and parentage, III. 58. His early education, 59. His "Lazarillo de Tormes" declaratory of the originality of his genius, 59. Deputed by Charles V. to attend the council of Trent, 60. Confirms the opinion already entertained of his talents by a learned and elegant oration, 60. Sent as ambassador to Rome; named governor and captain-general of Siena, and ordered to introduce a Spanish garrison, and to build a citadel for its protection, 61. Becomes the object of universal hatred by his haughty and unfeeling conduct, 62. Repairs to Rome, to influence the election of a new pope, 62. Named gonfaloniere of the church, 62. Recalled from the government of Siena to Spain, 63. His philosophical, political, and poetical works, 64. Shows himself an enthusiastic lover of learning, and a liberal patron of learned men, 64. Anecdote of, characteristic of the vehemence of his temper, 65. His "History of the War of the Moriscos in Granada," the most esteemed of his prose works, 66. His death, 67. His character and person, 68. Brief review of his writings, 68. Metastasio, Pietro, his birth and obscure origin, II. 185. At an early age attracts by his talents as improvisatore, 185. Writes a tragedy, entitled "Giustino," at the early age of fourteen, 186. Continues to improvisare verse in company, 187. Evils that result to the intellect perpetually bent on so exciting a proceeding, 188. Sent to study at Magna Græcia, 189. Returns to Rome, and gives himself up to the study of poetry, 189. Removes to Naples; determines to give up poetry, and to study the law, 190. Commanded by the viceroy to write a drama to celebrate the birthday of the empress Elizabeth Christina; success of the piece, 191. Quits the law, and again devotes himself to the Muses, 191. Receives a commission to furnish the Neapolitan theatre with an opera for the carnival of 1724; success of the piece, 192. Receives a letter from prince Pio of Savoy, inviting him to become the court poet of Vienna, 193. Fulfils his engagement of supplying the Roman theatre with two pieces for the carnival, and makes his appearance at Vienna, surrounded by the halo of a recent triumph, 194. Appointed treasurer to the province of Cosenzo, worth annually 350 sequins, 195. His feelings ingenuously expressed in his letters to Marianna Bulgarelli, 196. His letters to his brother on hearing of her death, 198. Peculiar merits of his poetry, and excellencies of his dramas, 200. The "Grazie agli inganni tuoi," and the "Partenza," among the best of his productions, 203. His ill health attributed to change of climate, 204. His life only to be found in his letters, 205. His letters to his brother, 207. His enthusiastic friendship for Farinelli, the singer, 208. His manner of living at Vienna, 210. His letter to Farinelli, 211. His death, in the eighty-fourth year of his age, 211. Miranda, Saa de, a Portuguese poet, born in 1494, and died in 1558; his connection with Spanish poetry, III. 88. Mirandola, Giovanni Pico della, his birth and early education, I. 161. Character of his writings, 161. His death, in the thirty-second year of his age, 162. Moneada, don Miguel de, III. 127. Mondejar, the marquis de, III. 41. Montalvan, friend and disciple of Lope de Vega, III. 189. Monte, cardinal del, II. 4. Montefalcone, Niccolo di, I. 147. Montemayor, Jorge de; his birth and parentage, III. 89. Establishes his fame as an author, by writing his "Diana," 89. Outline and style of the poem, 90. His death, 92. Monti, Vincenzo, his birth and parentage, II. 305. Anecdote of his childhood, 306. His early education, 307. Gives up every other pursuit, and dedicates himself wholly to the cultivation of literature and poetry, 308. Accompanies cardinal Borghese to Rome, 309. Want of political integrity, and ready worship of ruling powers, the great blot of his character, 310. Continues to cultivate his poetic tastes, 311. Success of his tragedy entitled "Aristodemo," 312. Outline of the piece, 313. His marriage, 314. Celebrates the death of his friend Basseville, in a poem entitled "Basvilliana," 315. Outline and style of the poem, 316. Leaves Rome for Tuscany; his familiar intercourse with general Marmont, 318. Becomes a revolutionary poet, 319. Appointed to the survivorship of the professor's chair at Brera, 321. Falls into a deplorable state of destitution, 322. Celebrates his return to his beloved Italy by a beautiful hymn, 323. Outline of his poem entitled "Mascheroniana," 324. Appointed to a professorship in the university of Pavia; named court poet and historiographer, 326. Made cavalier of the iron crown, member of the Institute, and of the legion of honour, 327. Celebrates the event of Napoleon being crowned king of Italy in a poem, entitled "Il Benificio," 328. His poem in celebration of the attempted usurpation of the Spanish throne, 329. Remarks on his poem entitled the "Sword of Frederic," 331. His translation of Ceruti, 332. Writes, by command, a cantata entitled "Mistico Omaggio," 334. The marriage of his daughter, one of the most fortunate incidents of his life, 335. His observations on the subject of a reform of the national dictionary, 336. Extracts from his letters to Mustoxidi on the subject, 336. To another friend, on the same subject, 339. His literary disputes with Mazza, Cesarotti and Bettinelli terminate in mutual friendship and esteem, 341. His letter on the subject of the classic and romantic schools, 341. His letter to his wife, 343. His letter to his friend Mustoxidi, on the death of his son-in-law, 347. Publishes the last volume of his "Proposta," 348. His last illness, and death, in the seventy-fourth year of his age, 349. His public and private character, 350. His person, 350. Montoya, Luisa de, III. 162. Mora, Rodrigo de, III. 127. Mosti, Agostino, II. 153. Muñoz, Fernando, III. 192. Murtola, Gasparo, II. 175. Mustoxidi, II. 333.

N.

Naharro, Bartolomé Torres, one of the earliest Spanish dramatists, III. 97. Mentioned by the editor of Cervantes' comedies, as the real inventor of the Spanish drama, 98. His reforms in the Spanish theatricals, 99. Navagero, Andrea, III. 39. Nasi, Alessandro, I. 287. Negrete, doctor Juan de, III. 226. Neri, I. 18. Noronha, dom Alfonso de, III. 309. Nozzolini, Ptolemy, II. 28.

O.

Obizzo III., marquis of Este, I. 196. Oliva, Perez de, one of the earliest Spanish dramatists, III. 96. Orsino, Paolo, I. 246.

P.

Pacheco, Francisco, the celebrated painter, III. 148. Pachione, Philippo. I. 227. Pajares, Alonso Diaz, III. 122. Panizzi, Dr., I. 168. Pastrengo, William da, I. 84. Paul II., pope, I. 180. Pedrosa, Luis, III. 138. Pellicer, don Juan Antonio, III. 121. Pellicer, don Joseph, III. 202. Pepoli, Geronimo, II. 71. Perticari, count, II. 336. Perugini, Paolo, I. 120. Petracco, Pietro, I. 23. Petrarch, Francesco, his birth and parentage, I. 61. His early life, 62. Sent to study at the university of Montpellier, 63. Sent to Bologna; makes considerable progress in the study of the law, 64. Recalled to France by the death of his father, 64. Abandons the law, and devotes himself to the clerical profession, 65. His sedulous attention to dress, 65. Becomes the favourite and companion of the ecclesiastical and lay nobles who form the papal court, 65. Commencement of his friendship with Giacomo Colonna, 66. His description of Colonna, 67. His character, 67. His first meeting with Laura de Side, 68. Endeavours to merge the living passion of his soul into the airy and unsubstantial devotion of Platonic attachment, 70. His poetic life dated from the time of his attachment to Laura, 71. His predilection for travelling, 72. Becomes an inmate in the house of cardinal Colonna; his unbounded ardour for acquiring knowledge, 73. Visits Paris; continues his travels through Aix-la-Chapelle and Cologne, 74. Visits Rome; his sensations on entering the eternal city, 75. Leaves Italy, and travels through Spain to Cadiz, and northward as far as the sea-coast of England, 76. Makes an excursion to Mont Ventoux, one of the highest mountains in Europe, 76. His letter to father Dionisio Robertis, giving an account of the expedition, 77. Retires to Vaucluse, 78. His manner of life, 79. Extract from a translation of one of the canzoni, as a specimen of his style, 80. Character of his mistress, 82. His intimacy with Philip de Cabassoles, bishop of Cavaillon, 83. His letter to Giacomo Colonna, on his soliciting him to go to Rome, 84. Receives letters from the Roman senate and the university of Paris, inviting him to receive the laurel crown of poetry; he decides in favour of Rome, 85. Repairs to Rome, and is crowned in the capitol with great solemnity, in presence of all the nobles and high-born ladies of the city, 86. Returns to Avignon; takes on himself the office of barrister, and pleads the cause of the Corregio, against their enemies the Rossi, before the pope, and succeeds in obtaining a decision in their favour, 87. His grief on hearing of the death of Thomas of Messina: his extraordinary dream, 88. Named prior of Migliarino, in the diocese of Pisa, 89. His unabated love for Laura, 90. Applies himself to Greek, under Bernardo Barlaam, 91. Writes his work entitled "The Secret of Francesco Petrarca," 91. Sent as ambassador to Naples, to establish the papal claim, 92. Writes letters full of encouragement to Rienzi, the tribune, 93. Repairs to his house at Parma; his extraordinary dream, 94. His grief on hearing of the death of Laura, 95. His record of her death, 95. Gives large sums in charity for the sake of her soul, and causes many masses to be said for the same purpose, 97. Receives a decree of the Florentine republic, reinstating him in his paternal inheritance, together with letters inviting him to accept of a professor's chair in their university, 99. His letters to pope Clement VI.; again solicited to accept the lace of apostolic secretary, which e again refuses, 100. His treatise "On Solitary Life," 101. Induced by the solicitations of Giovanni Visconti to remain in Milan, 102. His conversation with the emperor Charles V., 102. Sent to Vienna to negotiate a peace, and afterwards sent to Paris to congratulate John, 103. His manner of life at Milan, 104. His record of the death of his son; takes up his abode at Padua, 105. His writings compared with those of Dante, 106. His description of Laura's death, 107. Continues to interest himself deeply in the political state of his country, 109. His letter to Boccaccio; his congratulatory letter to Pope Urban V., 110. Is seized with a violent illness on his way to Rome, 111. His treatise, entitled "On my own Ignorance and that of others," 112. His opinion of the "Decameron" of Boccaccio, 113. His death, 114. His will, 114. Peraga, Bonaventura da, I. 114. Petroni, Pietro, I. 139. Pickler, Giovanni, II. 314. Pietro, Francesco Santo, III. 127. Pignoria, Lorenzo, II. 13. Pineda, don Juan de, III. 108. Pio, prince of Savoy, II. 193. Pistofo, M. Bonaventura, I. 230. Pistoia, Cina da, I. 64. Pletho, Gemisthus, I. 151. Polenta, Guido Novelio da, lord of Ravenna, I. 29. Politian, II. 15. Poliziano, Angelo, his birth and parentage, I. 162. Review of his writings, 163. Appointed tutor to the children of Lorenzo de' Medici, 164. At the age of twenty-nine appointed to the professorship of Greek and Latin eloquence in the university of Florence, 165. His death, 167. Porras, doctor Mathias, corregidor of the province of Canta, in Peru, III. 213. Porta, Baptista, II. 14. Portugal, early poets of, III. 288. Pulci, Bernardo, remarks on his works, I. 167. Pulci, Luca, his works, I. 167. Pulci, Luigi, style of his writings, I. 168. Extract from his "Morgante Maggiore," 171. Outline of the poem, 173.

Q.

Quarqualio, Luca, I. 159. Querenghi, his letter to cardinal D'Este, giving an account of Galileo's controversial discussions at Rome, III. 34. Quevedo, don Francisco Gomez de, his birth, parentage, and early education, III. 246. His career checked by a circumstance which may be considered as fortunate, 257. Obliged to fly; takes refuge in Italy, and thence, invited by the viceroy, repairs to Naples, 258. Sent by him as his ambassador to Madrid, to recount his exploits, and explain his designs, 259. Accused of joining in the Bedmar conspiracy against Venice, 261. Continues to escape the vigilance of the senate, and makes his escape in the guise of a mendicant, 262. His political services, 264. His literary productions; his imprisonment and liberation, 265. Several places offered to him, all of which he declines, and gives himself up to study and philosophy, 266. Gives up his church preferments, for the sake of marrying, 266. His playful yet bitter poem, alluding to his evil fate, 267. Suspected of writing libels against the court, arrested, and imprisoned in a dungeon of the Royal Casa de San Marcos de Leon, 268. His letter, describing the squalid wretchedness of his dungeon, 269. His memorial to the count duke Olivarez, 270. His death, 272. His person and character, 272. Critique on his writings, 273.

R.

Real, Lorenzo, II. 56. Renieri, the friend and pupil of Galileo, II. 57. Ribeyro, Bernardim, one of the earliest of the Portuguese poets, III. 290. Riccardi, Nicolo, II. 41. Ricci, Giuliano, I. 312. Ricci, Ostillo, II. 3. Riego, the canon, II. 391. Rienzi, Nicola di, I. 92. Rioja, Francisco de, III. 223. Rios, don Vicente de los, III. 121. Robert, king of Naples, I. 86. Robertis, Father Dionisio, I. 77. Robertson, Dr., II. 22. Rollo, Paolo, I. 238. Romena, count Alessandro da, I. 23. Roxas, Fernando de, III. 95. Author of the first genuine Spanish play, 96. Rucellai, Cosimo, I. 304. Rueda, Lope de, celebrated as an actor and pastoral poet, III. 98. Ruiz, Juan, arch-priest of Hita; brief review of his works, III.12.

S.

Salvani, Provenzano, I. 24. Salvanorola, I. 130. Salvatico, conte Guido, I. 28. Salvi, Giulio, III, 60. Santillani, the marquess of, remarks on his poems, III. 13. Scala, Can' Grande de la, I. 27. Scala, Alessandro, II. 75. Scheiner, professor of mathematics at Ingoldstadt, II. 25. Schlegel, III. 234. Scotus, Duns, I. 9. Serram, Antonio, III. 324. Serrano, señor Bachiller, III. 122. Serraville, Giovanni da, bishop of Fermo, I. 8. Settimo, Guido, I. 63. Sforza, Caterina, I. 262. Sforza, Ippolita, II. 75. Signa, Martino da, I. 149. Sixtus IV., pope, I. 160. Soderini Pietro, I. 288. Sotomayor, don Alonzo Lopez de Zuniga y, III. 157. Spain, early and anonymous poetry of, III. 1. Spini Christofano, II. 180. Stolberg, Louisa de, countess of Albany, II. 280. Her attachment to Alfieri, 285. Strada, Giovanni da, I. 117. Strozzi, Oberto, I. 188. Sylveira, Hector da, III. 321.

T.

Talleirand, cardinal, I. 100. Tasso, Bernardo, his birth and parentage, II. 98. His early life and ill-directed love, 99. At the age of forty-one, appointed secretary to Ferrante Sanseverino, prince of Salerno, 99. His marriage, 100. Commences his poem, entitled "Amadigi," 100. His letter to his sister Afra, 101. Summoned away from the delightful retirement of Sorrento to join his patron in the war which had broken out between the emperor Charles V. and Francis I., 102. Returns from the army, and enjoys a brief prolongation of his domestic quiet, 103. Declared a rebel, and his estate confiscated, along with the adherents of the duke of Salerno, 104. His letter to his daughter, 108. Flies from Rome to Ravenna; invited by the duke of Urbino to Pesara, where he affords a welcome but temporary asylum from the persecution of his enemies, and the pressure of indigence, 111. Repairs to Venice to publish his work entitled "Amadigi," 113. Failure of the poem, 119. Places his son at Padua to study jurisprudence, 122. His interview with his son at Mantua, 130. His death, in the seventy-sixth year of his age, 131. Tasso, Torquato, review of his life, II. 96. His birth, 101. Nursery traditions of, 103. His progress in the rudiments of knowledge, under the superintendence of his mother, 104. His beautiful and touching lines on his separation from her, when called away from Naples to join his mother at Rome, 105. Compared with Cowper, 106. His religious sentiments, 107. Prosecutes his studies with indefatigable assiduity at Rome, 108. His letter to Vittoria Colonna, on the subject of his sister's marriage, 109. Removes to Bergamo, 111. Commencement of his friendship with the son of the duke d'Urbino, 112. Diversities of circumstances, scene, and company, calculated to cherish and confirm all his natural aspirings, 114. Remark upon a line of Boileau which has done more injury to his reputation than all the splenetic criticisms of Sperone, 115. Critique on his Writings, 116. Studies the works of his great Italian predecessors, 117. Employed by his father in transcribing his multitudinous poems and letters, 118. Sudden and passionate admiration with which his "Rinaldo" was hailed throughout Italy, 119. Placed at Padua to study jurisprudence, 122. Gives up the law, and devotes himself to philosophy and the Muses, 123. His reply to his father's remonstrance, 124. The appearance of his "Rinaldo" the dawn of a new day in the literature of his country, 124. All the characteristics of his peculiar genius perceptible in the incidents, style, embellishments, and conduct of this juvenile essay, 126. Repairs to Bologna to pursue his natural studies, and indulge in his poetical passion, 127. Expelled from Bologna for a literary squib, 128. Removes to Padua, where he is inrolled member of the Academy degli Eterei, 129. Devotes much of his attention to the works of Aristotle and Plato, 129. Remarks on his "Discourse on Heroic Poetry," 130. Nominated one of the personal attendants of the duke of Ferrara, 131. Arrives at Ferrara, and is received into the service of the duke's brother, 132. Commencement of his acquaintance with the princesses Lucretia and Leonora of Este, 133. His description of his own emotions during his first visit and sojourn at Ferrara, 134. Writes an epithalamium on the marriage of the princess Lucretia, 136. His attachment to the princess Leonora, 137. Accompanies the cardinal Luigi to the court of France, 138. Personal anecdotes of, 139. Accompanies the embassy to Rome; his interview with the pope, 140. Prosecutes that splendid crusade of his Muse the poetical siege of Jerusalem, 140. His "Aminta" received with universal admiration throughout all Italy, 142. Illness occasioned by his anxiety about his "Gerusalemme Liberata," 144. Charged with heresy against Aristotle and good taste on one hand, and on the other with heresy against the church and good morals, 145. Escapes from his splendid captivity to Rome; appointed historiographer to the house of Este, 146. Incident which exhibits him not less in the character of a hero than he had hitherto figured in that of the laureate of poets, 147. Growing symptoms of a mind diseased, 148. His strange melancholy, 149. Flies secretly to Ferrara to visit his sister at Sorrento, 150. Anecdote of, 151. Committed to St. Anne's Hospital as a lunatic; his letter to Scipio Gonzaga during his confinement, 152. His representation of the treatment which he experienced during his confinement, 153. His sonnets to the cats of the hospital, imploring them to lend him the light of their eyes to write by, 154. Pursues his studies with unabated ardour and intensity, 155. His wild imaginations, 156. Liberated at the special intercession of the prince of Mantua, 157. His controversy with the Della Cruscan Academy during his imprisonment, 158. Remarkable circumstances of his last days, 159. Visits Rome, 160. His death, in the fifty-first year of his age, 161. His personal and poetical character, 161. Tassoni, Alessandro, his birth, parentage, and early education; studies jurisprudence at Ferrara, II. 169. Enters the service of cardinal Colonna; publishes his "Considerations on various Subjects," 171. Outline of the principal episode of. "Secchia Rapita," 172. His death, in the seventy-first year of his age, 173. Timoneda, III. 99. Tiraboschi, I. 179. Torella, Damigella, II. 76. Tormes, Lazarillo de, III. 101. Tornabuoni, Lucrezia, I. 167. Torres, Balthazar de, III. 133. Torricelli, II. 58. Turpin, archbishop, I. 169.

U.

Ubaldi, Guido, II. 4. Ugo IV., king of Cyprus and Jerusalem, I. 144. Urban V., pope, I. 145. Urbino, Gentile d', bishop of Arezzo, I. 152. Urbino, captain Diego de, III. 127. Urbino, donna Isabel de, her marriage with Lope de Vega, III. 199. Her death, 200. Usategui, Luis de, III. 227.

V.

Vega, Garcilaso de la, his birth and parentage, III. 37. His early predilection for poetry and music, 38. Commences his career of arms in the war declared against France by Charles V., 39. Incurs the displeasure of the emperor, and is exiled to an island of the Danube, 39. His ode in commemoration of his imprisonment characteristic of his disposition, 40. Is recalled, and attends the emperor in his expedition against Tunis; is severely wounded, 41. Extract from one of his elegies to Boscan, 42. Appointed by the emperor to command eleven companies of infantry, in the expedition against France, 45. Killed in an engagement at Muy, near Fréjus, in the thirty-third year of his age, 46. His person and character, 47. Review of his poetry, 48. Mr. Wiffen's translation of his ode "To the Flower of Gnido," 53. Vega, Lope de, compared with Cervantes, III. 189. His birth and parentage, 190. Early indications of talent, 191. Anecdote characteristic of his vivacious disposition, 192. His intimacy with the grand inquisitor; enters the university of Alcala, 193. Enters the service of the duke of Alva, 194. Writes the "Arcadia" at the request of the duke of Alva, 195. Style and story of the poem, 196. His marriage, 198. Engaged in a duel, which obliges him to leave Madrid, 199. Returns to Madrid, becomes a soldier, and joins the In vincible Armada, 200. Southey's translation of his sonnets, 202. Outline of his work entitled "Dorotea," 204. His animated description of the setting forth of the Armada, 208. Writes the "Beauty of Angelica" on the deck of the San Juan, 210. Story of the poem, 211. His extravagance and prodigality, 210. His advice to his son, 212. His domestic afflictions, 214. Leaves the gaieties of secular life, and prepares for the priesthood, 215 Visits Toledo, and takes orders; says his first mass in a Carmelite church, 216. Becomes a familiar of the Inquisition, 216. His rising character as an author, 217. His amiable character, 217. Rises higher and higher in the estimation of the public, 219. Writes a poem on the death of Mary queen of Scots, entitled "Corona Tragica," which he dedicates to the pope, 220. Exaggeration with regard to the number of verses written by him, 221. Anecdote of, 221. His epistles and other poems a picture of the tranquillity of his life as he advanced in age, 222. His amiable disposition and placid temper, 224. His last illness, 225. His death, 226. His person and character, 227. Review of his writings, 228. Analysis of the "Star of Seville," 233. Vella, Antonio de la, III. 140. Velser, Mark, II. 25. Vettori, Francesco, I. 292. Veyga, Luis de, III. 324. Viardôt, his exertions to discover the yet hidden circumstances of Cervantes' life, III. 121. Vicente, Gil, styled the Portuguese Plautus, III. 292. Style of his writings, 293. Villalobos, physician of Charles V., one of the earliest of the Spanish dramatists, III. 96. Vellégas, Estévan Manuel de, named the Anacreon of Spain, III. 240. His birth and parentage, 240. His death, 240. His translation of Anacreon, 241. Translation of his original Anacreontics, 2420. Villena, the Marquis of, so celebrated for his acquirements in natural and metaphysical knowledge, that he was looked on as a magician, also admired as a poet, III. 13. Virgil, Marcellus, I. 257. Visconti, Giovanni, I. 101. Visconti, Galeazzo, I. 103. Vitelli, Vitellozzo, I. 266. Viviani, II. 68. Voss, Gerard, II. 7.

W.

Wachenfels, II. 19. Wiffen, Mr., his translation of Garcilaso de la Vega's poems, III. 49. His translation of Luis de Leon's ode on the Moorish invasion, 79.

Z.

Zach, baron, II. 22. Zeno, Apostolo, I. 168.; II. 192. Zenobio, I. 117. Zuniga, doña Elena de, her marriage with Garcilaso de la Vega, III. 39.

THE END.