CHAPTER VII

GENERAL COMPARISONS: BROWNING AND THE FINE ARTS OF ITALY.

I. POETIC FUNCTION AND METHOD.--About fifteen poems from Browning deal with the arts or artists of Italy as primary subject matter. The remainder of the entire number of forty-nine which refer to art at all, treat it as a secondary consideration. Taking the subject art as a whole, as Browning introduces it in poetry, it appears in the following forms: (1) main theme; (2) comparison of two or more artists working in the same art; (3) comparison of artists in one art with those in another, as painters with musicians, or with poets; (4) illustrative material when the main theme of the poem has no immediate bearing on art. _Abt Vogler_, in music, or _Fra Lippo Lippi_, in painting, are examples of the first. _Andrea del Sarto_, besides exemplifying the first form, contains numerous comparisons of its main character with other painters. _With Charles Avison_ has a musician as a theme, and he is compared with other artists, for example, Michael Angelo. _Fifine at the Fair_, whose main theme has no connection with art, names Raphael, Bazzi, and Angelo as illustrative material. Numerous instances of incidental art references, used in such ways as these, attest the fact that Browning had a large art consciousness, gained from past interest in the different fields, and of sufficient activity to cause almost constant references to the fine arts.

Where Wordsworth would have chosen English natural scenery for purposes of illustration, and Shelley nature in Italy, Browning chose art. Fifteen poems with nature as the main theme, besides numerous others with references to nature, would not seem unusual; but a group of fifteen poems, all moderately long, based on the fine arts, besides a very large number of comparisons to the arts in other poems, seems an exceptional product for a nineteenth century English poet.

Browning’s art monologue is of two kinds--the monologue of the artist who is the chief character in the poem, and the monologue of the poet addressing the artist directly. Nor are these forms confined entirely to Italian art poems. _My Last Duchess_, _The Bishop orders his Tomb_, _Pictor Ignotus_, _Fra Lippo Lippi_, _Andrea del Sarto_, _Abt Vogler_, are all in dramatic monologue, with either an artist or one interested in art, as the speaker. _A Toccata of Galuppi’s_, _Master Hughes of Saxe-Gotha_, and _Old Pictures in Florence_, represent the poet addressing the artist. _Filippo Baldinucci_ is presented in the first person, in monologue form. In _The Guardian Angel_ the poet directly addressed the angel of the picture. _One Word More_ and _A Face_, in which the art element is strong, are written in the first person, the former addressed directly to Mrs. Browning with the poet speaking, and the second addressed to no particular person. This review establishes the fact that the monologue is Browning’s favorite form for poems about art, since the list just quoted includes all important poems of that kind. In every case he made some personality prominent, and in all serious poems on art, that personality is either speaking or spoken to, the very finest poems being of the former type.

II. AMOUNT OF MATERIAL USED FROM EACH OF THE FINE ARTS.--In the foregoing discussion of the five branches of Italian art in Browning,--sculpture, music, poetry, architecture, and painting--the order has been determined largely by a quantitative standard. In the Appendix are systematic lists showing the number of poems and the exact references in connection with each art. No extensive comparison of the different arts regarding frequency of introduction, therefore, is needed here; but a few generalizations concerning some of the reasons for the variation in emphasis seem not amiss.

Architecture is the art of a concrete bodily form, absolutely separated from any representation of humanity, unless one looks beyond it to the architect, or to the people for whom it is constructed. In contradistinction to the other fine arts discussed here, it is characterized by usefulness. While it should, and does, in its highest forms, surmount mere utility, and give an impression of harmony, beauty, and grandeur, it never directly portrays the finest feelings of which humanity is capable and never inspires one directly with a feeling of achievement or struggle in character. Utility is the chief interest guiding Browning’s treatment of architecture--not architectural utility, but the service to the poet in fixing the setting of his poems. Such service is clear in nearly every instance in all of the twenty-five poems in which some Italian building is mentioned, and in the case of nearly all the fifty-eight edifices named. The description of St. Peter’s in _Christmas-Eve and Easter-Day_ is practically the only exception, and there, as has already been stated, the poet passed from the grandeur of the structure itself to the builders. Lack of personality in architecture is, then, the reason for its very slight introduction as an actual art in Browning’s verse.

Passing on from architecture to sculpture one finds that we have another art of concrete bodily form, with the added power of portraying the human form, face, and to a very slight degree, the soul. While the number of sculptors named is very small, then, Browning’s appreciation of this art surpasses his appreciation of architecture. Examples of this are _Old Pictures in Florence_, in which sculpture is treated at considerable length, by comparing its merits with the aspirations of the early painters, and _Pippa Passes_, in which Jules, the sculptor, is a prominent figure. _The Bishop orders his Tomb_ deals almost entirely with sculpture. Still sculpture was not Browning’s favorite art by any means. Bodily perfection he admired; but he wished to go beyond it to the soul in dramatic situations, to its struggle and endeavor. And for these values the powers of sculpture are limited. To portray successfully any very great struggle or intense feeling of the soul is beyond its nature.

A cause for the large amount of Italian poetry in the writings of Browning has already been suggested, in part.[179] But one must further consider the fact that he did not continue to deal with poets and their writings as subject matter. After the first eight years of his career, he ceased to deal with the causes connected with the failure of poets. Fundamentally, all arts are agencies of expression through the representation of nature and humanity. With the breadth of vision which Browning possessed concerning the possibilities of expression in all the arts, there was none of the five in which he did not, at some time or other, wish to express himself. In the beginning of his career, when he was formulating his ideas of a poet, he expressed his ideas of that art by writing about other poets. But with ideas and forms for his own art once fully established, the art became self-expressive. He no longer needed to write about other poets; for the poet in himself had found his own purpose and method.

It has already been suggested that Browning’s appreciation of music, as he expressed it in his poems, was qualitative, rather than quantitative, so far as Italian music is concerned. This art rivals poetry in expressing the highest yearnings and ideals of which the soul is capable, and is, therefore, in a very high degree, though in abstract form, the art of personality. And this art Browning expressed most perfectly, as to the aims and ideals of its artists, when he chose to do so. But with all his own feeling for music and with such ability as he expressed in performance, it, like poetry, was largely self-expressive for him. That is he played, instead of writing poetry about music. Browning’s evident preference for other music than that of the modern composers of Italy explains the lack of space accorded to them. Yet in spite of this preference the best of his musical poems were built about Italians--obscure ones though they may be.

Browning did no work in actual study of the technique of painting. The nearest he came to it was at the time of his thirteen days application to drawing.[180] Yet painting is in a very large degree expressive of the soul--its anguish, sorrow, failure, joy, ecstasy, or endeavor. Drawn to it by his interest in personality, Browning made it contribute largely to his poems. The Italian painting with which he dealt had little to do with landscape or other phases of nature. It portrayed persons; and stimulated by the pictures which he saw, or by records of personality in the biography of artists, he incorporated many references to painting in his poems, dealing more largely with it than with any other art. Since, too, Italy was the home of painting, his environment was very conducive to a development of his tendency to make painting an important element in his poems.

Browning, as poet and man, was able to forgive any sort of failure if the person whom he was judging had only made a thorough effort to accomplish something. He carried this doctrine so far as to make a lack of effort the cause of his censure of the Duke and the Lady in _The Statue and the Bust_, even though the fulfillment of their plan would have been a sin. This love for endeavor, which always accompanies his attitude toward any personality, along with his enthusiasm for personality itself explains his selection and emphasis in his treatment of the arts. Painting he decidedly preferred above sculpture for other reasons than its greater ability in portraying the soul. This preference is stated in _Old Pictures in Florence_, and is based on the fact that Greek art had run, and “reached the Goal.” Its effort, then, was over:

“They are perfect--how else? they shall never change: We are faulty--why not? we have time in store. The Artificer’s hand is not arrested With us ...”

* * * * *

“’Tis a life-long toil till our lump be leaven-- The better! What’s come to perfection perishes.”

These quotations from _Old Pictures in Florence_, in which the poet, by using the first person in his references to the early masters of Italy places himself in their group and refers to Greek art in the third person, are indications of the spirit of the poem and of Browning’s entire attitude toward endeavor in art.

To summarize, then: few persons have as great an interest in expressing themselves through all the arts as did Robert Browning. Architecture and sculpture he appreciated least; therefore he expressed least concerning their spirit and feeling. Music was a fundamental part of his life; but he was able to embody his feelings about it in music itself, not merely in poetry about it. Yet because of his perfect understanding of it, he has embodied its spirit in a few choice poems, making permanent, by his treatment of its evanescent quality, the ideas that could not be left to the world by his playing. Painting he deeply appreciated from childhood; but beyond a few amateur efforts for diversion, he could not express his appreciation of it by means of that art itself. Consequently, in an unusually large number of his poems, he gave us his view of that art, his portraits of its followers, historical or imaginary.

III. PERSONALITY AND THE ARTS.--Through his presentation of artists, Browning has given the world many different types of character. Prominent among them are the following: The non-altruistic, impractical poet--Sordello; the sensualist--Bocafoli; the superficial character--Plara; the regretful but optimistic idealist--Abt Vogler; the coarse realist, who yet possessed a really fine appreciation of God’s world--Fra Lippo Lippi; the weak, ambitionless man--Andrea del Sarto; the keenly sensitive mind--Pictor Ignotus; and the reformer--Pacchiarotto.

Art is also connected with Browning’s character portrayal in a secondary sort of way, of which _The Ring and the Book_ furnishes excellent illustrations. In that poem people are characterized by their likeness to some work of art--_e. g._, Pompilia is compared to Raphael’s Madonna; or by their fondness for some particular work of art--_e. g._, the Pope chuckling over the _Merry Tales_.

While Browning mentioned the great masters in many different poems, it is noticeable that he never used one of them as the main subject of a poem. There are Andrea, Lippo, and Furini, but there is no Angelo and no Raphael. This is due to the one element of interest on Browning’s part that has already been emphasized in this chapter and previous ones--personality. Browning was interested in the artist he selected, not merely as an artist, not as a distinguished figure, but as a human being, whose attempts, partial failure, or development, the poet wished us to study with him.

Very often the characters whom Browning chose to present either in connection with the arts or otherwise, were such as we do not approve of--but neither did Browning approve of them. His theory of art was no mere aesthetic one of art for art’s sake, no mere dogma of didacticism. It was rather, art for the sake of human nature, of personality. Of all the characters he has drawn for us, the one whose expression of art best gives Browning’s own sentiments is Fra Lippo Lippi, the painter and realist, enthusiastic for

“The beauty and the wonder and the power, The shapes of things, their colors, lights, and shades, Changes, surprises--and God made it all!

* * * * *

“But why not do as well as say,--paint these Just as they are, careless what comes of it?”

Numerous instances might be cited as a proof of this--Guido, the Duke, the Bishop, and many others. All his human beings, then, Browning chose because their personality appealed to him, as a study, rather than because they compelled his admiration, whether he selected them from the world of art or elsewhere.

IV. BROWNING AS THE POET OF HUMANITY.--By consideration of Browning’s general attitude towards the arts, of his fondness for the struggle of the human soul as a poetic theme, and by a discussion of his relative emphasis on each art and the method in which he chose to treat it, the fact has been established that Browning was primarily the poet of the human soul, and a poet of the arts as seen through the medium of personality.

When he was once asked if he liked nature, he replied, “Yes but I love men and women better.” The arts--architecture, music, poetry, sculpture, and painting--he loved also; but he loved them most because they recorded human experience, and best when they most fully expressed the struggles of the soul, and thus became the direct embodiment of personality.

APPENDIX

I. POEMS CONTAINING REFERENCE TO ITALIAN ART.

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

II. TABULATION OF REFERENCES TO INDIVIDUAL ARTS.

SCULPTURE

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

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

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

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

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

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

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

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

MUSIC

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

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

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

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

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

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

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

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

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

POETRY

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

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

III. _Time’s Revenges._ 1. Dante.

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

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

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

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

VIII. _Apparent Failure._ 1. Petrarch.

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

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

ARCHITECTURE

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

XVIII. _Abt Vogler._ 1. St. Peter’s.

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

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

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

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

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

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

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

PAINTING

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

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

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

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

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

VI. _Waring._ 1. Polidoro da Caravaggio.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

XXVI. _Cenciaja._ 1. Titian.

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

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

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

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

INDEX

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

Academy of Fine Arts, Venice, 62

Ademollo, Luigi, 71

_Agamemnon_, 14

Albani, 71

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

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

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

_Any Wife to Any Husband_, 44, 69

_Apparent Failure_, 60

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

Aretino, Pietro, 29, 33, 61

_Aristophanes’ Apology_, 14

Augustus, a bust by Browning, 12

Baldovinetti, 69

Bandinelli, Baccio, 15, 21, 57

Bazzi, Giovanni Antonio, 45, 48, 72

_Beatrice Signorini_, 41, 44, 45, 46

Beccafumi, 66, 72

Beethoven, 10

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

Bernini, 15, 57

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

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

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

Boccaccio, 29, 32, 33, 60, 61

“Bocca-dell’-Verita,” 15, 21, 58

Botticelli, 68

_Boy and the Angel, The_, 36, 62

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

Browning, Wiedemann, 10, 11

Buononcini, Giovanni Battista, 23, 25, 59

Buti, 73

Byron, Lord, 23, 38

_By the Fireside_, 9, 36, 63

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

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

Caravaggio, 41, 44, 66, 67, 68

Carracci, Annibale, 12, 67

Castle Angelo, 61

Catholic Hymns, 23-24, 59

_Cenciaja_, 45, 73

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

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

_Christina and Monaldeschi_, 73

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

_Christopher Smart, Parleyings with_, 45, 73

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

Cimabue, 40, 42, 66, 68

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

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

Corelli, Arcangelo, 23, 25, 59

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

“Crucifixion”, Guido’s, 37, 71

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

“David”, Domenichino’s, 12

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

_Decameron_, The, 33, 60, 61

Dello di Niccolo Delli, 40, 68

_De Vulgario Eloquio_, 32

_Divine Comedy, The_, 32

Dolci, Carlo, 69

Domenichino, 12

Dore, Gustave, 45

Dramatic Monologue, Use of, 49

Dulwich Gallery, 10, 11

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

Dvorak, Antonin, 25

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

Eastlake, Sir Charles, 13

Eglamor (in _Sordello_), 29, 30, 60

_Elegy on Newstead Abbey_, Byron’s, 38

_Englishman in Italy, The_, 24, 58

_Epistle of Karshish, An_, 14

_Face, A_, 45, 49, 71

Fauveau, Mme. de, 11

Fenice Theatre, Venice, 62

Ferdinand, Statue of Duke, 15, 20, 57

_Ferishtah’s Fancies_, 14

Ferri, Ciro, 45, 71

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

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

Fisher, Mr., 11

_Flight of the Duchess, The_, 9

Fountain of the Tritons, 15, 21, 57

Fra Angelico, 69, 70, 72

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

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

Fungaio, 72

Fuseli, 73

Gaddi, Taddeo, 35, 69

Galuppi, Baldassaro, 23, 27, 58

Geminiani, Francesco, 23, 25, 59

Ghiberti, Lorenzo, 15, 57

Ghirlandajo, 42, 43, 68

Gibson, John, 11

Giorgione, 67

Giordano, Luca, 45, 67, 71

_Giorno di Regno, Un_, Verdi’s, 27

Giottino, 42

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

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

Goito Castle, 20, 38, 61

_Gold Hair_, 14

Grisi, Giulia, 23, 25, 27, 59

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

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

Guercino, 12, 43, 69

Guido of Siena, 66

Handel, George Frederick, 25, 59

Haworth, Miss, 11, 12, 22

_Herakles_, 14

Horne, R. H., 13, 42

Hosmer, Harriet, 11

_How it Strikes a Contemporary_, 29, 69

_In a Gondola_, 36, 62, 67

_Inn Album, The_, 61

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

_In the Cathedral at Cologne_ (Wordsworth), 38

_In Three Days_, 44, 69

_Italian in England, The_, 36, 62

_James Lee’s Wife_, 44, 71

Jameson, Mrs., 12, 42

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

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

Keats, 9

Kenyon, Frederick G., 10, 37, 43

Kirkup, Mr., 11, 42

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

_Lady and the Painter, The_, 20

Lateran, The, 66

Leighton, Frederick, 11, 28, 36

Lippi, Filippino, 40, 64, 68

Liszt, Franz, 25

_Luria_, 14, 36, 63

Madonna, Raphael’s, 44, 53

Magdalen (_In a Gondola_), 67

Maratta, Carlo, 44, 45, 71

Margheritone, 69

Marino, 29, 61

_Mary Wollstonescraft and Fuseli_, 73

Masaccio, Guidi, 47, 64, 70

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

_Memorabilia_, 32, 34

_Men and Women_, 12

_Merry Tales_, Sacchetti’s, 33

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

Michael, Raphael’s, 44, 70

Monaco, Lorenzo, 69, 70

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

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

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

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

_Old Abbeys_ (Wordsworth), 38

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

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

Orgagna, 69

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

Pacchia, 66, 72

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

Paganini, Niccolo, 23, 25, 27, 59

Page, William, 11

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

Palestrina, 23, 58

Pandolf, Fra (in _My Last Duchess_), 67

_Paracelsus_, 29, 30, 31, 42, 60

Pasquin’s statue, 15, 21, 58

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

Petrarch, 29, 32, 60, 61

_Pheidippides_, 14

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

“Pieta”, Canova’s, 15, 57

Pietro d’ Abano, 66

Pietro da Cortona, 45, 71

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

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

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

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

Pollajola, Antonio, 40, 69

_Ponte dell’ Angelo, Venice_, 66

Powers, Hiram, 11, 28

Primaticcio, 73

“Prim Saint” (in _In a Gondola_), 67

_Prince Hohenstiel-Schwangau_, 72

“Psiche-fanciulla”, Canova’s, 15, 57

Psyche, a bust by Browning, 12

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

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

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

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

Romanelli, 46, 47

Romano, Giulio, 44, 70

Rossetti, W. M., 47

Rossini, 23, 25, 27, 28, 58

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

St. George, Vasari’s, 71

Salvator Rosa, 72

_Saul_, 23

Schidone, 67

Ser (a picture), 67

Ser Giovanni, 65

Shelley, 9, 30, 32, 34, 48

_Sonnet on Chillon_, Byron’s, 38

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

_Soul’s Tragedy, A_, 18, 29, 60

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

Stefano, 40, 68

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

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

Stradivarius, Antonius, 23, 25, 59

_Strafford_, 29

Tasso, Torquato, 29

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

_Time’s Revenges_, 32, 60

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

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

Tommaseo, Niccolo, 29, 34, 61

Tordinona, 65

Towers of Florence, 63

_Trovatore, Il_, Verdi’s, 26, 58

_Two Poets of Croisic_, The, 14

_Up at a Villa_, 32, 60

Vallombrosa Convent, 65, 72

Vasari, Giorgio, 13, 42, 44, 70

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

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

_Vita Nuova, La_, 32

Wagner, Richard, 25

_Waring_, 44, 68

Wilde, Mr., 11

Wordsworth, 9, 38, 48

_Youth and Art_, 25, 59

FOOTNOTES:

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

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

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

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

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

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

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

[170] See the next page.

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

[172] See above, p. 12.

[173] See _Ring and the Book_, I.

[174] Line 382.

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

[176] See above, p. 10.

[177] _Op. cit._

[178] August, 1848.

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

[180] See above, p. 12.

BULLETIN OF THE UNIVERSITY OF KANSAS HUMANISTIC STUDIES

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

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

BY

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

LAWRENCE, JANUARY, 1915 PUBLISHED BY THE UNIVERSITY

PREFACE

This treatise is printed in substantially the same form in which it was presented to the faculty of Yale University as a doctor’s thesis. The subject was suggested by Professor E. P. Morris, and the study was carried on under his direction. To him, and to Professor Hanns Oertel, who made helpful suggestions, the author is under obligation not only for the method employed but also for the general theory underlying the whole study.

The writer also wishes to thank Professor S. L. Whitcomb, the editor of this series, for valuable help in preparing the work for publication.

E. D. C.

Lawrence, Kansas, Jan. 1, 1915.

CONTENTS