INDEX
| the creations of Donatello and Michel Angelo, xxii; his Perseus not a work of the highest genius, xxiii; general truthfulness of his autobiography, xxiv; his artlessness and good faith, xxvii; his claim that he shot the Constable of Bourbon, xxvii, i. 20; virility of the man and of his narrative, xxx; his method not analytical or introspective, i. 5; his language, despite faulty construction, rises to the level of the most adroit romance-writers, i. 6; his intense egotism, i. 7, 10; his belief in himself, i. 8; his frequent homicides and acts of violence, i. 9; a clear-sighted and impartial critic, i. 10; analysis of his character, i. 11; a good and dutiful son and a loving brother, i. 12; his treatment of a natural daughter, i. 12; his religious feelings, i. 12; his veracity, i. 14; his own statement concerning the truthfulness of his narrative, i. 15; his straightforward means of attaining his ends, i. 16; his portrait as drawn by contemporaries, i. 17; some specific cases in which his veracity has been challenged, i. 19-26; his trustworthiness discernible in his vast picture-gallery of historical personages, i. 26-28; his character sketches genuinely humorous and true to life, i. 29; his trustworthiness confirmed in many instances by corroboration and documentary evidence, i. 29, 30; two important passages in his life imperfectly explained,—his long imprisonment in the castle of Sant' Angelo and his final departure from France, i. 31; elucidation of these two points, i. 31-35; his alleged villainy and violence, i. 36; arguments advanced by the translator in his defence, i. 37; his reply to Bandinello, who reproached him for his murders, i. 38; his instinct for revenge, i. 39; his sensual appetites, i. 40; his want of the gentler emotions of love for a woman, i. 40; his place among the world's three or four best autobiographers, i. 40; his Memoirs a model of vernacular Tuscan prose and an indispensable aid in studying the Italian Renaissance, i. 41; his tenacious memory, i. 43; his vivid word-painting, i. 44; author of various treatises on art, i. 45, 46; his many-sidedness, i. 46; ambitious of making his mark as a poet, i. 46; his verses not the productions of a literary master, yet they are confirmatory of his keen and stringent personality, i. 46; his strong predilection for the arts of de-sign, i. 47; his father's desire to make him a musician, i. 47; his love for drawing and his inborn mastery over technical processes, i. 47; his comprehensive study of the various departments of the goldsmith's trade, i. 47; a goldsmith until his fortieth year, i. 48; his ambition to rival the great sculptors, i. 49; his qualities those of a consummate craftsman, not of an imaginative artist, i. 50; his work characterized more by manual dexterity than by the higher intellectual qualities, i. 50; his industry and progress in the art of sculpture, i. 53; five eminent pieces of sculpture the product of the last period of his active life, i. 53; his substantial title to fame as an artist rests upon his Perseus, i. 54; his reasons for writing his own life, i. 71; his parentage, i. 72-74; his sup-posed ancestry, i. 73; his birth and the reason for his name, i. 78; miraculously escapes a scorpion, i. 79; sees a salamander, i. 79; is taught music, i. 80; his great dislike for it, i. 80, 84, 88, 95, 96; is placed in the work-shop of a goldsmith, i. 84; banished from Florence, i. 87; sent to Bologna to learn music, i. 88; quarrels with his father, i. 93; leaves home and gets employment at Pisa, i. 93; returns to Florence, i. 95; his friendship with Francesco di Filippo, i. 99; leaves home again, for Rome, i. 100; his successful work with II Firenzuola, i. 103; returns to Florence, i. 105; his furious quarrel with Gherardo Guasconti, i. 106-110; flees to Rome, i. 113; works for the Bishop of Salamanca, i. 113; his commis-sion for Madonna Porzia, wife of Gismondo Chigi, i. 115; her generous payment of him, i. 118,119; becomes a member of Pope Clement's band, i. 123, 124; quarrels with the Bishop of Salamanca, i. 126-129; obtains commissions from various dignitaries, i. 130; opens a shop of his own, i. 130; gets into a quarrel with a soldier, i. 132, 133; practises the art of the seal-engraver, i. 134; learns the art of making coins and medals, i. 135; devotes himself to learning enamelling, i. 135; his reflections on his own abilities, i. 135; his marvellous recovery from the plague, i. 141-144; his escape from pirates, i. 144; his practical joke at a supper party, i. 145-151; his kindness to Luigi Pulci, and the shameless return made to him, i. 156-164; fights in the war between Charles V. and Francis I., i. 166; claims that he killed the Constable of Bourbon, i. 167; takes charge of the artillery in the castle of Sant' Angelo, i. 168, 169; some of his exploits, i. 167-182; nearly kills Cardinals Farnese and Salviati, i. 1 73; melts the settings of the Pope 's jewels to save them, i. 179; goes to Mantua, i. 185; commissioned by the Duke of Mantua to make a model for a reliquary, i. 185; quarrels with the Duke of Mantua, i. 186; returns to Florence, i . 1 8 7; praised by Michel Angelo, xxi, i . 1 8 9, 1 90; takes service under Pope Clement against Florence, i. 192, 193; goes to Rome, i. 193; is granted absolution by the Pope, i. 196; his success in designing a button for Pope Clement's cope, i. 198-202, 228; makes dies for Pope Clement's coinage, i. 204; is made stamp-master in the Pope's Mint, i. 205; erects a monument to his brother, i. 215; murders the soldier who shot his brother, i. 218; opens a shop in Rome, i. 220; his shop robbed, i.221; is accused of coining false money, i.224; made a mace-bearer to Pope Clement, i. 228; offends the Pope, i. 232, 233; his eyesight is impaired, i. 234; gets the sickness, i.237; recovers his health, i. 238; deprived of his place in the Mint, i. 242; arrested by the Pope's orders, i. 244; his adventures with a necromancer, i. 252-256; wounds Benedetto, the notary, and is reported to have slain Tobbia, i. 260; flees from Rome, i. 261; goes to Naples, i. 262; returns to Rome, i. 266; taken into favour again by Pope Clement, i. 270; kills Pompeo, i. 275; taken into favour by Pope Paul III., and ordered to strike his coins, i. 278; his life attempted by a Corsican, i. 281; forced to leave Rome, goes to Florence, i. 283; takes a journey to Venice, i. 284-292; a quarrel fastened on him by Niccolo Benintendi, i. 286; rudely treated by a landlord, i. 291; in revenge cuts four beds to pieces, i. 292; makes dies for Alessandro de' Medici, i. 293; returns to Rome, i. 300; his attempted arrest by the Bargello, i. 301; receives a pardon for his killing of Pompeo, i. 305; has a dangerous illness, i. 305; sonnet on his reported death by Benedetto Varchi, i. 311; recovers from his illness, i. 313; employed by Pope Paul III. on a present to Charles V., i. 326; makes a famous foil for the Pope's diamond, i. 331; leaves Rome and travels to Padua, i. 341; leaves Padua for France, i. 344; has a narrow escape from drowning, i. 346, 347; obtains an audience with the King of France, i. 353; saves the life of a French scrivener, i. 355; returns to Rome, i. 358; arrested on a false charge of stealing the Pope's jewels, ii. 5; account of his examination, ii. 6-12; his imprisonment by Pope Paul III., ii. 12-27; his escape, ii. 27-33; his recapture, ii. 45; conveyed to the Torre di Nona, ii. 45; his cruel imprisonment in Sant' Angelo, ii. 50; has an extraordinary vision, ii. 61; his sonnet to the castellan of Sant' Angelo, ii. 65; a plot to poison him fails, ii. 70; is released from the castle of Sant' Angelo, ii. 74; an aureole rests upon his head, ii. 76; his Capitolo to Luca Martini, ii. 77-84; engaged in the service of the Cardinal of Ferrara, ii. 87; his quarrel with the postmaster of Siena, ii. 96; goes to Paris to the court of Francis I ., ii . 1 10; his emoluments from the King, ii. 117; installed in the castle of Le Petit Nesle,ii. 119; visited in his workshop by the King, ii. 124; narrowly escapes being murdered while carrying home gold, ii. 128-130; his success in bronze-casting, ii. 134, 267, 268; receives letters of naturalisation from Francis I., ii. 136; is installed as lord of the castle of Le Petit Nesle, ii. 137; his high favour with the King, ii. 143; incurs the ill-will of Madame d'Etampes, ii. 144; worried by a lawsuit, ii. 151; his means of extricating himself, ii. 154; tried for a criminal offence, ii. 161; his quarrel with Primaticcio (II Bologna), ii. 164; his revenge on Micceri and his model Caterina, ii. 168-170; makes a statue of Jupiter for Francis I.,ii. 183; his colossal statue of Mars, ii. 188; rebuked by the King, defends his conduct, ii. 192-195; his departure from France, ii. 201; arrives at Florence, ii. 208; undertakes his famous statue of Perseus for Cosimo de' Medici, ii. 210; writes a letter to the King of France defending his conduct, ii. 223; accused of an unnatural crime, ii. 229; flees to Venice, ii. 230; returns to Florence, ii. 232; death of his illegitimate son, ii. 243; his great quarrel with Bandinello, ii. 247-252; his casting of the Perseus, ii. 259-266; loses the favour of the Duchess of Florence, ii. 276-281; receives a commission from the Duke of Florence to build the gates of Prato and Arno, ii. 283; his Perseus wins great praise when exhibited to the people, ii. 295-298; the Duke's promises to him, which are not kept, ii. 297, 299, 304; goes on a pilgrimage of thanks for the success of his Perseus, ii. 301; offers his crucifix to the church of S. Maria Novella, ii. 322; buys the farm Delia Fonte from Lo Sbietta, ii. 325; attempt to poison him by Lo Sbietta, ii. 331; swindled by Lo Sbietta, ii. 340; buys the farm Del Poggio from Lo Sbietta, ii. 341; finishes his crucifix and places it on exhibition, ii. 342; his death, ii. 349; account of events not included in his autobiography, ii. 349-354; his pedigree, ii. 357. |
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