work on the Gerusalemme Conquistata and
  the Sette Giornate, 75;
  last years at Naples and Rome, 76;
  at S. Onofrio, 76;
  death, 78;
  imaginary Tassos, 79;
  condition of romantic and heroic poetry in Tasso’s youth, 80;
  his first essay in poetry, 81;
  the preface to Rinaldo, 82;
  subject-matter of the poem, 84;
  its religious motive, 86;
  Latinity of diction, ib.;
  weak points of style, 88;
  lyrism and idyll, 89;
  subject of the Gerusalemme Liberata, 92;
  its romance, 94;
  imitation of Virgil, 97;
  of Dante, 97, 99;
  rhetorical artificiality, 100;
  sonorous verses, 101;
  oratorical dexterity, 102;
  similes and metaphors, ib.;
  majestic simplicity, 104;
  the heroine, 106;
  Tasso, the poet of Sentiment, 108;
  the Non so che, 109 sq.;
  Sofronia, Erminia, Clorinda, 109 sqq.;
  the Dialogues and the tragedy Torrismondo, 113;
  the Gerusalemme Conquistata and
  Le Sette Giornate, 115, 124;
  personal appearance of Tasso, 115;
  general survey of his character, 116 sqq.;
  his relation to his age, 120;
  his mental attitude, 122;
  his native genius, 124.

TASSONI, Alessandro: 
  his birth, ii. 297;
  treatment by Carlo Emmanuele, 298;
  his independent spirit, ib.;
  aim at originality of thought, 299;
  his criticism of Dante and Petrarch, 300;
  the Secchia Rapita: 
    its origin and motive, 301;
    its circulation in manuscript copies, 302;
  Tassoni the inventor of heroico-comic poetry, 303;
  humor and sarcasm in Italian municipal wars, 304;
  the episode of the Bolognese bucket, ib.;
  irony of the Secchia Rapita, 306;
  method of Tassoni’s art, ib.;
  ridicule of contemporary poets, 307;
  satire and parody, 308;
  French imitators of Tasso, 310;
  episodes of pure poetry, 311;
  sustained antithesis between poetry and melodiously-worded slang, 312;
  Tassoni’s rank as a literary artist, ib.

TAXATION, the methods of, adopted by Spanish Viceroys in Italy, i. 49.

TENEBROSI, the (school of painters), ii. 365.

TESTI, Fulvio, Modenese poet, ii. 314.

TEUTONIC tribes, relations of with the Italians, ii. 393;
  unreconciled antagonisms, 394;
  divergence, 395;
  the Church, the battle-field of Renaissance and Reformation, 395.

THEATINES, foundation of the Order of, i. 79.

THEORY, Italian love of, in Tasso’s time, ii. 25;
  critique of Tasso’s theory of poetry, 26, 42.

THIENE, Gaetano di, founder of the Theatines, i. 76.

THIRTY Divine Attributes, Bruno’s doctrine of, ii. 139.

TINTORETTO’S picture of S. Agnes, ii. 361.

TITIAN, portrait of Charles V. by, i. 42.