NOTES ON THE USE OF THIS BOOK

1. Dates of birth and death are usually omitted from the text, but will be found in the Index.

2. The religious standpoint of authors quoted or referred to in the text is indicated in the Bibliography by the letters C, J, P, or R, for Catholic, Jewish, Protestant, or rationalist.

3. Passages intended for resolute students rather than for the general reader are indicated by reduced type.

4. To make this volume an independent unit some passages from The Renaissanee, on the history of the Church before the Reformation, have been summarized in the opening chapter.

5. The location of works of art, when not indicated in the text, will usually be found in the Index under the artist’s name. The name of a city will, in such allocations, be used to indicate its leading gallery, as follows:

Amsterdam—Rijksmuseum

Augsburg—Gemäldegalerie

Barcelona—Museum of Catalan Art

Basel—Offentliche Kunstsammlung

Bergamo—Accademia Carrara

Berlin—Kaiser-Friedrich Museum

Bremen—Kunsthalle

Brussels—Museum

Budapest—Museum of Fine Arts

Chicago—Art Institute

Cincinnati—Art Museum

Cleveland—Museum of Art

Colmar—Museum Unterlinden

Cologne—Wallraf Richarts Museum

Copenhagen—Statens Museum for Kunst

Detroit—Institute of Art

Frankfurt—Städelsches Kunstinstitut

Geneva—Musée d’Art et d’Histoire

The Hague—Mauritshuis

Leningrad—Hermitage

Lisbon—National Museum

London—National Gallery

Madrid—Prado

Milan—Brera

Minneapolis—Institute of Arts

Munich—Haus der Kunst

Naples—Museo Nazionale

New York—Metropolitan Museum of Art

Nuremberg—Germanisches National Museum

Philadelphia—Johnson Collection

Prague—State Gallery

San Diego—Fine Arts Gallery

Stockholm—National Museum

Toledo—Museum of Art

Vienna—Kunsthistorisches Museum

Washington—National Gallery

Worcester—Art Museum

The galleries of Florence will be distinguished by their names, Uffizi or Pitti, as will the Borghese and Galleria Nazionale in Rome.

6. This volume will reckon the crown, the livre, the florin, and the ducat of the fourteenth and fifteenth centuries at $25.00 in the money of the United States in 1954; the franc and the shilling at $5.00; the écu at $15.00; the mark at $66.67; the pound sterling at $100.00. These equivalents are loose guesswork, and repeated debasements of the currencies make them still more hazardous. We note that in 1390 a student could be boarded at Oxford for two shillings a week;¹ about 1424 Joan of Arc’s horse cost sixteen francs;² about 1460 a maid in the service of Leonardo da Vinci’s father received eight florins a year.³