Part 65

During the Borgian usurpation of their duchy in the same year, she shared her husband’s exile at Venice, and on returning to Urbino earlier than Guidobaldo, she amused herself with a scenic representation of the chief events that had occurred during their absence. She cared for her husband tenderly in his illnesses, administered his government wisely when he was called away, and on his death acted as regent and guardian for his nephew and successor, with whom she maintained affectionate relations as long as she lived, and from appropriating whose dominions she strove to the utmost to dissuade Leo X.

Next to her husband’s niece by marriage, Emilia Pia (see note 37), her closest friend seems to have been her brother’s wife, the famous Isabella d'Este (see note 397), with whom she often travelled and continually corresponded by letter. Although still young and accounted beautiful at her husband’s death, she remained faithful to his memory, and the years of her widowhood were cheered by the companionship of her niece, the young duchess Eleanora of Urbino (see note 432). If we may trust universal contemporary opinion of her virtues and beauty, the author of THE COURTIER flattered her as little as did the painter of her portrait in the Uffizi Gallery.

FEDERICO GONZAGA MARQUESS OF MANTUA FATHER OF “MY LADY DUCHESS” 1440-1484 ]

Enlarged from a part of Alinari’s photograph (no. 18705) of the fresco, “The Return of the Exile,” in the Sala degli Sposi of the Gonzaga Palace at Mantua, painted not later than 1474 by Andrea Mantegna (1431-1506). See Heinrich Thode’s monograph on Mantegna, p. 56. For a notice of the Marquess’s life see note 263.

Note 13 page 3. Vittoria Colonna seems to have had this passage in mind when she wrote, 20 September 1524, to Castiglione in praise of his book: “It would not be fitting for me to tell you what I think of it, for the same reason which you say prevents you from speaking of the beauty of my lady Duchess.”

Note 14 page 3. GIOVANNI BOCCACCIO, (born 1313; died 1375), was the natural son of a Florentine tradesman and a Frenchwoman with whom his father had made acquaintance during a business residence at Paris. In early manhood he engaged in commerce at Naples, and had but little learning in his youth, although he studied law for a time. Erudition and authorship became the serious enthusiasm of his life, owing (it is said) to a chance visit to the supposed tomb of Virgil at Naples. In middle life he began the study of Greek at his friend Petrarch’s suggestion; and although he never acquired more than what would now be deemed a superficial knowledge of that language, as a Hellenist he had no precursor in Italy. An ardent if somewhat unappreciative admirer of Dante (whose Divina Commedia he transcribed with his own hands), he was the first Italian author to write for the common people, instead of composing books suited only to the learned and patrician classes. His style was formed by tireless study of classic models, and became a standard for imitation by his successors.

Note 15 page 3. It is now known that the considerations that led Boccaccio to underrate his poems and tales, were ethical rather than literary.

Note 16 page 5. THEOPHRASTUS, (born 374; died 287 B.C.), was a native of Lesbos, but resided at Athens. He was the chief disciple and successor of Aristotle, and wrote also upon a great variety of subjects other than philosophy. His best known work, the “Characters,” is a collection of sprightly sketches of human types. La Bruyère’s famous book of the same name was originally a mere translation from Theophrastus. The incident mentioned in the text is thus described in Cicero’s Brutus: “When he asked a certain old woman for how much she would sell something, and she answered him and added, 'Stranger, it can’t be had for less,'—he was vexed at being taken for a stranger although he had grown old at Athens and spoke to perfection.”

Note 17 page 5. I. e., pages 39-54.

Note 18 page 5. The reference here is to Plato’s “Republic,” Xenophon’s Cyropædia, and Cicero’s De Oratore.

Note 19 page 6. In the letter quoted in note 13, Vittoria Colonna wrote: “I do not marvel at your portraying a perfect courtier well, for by merely holding a mirrour before you and considering your inward and outward parts, you could describe him as you have; but our greatest difficulty being to know ourselves, I say that it was more difficult for you to portray yourself than another man.”

FEDERICO DI MONTEFELTRO DUKE OF URBINO 1422-1482 ]

Reduced from Alinari’s photograph (no. 2686) of a marble bas-relief, in the National Museum at Florence, by some attributed to Mino da Fiesole (1431-1484).

Note 20 page 6. More than 140 editions of THE COURTIER have been published. Most of these are mentioned in the list printed before the Index of this volume. A few of the editions there set down differ from one another only in title-page; a few others, perhaps, exist only in some bibliographer’s erroneous mention. Deductions to be made for such reasons, however, are probably offset by other editions that the present translator has failed to bring to light.

In the bibliographical notes appended by the brothers Volpi to their (1733) edition, THE COURTIER is said to have been translated into Flemish; while in his preface to the Sonzogno (1890) edition, Corio speaks of the introduction of the book into Japan in the 17th century, and also of a Russian translation by Archiuzow.

NOTES TO THE FIRST BOOK OF THE COURTIER

Note 21 page 7. “Courtiership” is a sadly awkward rendering of the Italian cortegiania, which implies not only courtesy and courtliness, but all the many other qualities and accomplishments essential to the perfect Courtier or (what in Castiglione’s time was the same) the perfect Gentleman.

Note 22 page 8. The extreme dimensions of the Duchy of Urbino were 64 miles from east to west, and 60 miles from north to south. Its population did not much exceed 150,000.

Note 23 page 8. The first of the four dialogues is represented as having been held on the evening of the day after the close of a certain visit paid by Pope Julius II to Urbino on his return from a successful campaign against Bologna. This visit is known to have lasted from 3 March to 7 March 1507. Castiglione returned from England as early as 5 March, on which date he wrote to his mother from Urbino: “We have had his Holiness here for two days.” It seems probable that this fictitious prolongation of his absence in England was simply a graceful excuse for not himself appearing in the dialogues.

Note 24 page 8. There were a fief and Count of Montefeltro as early as 1154, and his son was made Count of Urbino in 1216, from which time their male descendants ruled over a gradually increased territory until 1508, when the duchy passed to the female line. The name Montefeltro is said to have originated in that of a temple to Jupiter Feretrius, which in Roman times occupied the summit of the crag afterwards known as San Leo, in the Duchy of Urbino.

Note 25 page 9. Such a rule as that of the usurping Cesare Borgia (1502-3) can hardly have been welcome to a population accustomed to the mild sway of the Montefeltro family.

Note 26 page 9. “DUKE FEDERICO” DI MONTEFELTRO, (born 1422; died 1482), was a natural son of Count Guidantonio di Montefeltro, as appears from the act of legitimation issued by Pope Martin V and also from his father’s testament, by virtue whereof (as well as by the choice of the people) he succeeded his half-brother Count Oddantonio in 1444. In his boyhood he resided fifteen months as a hostage at Venice. Later he studied the theory and practice of war at the Mantuan court, and was trained in the humanities by the famous Vittorino da Feltre. In 1437 he married Gentile Brancaleone, who died childless in 1457. Nearly the whole of his life was spent in military service, as paid ally, now of one prince, now of another. In this capacity he became not only the most noted commander of his time, but always displayed perfect and exceptional fidelity to the causes that he undertook. In 1450 he lost an eye and suffered a fracture of the nose in a tournament; contemporary portraits represent his features in profile. In 1454 he began the construction of the great palace at Urbino. In 1460, at the suggestion of Francesco Sforza (whom he had aided to become Duke of Milan), he married the latter’s accomplished niece Battista Sforza, who bore him seven daughters and one son, Guidobaldo. In 1474 he was made Duke of Urbino and appointed Captain General of the Church by Pope Sixtus IV, and was unanimously elected a Knight of the Garter. He died of fever contracted during military operations in the malarial country near Ferrara. The vast sums spent by him on public buildings, art objects and books, and upon the maintenance of his splendid household, were not extorted from his subjects, but were received from foreign states in return for war service. Thus at the close of his life he drew a yearly stipend equivalent to about £330,000.

It is not easy to draw a picture of his character that shall seem unflattered. Vespasiano, who by years of labour collected his famous library for him, says that his “establishment was conducted with the regularity of a religious fraternity, rather than like a military household. Gambling and profanity were unknown, and singular decorum of language was observed, whilst many noble youths, sent there to learn good manners and military discipline, were reared under the most exemplary tuition. He regarded his subjects as his children, and was at all times accessible to hear them personally state their petitions, being careful to give answers without unnecessary delay. He walked freely about the streets, entering their shops and workrooms, and enquiring into their circumstances with paternal interest.... In summer he was in the saddle at dawn, and rode three or four miles into the country with half-a-dozen of his court ... reaching home again when others were just up. After mass, he went into an open garden and gave audience to all comers until breakfast-time. When at table, he listened to the Latin historians, chiefly Livy, except in Lent, when some religious book was read, anyone being free to enter the hall and speak with him then. His fare was plain and substantial, denying himself sweet dishes and wine, except drinks of pomegranates, cherries, apples, or other fruits. After dinner and supper, an able judge of appeal stated in Latin the causes brought before him, on which the duke gave judgment in that language;... When his mid-day meal was finished, if no one appeared to ask audience, he retired to his closet and transacted private business, or listened to reading until evening approached, when he generally walked out, giving patient ear to all who accosted him in the streets. He then occasionally visited ... a meadow belonging to the Franciscans, where thirty or forty of the youths brought up in his court stripped their doublets, and played at throwing the bar, or at wrestling, or ball. This was a fine sight, which the duke much enjoyed, encouraging the lads, and listening freely to all until supper-time. When that and the audiences were over, he repaired to a private apartment with his principal courtiers, whom, after some familiar talk, he would dismiss to bed, taxing them with their sluggish indulgence of a morning.”

ALFONSO II OF NAPLES 1448-1495 ]

Enlarged from a negative, specially made by Alinari through the courtesy of Professor I. B. Supino, of a medal, in the National Museum at Florence, by Andrea Guazzalotti (1435-1495). See Armand’s Les Médailleurs Italiens, i, 48, no. 1.

Note 27 page 9. In a Greek epigram written in a book borrowed from Duke Guidobaldo, Poliziano (see note 105) praises the lender as the worthy son of a father who never suffered defeat, ἀνικήτοιο πατρὸς γονόν. History shows that this phrase was a rhetorical exaggeration, but it became almost proverbial.

Note 28 page 9. Although long since despoiled of its treasures, the palace is still one of the architectural monuments of Italy. Many writers have described its magnificence,—some of the fullest accounts being those by Bernardino Baldi (1553-1617); Fr. Arnold (Der Herzogliche Palast von Urbino; Leipsic: 1857); J. A. Symonds (“Italian Byways;” London: 1883; pp. 129-155); Charles Blanc (Histoire de la Renaissance Artistique en Italie; Paris: 1894; ii, 87-90); and Egidio Calzini (Urbino e i Suoi Monumenti; Florence: 1899; pp. 9-46). Baldi’s description will be found reprinted as an appendix to Rigutini’s (1889 and 1892) editions of THE COURTIER.

For more than fourteen years Duke Federico employed from thirty to forty copyists in transcribing Greek and Latin MSS. Not only the classics, but ecclesiastical and mediæval authors, as well as the Italian poets and humanists were represented in his library, which contained 792 MSS. Ultimately the collection was sent to Rome, where it forms part of the Vatican Library.