The Book of the Courtier

by conte Baldassarre Castiglione

NOTES TO THE SECOND BOOK OF THE COURTIER

Note [148] page 75. This passage reflects the medico-philosophical theories which the Renaissance inherited from antiquity, and which regarded “the vital spirits” as something far more tangible and material than what we call the principle of life or vital spark. Compare the early conception of electricity as a fluid substance. “Complexion” is of course here used to mean temperament or constitution, and not the mere colour and texture of the skin.

Note [149] page 77. Duke Filippo Maria Visconti, (born 1391; died 1447), was the son of Giangaleotto and Caterina Visconti, and brother of Giovanni Maria Visconti, whom he succeeded as Duke of Milan in 1412. He married Beatrice di Tenda (widow of Facino Cane), who brought him nearly a half million of florins dowry, besides her husband’s soldiers and cities, and thus enabled him gradually to win back the Lombard part of his father’s duchy, which his brother had lost. He was very ugly in person, and so sensitive that he rarely appeared in public. Wily but unstable, he was continually plotting schemes that seemed to have no object, and he mistrusted his own generals, even Francesco Sforza, who turned against him, forced him to a ruinous peace, and after his death was soon able to seize his duchy. In him the cruel selfishness of the Renaissance tyrant did not degenerate into mad thirst for blood, as in the case of his terrible brother. He read Dante, Petrarch and French romances of chivalry, and even dallied with the Latin classics, but genuine learning was neglected and despised at his court.

Duke Borso d'Este, (born 1413; died 1471), like his brother and predecessor, was a natural son of Duke Niccolò III. Kindly and just, he was idolized by the Ferrarese and especially by the women. He patronized letters and art and was fond of splendid living, yet in spite of the luxury of his court, he left a treasure of about a million pounds sterling. The art of printing was established at Ferrara shortly before his death. He appears to have been himself ignorant of Latin, and encouraged the literary use of Italian and the study of French romance. Histories of Ferrara, as well as the writings of contemporary humanists, are full of his generous deeds. His mild sway passed into a proverb, and the time of “the good Duke Borso” was long remembered as a kind of golden age.

Note [150] page 77. Niccolὸ Piccinino, (born 1380; died 1444), was so humbly born as to possess no other surname than that conferred on him in ridicule of his small stature. Having served under the famous Braccio da Montone, he married the latter’s niece, and achieved such distinction as a soldier as to share with Francesco Sforza the fame of being the first condottiere of his day. He became the friend and general of Duke Federico of Urbino. His rough wit was highly esteemed.

Note [151] page 77. This consciousness of the corruption then prevailing in Italy is even more frankly expressed by Machiavelli: “It is but too true that we Italians are in a special degree irreligious and corrupt.” (Discorsi, I, 12.)

Note [152] page 78. The reference here is to Plato’s Phædo, c. 3. Socrates is said to have turned Æsop’s fables into verse.

Note [153] page 83. The Italian noun fierezza (rendered “boldness”) and the adjective fiero (more anciently fero, the epithet applied by Petrarch to Achilles, see note [120]) are derived from the Latin ferus (wild, untamed, impetuous), the root of which we see in our English word ferocious. While retaining its etymological signification, fiero was used to mean also: haughty, intrepid, strong, sturdy.

Note [154] page 87. “Brawls” (Italian, brandi; French, branles) were a kind of animated figured dance, said to be of Spanish origin and to have resembled the modern cotillon. A letter by Castiglione mentions this dance as having been performed by figures dressed as birds in one of the interludes when Bibbiena’s Calandra was first presented at Urbino. This and other passages suggest that the use of masks was even more common in Italian society of the author’s time, than at the present day.

Note [155] page 88. Castiglione’s letters show that he possessed and played upon a variety of musical instruments, and it is known that in Duke Federico’s time, the palace of Urbino was well supplied with instruments and musicians.

Note [156] page 88. Viol is the generic name for the family of bowed instruments that succeeded the mediæval fiddle and preceded the violin. Invented in the 15th century, it differed from a violin in having deeper ribs, a flat back, and a broad centre-piece on which the sound post rested. Its neck was broad and thin; it had from five to seven strings, and was made in four sizes, of which the lowest pitched (the violone or double bass) is still in use. The tone of the instrument is said to have been penetrating rather than powerful.

Note [157] page 89. Wind instruments, and especially the flute, are here referred to. According to Plutarch, Alcibiades maintained that they were regarded with disfavour by Pallas and Apollo because the face is distorted in playing upon them.

NICCOLÒ PICCININO
1380-1444

Reduced from Giraudon’s photograph (no. 252) of a drawing, in the Louvre, by Vittore Pisano, better known as Pisanello, (1380?-1451?).

Note [158] page 90. The Pythagoreans supposed the intervals between the heavenly bodies to be determined by the laws of musical harmony. Hence arose the celebrated doctrine of “the music of the spheres” (already referred to by Castiglione in the text, page 63); for in their motion the heavenly bodies must each occasion a certain sound or note depending on their distances and velocities, which notes together formed a musical harmony, inaudible to man because he has been accustomed to it from the first and has never had an opportunity to contrast it with silence, or because it exceeds his powers of hearing. Pythagoras himself (died about 500 B.C.) taught his disciples to sing to the accompaniment of the lyre, and to chaunt hymns to the gods and to virtuous men.

Note [159] page 90. As the Italian commentator, Count Vesme, suggests, the author may have meant to say, “shave twice a day.” A weekly visit to the barber may, however, have been usually regarded as sufficient at this time.

Note [160] page 93. In the beginning of his Encomium on Folly (which was well known in Italy when Castiglione wrote The Courtier), Erasmus pretends that, “although there has been no lack of those who, at great cost of oil and sleep, have exalted ... the fourth-day ague, the fly, and baldness, with most tedious praise,” Folly is languishing without a eulogist. Among the works of Lucian (flor. 160 A.D.) there is a brief humourous book in praise of the fly; the philosopher Favorinus (flor. 120 A.D.) is said to have written a eulogy on the fourth-day ague; and there is another on baldness by the early Christian writer, Synesius (flor. 400 A.D.). The men of the Renaissance delighted in similar displays of wit.

Note [161] page 94. The Italian procella (rendered ‘fury’) primarily means a tempest, and is so translated in the earliest French and English versions of The Courtier (estourbillon, storm). The still earlier Spanish version has pestilencia.

Note [162] page 95. The Italian impedito (rendered ‘palsied’) literally means entangled as to the feet.

Note [163] page 96. St. Luke, iv, 8 and 10.

Note [164] page 97. In Æsop’s fable, Asinus Domino Blandiens, an ass receives a sound cudgelling for his efforts to win his master’s favour by caresses that he was ill fitted to bestow.

Note [165] page 100. Titus Manlius,—called Torquatus from the chain (torques) that he took from the body of a gigantic Gaul whom he had slain in single combat,—was a favourite hero of Roman story. The incident referred to here occurred shortly before a Roman victory over the Latins at the foot of Vesuvius. Manlius and his colleague in command had proclaimed that no Roman might engage a Latin singly on pain of death, but a son of Manlius accepted a challenge from one of the enemy, slew his adversary, and bore the bloody spoils in triumph to his father, who thereupon caused the young man to be put to death before the assembled army. Manlius was Consul in 340 B.C.

Note [166] page 101. Publius Licinius Crassus Mucianus was Roman Consul in 131 B.C. According to Livy, the incident narrated in the text occurred during an unsuccessful campaign against Pergamus, which ended in Crassus’s voluntary death.

Note [167] page 103. Rome was sacked only the year before The Courtier was first published. Italy had become the plaything of foreign conquest.

Note [168] page 103. Darius III was King of Persia 336-330 B.C. This story about his sword seems to be founded on the following passage in Quintus Curtius Rufus’s History of Alexander the Great: “At the beginning of his reign, Darius ordered his Persian scabbard to be altered to the form which the Greeks used; whereupon the Chaldeans prophesied that the empire of the Persians would pass to those whose arms he had imitated.”

Note [169] page 104. It will be remembered that Bembo was a Venetian.

Note [170] page 104. The coif (cuffia) here mentioned seems to have been a kind of turban made of cloth wound about the head, with the two ends hanging at the ears.

Note [171] page 105. These unfortunate creatures still abound near Bergamo.

Note [172] page 106. Pylades and Orestes, like Pirithous and Theseus, are the famous friends of Greek legend. The historical and no less tender love between Scipio and Lælius forms the subject of Cicero’s De Amicitia. See note 102.

Note [173] page 109. The fellow’s reward is said to have been a measure of the peas.

Note [174] page 109. The Italian phrase here rendered ‘goes against the grain’ is non gli avrà sangue (more usually non ci avrà il suo sangue), and might be more precisely translated ‘will not suit his humour.’ The ‘as we say’ suggests that the idiom was of recent origin in Castiglione’s time.

MAXIMILIAN I
EMPEROR OF GERMANY
1459-1519

Reduced from Braun’s photograph (no. 34.074) of the portrait, in the Imperial Museum at Vienna, by Ambrogio da Predis (flor. 1500). In Morelli’s “Italian Painters” (London: 1892), pp. 180-9, the picture is described as injured by restoration. See note 390.

Note [175] page 113. Giacopo Sannazaro, (born 1458; died 1530), was a native of Naples, and the son of Giacopo Niccolò and Masella di San Magno. His boyhood was spent with his mother at San Cipriano, near her birthplace Salerno. He soon made such progress in Latin and Greek that he was admitted to the academy of the famous Pontormo, of whom he became the close friend. Their effigies may be seen together in the Neapolitan church of Monte Oliveto. He received a villa and a pension from the scholarly Aragonese dynasty, to which he remained faithful with pen and sword, following Federico III into exile (see note [401]) in 1501, and returning to Naples only after his king’s death in 1504. He seems to have had a peaceful and honourable old age, active in works of piety and charity, and employing his leisure in study and in the society of a certain noble lady for whom he had formed a lasting Platonic friendship. His writings include marine eclogues, elegies, etc., in Latin, but his best known work is L'Arcadia, an Italian prose romance interspersed with verse, of which sixty editions are said to have appeared before 1600. It is regarded by Mahaffy as having originated the idea that the Greek Arcadia was the especial home of pastoral poetry, and probably served Sidney as a model for his poem of the same name. Hardly less famous were Sannazaro’s anti-Borgian epigrams, to which Symonds ascribes no small part of the gruesome legend of Lucrezia’s crimes. He was buried in a church built by him near the so-called tomb of Virgil, and his monument behind the high altar bears the Latin inscription by Bembo, in which he is described as “near alike to Virgil’s muse and sepulchre.”

Note [176] page 113. Motet is “a term which for the last three hundred years has been almost exclusively applied to certain pieces of church music, of moderate length, adapted to Latin words (selected, for the most part, either from Holy Scripture, or the Roman office-books), and intended to be sung at high mass, either in place of, or immediately after, the Plain Chaunt Offertorium of the Day.“ (Grove.) The motet was sometimes founded on the air of some non-sacred song, as in the case of Josquin’s Stabat Mater, which was based upon the ballad Comme Femme. (Ambros.)

Note [177] page 113. Josquin (more properly Josse) de Près, (born about 1450; died 1521), seems to have been a native of St. Quentin, Hainault, Belgium, and was one of the celebrated musicians of the Renaissance. Having been the pupil of Ockenheim, the greatest composer of the day, he was at the papal court of Sixtus IV, and successively in the service of Lorenzo de' Medici, Louis XII of France, and the Emperor Maximilian I. He returned to Italy about 1503 and lived at the court of Ferrara. He is the earliest composer whose works are preserved in such quantity as adequately to present his power, and was called “the father of harmony” by Dr. Burney. Music began to be printed (1498) when Josquin was in his prime.

Note [178] page 114. Other contemporary evidence amply confirms this account of the occasional grossness that marked the table manners of the period.

Note [179] page 115. The two princes here referred to are Ferdinand the Catholic of Spain (see note [392]) and Louis XII of France (see note [250]).

Note [180] page 116. Paolo Niccolò Vernia, called Nicoletto (little Nick) from his shortness of stature, (died 1499), was a native of Chieti, near the Adriatic. He probably studied at Padua, and remained there teaching physics, although in 1444 he took his degree in philosophy, and fourteen years later in medicine. He wrote chiefly on philosophy, but was noted also as a wit.

Note [181] page 116. “When Frederick Barbarossa attempted to govern the rebellious Lombard cities in the common interest of the Empire, he established in their midst a foreign judge, called ‘Podestà,’ quasi habens potestatem Imperatoris in hac parte.... The title of ‘Podestà’ was subsequently conferred upon the official summoned to maintain an equal balance between the burghers and the nobles.” Symonds’s “Renaissance in Italy,” ed. 1883, i, 61.

Note [182] page 117. This was the battle of Fornovo (6 July 1495), in which the Italian forces under the Marquess Gianfrancesco Gonzaga of Mantua failed to prevent the retreat of Charles VIII towards France. Both sides claimed a victory, and the marquess even went so far as to have it commemorated by Mantegna in a picture, “The Madonna of Victory” (Louvre), which contains his portrait. Castiglione’s father died from the effect of wounds received in this battle.

Note [183] page 117. The reference here is plainly to Leonardo da Vinci (see note 96). His contemporaries would naturally regard as chimerical such devices as steam cannon, paddle wheels for boats, and flying machines, or such hints as that contained in his Codex Atlanticus, where he suggests the possibility of steam navigation. “He was the first to explain correctly the dim illumination seen over the rest of the surface of the moon when the bright part is only a thin crescent. He pointed out that when the moon was nearly new, the half of the earth which was then illuminated by the sun was turned nearly directly towards the moon, and that the moon was in consequence illuminated slightly by this ‘earthshine,’ just as we are by moonshine. This explanation ... tended to break down the supposed barrier between terrestrial and celestial bodies.” Arthur Berry’s “Short History of Astronomy” (London, 1898), p. 91.

Note [184] page 118. Suetonius mentions this characteristic of Cæsar.

Note [185] page 119. This is one of the few passages in The Courtier that are plainly reminiscent of Dante, who says: “To that truth which hath the face of falsehood, man must ever close his lips” (Sempre a quel ver che ha faccia di menzogna, De' l’uom chiuder la labbra). Inferno, xvi, 124-5.

Note [186] page 121. The translator admits being at a loss to find an adequate equivalent for the Italian argusie. Our unfamiliar English adjective ‘argute’ suggests that kind of pungent and witty conceits which Castiglione is describing.

CHARLES VIII OF FRANCE
1470-1498

Reduced from Alinari’s photograph (no. 2749) of the anonymous bronze bust in the National Museum at Florence. See note [388].

Note [187] page 121. Bibbiena’s reputation as a wit was well established, while Canossa seems also to have deserved the same epithet, if we may judge from a story that has been preserved of him. The count had at Rome a fine collection of silver plate, including a flagon with a lid in the form of a tiger. A friend having borrowed this flagon and kept it for two months, returned it only on demand and with the request that the count lend him a certain salt-cellar, which had a crab for a cover. Ludovico sent word that if the tiger, which is the swiftest of beasts, had been two months coming home, the crab, being slower than all others, would by the same rule be absent for years, and that on this account he was unwilling to let it go.

Note [188] page 122. The allusion is of course to Bibbiena’s early baldness.

Note [189] page 122. Cardinal Galeotto della Rovere, (born about 1477; died 1508), was the favourite nephew of Julius II, being a son of the pope’s sister Luchina by her first husband Gianfrancesco Franciotti, a patrician of Lucca. Like all his mother’s other children, he was adopted as of the della Rovere name. Having been made Bishop of Lucca, he was created a cardinal on his uncle’s election as pope, appointed pontifical vice-chancellor, and soon given a great number of benefices. Generous and amiable, and a patron of artists and authors, he was much beloved at the court of Urbino, as is shown by several documents, among which is a letter by Emilia Pia mentioning two sonnets of his, in one of which (written the day before his last illness) he foretold his early death.

Note [190] page 123. Giacomo Sansecondo, a noted musician who flourished between the years 1493 and 1522 at the courts of Milan, Mantua, Ferrara, Urbino and Rome, where he attained a wide celebrity in the pontificate of Leo X. He seems to have ended his days in adversity, in some degree relieved by his friend Castiglione, whose letters contain several affectionate mentions of him.

Note [191] page 124. Democritus, (flor. 400 B.C.), was the atomistic philosopher of Abdera in Thrace. He possessed an ample fortune, and his cheerful disposition led him to look on the bright and humourous side of things, a fact taken by later writers to mean that he laughed at the follies of mankind.

Note [192] page 125. The phrase ‘served her in love’ and the conventional relation that it denoted, were drawn from mediæval life and literature north of the Alps, and with some changes survived in Italy during the Renaissance, until the cavalier servente became in the 18th century a recognized institution. Attendance upon the lady at church was a characteristic feature of the cavalier’s service.

Note [193] page 126. Pius III, Francesco Todeschini, (born 1439; died 1503), was a native of Siena and a nephew of the illustrious Æneas Silvius Piccolomini (Pius II). The suddenness of his predecessor Alexander VI's death took the sacred college by surprise, and they unanimously elected their weakest member as pope. His short pontificate of twenty-six days was filled with disturbances, and he was believed to have died from poison.

Note [194] page 126. Antonio Agnello, (died after 1527), belonged to one of the most noted families of Mantua, and seems to have been the son of Giulio Agnello and Margarita Crema. Besides being an able man of affairs (employed by the Palæologus rulers of Montferrat), he was a graceful poet, and became the friend of Bembo and Castiglione.

Note [195] page 126. The poet Caius Valerius Catullus, (born about 87 B.C.), was a native of Verona and a friend of Cæsar and Cicero. His extant works include one hundred and sixteen poems, lyric, epigrammatic, elegiac, etc. His 69th Ode is a dialogue between the author and a door.

Note [196] page 127. Pope Nicholas V, Tommaso Parentucelli, (born 1398; died 1455), was a native of Pisa, whence his family were exiled in his infancy. Although his father died when he was nine years old, and in spite of great poverty, he contrived to study at the University of Bologna. Later he served as tutor in the Albizzi and Strozzi families at Florence, thus earning enough money to return and take his theological degree at Bologna. He then entered the service of the archbishop of the latter city, whom he accompanied to Florence, and there became a friend of Cosimo de' Medici and a member of the literary society of the place. In 1443 he was made Bishop of Bologna, and four years later was elected pope, an elevation that he owed solely to his reputation for learning and to the comparatively small esteem in which the office was then held. The humanists were delighted at the election of one of their own number. As pope, he devoted his revenues to maintaining a splendid court, to the rebuilding of the fortifications and palaces of Rome, and to the enrichment of scholars. During his pontificate the city became a work-shop of erudition. He founded the Vatican Library, for which he collected five thousand volumes, and the list prepared by him for Cosimo de' Medici to use in beginning the Library of San Marco, was followed also by Duke Federico of Urbino. He was a small, ugly man.

Nihil Papa Valet, ‘the Pope is good for nothing.’[nothing.’]

Note [197] page 127. I.e., in the second tale of the Eighth Day.

Note [198] page 127. Calandrino is an unfortunate and very amusing character appearing in the third and sixth tales of the Eighth Day and in the fifth tale of the Ninth Day.

Note [199] page 128. Niccolò Campani, called Strascino, (born 1478; died between 1522 and 1533), was an excellent actor of Sienese rustic comedies and farces, and the author of verses and of a Lament that was very popular in the 16th century. He frequented the court of Leo X, and several of Castiglione’s letters (1521) tell of efforts to secure the actor’s services for the Marquess of Mantua, and of furnishing him with twenty-five ducats, a horse, and a papal pass, for the purpose.

Note [200] page 128. ‘This place,’ i.e., Urbino.

POPE NICHOLAS V
TOMMASO PARENTUCELLI
1398-1455

Enlarged from a coloured cast of a medal, in the King’s Library at the British Museum, by Andrea Guazzalotti (1435-1495). See Armand’s Les Médailleurs Italiens, i, 49, no. 6.

Note [201] page 129. The reader will hardly need to be reminded that the great Roman orator was often spoken of as Tullius or Tully rather than as Cicero.

Note [202] page 129. When The Courtier was expurgated by Antonio Ciccarelli in 1584 (see List of Editions), Dante’s name was here substituted for that of St. Paul. The word becco (rendered ‘he-goat’) has long been used by the Italians as a term of jocose reproach applied to a man whose wife is unfaithful.

Note [203] page 129. Duke Ercole I d'Este, (born 1431; died 1505), was the legitimate son of Duke Niccolò III and Rizzarda di Saluzzo. Bred at the Neapolitan court, he became Duke of Ferrara on the death of his half-brother Borso (see note [149]) in 1471. In 1473 he married Eleanora of Aragon, daughter of Ferdinand I of Naples. Among the six children of this union were: Isabella, who became Marchioness of Mantua (see note [397]); Beatrice, who became Duchess of Milan (see note [398]); Alfonso, who married Lucrezia Borgia and succeeded his father as duke; and the Cardinal Ippolito already mentioned (see note [64]). Although his reign was far from peaceful, his court was noted for its luxury and for the brilliancy of art and letters with which it was adorned. He was an especial patron of the theatre, no less than five comedies of Plautus being performed during the wedding festivities of his son Alfonso in 1502. On the other hand, he maintained relations with Savonarola, who was a native of Ferrara.

Note [204] page 130. Castellina was a small walled town in the Chianti hills, which was held as a Florentine outpost against Siena. The siege referred to in the text took place in 1478, when the place capitulated to the Neapolitan and papal troops after holding out for forty days. Duke of Calabria was the title regularly borne by the heir of each Aragonese king of Naples. The personage here meant must have been Alfonso the Younger (see note [31]).

Note [205] page 130. While the meaning is not free from doubt, the point of the story seems to lie in the absurdity of the Florentine’s supposing that after being discharged from a cannon, a projectile would retain any poison previously applied to it.

Note [206] page 130. It will be remembered that Bembo was a Venetian, while Bibbiena’s birthplace was a Florentine town.

Note [207] page 130. This war lasted from 1494 to 1509, and proved ruinous to both sides. Castiglione’s use of the past tense in speaking of it here doubtless arose from the fact that he was writing several years after the date that he assigns to the dialogues.

Note [208] page 131. Pistoia and Prato were two small cities which lay to the north-west of Florence and were subject to its rule. Modern issues of “fiat” money are but a slight modification of the method proposed by the worthy Florentine.

Note [209] page 131. Bucentaur was the name of the state galley of the Venetian Republic, used (among other occasions) in the symbolic ceremony of wedding the Adriatic, which was enjoined upon the Venetians by Alexander III (pope 1159-1181) to commemorate their victory over the fleet of Frederick Barbarossa. On each Ascension Day a ring was dropped from the Bucentaur into the Adriatic, with the words, “we espouse thee, sea, in token of true and lasting dominion.” The vessel bore the image of a centaur as figure-head. Of the last of several successive Bucentaurs (demolished in 1824), a few fragments are preserved in the Arsenal at Venice. In the 15th and 16th centuries the name was applied to state vessels of ceremony elsewhere. By some the word is supposed to be derived from the Greek βοῦς (ox) and κένταυρος (centaur); by others it is regarded as a corruption of the Latin ducentorum (of two hundred oars), or of the Italian buzino d’oro (golden bark).

GIROLAMO DONATO
1457-1511

Enlarged from a photograph, courteously furnished by the Director of the Municipal Art Museum at Milan, of a small anonymous bas-relief belonging to the Taverna collection. See Armand’s Les Médailleurs Italiens, ii, 226, no. 11.

Note [210] page 133. This tale, not unworthy of Munchausen, may have been suggested to Castiglione by a passage in one of the minor works of Plutarch, who relates that Antiphanes (a friend of Plato) said that “he visited a certain city where words froze as soon as spoken, by reason of the great cold; and later, sounds uttered in winter melted in the spring and were heard by the inhabitants.” Although Plutarch represents the story as told in illustration of the way in which “those who came as young men to listen to Plato’s talk, understood it only long afterwards, when they had grown old,” it is worth noting that an Antiphanes, of Berga in Thrace, is known as a writer on the marvellous and incredible.

Note [211] page 133. Vasco da Gama rounded the southern extremity of Africa and reached India nine years before the date of the Courtier dialogues.

Note [212] page 133. This must have been Emanuel I, who was King of Portugal from 1495 until his death in 1521, and who promoted the expeditions of da Gama and other Portuguese navigators.

Note [213] page 134. Taffety was a very light soft silk fabric. There is extant a letter of Bembo’s (1541), in which the aged cardinal orders two cushions filled with swan’s down and covered with crimson taffety. The word is said to be derived from the Persian taftah (twisted, woven). Taft is the name of a town in central Persia.

Note [214] page 134. Annibal Paleotto, (died 1516), belonged to an ancient and honourable Bolognese family (with which Castiglione is known to have been on friendly terms), and was the son of an eminent jurist, Vincenzo Paleotto, who died in 1498. Leo X made Annibale a senator of Bologna in 1514, the brief being written by Bembo.

Note [215] page 135. Giacopo di Nino was Bishop of Potenza from 1506 until 1521, and seems to have been a butt for the ridicule of Leo X's court.

Note [216] page 136. An earlier version of this passage reads: “And of this kind was what Rinaldo in the Morgante said to the Giant: ‘Where do you hang your spectacles?’” The Morgante Maggiore is a serio-burlesque romantic poem by Luigi Pulci (1431-1487), introducing, among other characters of mediæval romance, Rinaldo, his cousin Orlando, and the giant Morgante.

Note [217] page 136. Galeotto Marzi da Narni, (born about 1427; died about 1490), a singular example of the adventurer-humanist, studied at the universities of Padua and Bologna, and taught at the latter place. He twice visited the court of Matthias Corvinus of Hungary, for whom he wrote a book on jests. He was something of an astrologer and also the author of a work on chiromancy. Being accused of heresy, he was imprisoned at Venice in 1477, and condemned to make public recantation in the Piazzetta with a crown of devils on his head. He is said to have been learned and witty. The story given in the text became almost proverbial.

Note [218] page 136. The present form (bisticcio) of bischisso (rendered ‘playing on words’) has a meaning somewhat different from that indicated in the text,—being the term applied to a succession of words the similarity of whose sound renders them difficult to pronounce, e.g., “Peter Piper picked a peck of pickled peppers.”

Note [219] page 136. At this time the general use of family names was comparatively recent, and their form was somewhat variable. Thus, such surnames as Pio and Fregoso were treated as still being, what they doubtless originally were, merely personal epithets, and so were given the feminine form (Pia, Fregosa) when applied to women. The adjective pia means dutiful, pious, kind, while impia or empia of course means the reverse.

Note [220] page 136. “The greatest of the Furies is my bedfellow.” With a change of one syllable in the Latin, this becomes Furiarum maxima juxta accubat (“The greatest of the Furies lies hard by”), Æneid, V, 605-6.

Note [221] page 136. Geronimo Donato, (born 1457; died 1511), was a native of Venice, where he held many public offices, besides being sent abroad as ambassador of the Republic, especially to the courts of Alexander VI and Julius II. He also enjoyed no small fame as a cultivator of science, art and letters (particularly Greek and theology). The incident narrated in the text occurred during his embassy to Alexander, to whom on another occasion he made a far wittier retort. Being jestingly asked by the pope where Venice got its right of lordship over the Adriatic, he answered: “Let your Holiness show me the title deed to the Patrimony of St. Peter, and on the back of it will be found inscribed the grant to the Venetians of their dominion over the Adriatic.”

Note [222] page 136. In the Roman Church a “station” (stasione) is a church where indulgences are granted at certain seasons. In earlier times such churches were visited in solemn procession, which afterwards came to be regarded as an opportunity for social recreation. The word is used also to designate the indulgences earned by visiting, on appointed days, many churches founded by popes.

Note [223] page 136. “As many stars as heaven, so many girls hath thy Rome,” Ovid’s Ars Amandi, I, 59.

Note [224] page 136. “As many kids as the pasture, so many satyrs hath thy Rome,” is as close an English rendering as Donato’s Latin will bear.

Note [225] page 136. Marcantonio della Torre belonged to an ancient noble family of Verona, was a famous anatomist, and is said to have included Leonardo da Vinci among his pupils. He died at the age of thirty, and was highly praised for his learning. His father Geronimo lectured on medicine at Padua.

Pietro Barozzi became Archbishop of Padua in 1487, and died in 1507. Bandello (who had read The Courtier in MS.) relates the same story in somewhat wittier form, but gives the name of the prelate as Gerardo Landriano, Bishop of Como.

Note [226] page 137. St. Luke, xvi, 2.

Note [227] page 137. St. Matthew, xxv, 20.

Note [228] page 137. Proto da Lucca was one of the most famous buffoons who enlivened the pontifical court at the beginning of the 16th century. If, as seems probable, the incident in question occurred in January 1506 (when Bernardino Lei died and was succeeded by Antonio da Castriani as Bishop of Cagli, a town near Urbino), the pope in question must have been Julius II, to whom the epithet ‘very grave’ would be entirely appropriate.

Note [229] page 138. The play is upon the word ‘office’ in its two meanings of post or employment, and breviary or prayer-book. In the latter sense, the ‘full office’ contained the psalms, lessons, etc.,—while the ‘Madonna’s office’ was much abbreviated.

Note [230] page 138. Giovanni Calfurnio, (born 1443; died 1503), was a gentle and laborious humanist, born at or near Bergamo, but long resident at Padua, where he held the chair of rhetoric. His chief work consisted in correcting and commenting upon the texts of Latin poets. The ‘another man at Padua’ was probably Raffaele Regio (a fellow professor with Calfurnio), who publicly ridiculed his colleague as the son of a charcoal-burner. Calfurnio seems to have published very little; on his death he bequeathed his library to the church of San Giovanni in Verdara, from which his tomb and portrait relief have recently been removed to a cloister of the monastery of St. Antony at Padua.

GIOVANNI CALFURNIO
Died 1503

From a photograph, specially made by Agostini, of the anonymous tomb relief removed from the Church of San Giovanni di Verdara to a cloister in the Monastery of Sant'Antonio at Padua.

Note [231] page 138. Tommaso Inghirami, “Fedra,” (born 1470; died 1516), was a native patrician of Volterra (a town about midway between Pisa and Siena), being the son of Paolo Inghirami and Lucrezia Barlettani. Having passed his early boyhood at Florence, he removed to Rome in 1483, where he played the part of Phædra in Seneca’s tragedy Hippolytus (upon which Racine founded his Phèdre) with such success that the name clung to him for life. The play being interrupted by an accident to the scenery, he filled the interval by improvising Latin verses for the entertainment of the audience. The performance took place in the mausoleum of the Emperor Hadrian, which was afterwards converted into the fortress known as the Castle of St. Angelo. Tommaso was employed by Alexander VI in diplomatic affairs, crowned poet by the Emperor Maximilian I, and made a canon of the Lateran and of the Vatican. He seems to have been connected with the Vatican Library as early as 1505, and became its prefect. Although Erasmus called him the Cicero of his time, his fame now rests rather on his portrait in the Pitti Gallery at Florence, than on his works.

Note [232] page 138. Camillo Paleotto was a brother of the Annibal Paleotto already mentioned (see note [214]). On his father’s death in 1498, he went to Rome, where he became the friend of Federico Fregoso, Bembo and Castiglione. He taught rhetoric at Bologna and was Chancellor of the Senate there. There also he is said to have died in 1530, although a letter of Bembo’s speaks of him in 1518 as then already dead.

Note [233] page 138. Antonio Porcaro, or Porzio, belonged to a noble Roman family, and was a brother of the Camillo Porcaro mentioned in The Courtier (at page 140). He had also a twin brother Valerio, whom he so closely resembled that the two were often mistaken, one for the other, as Bibbiena says in the preface to his Calandra,—the plot of which is founded upon a similar resemblance. Little more is known of Antonio than that he suffered some grievous wrong from Alexander VI.

Note [234] page 138. Regarding Giantommaso Galeotto, Cian furnishes no information. The Spanish annotator, Fabié, adds Marcio (Marzio) to his name,—thus apparently treating him as identical with the Galeotto da Narni mentioned above at page 136,—and says that he “died, by reason of his great corpulence, from a fall from his horse, being in the train of Charles VIII of France, when the latter entered Milan.” As “My lord Prefect” was only four years old when Charles entered Milan in 1494, this identification seems clearly erroneous.

Note [235] page 139. Filippo Beroaldo, (born 1472; died 1518), belonged to a noble Bolognese family. Having been one of his famous uncle Filippo the elder’s most brilliant pupils in the classics, he was at the age of twenty-six made professor of literature at Bologna, and afterwards at Rome. In 1511 he successfully defended Duke Francesco Maria of Urbino against the charge of murdering Cardinal Alidosi. Instead of seeking to extenuate the deed, as done in heat and under strong provocation, he boldly justified it on the ground that his client was the instrument chosen by the Almighty to rid the world of a monster of wickedness, and eloquently appealed to the tribunal to spare a hero whose promise of future usefulness was precious to Italy. Beroaldo was secretary to Cardinal Giovanni de' Medici, and on the latter’s election as pope, he was made Provost of the Roman Academy, while at Inghirami’s death he was made Librarian of the Vatican, as a reward for editing the recently discovered first five books of Tacitus’s Annals. He died at Rome, partly (it is said) from vexation at not being paid the stipend of his office. Bembo wrote his epitaph. Although he was celebrated for erudition and eloquence rather than for authorship, he left three books of odes, and one of epigrams,—in Latin.

Note [236] page 139. The pupil obviously used the phrase in its low Latin meaning, “Master, God give you good evening.” Beroaldo jocosely accepted it in its classical meaning, “Master, God give you good, late.”

Note [237] page 139. “Evil to thee, soon.”

Note [238] page 139. Diego de Chignones, (died 1512), was a Spanish cavalier, of whom Branthôme writes as follows: “This Great Captain had for lieutenant, with a company of one hundred men-at-arms, Don Diego de Quignones, who supported him in his combats and victories, and was truly a good and brave lieutenant to him. After the Great Captain’s death, he had sole command of his company of an hundred men-at-arms, as he well deserved to have. He commanded it at the battle of Ravenna, where he died like a brave and valiant captain. And if all had behaved as he did (say the old Spaniards), the victory that the French won there would have cost them dearer than it did, although it cost them dear.”

Note [239] page 139. Don Gonzalvo Hernand y Aguilar, better known as Consalvo de Cordoba, or The Great Captain, (born 1443; died 1515), was a native of Montilla, near Cordova, and belonged to an ancient family of Spanish grandees. His father’s name was Pietro, and his mother’s was Elvira Errea. Bred to war in early youth and knighted on the field of battle at the age of sixteen, he followed the fortunes of Ferdinand the Catholic, and took an active part in the conquest of Granada. In 1494 he was sent to Italy to aid Ferdinand II of Naples against Charles VIII, won a long succession of victories over the French, and was finally made Constable and Viceroy of Naples. Later, Ferdinand the Catholic, listening to slanderous reports regarding him, deprived him of office, and in 1507 recalled him to Spain, where he died in disgrace. His good qualities were much admired by Castiglione, who had fought against him, but his fame was not unstained by acts of cruelty and bad faith, which (it is fair to say) were common at the time and seem to have been committed only against his master’s foes. Giorgione is said to have painted his portrait at Venice, and a life of him by Paolo Giovio was published at Florence in 1552.

CONSALVO DE CORDOBA
“THE GREAT CAPTAIN”
1443-1515

Enlarged from a negative, specially made by Alinari through the courtesy of Professor I. B. Supino, of Annibal’s medal in the National Museum at Florence. See Armand’s Les Médailleurs Italiens, i, 176.

Note [240] page 139. The Spanish word vino means not only “wine” but also “he came.” In pronunciation it would be easily mistaken for Y-no. Y no lo conocistes is the Spanish for “And thou knewest Him not.” Compare St. John, i, 11.

Note [241] page 139. The word marano (here rendered “heretic”) meant a renegade Moor, and is said by Symonds to have been generally used in Italy at this time as a term of reproach against Spaniards.

Note [242] page 139. Giacomo Sadoleto, (born 1477; died 1547), was a native of Modena and the son of a noted jurist, Giovanni Sadoleto. He studied Latin at Ferrara and Greek at Rome, where he settled in the pontificate of Alexander VI and acquired a great reputation for learning. Leo X appointed him a secretary at the same time with Bembo, (who shared with him the name of being the best Latinist of the day), and soon made him Bishop of Carpentras, a town fifteen miles north-east of Avignon. He was secretary also to Clement VII, to whom he boldly declared that the sack of Rome (1527) was inflicted by God as a punishment for human wickedness. Paul III created him a cardinal in 1536. A sincerely pious man, he was conscious of the evils of the Church and did not escape suspicion of heresy. He was a close friend of Vittoria Colonna, and the Roman Academy often met at his house on the Quirinal. Besides Latin poems (one of which, on the newly discovered Laocoön group, made him famous), his works include commentaries on the Psalms and the Epistle to the Romans, and a Latin exhortation to the princes and people of Germany against Lutheran heresies. Although far from rich, he was very charitable, especially in providing young men of his flock with the means of education.

Note [243] page 139. Ludovico da San Bonifacio is identified by Cian as a Paduan, who held the offices of prothonotary and private chamberlain under Leo X, successfully disputed with Bembo the possession of a canonry at Padua in 1514, was sent to different courts by Leo, and died at Padua in 1545.

Ercole Rangone, (died 1572), belonged to an illustrious family of Modena, and achieved some note as a soldier and diplomatist, having commanded the Florentine forces in 1529, and served as Ferrarese ambassador to France, Spain and Germany. He was esteemed by Castiglione, of whose wife Ippolita Torello he seems to have been a kinsman.

The Count of Pepoli probably belonged to a noble Bolognese family of that name, but has not been identified with certainty.

Note [244] page 140. Of Sallaza dalla Pedrada nothing seems to be known beyond the mention of him in the text.

Note [245] page 140. Palla degli Strozzi, (born 1372; died 1462), was a wealthy and cultivated Florentine patrician. Having honourably filled high offices of state, he was banished by Cosimo de' Medici in 1434 for ten years to Padua. Himself an enthusiastic scholar and patron of classical studies, he caused many Greek MSS. to be brought into Italy (including works of Plato, Aristotle and Plutarch), and was the first Italian to collect books for the express purpose of founding a public library, in the execution of which design he was prevented by his exile from anticipating Cosimo. He employed learned Greeks to read to him, and was instrumental in inducing Chrysoloras to teach at Florence,—an engagement regarded by Symonds as having secured the future of Hellenic study in Europe. The story narrated of him in the text is elsewhere told of an exile belonging to the Albizzi family.

Note [246] page 140. Cosimo de' Medici, Pater Patriæ, (born 1389; died 1464), was a Florentine banker, statesman and patron of literature and art. In his father Giovanni’s house of business he cultivated the rare faculty for finance that he afterwards employed in public administration and private commerce. He inherited his father’s vast fortune in 1429, and made it a practice to lend money to needy citizens and at the same time to involve the affairs of Florence with his own,—thus not only attaching individuals to his interests, but rendering it difficult to control state expenditures apart from his own bank. He understood also how to use his money without exciting jealousy, and while he spent large sums on public works, he declined the architect Brunelleschi’s plans for a residence more befitting a prince than a citizen. He was an early riser, and temperate and simple in his life. While ruling Florence with despotic power, he seemed intent on the routine of his counting-house, and put forward other men to execute his political schemes. Despite occasional checks, he so firmly established the influence of his family as the real rulers of Florence that they were not permanently expelled until the nineteenth century. Much of his power was due to sympathy with the intellectual movement of the age, and although he was not a Greek scholar, he had a solid education, and collected MSS., gems, coins and inscriptions, employing his commercial agents in the work. During a year of exile, he built a library at Venice, and later he built one at Florence and another at Fiesole. His house was the centre of a literary and philosophical society, which included all the wits of Florence and the strangers who flocked to that capital of culture.

Note [247] page 140. Camillo Porcaro, or Porzio, (died 1517), was a brother of the Antonio Porcaro already mentioned in The Courtier (at page 138; see note 233). He was a professor of rhetoric at Rome, and a canon of St. Peter’s. Leo X made him Bishop of Teramo, a town near the Adriatic north-east of Rome. He was a member of the Roman Academy, and some of his Latin verse has survived.

COSIMO DE' MEDICI
PATER PATRIÆ
1389-1464

Enlarged from a coloured cast of a medal (no. 31), in the King’s Library at the British Museum, attributed to Niccolò Fiorentino.

Note [248] page 140. Marcantonio Colonna, (died 1522), the son of Pierantonio Colonna and Bernardina Conti, was a second cousin of Vittoria Colonna. His wife Lucrezia Gara della Rovere was a niece of Julius II and sister of the Cardinal Galeotto della Rovere already mentioned (at page 122; see note [189]). In 1502 he fled from Rome to escape the persecution of the Borgias, repaired to the kingdom of Naples, and took service under the “Great Captain.” He served also in the armies of Julius II, Maximilian I, and Francis I, and took part in nearly all the wars of his time. He was cited as a model of physical beauty and martial prowess.

Note [249] page 141. Diego Garzia is regarded by the Spanish annotator, Fabié, as identical with the famous warrior Diego Garcia de Paredes, (born 1466; died 1530), who began the life of a soldier at the age of twelve, and had a brilliant share, with the “Great Captain,” in the expulsion of the Moors from Spain and later in the Italian campaigns. He was a man of great height and strength, and is said on one occasion to have stopped the wheel of a rapidly moving wind-mill with his single hand. Charles V made him a Knight of the Golden Spur, and he is often called the Chevalier Bayard of Spain.

Note [250] page 141. Louis XII, (born 1462; died 1515), was the son of Duke Charles d'Orléans and Anne of Cleves. He accompanied Charles VIII into Italy in 1494, became king on his cousin’s death in 1498, and the following year married Charles’s widow Anne of Brittany. In 1500 he expelled Duke Ludovico Sforza of Milan, to whose duchy he laid claim as the grandson of Valentina Visconti. The following year he conquered Naples in alliance with Ferdinand the Catholic, but quarrelled with his ally over the division of the country, with the result that his force was defeated by the “Great Captain” at Garigliano in 1503, and withdrew from Naples in 1504. He joined the League of Cambray against Venice in 1508, but in 1511 the Holy League was formed against him, and in 1513 the French were again compelled to leave Italy. On the death of Anne of Brittany in 1514, he married Mary, the youthful sister of Henry VIII of England, to whom in dying (1 January 1515) he is reported to have said: “Dear, I leave thee my death as a New Year’s gift.” He was sincerely regretted by his subjects, and was known as “The Father of His People.” Michelet says of him: “He was a good man, honest by nature, sometimes absurd, indiscreet, talkative, testy; but he had a heart, and the only way for men to flatter him was to persuade him that they desired the good of his subjects.” Among his sayings was “Good king, stingy king; I prefer to be ridiculous to my courtiers, than deaf to my people.”

Note [251] page 141. Djem or Zizim, (born 1459; died 1495), was a son of Mahomet II, the conqueror of Constantinople. On the death of his father in 1481, he tried to dispossess his brother as sultan, but being defeated, he sought refuge at Rhodes, where the Knights of the Order of St. John received him for a while, and then sent him to France. In 1489 he was surrendered to the custody of Innocent VIII, from whom he passed into the hands of Alexander VI. Both these pontiffs received a subsidy for his maintenance from his brother the sultan. In 1495 Charles VIII took him to Naples, where he was imprisoned and soon died from the effect (it is supposed) of poison administered at Rome by order of Alexander VI. Of his life at the papal court, we get the following glimpse in a letter from Mantegna to the Marquess of Mantua: “The Turk’s brother is here, strictly guarded in the palace of his Holiness, who allows him all sorts of diversion, such as hunting, music, and the like. He often comes to eat in this new palace where I paint [i.e., the Belvedere], and, for a barbarian, his manners are not amiss. There is a sort of majestic bearing about him, and he never doffs his cap to the Pope, having in fact none;... He eats five times a day, and sleeps as often; before meals he drinks sugared water like a monkey. He has the gait of an elephant, but his people praise him much, especially for his horsemanship: it may be so, but I have never seen him take his feet out of the stirrups, or give any other proof of skill. He is a most savage man, and has stabbed at least four persons, who are said not to have survived four hours. A few days ago, he gave such a cuffing to one of his interpreters that they had to carry him to the river, in order to bring him round. It is believed that Bacchus pays him many a visit. On the whole he is dreaded by those about him. He takes little heed of anything, like one who does not understand or has no reason. His way of life is quite peculiar; he sleeps without undressing, and gives audience sitting cross-legged, in the Parthian fashion. He carries on his head sixty thousand yards of linen, and wears so long a pair of trousers that he is lost in them, and astonishes all beholders.”

Note [252] page 141. The Grand Turk in question was Bajazet II, (born 1447; died 1512), who succeeded his father (Mahomet II, the conqueror of Constantinople) in 1481, was almost uninterruptedly engaged in war with Hungary, Venice, Egypt and Persia, was deposed by his son Selim, and died soon afterwards. He was repeatedly invited by Alexander VI to invade Europe and fight the pope’s Christian enemies. The friendly relations between the two were closely connected with the captivity of Bajazet’s brother, just mentioned. As a token of his gratitude, the Turk sent Innocent VIII the “Lance of Longinus,” the centurion who was supposed to have pierced the Saviour’s side on Calvary and afterwards to have been converted to Christianity. As a reward for the death of his brother, he sent Alexander VI a sum of money equivalent to over £500,000 sterling, and a tunic alleged to have been worn by the Saviour. These, however, were intercepted by the pope’s enemy, Giuliano della Rovere, afterwards Julius II.

Note [253] page 142. The Archbishopric of Florence was occupied by Roberto Folco from 1481 until his death in 1530.

‘The Alexandrian cardinal’ is the name by which Giannantonio di Sangiorgio, (born 1439; died 1509), was commonly known. At the age of twenty-seven he became professor of canon law at Pavia. In 1479 he was made Bishop of Alexandria, and soon afterwards called to Rome and made an Auditor of the Ruota (see note [292]), which office he continued to hold until he was created a cardinal in 1493. He was regarded as the most eminent jurist of his day.

BAJAZET II OF TURKEY
1447-1512

Enlarged, with the courteous permission of the Director of the New York Public Library, from a photographic copy of an engraving in Paolo Giovio’s “Eulogy.”

Note [254] page 142. Besides the mention of this Nicoletto in the text, nothing more seems to be known of him beyond the following anecdote: “Of messer Nicoletto da Orvieto it is narrated that, being in the service of that very courteous pontiff Pope Leo, he once won the lasting favour of his Holiness with only four words; for one day, the talk turning upon a certain vacant benefice which was sought after by a member of the Vitelli family to whom it could be given, he said humourously: ‘Holy Father, fitness requires that it be by all means conferred on Vitello (calf), the more because it has no nearer or closer kinsman than he is,’—playing on the word ‘vacant,’ which he seemed to derive from vacca (cow), the mother of the calf.” Garzoni’s L’Hospidale de’ Pazzi Incurabili, (Piacenza: 1586), page 142.

Note [255] page 142. Antonio Cammelli, (born 1440; died 1502), called Pistoia from the name of his birthplace, was a prolific writer of verse, chiefly sonnets of a humourous and satirical character, which have no small historical value. He spent the larger part of his life in the service of the d’Este at Ferrara, and in that of Duke Ludovico Sforza, of Milan, to whom he remained faithful in adversity. An edition of his verse was published at Turin by Renier in 1888.

The Serafino here mentioned is identified by Cian as a now almost forgotten lyric poet, Serafino Ciminelli, (born 1466; died 1500), who was a native of Aquila (fifty-five miles north-east of Rome), and a welcome guest at the courts of Naples, Rome, Urbino, Mantua and Milan. His verse was by some preferred to that of Petrarch, and the unbounded popularity which he enjoyed was doubtless due to the skill with which he improvised to his own accompaniment on the lute. He was a short ugly man of elfish appearance.

Note [256] page 142. Giovanni Gonzaga, (born 1474; died 1523), was the third son of the Marquess Federico of Mantua and Margarita of Bavaria. He married Laura Bentivoglio, fought in his youth against Charles VIII, and in 1512 was in the service of the Sforza family. He was employed also by his brother Gianfrancesco, Marquess of Mantua, in political negotiations. In 1519, on the death of Lucrezia Borgia, he wrote to his nephew, the new Marquess Federico of Mantua: “Lucrezia’s death occasioned much grief throughout the city, and his Ducal Highness in particular displayed extreme distress. Men here tell wonderful things of her life: for the last ten years she wore a hair shirt; and for two years she has been in the habit of confessing every day, and of attending Communion three or four times a month.”

Note [257] page 142. Giovanni’s son Alessandro Gonzaga was born in 1497, and died in 1527.

Note [258] page 142. Giacomo d’Atri (or d’Adria Picena) was made Count of Pianella by Ferdinand II of Naples in 1496, as a reward for faithful service. He acted as confidential secretary to the Marquess Gianfrancesco of Mantua in various wars, and especially in the campaigns against Charles VIII.

Note [259] page 143. Philip II of Macedon, the conqueror of Greece, was born 382 and died 336 B.C.

Note [260] page 143. This retort has by others been ascribed to a Florentine ambassador at Siena, and his name given as Guido del Pelagio.

Note [261] page 144. Mario de’ Maffei da Volterra, (born 1464; died 1537), occupied successively the offices of Archpriest at Volterra, Sacristan of the Vatican, Bishop of Aquino, and Bishop of Cavaillon in France.

Note [262] page 144. Agostino Bevazzano or Beazzano, (flor. 1500-1550), was born at Treviso, near Venice, of which republic his ancestor Francesco had been chancellor in the 15th century. His own portrait hung in the Grand Council Chamber at Venice. He lived some time in Venice, but in 1514 he was employed as secretary by Bembo and sent to Leo X at Rome, where he resided chiefly until 1526. Besides being a noted writer of Italian and Latin verse, he acquired great skill in public affairs and came to be regarded as an oracle at the papal court. Late in life he was painfully afflicted with gout, and passed the last years of his life at Verona and at Treviso, where he died and was buried in the cathedral.

Note [263] page 145. The Marquess Federico Gonzaga of Mantua, (born 1440; died 1484), was the son of the Marquess Ludovico and Barbara of Brandenburg, and married Margarita, daughter of Duke Albert III of Bavaria. His family attained sovereign power at Mantua in 1354 and continued to exercise it for nearly four centuries. Having succeeded to the marquisate on the death of his father in 1478, he expelled from Italy the Swiss who were besieging Lugano, joined the Milanese in a league against the pope in 1479, and in 1482 joined another league against Venice. He is said to have committed suicide.

Note [264] page 145. Niccolò Leonico Tomeo, (born 1456; died 1531), was a native of Venice, and belonged to an Albanian family. He studied Greek under Chalcondylas at Florence, and for many years taught philosophy at Padua, being the first Italian to expound Aristotle from the original text. He wrote philosophical and moral dialogues and also some Italian verse. His friend Bembo wrote of him: “An illustrious philosopher both in life and learning, equally versed in Latin and Greek, wherein he lived and dwelt, leaving ambition and thirst for riches to others.” He was also a wit.

Note [265] page 145. Agostino Foglietta, (died 1527), was a Genoese nobleman, who exercised great authority at Rome under Leo X and Clement VII. He was a warm friend of Castiglione, who received cordial aid from him in the efforts that were made on behalf of Francesco Maria della Rovere. He was slain in the sack of Rome by a shot from an arquebuse. In other MS. versions of The Courtier the names of Fedra (Tommaso Inghirami) and Antonio di Tommaso appear in place of Foglietta’s.

ALFONSO I OF NAPLES
1385-1458

Reduced from Giraudon’s photograph (no. 137) of a drawing, in the Louvre, by Vittore Pisano, better known as Pisanello, (1380?-1451?). The drawing is believed to have been used in designing medals.

Note [266] page 146. Giovanni di Cardona was a Spanish soldier in the service of the “Great Captain” and of Cesare Borgia. He had a brother Ugo (mentioned at page 147, see note [271]) and another brother Pedro, who was Count of Gosilano. Giovanni seems to have fallen at the battle of Ravenna in 1512.

Note [267] page 146. Of Alfonso Santacroce nothing more is known than is contained in this mention of him in the text.

Note [268] page 146. Francesco Alidosi, Cardinal of Pavia, (died 1511), was descended from the Lords of Imola, being the second son of the Lord of Castel del Rio. Having been educated for the Church, he attached himself to Cardinal Giuliano della Rovere, whose lasting gratitude he won by steadfastly refusing to poison the cardinal at the desire of Alexander VI. On the accession of Julius II, he was rapidly promoted in spite of the objections raised in the consistory on the score of his questionable character. He was made Bishop of Miletus, Bishop of Pavia, a cardinal (1505), Legate of the Patrimony, Legate of Romagna, and Archbishop of Bologna. In these offices he proved violently tyrannical and a ruthless and bloody persecutor, especially of the Bolognese partisans of the Bentivogli; so that the city rose against him in 1511 and drove him out. His assassination by young Francesco Maria della Rovere has been already mentioned (see note [3]). The odium connected with his name finds an echo also in another passage in the text, page 151.

Note [269] page 146. Alfonso I of Naples, (born 1385; died 1458), succeeded his father Ferdinand the Just as King of Aragon and Sicily in 1416, and in 1435 managed to enforce against René of Provence his double claim to Naples, based upon his descent from the former Hohenstauffen rulers of that kingdom, and also upon his adoption as heir by the last Angevin queen of Naples. Scholarly, enlightened, generous and benevolent, he was the ideal type of royal Mæcenas and the hero of his century. He often went afoot and alone about his capital, saying that “a father, walking amid his children, has naught to fear.” On one occasion when a galley full of soldiers and sailors was about to sink, and the men he had ordered to their rescue were hesitating, he leaped into a skiff, crying, “I prefer to be the companion rather than a spectator of their death.” When Constantinople fell into the hands of the Turks in 1453, he welcomed learned refugees to his capital; his court was a meeting-place for the savants of his time; and even when engaged in war, his captains might be seen gathered near their king, listening to his exposition of Livy instead of wasting their leisure at games of chance. He was noted also for his gentle disposition and merry humour and seems to have deserved his title of “the Magnanimous.”

Note [270] page 147. The battle of Cerignola (a town in Apulia near Cannæ, the scene of one of Hannibal’s victories) was fought 28 April 1503, between the Spanish army under the “Great Captain” and the French forces of Louis XII, and resulted in the defeat of the latter with the loss of more than half their men.

Note [271] page 147. Ugo di Cardona, a brother of the Giovanni already mentioned, was a Spanish soldier who fought under Cesare Borgia and the “Great Captain,” and was killed by the hand of Francis I at the battle of Pavia in 1525.

Note [272] page 147. This is a corruption of the name of St. Erasmus, a Syrian bishop who suffered martyrdom about 304, and became a favourite saint among the sailors on the Mediterranean. His name is given to certain electrical phenomena often seen at sea and on land also.

Note [273] page 147. Ottaviano Ubaldini, (died 1498), was the son of a famous condottiere, Bernardino Ubaldini, and Aura di Montefeltro, a sister of Duke Federico. His father having died in 1437, he was bred at the court of Urbino and became the trusted counsellor of his uncle Federico, who left to him the guardianship of the young duke, Guidobaldo. To personal valour and address in statecraft he united (if we may trust the rhymed chronicle of Raphael’s father) a knowledge of classic literature, and a taste for music and the other fine arts. He is known to have been a zealous cultivator of astrology. By some writers Duke Federico (the circumstances of whose birth were not free from mystery) was believed to have been an Ubaldini, and this Ottaviano was openly regarded as his brother.

Note [274] page 147. Antonello da Forli was a soldier of fortune who died before May 1488, and of whom little seems to be known apart from this anecdote. It is found also in two other books, where the witty Florentine is named as Cosimo de’ Medici.

Note [275] page 147. San Leo was a fortress perched on an almost inaccessible crag eighteen miles north-west of Urbino. It is mentioned by Dante (Purgatorio, iv, 25) and also by Machiavelli (Art of War, iv) as a place of great natural strength. When in the spring of 1502 Cesare Borgia disclosed his hostile designs against Duke Guidobaldo, the latter, knowing that he could not hold out at Urbino, retired to San Leo, but soon afterwards fled in the garb of a peasant, and the castle was surrendered. In the same year, however, it was recaptured by stratagem. In the spring of 1503 it was besieged by the adherents of Borgia, and bravely defended for six months by Ottaviano Fregoso and the castellan Lattanzio da Bergamo (referred to in the text), in the hope of succour from Guidobaldo, who had taken refuge at Venice. Cian says that the place at last fell and was not again recovered by Guidobaldo until after the death of Alexander VI. On the other hand Dennistoun (ii, 13) asserts that by a reinforcement of twenty-five men the castle was enabled to hold out until Guidobaldo’s restoration; he assigns the incident in the text to the first capture (1502), gives the name of the castellan as Scarmiglione da Foglino, and affirms that the surrender was treacherous.

CESARE BORGIA
1478-1507

Reduced from Alinari’s photograph (no. 13438) of the portrait, in the Correr Museum at Venice, formerly ascribed to Leonardo da Vinci, but recently attributed by Berenson to Francesco Beccaruzzi.

Note [276] page 147. Duke Valentino, i.e. Cesare Borgia, Duke of Valentinois, (born 1478; died 1507), was an openly acknowledged son of Cardinal Roderigo Borgia (afterwards Alexander VI) by Rosa Vanozza, who was the mother also of Cesare’s sister Lucrezia. Created a cardinal on his father’s accession, he procured the murder of his brother Giovanni in 1497, resigned his cardinalate the same year, was given the French duchy of Valentinois in 1498, and married Charlotte d’Albret, daughter of the King of Navarre, in 1499. Having been created Duke of Romagna by his father in 1501, he proceeded to reduce the various fiefs comprised within his intended domain, including the duchy of Urbino. After the death of Alexander VI, Cesare was held in captivity by Julius II and by Ferdinand the Catholic, escaped to his father-in-law’s court in 1506, and fell in battle the following year, the very day after the close of the Courtier dialogues. Handsome, accomplished and subtle, he was a patron of learning and an adept in the cruel and perfidious politics of his day. Upon his public career is founded the famous Principe of Machiavelli, who says: “If all the duke’s achievements are considered, it will be found that he built up a great superstructure for his future power; nor do I know what precepts I could furnish to a prince better than such as are to be derived from his example.”

Note [277] page 148. Literally: “It must be believed to have been in despair.”

Note [278] page 148. Publius Cornelius Scipio Nasica (Scipio with the pointed nose), was an eminent Roman jurist who was Consul in 191 B.C., and own cousin of Scipio Africanus the Elder.

Note [279] page 148. Alonso Carillo is said by Cian to have been one of the many Spaniards who lived at Rome in the service of popes and cardinals belonging to that nation. The Spanish annotator Fabié identifies him as a son of Don Luis and Donna Costanza de Rivera.

Note [280] page 148. My Lady Boadilla. Cian’s identification of this lady as Beatriz Fernandez de Bobadilla, Marchioness of Moya, is confirmed by the fact that Boscan’s translation (1534) gives her name as the Marchioness of Moya instead of ‘my lady Boadilla.’ She and her husband are warmly mentioned in a codicil to Isabella the Catholic’s will, as being among that queen’s most dear and faithful friends.

Note [281] page 149. In this passage, Antonio Ciccarelli’s expurgated edition (1584) substitutes “a painter of antiquity” for Raphael, “certain Roman senators” for the two cardinals, and Romulus and Remus for St. Peter and St. Paul. The picture in question has been identified as one painted by Raphael in 1513-14 for the church of San Silvestro.

Note [282] page 149. ‘Aught else ... upon thy shoulders,’ i.e., a head. The Cato referred to was probably Marcus Porcius Cato Uticensis, (born 95 B.C., died 46 B.C.), the Roman philosopher and patriot who espoused the cause of Pompey, and committed suicide on hearing of Cæsar’s victory at Thapsus.

Note [283] page 150. This queen must have been Isabella the Catholic; see note 391.

Note [284] page 150. Rafaello de’ Pazzi, (born 1471, died 1512), was a native of Florence, but was bred away from his home, doubtless owing to the proscription of his family for participation in the Pazzi conspiracy against Lorenzo and Giuliano de’ Medici. Having fought for Cesare Borgia and later for Julius II, he was captured by the French in 1511, and was slain the following year in the battle of Ravenna.

Note [285] page 150. The Prior of Messina is now identified by Cian as a Spanish soldier, Don Pedro de Cuña, who was killed at the battle of Ravenna in 1512.

Note [286] page 151. Of Paolo Tolosa nothing more is known than is contained in the text.

Note [287] page 151. Like purple in Roman times, rose was the aristocratic colour at this period. Cosimo is reported by Machiavelli (Storia Fiorentina, vii, 6) to have said that “two ells of rose-coloured cloth make a man of quality.”

Note [288] page 151. Gianotto de’ Pazzi is regarded by Cian as possibly identical with a certain Florentine, Giovanni de’ Pazzi, who was born in 1476 and died in 1528.

Note [289] page 151. Of Antonio Rizzo nothing more is known than is contained in the text.

Note [290] page 151. ‘The renunciation of a benefice,’ i.e. the notarial deed or testament by which a priest resigned his benefice or prebend in favour of someone else.

Note [291] page 151. Antonio Torello, (died 1536), was private chamberlain to Julius II and Leo X, who conferred a canonry and several prebends upon him in 1514. In the briefs he is designated as a priest of the diocese of Foglino, and is given certain benefices there, which had fallen vacant on the death of another priest. We thus infer that Torello must have been familiar with the subject referred to in the text. He was made a Roman citizen in 1530.

Note [292] page 151. These two hunchbacks have not been identified. “The Wheel” (la Ruota or Rota della Giustizia, or simply la Rota) was the highest civil and criminal court of Rome prior to 1870. Its name may have originated in the circular arrangement of the judges’ (auditors’) seats (compare the hemicyclium of Cicero’s time), or possibly in a wheel-shaped porphyry figure set in the pavement of the hall where they sat. The play is of course on the double meaning of the word torto, crooked, wrong.

Note [293] page 151. Latino Giovenale de’ Manetti, (born 1486; died 1553), was a native of Rome, and a canon of St. Peter’s, but being of minor rank he had a wife and children. He held various offices, including that of Commissary General of Roman Antiquities, and was employed in several papal embassies. A writer of Latin and Italian verse, he was a friend of Castiglione, Bembo and Bibbiena, and is mentioned in the autobiography of Cellini, who says that he “had a pretty big dash of the fool in him,”—apparently because he presumed to improve one of the sculptor’s designs for a crucifix.

Note [294] page 152. Peralta is regarded by Cian as probably identical with a certain Captain Luijse Galliego de Peralta, who bore a letter (1521) from Castiglione at Rome to the Marquess Federico of Mantua, then fighting against the French. In this letter Castiglione speaks of having known Peralta for years as “a man of character and a valiant.” Cian regards him as identical also with a certain Colonel Peralta, whose death at the battle of Frosinone is mentioned (in a letter of 1526) among those of other Spaniards.

Molart is identified by Cian as the French soldier of fortune, “Molard,” who commanded a battalion of Gascons at the battle of Ravenna (11 April 1512), and who fell there bravely fighting by the side of Gaston de Foix.

Aldana afterwards served under the Marquess of Mantua at Pavia in 1522, having been summoned (as was Castiglione also) from Rome at the head of his company.

Note [295] page 152. The duel in question is thus described by Branthôme in his Discourse on Duels: “The Grand Master de Chaumont, the King’s Lieutenant in the State of Milan, also allowed a duel to two Spaniards who had asked it of him. The name of one was Signor Peralta, who had formerly been in the King of France’s service, ... and the other Spaniard was called Captain Aldana. Their combat was on horse, à la genette (jennet), with rapier and dagger and three darts to each man. Peralta’s second was another Spaniard, and Aldana’s was the gentle Captain Molart. It had snowed so much that their encounter took place in the Piazza at Parma, from which the snow had been cleared, and there being no other barriers than the snow, each of the two combatants did his duty right well. And at last my lord de Chaumont, who had appointed the ground and was umpire, caused them to retire with equal honour.”

Note [296] page 152. Cian inclines to regard this Master Marcantonio as identical with a certain eccentric physician of the same name, who lived at Urbino and was the author of a fantastic law book and a long comedy. Of Bottone da Cesena nothing more is known than is contained in the text.

Note [297] page 152. ‘Three sticks,’ i.e., the gallows.

Note [298] page 152. Of the three persons bearing the name Andrea Coscia and known to have lived at this time, it is uncertain which one is here referred to.

Note [299] page 152. A MS. copy of The Courtier contains the following passage: “Again a Venetian (forgive me, messer Pietro), coming to visit my lady Maddalena, sister to my lady Duchess,—as soon as he was near he offered her his hand, but without removing his cap. My lady Maddalena drew back a step, and drew back her hand too, saying: ‘Gentle Sir, put on your cap; cover your head.’ He still advanced and offered his hand; whereupon she replied: ‘I will never do it, unless you cover.’ Thus the poor man was so put to shame that he at last removed his cap.” Under similar circumstances Madame Bernhardt is said to have reproved Edward VII (then Prince of Wales) by feigning not to recognize him with his hat on.

Note [300] page 152. My Lord Cardinal, i.e., Giovanni de’ Medici, afterwards Leo X, (born 1475; died 1521). He was the second son of Lorenzo de’ Medici and Clarice Orsini, and an elder brother of the Magnifico of The Courtier. Made a cardinal at the age of thirteen, and exiled from Florence with the rest of his family in 1494, he was present at the election of Alexander VI, of whose character he is said to have shown true appreciation at the time by remarking: “We are in the wolf’s jaws; he will gulp us down, unless we make good our flight.” During the reign of Julius II, he seems to have been subservient to that pontiff, and in 1511 was a member of the court of six cardinals which acquitted the young Duke of Urbino of the charge of murdering Cardinal Alidosi. The pontificates of Alexander and Julius had exhausted Italy with wars, and the Christian world, weary of their scandalous violence, hailed with relief the accession of the cultivated and seemingly gentle young prelate, Giovanni de’ Medici. Of his reign,—so brilliant in art and letters, so disastrous to the Church,—it is enough to say that the key is found in the famous phrase with which, on his elevation to the Chair of St. Peter, he greeted his brother Giuliano: “Let us enjoy the Papacy, since God hath given it us.” To him the immortality of the soul was an open topic for debate, while he regarded sound Latinity and a ready tongue as more important than true doctrine and pure living. Sincerely zealous for the diffusion of liberal knowledge, he was extravagantly munificent to artists, scholars and authors. Like all his family, after the first Cosimo, he was a poor financier, and on his sudden death he was found to have pawned the very jewels of his tiara. His reckless expenditure led to the sale of indulgences, and thus in no small degree to the progress of the Reformation.

LUDOVICO SFORZA
DUKE OF MILAN
1451-1508

Enlarged from a part of Alinari’s photograph (no. 14351) of the marble tomb sculptures, now in the Certosa di Pavia near Milan, by Cristoforo Solari, known as il Gobbo, (died 1540).

Note [301] page 153. Biagino Crivello was one of Duke Ludovico Sforza’s captains, and is mentioned (July 1500) in a list of Sforza adherents who had rebelled against Louis XII, and whose possessions were declared forfeit. The list speaks of him as keeping himself at Mantua and in Venetian territory, and as owning no attachable property in the Milanese. In April of the same year an ineffectual demand had been made upon the Marquess of Mantua for the surrender of Crivello and other chiefs of the Sforza party.

Note [302] page 153. The Duke, i.e., Ludovico Sforza, “Il Moro,” (born 1451; died 1508), was the fourth son of the Francesco Sforza whom Duke Federico of Urbino had helped to become Duke of Milan (and whose father, a peasant condottiere, Muzio Attendolo, became known as Sforza by reason of great personal strength),—and of Bianca Maria, a daughter of the last Visconti duke of Milan. Early noted for his physical and mental qualities, Ludovico read and wrote Latin fluently, had a tenacious memory, and was a ready speaker. He was tall and of strongly marked features. Unlike his horrible brother Galeazzo Maria, he shunned bloodshed. Banished from Milan after his brother’s assassination in 1476, he returned in triumph in 1479, and assumed the guardianship of his nephew Giangaleazzo, for whom he chose as bride his sister’s child, Isabella (see note [396]), daughter of Alfonso II of Naples. Having first sought the hand of Isabella d’Este (see note [397]),—who was already betrothed to the Marquess of Mantua,—in 1491 he married her younger sister Beatrice (see note [398]), whose influence is by some said to have led him to aggravate the humiliation of his young nephew and niece, the rightful duke and duchess. Being threatened by the latter’s father, the King of Naples, Ludovico invited Charles VIII to enter Italy (1494) and assert the Angevine claim to Naples. His unhappy nephew died the same year, not without suspicion of having been poisoned by the uncle’s order, who thereupon assumed the title as well as the despotic power of duke. Becoming alarmed at the rapid success of the French in Italy, he joined the league formed against them, and was afterwards punished for his treachery by being expelled from Milan by Louis XII and carried to France. It is said that at the time of his capture, the only favour he asked was to be allowed the use of a volume of Dante. He died a prisoner in the Castle of Loches, where, after a vain effort to escape, he was confined in an underground dungeon. At the height of his prosperity his revenues exceeded those of any Italian state except Venice. Policy and also his natural taste for intellectual pleasures led him to copy the Medici in their patronage of art and letters. He aspired to make his capital a modern Athens, and sought to attract men of fame and talent from far and wide. Both Leonardo da Vinci and the architect Bramante were in his pay.

Note [303] page 153. Cervia is a little town on the Adriatic (between Ravenna and Rimini). A Dominican, Tommaso Cattanei, was bishop of the diocese from 1486 to 1509. The pope referred to in the text was Julius II.

Note [304] page 155. ‘Montefiore Inn’ was a proverbial expression for a bad hostelry. The rustic inns of Italy at this period were usually wretched and for the most part kept by Germans.

Note [305] page 156. One Andrea Castillo was secretary to Leo X, and died in 1545.

Note [306] page 156. Cian identifies this Cardinal Borgia as the Francesco (born 1441; died 1511) who was raised to the purple by Alexander VI, and s’[s’] known as a schismatic.

Note [307] page 156. The modern form of ballatore is ballerino. Although the distinction is not free from doubt, there seems to be reason for believing that danzare was the term applied to the more stately forms of dance, while ballare was reserved for more animated movements. See note 147.

Note [308] page 157. The Bergamasque was and still is regarded as the rudest and most rustic of the Italian dialects.

Note [309] page 157. Except as applied to a small Tuscan stream or torrent (flowing near Acquapendente and Orvieto, and finally tributary to the Tiber), the name Paglia does not occur in modern Italian geography. In his autobiography, Cellini mentions crossing the little stream on his first journey from Siena to Rome. Later in the 16th century, Montaigne records (in his diary of a trip into Italy) having spent the night at “La Paille” (Italian, Paglia), and describes it as “a small village of five or six houses at the foot of several barren and ill-favoured mountains.”

Note [310] page 157. They seem to have been playing primero (the modern primiera), a game much in vogue at this time.

Note [311] page 158. Loreto is a small hill town near Ancona, and is celebrated for its pilgrimage shrine of the Sacred House (Santa Casa), which was reputed to have been the veritable dwelling of the Virgin, miraculously transported by angels from Nazareth, and set down in Italy in 1294. In 1511 and again in 1524 Castiglione wrote to his mother that he was preparing to go to Our Lady of Loreto in fulfilment of a vow. The name was said to be derived from that of the widow upon whose land the house was deposited by the angels.

Note [312] page 158. Acquapendente is the name of a small town sixty-seven miles north-west of Rome.

Note [313] page 159. Monsignor of San Pietro ad Vincula was the title of Cardinal Galeatto della Rovere; see note [189].

Note [314] page 159. Monsignor of Aragon was the title of Cardinal Ludovico of Aragon, (born 1474), a natural son of Ferdinand I of Naples, and a half-brother of Alfonso II (see note [31]) and Federico III of Naples (see note 401). He was not elevated to the purple until 1519; Castiglione’s mention of him as a cardinal in dialogues supposed to take place twelve years earlier, doubtless arose from a natural confusion between the time when and the time of which they were written.

Note [315] page 159. ‘The Banchi’ (Banks) was the name of a street in Rome well known in the 15th and 16th centuries. Containing the offices of the papal Curia and magistrates, it became a preferred neighbourhood, and was enriched with fine buildings, among which was the counting-house of Julius II’s finance minister, Agostino Chigi, the greatest banker of his day.

Note [316] page 159. ‘The Chancery’ (Cancelleria) was a palace designed about 1500 by Bramante for Cardinal Riario, but at this time used for public offices and as the residence of Cardinal Galeotto della Rovere, who had enlarged and embellished the building. It was not far from the Banks.

Note [317] page 159. San Celso was the name of a street and church near the Banks. The saint (Celsus) whose memory is thus perpetuated was born at what is now Cimiez, near Nice, suffered martyrdom at Rome under Nero, and was finally put to death (together with his master, St. Nazarius) at Milan in the year 69.

Note [318] page 160. Cesare Beccadello is regarded by Cian as possibly identical with a certain Bolognese, who was the son of Domenico Maria Beccadello, married Landomia Fasanini, and was living at the papal court as late as 1559. The Spanish annotator Fabié suggests that he was the father (1502) of the author Ludovico Beccadello, who was a follower of Bembo and wrote biographies of Petrarch and others.

Note [319] page 161. These are characters occurring in the third, sixth and ninth tales of the Eighth Day, and in the fifth tale of the Ninth Day.

Note [320] page 161. This knavish student seems to be identical with a certain Caio Caloria Ponzio, who was born at Messina. Of his life little more is known than that he studied law at Padua between 1479 and 1488, and, after residing two years at Venice, returned to Sicily. For an account of a short poem by him in praise of Venice, and of his dialect comedy dedicated to the Marquess of Mantua, see Vittorio Rossi’s Caio Caloria Ponzio, e la poesia volgare letteraria di Sicilia nel Secolo XV, reprinted (Palermo, 1893) from the Archivio Storico Siciliano, N. S., A., xviii.

Note [321] page 161. The only belfry at Padua answering to this description is said to be that of San Giacomo.

Note [322] page 162. Gonnella. This name was borne by two famous jesters employed by the d’Este family. The one here referred to was probably the later of the two, who lived at the courts of Dukes Niccolò III and Borso, was the son of a Florentine glover Bernardo Gonnella, and married one Checca Lapi. The next buffoon referred to was probably Ludovico Meliolo, who acted as steward to the court of Mantua about 1500, and was a brother of the goldsmith and sculptor Bartolommeo Meliolo (1448-1514). He was called “the father of jests.”

Note [323] page 163. This is an instance of the use of the word calunnia (rendered ‘imputation’) in its primitive sense of malicious accusation without reference to truth or falsity.

Note [324] page 164. These characters occur in the sixth tale of the Third Day, and in the seventh and eighth tales of the Seventh Day of Boccaccio’s “Decameron.”

Note [325] page 164. The queen here mentioned is of course Isabella the Catholic; see note [391].

Note [326] page 164. Fabié says that this Countess of Castagneta was Brazaida de Almada, daughter of a Portuguese cavalier Juan Baez de Almada and Violante de Castro (of the same nation). She was a lady-in-waiting to Queen Isabella, and her husband Don Garci Fernandez Manrique (third Count of Castagneta and first Marquess of Aguilar) took part in the conquest of Granada.

Note [327] page 167. If unconvinced by the “Decameron,” readers of the Corbaccio will surely be persuaded of the justice of this opinion.

Note [328] page 167. According to one form of the legend of Orpheus, his grief at the final loss of his wife Eurydice, when his lyre had all but enabled him to recover her from Hades, led him to treat contemptuously the Thracian women, who avenged the insult by tearing him in pieces under the excitement of their Bacchanalian orgies.

Note [329] page 167. ‘Braccesque leave’ (una licentia bracciesca in the Aldine folio of 1528, and una licentia Bracciesca in the more correctly printed Aldine folio of 1545) is a phrase derived from the name of Braccio Fortebracci, a captain who was famous for his violence to friend and foe, and whose followers were called Bracceschi. To give a man Braccesque leave meant to dismiss him with blows.

Note [330] page 169. Although in this and a few other passages, Castiglione uses virtù in the sense of our “virtue,” he more often gives it its etymological meaning of “manliness,” which the present translator has generally rendered by “worth.” In considering a word like this, we must take into account the character of him who uses it. To Machiavelli, as no doubt to most of his contemporaries in Italy, virtù meant simply that combination of strength, courage, tenacity and cunning that enables a man to achieve his ends,—whether good or bad.