| Page | |
| LIST OF PLATES | [xi] |
| INTERLOCUTORS | [xiv] |
| THE AUTHOR’S DEDICATORY LETTER | [1] |
| Reasons for writing the book, and for at first delaying and afterwards hastening its publication. Lament at the recent death of several persons mentioned in the book. Answer to three objections: that the book was not written in the language of Boccaccio; that, as it is impossible to find a perfect Courtier, it was superfluous to describe one; and that the author presumed to paint his own portrait. | |
| THE FIRST BOOK OF THE COURTIER | [7] |
| [1]: The book written at the instance of Alfonso Ariosto and in dialogue form, in order to record certain discussions held at the court of Urbino. [2-3]: Description and praise of Urbino and its lords; Duke Federico and his son Guidobaldo. [4-5]: The Urbino court and the persons taking part in the discussions. [6]: Circumstances that led to the discussions; visit of Pope Julius II. [7-11]: Various games proposed. 12: Game finally chosen: to describe a perfect Courtier. [13-6]: Canossa begins the discussion by enumerating some of the conditions essential to the Courtier,—especially gentle birth. [17-8]: Arms the true profession of the Courtier, who must, however, avoid arrogance and boasting. [19-22]: Physical qualities and martial exercises. 23: Short bantering digression. [24-6]: Grace. [27-8]: Affectation. [29-39]: Literary and conversational style. [40]: Women’s affectations. [41]: Moral qualities. [42-6]: Literary accomplishments; arms vs. letters. [47-8]: Music. [49]: Painting. [50-3]: Painting vs. sculpture. [54-6]: Arrival of the youthful Francesco Maria della Rovere; the evening’s entertainment ends with dancing. | |
| THE SECOND BOOK OF THE COURTIER | [75] |
| [1-4]: Reasons why the aged are wont to laud the past and to decry the present; defence of the present against such aspersions; praise of the court of Urbino. [5-6] Federico Fregoso begins the discussion on the way and time of employing the qualities and accomplishments described by Canossa: utility of such discussion. [7-8]: General rules: to avoid affectation, to speak and act discreetly and opportunely, to aim at honour and praise in martial exercises, war, and public contests, [9-10]: Other physical exercises. [11]: Dancing and masquerading. [12-3]: Music of various kinds, when to be practised. [14]: Aged Courtiers not to engage publicly in music and dancing. [15-6]: Duty of aged and youthful Courtiers to moderate the faults peculiar to their years. [17-25]: Conversation, especially with superiors; how to win favours worthily. [26-8]: Dress and ornament; lamentable lack of fashions peculiarly Italian. [29-30]: Choice and treatment of friends. [31]: Games of cards and chess. [32-5]: Influence of preconceived opinions and first impressions; advantage of being preceded by good reputation. [36]: Danger of going beyond bounds in the effort to be amusing. [37]: French and Spanish manners. [38]: Tact, modesty, kindness, readiness; taking advantage of opportunities; confession of ignorance. [39-41]: Self-depreciation, deceit, moderation. [42-83]: Pleasantries and witticisms expounded by Bibbiena. [84-97]: Practical jokes; to be used discreetly, particularly where women are concerned; use of trickery and artifice in love; dignity and nobility of women. [98-100]: Giuliano de’Medici chosen to describe the perfect Court Lady. | |
| THE THIRD BOOK OF THE COURTIER | [171] |
| [1]: Excellence of the court of Urbino to be estimated in much the same way in which Pythagoras calculated the stature of Hercules. [2-3]: Bantering preliminaries to the discussion on the Court Lady. [4]: Qualities common to the Courtier and to the Court Lady. [5-6]: The Court Lady to be affable, modest and decorous; to follow a middle course between prudishness and over-freedom; to avoid scandal-mongering; her conversation to have variety. [7-9]: Physical and mental exercises of the Court Lady; her dress. [10-8]: Women’s importance; certain aspersions refuted. [19-20]: Examples of saintly women contrasted with hypocritical friars. [21-7]: Examples of women famous for virtue, manly courage, constancy in love, pudicity. [28-33]: Examples of women who in ancient times did good service to the world in letters, in the sciences, in public life, in war. [34-6]: More recent examples of women noted for their virtue. [37-49]: Chastity and continence. [50]: Dangers to which womanly virtue is exposed. [51-2]: Further praise of women. [53-5]: The Court Lady’s demeanour in love talk. [56-9]: Her conduct in love. [60-73]: The way to win and keep a woman’s love; its effects and signs; secrecy in love. [74-5]: Pallavicino’s aspersions against women. [76-7]: Ottaviano Fregoso is deputed to expound the other qualities that add to the Courtier’s perfections. | |
| THE FOURTH BOOK OF THE COURTIER | [243] |
| [1-2]: Eulogy of several other interlocutors whose death had recently occurred. [3-6]: Ottaviano Fregoso resumes the interrupted discussion, considers the Courtier’s relations with his prince, and urges the duty of employing his qualities and accomplishments so that his prince may be led to seek good and shun evil. [7-10]: Princes’ need to know the truth, their difficulty in finding it, and the Courtier’s duty to encourage them in the path of virtue. [11-2]: Virtue not wholly innate, but susceptible of cultivation. [13-6]: Ignorance the source of nearly all human errour. [17-8]: Temperance the perfect virtue, because it is the fountain of virtues. [19-24]: Monarchy vs. commonwealth. [25-6]: Whether a contemplative or an active life is more befitting a prince. [27-8]: Peace the aim of war; the virtues befitting each. [29]: Right training of princes to begin in habit and to be confirmed by reason. [30]: Humourous digression. [31]: Governo misto. [32-5]: Attributes of a good prince: justice, devoutness, love of his subjects, and mild sway. [36-9]: Grand public works; the Crusades; eulogy of several young princes. [40]: Princes must avoid certain extremes. [41]: Princes must attend to details personally. [42]: Eulogy of the youthful Federico Gonzaga. [43-8]: Arguments supporting the theory that the Courtier’s highest aim is the instruction of his prince. [49-52]: Whether the Courtier ought to be in love; Bembo appointed to discourse on love and beauty. [53-4]: Evils and perils of sensual love. [55-6]: Digression concerning the love of old men. [57-60]: True beauty, the reflection of goodness. [61-4]: In what manner the unyouthful Courtier ought to love; rational love contrasted with sensual love. [65-7]: Contemplation of abstract beauty. [68-9]: Contemplation of divine beauty. [70-1]: Bembo’s invocation to the Holy Spirit. [72]: Instances in which a vision of divine beauty has been granted to mortals. [73]: Termination of the discussion at dawn. | |
| PRELIMINARY NOTES,—Life of the Author, etc. | [313] |
| NOTES TO THE DEDICATORY LETTER | [317] |
| NOTES TO THE FIRST BOOK OF THE COURTIER | [325] |
| NOTES TO THE SECOND BOOK OF THE COURTIER | [355] |
| NOTES TO THE THIRD BOOK OF THE COURTIER | [387] |
| NOTES TO THE FOURTH BOOK OF THE COURTIER | [407] |
| LIST OF EDITIONS OF THE BOOK OF THE COURTIER | [417] |
| INDEX | [423] |
LIST OF PLATES
| 1 | BALDESAR CASTIGLIONE, Count of Novillara; Raphael; | [Frontispiece] |
| 2 | BALDESAR CASTIGLIONE; anonymous medal; | [Title-page] |
| Facing page | ||
| 3 | FRANCESCO MARIA DELLA ROVERE, Duke of Urbino; Titian; | [1] |
| 4 | GUIDOBALDO DI MONTEFELTRO, Duke of Urbino; Giovanni Santi (?); | [9] |
| 5 | EMILIA PIA; medal by Giancristoforo Romano (?); | [11] |
| 6 | ELISABETTA GONZAGA, Duchess of Urbino; Mantegna (?); | [12] |
| 7 | BERNARDO ACCOLTI, the “Unico Aretino;” Vasari; | [16] |
| 8 | COUNT LUDOVICO DA CANOSSA; anonymous; | [20] |
| 9 | CARDINAL IPPOLITO D’ESTE; anonymous medal; | [22] |
| 10 | GALEAZZO SANSEVERINO; anonymous; | [34] |
| 11 | ANGELO AMBROGINI, “Poliziano;” Ghirlandajo; | [51] |
| 12 | MONSEIGNEUR D’ANGOULÊME, Francis I of France; anonymous medal; | [57] |
| 13 | MICHELANGELO BUONARROTI; Daniele da Volterra (?); | [67] |
| 14 | BORSO D’ESTE, Duke of Ferrara; Francesco Cossa; | [77] |
| 15 | AUTOGRAPHS; | [89] |
| 16 | AUTOGRAPHS; | [96] |
| 17 | GIACOPO SANNAZARO; Vasari; | [113] |
| 18 | LEONARDO DA VINCI; autograph drawing; | [117] |
| 19 | BERNARDO DOVIZI DA BIBBIENA; Raphael (?); | [123] |
| 20 | POPE ALEXANDER VI; Pinturicchio; | [126] |
| 21 | ERCOLE D’ESTE, Duke of Ferrara; anonymous relief; | [129] |
| 22 | GALEOTTO MARZI DA NARNI; anonymous medal; | [136] |
| 23 | TOMMASO INGHIRAMI, “Fedra;” Raphael (?); | [138] |
| 24 | PRINCE DJEM; Pinturicchio; | [141] |
| 25 | AGOSTINO BEVAZZANO; Raphael; | [144] |
| 26 | OTTAVIANO UBALDINI; Melozzo da Forli; | [147] |
| 27 | RAPHAEL; Sebastiano del Piombo; | [149] |
| 28 | FRANCESCO ALIDOSI, Cardinal of Pavia; anonymous relief; | [151] |
| 29 | POPE LEO X; Raphael; | [152] |
| 30 | AUTOGRAPHS; | [169] |
| 31 | GIULIANO DE’ MEDICI, “My lord Magnifico;” Alessandro Allori; | [175] |
| 32 | ISABELLA THE CATHOLIC; Miguel Zittoz (?); | [203] |
| 33 | ISABELLA D’ESTE, Marchioness of Mantua; Titian; | [204] |
| 34 | LUDOVICO GONZAGA, Bishop of Mantua; Mantegna; | [215] |
| 35 | FERDINAND THE CATHOLIC; Miguel Zittoz (?); | [219] |
| 36 | ELEANORA GONZAGA, Duchess of Urbino; Titian; | [244] |
| 37 | POPE JULIUS II; Raphael; | [274] |
| 38 | PRINCE HENRY OF WALES, Henry VIII; anonymous; | [276] |
| 39 | FEDERICO GONZAGA, Marquess and Duke of Mantua; anonymous medal; | [279] |
| 40 | CARDINAL PIETRO BEMBO; medal by Benvenuto Cellini (?); | [288] |
| 41 | BALDESAR CASTIGLIONE, Count of Novillara; anonymous; | [313] |
| 42 | CASTIGLIONE’S TOMB, near Mantua; Giulio Romano; | [314] |
| 43 | VITTORIA COLONNA, Marchioness of Pescara; anonymous medal; | [320] |
| 44 | FEDERICO GONZAGA, Marquess of Mantua; Mantegna; | [322] |
| 45 | FEDERICO DI MONTEFELTRO, Duke of Urbino; Mino da Fiesole (?); | [325] |
| 46 | ALFONSO II OF NAPLES; medal by Guazzalotti; | [327] |
| 47 | FERDINAND II OF NAPLES; anonymous bronze bust; | [328] |
| 48 | GIACOMO SADOLETO; Vasari; | [331] |
| 49 | LOUIS XII OF FRANCE; anonymous pen-drawing; | [332] |
| 50 | MATTHIAS CORVINUS OF HUNGARY; anonymous medal; | [336] |
| 51 | ANDREA MANTEGNA; anonymous bronze relief; | [341] |
| 52 | LORENZO DE’ MEDICI, “the Magnificent;” medal by Pollaiuolo; | [345] |
| 53 | BEATRICE D’ESTE, Duchess of Milan; Piero della Francesca (?); | [352] |
| 54 | FILIPPO MARIA VISCONTI, Duke of Milan; Pisanello; | [355] |
| 55 | NICCOLÒ PICCININO; Pisanello; | [356] |
| 56 | MAXIMILIAN I OF GERMANY; Ambrogio da Predis; | [359] |
| 57 | CHARLES VIII OF FRANCE; anonymous bust; | [360] |
| 58 | POPE NICHOLAS V; medal by Guazzalotti; | [362] |
| 59 | GIROLAMO DONATO; anonymous relief; | [365] |
| 60 | GIOVANNI CALFURNIO; anonymous relief; | [366] |
| 61 | CONSALVO DE CORDOBA, “the Great Captain;” medal by Annibal; | [368] |
| 62 | COSIMO DE’ MEDICI, “Pater Patriæ;” medal by Niccolò Fiorentino; | [370] |
| 63 | BAJAZET II OF TURKEY; anonymous print; | [372] |
| 64 | ALFONSO I OF NAPLES; Pisanello; | [375] |
| 65 | CESARE BORGIA, Duke of Valentinois; Beccaruzzi (?); | [377] |
| 66 | LUDOVICO SFORZA, Duke of Milan; Cristoforo Solari; | [381] |
| 67 | ANNE OF BRITTANY; medal by Jean Perreal; | [393] |
| 68 | MARGARITA OF AUSTRIA; anonymous; | [395] |
| 69 | BEATRICE OF ARAGON, Queen of Hungary; anonymous bust; | [397] |
| 70 | ISABELLA OF ARAGON, Duchess of Milan; medal by Giancristoforo Romano; | [398] |
| 71 | FEDERICO III OF NAPLES; anonymous medal; | [400] |
| 72 | ELEANORA OF ARAGON, Duchess of Ferrara; anonymous relief; | [402] |
| 73 | GIANFRANCESCO GONZAGA, Marquess of Mantua; Francesco Bonsignori (?); | [409] |
| 74 | HENRY VII OF ENGLAND; anonymous; | [412] |
| 75 | DON CARLOS, Prince of Spain; Bernhard Strigel (?); | [414] |
| 76 | REVERSE OF MEDAL ON TITLE-PAGE; | [End piece] |
INTERLOCUTORS
- ELISABETTA GONZAGA, wife of Guidobaldo di Montefeltro, Duke of Urbino. Aged 46.
- EMILIA PIA, friend and companion of the Duchess, and widow of the Duke’s half-brother. Aged about 30.
- MARGARITA GONZAGA, young niece and companion of the Duchess.
- COSTANZA FREGOSA, young half-niece of the Duke.
- FRANCESCO MARIA DELLA ROVERE, nephew and adopted heir of the Duke. Aged 17.
- Count LUDOVICO DA CANOSSA, a kinsman of the author, afterwards made Bishop of Bayeux. aged 31.
- FEDERICO FREGOSO, half-nephew of the Duke, afterwards made a cardinal. Aged 27.
- GIULIANO DE’ MEDICI, an exile from Florence, known at Urbino as “My lord Magnifico,” and afterwards made Duke of Nemours. Aged 29.
- BERNARDO DOVIZI, better known as BIBBIENA, an adherent of the Medici, afterwards made a cardinal. Aged 37.
- OTTAVIANO FREGOSO, elder brother of Costanza and Federico, afterwards Doge of Genoa.
- PIETRO BEMBO, a Venetian scholar and poet, afterwards made a cardinal. Aged 37.
- CESARE GONZAGA, a kinsman of the Duchess, and cousin as well as close friend of the author. Aged about 32.
- BERNARDO ACCOLTI, better known as the UNICO ARETINO, a courtier-poet and popular extemporizer. Aged about 42.
- Count GASPAR PALLAVICINO. Aged 21.
- GIANCRISTOFORO ROMANO, a sculptor, medallist, etc. Aged about 42.
- COLLO VINCENZO CALMETA, a courtier-poet.
- LUDOVICO PIO, a brave young soldier, and kinsman of Emilia Pia.
- SIGISMONDO MORELLO DA ORTONA, an elderly courtier.
- Fra SERAFINO, a jester.
Time: March 1507.
Place: The Palace of Urbino.
FRANCESCO MARIA DELLA ROVERE.
DUKE OF URBINO
1490-1538
Reduced from Braun’s photograph (no. 40.605) of the portrait, in the Uffizi Gallery at Florence, by Titian (1477-1576).