While the D'Estes have been probably better known, historians declare that the women of the House of Gonzaga reached the highest excellence in this Renaissance period of feminine education. Everywhere, however, woman received the opportunity for whatever education she desired. Down in Naples the old Greek traditions had survived, and when the disturbance of the Grecian Empire by the Turks brought about a reawakening of Greek culture in the south of Italy, the women shared it as well as the men. At the Court of Joanna or Giovanna, whose career is of special interest as an anticipation of the ill-fated Mary, Queen of Scots, many of the women reached high intellectual distinction. It is to these lofty Neapolitan educational influences that we owe the intellectual development of Vittoria Colonna. Everywhere, however, the same story might be told. At Rome, at Florence, at Verona, at Padua, even at Forli and Ravenna and Rimini, as well as at Genoa, though Genoa was so much more intent on making money than developing its culture, the women took excellent advantage of the opportunities for learning, often proved to be more successful in their studies than their brothers, and though they did not accomplish much that was to endure in the intellectual life, they seem to have been thoroughly respected by their contemporaries and looked up to as cultured, scholarly personalities.
In his "Heroines of Genoa and the Rivieras," Edgcumbe Staley [Footnote 27] has said something of the productivity of the literary women even of Genoa during this period. Genoa was known as probably more interested in mere luxury and less interested in the intellectual life for its own sake than any of the cities of Italy with which we are familiar. The Genoese were the merchant princes whose wives and children, like our own, were much more occupied with the display of their wealth than in the development of a taste for art and letters and the cultivation of a true critical faculty. I have already mentioned some of the products of the Genoese intellectual life among women, however, and this will add to the impression that I think is so true that in proportion to the population there were just as many women interested in education and in [{321}] literature, women writers and poets in that time as there are in our own. Mr. Staley said:
[Footnote 27: Scribner & Sons, New York.]
"Among the glittering bevies of intellectual and virtuous damsels, who delighted in the beauties and revelled in the romances of the Villetta di Negro and similar pleasures, were such gentildonne as Peretta Scarpa-Negrone and Livia Spinola, who wrote poems of the heart and the home; Benedetta--Livia's sister--and Caterina Gastadenghi--she sang and played the folk songs of Liguria; Leonora Cibo and Pellegrina Lescara, sweet translators of the 'Aeneid' of Virgil and the 'Odes' of Horace."
These educated women of the Renaissance were particularly noted for the application of their education to the concerns of their home. Their artistic taste was exercised, as we have already shown, in selecting various ornaments for it and in directing artists in its decoration. They did not have many art objects around them, but what few there were had been made as a rule by distinguished artists and represented something of the personality of the mistresses of the household. But it must not be thought that they devoted themselves exclusively to the cult of beauty in things. They realized their influence for good over the men of their time and exercised it. The example of Vittoria Colonna is often cited in this regard, but not because it is exceptional, rather what was characteristic. These educated women of the Renaissance were model wives and mothers. They were sedulous for the education of their children, and the poetry that we have from them, or the letters that have been preserved, and which show very clearly their high intellectual development, were meant for their children or for their relatives. Their homes were evidently always their first thought. They planned their own dresses, often executed some of the decoration for them, or had them designed or made under their direction, bought beautiful books for the home, encouraged the illuminators and the embroiderers and beautiful needleworkers of the time, and in general proved to be ready and able to help through their households to give opportunities for the artists, but also for the artisans and the arts and crafts workers of the time.
We find a number of their names on the list of Aldus' [{322}] regular customers at Venice, his subscribers, who made it possible by assuring him at least the cost of his books to go on with his magnificent editions of the classics. We have letters in which they complain of the cost of these first editions because there were other household expenses to be met, but undoubtedly they were always greatly helpful in the educational cause.
Most interesting perhaps of all that they did is the beautiful gardens, which, now that our generation through better transportation facilities is able to live out of town, are coming to be more properly appreciated than before. The Renaissance gardens have been the subject of much writing and illustration in our magazines and books in recent years, and it must not be forgotten that we owe them above all to the women of the Renaissance. They invited artists and architects, who designed them, and trained landscape gardeners to execute them, but it was their interest that was most important. Their gardens came to be an enlargement of their houses, and in the sunny land of Italy afforded many refuges for pleasant living, even in the warmest weather, and for the privacy of even their crowds of guests, which made their homes welcome repairs for the nobility of the time.
Perhaps the best criterion of the thoroughness of the education given women at this time is the influence exerted by the women of the period on art and artists and literary men of the time, and above all the cultivated taste displayed in their homes. A typical example is afforded by Isabelle D'Este whose camerini, her private apartments, are reproduced at South Kensington and described in one of their manuals on Interior Decoration in Italy in the fifteenth century and the sixteenth century. As these decorations for the dowager Duchess D'Este were made just about the middle of Columbus' Century, the authoritative description of them will be the best document. The Museum of South Kensington has had one side of her painting room reconstructed, and it shows, as no mere description could, the beauty of the apartment and the taste of its owner.
A quotation from the description of the three rooms as given in the South Kensington Art Handbook "Italian Wall Decorations of the Fifteenth and Sixteenth Centuries" will [{323}] serve better than any praise to give an idea of the charming retreat that Isabella made for herself when her position as Dowager Duchess gave her the leisure as well as the opportunity to devote herself to the construction of a retreat which should reflect her personality.