CONTENTS
(The Arabic numerals given below refer to the numbered paragraphs
into which it has long been customary to divide the work)
| 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. |
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| 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. |
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| 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. |
