The Book of the Courtier/Dedicatory Letter/Notes
NOTES TO THE DEDICATORY LETTER
Note 1, page 1. Dom Miguel de Silva, (born about 1490; died 1556), was the second son of Diego de Silva and Maria de Ayola, Count and Countess of Portalegre, a province of central Portugal. Having studied at the universities of Paris, Siena and Bologna, he was soon called to the court of Emanuel of Portugal, held various ecclesiastical posts, and was made Bishop of Viseu in the Province of Beira. As ambassador to Popes Leo X, Adrian VI and Clement VII, he paid long visits to Rome, where his friendship with Castiglione probably began. During the twenty years that followed 1521 he served John III of Portugal as Escribano de la Puridad; then, having been made a cardinal by Paul III, he spent the remainder of his life in the papal service, died in Rome, and was buried in the church of Santa Maria in Trastevere. Eminent as a prelate and a diplomatist, he also enjoyed no small repute as an author and an elegant Latinist.
Note 2, page 1. Guidobaldo di Montefeltro, Duke of Urbino, (born 1472; died 1508), was the only son of Duke Federico di Montefeltro and Battista Sforza, an accomplished niece of the first Sforza duke of Milan. Precocious as a child, he was elaborately yet judiciously educated, and much of the praise bestowed upon him in The Courtier is shown by contemporary evidence to have been just. On his father's death in 1482, both he and his State were confided to his cousin Ubaldini (see note 273), who seems to have been loyal to the trust, although next heir to the duchy. From records that have survived, Dennistoun extracts some details of the young duke's court: "To all persons composing the ducal household, unexceptionable manners were indispensable. In those of higher rank there were further required competent talents and learning, a grave deportment, and fluency of speech. The servants must be of steady habits and respectable character; regular in all private transactions; of good address, modest and graceful; willing and neat handed in their service. There is likewise inculcated the most scrupulous personal cleanliness, especially of the hands, with particular injunctions as to frequent ablutions, and extraordinary precautions against the unpleasant effects of hot weather on their persons and clothing; in case of need, medical treatment is enjoined to correct the breath. Those who wore livery had two suits a year, generally of fustian, though to some silk doublets were given for summer use."
In 1489 Guidobaldo married Elisabetta Gonzaga, a sister of the Marquess of Mantua. All hopes, however, of an heir were soon abandoned, apparently owing to the young duke's physical infirmities, which were increased by over exercise and in time unfitted him for all active occupations. Nevertheless he was able to take part in the vain resistance to Charles VIII's invasion of Italy, and later in the expulsion of the French from the kingdom of Naples. While fighting in the service of Pope Alexander VI in 1497, he was taken prisoner and forced to pay a ransom of 30,000 ducats, a sum then equivalent to about twice that number of modern pounds sterling, and raised only at the sacrifice of his duchess's jewels. In 1501 he aided rather than opposed Louis XII's invasion of Naples.
In 1502 the pope's son Cesare Borgia treacherously seized the Duchy of Urbino. To spare his people bloodshed and ruin, Guidobaldo fled in disguise to his brother-in-law at Mantua, and after a vain appeal to Louis XII, found an honourable asylum at Venice. In the same year he regained his dominions for a short time, but was again forced to take flight. On the death of Alexander VI (August 1503), Cesare's power crumbled, Guidobaldo easily recovered his duchy, and his position was soon assured by the election of Julius II, who was not only his personal friend, but also the brother of his sister Giovanna's husband. In 1504 he formally adopted as his heir this sister's son, Francesco Maria della Rovere, and (as we have seen) took into his service the future author of The Courtier. His learning, amiability arid munificence attracted choice spirits to his court, which came to be regarded as the first in Italy. Pope Julius was splendidly entertained there on his way both to and from his Bologna campaign, and the Courtier dialogues are represented as taking place immediately after his departure for Rome in March 1507.
Long an invalid, Guidobaldo became more and more a martyr to his gout, which was aggravated by a season of exceptional drought and cold and brought him final relief from suffering in April 1508. His fame rests, not upon his military and political achievements, but upon the beauty of his character, the variety of his intellectual accomplishments, the patience with which he endured reverses, illness and forced inaction, and upon the culture and refinement that characterized his court.
Note 3, page 1. Francesco Maria della Rovere, Duke of Urbino, (born 1490; died 1538), was the son of Giovanni della Rovere and Duke Guidobaldo's sister Giovanna di Montefeltro. Giovanni was a nephew of Pope Sixtus IV (who had made him Prefect of Rome), and a younger brother of Cardinal Giuliano della Rovere, afterwards Pope Julius II.
On his father's death in 1501, Francesco was brought to the court of his uncle Guidobaldo, who secured for him a renewal of the Prefecture and superintended his education. In The Courtier he appears as "my lord Prefect." During the Borgian usurpation of the duchy, he found refuge at the court of Louis XII; and soon after the fall of the Borgias and his uncle Julius II's accession, he was adopted as Guidobaldo's heir, while through the mediation of Castiglione a marriage was arranged for him with Eleanora, daughter to the Marquess of Mantua and niece to the Duchess of Urbino. He now resided chiefly with his uncle, acquainting himself with his future subjects and duties. Although he possessed many of the good qualities ascribed to him in The Courtier, his temper was ungovernable, and before reaching the age of eighteen he slew one of the members of the court, who was accused of seducing his sister. Having become duke in 1508, he was married on Christmas Eve of that year. In the following spring he commanded the papal forces in the League of Cambray, and despite the obstacles put in his way by his colleague Cardinal Alidosi (see note 268), he soon reduced the Romagna towns, the recovery of which from Venice was Julius II's chief object in forming the league. In a later campaign against the French, Bologna was lost to the Church (1511) through the treachery of Alidosi, who craftily contrived to have the blame fall upon Francesco, and was murdered by the latter at Ravenna. After a long trial before six cardinals, in which ample proof of the dead man's treason was presented, and an eloquent appeal made by Beroaldo (see note 235), — the young duke was acquitted and restored to the pope's favour.
Although both Francesco and his predecessor had generously befriended the Medici during their exile from Florence (1494-1512), Leo X (Giovanni de' Medici) seized his duchy in 1516, to bestow it on a nephew, Lorenzo de' Medici. It is needless to speak here of Francesco's restoration in 1521, of his failure to relieve Pope Clement VII when Rome was sacked in 1527, or of his later life.
While small in person, Francesco was active and well formed. His manners were gentle and his character forgiving, in spite of his fiery temper. Strict in religious observances and an enemy to blasphemous language, he was also creditably intolerant of those outrages upon womanly honour with which war was then fraught. He was famous chiefly as a soldier, and by so competent a judge as the Emperor Charles V was regarded as master of the military science of his day.
Note 4, page 1. This disclaimer of careful authorship is not to be taken too literally. At least a draft of Books I-III seems to have been made at Urbino between April 1508 and May 1509, while Book IV was probably written at Rome in the earlier part of the interval between September 1513 and March 1516. Castiglione apparently continued to revise his work until 1518, when he sent his MS. to Bembo. See Silvestro Marcello's pamphlet, "La Cronologia del Cortegiano di Baldesar Castiglione." Pisa, 1895.
Note 5, page 1. As has been seen, Castiglione resided at the Spanish court from 1524 until his death in 1529.
Note 6, page 1. Vittoria Colonna, (born 1490; died 1547). was the daughter of Fabrizio Colonna (grand-nephew of Pope Martin V) and Agnese di Montefeltro, a sister of Duke Guidobaldo. At the age of four she was betrothed to the Marquess of Pescara, whom she married in her nineteenth year at Ischia (the fief and residence of his family), and who afterwards became a famous soldier. During his long absences in the field, she consoled herself with books, and after his death in 1525, her widowhood was spent in retirement and finally in semi-monastic seclusion at Rome. The time spared from pious exercises she devoted to study, the composition of poetry, correspondence with illustrious men of letters, and the society of learned persons. Although she never became a convert to Protestantism, the liberality of some of her friends' belief exposed her to ecclesiastical censure in her old age. Her celebrated friendship with Michelangelo began when he was past sixty and she had nearly reached fifty years. They frequently exchanged verses, and he is said to have visited her on her death-bed. Her poems are chiefly sonnets to the memory of her husband or verses on sacred and moral subjects.
Note 7, page 1. The following passage is from a letter written by Castiglione to the Marchioness: "I am the more deeply obliged to your Ladyship, because the necessity you have put me under, of sending the book at once to the printer, relieves me from the trouble of adding many things that I had already prepared in my mind, — things (I need hardly say) of little import, like the rest of the book; so that your Ladyship has saved the reader from tedium, and the author from blame."
Despite the many decrees of popes, emperors and other potentates, literary piracy seems to have been quite as common in Castiglione's time as in ours. He was obviously none too prompt in his precautions, as an apparently unauthorized edition of The Courtier was issued at Florence by the heirs of Filippo di Giunta in the October following its first publication at Venice in April 1528.
Note 8, page 2. Alfonso Ariosto, (died 1526), was a cousin of the poet Ludovico. Little more seems to be known of him than that his father's name was Bonifazio, that he was a gentle cavalier and brave soldier in the service of the Este family, and that he was a friend of Castiglione and of Bembo. His name appears at the head of each of the four dialogues composing The Courtier, and they purport to have been written at his suggestion. Señor A. M. Fabié, in his notes to the 1873 reprint of Boscan's translation, affirms that Alfonso Ariosto had nothing to do with the poet Ludovico, belonged to a noble Bolognese family, and enjoyed much favour at the court of Francis I of France.
Note 9, page 2. Giuliano de' Medici (born 1478; died 1516), was the third son of Lorenzo the Magnificent and Clarice Orsini. His education seems to have been for a time entrusted to the famous scholar-poet Poliziano (see note 105). During his family's exile from Florence (1494-1512), he resided much at the court of Urbino, where he was known as "the Magnifico Giuliano," and where one wing of the great palace was reserved to his use and is still called by his name. He became the father of a boy afterwards known as Cardinal Ippolito de' Medici, — the original of Titian's fine portrait in the Pitti Gallery. On the restoration of the Medici, Giuliano was placed at the head of affairs in his native city and succeeded in winning the good will of the Florentines, but his gentle disposition and love of ease thwarted other ambitious projects formed for his advancement by his brother Leo X, and he was too grateful to the dukes of Urbino for their hospitality to accept the pope's intended appropriation of their duchy for his benefit. In 1515 he married Filiberta of Savoy and was created Duke of Nemours by her nephew Francis I of France. In the same
year he was appointed Captain General of the Church, but failing health prevented his actual service, and he soon died of fever at Florence, not without suspicion of poison at the hands of his nephew Lorenzo.
Several of his sonnets have survived, and are said to show no mean poetic faculty. Apart, however, from his appearance as an interlocutor in The Courtier and in Bembo's Prose, his memory is best preserved by Michelangelo's famous tomb at Florence.
Note 10, page 2. "Messer Bernardo" (Dovizi), better known by the name of his birthplace Bibbiena, (born 1470; died 1520), was of humble parentage. His elder brother Pietro was secretary to Lorenzo de' Medici, and secured his admission to the Magnifico's household, where he shared the education of the young Giovanni and became a devoted friend of that future pope. Following the Medici into exile, he travelled about Europe with Giovanni and attended Giuliano to Urbino, where he received the warm welcome always accorded there to such as combined learning with courtly manners. By the Duke of Urbino he seems to have been so commended to the favour of Julius II, that he was able to aid Michelangelo in securing part payment for the Sistine Chapel frescoes, of which payment, however, he accepted five per cent, as a gift from the painter. At the death of Julius, he was secretary to his friend Cardinal Giovanni de' Medici, and in that capacity had access to the conclave, where his adroitness was largely helpful in effecting his patron's election as pope. Leo at once made him Cardinal of Santa Maria in Portico and loaded him with lucrative offices. During the Medicean usurpation of the Duchy of Urbino, he showed no gratitude for the kindness enjoyed by him at that court. He became very rich, and was a liberal patron of authors and artists. Raphael devised to him the house of the architect Bramante, which the painter had bought for a sum equivalent to about £6,000, and which was afterwards demolished in extending the piazza in front of St. Peter's.
Besides a large number of his letters, for the most part unpublished, we have his play, Calandra, founded upon the Menœchmi of Plautus and once esteemed as the earliest Italian prose comedy.
Although he was bald, and although his friend Raphael's portrait hardly justifies the epithet, he was known as the "Bel Bernardo." A contemporary MS. in the Vatican describes him as "a facetious character, with no mean powers of ridicule, and much tact in promoting jocular conversation by his wit and well-timed jests. He was a great favourite with certain cardinals, whose chief pursuit was pleasure and the chase, for he thoroughly knew all their habits and fancies, and was even aware of whatever vicious propensities they had. He likewise possessed a singular pliancy for flattery, and for obsequiously accommodating himself to their whims, stooping patiently to be the butt of insulting and abusive jokes, and shrinking from nothing that could render him acceptable to them. He also had much readiness in council, and was perfectly able seasonably to qualify his wit with wisdom, or to dissemble with singular cunning." On the other hand, Bembo wrote of him to their friend Federico Fregoso: "The days seem years until I see him, and enjoy the pleasing society, the charming conversation, the wit, the jests, the features and the affection of that man."
Note 11, page 2. Ottaviano Fregoso, (died 1524), belonged to a noble Genoese family that had long distinguished itself in public service and had furnished several doges to the Republic. His parents were Agostino Fregoso and Gentile di Montefeltro, a half-sister of Duke Guidobaldo. Driven from Genoa as early as 1497, he entered his uncle's court at Urbino and rendered important military services, especially during the struggle with Cesare Borgia, in which he gallantly defended the fortress of San Leo (see note 275), and was rewarded with the lordship of Santa Agata in the Apennines. In 1506 he commanded the papal forces for the recovery of Bologna, and later in the League of Cambray against Venice. In 1513 he succeeded in putting an end to French domination in Genoa, was elected doge, and ruled so beneficently for two years that when Francis I regained the city, Fregoso was continued as governor. In 1522 Genoa was captured and sacked by Spanish and German troops, and Fregoso given over to the Marquess of Pescara, treated harshly (despite Castiglione's intercession on his behalf), and carried to Ischia, where he died.
Several stories of his absent-mindedness are narrated by Dennistoun, and one illustrates the freedom of intercourse at the court of Urbino. His uncle Guidobaldo appearing one day in a beautiful violet satin jerkin, Ottaviano exclaimed: " My lord Duke, you really are the handsome Signor!" and then, on being reproved for flattery, he replied: "I did not mean that you are a man of worth, though I pronounced you a fine man and a handsome nobleman."
Note 12, page 2. "My lady Duchess," Elisabetta Gonzaga, (born 1471; died 1526), was the second daughter of the Marquess Federico Gonzaga of Mantua and Margarita of Bavaria. She married Duke Guidobaldo in 1489. In 1502 she reluctantly attended the festivities for the marriage, at Ferrara, of Lucrezia Borgia to Alfonso d'Este, and some of her costumes are thus described by an eye-witness: On entering Ferrara, she rode a black mule caparisoned in black velvet embroidered with woven gold, and wore a mantle of black velvet strewn with triangles of beaten gold, a string of pearls about her neck, and a cap of gold; another day indoors she wore a mantle of brown velvet slashed, and caught up with chains of massive gold; another day a gown of black velvet striped with gold, with a jewelled necklace and diadem; and still another day, a black velvet robe embroidered with gold ciphers.
During the Borgian usurpation of their duchy in the same year, she shared her husband's exile at Venice, and on returning to Urbino earlier than Guidobaldo, she amused herself with a scenic representation of the chief events that had occurred during their absence. She cared for her husband tenderly in his illnesses, administered his government wisely when he was called away, and on his death acted as regent and guardian for his nephew and successor, with whom she maintained affectionate relations as long as she lived, and from appropriating whose dominions she strove to the utmost to dissuade Leo X.
Next to her husband's niece by marriage, Emilia Pia (see note 37), her closest
friend seems to have been her brother's wife, the famous Isabella d'Este (see note 397), with whom she often travelled and continually corresponded by letter. Although still young and accounted beautiful at her husband's death, she remained faithful to his memory, and the years of her widowhood were cheered by the companionship of her niece, the young duchess Eleanora of Urbino (see note 432). If we may trust universal contemporary opinion of her virtues and beauty, the author of The Courtier flattered her as little as did the painter of her portrait in the Uffizi Gallery.
Note 13, page 3. Vittoria Colonna seems to have had this passage in mind when she wrote, 20 September 1524, to Castiglione in praise of his book: "It would not be fitting for me to tell you what I think of it, for the same reason which you say prevents you from speaking of the beauty of my lady Duchess."
Note 14, page 3. Giovanni Boccaccio, (born 1313; died 1375), was the natural son of a Florentine tradesman and a Frenchwoman with whom his father had made acquaintance during a business residence at Paris. In early manhood he engaged in commerce at Naples, and had but little learning in his youth, although he studied law for a time. Erudition and authorship became the serious enthusiasm of his life, owing (it is said) to a chance visit to the supposed tomb of Virgil at Naples. In middle life he began the study of Greek at his friend Petrarch's suggestion; and although he never acquired more than what would now be deemed a superficial knowledge of that language, as a Hellenist he had no precursor in Italy. An ardent if somewhat unappreciative admirer of Dante (whose Divina Commedia he transcribed with his own hands), he was the first Italian author to write for the common people, instead of composing books suited only to the learned and patrician classes. His style was formed by tireless study of classic models, and became a standard for imitation by his successors.
Note 15, page 3. It is now known that the considerations that led Boccaccio to underrate his poems and tales, were ethical rather than literary.
Note 16, page 5. Theophrastus, (born 374; died 287 B.C.), was a native of Lesbos, but resided at Athens. He was the chief disciple and successor of Aristotle, and wrote also upon a great variety of subjects other than philosophy. His best known work, the "Characters," is a collection of sprightly sketches of human types. La Bruyère's famous book of the same name was originally a mere translation from Theophrastus. The incident mentioned in the text is thus described in Cicero's Brutus: "When he asked a certain old woman for how much she would sell something, and she answered him and added, 'Stranger, it can't be had for less,' — he was vexed at being taken for a stranger although he had grown old at Athens and spoke to perfection."
Note 17, page 5. I. e., pages 39-54. Note 18, page 5. The reference here is to Plato's "Republic," Xenophon's Cyropœdia, and Cicero's De Oratore.
Note 19, page 6. In the letter quoted in note 13, Vittoria Colonna wrote: "I do not marvel at your portraying a perfect courtier well, for by merely holding a mirrour before you and considering your inward and outward parts, you could describe him as you have; but our greatest difficulty being to know ourselves, I say that it was more difficult for you to portray yourself than another man."
Note 20, page 6. More than 140 editions of The Courtier have been published. Most of these are mentioned in the list printed before the Index of this volume. A few of the editions there set down differ from one another only in title-page; a few others, perhaps, exist only in some bibliographer's erroneous mention. Deductions to be made for such reasons, however, are probably offset by other editions that the present translator has failed to bring to light.
In the bibliographical notes appended by the brothers Volpi to their (1733) edition, The Courtier is said to have been translated into Flemish; while in his preface to the Sonzogno (1890) edition, Corio speaks of the introduction of the book into Japan in the 17th century, and also of a Russian translation by Archiuzow.