735:". But when Castiglione wrote, these republics were being replaced by princely courts." According to Peter Burke, one way of summarizing Castiglione's achievement "in a sentence", "would be to say that he helped adapt humanism to the world of the court and the court to humanism." The aim of Castiglione's ideal Renaissance gentleman was not self-cultivation for its own sake but in order to participate in an active life of public service, as recommended by Cicero. To do this he had to win the respect and friendship of his peers and most importantly of a ruler, or prince, i.e., he had to be a courtier, so as to be able to offer valuable assistance and disinterested advice on how to rule the city. He must be a worthy friend, accomplished – in sports, in telling jokes, in fighting, writing poetry, playing music, drawing, and dancing – but not too much. To his moral elegance (his personal goodness) must be added the spiritual elegance conferred by familiarity with good literature (i.e., the humanities, including history). Furthermore, he must excel in all he does without apparent effort and make everything look easy and natural. In a famous passage, Castiglione's friend Lodovico da Canossa, whose views arguably represent Castiglione's own, explains "the mysterious source of courtly gracefulness, the quality which makes the courtier seem a natural nobleman":
760:, and Canossa maintains that because the ideal courtier must be a man of arms, skilled in horsemanship, he needs to be of noble birth. To this, another interlocutor, a very youthful Gaspare Pallavicino, objects that many outstanding and virtuous men have been of humble origins. The other participants eventually agree that even someone who is lowly born can be a perfect courtier, since nobility can be learned through imitation of the best models from life and history until it becomes ingrained and natural. This, at least, is the theory; but in practice, they concede, it is easier to become a perfect courtier if one is born into a distinguished family. In any case, the ideal courtier should be able to speak gracefully and appropriately with people of all stations in life. The French are wrong to assert that a knowledge of letters conflicts with fighting ability. The courtier should be deeply versed in Greek and Latin and should know enough to be able to discriminate between good and bad writing (as well as the other arts) for himself, without relying slavishly on the word of others. The participants also deplore what they consider the rude and uncultivated manners of the French, who they say look down with disdain on what they call a "clerk" (or someone who can read and write), though hope is expressed for
814:, who at age 28 is a bit more mature than Gaspare Pallavicino, is chosen to defend women. He rises to the occasion, affirming their equality to the male sex in every respect, and he points out how throughout history some women have excelled in philosophy and others have waged war and governed cities, listing the heroines of classical times by name. Pallavicino, piqued, hints that Giuliano is wrong, but in the end concedes that he himself has been wrong to disparage women. The reader is led to conclude that Pallavicino's bitterness toward the female sex may be the result of a sincere young man's deep disappointment in love, and this throws into question somewhat the sincerity of the smooth and affable Giuliano, the defender (or flatterer, as Pallavicino suggests) of women. There is some doubt as to whether Pallavicino or Giuliano, or both, express Castiglione's real views on the subject of women. Giuliano de' Medici was also the person to whom
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764:, the future king of France. This is a bitter topic, since the French, who had just invaded Italy, had shown themselves clearly superior in fighting to the Italians. It is noticeable, however, that though skill in fighting is insisted on at the outset as a requisite for the Italian courtier, it is scarcely alluded to in the rest of the book. Pietro Bembo, who was a poet and arbiter of elegance in the Italian language, in fact, even questions whether it is necessary.
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405:, a cousin of both Castiglione and the Duke. The hosts and guests organized intellectual contests, pageants, dances, concerts, recitations, plays, and other cultural activities, producing brilliant literary works. Elisabetta's virtue and abilities inspired Castiglione to compose a series of Platonic love songs and sonnets in her honor. She was played to her husband though his invalid state meant they could never have children.
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749:), is not simply a kind of superficial dissimulation, for grace may also be the result of such assiduous practice that what one does becomes second nature and seems inborn. At the outset of the discussion Canossa also insists that the art of being a perfect courtier is something that cannot be taught (that is, broken down to a set of rules or precepts), and therefore, he declares (rhetorically – and with
657:. Castiglione himself does not contribute to the discussion, which is imagined as having occurred while he was away. The book is Castiglione's memorial tribute to life at Urbino and to his friendships with the other members of the court, all of whom went on to have important positions and many of whom had died by the time the book was published, giving poignancy to their portrayals.
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of good will: the enemy of rough savagery and vileness", which ultimately lifts the lover to the contemplation of the spiritual realm, leading to God. When Bembo has finished, the others notice that they have all become so enraptured by his speech that they have lost track of the time, and they rise to their feet, astonished to discover that day is already dawning:
753:) that he will refuse to teach it. The implication, however, is that those interested in acquiring this art must do so through practice and imitation, which is (like the dialog itself) a form of teaching – teaching without precepts. To perfect oneself is not selfish, but fulfills a public and private moral duty for the individual to act as a model for others.
1617:, Volume 5 , p. 225). Giuliano married the seventeen-year-old Filiberta of Savoy in 1516, the first Medici to marry outside Italy. They had no children. His illegitimate son Ippolito (b. 1511) became a celebrated cardinal and soldier "the patron, companion and rival of all the poets, musicians, and the wits of his time" (William Roscoe,
851:(later a Cardinal). Bembo was born in 1470 and in 1507, when the dialog is supposed to have taken place, would have been in his mid-thirties. Young men's love naturally tends to be sensual, but Bembo talks about a kind of imaginative, non-physical love that is available to young and old alike. Bembo's speech is based on
779:– the Genoese Fregoso brothers taking the republican side, since Genoa had long had a republican government. There is a long discussion, too, about what are appropriate topics for joking (pleasantries), an essential component of pleasing conversation: one should not mock people's physical attributes, for example.
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confines of night and day. From there, there seemed to come a delicate breeze, filling the air with biting cold, and among the murmuring woods on neighboring hills wakening the birds into joyous song. Then all, having taken leave of the
Duchess, went to their rooms, without torches, for the light of day was sufficient.
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would benefit from it more than from three years travel in Italy. Later commentators have not infrequently accused it of advocating superficiality (with "slight justice" according to June
Osborne), yet it has also been called, âThe most important single contribution to a diffusion of Italian valuesâ
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is a parody of this famous work.) Castiglione's depiction of how the ideal gentleman should be educated and behave remained, for better or for worse, the touchstone of behavior for all the upper classes of Europe for the next five centuries. It was one of many
Italian dialogues and treatises written
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for the education of the nobility; and in short, after
Emperor Charles V had elected him Bishop of Avila, he died at Toledo, much honored by all the people. He lived fifty years, two months, and a day. His mother, Luigia Gonzaga, who to her own sorrow outlived her son, placed this memorial to him in
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the object of love is heterosexual not homosexual. Bembo describes how the experience of sublimated love leads the lover to the contemplation of ideal beauty and ideas. He talks about the divine nature and origin of love, the "father of true pleasures, of all blessings, of peace, of gentleness, and
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Another topic, that of the Court Lady, brings up the question of the equality of the sexes. One character, Gaspare
Pallavicino, has been depicted throughout the discussion as a thorough-going misogynist (at one point he even declares that women are only good for having children). Elisabetta Gonzaga
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Ideally, the courtier should be young, about twenty-seven, at least mentally, though he should give the appearance of being graver and more thoughtful than his years. To this end he should wear subdued rather than bright colors, though in general attire he should follow the prevalent customs of his
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In 1516 Castiglione was back in Mantua, where he married a very young
Ippolita Torelli, descendant of another noble Mantuan family. That Castiglione's love for Ippolita was of a very different nature from his former platonic attachment to Elisabetta Gonzaga is evidenced by the two deeply passionate
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Music is brought up, and
Ludovico Canossa declares that the courtier should be able to read music and play several instruments. When the young Lombard nobleman Gaspare Pallavicino objects that music is effeminate, Canossa answers that there is no better way to soothe the soul and raise the spirits
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The
Humanist spirit, with its longing to embrace and fuse the variety and confusion of life, fills that Renaissance conversation – at once so formal and so free, so schooled and spontaneous, so disciplined in design and convivial in movement – with an ardent vision of the one virtue of
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Ottaviano and
Federigo Fregoso were both Genoese patricians: Ottaviano became Doge of Genoa; and during his reign, his younger brother Federigo, a cardinal, assisted him and was given command of the military. Federigo, renowned for his piety and knowledgeable in Hebrew as well as Greek and Latin,
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pursued amid the strenuous turmoil of actual life is realized, in these animated pages, by her passive sister-in-law
Elizabetta. Though she takes no part in the conversation, she presides over it, and her presence permeates its conduct. The men defer to her, especially in their conduct with women
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Anyone who does not esteem the art of painting seems to me to be quite wrong-headed. For when all is said and done, the very fabric of the universe, which we can contemplate in the vast spaces of heaven, so resplendent with their shooting stars, with the earth at its center, girdled by the seas,
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Baldassare Castiglione of Mantua, endowed by nature with every gift and the knowledge of many disciplines, learned in Greek and Latin literature, and a poet in the Italian (Tuscan) language, was given a castle in Pesaro on account of his military prowess, after he had conducted embassies to both
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So when the windows on the side of the palace that faces the lofty peak of Mount Catria had been opened, they saw that the dawn had already come to the east, with the beauty and color of a rose, and all the stars had been scattered, save only the lovely mistress of heaven, Venus, who guards the
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Painting possesses a truly divine power in that not only does it make the absent present (as they say of friendship), but it also represents the dead to the living many centuries later, so that they are recognized by spectators with pleasure and deep admiration for the artist. Quoted in
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varied with mountains, rivers and valleys, and adorned with so many different varieties of trees, lovely flowers and grasses, can be said to be a great and noble painting, composed by Nature and the hand of God. And, in my opinion, whoever can imitate it deserves the highest praise.
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when an old man. Indeed, the wisest ancient philosophers taught that the heavens themselves are composed of music and there is a harmony of the spheres. Music likewise promotes habits of harmony and virtue in the individual and should therefore be learned beginning in childhood.
1456:, "the relationship between interlocutors should resemble a community of friends. This stands in stark contrast to oratoryâs agonistic ideal, where orators confront one another as adversaries. The oratorâs purpose in contention is to beat his opponent; the speakerâs purpose in
1637:. . . . And if ever you liked any of my whims, this one should not displease you, and to a prince, especially a new prince, it should be welcome; therefore I am addressing it to his magnificence Giuliano. Machiavelli, Letter to Francesco Vettori, 10 December 1513, in
1514:"I have found a universal rule . . . valid above all others in all human affairs whether in word or deed: and that is, to avoid any kind of affectation as though it were a rough and dangerous reef; and (to coin a new word, perhaps), to practice in all things a certain
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The beauty of the book is such that it deserves to be read in all ages; and as long as courts endure, as long as princes reign and knights and ladies meet, as long valor and courtesy hold a place in our hearts, the name of Castiglione will be held in honor.â
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which human nature is normally capable: that of moral urbanity. And it is this virtue which women lend to society. They are the custodians of the social covenant. In the code of the Courtier the Renaissance woman comes into her own and the mission which
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The conversation takes place over a span of four days in the year 1507, while Castiglione was supposedly absent on an embassy to England. It addresses the topic, proposed by Federigo Fregoso, of what constitutes an ideal Renaissance gentleman. In the
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surroundings. The courtier should always appear a little more humble than his station requires. He should take care not appear scornful of the efforts of others and should avoid the arrogance shown by some French and some Spanish noblemen.
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Castiglione's letters not only reveal the man and his personality but also delineate those of famous people he had met and his diplomatic activities: they constitute a valuable resource for political, literary, and historical studies.
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agrees that for the courtier music is not just an ornament but a necessity, as it is indeed for men and women in all walks of life. The ideal courtier, however, should not give the impression that music is his main occupation in life.
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Castiglione wrote about his works and of those of other guests in letters to other princes, maintaining an activity very near to diplomacy, though in a literary form, as in his correspondence with his friend and kinsman, Ludovico da
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letters he wrote to her that have survived. Sadly, Ippolita died a mere four years after their marriage, while Castiglione was away in Rome as ambassador for the Duke of Mantua. In 1521 Pope Leo X conceded to him the
598:"Il Cortigiano, Del Conte Baldessar Castiglione. Novamente stampato, et con somma diligentia revisto con la sua tavola di novo aggiunta. Con priuilegio. In Vinegia , appresso Gabriel Giolito de Ferrari MDXLIX"
565:. Historians today believe that Castiglione had carried out his ambassadorial duties to Spain in an honorable manner and bore no responsibility for the sack of Rome. He died of the plague in Toledo in 1529.
554:. He took Valdés to task, severely and at length, in his response to the latter's comments about the Sack of Rome. While in his letter to the pope (dated 10 December 1527), he had the audacity to criticize
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knight who distinguished himself by his prowess on the battlefield. Castiglione's book changed that. Now the perfect gentleman had to have a classical education in Greek and Latin letters, as well. The
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After his death in 1529 a monument was erected to him in the sanctuary of Santa Maria delle Grazie, outside his birthplace of Mantua. It was designed by the mannerist painter and architect
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caught the "spirit of the times" and was speedily translated into Spanish, German, French, Polish, and English. One hundred and eight editions were published between 1528 and 1616 alone. (
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is based, prescribes for the orator an active political life of service to country, whether in war or peace. Scholars agree that Castiglione drew heavily from Cicero's celebrated treatise
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Renaissance portraiture, whether painted or written, served a to memorialize. In his 1435 treatise on painting Leon Battista Alberti described the function of portraiture this way:
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policies, asserting that its own inconsistencies and vacillations had undermined its stated aim of pursuing a fair agreement with the emperor and had provoked Charles V to attack.
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Bembo does say, however, that it is all right for the Platonic lovers to kiss each other chastely on the lips, since, in the opinion of Socrates, a kiss is the union of two souls.
531:, Pope Clement VII suspected Castiglione of having harbored a "special friendship" for the Spanish emperor: Castiglione, the pope believed, should have informed the Holy See of
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and another elegy, after the manner of Petrarca, in which he imagines his dead wife, Ippolita Torelli, as writing to him. In Italian prose, he wrote a prologue for Cardinal
415:, in which he depicted the court of Urbino allegorically through the figures of three shepherds. The work contains echoes of both ancient and contemporary poetry, recalling
836:. He died soon after, in 1517, and was memorialized in a celebrated statue by Michelangelo. Gaspare Pallavicino, the most impetuous and emotional of the interlocutors in
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1613:, p. 371.) Other writers describe him as a good man, whose scholarly and unworldly temperament made him unsuited to the rough politics of the era (Mandell Creighton
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also wrote reformist theological and political treatises (including, reputedly a translation of the works of Martin Luther) that were later placed on the Vatican
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of Urbino during Castiglione's youthful stay there at the beginning of the sixteenth century. It depicts an elegant philosophical conversation, presided over by
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611:– "with whom we had the freest and commerce, but such was the respect we bore to the will of the Duchess that freedom was the greatest restraint."
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legitimate for the Church to use (along with everything else that Cicero and the equally popular Roman philosopher Seneca had written). It became the
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They then discuss which is superior, painting or sculpture? The answer is left open but seems to lean in favor of painting, for, as Canossa maintains:
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was elected in 1512, Castiglione was sent to Rome as ambassador from Urbino. There he was friendly with many artists and writers; including
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Throughout the book, Pallavicino and Emilia Pia are depicted as sparring; and one writer has even suggested that they were the models for
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succeeded as Duke of Urbino on Guidobaldo's death and Castiglione remained at his court. He and the new Duke, who had been appointed
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1862:. an Italian website with extensive contextual and biographical background on Castiglione's life and work, translated into English.
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Marsilio Ficino, Pietro Bembo, Baldassare Castiglione: Philosophical, Aesthetic, and Political Approaches in Renaissance Platonism
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in 1465 after the discovery of movable type, with three other Italian editions following in fifteen years. (The first book was an
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Early Italian humanism had been a product of independent city-republics, most notably Florence. Hans Baron famously called it a "
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Against all expectations, Castiglione received the pope's apologies and the emperor honored him with the offer of the position of
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and Emilia Pia regard his attitude as a challenge and call on the others to come to women's defense. The following evening
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at that time was one of the most refined and elegant in Italy, a cultural center ably directed and managed by the Duchess
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during the Renaissance that explored the ideal gentleman, including Stefano Guazzo's Civil Conversation (1581) and the
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as part of a wider donation of books. In 1949 the collection was expanded by a donation from Huxley St John Brooks.
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and secretary of the emperor, publicly declared the sack to have been a divine punishment for the sinfulness of the
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1537:(imitation) see, for example: Edward P. J. Corbett, "The Theory and Practice of Imitation in Classical Rhetoric",
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The Renaissance Portrait from Donatello to Bellini, 2011 Exhibit at the Metropolitan Museum of New York: Website.
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Erano adunque tutte l'ore del giorno divise in onorevoli e piacevoli esercizi cosi' nel corpo come dell'animo
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Castiglione also produced a number of Latin poems, together with an elegy for the death of Raphael entitled
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great Britain and Rome. While he was working at the Spanish court on behalf of Clement VII, he drew up the
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The discussion also touches on a variety of other questions, such as which form of government is best, a
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than through music, and he names great generals and heroes of antiquity who were keen musicians. Grave
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Richards, "Assumed Simplicity and the Critique of Nobility: Or, How Castiglione Read Cicero", 2001.
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1702:, Stephen Orgel and Sean Keilen, editors (Routledge, 1999), p. 339; and also June Osborne,
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Ralph Roeder calls Giuliano a "veteran philanderer", adding that he was "that rare type of
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The man of the renaissance: four lawgivers: Savonarola, Machiavelli, Castiglione, Aretino
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Castiglione: Pathways Through Italian Literature: Internet Culturale: Italian Writers
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1416:"Assumed Simplicity and the Critique of Nobility: Or, How Castiglione Read Cicero",
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In 1528, the year before his death, the book for which Castiglione is most famous,
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Nowhere was its influence greater than in England, where it was translated by Sir
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The Absence of Grace: Sprezzatura and Suspicion in Two Renaissance Courtesy Books
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The Fortunes of the Courtier: The European Reception of Castiglione's Cortegiano
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The Fortunes of the Courtier: The European Reception of Castiglione's Cortegiano
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The Fortunes of the Courtier: The European Reception of Castiglione's Cortegiano
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The Fortunes of the Courtier: The European Reception of Castiglione's Cortegiano
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is to seek out the truth, collectively, with the other interlocutors", Remer,
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French Center for Research and Restoration of the Museums of France: Raphael,
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Baldasare Castiglione, The Perfect Courtier: His Life and Letters, 1478â1529
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Annali della Scuola Normale Superiore di Pisa, Classe di Lettere e Filosofia
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Baldasare Castiglione, The Perfect Courtier: His Life and Letters, 1478â1529
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Castiglione's minor works are less known, including love sonnets and four
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Castiglione answered both the pope and Valdés in two famous letters from
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Renaissance Lawgivers: Savonarola, Machiavelli, Castiglione, and Aretino
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Renaissance Lawgivers: Savonarola, Machiavelli, Castiglione, and Aretino
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The book ends on an elevated note with lengthy speech about love by the
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According to Cicero, conversations , âflourish best in friendshipsâ (
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at the school of the renowned teacher of Greek and editor of Homer
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1621:, p. 294) was painted by Titian, and died at the age of 24.
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A History of the Papacy from the Great Schism to the Sack of Rome
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Although it was not a Christian work, St Ambrose in 390 declared
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Shakespeare and the Literary Tradition: The Scholarly Literature
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Machiavelli wrote in a letter to his friend, Francesco Vettori:
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in 1561 and is a recognizable source for Shakespeare. In 1572,
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For more on the princely court as a political institution see
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In 1506 Castiglione wrote (and acted in) a pastoral play, his
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MS 239/25 Ad sacratissimum Britanniae regem Henricum at OPenn
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than the poet in Castiglione, nevertheless contains hints of
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dealing with questions of the etiquette and morality of the
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that it was one of the first books to be printed in Italy
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Dates of birth and death, and cause of the latter, from
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throughout Europe. The definitive study of reception of
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In 1494, at the age of sixteen, Castiglione was sent to
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338:, Castiglione met Francesco Gonzaga's brother-in-law,
1273:(1933, reprint: Transaction Publishers, 2011), p. 371.
1439:(State College, Pa.: Penn State Press, 2008), p. 26.
1357:
for Renaissance humanism may be gauged from the fact
859:'s speech on the nature of love at the conclusion of
137:; 6 December 1478 â 2 February 1529), was an Italian
1284:
1099:
1822:. Stanford, CA: Stanford University Press, 2000.
1906:
1533:For the Renaissance (i.e., Classical) theory of
1103:Readings in the History of Music in Performance
944:, wrote that a young man who carefully studied
881:
326:, whom Castiglione accompanied in that year in
1414:is explored in depth in Jennifer Richards's,
1287:Culture and Values: A Survey of the Humanities
1038:holds a significant collection of editions of
756:The ideal courtier, then, must act with noble
925:, the sourcebook for later etiquette guides.
1479:A Companion to the Worlds of the Renaissance
1340:during the Middle Ages. See Hannis Taylor,
665:The Ducal Palace at Urbino, setting of the
586:
1545:, vol. 33, No. 1 (Spring, 1980), pp. 1-32.
1494:(Penn State University Press, 1995) p. 34.
1214:(University of Chicago Press, 1997), p. 87
1145:(lordship) of Casatico (today part of the
31:
1833:, vol. 21). Peter Lang Publishing, 1998.
1831:Renaissance and Baroque Studies and Texts
1676:, Milan, FrancoAngeli, 2015, pp. 211-233.
1375:, which has not been preserved; Cicero's
318:(Latinized as Demetrius Calcondila), and
271:Learn how and when to remove this message
126:Baldassare Castiglione, Count of Casatico
1871:, translated by Leonard Eckstein Opdyke.
1283:Lawrence Cunningham, John Reich (2006).
1260:(London: Frances Lincoln, 2003), p. 168.
973:for Elisabetta Gonzaga, in the style of
828:. Giuliano was later given the title of
659:
592:
324:Francesco II Gonzaga, Marquess of Mantua
1813:Urbino: the Story of a Renaissance City
1756:Urbino: the Story of a Renaissance City
1743:Urbino: the Story of a Renaissance City
1717:Urbino, the story of a Renaissance City
1657:
1569:Urbino: the Story of a Renaissance City
1556:Urbino: the Story of a Renaissance City
1462:Humanism and the Rhetoric of Toleration
1437:Humanism and the Rhetoric of Toleration
1258:Urbino: the Story of a Renaissance City
1155:Ludovico III Gonzaga, Marquis of Mantua
334:into Milan. On a diplomatic mission to
1907:
1758:, p. 168. See also wikipedia entry on
1704:Urbino the Story of a Renaissance City
1609:, a rake who respects womenâ (Roeder,
1342:Cicero: A Sketch of His Life and Works
1069:
993:inspiration. It was set to music as a
818:had first planned to address his book
16:Italian Renaissance author (1478â1529)
1771:
1769:
1767:
1698:: The Renaissance Vision of Love" in
1674:Machiavelli nel Rinascimento italiano
1539:College Composition and Communication
957:, Penn State University Press, 1995.
132:
1808:. Penn State University Press, 1995.
1481:(Blackwell, 2002, 2007), pp.150â172.
209:adding citations to reliable sources
180:
1955:Writers from the Province of Mantua
1775:
1387:was the third, followed in 1467 by
1130:. Penn State University Press, 1995
692:called "the honest man"), on which
679:, the perfect gentleman had been a
89:Courtier, diplomat, soldier, author
13:
1764:
1672:;reprinted in Connell, William J.,
1244:Portrait of Baldassare Castiglione
637:. The book, in dialog form, is an
134:[baldasËsaËrekastiÊËÊoËne]
38:Portrait of Baldassare Castiglione
14:
1986:
1965:16th-century Italian male writers
1852:
1848:. New York: Meridian Books. 1933.
1001:and translated by, among others,
1975:Italian male non-fiction writers
1888:
1815:. London: Frances Lincoln, 2003.
983:Superbi colli e voi, sacre ruine
716:. The genre is also the same in
688:model of the ideal orator (whom
346:, husband of Francesco's sister
185:
1881:Works by Baldassare Castiglione
1748:
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1347:
1326:
1308:
1276:
1263:
855:'s influential commentaries on
539:, twin brother of the humanist
196:needs additional citations for
1643:: New Interdisciplinary Essays
1633:I have composed a little work
1250:
1235:
1219:
1197:
1174:
1133:
1120:
1093:
1030:
960:
898:Il Malpiglio overo de la corte
812:Giuliano di Lorenzo de' Medici
527:. In 1527, at the time of the
476:famous portrait of Castiglione
306:, then under the rule of Duke
1:
1970:16th-century writers in Latin
1920:Italian Renaissance humanists
1798:
1760:sincerity in Western culture.
1754:Denys Hay quoted by Osborne,
1619:The Life of Lorenzo de Medici
1594:(London: Murray, 1908), p. vi
887:"Have you read Castiglioneâs
1658:Connell, William J. (1999).
1344:(A. C. McClurg. 1916), p. 9.
1106:. Indiana University Press.
1014:De morte Raphaellis pictoris
969:("Amorous Songs") about his
882:The Fortunes of the Courtier
444:Francesco Maria della Rovere
399:Francesco Maria della Rovere
176:
7:
1945:Italian non-fiction writers
1915:Italian Renaissance writers
1887:(public domain audiobooks)
1194:, Rai International online.
1100:MacClintock, Carol (1979).
1090:, Rai International online.
1051:
787:himself began to learn the
10:
1991:
1960:16th-century Italian poets
1664:di Baldassare Castiglione"
1385:De divinis institutionibus
641:portrait of the exemplary
145:, soldier and a prominent
1900:University College London
1406:The relationship between
1181:âBaldassarre Castiglioneâ
1077:âBaldassarre Castiglioneâ
1036:University College London
647:Guidobaldo da Montefeltro
340:Guidobaldo da Montefeltro
111:
101:
93:
85:
65:
48:
30:
23:
1869:The Book of the Courtier
1778:"Castiglione Collection"
1694:See Neal L. Goldstien, "
1670:. ser.4, vol.4: 473â497.
1660:"Un rito iniziatico nel
1435:1.37.132)," Gary Remer,
1408:The Book of the Courtier
1230:The Book of the Courtier
1206:Index of Forbidden Books
1063:
1041:The Book of the Courtier
946:The Book of The Courtier
618:The Book of the Courtier
588:The Book of the Courtier
316:Demetrios Chalkokondyles
283:Castiglione was born in
220:"Baldassare Castiglione"
162:The Book of the Courtier
117:The Book of the Courtier
623:Il Libro del Cortegiano
1896:Castiglione Collection
1776:UCL (23 August 2018).
1728:quoted in Cartwright,
1647:
1639:NiccolĂČ Machiavelliâs
1524:
1420:, vol. 54, No. 2, 2001
1323:
1212:Renaissance Characters
902:
879:
807:
671:
613:
601:
584:
454:'s expedition against
361:and her sister-in-law
25:Baldassare Castiglione
1631:
1586:Beatrice and Benedict
1543:Renaissance Quarterly
1512:
1418:Renaissance Quarterly
1379:was the second, and
1315:
1291:. Thomson Wadsworth.
885:
874:
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663:
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1950:Italian rhetoricians
1825:Raffini, Christine.
1696:Love's Labour's Lost
1662:Libro del Cortegiano
1159:Comune di Marcaria:
1046:Sir Herbert Thompson
906:Book of the Courtier
667:Book of the Courtier
633:run by the heirs of
625:), was published in
579:Book of the Courtier
499:sent Castiglione to
458:, an episode in the
205:improve this article
60:Margravate of Mantua
1715:Quoted in Osborne,
1656:As demonstrated in
1567:Quoted in Osborne,
1303:culture and values.
923:Giovanni Della Casa
834:Francis I of France
794:Giuliano de' Medici
686:Ciceronian humanist
507:(ambassador of the
379:Giuliano de' Medici
375:Ludovico da Canossa
328:Louis XII of France
1940:Italian male poets
1590:Julia Cartwright,
1353:The importance of
1186:2009-04-08 at the
1167:2009-02-09 at the
1082:2009-04-08 at the
975:Francesco Petrarca
938:Bartholomew Clerke
672:
651:Elisabetta Gonzaga
602:
348:Elisabetta Gonzaga
312:humanistic studies
155:Castiglione wrote
1935:Italian courtiers
1490:See Peter Burke,
1475:Robert Muchembled
1007:Joachim du Bellay
999:Girolamo Conversi
995:six-part Madrigal
953:is Peter Burke's
867:, except that in
762:Francis of Valois
537:Alfonso de Valdés
448:capitano generale
435:(later Bishop of
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154:
125:
124:
115:
71:(1529-02-02)
18:
1930:1529 deaths
1925:1478 births
1732:, pp. v-vi.
1582:Shakespeare
1516:sprezzatura
1450:De officiis
1433:De officiis
1334:De officiis
1031:Collections
1018:Bibbiena's
961:Minor works
930:Thomas Hoby
889:Cortegiano?
816:Machiavelli
758:sprezzatura
751:sprezzatura
743:Sprezzatura
738:sprezzatura
699:De Officiis
677:Middle Ages
423:as well as
332:royal entry
299:of Mantua.
147:Renaissance
106:Renaissance
94:Nationality
1909:Categories
1799:References
1641:The Prince
1412:De Oratore
1381:Lactantius
1377:De Oratore
1355:De Oratore
1157:, in 1445.
921:(1558) by
821:The Prince
747:Quintilian
722:De Oratore
710:De Oratore
705:De Oratore
681:chivalrous
655:Emilia Pia
468:Pope Leo X
363:Emilia Pia
359:Elisabetta
231:newspapers
86:Occupation
1741:Osborne,
1719:, p. 171.
1571:, p. 160.
1558:, p. 160.
1554:Osborne,
1389:Augustine
1161:La Storia
1020:Calandria
865:Symposium
533:Charles V
513:Charles V
421:Sannazaro
417:Poliziano
393:from the
387:Ottaviano
177:Biography
1885:LibriVox
1745:, p. 12.
1464:, p. 37.
1184:Archived
1165:Archived
1151:Marcaria
1142:signoria
1080:Archived
1052:See also
857:Socrates
847:scholar
845:humanist
832:by King
785:Socrates
773:republic
608:Isabella
509:Holy See
495:In 1524
442:In 1508
297:Gonzagas
293:Lombardy
285:Casatico
171:courtier
143:diplomat
139:courtier
130:Italian:
56:Casatico
1787:26 June
1535:Mimesis
1373:Donatus
1363:Subiaco
1192:Italica
1147:commune
1088:Italica
919:Galateo
826:Lorenzo
789:cithern
639:elegiac
629:by the
556:Vatican
525:Granada
521:Seville
489:tonsura
472:Raphael
466:. When
433:Canossa
410:eclogue
367:Raphael
287:, near
245:scholar
97:Italian
42:Raphael
1837:
1588:. See
1295:
1208:. See
1171:, p.3.
1110:
900:(1585)
690:Cicero
627:Venice
600:(1549)
552:Burgos
545:clergy
517:Toledo
480:Louvre
464:Pesaro
456:Venice
437:Bayeux
425:Virgil
355:Urbino
289:Mantua
247:
240:
233:
226:
218:
150:author
76:Toledo
1458:sermo
1454:sermo
1361:, at
1232:, IV.
1064:Notes
861:Plato
775:or a
726:sermo
643:court
582:1529.
501:Spain
413:Tirsi
304:Milan
252:JSTOR
238:books
54:near
1835:ISBN
1789:2024
1607:roué
1293:ISBN
1139:The
1108:ISBN
1005:and
977:and
904:The
720:and
523:and
419:and
389:and
336:Rome
224:news
165:, a
66:Died
49:Born
1898:at
1883:at
1584:'s
1522:32)
1391:'s
1383:'s
1371:by
1149:of
997:by
912:'s
863:'s
645:of
515:to
503:as
439:).
330:'s
207:by
159:or
40:by
1911::
1780:.
1766:^
1666:.
1397:.)
1301:.
1190:,
1086:,
1009:.
896:,
741:.
547:.
519:,
482:.
427:.
397:;
381:;
377:;
373:;
342:,
152:.
141:,
78:,
58:,
1841:.
1829:(
1791:.
1596:.
1422:.
1247:.
1116:.
670:.
621:(
291:(
274:)
268:(
263:)
259:(
249:·
242:·
235:·
228:·
201:.
128:(
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