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already sent to his wife in Mantua. He wrote to his wife to give it to his sister-in-law, but
Isabella replied that she was not so willing to cede this honor to her sister and, with the excuse that she lacked a mule, begged her husband to invent some expedient. Beatrice replied that it was not her intention to steal the booty from her sister, but that she only wanted to see it all together and then return it to her. Meanwhile, it occurred to her to procure "a femina de partito", that is, a high-ranking prostitute, to Francis, saying to do it "for a good cause and to avoid greater evil", that is to say to preserve her brother-in-law and sister from the terrible malfrancese, but perhaps also to ingratiate herself with him. In October Francis wrote to his wife sorry that she was not there with them to see the army before it was disbanded, but it does not seem that he had urged her to come, probably because he had at heart his safety (the camps were dangerous places, where violent fights often broke out, and Beatrice herself had been saved on one occasion by Francis, when she risked being raped by a few thousand Alemannic mercenaries).
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aroused the concerns of her mother
Eleonora, who continually exhorted her in letters to be as close as possible to her husband. A certain hatred can also be seen in a letter to his mother dating back to his visit to Pavia in August 1492, when, speaking of Beatrice, he wrote: "she is not a greater than me, but she is much bigger!"; in a similar way she also expressed herself to her husband, not being able yet to know, perhaps, that the sister's coarseness was due to the incipient pregnancy (she was at the fourth-fifth month). These frictions were perhaps also linked to the fact that Ludovico had initially asked for Isabella's hand, in 1480, and that this had not been possible because, only a few days earlier, Duke Ercole had officially promised it to Francesco Gonzaga.
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disappointed, indeed from the beginning he declared himself in love with the firstborn
Eleonora, despite the absolute disappointment of Isabella who refused her daughter, who was then very lovingly educated by her sister-in-law Elisabetta, who because of her husband's impotence never had children. When in 1496 the second daughter Margherita was born, Isabella was so angry that she wrote to her husband, who was then fighting the French in Calabria, a letter in which she blamed him, declaring that she did nothing but reap the fruits of his sown. Francis replied that he was instead very happy with the birth of his daughter – who, however, did not have time to know, having died in swaddling clothes – and indeed forbade anyone to show discontent with it.
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1119:– where her figure was provided next to that of her husband – since in the past the painter had portrayed her "so badly done" – in a painting that in fact has not survived – "which has none of my similarities". However, the negative judgment of the Marquise was not due to Mantegna's inability to portray her similar to the truth, as she herself writes, but to the opposite lack: of not knowing how to "well counterfeit the natural", that is idealize. Her husband Francesco had to pose alone and Mantegna remedied the disturbance of the symmetry by painting, in place of the Marquise, St. Elizabeth, his eponymous saint.
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1545:('una moreta') between the ages of one-and-a-half and four, and twice in early June reminded him of the request, emphasizing that the girl should be 'as black as possible'. Isabella's household and financial records reflect that she already had a significantly older black girl in her service when she inquired after a younger black child. Records also reflect that she obtained a little black girl from a Venetian orphanage. She opened negotiations with a Venetian patrician household for the sale of a little black boy and purchased an enslaved little black girl from her sister.
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1466:. Evidence in favor of Isabella as the subject of the famous work includes Leonardo's drawing 'Isabella d'Este' from 1499 and her letters of 1501–1506 requesting the promised painted portrait. Further arguments focus upon the mountains in the background indicating the native origin of the subject, and the armrest in the painting as a Renaissance symbol used to identify a portrait as that of a sovereign. The Louvre's reservation is that Isabella would be a "blonde", a feature that exists only in the widely circulated but uncertain representation
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Isabella could boast a role in this sense only in the years of maturity. The different fate of the two sisters certainly weighed in these judgments: Isabella lived sixty-five years, Beatrice died at twenty-one. It was from this tragic loss, for which she proved inconsolable, that
Isabella undertook to support her brother-in-law's cause with her husband Francesco, who was against him. So he continued to do until the fall of the Sforza, in 1499, when he suddenly changed sides and declared himself to be "good French".
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Congress of Mantua, which was held to settle questions concerning
Florence and Milan. As a ruler, she appeared to have been much more assertive and competent than her husband. When apprised of this fact upon his return, Francesco was furious and humiliated at being surpassed by his wife's superior political ability. This caused their marriage to break down irrevocably. As a result, Isabella began to travel freely and live independently from her husband until his death on 19 March 1519.
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Isabella which the latter had coldly and disdainfully ignored. From the time
Lucrezia had first arrived in Ferrara as Alfonso's intended bride, Isabella, despite having acted as hostess during the wedding festivities, had regarded Lucrezia as a rival, whom she sought to outdo at every opportunity. Francesco's affair with Lucrezia, whose beauty was renowned, caused Isabella much jealous suffering and emotional pain. The liaison ended when he contracted
754:, into an asylum for approximately 2,000 people (including clerics, nobles and common citizens) fleeing the Imperial soldiers. Her huge place was the only place safe from attacks, because her son Ferrante Gonzaga was a general in the invading army and she herself had good relationship with the emperor. When she left Rome, she managed to acquire safe passage for all the refugees who had sought refuge in her home.
409:. Isabella became his wife amid a spectacular outpouring of public rejoicing and a grand celebration that took place on 15 February. She brought the sum of 3,000 ducats as her marriage portion, as well as valuable jewelry, dishes, and a silver service. Prior to the magnificent banquet which followed the wedding ceremony, Isabella rode through the main streets of Ferrara astride a horse draped in gems and gold.
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despite not having the child yet turned one year of age, something that historians such as
Luciano Chiappini interpreted as a sort of mockery, of "refined malice", "a slap given with grace and grace". In fact, if Isabella was always the daughter most loved by her parents, Beatrice had been ceded to her grandfather, and only with the birth of the firstborn had she obtained her own revenge.
398:. Although he was not handsome, Isabella admired Francesco for his strength and bravery; she also regarded him as a gentleman. After their first few encounters she began to enjoy his company and she spent the next few years getting to know him and preparing to be the Marchioness of Mantua. During their courtship, Isabella treasured the letters, poems, and sonnets he sent her as gifts.
1097:. It is known that the elderly Isabella preferred idealized paintings and even waived sitting as a model. However, it may be presumed that she insisted nonetheless on seeing her personal characteristics in the outcome. These few identifications are known as inhomogeneous (i.e. differing eye and hair colours as well as divergent eyebrows in two Titian portraits).
548:- regretted that Ludovico had not, only briefly, married Isabella, fantasizing about the splendors that Isabella would be able to bring to Milan, in conditions of greater well-being than to Mantua, and how he could distract the Moro from his perverse policy. These judgments were not separated from a blatant contempt for the second daughter, as in the case of
1169:, Florence) has been discussed as an alternative to Titian's 1536 portrait in Vienna, because the commission from the 60-year-old patron was for a rejuvenated portrait; if La Bella were Isabella, eye colour, hair colour, eyebrows, and general appearance would homogenize in all known portraits, allowing potential links toward further identifications.
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that Titian’s portrait was painted, Titian’s friend, Pietro
Aretino, mocked her appearance, calling her “the monstrous Marchioness of Mantua, with ebony teeth and ivory eyelashes, dishonestly ugly and ultra-dishonestly tarted up.” Despite her desplays of modesty, Isabella was also known to lose herself infront of a mirror.
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Milan, not only by
Galeazzo but also by her sister, Ludovico and the other courtiers, however the Marquise was able to go there a few times, as her husband Francesco was wary of sending it to her, judging that in that court too many "madness" were committed, and perhaps also out of jealousy of Ludovico.
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in disagreement with
Isabella's conduct, even went so far as to call her "that ribald whore". A not dissimilar judgment had also expressed her husband Francesco himself who, now a prisoner of the Venetians, accused his wife of not loving him and of having indeed been the cause of his ruin, referring
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of the Gonzagas. She did not lack company, however, as she passed the time with her mother and with her sister, Beatrice. Upon meeting Elisabetta Gonzaga, her 18-year-old sister-in-law, the two women became close friends. They enjoyed reading books, playing cards, and travelling about the countryside
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Isabella's relationship with her husband over the years often proved to be tense, at times very tense, both for the political differences between the two and for the difficulty in procreating a male heir. In truth, Francesco for his part was always very proud of his daughters and never showed himself
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Others instead defined Beatrice's attitude towards her sister as "complexed second child" because in the letter of congratulations to Isabella for the birth of little Eleonora - who, being female, incredibly disappointed her mother - she added the greetings of her little son Hercules to "soa cusina",
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In fact, it does not seem that Beatrice had any conflicting feelings towards Isabella, nor that she saw with a bad eye the complicity between the latter and her husband Ludovico. The Moro in fact, who was of generous nature, often gave Isabella even very expensive gifts: once he sent her fifteen arms
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Due to her outstanding intellect, she often discussed the classics and the affairs of state with ambassadors. In addition, she was personally acquainted with the painters, musicians, writers, and scholars who lived in and around the court. Besides her extensive knowledge of history and languages, she
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to her brother Ludovico Sforza, complaining that it did not resemble her very much “for being a little fatter than me.” Ludovico replied that he liked the portrait very much of her and that it was very similar to her, although "somewhat more fat", unless Isabella had "grown fatter after we saw her."
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became the mistress of Francesco. At about the same time, Isabella had given birth to a daughter, Ippolita, and she continued to bear him children throughout Francesco and Lucrezia's long, passionate affair, which was more sexual than romantic. Lucrezia had previously made overtures of friendship to
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As the couple had known and admired one another for many years, their mutual attraction deepened into love. Reportedly, marriage to Francesco caused Isabella to "bloom". At the time of her wedding, Isabella was said to have been pretty, slim, graceful, and well-dressed. Her long, fine hair was dyed
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After the death of his wife, which took place in 1497, Ludovico came to allude to a secret relationship with Isabella, claiming that it was out of jealousy of his wife that the Marquis Francesco played a double game between him and the Lordship of Venice. The rumor was however promptly denied by his
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She was a patron of the arts as well as a leader of fashion and her innovative style of dressing was emulated by many women. The poet Ariosto labeled her as the "liberal and magnanimous Isabella", while author Matteo Bandello described her as "supreme among women". Diplomat Niccolò da Correggio went
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describe Isabella’s “rippling golden hair that flowed in thick masses over her shoulders,” in a passage that, according to art historian Sally Hickson, identifies Isabella as the “living paragon of female beauty.” The real Bembo praised Isabella’s “beautiful and charming hand and pure, sweet voice”
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As a widow, Isabella at the age of 45 became a "devoted head of state". Her position as a Marquise required her serious attention, therefore she was required to study the problems faced by a ruler of a city-state. To improve the well-being of her subjects she studied architecture, agriculture, and
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On 11 February, speaking to her about the amusements he had with Beatrice, he wrote to her: "I will also strive to improve in order to give greater pleasure to the S. V., when I come for her this summer", and lamented the lack of "his sweet company". Isabella's presence was in fact much desired in
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Between the two immediately ignited a dispute, destined to last for months, on who was the best paladin, Orlando or Rinaldo: Galeazzo supported the first, the sisters d'Este the second. Galeazzo, who exercised a strong fascination, soon managed to convert them both to Orlando's faith, but Isabella,
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Correspondence exchanged by Isabella documents the Renaissance European tendency to perceive black African slaves as exotic. Isabella's pursuit of a black child as a servant is extensively documented. On 1 May 1491 Isabella asked Giorgio Brognolo, her agent in Venice, to procure a young black girl
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that he had “made us far more beautiful by your art than nature ever made us.” Likewise she told Trissino that “your praises of us far exceed the truth”, and said of Titian’s portrait that “we doubt that at the age he represents us we were ever of the beauty it contains.” In 1534, in the same year
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himself, Luzio's colleague, judged that Beatrice was the most suitable wife for Ludovico, since she knew, with her own audacity, to instill courage in her insecure consort, and acquired political depth already in her early youth, so much so as to be decisive in situations of greatest danger, while
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Despite the affection, Isabella began to feel envy for her sister Beatrice, first for the very fortunate marriage that had touched her and for the enormous riches, then for the two sons in perfect health who were born to her a short time later, while she seemed unable to have children, and in this
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Comparison between an alleged bust of Isabella, attributed to Gian Cristoforo Romano, and two of her portraits: the very certain one of the same sculptor and the almost certain one of Leonardo da Vinci. There are some differences compared to the latter: in the torso the double chin is completely
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Isabella had met the French king in Milan in 1500 on a successful diplomatic mission that she had undertaken to protect Mantua from French invasion. Louis had been impressed by her alluring personality and keen intelligence. It was while she was being entertained by Louis, whose troops occupied
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Moreover, Isabella had already had a mishap with some Genoese soldiers who, upon entering the city in 1492, surrounded her to appropriate her mount and harness, according to custom. So she later told her husband: "I was never more afraid; and they tore all the harness to pieces, and took off the
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Other mischief between sisters dates back to the weeks immediately following the battle of Fornovo: Beatrice, who was at the siege of Novara together with the Marquis Francesco, wanted to see the booty stolen from the tent of King Charles VIII during the battle, booty that however Francesco had
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Isabella played an important role in Mantua during troubled times for the city. When her husband was captured in 1509 and held hostage in Venice, she took control of Mantua's military forces and held off the invaders until his release in 1512. In the same year, 1512, she was the hostess at the
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Once Rome became stabilized following the sacking, she left the city and returned to Mantua. She made it a centre of culture, started a school for girls, and turned her ducal apartments into a museum containing the finest art treasures. This was not enough to satisfy Isabella, already in her
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Despite everything, in 1492 she was very close to Beatrice in a difficult moment of her pregnancy, that is when she was suddenly struck by an attack of malarial fevers, and in 1495 she went again to Milan to assist her sister in her second birth and also baptized her nephew Francesco.
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In the year of her brother Ferrante's birth, Isabella was among the children of the family who travelled to Naples with her mother. When her mother returned to Ferrara, Isabella accompanied her, while the other two children remained in Naples for many years: Beatrice was adopted by her
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described her as "one of the wisest and most fortunate of women". The poet Ariosto deemed her the "liberal and magnanimous Isabella". Author Matteo Bandello wrote that she was "supreme among women", and the diplomat Niccolò da Correggio entitled her "The First Lady of the world".
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The Duchess says that when the Duke of Orliens came, she had to dress colorfully, dance and be kissed by the Duke, who wanted to kiss all the bridesmaids and women of account. Coming Count Delfino or someone else of royal blood, the Duchess invites the S.V. to take these little
676:. She began to play an increasingly important role in Italian politics, steadily advancing Mantua's position. She was instrumental in promoting Mantua to a Duchy, which was obtained by wise diplomatic use of her son's marriage contracts. She also succeeded in obtaining a
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Having also received different educations, the two sisters were the opposite of each other: Isabella, more like her mother, was sweet, graceful and a lover of tranquility; Beatrice, more like her father, was impetuous, adventurous and aggressive. Beatrice loved to shoot
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bridle before I could dismount, despite the fact that the governor interposed him and that I voluntarily offered it to him. I lost heart, although among so many partisans I was afraid of some misfortune. Finally, helped, I freed myself from their hands ".
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In the summer of 1494, on the occasion of the descent of the French into Italy, Beatrice invited her sister to Milan to kiss Gilbert of Montpensier and others of the royal house, according to the custom French. Secretary Benedetto Capilupi reported:
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Renaissance portraiture served "to keep the memory of an absent or deceased person present" under "the most exact imitation possible of the person to be portrayed and universally valid idealisation underlining virtue and dignity". Ulrich Pfisterer:
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In 1509 she complained to her husband that “if she had more to do with running the state she would not have grown fat”, while in 1511 her sister Lucrezia complained about an early draft of the Francia portrait that made her look too thin.
454:", invited her to follow her sister's example and swore that he would convert her a second time, as soon as they met again. Isabella jokingly replied that she would then bring a frog to offend him, and the dispute went on for a long time.
2846:. Societa Romana di storia patria (Rome) 1887, p. 59: "... pregandolo tuttavia a ritoccare il ritratto ne' capelli, che il pittore aveva fatti troppo biondi" and Luzio (1913), p. 213: "... a commutar gli occhij de nigri in bianchi"
264:. She received a fine classical education and she met many famous humanist scholars and artists. Due to the vast amount of extant correspondence between Isabella and her family and friends, her life is extremely well documented.
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again —- as she had known him as a child in Ferrara —- with whom she began a large, and at times humorous, exchange of letters. However, his identity is not certain and could be the almost homonymous Galeazzo Visconti, Count of
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Note: In fifteenth century Italy the day began at sunset rather than at midnight; therefore as Isabella's birth occurred on 19 May at the second hour, this indicated that correctly, she was born on 18 May, at 9.00
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missing, the chin is more marked, the nose more thinned, the forehead less rounded and more generally the face appears less full; however, it cannot be excluded that it may be an idealized portrait of her.
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Temple curl and pre-form of the balzo, 1511 is also the year of Isabella's documented commission for Francia's portrait (probably based on Leonardo da Vinci), the later model for Titian; see Bruce Cole:
552:, who writes: "The luck that made play of this Sforza, making him pass from the brightest heights to the darkest abysses of misery, had in April 1480 exchanged a beneficial star for a sinister meteor".
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Despite her significant art patronage that included a number of portraits, there are very few surviving portraits that may be identified as Isabella, especially when compared to her sister
828:, who asked the chaplain Bernardino of Urbino about her features and attempted to arrange a meeting with her. However, this meeting never took place as shortly after he returned to France.
628:, Duke of Milan, who had been forced to leave his duchy in the wake of French occupation. Isabella presented Cecilia to King Louis, describing her as a "lady of rare gifts and charm".
2070:
Luzio Alessandro. Isabella d'Este e la corte sforzesca, Archivio Storico Lombardo : Giornale della società storica lombarda (1901 mar, Serie 3, Volume 15, Fascicolo 29), p. 147.
537:, Isabella had "the hand so light that we cannot play well , when we have to strain it for the hardness of the keys". However, they were united by the desire to excel in everything.
3189:
Joaneath Spicer, "European Perceptions of Blackness as Reflected in the Visual Arts," Revealing the African Presence in Renaissance Europe, (Baltimore: The Walters Art Museum, 2012)
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2009:
Alessandro Luzio e Rodolfo Renier, Delle relazioni d'Isabella d'Este Gonzaga con Lodovico e Beatrice Sforza, Milano, Tipografia Bortolotti di Giuseppe Prato, 1890, pp. 114-119.
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As of 2021, the 1495 medal by Gian Cristoforo Romano (several extant copies) is the only reliable identification because of the inscription created during Isabella's lifetime.
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the slightly upturned one of her mother. Furthermore, all were dark-haired, except Ferrante and Sigismondo, who had recovered, as it seems, the traditional blond of the Este.
2894:
909:; her life is documented by her correspondence, which remains archived in Mantua (approximately 28,000 letters received and copies of approximately 12,000 letters written).
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Alessandro Luzio e Rodolfo Renier, Delle relazioni d'Isabella d'Este Gonzaga con Lodovico e Beatrice Sforza, Milano, Tipografia Bortolotti di Giuseppe Prato, 1890, p. 116.
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Alessandro Luzio e Rodolfo Renier, Delle relazioni d'Isabella d'Este Gonzaga con Lodovico e Beatrice Sforza, Milano, Tipografia Bortolotti di Giuseppe Prato, 1890, p. 64.
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Paolo Negri, Studi sulla crisi italiana alla fine del secolo, Archivio storico lombardo: giornale della Società storica lombarda, anno 51, fasc. 1-2 (1924), p. 130.
363:. In addition to these accomplishments, she was also an innovator of new dances, having been instructed in the art of dance by Ambrogio, a Jewish dancing master.
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Isabella was worried about her weight from an early age. As an adult she discussed her weight with those close to her frequently. In 1499 she sent a portrait by
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Hickson, Sally (2009). "'To see ourselves as others see us': Giovanni Francesco Zaninello of Ferrara and the portrait of Isabella d'Este by Francesco Francia".
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Alessandro Luzio and Rodolfo Renier, 'Buffoni, schiavi e nani alla corte dei Gonzaga ai tempi d'Esabella d'Este', Nuova Antologia, 19 (1891), pp. 112–46, 140–5.
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In the current catalogue raisonné of Leonardo da Vinci (2019), only Isabella d'Este is documented as a plausible alternative as the subject of Leonardo's
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In recent years several museums have withdrawn their few identifications of portraits as Isabella because of concern about possible misidentification.
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386:, the heir to the Marquess of Mantua. The Duke of Milan requested her hand in marriage for his son, Ludovico, two weeks later. Instead, her sister,
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La galleria dei Gonzaga, venduta all'Inghilterra nel 1627–28: documenti degli archivi di Mantova e Londra, Alessandro Luzio Cogliati, 1913, p. 223.
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Pizzagalli, Daniela (1999). "La dama con l'ermellino, vita e passioni di Cecilia Gallerani nella Milano di Ludovico il Moro". Rizzoli. Rizzoli.
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Paul H.D. Kaplan, "Isabella d'Este and black African women", Black Africans in Renaissance Europe, (Cambridge: Cambridge University Press, 2005)
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once back in Mantua, returned to prefer Rinaldo, so that Galeazzo remembered her as "I alone was enough to make her change her mind and cry out
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Idealised portraits still show characteristics of the person. The following characteristics can be derived (characteristics of the disputed
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until her death on 13 February 1539. She was buried beside her husband in the Church of Santa Paola in Mantua, but the remains were stolen.
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2406:"Este, Beatrice d' and Isabella d' – Dictionary definition of Este, Beatrice d' and Isabella d' | Encyclopedia.com: FREE online dictionary"
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as headwear – documented as her invention in letters circa 1509 and visible several times in portraits of other ladies in the 1520s/30s.
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Pizzagalli, Daniela (2001). "La signora del Rinascimento. Vita e splendori di Isabella d'Este alla corte di Mantova". Rizzoli. Rizzoli.
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Daniela Pizzagalli, La signora del Rinascimento. Vita e splendori di Isabella d'Este alla corte di Mantova, Rizzoli, 2001, pp. 135-140.
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of a fabric so precious as to cost forty ducats on her arm – an amazing sum – saying that he had already made a dress for Beatrice.
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Daniela Pizzagalli, La signora del Rinascimento. Vita e splendori di Isabella d'Este alla corte di Mantova, Rizzoli, 2001, p. 137.
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405:. By then, he had succeeded to the marquisate. Besides being the Marquess, Francesco was captain general of the armies of the
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3257:(Biography, Drama, History), Isolda Dychauk, Diarmuid Noyes, John Doman, Atlantique Productions, EOS Entertainment, Canal+
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Alessandro Luzio e Rodolfo Renier, Delle relazioni d'Isabella d'Este Gonzaga con Lodovico e Beatrice Sforza, etc, p. 151.
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said that “her eyes were black and sparkling, her hair yellow, and her complexion one of dazzling brilliancy.” Similarly
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469:(left) and Isabella (right), in the ceiling fresco of the Sala del Tesoro of Palazzo Costabili near Ferrara. Attributed
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The discussion is about lack of resemblance and lack of idealization. Vice versa, the features match to her successor
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wrote of her portrait by Leonardo, – in debate that persists about whether this is the portrait now known as the
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In the last two hundred years historians and writers were divided in preference for one or the other: many - such as
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Mazzi, Maria Serena (2004). "Come rose d'inverno, le signore della corte estense nel '400". Nuovecarte. Nuovecarte.
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3108:. Yale University Press (New Haven) 2012, Appendix Letters pp. 223–240 (original letters in Italian and English).
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512:, Isabella's brother-in-law. Round from the Renaissance frieze torn from the Visconti castle of Invorio Inferiore
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a fashionable pale blonde and her eyes were described as "brown as fir cones in autumn, scattered laughter".
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in a letter addressed to her. The alleged beauty of Isabella attracted the attention of the king of France,
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In 1491 Isabella went with a small entourage to Brescello and from there to Pavia, to accompany her sister
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Several letters mention Isabella's request for overpainting hair and eye colours, i.e. Luzio, Alessandro:
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Maria Serena Mazzi, Come rose d'inverno, le signore della corte estense nel '400, Nuovecarte, 2004, p. 43.
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In the architecture field, she could not afford new palaces, however she commissioned architects such as
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invited her to treat him with "as much friendliness as you would your brother". The latter's secretary
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and she played the lute. Unusually, she employed women as professional singers at her court, including
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3560:"La corte di Lodovico il Moro: la vita privata e l'arte a Milano nella seconda metà del Quattrocento"
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256:. She was a prolific letter-writer and maintained a lifelong correspondence with her sister-in-law
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In his capacity of captain general of the Venetian armies, Francesco often was required to go to
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Cartwright, Julia Mary (1945). "Beatrice d'Este, Duchessa di Milano". Milano. Edizioni Cenobio.
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During her lifetime and after her death, poets, popes, and statesmen paid tribute to Isabella.
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Isabella herself frequently diminished her own appearance; commenting on his portrait she told
825:
677:
2353:
2319:
715:
3609:
2928:
2555:, p. 291: Luke Syson, 'Reading Faces: Gian Cristoforo Romano's Medal of Isabella d'Este'
2220:
Note:In June 1505, Alfonso succeeded their father as duke, making Lucrezia Duchess of Ferrara
1028:
812:
316:
311:. Of all the children born into the family, Isabella is believed to have been the favourite.
281:
276:, wrote a letter to her friend Barbara Gonzaga describing the details of Isabella's birth in
272:
Isabella was born on Tuesday, 19 May 1474 at nine o'clock in the evening. Isabella's mother,
3896:
3891:
3747:
3477:
de Mazzeri, Silvia Alberti (1986). "Beatrice d'Este duchessa di Milano". Rusconi. Rusconi.
3330:
3316:
2923:
2673:
1868:
1707:
970:
946:
442:
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324:
285:
8:
1076:
747:
727:
3679:
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3437:
3406:
2903:
1567:
1566:
Isabella d'Este was portrayed by Belgian actress Alexandra Oppo in the television show
1501:
1242:
1094:
800:
792:
788:
697:
466:
418:
406:
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355:
by heart. Isabella was also a talented singer and musician, and was taught to play the
320:
304:
300:
292:
257:
204:
3165:
La Signora del Rinascimento. Vite e splendori di Isabella d'Este alla Corte di Mantova
3056:, ed. Ladis / Wood / Eiland U., Athens 1995, University of Georgia Press, pp. 100-101.
3559:
3544:
3529:
3514:
3493:
3478:
3463:
3441:
3433:
3383:
3364:
3345:
3334:
3320:
3302:
3283:
2359:
2325:
1976:
1711:
1468:
1451:
1424:
1381:
1354:
1333:
1304:
1201:
Isabella preferred idealisation (ideal of beauty, rejuvenation, simplification etc.).
1152:
1145:
958:
926:
889:
832:
661:
621:
152:
461:
3429:
2883:
2867:
1555:
1522:
1510:
1285:
1012:
918:
371:
177:
169:
97:
3149:
3716:
3054:
The Craft of Art: Originality and Industry in the Italian Renaissance and Baroque
3001:
2677:
1205:
1110:
1065:
1054:
997:
930:
848:
637:
625:
509:
422:
117:
2855:
Lorenzo Bonoldi, Isabella d'Este: La Signora del Rinascimento, 2015, p. 11.
1869:"Un'educazione sentimentale per lettera: il caso di Isabella d'Este (1490–1493)"
1183:
From her medal (Giovanni Cristoforo Romano) wavy hair, preferred hairstyle with
917:
In painting she had numerous famous artists of the time work for her, including
871:
Judgments less imbued with praise, indeed very harsh, were instead expressed by
3737:
3695:
1579:(2024). The game chronicles Isabella's life and the fate of the Gonzaga house.
1516:
1459:
1377:
1288:
1047:
1024:
1008:
872:
840:
808:
768:
746:
Isabella left Mantua for Rome in 1527. She was present during the catastrophic
693:
681:
545:
470:
402:
173:
1221:
Miniature portrait (with inscription) as a copy of an unknown Mantuan artist,
3885:
3428:(3). The Society for Renaissance Studies, Blackwell Publishing Ltd: 288–310.
3336:
Isabella d'Este, marchioness of Mantua, 1474–1539: a study of the renaissance
3322:
Isabella d'Este, marchioness of Mantua, 1474–1539: a study of the renaissance
2916:
2887:
1693:
1532:
1281:
1166:
950:
685:
431:
194:
181:
672:
After the death of her husband, Isabella ruled Mantua as regent for her son
636:
A year after her 1502 marriage to Isabella's brother Alfonso, the notorious
382:
In 1480, at the age of six, Isabella was betrothed to the eight years older
2691:
Phaethon's Children: The Este Court and its Culture in Early Modern Ferrara
1560:
1016:
985:
864:
820:
3580:
3451:"Delle relazioni d'Isabella d'Este Gonzaga con Lodovico e Beatrice Sforza"
2775:
Women in music, §II: Western classical traditions in Europe & the USA
1807:
Delle relazioni di Isabella d'Este Gonzaga con Ludovico e Beatrice Sforza
1526:
954:
906:
684:. She further displayed shrewd political acumen in her negotiations with
603:
234:
226:
3252:
2637:"Archivio storico lombardo". Società storica lombarda. 1910. p. 57.
2576:, p. 63: Jennifer Fletcher, 'Isabella d’Este, Patron and Collector'
2543:, p. 56: Jennifer Fletcher, 'Isabella d’Este, Patron and Collector'
2061:
Musici alla corte degli Sforza, Archivio storico lombardo, 1887, p. 295.
3617:
2781:. Oxford Music Online. Oxford University Press. (subscription required)
1039:
860:
720:
608:
583:
401:
Ten years later, on 11 February 1490, at age 15, she married Francesco
3065:
Assuming the museum's dating of 1510, the oldest depiction of a balzo.
2546:
1064:
She was also considered an icon of her time in fashion. Famous is her
3122:
1446:
1439:
1430:
1198:
red-brown / 'medium-blond' hair and brown eyes under curved eyebrows.
981:
922:
445:, statue in the collection of the Great Museum of the Duomo of Milan.
2702:
For a documentations of art related letters see: Luzio, Alessandro:
2151:
807:
Isabella’s appearance was frequently written about in her lifetime.
2704:
La Galleria dei Gonzaga – Appendice B: I ritratti d'Isabella d'Este
2693:. Medieval and Renaissance Texts and Studies (Arizona) 2005, p. 277
2082:, Rodolfo Renier, Tip. Bortolotti di Giuseppe Prato, 1886, pp. 6-7.
1455:
1320:
1161:
974:
966:
934:
764:
731:
642:
534:
2536:
2534:
1519:(23 November 1505 – 2 March 1563), Cardinal, Bishop of Mantua
1405:
905:
Isabella d'Este is famous as the most important art patron of the
3118:
1125:
The remaining three colourful portraits are still inhomogeneous (
938:
352:
277:
261:
189:
93:
2941:
2804:
Il lusso di Isabella d’Este, Marchesa di Mantova: la guardaroba
2721:
2567:
2531:
1999:
Luciano Chiappini. "Gli Estensi". Dall'Oglio. pp. 172–173.
1576:
1325:
1262:
942:
896:
735:
595:
390:
was betrothed to Ludovico and became the Duchess of Milan. Her
348:
245:
230:
113:
2355:
Voices of the Renaissance: Contemporary Accounts of Daily Life
1680:
Il carteggio tra Beatrice d'Aragona e gli Estensi (1476–1508)
895:
presumed to be an idealization of the 62-year-old Isabella by
620:
Milan, that she offered asylum to Milanese refugees including
241:
even further by hailing her as "The First Lady of the world".
3507:
Mozzarelli, Cesare; Oresko, Robert; Ventura, Leandro (1997).
3093:
Lebensläufe der berühmtesten Maler, Bildhauer und Architekten
1184:
884:
395:
391:
260:. Isabella grew up in a cultured family in the city-state of
3380:
The Greenwood Encyclopedia of Clothing Through World History
1813:
1575:
Isabella d'Este was depicted as a vampire in the video game
980:
In parallel she contracted the most important sculptors and
724:. In return, the people of Mantua respected and loved her.
2428:
2426:
1783:
598:
for conferences that left Isabella in Mantua on her own at
356:
303:, were born. In 1479 and 1480 two more brothers were born;
3510:
La Corte di Mantova nell'età di Andrea Mantegna, 1450-1550
2492:
2450:
2228:
2226:
1917:
1893:
1804:
1692:
Ness, Arthur J. (2001). "Giovanni Angelo Testagrossa". In
1494:
Margherita Gonzaga (13 July 1496 – 22 September 1496)
3382:. Vol. 2. Westport, CT: Greenwood Publishing Group.
3178:
I Gonzaga di Mantova, una stirpe per una capitale europea
3015:
2755:
2647:
See catalogue raisonné Titian (incl. divergent inventory
1941:
1929:
1837:
1825:
1668:. London: Archibald Constable & Co. LTD. p. 238.
1513:(13 November 1503 – 16 March 1570), who became a nun
763:
mid-sixties, so she returned to political life and ruled
738:
with the arms of Isabella and her late husband, c. 1524 (
624:, the refined mistress of her sister Beatrice's husband,
2991:
Bolletino d'Arte del Ministero della pubblica istruzione
2709:
2509:
2507:
2423:
2034:
3506:
3399:
Isabella d'Este – Fürstin und Mäzenatin der Renaissance
2814:
2812:
2552:
2238:
2223:
1905:
1208:
was common in the 1530s, probably not yet in the 1510s.
3573:
George, L., The Public Perception of Isabella d'Este,
2190:
2180:
2178:
2127:
2117:
2115:
1645:
783:
Confrontation of the Este brothers' medals: Isabella,
2519:
2504:
2480:
2438:
1849:
1725:
1625:
1623:
1610:
1608:
1396:
Anonymous painting after Leonardo da Vinci's drawing
799:
had inherited the typical Este nose of their father;
2824:
2809:
2784:
2591:
2579:
2299:
2287:
2250:
1595:
1593:
1591:
1487:(31 December 1493 – 13 February 1570), married
1480:
Together Isabella and Francesco had eight children:
1109:
In 1495 she refused with absolute rigor to pose for
708:
3460:
The Bed and the Throne: The Life of Isabella d'Este
2651:in 1659) and scientific exhibition review in 1994:
2603:
2202:
2175:
2139:
2112:
1771:
1759:
696:, the husband of her sister-in-law and good friend
3453:. Milano. Tipografia Bortolotti di Giuseppe Prato.
2163:
1620:
1605:
3358:
3339:. Vol. 2. New York, E.P. Dutton and company.
3325:. Vol. 1. New York, E.P. Dutton and company.
2844:Federico Gonzaga ostaggio alla corte di Giulio II
2573:
2540:
2388:"Dalle ossa riesumate l'altra faccia dei Gonzaga"
1588:
1529:; married Isabella di Capua, by whom he had issue
3883:
3036:Die Kunstliteratur der italienischen Renaissance
901:a widely circulated but uncertain representation
847:Her face became damaged and prematurely aged by
3280:Isabella d'Este: La primadonna del Rinascimento
3076:Leonardo da Vinci — The Complete Paintings
2018:Deputazione di storia patria per la Lombardia,
1703:The New Grove Dictionary of Music and Musicians
1144:by Titian, c. 1529 (lost, known from a copy by
3095:. 1550 / Manesse Verlag (Zurich) 2005, p. 330.
2806:, Nuova antologia, 63 (1896), pp. 462 and 667.
2022:, Società storica lombarda, 1874, pp. 348-349.
1968:
1563:features a place setting for Isabella d'Este.
496:Benedetto Capilupi's letter to Isabella d'Este
225:(19 May 1474 – 13 February 1539) was the
3764:Maria Teresa Felicitas, Duchess of Penthièvre
3633:
2907:Dama che regge un ritratto di figura maschile
1998:
1525:(28 January 1507 – 15 November 1557), a
1500:(17 May 1500 – 28 August 1540), married
977:by Mantegna, Perugino, Costa, and Correggio.
876:to her by letter as "that whore of my wife".
295:was born, and in 1476 and 1477 two brothers,
3299:Isabella d'Este: La Signora del Rinascimento
3180:. Gonzaga Marchesi, Modena, Il Bulino, 2005.
3150:"Complete Genealogy of the House of Gonzaga"
2624:Isabella d'Este: La Signora del Rinascimento
2621:
1975:. Ed. di Storia e Letteratura. p. 255.
1548:
645:as a result of encounters with prostitutes.
378:of Isabella, anonymous artist (16th century)
291:One year later, on 29 June 1475, her sister
248:of Mantua during the absence of her husband
233:and one of the leading women of the Italian
3722:Maria Angela Caterina, Princess of Carignan
3449:Luzio, Alessandro; Renier, Rodolfo (1890).
3448:
3329:
3315:
2706:. Casa Editrice L. F. Cogliati (Milan) 1913
2498:
2456:
2432:
1947:
1935:
1923:
1819:
1651:
1535:(August 1508 – 1569), who became a nun
714:industry, and followed the principles that
323:was left under the tutelage of their uncle
3696:Anna, Duchess of Guise, Duchess of Nemours
3640:
3626:
3542:
3527:
3476:
3411:: CS1 maint: location missing publisher (
3343:
3250:
2931:, Manchester (inv. 1947.4): Lorenzo Costa
2680:were later favorably marketed as Isabella.
2157:
2040:
1911:
1843:
1831:
1789:
1034:In music Isabella sponsored the composers
237:as a major cultural and political figure.
40:
3401:. Kunsthistorisches Museum Wien (Vienna).
3359:Chambers, David; Martineau, Jane (1981).
3078:. Taschen Verlag (Cologne) 2019, p. 241 (
2743:. Murray (London) 1907, Table of contents
366:
3647:
2993:. BdA (Rome) 1931 No. 11, pp. 491–494;
2915:Royal Collection, London (RCIN 405762):
2317:
1663:
1507:Livia Gonzaga (1501 – January 1508)
1413:
1099:
1075:
1000:. She also collected ancient Roman art.
883:
778:
757:
726:
652:
607:together. Once they journeyed as far as
589:Francesco II Gonzaga, Marquess of Mantua
582:
504:
460:
436:
370:
329:
130:Francesco II Gonzaga, Marquess of Mantua
3462:. New York: Harper and Row Publishers.
3419:
3296:
2965:KHM Vienna: Inv. 83, Inv 1534, Inv 5081
2585:
2525:
2513:
2486:
2444:
1746:
1742:
1740:
1491:, Duke of Urbino, by whom she had issue
412:
144: 1492; died 1519)
3884:
3812:Maria Leopoldine, Electress of Bavaria
3557:
3396:
3377:
3021:
2830:
2818:
2790:
2761:
2727:
2715:
2597:
2351:
2318:Bartlett, Kenneth (15 November 2019).
1994:
1992:
1881:from the original on 30 September 2021
1855:
1749:"ISABELLA d'Este, marchesa di Mantova"
614:
555:In truth, other historians, including
434:, a courtier also dear to the dukes.
3621:
3491:
3457:
2609:
2553:Mozzarelli, Oresko & Ventura 1997
2305:
2293:
2256:
2244:
2232:
2208:
2196:
2184:
2145:
2133:
2121:
1899:
1800:
1798:
1777:
1765:
1731:
1629:
1614:
1599:
1454:. Lisa was the wife of a merchant in
965:, and many others. For instance her '
718:had set forth for rulers in his book
611:during one of Francesco's absences.
465:Alleged portrait of the two sisters:
3558:Valeri, Francesco Malaguzzi (1913).
3277:
2752:Cartwright (1907), table of contents
2169:
1753:Dizionario Biografico degli Italiani
1737:
1691:
1080:Colour portraits of Isabella d'Este
879:
284:, the Aragonese King of Naples, and
46:The only certain image of Isabella:
16:15th- and 16th-century Italian noble
3841:Maria Beatrix, Countess of Montizón
3167:, Milano, Rizzoli, 2001, pp. 42-100
2649:Archduke Leopold Wilhelm of Austria
2352:Wagner, John A. (4 February 2022).
2324:. Hackett Publishing. p. 315.
2321:The Renaissance in Italy: A History
1989:
1539:
1498:Federico II Gonzaga, Duke of Mantua
1450:, usually considered a portrait of
1400:, 16th century, private collection.
750:, when she converted her house the
252:and during the minority of her son
13:
3818:Maria Ludovika, Empress of Austria
3774:Maria Fortunata, Princess of Conti
3567:
3138:. Exhibition catalogue 1975, p. 4.
3050:Titian and the Idea of Originality
2471:
2462:
2385:
2270:"Brooklyn Museum: Isabella d'Este"
2091:Strenna Italiana, vol. 19, p. 137.
1805:Alessandro Luzio; Rodolfo Renier.
1795:
631:
602:, the ancient palace that was the
158:Eleonor Gonzaga, Duchess of Urbino
21:Francesco I d'Este, Duke of Modena
14:
3993:
3835:Maria Theresa, Duchess of Orléans
3227:"Brooklyn Museum: Place Settings"
3147:
3038:, Reclam 2002, p. 109 and p. 113.
2900:Pinacoteca del Castello Sforzesco
3806:Maria Theresa, Queen of Sardinia
3790:Maria Beatrice, Duchess of Massa
3738:Maria Beatrice, Queen of England
3434:10.1111/j.1477-4658.2009.00565.x
3363:. Victoria & Albert Museum.
3244:
3219:
3210:
3201:
3192:
3183:
3170:
3157:
3141:
3128:
3111:
3098:
3085:
3068:
2920:Portrait of a lady with a Lapdog
2886:, Saint Petersburg (INV ГЭ-70):
1389:
1366:
1341:
1312:
1296:
1278:Portrait of a Lady with a Lapdog
1270:
1250:
1230:
1214:
912:
72:12 February 1492 - 29 March 1519
56:(c. 1495 – gold version c. 1505)
3858:Maria Theresa, Queen of Bavaria
3675:Isabella, Marchioness of Mantua
3271:
3059:
3041:
3027:
3006:
2979:
2968:
2959:
2858:
2849:
2836:
2796:
2767:
2746:
2733:
2696:
2683:
2641:
2630:
2615:
2558:
2398:
2379:
2345:
2311:
2262:
2214:
2103:
2094:
2085:
2073:
2064:
2055:
2046:
2025:
2012:
2003:
1962:
1953:
1861:
1406:Relationship with Leonardo and
141:
3562:. Vol. 1. Milano. Hoepli.
1685:
1672:
1657:
1635:
1489:Francesco Maria I della Rovere
1328:assumed as Isabella d'Este or
280:. Eleanor was the daughter of
1:
3902:16th-century Italian nobility
3581:I camerini di Isabella d'Este
3136:Le Studiolo d’Isabella d’Este
2985:i.e. Ozzola, Leandro (1931):
2574:Chambers & Martineau 1981
2541:Chambers & Martineau 1981
1582:
1422:(1499) / Leonardo (workshop)
1190:From the coloured depictions
774:
267:
63:Marchioness consort of Mantua
3748:Enrichetta, Duchess of Parma
2656:L‘ opera completa di Tiziano
1666:Dukes & Poets in Ferrara
1071:
933:(court painter until 1506),
703:
341:
7:
3982:Mothers of Italian monarchs
3872:also Archduchess of Austria
3278:Bini, Daniele, ed. (2001).
3251:Mark Ryder (10 July 2011),
2667:The Burlington Magazine 136
1755:(in Italian). Vol. 62.
990:Pier Jacopo Alari Bonacolsi
953:(court painter from 1509),
658:Portrait of Isabella d'Este
563:
425:. On this occasion she saw
361:Giovanni Angelo Testagrossa
164:Federico II, Duke of Mantua
25:Isabella d'Este (1635–1666)
10:
3998:
3962:15th-century women regents
3942:Italian Renaissance people
3912:16th-century women regents
3907:16th-century Italian women
3712:Isabella, Duchess of Parma
3680:Beatrice, Duchess of Milan
2160:, pp. 87–88, 114–115.
1747:Tamalio, Raffaele (2004).
1437:
1239:Giovanni Cristoforo Romano
1187:and a (small) double chin.
1007:, she was in contact with
740:Victoria and Albert Museum
648:
542:Francesco Malaguzzi Valeri
471:Benvenuto Tisi da Garofalo
336:Giovanni Cristoforo Romano
53:Giovanni Cristoforo Romano
18:
3867:
3850:
3827:
3798:
3782:
3756:
3730:
3704:
3688:
3667:
3653:
3606:
3597:
3589:
3458:Marek, George R. (1976).
3361:Splendours of the Gonzaga
3297:Bonoldi, Lorenzo (2015).
2987:Isabella d'Este e Tiziano
2946:Giovanni Francesco Caroto
2730:, pp. 106, 315, 321.
2358:. ABC-CLIO. p. 137.
2020:Archivio storico lombardo
1664:Gardener, Edmund (1904).
1549:Depiction in modern media
1259:Giovanni Francesco Caroto
1088:perhaps including mix-up?
854:
690:Guidobaldo da Montefeltro
319:, and her little brother
210:
200:
188:
151:
123:
103:
80:
76:
68:
61:
39:
34:
2870:, London (RCIN 405777):
1706:(2nd ed.). London:
1475:
1428:(1506–1519) / Leonardo:
1359:Kunsthistorisches Museum
1127:Kunsthistorisches Museum
3717:Maria, Duchess of Parma
3655:Generations start from
3397:Ferino, Sylvia (1994).
3154:#Fe2 3 boys and 5 girls
3012:KHM Vienna, Inv 6.272bß
2663:Isabella d'Este, Vienna
1969:Floriano Dolfo (2002).
1948:Luzio & Renier 1890
1936:Luzio & Renier 1890
1924:Luzio & Renier 1890
1820:Luzio & Renier 1890
709:"Devoted head of state"
688:, who had dispossessed
576:Only in 1500 their son
3937:Italian letter writers
3331:Cartwright, Julia Mary
3317:Cartwright, Julia Mary
3231:www.brooklynmuseum.org
2654:Francesco Valcanover,
2274:www.brooklynmuseum.org
1504:, by whom he had issue
1435:
1116:Madonna della Vittoria
1106:
1090:
1036:Bartolomeo Tromboncino
1021:Baldassare Castiglione
994:Gian Cristoforo Romano
902:
804:
743:
665:
591:
513:
499:
474:
446:
379:
367:Betrothal and marriage
338:
3947:Italian salon-holders
3610:Margaret Palaeologina
3600:Marchioness of Mantua
3583:Mantua tourist guide.
3378:Condra, Jill (2008).
3176:Giancarlo Malacarne,
3134:Sylvie Béguin (ed.):
3106:Isabella and Leonardo
3104:Lewis, Francis-Ames:
2929:Currier Museum of Art
2773:Tick, Judith et al.:
2658:, Milan 1969, p. 108.
2622:Luca Bonoldi (2015).
1902:, pp. 38, 44–50.
1417:
1103:
1079:
1029:Gian Giorgio Trissino
973:, was decorated with
887:
813:Gian Giorgio Trissino
782:
758:Later years and death
730:
656:
586:
508:
488:
464:
441:Probable portrait of
440:
374:
333:
3977:Women letter writers
3967:15th-century regents
3957:16th-century regents
3648:Princesses of Modena
3575:Clio History Journal
3163:Daniela Pizzagalli,
3000:4 March 2016 at the
2875:Margherita Paleologa
2674:Margherita Paleologa
2410:www.encyclopedia.com
1708:Macmillan Publishers
1324:, ideal portrait by
971:Ducal Palace, Mantua
947:Antonio da Correggio
819:has a fictionalized
587:Isabella's husband,
443:Galeazzo Sanseverino
427:Galeazzo Sanseverino
413:Relations with Milan
334:Medail of Isabella,
286:Isabella of Clermont
250:Francesco II Gonzaga
19:For the daughter of
3932:Italian art patrons
3593:Margaret of Bavaria
3513:. Bulzoni Editore.
3422:Renaissance Studies
3024:, pp. 373–378.
2944:, Paris (inv 894):
2933:Portrait of a woman
2902:, Milan (inv. 28):
2777:. In: Macy, Laura:
2764:, pp. 429–432.
2739:Cartwright, Julia:
2661:Jennifer Fletcher:
1303:Female portrait by
1257:Female portrait by
716:Niccolò Machiavelli
615:Diplomatic missions
421:who was married to
394:amounted to 25,000
3917:Daughters of dukes
3743:Princess Benedetta
2904:Bernardino Licinio
2802:Luzio and Renier:
2779:Grove Music Online
2718:, pp. 86–425.
2676:and pictures with
2386:Canadè, Rossella.
2247:, pp. 147–48.
2235:, pp. 166–69.
1972:Lettere ai Gonzaga
1502:Margaret Paleologa
1436:
1243:Kimbell Art Museum
1204:Additionally: The
1107:
1091:
1003:For what concerns
984:of her time, i.e.
903:
805:
744:
698:Elisabetta Gonzaga
666:
592:
514:
475:
473:, dated 1503–1506.
447:
407:Republic of Venice
380:
347:could also recite
339:
258:Elisabetta Gonzaga
244:She served as the
161:Margherita Gonzaga
3972:Renaissance women
3952:Regents of Mantua
3879:
3878:
3874:
3616:
3615:
3607:Succeeded by
3469:978-0-06-012810-4
3308:978-88-6927-011-6
3148:Marek, Miroslav.
3091:Vasari, Giorgio:
2949:Portrait de femme
2394:on 29 April 2014.
2365:978-1-4408-7604-2
2331:978-1-62466-820-3
2199:, pp. 80–81.
2136:, pp. 33–34.
1822:, pp. 39–40.
1809:. pp. 30–31.
1792:, pp. 51–58.
1734:, pp. 16–17.
1717:978-1-56159-239-5
1577:Vampire Therapist
1469:Isabella in Black
1452:Lisa del Giocondo
1425:Mona Lisa (Prado)
1382:Palazzo Barberini
1334:Galleria Palatina
1305:Francesco Francia
1177:Isabella in Black
1153:Isabella in Black
1146:Peter Paul Rubens
1044:Giovanna Moreschi
959:Francesco Francia
927:Leonardo da Vinci
890:Isabella in Black
880:Cultural pursuits
662:Leonardo da Vinci
622:Cecilia Gallerani
452:Rolando! Rolando!
274:Eleanor of Naples
220:
219:
215:Eleanor of Naples
3989:
3927:House of Gonzaga
3869:
3769:Princess Matilde
3642:
3635:
3628:
3619:
3618:
3590:Preceded by
3587:
3586:
3563:
3554:
3539:
3524:
3503:
3488:
3473:
3454:
3445:
3416:
3410:
3402:
3393:
3374:
3355:
3340:
3326:
3312:
3293:
3282:. Daniele Bini.
3266:
3265:
3264:
3262:
3248:
3242:
3241:
3239:
3237:
3223:
3217:
3214:
3208:
3205:
3199:
3196:
3190:
3187:
3181:
3174:
3168:
3161:
3155:
3153:
3145:
3139:
3132:
3126:
3115:
3109:
3102:
3096:
3089:
3083:
3074:Zöllner, Frank:
3072:
3066:
3063:
3057:
3045:
3039:
3031:
3025:
3019:
3013:
3010:
3004:
2983:
2977:
2972:
2966:
2963:
2957:
2884:Hermitage Museum
2868:Royal Collection
2862:
2856:
2853:
2847:
2840:
2834:
2828:
2822:
2816:
2807:
2800:
2794:
2788:
2782:
2771:
2765:
2759:
2753:
2750:
2744:
2737:
2731:
2725:
2719:
2713:
2707:
2700:
2694:
2689:Shemek, Deanna:
2687:
2681:
2645:
2639:
2638:
2634:
2628:
2627:
2619:
2613:
2607:
2601:
2595:
2589:
2583:
2577:
2571:
2565:
2562:
2556:
2550:
2544:
2538:
2529:
2523:
2517:
2511:
2502:
2499:Cartwright 1903b
2496:
2490:
2484:
2478:
2475:
2469:
2466:
2460:
2457:Cartwright 1903a
2454:
2448:
2442:
2436:
2433:Cartwright 1903a
2430:
2421:
2420:
2418:
2416:
2402:
2396:
2395:
2390:. Archived from
2383:
2377:
2376:
2374:
2372:
2349:
2343:
2342:
2340:
2338:
2315:
2309:
2303:
2297:
2291:
2285:
2284:
2282:
2280:
2266:
2260:
2254:
2248:
2242:
2236:
2230:
2221:
2218:
2212:
2206:
2200:
2194:
2188:
2182:
2173:
2167:
2161:
2155:
2149:
2143:
2137:
2131:
2125:
2119:
2110:
2107:
2101:
2098:
2092:
2089:
2083:
2080:Gaspare Visconti
2077:
2071:
2068:
2062:
2059:
2053:
2050:
2044:
2038:
2032:
2029:
2023:
2016:
2010:
2007:
2001:
2000:
1996:
1987:
1986:
1966:
1960:
1957:
1951:
1945:
1939:
1933:
1927:
1921:
1915:
1909:
1903:
1897:
1891:
1890:
1888:
1886:
1880:
1873:
1865:
1859:
1853:
1847:
1841:
1835:
1829:
1823:
1817:
1811:
1810:
1802:
1793:
1787:
1781:
1775:
1769:
1763:
1757:
1756:
1744:
1735:
1729:
1723:
1721:
1689:
1683:
1676:
1670:
1669:
1661:
1655:
1652:Cartwright 1903a
1649:
1643:
1639:
1633:
1627:
1618:
1612:
1603:
1597:
1556:The Dinner Party
1540:Household slaves
1523:Ferrante Gonzaga
1511:Ippolita Gonzaga
1485:Eleonora Gonzaga
1393:
1370:
1345:
1330:Eleonora Gonzaga
1316:
1300:
1286:Royal Collection
1274:
1254:
1234:
1218:
1192:Ambras Miniature
1179:are excluded):
1134:Ambras Miniature
1013:Ludovico Ariosto
919:Giovanni Bellini
550:Alessandro Luzio
510:Ludovico il Moro
497:
423:Ludovico il Moro
376:Ambras Miniature
178:Ferrante Gonzaga
170:Ippolita Gonzaga
145:
143:
110:
107:13 February 1539
98:Duchy of Ferrara
90:
88:
44:
32:
31:
3997:
3996:
3992:
3991:
3990:
3988:
3987:
3986:
3882:
3881:
3880:
3875:
3863:
3851:12th generation
3846:
3828:11th generation
3823:
3799:10th generation
3794:
3778:
3752:
3726:
3700:
3684:
3663:
3657:Ercole I d'Este
3649:
3646:
3612:
3603:
3595:
3570:
3568:Further reading
3551:
3536:
3521:
3500:
3485:
3470:
3404:
3403:
3390:
3371:
3352:
3309:
3290:
3274:
3269:
3260:
3258:
3249:
3245:
3235:
3233:
3225:
3224:
3220:
3215:
3211:
3206:
3202:
3197:
3193:
3188:
3184:
3175:
3171:
3162:
3158:
3152:. Genealogy.EU.
3146:
3142:
3133:
3129:
3116:
3112:
3103:
3099:
3090:
3086:
3073:
3069:
3064:
3060:
3046:
3042:
3032:
3028:
3020:
3016:
3011:
3007:
3002:Wayback Machine
2984:
2980:
2973:
2969:
2964:
2960:
2951:(c. 1505–10) –
2922:(c. 1500–05) –
2891:Mother with son
2863:
2859:
2854:
2850:
2841:
2837:
2829:
2825:
2817:
2810:
2801:
2797:
2789:
2785:
2772:
2768:
2760:
2756:
2751:
2747:
2741:Isabella d'Este
2738:
2734:
2726:
2722:
2714:
2710:
2701:
2697:
2688:
2684:
2669:, 1994, p. 399.
2646:
2642:
2636:
2635:
2631:
2620:
2616:
2608:
2604:
2596:
2592:
2584:
2580:
2572:
2568:
2563:
2559:
2551:
2547:
2539:
2532:
2524:
2520:
2512:
2505:
2497:
2493:
2485:
2481:
2476:
2472:
2467:
2463:
2455:
2451:
2443:
2439:
2431:
2424:
2414:
2412:
2404:
2403:
2399:
2384:
2380:
2370:
2368:
2366:
2350:
2346:
2336:
2334:
2332:
2316:
2312:
2304:
2300:
2292:
2288:
2278:
2276:
2268:
2267:
2263:
2255:
2251:
2243:
2239:
2231:
2224:
2219:
2215:
2207:
2203:
2195:
2191:
2183:
2176:
2168:
2164:
2158:Pizzagalli 2001
2156:
2152:
2144:
2140:
2132:
2128:
2120:
2113:
2108:
2104:
2099:
2095:
2090:
2086:
2078:
2074:
2069:
2065:
2060:
2056:
2051:
2047:
2041:de Mazzeri 1986
2039:
2035:
2030:
2026:
2017:
2013:
2008:
2004:
1997:
1990:
1983:
1967:
1963:
1958:
1954:
1946:
1942:
1934:
1930:
1922:
1918:
1912:Cartwright 1945
1910:
1906:
1898:
1894:
1884:
1882:
1878:
1871:
1867:
1866:
1862:
1854:
1850:
1844:Pizzagalli 1999
1842:
1838:
1832:Pizzagalli 2001
1830:
1826:
1818:
1814:
1803:
1796:
1790:Cartwright 1945
1788:
1784:
1776:
1772:
1764:
1760:
1745:
1738:
1730:
1726:
1718:
1690:
1686:
1678:Enrica Guerra,
1677:
1673:
1662:
1658:
1650:
1646:
1640:
1636:
1628:
1621:
1613:
1606:
1598:
1589:
1585:
1551:
1542:
1478:
1442:
1420:Isabella d'Este
1412:
1401:
1398:Isabella d'Este
1394:
1385:
1374:The Lute Player
1371:
1362:
1350:Isabella in Red
1346:
1337:
1317:
1308:
1301:
1292:
1275:
1266:
1255:
1246:
1235:
1226:
1225:, 16th century
1219:
1196:Isabella in Red
1156:by Titian, 1536
1141:Isabella in Red
1129:/KHM, Vienna):
1081:
1074:
1055:Biagio Rossetti
998:Tullio Lombardo
931:Andrea Mantegna
915:
900:
894:
882:
857:
849:Venetian ceruse
777:
760:
752:Palazzo Colonna
711:
706:
651:
638:Lucrezia Borgia
634:
632:Lucrezia Borgia
626:Ludovico Sforza
617:
566:
517:father Ercole.
498:
495:
415:
369:
344:
270:
223:Isabella d'Este
205:Ercole I d'Este
184:
180:
176:
172:
168:
166:
162:
160:
147:
139:
135:
132:
118:Duchy of Mantua
112:
108:
92:
86:
84:
57:
55:
47:
35:Isabella d'Este
28:
17:
12:
11:
5:
3995:
3985:
3984:
3979:
3974:
3969:
3964:
3959:
3954:
3949:
3944:
3939:
3934:
3929:
3924:
3919:
3914:
3909:
3904:
3899:
3894:
3877:
3876:
3868:
3865:
3864:
3862:
3861:
3854:
3852:
3848:
3847:
3845:
3844:
3838:
3831:
3829:
3825:
3824:
3822:
3821:
3815:
3809:
3802:
3800:
3796:
3795:
3793:
3792:
3786:
3784:
3783:9th generation
3780:
3779:
3777:
3776:
3771:
3766:
3760:
3758:
3757:8th generation
3754:
3753:
3751:
3750:
3745:
3740:
3734:
3732:
3731:7th generation
3728:
3727:
3725:
3724:
3719:
3714:
3708:
3706:
3705:6th generation
3702:
3701:
3699:
3698:
3692:
3690:
3689:3rd generation
3686:
3685:
3683:
3682:
3677:
3671:
3669:
3668:1st generation
3665:
3664:
3661:Duke of Modena
3654:
3651:
3650:
3645:
3644:
3637:
3630:
3622:
3614:
3613:
3608:
3605:
3596:
3591:
3585:
3584:
3578:
3569:
3566:
3565:
3564:
3555:
3549:
3540:
3534:
3525:
3519:
3504:
3498:
3489:
3483:
3474:
3468:
3455:
3446:
3417:
3394:
3388:
3375:
3369:
3356:
3350:
3341:
3327:
3313:
3307:
3294:
3288:
3273:
3270:
3268:
3267:
3243:
3218:
3209:
3200:
3191:
3182:
3169:
3156:
3140:
3127:
3121:versus Mantua/
3110:
3097:
3084:
3067:
3058:
3040:
3026:
3014:
3005:
2978:
2967:
2958:
2956:
2955:
2939:
2926:
2913:
2897:
2881:
2857:
2848:
2835:
2823:
2808:
2795:
2783:
2766:
2754:
2745:
2732:
2720:
2708:
2695:
2682:
2671:
2670:
2659:
2640:
2629:
2614:
2602:
2590:
2578:
2566:
2557:
2545:
2530:
2518:
2503:
2501:, p. 105.
2491:
2479:
2470:
2461:
2459:, p. 273.
2449:
2437:
2422:
2397:
2378:
2364:
2344:
2330:
2310:
2308:, p. 205.
2298:
2296:, p. 204.
2286:
2261:
2259:, p. 250.
2249:
2237:
2222:
2213:
2201:
2189:
2174:
2162:
2150:
2138:
2126:
2111:
2102:
2093:
2084:
2072:
2063:
2054:
2045:
2033:
2024:
2011:
2002:
1988:
1981:
1961:
1952:
1940:
1928:
1926:, p. 107.
1916:
1904:
1892:
1860:
1858:, p. 381.
1848:
1846:, p. 106.
1836:
1834:, p. 137.
1824:
1812:
1794:
1782:
1770:
1758:
1736:
1724:
1716:
1694:Sadie, Stanley
1684:
1671:
1656:
1644:
1634:
1619:
1604:
1586:
1584:
1581:
1550:
1547:
1541:
1538:
1537:
1536:
1530:
1520:
1517:Ercole Gonzaga
1514:
1508:
1505:
1495:
1492:
1477:
1474:
1460:Giorgio Vasari
1438:Main article:
1411:
1404:
1403:
1402:
1395:
1388:
1386:
1378:Andrea Solario
1372:
1365:
1363:
1347:
1340:
1338:
1318:
1311:
1309:
1302:
1295:
1293:
1289:Windsor Castle
1276:
1269:
1267:
1265:, c. 1505-1510
1256:
1249:
1247:
1236:
1229:
1227:
1220:
1213:
1210:
1209:
1202:
1199:
1188:
1158:
1157:
1149:
1137:
1136:, 16th century
1073:
1070:
1048:Marchetto Cara
1046:, the wife of
1031:, and others.
1025:Mario Equicola
1009:Pietro Aretino
914:
911:
881:
878:
873:Pope Julius II
856:
853:
841:Giovanni Santi
809:Mario Equicola
776:
773:
759:
756:
710:
707:
705:
702:
694:duke of Urbino
650:
647:
633:
630:
616:
613:
565:
562:
557:Rodolfo Renier
546:Maria Bellonci
493:
414:
411:
368:
365:
343:
340:
269:
266:
218:
217:
212:
208:
207:
202:
198:
197:
192:
186:
185:
174:Ercole Gonzaga
155:
149:
148:
137:
133:
128:
127:
125:
121:
120:
111:(aged 64)
105:
101:
100:
82:
78:
77:
74:
73:
70:
66:
65:
59:
58:
45:
37:
36:
15:
9:
6:
4:
3:
2:
3994:
3983:
3980:
3978:
3975:
3973:
3970:
3968:
3965:
3963:
3960:
3958:
3955:
3953:
3950:
3948:
3945:
3943:
3940:
3938:
3935:
3933:
3930:
3928:
3925:
3923:
3922:House of Este
3920:
3918:
3915:
3913:
3910:
3908:
3905:
3903:
3900:
3898:
3895:
3893:
3890:
3889:
3887:
3873:
3866:
3859:
3856:
3855:
3853:
3849:
3842:
3839:
3836:
3833:
3832:
3830:
3826:
3819:
3816:
3813:
3810:
3807:
3804:
3803:
3801:
3797:
3791:
3788:
3787:
3785:
3781:
3775:
3772:
3770:
3767:
3765:
3762:
3761:
3759:
3755:
3749:
3746:
3744:
3741:
3739:
3736:
3735:
3733:
3729:
3723:
3720:
3718:
3715:
3713:
3710:
3709:
3707:
3703:
3697:
3694:
3693:
3691:
3687:
3681:
3678:
3676:
3673:
3672:
3670:
3666:
3662:
3658:
3652:
3643:
3638:
3636:
3631:
3629:
3624:
3623:
3620:
3611:
3602:
3601:
3594:
3588:
3582:
3579:
3576:
3572:
3571:
3561:
3556:
3552:
3550:9788817868075
3546:
3541:
3537:
3535:9788817860734
3531:
3526:
3522:
3520:88-8319-124-2
3516:
3512:
3511:
3505:
3501:
3499:9788887527162
3495:
3490:
3486:
3484:9788818230154
3480:
3475:
3471:
3465:
3461:
3456:
3452:
3447:
3443:
3439:
3435:
3431:
3427:
3423:
3418:
3414:
3408:
3400:
3395:
3391:
3389:9780313336621
3385:
3381:
3376:
3372:
3370:0-317-30092-X
3366:
3362:
3357:
3353:
3347:
3342:
3338:
3337:
3332:
3328:
3324:
3323:
3318:
3314:
3310:
3304:
3300:
3295:
3291:
3289:88-86251-45-9
3285:
3281:
3276:
3275:
3256:
3255:
3247:
3232:
3228:
3222:
3213:
3204:
3195:
3186:
3179:
3173:
3166:
3160:
3151:
3144:
3137:
3131:
3124:
3120:
3114:
3107:
3101:
3094:
3088:
3081:
3077:
3071:
3062:
3055:
3051:
3044:
3037:
3030:
3023:
3018:
3009:
3003:
2999:
2996:
2992:
2988:
2982:
2976:
2971:
2962:
2954:
2950:
2947:
2943:
2940:
2938:
2934:
2930:
2927:
2925:
2921:
2918:
2917:Lorenzo Costa
2914:
2912:
2908:
2905:
2901:
2898:
2896:
2892:
2889:
2888:Paris Bordone
2885:
2882:
2880:
2876:
2873:
2872:Giulio Romano
2869:
2866:
2865:
2861:
2852:
2845:
2839:
2833:, p. 94.
2832:
2827:
2821:, p. 86.
2820:
2815:
2813:
2805:
2799:
2793:, p. 18.
2792:
2787:
2780:
2776:
2770:
2763:
2758:
2749:
2742:
2736:
2729:
2724:
2717:
2712:
2705:
2699:
2692:
2686:
2679:
2675:
2668:
2664:
2660:
2657:
2653:
2652:
2650:
2644:
2633:
2626:. p. 75.
2625:
2618:
2612:, p. 16.
2611:
2606:
2600:, p. 35.
2599:
2594:
2587:
2582:
2575:
2570:
2561:
2554:
2549:
2542:
2537:
2535:
2528:, p. 78.
2527:
2522:
2516:, p. 19.
2515:
2510:
2508:
2500:
2495:
2489:, p. 10.
2488:
2483:
2474:
2465:
2458:
2453:
2447:, p. 17.
2446:
2441:
2434:
2429:
2427:
2411:
2407:
2401:
2393:
2389:
2382:
2367:
2361:
2357:
2356:
2348:
2333:
2327:
2323:
2322:
2314:
2307:
2302:
2295:
2290:
2275:
2271:
2265:
2258:
2253:
2246:
2241:
2234:
2229:
2227:
2217:
2211:, p. 80.
2210:
2205:
2198:
2193:
2187:, p. 35.
2186:
2181:
2179:
2172:, p. 13.
2171:
2166:
2159:
2154:
2148:, p. 34.
2147:
2142:
2135:
2130:
2124:, p. 33.
2123:
2118:
2116:
2106:
2097:
2088:
2081:
2076:
2067:
2058:
2049:
2043:, p. 46.
2042:
2037:
2028:
2021:
2015:
2006:
1995:
1993:
1984:
1982:9788887114522
1978:
1974:
1973:
1965:
1956:
1950:, p. 62.
1949:
1944:
1938:, p. 97.
1937:
1932:
1925:
1920:
1913:
1908:
1901:
1896:
1877:
1870:
1864:
1857:
1852:
1845:
1840:
1833:
1828:
1821:
1816:
1808:
1801:
1799:
1791:
1786:
1780:, p. 30.
1779:
1774:
1768:, p. 28.
1767:
1762:
1754:
1750:
1743:
1741:
1733:
1728:
1719:
1713:
1709:
1705:
1704:
1699:
1698:Tyrrell, John
1695:
1688:
1681:
1675:
1667:
1660:
1653:
1648:
1638:
1632:, p. 12.
1631:
1626:
1624:
1617:, p. 14.
1616:
1611:
1609:
1601:
1596:
1594:
1592:
1587:
1580:
1578:
1573:
1572:(2011–2014).
1571:
1570:
1564:
1562:
1558:
1557:
1546:
1534:
1533:Livia Gonzaga
1531:
1528:
1524:
1521:
1518:
1515:
1512:
1509:
1506:
1503:
1499:
1496:
1493:
1490:
1486:
1483:
1482:
1481:
1473:
1471:
1470:
1465:
1461:
1457:
1453:
1449:
1448:
1441:
1433:
1432:
1427:
1426:
1421:
1416:
1409:
1399:
1392:
1387:
1383:
1379:
1375:
1369:
1364:
1360:
1356:
1353:as a copy by
1352:
1351:
1344:
1339:
1335:
1331:
1327:
1323:
1322:
1315:
1310:
1306:
1299:
1294:
1290:
1287:
1283:
1282:Lorenzo Costa
1279:
1273:
1268:
1264:
1260:
1253:
1248:
1244:
1240:
1233:
1228:
1224:
1217:
1212:
1211:
1207:
1203:
1200:
1197:
1193:
1189:
1186:
1182:
1181:
1180:
1178:
1173:
1170:
1168:
1167:Palazzo Pitti
1164:
1163:
1155:
1154:
1150:
1147:
1143:
1142:
1138:
1135:
1132:
1131:
1130:
1128:
1123:
1120:
1118:
1117:
1112:
1102:
1098:
1096:
1089:
1085:
1078:
1069:
1067:
1062:
1060:
1059:Battista Covo
1056:
1051:
1049:
1045:
1041:
1037:
1032:
1030:
1026:
1022:
1018:
1014:
1010:
1006:
1001:
999:
995:
991:
987:
983:
978:
976:
972:
968:
964:
963:Giulio Romano
960:
956:
952:
951:Lorenzo Costa
948:
944:
940:
936:
932:
928:
924:
920:
913:Art patronage
910:
908:
898:
892:
891:
886:
877:
874:
869:
866:
862:
852:
850:
845:
842:
837:
834:
829:
827:
822:
818:
814:
810:
802:
798:
794:
790:
786:
781:
772:
770:
766:
755:
753:
749:
741:
737:
733:
729:
725:
723:
722:
717:
701:
699:
695:
691:
687:
686:Cesare Borgia
683:
679:
675:
670:
663:
659:
655:
646:
644:
639:
629:
627:
623:
612:
610:
605:
601:
597:
590:
585:
581:
579:
574:
570:
561:
558:
553:
551:
547:
543:
538:
536:
530:
526:
522:
518:
511:
507:
503:
492:
487:
483:
479:
472:
468:
463:
459:
455:
453:
444:
439:
435:
433:
432:Busto Arsizio
428:
424:
420:
410:
408:
404:
399:
397:
393:
389:
385:
377:
373:
364:
362:
358:
354:
350:
337:
332:
328:
326:
322:
318:
312:
310:
306:
302:
298:
294:
289:
287:
283:
279:
275:
265:
263:
259:
255:
251:
247:
242:
238:
236:
232:
228:
224:
216:
213:
209:
206:
203:
199:
196:
193:
191:
187:
183:
182:Livia Gonzaga
179:
175:
171:
167:Livia Gonzaga
165:
159:
156:
154:
150:
131:
126:
122:
119:
115:
106:
102:
99:
95:
83:
79:
75:
71:
67:
64:
60:
54:
50:
43:
38:
33:
30:
26:
22:
3871:
3674:
3598:
3574:
3509:
3459:
3425:
3421:
3398:
3379:
3360:
3335:
3321:
3301:. Guaraldi.
3298:
3279:
3272:Bibliography
3259:, retrieved
3253:
3246:
3234:. Retrieved
3230:
3221:
3216:Kaplan, 153.
3212:
3203:
3194:
3185:
3177:
3172:
3164:
3159:
3143:
3135:
3130:
3113:
3105:
3100:
3092:
3087:
3079:
3075:
3070:
3061:
3053:
3049:
3043:
3035:
3029:
3017:
3008:
2990:
2986:
2981:
2970:
2961:
2948:
2935:(1506–10) –
2932:
2919:
2909:(1525–30) –
2906:
2890:
2874:
2860:
2851:
2843:
2838:
2826:
2803:
2798:
2786:
2778:
2774:
2769:
2757:
2748:
2740:
2735:
2723:
2711:
2703:
2698:
2690:
2685:
2666:
2662:
2655:
2643:
2632:
2623:
2617:
2605:
2593:
2588:, p. 9.
2586:Hickson 2009
2581:
2569:
2560:
2548:
2526:Bonoldi 2015
2521:
2514:Hickson 2009
2494:
2487:Hickson 2009
2482:
2473:
2464:
2452:
2445:Hickson 2009
2440:
2435:, p. 9.
2413:. Retrieved
2409:
2400:
2392:the original
2381:
2369:. Retrieved
2354:
2347:
2335:. Retrieved
2320:
2313:
2301:
2289:
2277:. Retrieved
2273:
2264:
2252:
2240:
2216:
2204:
2192:
2165:
2153:
2141:
2129:
2105:
2096:
2087:
2079:
2075:
2066:
2057:
2048:
2036:
2027:
2019:
2014:
2005:
1971:
1964:
1955:
1943:
1931:
1919:
1914:, p. 7.
1907:
1895:
1885:28 September
1883:. Retrieved
1863:
1851:
1839:
1827:
1815:
1806:
1785:
1773:
1761:
1752:
1727:
1701:
1687:
1682:, pp. 42–43.
1679:
1674:
1665:
1659:
1647:
1637:
1602:, p. 9.
1574:
1568:
1565:
1561:Judy Chicago
1554:
1553:The artwork
1552:
1543:
1479:
1467:
1463:
1445:
1443:
1429:
1423:
1419:
1407:
1397:
1373:
1348:
1319:
1277:
1195:
1191:
1176:
1174:
1171:
1160:
1159:
1151:
1139:
1133:
1124:
1121:
1114:
1108:
1092:
1087:
1063:
1052:
1033:
1017:Pietro Bembo
1002:
992:(L'Antico),
986:Michelangelo
979:
916:
904:
888:
870:
865:Pietro Bembo
858:
846:
838:
830:
826:Charles VIII
821:Pietro Bembo
816:
806:
761:
751:
748:Sack of Rome
745:
719:
712:
680:for her son
671:
667:
635:
618:
599:
593:
575:
571:
567:
554:
539:
531:
527:
523:
519:
515:
500:
489:
484:
480:
476:
456:
451:
448:
416:
400:
381:
375:
345:
313:
290:
271:
243:
239:
222:
221:
109:(1539-02-13)
48:
29:
3897:1539 deaths
3892:1474 births
3022:Ferino 1994
2831:Ferino 1994
2819:Ferino 1994
2791:Ferino 1994
2762:Ferino 1994
2728:Ferino 1994
2716:Ferino 1994
2598:Condra 2008
2371:5 September
2337:5 September
1856:Valeri 1913
1527:condottiero
1434:(1503–1506)
1086:, Vienna –
955:Dosso Dossi
907:Renaissance
734:plate from
678:cardinalate
664:(1499–1500)
604:family seat
580:was born.
317:grandfather
282:Ferdinand I
235:Renaissance
227:Marchioness
91:19 May 1474
3886:Categories
3604:1490–1519
3351:1406754110
3236:28 January
2893:(1530s) –
2864:See e.g.:
2610:Marek 1976
2415:1 February
2306:Marek 1976
2294:Marek 1976
2279:5 December
2257:Marek 1976
2245:Marek 1976
2233:Marek 1976
2209:Marek 1976
2197:Marek 1976
2185:Marek 1976
2146:Marek 1976
2134:Marek 1976
2122:Marek 1976
1900:Mazzi 2004
1778:Marek 1976
1766:Marek 1976
1732:Marek 1976
1630:Marek 1976
1615:Marek 1976
1600:Marek 1976
1583:References
1418:Leonardo:
1040:Marco Cara
982:medallists
975:allegories
861:Pope Leo X
817:I Ritratti
797:Sigismondo
775:Appearance
721:The Prince
609:Lake Garda
309:Sigismondo
268:Early life
87:1474-05-19
3442:261859931
3407:cite book
3333:(1903b).
3319:(1903a).
3123:Dolomites
3117:Florence/
3082:section).
3080:Mona Lisa
2877:(1531) –
2170:Bini 2001
1464:Mona Lisa
1447:Mona Lisa
1440:Mona Lisa
1431:Mona Lisa
1408:Mona Lisa
1384:, c. 1510
1361:, c. 1605
1307:, c. 1511
1291:, c. 1500
1245:, c. 1500
1185:sidelocks
1072:Portraits
969:' in the
923:Giorgione
704:Widowhood
700:in 1502.
600:La Reggia
384:Francesco
342:Education
3659:, first
2998:Archived
2995:Download
1876:Archived
1700:(eds.).
1456:Florence
1321:La Bella
1223:KHM Wien
1165:(now in
1162:La Bella
1148:c. 1605)
1111:Mantegna
1095:Beatrice
967:Studiolo
935:Perugino
899:(1536),
801:Beatrice
793:Ippolito
789:Ferrante
765:Solarolo
732:Maiolica
674:Federico
643:syphilis
578:Federico
564:Marriage
535:crossbow
494:—
467:Beatrice
419:Beatrice
403:by proxy
388:Beatrice
321:Ferrante
305:Ippolito
301:Ferrante
293:Beatrice
254:Federico
3577:, 2009.
3119:Tuscany
2975:picture
2953:picture
2937:picture
2924:picture
2911:picture
2895:picture
2879:picture
1113:in the
1082:in the
1005:writers
939:Raphael
833:Francia
785:Alfonso
769:Romagna
649:Regency
353:Terence
325:Alfonso
297:Alfonso
278:Ferrara
262:Ferrara
146:
138:
134:
94:Ferrara
3547:
3532:
3517:
3496:
3481:
3466:
3440:
3386:
3367:
3348:
3305:
3286:
3261:18 May
3254:Borgia
3052:, in:
2989:. In:
2942:Louvre
2362:
2328:
1979:
1714:
1569:Borgia
1410:theory
1355:Rubens
1336:, 1536
1326:Titian
1263:Louvre
1237:Bust,
996:, and
943:Titian
897:Titian
855:Legacy
736:Urbino
682:Ercole
596:Venice
491:kisses
396:ducats
349:Virgil
246:regent
231:Mantua
211:Mother
201:Father
124:Spouse
114:Mantua
23:, see
3438:S2CID
2678:Balzo
1879:(PDF)
1872:(PDF)
1476:Issue
1206:balzo
1066:Balzo
767:, in
392:dowry
190:House
153:Issue
140:(
136:
69:Reign
49:Medal
3545:ISBN
3530:ISBN
3515:ISBN
3494:ISBN
3479:ISBN
3464:ISBN
3413:link
3384:ISBN
3365:ISBN
3346:ISBN
3303:ISBN
3284:ISBN
3263:2021
3238:2022
2665:in:
2417:2018
2373:2022
2360:ISBN
2339:2022
2326:ISBN
2281:2022
1977:ISBN
1887:2021
1712:ISBN
1642:P.M.
1458:and
1194:and
1057:and
1038:and
795:and
544:and
357:lute
351:and
307:and
299:and
195:Este
104:Died
81:Born
3430:doi
1559:by
1376:by
1084:KHM
815:’s
660:by
359:by
288:.
229:of
51:by
3888::
3870:*
3436:.
3426:23
3424:.
3409:}}
3405:{{
3229:.
2811:^
2533:^
2506:^
2425:^
2408:.
2272:.
2225:^
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2114:^
1991:^
1874:.
1797:^
1751:.
1739:^
1710:.
1696:;
1622:^
1607:^
1590:^
1472:.
1380:,
1357:,
1332:,
1284:,
1280:,
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1027:,
1023:,
1019:,
1015:,
1011:,
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929:,
925:,
921:,
893:,
851:.
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142:m.
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3860:*
3843:*
3837:*
3820:*
3814:*
3808:*
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3553:.
3538:.
3523:.
3502:.
3487:.
3472:.
3444:.
3432::
3415:)
3392:.
3373:.
3354:.
3311:.
3292:.
3240:.
3125:.
2419:.
2375:.
2341:.
2283:.
1985:.
1889:.
1722:
1720:.
1654:.
742:)
89:)
85:(
27:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
