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The Book of the Courtier (Italian: Il Cortegiano [il korteˈdʒaːno]) by Baldassare Castiglione is a lengthy philosophical dialogue on the topic of what constitutes an ideal courtier or (in the third chapter) court lady, worthy to befriend and advise a prince or political leader.
Castiglione was born in Casatico, near Mantua into a family of the minor nobility, connected through his mother Luigia to the ruling Gonzagas of Mantua. [4]In 1494, at the age of sixteen, Castiglione was sent to Milan, then under the rule of Duke Ludovico Sforza, to begin his humanistic studies at the school of the renowned teacher of Greek and editor of Homer Demetrios Chalkokondyles ...
It is possible that Castiglione later served as a "scholarly advisor" for Raphael's The School of Athens, and that the depiction of Zoroaster in that fresco may be a portrait of the courtier. [1] Portrait of Baldassare Castiglione may have had a practical and intimate purpose. Castiglione left his family behind when he went to Rome, and he ...
The term “sprezzatura” first appeared in Baldassare Castiglione's 1528 The Book of the Courtier, where it is defined by the author as "a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it". [2]
In a letter to Baldassare Castiglione, Raphael dictated via Pietro Aretino, that "to paint a beauty, I should have to see a number of beauties, provided Your Lordship were with me to choose the best. But in the absence of good judges and beautiful forms, I use an idea that comes to my mind."
Fonte's work also quotes directly and indirectly from both Petrarch's "Sonnet 263" and Orlando Furioso. [6] [7] The dialogue style of Fonte's work was influenced by Baldassare Castiglione and Pietro Bembo. [8] Virginia Cox claims that the work was influenced by the changing economy of Italy in the late sixteenth-century. This period was ...
Baldassare Castiglione. Portrait by Raphael . The fundamental characteristic of the literary epoch following that of the Renaissance is that it perfected itself in every type of art, in particular uniting the essentially Italian character of its language with the classicism of style. [ 95 ]
We have detailed information on the staging of La Calandria within the court of Urbino because of a letter written by Baldassare Castiglione (who served as the organizer of the entertainment) to Ludovico Canossa. In the letter, the area that the audience occupied was referred to as a moat in front of walls and towers.