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Updated: May 12, 2025
Alfonso King of Naples, Nicolas d'Este, Lionel d'Este, etc.
Isabella d'Este, eager to ingratiate herself with the French, invited Ligny to visit her, and sent dogs and falcons, as well as trout from Garda, to the king, who told La Trémouille that he had never tasted better fish.
But the saddest part of the story has yet to be told. After the death of Beatrice, and Lodovico's final ruin, Isabella d'Este remembered the matchless organ which Lorenzo de Pavia had made for her sister, and wrote immediately to the Pallavicini brothers who had joined in the betrayal of the Castello, begging them, if possible, to let her have the instrument.
But Alexander was dreaming of yet another addition to his fortune; this was to came from a marriage between Lucrezia and Don Alfonso d'Este, son of Duke Hercules of Ferrara, in favour of which alliance Louis XII had negotiated.
Like his friends Niccolo da Correggio and Gaspare Visconti, Beatrice's secretary was a fervent admirer of Petrarch, and wrote an elaborate commentary on the Canzone, "Mai non vo' più cantar como io solea," which he dedicated to Isabella d'Este and sent her with a letter expressing his conviction that no one before him had ever fully understood this profound and subtle poem.
Josquin was a singer in the Sistine Chapel in 1484 and his first successes as a composer were obtained in Rome. Later he went to Ferrara where he wrote for the Duke Ercole d'Este his famous mass, "Hercules Dux Ferrariæ." But these activities of Josquin had little relation to the frottola.
While thus engaged, the Cardinal Luigi d'Este appointed him a gentleman of his court. Speroni endeavored to dissuade the young poet from accepting that office, by relating the many disappointments which he had himself experienced while engaged in a similar career.
It is curious to note that at the same time he signally failed with the portrait of her mother, Isabella d'Este, painted in 1534, but showing the Marchioness of Mantua as a young woman of some twenty-five years, though she was then sixty. Here youth and a semblance of beauty are called up by the magic of the artist, but the personality, both physical and mental, is lost in the effort.
Serafino took us through the room of the d'Este Palace telling the driver to meet us at one of the entrances to the grounds. When we emerged and descended to the Hundred Fountains he turned away giving us the directions to reach the carriage. He knew that this was a place where lovers would wish to dispense with a guide.
Was that all? It could not have been worse if on that same day she had been alone with him in the garden, instead of with Guido d'Este, and if he had suddenly put his arms round her, and if she had not even turned her face from his. It was only a dream.
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