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Updated: April 30, 2025
Don Cæsar, a grandson of Alfonso I, and son of that Alfonso whom Laura Dianti had borne him and of Donna Giulia Rovere of Urbino, ascended the ducal throne of Ferrara on the death of Alfonso II as his heir. The Pope, however, would not recognize him.
The ever-popular picture in the Salon Carré of the Louvre now known as Alfonso I. of Ferrara and Laura Dianti, but in the collection of Charles I. called, with no nearer approach to the truth, Titian's Mistress after the Life, comes in very well at this stage.
In vain he endeavored to prove that his grandfather, shortly before his death, had legally married Laura Dianti, and that consequently he was the legitimate heir to the throne.
The model is surely the same as that which has served for the Venus of the Sacred and Profane Love, though the picture comes some years after that piece. Later still comes the so-called Alfonso d'Este and Laura Dianti, as to which something will be said farther on.
He never married again, but a beautiful bourgeoise, Laura Eustochia Dianti, became his mistress. She bore him two sons, Alfonso and Alfonsino. The duke died October 31, 1534, at the age of fifty-eight; his brothers, Cardinal Ippolito and Don Sigismondo, having passed away before him, the former in 1520 and the latter in 1524. By Lucretia Borgia he had five children.
"Why should you mind what I see, my Roseline? It is you and you alone who can discover what you like and what interests you." We were passing in front of Titian's Laura de' Dianti. I was struck with the relationship that existed between her and my companion.
The "Worship of Venus" and "Bacchanal" Place in Art of the "Assunta" The "Bacchus and Ariadne" So-called Portraits of Alfonso of Ferrara and Laura Dianti The "St. Sebastian" of Brescia Altar-pieces at Ancona and in the Vatican The "Entombment" of the Louvre The "Madonna di Casa Pesaro" Place among Titian's works of "St. Peter Martyr."
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