The Italian Renaissance Reader Notes

Sprezzatura and Grace

Messer Cesare initiates the discussion by referencing Count Ludovico's earlier statements about the importance of grace in a courtier's actions, gestures, habits, and movements. He emphasizes that grace is considered the essential "seasoning" that enhances all other qualities, without which they are of little value.

Count Ludovico responds by reflecting on the source of grace. He proposes a universal rule for human actions: to avoid affectation as much as possible. He introduces the term sprezzatura, or nonchalance, as the key to concealing artistry and making actions appear effortless and unstudied.
Sprezzatura \approx Nonchalance

Grace, according to Ludovico, stems from the perceived difficulty of accomplishing something well. When someone makes a difficult task look easy, it generates wonder and admiration. Conversely, laboring over something or showing visible effort diminishes its value and reveals a lack of grace.

True art, therefore, is that which does not appear to be art. Concealing effort is crucial because exposure discredits a person and lowers their esteem. Ludovico recalls examples of ancient orators who intentionally downplayed their knowledge to make their speeches seem natural and truthful, fearing that revealing their skill would make them appear deceptive.

He illustrates the lack of grace through the example of Messer Pierpaolo's dancing, which is characterized by rigid movements and a self-conscious counting of steps. This affectation stands in stark contrast to the easy manner of others who appear unconcerned and natural in their movements, speech, and posture.

Castiglione aimed to make the court of Urbino famous through his writings, emphasizing its excellence. Discussions then turned to the critical role of the courtly lady in the court and its impact on the courtier’s behavior.

The Magnifico hesitated to define the perfect court lady, noting it was more challenging than defining a queen. He looked to a lady with divine qualities for inspiration. The Duchess instructed him to concentrate on defining the court lady.

The Magnifico agreed to describe his ideal lady, recognizing that while the rules for courtiers also applied to ladies, some qualities were better suited to each gender. Physical activities, style, manners, speech, gestures, and demeanor should differ between men and women.

A woman should be gentle and delicate, with feminine movements and speech, setting her apart from men's strength. She should avoid being artificial and aim for natural grace. She should be well-mannered, witty, and wise, yet avoid arrogance, envy, gossip, vanity, or being argumentative or unskilled. She should win and keep the favor of her mistress and others, and engage in appropriate exercises.

Beauty is more vital for a woman than a courtier. She must be careful to avoid gossip, ensuring she remains innocent and above suspicion. The Magnifico then changed the subject to defining the main role of the court lady, similar to the courtier's role in arms.

Virtues and Qualities of the Court Lady

Besides virtues like prudence and qualities like goodness that all women should have, a court lady needs to be friendly and charming. This helps her have good conversations with different people based on their status and the situation.

She should be gentle but also witty, avoiding being rude while staying chaste, wise, and kind. It's a balance to not be too shy but also not act inappropriately. If others tell a story, she can listen with a slight blush of shame.

She should not participate in or listen to gossip. If she gets angry about immoral acts, it might make her look guilty. If she pries into love affairs, she will look envious and invite others to do the same to her. Men will respect women wise and virtuous. A kind act from an honest woman is worth more than wild behavior from women without shame. Loud laughter or rudeness can make a woman seem unchaste.

Signor Gasparo asks what activities a court lady should engage in, and Magnifico says that she should avoid hard exercise and move gracefully. She should be happy and know about clothing, literature, music, painting, and dance. He says women aren't imperfect, and a lady should understand love and look for spiritual and honorable love outside marriage.

Notes

  • Dom Miguel da Silva (c. 1480-1556): Portuguese nobleman and cleric, ambassador to Popes Leo X, Adrian VI, and Clement VII, friend of Castiglione, known for his writings, made a cardinal in 1541.

  • Guidobaldo of Montefeltro (1472-1508): Son of Federico of Montefeltro, Duke of Urbino in 1482, married Elisabetta Gonzaga in 1486 (no children), adopted Francesco Maria della Rovere as heir in 1504.

  • Vittoria della Colonna (1492-1547): Wife of the Marquis of Pescara, renowned poetess and woman of letters, exchanged lyrics with Michelangelo.

  • Alfonso Ariosto (1475-1525): Encouraged Castiglione to write The Book of the Courtier at the suggestion of Francis I of France. The book was originally dedicated to Alfonso.

  • Giuliano de' Medici (1479-1516): Resided at the court of Urbino during the Medici exile from Florence (1494–1512), made Duke of Nemours by Francis I of France.

  • Bernardo Dovizi da Bibbiena (1470-1520): Served Giovanni de' Medici, made a cardinal by Leo X, known as "the other Pope," patron of Raphael, writer of La Calandria.

  • Ottaviano Fregoso (1470-1524): Nobleman and politician from Genoa, sought refuge in Urbino, elected Doge of Genoa in 1513.

  • Elisabetta Gonzaga (1471-1526): Daughter of the Marquis Federico Gonzaga of Mantua, married Duke Guidobaldo in 1489, admired for her elegance, wit, strength, and virtue.

  • Castiglione refers to Plato's Republic, Xenophon's Cyropaedia, and Cicero's De oratore.

  • Federico of Montefeltro (1422-82): Duke of Urbino in 1474, known for military skill, wise rule, and love of arts and letters.

  • Alfonso II of Aragon (1448-95): Duke of Calabria, King of Naples in 1494.

  • Ferdinand II of Aragon (1469-96): King of Naples.

  • Pope Alexander VI (1431-1503): Elected in 1492, Rodrigo Borgia, father of the famous Borgia, known from Machiavelli's The Prince.

  • Pope Julius II (1443–1513): Elected Pope in 1503, known as the "warrior pope" and patron of the arts (Michelangelo's Sistine Chapel).

  • Emilia Pia (d. 1528): Lived in Urbino after her husband's death, known for her wit, gaiety, and virtue.

  • Federico Fregoso (1480-1541): Soldier, diplomat, courtier, politician, Archbishop of Salerno in 1507, made a cardinal in 1539.

  • Pietro Bembo (1470-1547): Authority on language, style, and platonic love, poet, papal secretary for Pope Leo X in 1512, made a cardinal in 1539, corrected the proofs for The Book of the Courtier.

  • Cesare Gonzaga (1475-1512): Related to the Gonzaga family of Mantua, soldier and diplomat of Urbino.

  • Count Ludovico da Canossa (1476-1532): Diplomat, friend of Erasmus and Raphael, Bishop of Bayeux in 1516.

  • Gasparo Pallavicino (1486-1511): Lombard, one of the youngest members of the court.

  • Ludovico Pio (d. 1512): Soldier, died after being wounded in battle.

  • Sigismondo Morello da Ortona: Misogynist, soldier and courtier.

  • Pietro da Napoli: Briefly appears to tell a joke.

  • Roberto da Bari (d. 1512): Young and elegant courtier.

  • Bernardo Accolti (1458-1535): Known as the "Unico Aretino", improviser of poetry.

  • Giancristoforo Romano (c. 1465-1512): Sculptor, medal-maker, goldsmith, architect, and musician.

  • Pietro Monte: Master of the Horse in charge of tournaments.

  • Antonio Maria Terpandro: Singer and musician.

  • Niccolò Frisio: German friend of Castiglione and Bembo, diplomat.

  • The court of Urbino represents a microcosm of Italian society.

  • Ippolito d'Este (1479-1520): Patron of Ludovico Ariosto, made a cardinal by Pope Alexander VI in 1493.

  • Central to Castiglione's conception of the courtier are the attributes of grace (grazia) and sprezzatura (nonchalance).

  • Galeazzo Sanseverino (d. 1525): Military officer for Ludovico Sforza in Milan, grand equerry by King Louis XII of France in 1506.

  • Sprezzatura: The ability to conceal all effort or art in one's words or actions.

  • Meraviglia: The feeling of wonder on the part of the onlooker as a result of seeing true grace.

  • Messer Pierpaolo: A gentleman at the court of Urbino who has never been completely identified.

  • Monseigneur d' Angoulême (1494-1547): King Francis I of France in 1515, patron of the arts and letters.

  • Alexander the Great (356-323 B.C.).

  • Aristotle (384-322 B.C.).

  • Alcibiades (c. 450-404 B.C.).

  • Socrates (469-399 B.C.).

  • Scipio Africanus the Younger (d. 129 B.C.).

  • Xenophon (c. 430-c. 355 B.C.).

  • Lucullus (106-57 B.C.).

  • Lucius Cornelius Sulla (138-78 B.C.).

  • Gnaeus Pompeius Magnus (Pompey the Great, 106-48 B.C.).

  • Marcus Junius Brutus (c.85-42 B.C.).

  • Hannibal (247-183 B.C.).

  • Aristippus (c.435-356 B.C.).

  • Achilles

  • Grasso ("Fatso").

  • Vincenzio Colli, Il Calmeta (d. 1508).

  • Bernardo characterizes the human being as a risible animal.

  • The numeral VI could be read as the ablative form of Latin vis, which means "force."

  • Comments on Popes Nicholas V and Pius III.

  • Magnifico Giuliano defends women against the misogyny of Gasparo Pallavicino.

  • Ottaviano questions the goals of the courtier, offering a new goal with a social purpose.

  • Bembo published the Asolani in 1505.

  • Bembo's description of the human soul conforms to the traditional Christian model.

  • The simile of the sun comes from Plato's Republic, Book VI.

  • Bembo's discourse on platonic love is often discussed in terms of the famous metaphor of the "ladder."

  • This ironic conclusion raises questions about this ideal love.

The qualities of a perfect court lady and a perfect courtier differ mainly because of the traditional roles expected from women and men at court.

  1. Qualities of a Perfect Court Lady:

    • Gracefulness and Poise: The lady is expected to be beautiful and graceful in her behavior.

    • Domestic Skills: She should be skilled in activities like music, dance, and embroidery that are traditionally feminine.

    • Submissiveness: Courteous and supportive of the men at court, showing gentleness.

    • Loyalty: Expected to be loyal to her family and the monarchy, which helps keep the court stable.

    • Social Skills: Should be good at talking with others and entertaining guests.

  2. Qualities of a Perfect Courtier:

    • Valor and Bravery: The courtier is expected to be courageous and skilled in battle.

    • Leadership: He should show leadership and take responsibility in political matters.

    • Eloquence: He must speak well and persuade others effectively.

    • Strategic Thinking: Should navigate through political issues smartly.

    • Honor: Keeping personal and family honor is vital for him.

  3. Reflection of Gender Roles:

    • These differences show the societal structure where men are seen as leaders, while women are seen as supporters.

    • The qualities of the court lady suggest that her role is limited and focuses on traditional female traits, while the courtier's qualities highlight the power and authority granted to men.

    • This illustrates how women's contributions were often overlooked compared to men's, reflecting the unequal status in society during this period.