ide of the Six

aid the foundations for that prosperous state which at his death passed into the hands of his son Guidobaldo, the husband of Elizabetta. Federigo's immense wealth was not gained by burdening his subjects with heavy taxes, but rather from the money which he was able to earn as a military leader, for he was a noble soldier of fortune. Vespasiano tells us, with regard to his military science, that he was excelled by no general of his time, and his good faith was never questioned. He was also a man of singularly religious nature, and no morning passed without his hearing mass upon his knees. In his lifetime he served no less than three pontiffs, two kings of Naples, and two dukes of Milan; the republic of Florence and several Italian leagues had appointed him their general in the field, and in this long life of warfare the sums of money paid him for his services were immense. Dennistoun relates that in the year 1453 "his war-pay

do and became the chatelaine of the palace. The young duke and his wife began their life together under the most auspicious circumstances. From what his tutor, Odasio of Padua, says about his boyhood, it is evident that if he were alive to-day he could easily obtain one of the Cecil Rhodes Oxford fellowships, for we are told that he cared only for study and for manly sports, and that he was of an upright character. His memory was so retentive that he could repeat whole books, word for word, after many years, and in more ways than one he had displayed a wonderful precocity. Elizabetta, too, had been given a most liberal and careful education, and her ready intelligence was equalled only by her careful tact and her perfect savoir faire. Indeed, on account of her many attainments, personal charm, and her refining influence, which was far-reaching, she may be likened to that celebrated Frenchwoman Catherine de Vivonne, Madame de Rambouillet, whose h?tel was, a century later, such a rendezvous for the gentler spirits of France in that hurly-burly period which followe

ast, Baldassare Castiglione, that model courtier and fine wit, who has left a picture of Urbino in his celebrated book Il Cortegiano, which was long known in Italy as Il Libro d'Oro. This volume is an elaborate discussion of the question, What constitutes a perfect courtier; and it was for a long time a most comprehensive and final compendium, handbook, and guide for all who wished to perfect themselves in courtly grace. What interests us most in the book, however, is the fact that Castiglione has put this discussion of polite manners into the form of a convers

lon in modern history, and, presided over by a woman who was a veritable grande dame de société, its influence was by no means confined to a narrow sphere. Even in far-away England, Urbino was known and appreciated; and Henry VII., to show his esteem for its ruler, conferred the Order of the Garter upon Guidobaldo. In acknowledgment of this favor, Castiglione was sent to the English court to bear the thanks of his lord, and with him he took as a present Raphael's Saint George and the Dragon, which, by the way, was taken from England when Cromwell ordered the sale of the art treasures of

s was rarely seen then, when the mariage de convenance was more in vogue, perhaps, than it is in these later days in Paris. Nine happy years they spent together, and two sons were born to them; then Ghiberto died, leaving Veronica in such grief that she fell ill and hovered a long time between life and death. In one of her poems she relates that it was the fear that she might not meet her beloved husband in Paradise which prevented her from dying with him. She had work to do, however, as her husband, in sign of his great confidence in her, had made her his sole exe

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borne away my affection: may he posses

ecially beautiful in her sight, as she devotes no less than six sonnets and a madrigal to a description of their charms, calling them occhi stellante, and telling of their power in most fervid terms. We cannot, however, consider her as a woman who was wholly concerned with her own small affairs, as her letters show her to have been in communication with the most illustrious literary men and women of all Italy, including Ariosto, Bembo, Sannazzaro, and Vittoria Colonna. Though her literary baggage was not extensive, the few sonnets she has left have a strength, simplicity, and sincerity which were rare

e that of all contemporary heroes! Vittoria came from most illustrious families, as her father was the Grand Constable Fabrizio Colonna and her mother was Anna di Montefeltro, daughter of Federigo, the first great Duke of Urbino. At the early age of four, fate joined Vittoria in an infant marriage to the young Count d'Avalo, who was of her own age, and who later, as the Marquis of Pescara, really became her husband. When Vittoria was but a young girl, her beauty and her wonderful talents, added to her

in verse, to become the mother of his great deeds and lofty fame." After their long honeymoon had come to an end, Pescara was moved to return to the world, or rather to enter it for the first time as a man, and he entered the imperial army. At the age of twenty-one, as a general of cavalry, he took part in the battle of Ravenna, where he was made a prisoner of war. After a year's detention, however, he was allowed to return to his post, and then followed campaigning in various parts of the peninsula. Vittoria, during all these days of absence, had remained quietly in their island home at Ischia, where she devoted her time to the composition of those sonnets in honor of her husband's glorious deeds which have since brought her such lasting reputation.

that efforts were made to entice him from the imperial service; he was actually offered the crown of the kingdom of Naples in case he would be willing to renounce his allegiance to Charles V. The offer tempted him, and he hesitated for a moment, writing to his wife to ascertain her opinion on the subject. It is clear that he wavered in his duty, but his excuse to Vittoria was that he longed to see her on a throne which she could grace indeed. She, however, without a moment's hesitation, wrote to him to remain faithful to his sovereign, saying, in a letter cited by Giambattista Rota: "I do not desire to be the wife of a king, but rather of that great captain who, by means of his valor in war

ds of propriety; but to them all she gave the calm assurance that her noble husband, though dead to others, was still alive for her and constantly in her thoughts. After the first period of her grief had passed, she found herself much drawn toward spiritual and religious thoughts, and then it was that her poetry became devotional in tone and sacred subjects were now her only inspiration. Roscoe mentions the fact that she was at this time suspected of sympathizing in secret with the reformed doctrines in religion which were then making

t Ischia, Vittoria spent much time in the convents of Orvieto and Viterbo, and later she lived in the greatest seclusion at Rome; there it was that death overtook her. Wherever she went, Michael Angelo's thoughtfulness followed her out, and in those last moments at Rome he was with her, faithful to the end. He was the kindly, rugged master-genius of his time, an inte

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trines, came of a long line of princes who had in the past given liberally to the cause of learning. During his reign, which covers the period from 1559 to 1597, the social side of court life in his dukedom came into special prominence. The two sisters of Alfonso-Lucrezia and Leonora-presided over this court, and to it came, from time to time, many of the most beautiful women of Italy. Tarquinia Moeza was there, a woman of beauty and of rare poetic gifts; Lucrezia Bendidio, beautiful and accomplished, and having consta

stantly the youth, filled as he was with most romantic ideas and readily susceptible to the power of woman's beauty, fell a captive to the charms of the Princess Leonora d'Este, who, though some ten years his senior, seemed to embody all the graces and to completely satisfy the ideal which up to this time he had been able to see only with his mind's eye. Leonora had already been sought in marriage by many titled suitors, but she had invariably turned a deaf ear to such proposals, never finding one who could please her fancy or who promised comfort in her loneliness. For she was lonely in that court, as she seems to have dwelt in a sort of spiritual isolation most of the time; there was always a melancholy air about her, which had no doubt been induced in large measure by her mother's sad fate. For Tasso to love her was most natural; but they both knew that such a love coul

etry, which had been expressed before by Ariosto in his amatory verse, but which cannot be found to any great extent in his more pretentious work, the Orlando Furioso. This new feeling was real sentiment, and not sentimentality, and it denotes the growing conception of the worth and dignity of womanhood which we have already discovere

t with the idea that the duke sought to take his life, and he fled in disguise to his sister, who was then living at Sorrento. Various explanations have been given for this sudden flight, and some biographers have insinuated that the duke had discovered some hidden intrigue between his sister Leonora and Tasso which had caused the latter to fear for his safety. This supposition cannot be accepted as true, however, for if the duke had known or had even strongly suspected such a thing he would have promptly put the poet to death without compunction, and such a course of action would have been entirely justified by the public sentiment of the time. And if this supposition were true, is it probable that Tasso would have been allowed to return to Ferrara in a short time, as he did? Now, begins a confused life, and the poet comes and goes, moved by a strange restlessness

h seems to be that he became mentally unbalanced as the result of the precocious development of his powers, which made a man of him while yet a boy and developed in him an intensity of feeling which made his candle of life burn fiercely, but for a short time only. His end was but the natural consequence of the beginning,