Memoirs of the Dukes of Urbino, Volume 1 (of 3)

Chapter LI: Appendix: XIII

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The following narrative from Sanuto's Diaries of the Marriage Festivities of the Princess of Ferrara gives an ample idea of the pageants often alluded to in our volumes.

ORDER OF THE POMPS AND SPECTACLES FOR THE MARRIAGE OF THE LADY LUCREZIA BORGIA, ON HER COMING TO HER HUSBAND AT FERRARA, THE LAST DAY OF JANUARY, 1502.

First, the bridegroom Don Alfonso went to meet his bride at Malalbergo. Then, on the 1st of February, the most illustrious Lady Marchioness of Mantua went in the bucentaur, or state-barge, at the fourteenth hour, with her attendants, almost to Malalbergo, where she met the most illustrious bride, who was in a vessel with the most illustrious Duchess of Urbino and a few others. My Lady Marchioness then quitted her bucentaur for the bride's vessel, accompanied by the illustrious Lady Laura di Gonzaga and the Marchioness of Cotrone, when they embraced most courteously and proceeded towards Ferrara. On reaching the moat-tower, they all disembarked, and the bride made her reverence to the Lord Duke, who awaited her on the banks of the Po, with seventy-five mounted bowmen drawn up in file, in red and white uniform. The Duke having kissed her, and the foreign ambassadors with him having touched her hand, all of them embarked on board the bucentaurs, and so they arrived about the twenty-fourth hour at Casale, a possession of Lord Alberto d'Este on the opposite bank of the Po. The bride was received and led to her apartments by the Lady Lucrezia Bentivoglio, with many other noble dames, who all returned to Ferrara, after the steward of Don Alfonso had presented the Lady Teodora and twelve damsels as companions for the bride, all dressed in bodices [_camore_] of crimson satin and black velvet gowns with black lambskin. She was also complimented with five carriages, the first of which was covered with gold brocade and drawn by four horses, each worth fifty ducats. The next was in black velvet with bay horses, and the others in black satin drawn by horses of different colours. The bride wore a robe of cloth of gold, with _tirate_ and _galezoto_ of crimson satin, the sleeves of her chemise being in the Spanish fashion. Over these was a mantle [_albernia_] slashed on one side with black satin and trimmed with martens' fur. Her throat was bare, and her sleeves slashed in her own taste. On her neck was a string of large pearls with a garnet pendant pierced with a pearl; on her head a gold cap without any bandlet. The Lady Marchioness wore a robe of green velvet embroidered in gold, and a black velvet gown trimmed with lynx-skin, a cap of gold on her head, and a golden bandlet on her forehead, with a circlet of gold studded with diamonds round her neck. The Lady Duchess of Urbino wore a black velvet robe embroidered with golden ciphers.

Next day, the 2nd of February, the entry was made into Ferrara. First, there came an advanced guard of seventy-five mounted archers of the Duke in long coats [_salioni_] of white and red cloth, their three officers all differently dressed. Then followed eighty trumpeters, their long coats being half of gold brocade, and half of black and white satin; next to whom twenty-four fifes and trombones; and then the courtiers and nobles of Ferrara indiscriminately, seventy of whom had gold collars, worth one with another 500 ducats, some of them being from 800 to 1200 ducats. Thereafter the Duchess of Urbino's company, in satin and velvet, this division being closed by the Lord Don Alfonso, along with Messer Annibale Bentivoglio; he bestrode a tall bay horse caparisoned in black velvet, with trappings of massive beaten gold, wrought in relief, and a long coat of grey velvet covered with gold scales, the whole equipment being estimated at 6000 ducats. His black velvet cap had a fringe of beaten gold and white plumes. The gaiters [_brusadrini_] on his legs were of grey _sumacho_. The attendants at his stirrups were four pages and four tall men in French doublets of gold brocade and black velvet with hose of black and red cloth.

Next came the bride's company, in which were ten couple of Spaniards with gold brocade frocks [_saghi_], over which they wore velvet tabards lined with brocade or velvet; they had in all twelve gold chains of no great weight. These were followed by the Bishops of Adria, Comacchio, and Cervia with two others sent by the Pope, near whom were the envoys of Lucca, Genoa, Siena, Florence, with two from Venice in long robes of crimson velvet lined with fur, and four from Rome in mantles of gold brocade lined with crimson satin, behind whom were six tambourine players and a couple of running footmen.

Then came the bride, under a canopy of crimson satin borne by the doctors of laws; and in advance of it was led a tall piebald horse given her by the Lord Duke, with crimson velvet housings embroidered with gold, upon which she made her entry as far as the bridge of Castle Tealto, where it started at the discharge of fire-arms, and nearly threw her, but she was supported by eight of her stirrup-men, who were arrayed in long coats of black and yellow satin with hose to match; after which accident she mounted a black mule, with furniture of velvet covered with gold and studded with nails of beaten gold, a most beautiful and rich sight. Her dress was a _camora_, with wide sleeves in the French mode, of gold tissue and black satin slashed in stripes; over that an _albernia_ of woven gold brocaded in relief, which was open at the side and lined with ermine, as were also the sleeves of her robe. On her throat was a collar of diamonds and rubies, once belonging to our Lady of Ferrara of happy memory, and on her head a jewelled cap (sent her to Rome with that necklace by the Lord Duke), but no coronet. Her mule was led by six chamberlains of Don Alfonso variously arrayed, and all with massive gold collars, and she was attended only by the French ambassador.

The Lord Duke of Ferrara followed, with the Duchess of Urbino on his right. She rode on a black mule, caparisoned in black velvet, embroidered with woven gold. On her _camora_ of black velvet there were certain triangles of beaten gold, being astrological signs; a string of pearls surrounded her neck, and she wore a cap of gold. The Lord Duke bestrode a brown horse, with housings of black velvet, and wore a long cloak [_robbone_] of black velvet. Then came two noble dames, the Lady Girolama Borgia and one Ursina, in black velvet, behind whom the Lady Adriana, a widow related to the Pope: these were the only ladies on horseback. Next to them was the Lady Lucrezia Bentivoglio, in a carriage covered with gold brocade, followed by twelve others filled with the bride's ladies of Ferrara and Bologna; after whom there were led two of her sumpter mules with black velvet furniture, garnished with beaten silver in various designs; and behind these fifty-six other mules, covered with black and yellow cloth, and twelve more with satin of these liveries brought up the rear.

Triumphal arches had been raised in some of the streets through which the bride passed, and certain representations enacted; and so, at sunset, the procession reached the piazza, where a spectacle had been prepared of two men descending by cords from the Rugobello tower, and from the turret of the Palazzo della Ragione, at which moment all the prisoners were set free. The Lady Marchioness of Mantua stood to receive the bride at the stairs of the castle court, arrayed in a _camora_ embroidered with musical notes, and accompanied by her mother-in-law, the Lady Laura di Gonzaga, whose _camora_ was of gold brocade striped with black velvet: many ladies of Ferrara were also in their company. When the bride dismounted, the Duke's archers seized the canopy as their perquisite, whilst his stirrup-men and those of Don Alfonso contended for the mule, which was finally obtained by those of the bridegroom. The bride was then escorted by the ambassadors and Don Alfonso, with the Marchioness of Mantua and the Duchess of Urbino, into the grand hall and the ducal chambers, which were prepared with household requisites; and after remaining there awhile, all at length retired, and she and the bridegroom kept each other company that night.

On the 3rd, after dinner, two dances were performed in the hall, but with great difficulty, by reason of the crowd; and then the Duke reviewed all the actors in the five forthcoming comedies, one hundred and ten in number: they were in their stage dresses of taffety and camlet, in the Moorish fashion. First, there came one who represented Plautus, and recited the subjects of the proposed comedies, namely the _Epidicus_, the _Bacchides_, the _Miles Gloriosus_, the _Asinaria_, and the _Casina_. Then, about six o'clock, the first of them was commenced, with some good Moorish interludes, one of which was performed by some soldiers in antique dresses, with red and white plumes, having mock breastplates, helmets, and arms; one party wielding maces, the other axes, but each having swords and daggers. The former were victorious: they attacked with maces and axes, then with swords, finally with daggers, until half of them, having fallen down, were led away prisoners by the others, and removed from the stage. The second interlude was performed by some dressed as foot soldiers, with gorgets and breastplates, a feather on their heads, and hatchets in their hands; they fought like the others, after making a review to the sound of the trumpet, as if going to battle. The third interlude was musical, followed by certain Moors with two lighted candles in their mouths. The last one was also played by Moors bearing lighted torches, and making a fine show. Also, before the exit in the third interlude, there came to the sound of fife a fire-eater, who acquitted himself very well.

The bride did not make her appearance on the 4th until about noon, when, having taken a slight collation, she came into the hall attended by the diplomatic body. She wore a dress of gold thread in the French mode, and an _albernia_ of dark satin, with narrow stripes of beaten gold studded with small gems, and trimmed with ermine; on her head a cap bossed with garnets and pearls, and on her neck a jewelled collar. At the moment of her entrance into the hall there appeared also the most illustrious Marchioness of Mantua: her dress was embroidered with gold, her neck had a string of large pearls, with a great diamond in the centre, and a richly jewelled bandlet on her brow. The most illustrious Duchess of Urbino was with her, in a _camora_ of brown velvet slashed, and bound with chains of massive gold. They spent the day dancing in the hall until near sunset, when all adjourned to the representation of the _Bacchides_ by Plautus, with two Moorish interludes. One of these was executed by ten men dressed as if naked, with aprons and long hair; in their hands were ten cornucopiæ, each of them holding four lighted torches filled with turpentine, which emitted flames when shaken. They were preceded by a damsel, who moved timorously about, without music, towards the back of the stage, whence a dragon issued to devour her; but a dismounted man-at-arms defended her, combated and vanquished the dragon, and carried him off captive, followed by the damsel in the arms of a youth, the ten men dancing round them and making their turpentine blaze up. The second Moorish interlude represented maniacs in their shirts, their hose over their heads, and in their hands fly-flaps and inflated bladders to beat themselves with.

During next day, which was Saturday, the bride was occupied all the morning in washing [dying?] her head, and writing, nor did she appear during the day; so the other lords and ladies, nobles and dames, went for their pleasure through the city. And in the forenoon the Lady Lucrezia presented privately to the Lord Duke the patent of the fief of Ferrara from his Holiness. The Lady Marchioness of Mantua wore to-day a gown of white silver tabi, and her head and neck were decked with pearls; the Duchess of Urbino had a dress of velvet striped with woven gold.

On Sunday, the 6th, solemn mass was chanted in the cathedral by the Bishop of Carniola; of the principal lords only Don Alfonso being present, accompanied by the French ambassador, but there were many courtiers and a crowd of people. When mass was over, one of the Pope's gentlemen of the bedchamber, named Messer Leandro, presented to Don Alfonso a sealed bull, which being opened was of the following tenor:--That it being usual for the Pontiff, every year, on Christmas eve, to bless a sword and hat, as a present for some Christian prince deserving well of the Church, his Holiness had made choice of his Highness, in consideration both of the dignity of his house and the excellency of his own person, the sword being in defence of the Christian faith, and the hat for that of himself individually. This brief having been publicly read, Don Alfonso went to the altar and knelt, and the aforesaid Bishop, having recited some prayers, placed on his head the hat of grey velvet, surmounted by a knot embroidered in pearls, and fringed with gold, which crossed and hung down in the form of a broad band, lined with ermine, with pendent tails. He then placed in his hand the sword, which was very richly ornamented with gold; and after he had remained thus for a short time, the Bishop ungirded him, when, rising on his legs, he called for Messer Giulio Tascone, who took the sword in his hand, having the hat on its point; and thus they went to dinner by sound of trumpet.

After dinner the Lady Marchioness, arrayed in a black velvet robe, in the French fashion, lined with crimson satin, slashed and bound with lacets of massive gold, and buttoned down the front with garnet studs, her cap being formed of certain golden bars set with precious stones, and having round her throat a string of pearls and a golden necklace, went to escort the bride from her chamber, accompanied by her brothers and the Duchess of Urbino, whose gown was of black velvet closely embroidered in gold, her head and neck in gala attire. The bride wore a dress, in the French style, of dark satin, all striped with fish-scales of woven gold, each stripe being of two fingers' breadth: on her head were a cap and a richly jewelled coronet, and a pearl necklace of great price round her throat. And thus they led her down to the grand hall, where they danced for two hours, the bride with one of her maidens performing _busia_ very admirably in the French style. Then at sunset they went to the spectacle of the _Miles Gloriosus_, a comedy of Plautus, which lasted five hours and a half including three Moorish interludes. In the first of these, Cupid came upon the stage, shooting arrows and spouting verses; and he was followed by twelve men cased in tin, covered with lighted candlesticks, with looking-glasses on their heads, and pierced paper balloons in their hands, also filled with candles; so that it was a fine sight. The second interlude represented goats rushing and leaping about the stage, with the goatherd after them. The third was performed by foot soldiers in doublets of gold and silver brocade, with white and red hose, and on their heads black velvet caps with white plumes and false hair. In their hands were darts, and at their sides daggers; they first moved about the stage, thrusting at each other with the darts, and then with the daggers, but always keeping time; and when this was concluded all went to supper.

Next day, the 7th, about two o'clock, all met to witness a combat between two men-at-arms, who had been allowed to fight in the piazza fronting the cathedral. One of them was named Vicino da Imola, in the Marquis of Mantua's service; the other was Aldobrandino Piatese, of Bologna. At the third sounding of the trumpet they made their onset, spurring their horses, and meeting near the extremity of the Palazzo della Ragione, when Aldobrandino received a thrust in the shoulder from his adversary, and was unhorsed. Throwing away their lances, they then took to their swords; but Aldobrandino having lost the naked sword of his bridle-hand at the first charge, employed the other, with which, at close quarters, he gave two wounds to his enemy's horse, one in the neck and the other in the shoulder. At length Vicino broke his sword's point, and unwittingly used it thus for some time; but on becoming aware of the fact, he seized his mace, and having soon lost this also, he instantly took his dagger, dodging about the lists with it, and courageously followed by his antagonist, who sought out his exposed and wounded points with his sword; until, finally, having cut him in the hand, Vicino's horse at the same instant beginning to stagger from his two wounds, Aldobrandino would doubtless have vanquished and slain his enemy, had not the Duke caused them to be parted, having reserved to himself this right of separating the combatants. Aldobrandino, after a very brief delay, was the first to mount a fresh horse and ride round the lists, amid infinite shouts of applause, and cries of "Turk, Turk!" [being a sort of slang for "Pluck, pluck;"] his adversary exhibiting his broken sword. And this duel of an hour's duration being so ended, the Duke, as umpire, reserving his award, all went from this spectacle to that of the comedy of Plautus, named the _Asinaria_, which was beautiful and delectable. Its notable interludes were, first, ten wild men, who ran about the stage jumping most fearfully, and then, terrified by the cry of dogs and hunters, retreated into a wood, whence, on seeing some coneys pass by, they pursued them with sticks and caught them. Then, on hearing the horns again blown, they hid themselves a second time, but came forth to chase some kids and chamois, which also they took. Finally, at the third blast of the horns, they once more fled into the wood, where they gave chase to a lion and a panther with their sticks; and these animals, defending themselves, were at length taken and bound by them, with great applause. Thereafter, all the ten met at one end of the stage, jumping, and four of them having formed a circle with their hands joined, other four sprang up and stood upon them with joined hands, they all bounding and dancing to pipe music, whilst the remaining two capered round them until they all separated. They all wore bells, which sometimes rang and were sometimes mute, but all in perfect time. Thereafter came some Mantuan music of the _tromboncino_, _paula_, _poccini_, &c., and last of all twelve peasants made their appearance with a tambourine, to represent the progress of agriculture. First, they dug the ground with spades; then they sowed from baskets filled with gilt copper chopped fine; then, with sickles, they reaped the corn, and so, going through each step, winnowing and housing it, until some peasant girls came forth with panniers and covered caldrons for a repast, preceded by fifes, with whom the husbandmen commenced dancing, and so went off the scene. The performance ended at nine o'clock, when all moved to supper.

On this day the bride appeared in a dress of woven gold, and an _albernia_ of dark satin lined with ermine; on her neck was a great chain [_canata_, or fence of canes] of most valuable stones, and on her head a coronet of diamonds and emeralds. The most illustrious Marchioness wore a gown of crimson velvet striped with gold brocade in open work; on her neck was a very rich chain of stones, and a coronet of immense diamonds on her brow. The Lady Duchess had a black velvet dress, striped and crossed with gold and silver brocade, with pearls and jewels [_prede_] on her neck and head. The French envoy presented the bride to-day with a string of Venetian gilt beads.

On the 8th, being Shrove-Tuesday of the carnival, the ambassadors entered the bride's chamber to offer their gifts, the Duke having already presented her with almost all his own jewels, which are most beautiful and of great value. The Venetian first, after a fitting exordium, presented robes and hoods of crimson velvet lined with paunch fur. Then the Florentine gave her a beautiful piece of cloth of gold flowered in relief, thirty-five yards long. The Sienese donated two silver vases of considerable size and well wrought. Lastly, the Lucchese gave a beautiful silver basin and ewer. Thereafter came the bride arrayed in a robe of gold brocade and dark satin, slashed and bound with white silk, with an _albernia_ of crimson satin lined with ermine, and a most beautiful long chain of pearls and _prede_ on her throat, with a jewelled cap on her head. She was accompanied by the Lady Marchioness, in a dress of dark velvet covered with acorns woven in gold, a collar of large pearls with a garnet centre, and a most beautiful tiara of diamonds, rubies, and emeralds, along with the Lady Duchess of Urbino in a gown of black velvet striped with gold, with a jewelled necklace and diadem. They went into the hall, where they danced till after sunset, and then proceeded to hear the last of the comedies, the _Casina_, which was performed with great applause of the spectators. The interludes were, first, one of music, in which a _buffo_ was sung in praise of the bridal pair: this preceded the comedy, after the first act whereof, a women in the French dress came forward to the sound of a tambourine followed by ten youths clad in taffety of Don Alfonso's colours of white and red, holding baskets on which were inscribed "Love wills not." Then they danced, and the woman, following them, snatched and threw away their baskets, on which feigning anger they left the stage, but returned with darts in their hands, wherewith they wounded her, leaving her half dead. Cupid then came, and with his arrows floored these youths and freed her, when all arose and left the stage. Thereafter music was performed by some Mantuan barbarians, who sang a ballad, the burden whereof was Hope. On the conclusion of the second act, six wild men appeared, and drew a large globe to the centre of the stage, wherein were enclosed four virtues, Justice, Fortitude, Temperance, and Prudence, who, on the globe being opened at the blast of a horn, sang a song. After the third act, some very good music was performed by six viols, one of them played by the Lord Don Alfonso. In the fourth place, twelve men in German arms came forward, with breastplates, halberds, and knives, having plumes on their heads, and they performed a very fine Moorish dance. Finally, there came other twelve with long torches lighted at each end, who paced about in the Moorish fashion, making a most beautiful display; and thus the spectacle ended at eleven o'clock, when all went to supper.[316] During these nuptials, the most illustrious Lady Marchioness of Mantua has made many presents, both in money and dresses, to the trumpeters, buffoons, tambourine and fife players, and other musicians: amongst them she gave dresses to three Spanish buffoons, two being of gold brocade, the other of dark satin, all beautifully figured.

[Footnote 316: It is scarcely necessary to point out in these interludes the germ of the modern ballet spectacles (which in Italy are still introduced between the acts of the opera), as well as of various carnival pastimes. The details illustrate the history of the stage, as well as the social manners of the cinque-cento, which may excuse the length of this extract.]

END OF THE FIRST VOLUME.

GENEALOGICAL TABLES

[Transcriber's Note: Missing legends for natural children in some of the genealogical tables have been added. In some tables, the original uses the same symbol to indicate both natural children and skipped generations. In order to distinguish between them, the skipped generations are indicated by the § symbol, as that symbol is used for that purpose in the other original tables.]

DESCENT OF THE MONTEFELTRI, COUNTS AND DUKES OF URBINO.

N.B.--_Natural children are connected thus_ !
!
!

DESCENT OF THE MALATESTA, as connected with URBINO.

N.B.--_Natural children are connected thus_ !
!
!

DESCENT OF THE ORSINI, as connected with URBINO.

_From Litta._

N.B.--_Natural children are connected thus_ !
!
!

TABLES SHOWING THE DISPUTED SUCCESSION TO THE CROWN OF NAPLES.

_From Le Sage, &c._

N.B.--_Natural children are connected thus_ !
!
!

I. LINES OF NORMANDY, HOHENSTAUFEN, AND ARAGON.

II. LINES OF ANJOU.

LOUIS VIII.,
K. of France,
d. 1226.
________________|___________
| |
ST. LOUIS, CHARLES, Count of Anjou and Provence,
K. of France, invested by Clement IV.
d. 1270. with Naples and Sicily, 1265,
| d. 1285.
| |
| |
| CHARLES II., K. of N., d. 1309.
| |
| ________________|___________________
| | | | |
| CHARLES MARTEL, ROBERT, PHILIP, JOHN,
| K. of Hungary, K. of N., d. 1332. d. 1335.
| d. 1290. d. 1343. | ____|_____
| | | | | |
| | CHARLES, | LOUIS, CHARLES, = MARY of
| CHARLES d. 1328. | d. 1362. d. 1348. | Naples,
| ROBERT, | | | d. 1366.
| K. of H., | | |
| d. 1342. _|_____________ | __________ |____________
| | | | | |
| ___|_____ | ____|___ | |
| | | | | | 2 | 1 |
| LOUIS, ANDREW, = JOANNA = LOUIS of PHILIP, = MARY, = CHARLES = MARGARET,
| K. of d. I., Tarento, d. d. of | d. 1412.
| Hungary, 1345. Q. of N., d. 1362. 1368. 1366. Durazzo, |
| d. 1382. d. 1382. d. 1412. |
| ___________________________|
| | |
| LADISLAUS, JOANNA II., Q. of Naples,
| K. of Naples, who adopted 1st Alfonso V.,
| d. 1414. K. of Aragon and Sicily;
| 2nd René of Anjou and
| Provence, +1435.
__|___________________________
| |
PHILIP THE BOLD, CHARLES of
K. of France, Valois of Anjou.
d. 1285. |
PHILIP VI., of
Anjou, d. 1350.
|
JOHN II., of
Anjou, d. 1364.
________________|__________________
| | |
CHARLES V., LOUIS I., PHILIP,
K. of of Anjou, D. of Burgundy,
France, Titular K. d. 1404,
d. 1377. of Naples, great-grandfather of
| d. 1384. |
_________|_________ | |
| | | §
CHARLES VI., LOUIS, | |
K. of France, D. of LOUIS II., |
d. 1422, Orleans, of Anjou, |
grandfather of d. 1407. Titular K. CHARLES THE BOLD,
| | of N., D. of Burgundy,
§ | d. 1417. d. 1477.
| | |
LOUIS XI., CHARLES, |
K. of F., D. of O., |
d. 1483. d. 1465. |____________________________________
| | | | |
| | LOUIS III., RENÉ LE BON, CHARLES,
CHARLES = ANNE of = LOUIS XII., of Anjou, C. of Provence, Count of Maine,
VIII., K. Bretagne, K. of F., Titular Titular d. 1472.
of France, d. 1514. d. 1515. K. of N., K. of N., |
d. 1498. d. 1434. d. 1480. |
|
CHARLES,
Tit. D. of Calabria,
bequeathed his
claims on Naples to
Louis XI. of France,
d. 1481.

THE SFORZA DESCENT

N.B.--_Natural children are connected thus_ !
!
!

DESCENT OF THE BORGIA, as connected with URBINO

_From Moreri, &c._[H]

[Transcriber's Note: This table is not historically accurate, but is presented here as it appears in the original.]

_N.B.--Natural children are connected thus_ !
!
!

[Footnote H: Cf. with the Table in YRIARTE, _César Borgia_, vol. I.]

DESCENT OF THE VITELLI of CITTÀ DI CASTELLO, as connected with URBINO

_From Litta_

N.B.--_Natural children are connected thus_ !
!
!

* * * * * *

Transcribers Errata List

Page xxi, number 18: Price is missing in original.

Page xxii, number 21: "Sazi" should be "Sanzi".

Page xxii, number 22: "Luigo Allemanno" should be "Luigi Alamanni".

Page 460, bottom: Subtotal is missing in original.

Missing legends for natural children in some of the genealogical tables have been added. In some tables, the original uses the same symbol to indicate both natural children and skipped generations. In order to distinguish between them, the skipped generations are indicated by the § symbol, as that symbol is used for that purpose in the other original tables.

In the first table relating to the succession to the Crown of Naples, Jane, wife of Ferdinand I., is actually his second wife, and not the mother of his issue listed here. The original table lists this marriage twice; both instances are combined here for clarity.

The Borgia genealogical table is not historically accurate, but is presented here as it appears in the original. (See the author's comment on the Borgia pedigree on p. 320.)

Footnote 226: Errors in the Boccalini quotations have been corrected by comparison with the 1612 edition of 'De' ragguagli di Parnaso' at the Internet Archive.

Footnote 299: Original erroneously cites p. 385; corrected to p. 401.

Footnote 301: Original erroneously cites p. 385; corrected to p. 401.

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Memoirs of the Dukes of Urbino, Volume 1 (of 3)Chapter LI: Appendix: XIII

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