DOI Page / Citation link:
https://doi.org/10.11588/diglit.42861#0208
170
SERAFINO’S POEMS
Many other poets and artists there were who, like
Cristoforo Romano and Niccolo da Correggio, found
their way to Mantua or Ferrara, when Beatrice’s tragic
death had, in Calmeta’s words, turned that brilliant
court “from a joyous paradise into the blackest hell.”
Calmeta himself, “ Telegantissimo Calmeta,” as he was
called by his contemporaries, who had been her
sister’s secretary, spent some time that summer at
Mantua and dedicated his commentary on Petrarch’s
canzone, Mai non vo cantar, to the Marchesa, and
Serafino, the famous singer and actor, who was so great
a favourite with all the Este and Gonzaga princes, also
accepted Isabella’s invitation. During the year which
he spent at Mantua, after Beatrice’s death, the Duke
and Duchess of Urbino begged him in vain to come
and amuse them for a little while, and both Cardinal
d‘Este and his brother Ferrante asked Isabella for
copies of his strambotti and capitoli. The Marchesa,
however, was very jealous of these poems which
Serafino composed for her benefit, and when Bishop
Louis Gonzaga of Gazzuolo asked her for a certain
capitolo “ On Sleep,” which the poet had lately written,
begged him to keep it under lock and key and not
allow any one to see it, as she particularly wished
these charming verses not to become public property.
“ This, however,” she adds, “ you will, I fear, find to
be a very difficult thing.”1
But the greatest of all the Milanese artists who
came to Mantua after Lodovico Sforza’s exile was
the Florentine master, Leonardo da Vinci. Isabella
had often met the distinguished artist who stood
so high in the Moro’s favour, and had seen and
admired his masterpieces in painting and sculpture.
1 Luzio e Renier, Mantova e Urbino, p. 93.
SERAFINO’S POEMS
Many other poets and artists there were who, like
Cristoforo Romano and Niccolo da Correggio, found
their way to Mantua or Ferrara, when Beatrice’s tragic
death had, in Calmeta’s words, turned that brilliant
court “from a joyous paradise into the blackest hell.”
Calmeta himself, “ Telegantissimo Calmeta,” as he was
called by his contemporaries, who had been her
sister’s secretary, spent some time that summer at
Mantua and dedicated his commentary on Petrarch’s
canzone, Mai non vo cantar, to the Marchesa, and
Serafino, the famous singer and actor, who was so great
a favourite with all the Este and Gonzaga princes, also
accepted Isabella’s invitation. During the year which
he spent at Mantua, after Beatrice’s death, the Duke
and Duchess of Urbino begged him in vain to come
and amuse them for a little while, and both Cardinal
d‘Este and his brother Ferrante asked Isabella for
copies of his strambotti and capitoli. The Marchesa,
however, was very jealous of these poems which
Serafino composed for her benefit, and when Bishop
Louis Gonzaga of Gazzuolo asked her for a certain
capitolo “ On Sleep,” which the poet had lately written,
begged him to keep it under lock and key and not
allow any one to see it, as she particularly wished
these charming verses not to become public property.
“ This, however,” she adds, “ you will, I fear, find to
be a very difficult thing.”1
But the greatest of all the Milanese artists who
came to Mantua after Lodovico Sforza’s exile was
the Florentine master, Leonardo da Vinci. Isabella
had often met the distinguished artist who stood
so high in the Moro’s favour, and had seen and
admired his masterpieces in painting and sculpture.
1 Luzio e Renier, Mantova e Urbino, p. 93.