DOI Page / Citation link:
https://doi.org/10.11588/diglit.42863#0379
CHARLES V. AT MANTUA
349
the Alps, and entered Mantua on the 7th, bringing
with him a great train of Burgundian guards, bag-
gage, horses, and sporting dogs. His pleasant and
affable manners made a great impression on the
Venetian envoys. He went out hunting or rode
out every day incognito with the Duke, and walked
about the town, unattended by his guards and fre-
quently unrecognised. Often people were puzzled how
to distinguish him from Alfonso d’Avalos, who was
generally at his side and wore the same Spanish suit
of black velvet embroidered with gold, until Charles,
hearing them ask, “ Which is he ? ” would raise his
cap with a smile. Ferrante and his cousin, Luigi
Gonzaga of Borgoforte, were the Emperor’s constant
companions, and talked and laughed with him in the
most familiar way; but the Venetians noticed that
he always spoke of war and politics with the Duke of
Urbino, and only discussed hunting and other amuse-
ments with Federico. This time the Duke resolved
to give a series of theatrical performances in the
Castello, and asked his mother to allow her suite of
rooms on the ground floor of the Corte Vecchia to be
fitted up as a stage.1 The preparations were on a
grand scale, and cost Messer Giulio and Calandra
no small amount of trouble. At Federico’s request,
Titian sent him a skilful and “ very pleasing artist,”
called Vincenzo of Brescia, who painted a large
canvas with villages and houses and an Emperor
on horseback attended by guards on Arab steeds,
which was suspended from the roof by gold silk
cords.2 Messer Giulio, “ although little versed in
such matters, also displayed rare skill and ingenuity,”
1 M. Sanuto, Diarii, Ivii. 227, &c.
2 D’Ancona, Teatro, ii. 430, &c.
349
the Alps, and entered Mantua on the 7th, bringing
with him a great train of Burgundian guards, bag-
gage, horses, and sporting dogs. His pleasant and
affable manners made a great impression on the
Venetian envoys. He went out hunting or rode
out every day incognito with the Duke, and walked
about the town, unattended by his guards and fre-
quently unrecognised. Often people were puzzled how
to distinguish him from Alfonso d’Avalos, who was
generally at his side and wore the same Spanish suit
of black velvet embroidered with gold, until Charles,
hearing them ask, “ Which is he ? ” would raise his
cap with a smile. Ferrante and his cousin, Luigi
Gonzaga of Borgoforte, were the Emperor’s constant
companions, and talked and laughed with him in the
most familiar way; but the Venetians noticed that
he always spoke of war and politics with the Duke of
Urbino, and only discussed hunting and other amuse-
ments with Federico. This time the Duke resolved
to give a series of theatrical performances in the
Castello, and asked his mother to allow her suite of
rooms on the ground floor of the Corte Vecchia to be
fitted up as a stage.1 The preparations were on a
grand scale, and cost Messer Giulio and Calandra
no small amount of trouble. At Federico’s request,
Titian sent him a skilful and “ very pleasing artist,”
called Vincenzo of Brescia, who painted a large
canvas with villages and houses and an Emperor
on horseback attended by guards on Arab steeds,
which was suspended from the roof by gold silk
cords.2 Messer Giulio, “ although little versed in
such matters, also displayed rare skill and ingenuity,”
1 M. Sanuto, Diarii, Ivii. 227, &c.
2 D’Ancona, Teatro, ii. 430, &c.