DOI Page / Citation link:
https://doi.org/10.11588/diglit.36838#0228
RAPHAELS ST. GEORGE
169
ever, this marriage, which began in so inauspicious a
manner, turned out very happily. Felice's good sense
and cleverness prevailed, and, as the Pope had fore-
seen, the induence which she obtained over her
strange husband proved no inconsiderable factor in
Italian politics. Throughout the changes of the next
twenty years she was loyal to her own family, and
remained one of Castiglione's best friends to the end
of her life.
On Baldassare's return to Urbino, preparations for
his journey to England were pressed forward. The
Duke was anxious to show his appreciation of the
high honour paid him by King Henry VII., and took
great pains in choosing suitable presents for his
acceptance. Beside the customary gifts of valuable
horses and dogs and falcons which his father, Duke
Federico, and other Italian princes had sent to
Edward IV. and Henry VII. on similar occasions,
Guidobaldo determined to give the English monarch
a present which should gratify his well-known interest
in the art of Italy. This was a picture painted by
one of the Duke's own subjects, that would give
King Henry some idea of the perfection to which
art had attained at Urbino. The subject of the
picture was St. George, the patron saint of the order
of the Garter, and the painter selected for this
honourable task was Raphael of Urbino. Although
for the last two years the young masters time
had been chiedy spent in Florence, he still paid
occasional visits to his home, and was at Urbino for
some weeks during this spring. So in obedience to
the Duke's orders—it may be at Castiglione's own
suggestion—he painted the beautiful little panel of
St. George riding full tilt at the dragon which now
adorns the Hermitage at St. Petersburg. His father
169
ever, this marriage, which began in so inauspicious a
manner, turned out very happily. Felice's good sense
and cleverness prevailed, and, as the Pope had fore-
seen, the induence which she obtained over her
strange husband proved no inconsiderable factor in
Italian politics. Throughout the changes of the next
twenty years she was loyal to her own family, and
remained one of Castiglione's best friends to the end
of her life.
On Baldassare's return to Urbino, preparations for
his journey to England were pressed forward. The
Duke was anxious to show his appreciation of the
high honour paid him by King Henry VII., and took
great pains in choosing suitable presents for his
acceptance. Beside the customary gifts of valuable
horses and dogs and falcons which his father, Duke
Federico, and other Italian princes had sent to
Edward IV. and Henry VII. on similar occasions,
Guidobaldo determined to give the English monarch
a present which should gratify his well-known interest
in the art of Italy. This was a picture painted by
one of the Duke's own subjects, that would give
King Henry some idea of the perfection to which
art had attained at Urbino. The subject of the
picture was St. George, the patron saint of the order
of the Garter, and the painter selected for this
honourable task was Raphael of Urbino. Although
for the last two years the young masters time
had been chiedy spent in Florence, he still paid
occasional visits to his home, and was at Urbino for
some weeks during this spring. So in obedience to
the Duke's orders—it may be at Castiglione's own
suggestion—he painted the beautiful little panel of
St. George riding full tilt at the dragon which now
adorns the Hermitage at St. Petersburg. His father