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Castiglione was born in Casatico, near Mantua into a family of the minor nobility, connected through his mother Luigia to the ruling Gonzagas of Mantua. [4]In 1494, at the age of sixteen, Castiglione was sent to Milan, then under the rule of Duke Ludovico Sforza, to begin his humanistic studies at the school of the renowned teacher of Greek and editor of Homer Demetrios Chalkokondyles ...
Portrait of Baldassare Castiglione is a c. 1514–1515 oil painting attributed to the Italian High Renaissance painter Raphael. Considered one of the great portraits of the Renaissance, it has an enduring influence.
The Book of the Courtier (Italian: Il Cortegiano [il korteˈdʒaːno]) by Baldassare Castiglione is a lengthy philosophical dialogue on the topic of what constitutes an ideal courtier or (in the third chapter) court lady, worthy to befriend and advise a prince or political leader.
She was born in Mantua to Antonio Gonzaga (died 1498), a member of the 'Nobili' or 'Palazzolo' branch of the House of Gonzaga, she married Cristoforo Castiglione (1456–1499), a condottiero in the service of Francesco II Gonzaga. In 1481 she and other noblewomen accompanied Chiara Gonzaga to France to marry Gilberto di Borbone.
In the early 16th century, Baldassare Castiglione laid out his vision of the ideal gentleman and lady in The Book of the Courtier, while Niccolò Machiavelli rejected the ideal with an eye on la verità effettuale della cosa ('the effectual truth of things') in The Prince, composed, in humanistic style, chiefly of parallel ancient and modern ...
The term “sprezzatura” first appeared in Baldassare Castiglione's 1528 The Book of the Courtier, where it is defined by the author as "a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it". [2]
Baldassare Castiglione wrote Il Cortegiano or The Book of the Courtier, a courtesy book dealing with questions of the etiquette and morality of the courtier. Published in 1528, it was very influential in 16th century European court circles. [96]
In a letter to Baldassare Castiglione, Raphael dictated via Pietro Aretino, that "to paint a beauty, I should have to see a number of beauties, provided Your Lordship were with me to choose the best. But in the absence of good judges and beautiful forms, I use an idea that comes to my mind."