The Book of the Courtier

The first book asks the question, “what kind of man must be the one who deserves the name of the perfect courtier” (39) Castiglione confesses his reluctance to begin a project he knew he could not finish. Rather than enumerate a list of precepts, Castiglione records a number of conversations between courtiers who are “singularly qualified” in such matters. These conversations originally take place while Castiglione is at the court of Urbino. The opinions of the eminent courtiers present “can be trusted completely” (40).

Castiglione describes the landscape of Urbino, the libraries, and interiors of the palace, along with the illustrious persons of Duke Federico da Montefeltro and his son Duke Guidobaldo da Montefeltro. Guidobaldo’s prestige and service to the Kings Alfonso and Ferdinand the Younger meant that “everyone at his court strove to behave in such a way as to deserve to be judged worthy of the Duke’s noble company” (42). Every day in court was spent in “pleasing activities,” but it was the habit of the Duke to retire early to his bedroom, and thus it fell to the Duchess, Elizabetta Gonzaga, and her friend Emilia Pia to hold court. There was “harmonious agreement and heartfelt love” amongst the courtly party, which “liberty […] was accompanied by most careful restraint” (43). After-dinner discussions often take place between “very noble and talented persons” in the Duchess’ rooms (44).

In 1506, Pope Julius II and his cardinals pass through Urbino. The day after their departure, the courtiers take turns suggesting different types of entertainment to amuse themselves with. Cesare Gonzaga suggests they play a game in which they discover their faults. Unico Aretino’s suggests that the Duchess assume a false identity, letting the group take turns guessing who she is. Ottaviano Fregoso recommends they each say what they hope their lover is angry with them about. Pietro Bembo proposes that they decide whether it is more painful to displease one’s lover or to be displeased by them. Finally, Federico Fregoso suggests that they “judge what constitutes perfect courtiership” (51).

Gonzaga claims that it is already too late to start the discussion, but the Duke retorts it will keep them focused, admitting there will always be a variety of opinions. The Duke begins by arguing that noble birth is important for a courtier, implanting courtliness within their nature. Gaspare Pallavinco counters “I do not believe that nobility of birth is necessary for the courtier” (55), as Fortune rules men’s lives. Count Ludovico disagrees, stating that first impressions are important. The ideal courtier should show bravery in battle and modesty about his attainments. Signor Gaspare contends that the classical writers do not refrain from self-praise. The Count responds that modest self-praise in a worthy man is more convincing than bragging.

Bernardo Bibbiena introduces the topic of the courtier’s physical appearance. The Count would have the courtier be built for sports like wrestling and horsemanship, tennis and acrobatics. Gonzaga asks how courtiers not endowed with such natural grace should attain it. The Count replies he is only describing, not teaching. Imitation of models is key, but “true art is that which does not seem to be art,” because it does not arouse suspicion of deception (67). Bibbiena distinguishes between nonchalance and affectation, stating that simplicity is appealing. Magnifico Giuliano agrees that simplicity is essential in music.

Next, the Count praises the use of contemporary over antiquated language, as it is unaffected. Frederick protests that if writing does not possess a certain “veiled subtlety,” it will lack authority (72). The Count continues his diatribe about the value of contemporary language, evidencing this through reference to the classics: “of Virgil, who you say imitated Homer, did not imitate his language” (76). Signor Morello objects that no one would understand a courtier who spoke in such a refined manner, to which the Count responds “lucidity can go hand in hand with elegance” (77). Returning to the subject of classical imitation, the Count claims that “their true teacher was their own instinctive judgement” (81). Great painters are each unique in style. The Count ponders aloud “what does the genius of language consist in?” (84), but is curtailed by Emilia before he can elaborate.

The topic of conversation returns to the nature of the ideal courtier, and the Count argues that affectation impedes grace. Besides goodness, he claims, learning is essential in the courtier. Magnifico Giuliano agrees, citing Monseigneur d’Angouleme of the French court as an example. The French, he says, are wrong in thinking that learning impedes martial ability. The courtier should be a scholar and possess good judgement of character. The Count adds musical ability to the courtier’s list, but Signor Gaspare brands this “effeminate.” The Count refers to the ancient world for examples of the importance of music, and artistic ability. The party debate the relative merits of painting and sculpture. As Cesare discusses the relation between physical beauty and love, the Prefect interrupts, returning from accompanying the Pope home. The courtiers dance and retire to sleep.