Isabella Maria d'Este ( Ferrara , 14 June 1519 - Ferrara , 1521 ) was the last daughter of Alfonso I d'Este and his second wife Lucrezia Borgia . His maternal grandfather was Pope Alexander VI and his uncle Cesare Borgia . His paternal grandparents were Ercole I d'Este and Eleonora d'Aragona , daughter of Ferdinando I of Naples .
Isabella d'Este (19 May 1474 – 13 February 1539) was Marchioness of Mantua and one of the leading women of the Italian Renaissance as a major cultural and political figure. She was a patron of the arts as well as a leader of fashion, whose innovative style of dressing was copied by women throughout Italy and at the French court.
Isabella Maria d'Este. Birthdate: June 15, 1519. Death: 1521 (1-2) Immediate Family: Daughter of Alfonso I d'Este, duke of Ferrara, Modena & Reggio and Lucrezia Borgia, duchessa di Ferrara, Modena e Reggio. Sister of NN d'Este; Alessandro d'Este, I; Ercole II d'Este, duca di Ferrara; cardinal Ippolito d'Este; Alessandro d'Este, II and 2 others.
- A Desire For Antiquities
- A Careful Patron of Portraits
- Spaces For Collecting
- Beyond The Ducal Palace
Isabella’s letters reveal a longing for ancient art objects and sculptures. A bust of the Roman emperor Octavian, an onyx vase, a Venus given by Cesare Borgia (the possible illegitimate son of Pope Alexander VI), and a Cupid attributed to the ancient Greek sculptor Praxiteles were documented in her collection. Isabella displayed the Praxitelean Cupidnext to a Sleeping Cupidby the renaissance artist Michelangelo in order to compare these ancient and modern sculptures. When Isabella d’Este could not acquire an ancient sculpture, she turned to the sculptor known as Antico to create statuettes in gold and bronze in an antique style. One bronze sculpture depicted the Greco-Roman hero Hercules lifting and crushing the giant Antaeus in a nude wrestling contest. Cast in 1519, Isabella’s Hercules and Antaeusis noteworthy for its depiction of musculature. The bronze sculpture was marked with an inscription of ownership, D / ISABEL / LA / M E MAR (Divine Isabella, Marchioness of Mantua). Isabe...
Surviving portraits of Isabella d’Este and accounts of her commissions indicate her careful control of representations of her physical appearance. The sculptor and medallist Gian Cristoforo Romano cast bronze medals featuring an idealized Isabella in profile on the obverse and zodiac symbols on the reverse. The profile portrait shows Isabella wearing a substantial necklace framed by a low, angular neckline and her hair tied back in braids and looped locks surrounded by her name and title. The reverse features a personification of a figure in sheer drapery and contrapposto stance, who has been interpreted as Virgo, Astrology, Hygeia, or Victory, with the sign of Sagittarius above surrounded by the inscription BENEMERENTIUM ERGO (variously translated as “On account of great merit”, “Because of merit” , “Because of the deserving [stars]”). Isabella distributed bronze versionsof the medal to those she favored and retained one medal created in gold and embellished with diamonds and enamel.
Soon after Isabella’s marriage to Francesco II Gonzaga, the marchioness developed a space for a painting gallery – her studiolo– and a room to display her growing collections – the grotta. Isabella’s original studioloand grottawere constructed within the Castello di San Giorgio, the medieval castle that forms part of the Ducal Palace in Mantua. Later, these rooms were moved to the Corte Vecchiaof the Ducal Palace. The ground-floor location of these later rooms allowed for the addition of a secret garden and easier access for Isabella, who struggled with mobility as she aged. Isabella sought paintings with mythological themes from significant renaissance artists for her studiolo. The program, which scholars continue to debate, was developed in consultation with the humanist scholar Paride da Ceresara. While seven paintings have been interpreted as allegories of virtue conquering vice, another interpretation emphasizes the paintings’ roles within the space of the studiolo and within t...
While the Ducal Palace provided spaces to display her collections, Isabella looked forward to leaving its dark, damp environment. Her suburban villa, the Palazzo di Porto, provided an opportunity for escape with its gardens, fruit trees, and loggia. This environment was ideal for displaying and possibly using Isabella’s maiolica service, as earthenware dishes were preferred to silver in country villas. Decorated with mythologicaland Old Testamentnarratives, as well as her coat-of-arms and emblems, the twenty-three surviving dishes of the maiolica service used classical imagery to emphasize Isabella’s personal virtue in a manner that echoed her collections in the Ducal Palace. While often identified as the most significant female collector of the renaissance, Isabella d’Este is notable among allearly modern patrons, both male and female, due to the variety of her collections, which span a broad range of materials, iconographic sources, and historical periods. Although Isabella’s pain...
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May 16, 2019 · Isabella d'Este (May 19, 1474–February 13, 1539) was a patron of Renaissance learning, arts, and literature. She was actively involved in political intrigues among the nobles of Europe. Isabella left behind a voluminous correspondence of more than 2,000 letters, which provide much insight into the world of the Italian Renaissance.
Jun 22, 2017 · Isabella Maria was born in 1519. She was the daughter of Alfonso I d'Este and Lucrezia Borgia. She passed away in 1519. This profile is a collaborative work-in-progress. Can you contribute information or sources? Sources ↑ First-hand information as remembered by Ciara Humphreys, Tuesday, November 4, 2014.
Isabella Maria d'Este (Ferrara, 14 giugno 1519 – Ferrara, 1521) era l'ultima figlia di Alfonso I d'Este e della seconda moglie Lucrezia Borgia. Suo nonno materno era papa Alessandro VI e suo zio Cesare Borgia. Suoi nonni paterni erano Ercole I d'Este ed Eleonora d'Aragona, figlia di Ferdinando I di Napoli.
Feb 15, 2017 · Gender and Class. Much can can be understood about the sociopolitical motivations of Isabella d’Este’s curation of an incredible gallery of Renaissance art through close analysis of her letters about artistic works between herself and numerous corresponders, including renowned artist Leonardo da Vinci, that have been compiled in the appendix of Francis Ames-Lewis’ book, Isabella and ...
- Early life
Lucrezia Borgia was a Spanish-Italian noblewoman of the House of Borgia who was the daughter of Pope Alexander VI and Vannozza dei Cattanei. She reigned as the Governor of Spoleto, a position usually held by cardinals, in her own right. Her family arranged several marriages for her that advanced their own political position including Giovanni Sforza, Lord of Pesaro and Gradara, Count of Catignola; Alfonso of Aragon, Duke of Bisceglie and Prince of Salerno; and Alfonso I d'Este, Duke of Ferrara.
Lucrezia Borgia was born on 18 April 1480 at Subiaco, near Rome. Her mother was Vannozza dei Cattanei, one of the mistresses of Lucrezia's father, Cardinal Rodrigo de Borgia. During her early life, Lucrezia Borgia's education was entrusted to Adriana Orsini de Milan, a close confidant of her father. Her education would primarily take place in the Piazza Pizzo de Merlo, a building adjacent to her father's residence. Unlike most educated women of her time, for whom convents were the primary source
On 26 February 1491, a matrimonial arrangement was drawn up between Lucrezia and the Lord of Val D'Ayora, in the kingdom of Valencia, Don Cherubino Joan de Centelles, which was annulled less than two months later in favour of a new contract engaging Lucrezia to Don Gaspare Aversa
There has been speculation that during the prolonged process of the annulment, Lucrezia consummated a relationship with someone, perhaps Alexander's chamberlain Pedro Calderon, also named Perotto. In any case, families hostile to the Borgias would later accuse her of being pregna
Following her annulment from Sforza, Lucrezia was married to the Neapolitan Alfonso of Aragon, the half-brother of Sancha of Aragon who was the wife of Lucrezia's brother Gioffre Borgia. The marriage was a short one. They were married in 1498, making Lucrezia the Duchess consort
She is described as having heavy blonde hair that fell past her knees, a beautiful complexion, hazel eyes that changed color, a full, high bosom, and a natural grace that made her appear to "walk on air". These physical attributes were highly appreciated in Italy during that period. Another description said, "her mouth is rather large, the teeth brilliantly white, her neck is slender and fair, and the bust is admirably proportioned." One painting, Portrait of a Youth by Dosso Dossi at the Nation
Several rumours have persisted throughout the years, primarily speculating as to the nature of the extravagant parties thrown by the Borgia family. One example is the Banquet of Chestnuts. Many of these concern allegations of incest, poisoning, and murder on her part; however, no historical basis for these rumours has ever been brought forward beyond allegations made by rival parties. 1. It is rumoured that Lucrezia was in possession of a hollow ring that she used frequently to poison drinks. 2.
Lucrezia was mother to seven or eight known children: Rodrigo of Aragon. Son by Alfonso of Aragon; A stillborn daughter, First child by d'Este; Alessandro d'Este; Ercole II d'Este, Duke of Ferrara; Ippolito II d'Este. Archbishop of Milan and later Cardinal; Alessandro d'Este.; Leonora d'Este, a nun and composer; Francesco d'Este, Marquess of Massalombarda; Isabella Maria d'Este. Complications at birth caused the death of Lucrezia ten days later. Giovanni Borgia, "infans Romanus" had his paternit
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