OF THE MADONNA 127 He describes the youths dressed up as angels and apostles who sang lauds on the tribunal erected for the altar-piece outside Mantegna's house, where the altar-piece was first placed, and dilates on the love and enthusiasm which the preacher's references to the Marquis evoked, as well as on the number of wax lights, torches and other votive offerings which had been already brought to the new shrine. Another correspondent, the chancellor Antimaco, describes the painting as a most excellent work, and says that it was truly amazing to see the eagerness of the crowds which pressed round to see this noble picture, and that, next to the Madonna's image, the portrait of their absent lord excited the greatest interest.1 The little shrine of Our Lady of Victory is standing still in a deserted byway of Mantua, but Messer Andrea's Madonna, as we all know, was carried off a hundred years ago, by the French conquerors, and hangs to-day in the Louvre among the proudest possessions of the nation whose supposed defeat it was intended to commemorate. 1 Braghirolli, Giorn. di Erud. Art., i. 206. CHAPTER VIII 1496-1497 Campaign of Naples-Ferrante recovers his kingdom-Francesco Gonzaga commands the Venetian army-Isabella governs Mantua Her correspondence and friendship with Lorenzo da Pavia-Birth of her second daughter-Illness of the Marquis His return to Mantua, and visit to Venice-Death of Ferrante of Naples, of Gilbert de Montpensier, and Beatrice d'Este-Francesco Gonzaga deprived of the office of captaingeneral of the Venetian armies-Death of Anna Sforza. EARLY in January, the Marquis of Mantua left home again to take the command of a new Venetian army which the Signory sent to assist Ferrante, the young king of Naples, in recovering his dominions. After the retreat of Charles VIII. this gallant prince had crossed over from Ischia, and entered Naples on the day after the battle of Fornovo. The people welcomed him with shouts of joy and the nobles flocked to his banner, and soon Montpensier, who had been left at the head of the French troops, was compelled to retire into the mountains of Calabria. There he carried on a war of petty skirmishes and depredations against the Venetian forces under the command of his brother-in-law, Francesco Gonzaga. While their husbands were fighting on opposite sides, Chiara Gonzaga remained at Mantua with her sister-in-law, to whom she was fondly attached, and whose company consoled Isabella in some measure for the departure of Elisabetta, who returned to Urbino in LORENZO DA PAVIA 129 February. It was a dull year for the Marchesa, and, with the exception of a short visit to Ferrara in January, she was too much occupied with public affairs to leave home. But, as usual, she made good use of her time. She returned to her classical studies, applied herself to master the rules of Latin grammar, and consulted the great Ferrara humanist, Ercole Strozzi, as to the choice of a new tutor. Much of her leisure time was devoted to music. She took lessons on the lute from a new master, Angelo Testagrossa, a Milanese youth who sang like a seraph, and played the lyre and clavichord. On her last visit to Milan she had seen and greatly admired an instrument which Lorenzo Gusnasco of Pavia, the famous master of organs, had made for her sister Beatrice. Now she was seized with an ardent desire to possess a similar one, and on the 12th of March 1496, she addressed the following letter to Lorenzo da Pavia, whom she had often met at the court of Milan, but who had lately moved to Venice for the greater convenience of his trade: "M. Lorenzo da Pavia, most excellent master,We remember that you made a most beautiful and perfect clavichord for that illustrious Madonna, the Duchess of Milan, our sister, when we were last at Pavia, and since we ourselves now wish to have an instrument of the same kind, which cannot be surpassed, we are sure that there is no one in all Italy who can satisfy our wish better than you can. We therefore pray you to make us a clavichord of such beauty and excellence as shall be worthy of your high reputation and of the trust that we repose in The only difference that we wish to see in this you. VOL. I. I |