p. 94 ↑ Plusieurs correspondances sont la preuve de plaintes d’Isabelle vis-à-vis des peintres pour refaire la couleur des yeux et des cheveux

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Isabelle d’Este

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Gian-cristoforo-romano-portrait-medal-of-isabella-deste.jpg

Identification assurée : Gian Cristoforo Romano 1495 – Portrait médaille d’Isabella d’Este (version d’or 1505).

Biographie
Naissance	18 mai 1474 ou 20 mai 1474 Ferrare
Décès	13 février 1539 Ferrare
Activité	Salonnière
Famille	Maison d’Este, maison de Gonzague
Père	Hercule Ier d’Este
Mère	Éléonore de Naples (en)
Fratrie	Béatrice d’Este Giulio d’Este (en) Sigismondo d’Este (en) Ferrante d’Este (en) Alphonse Ier d’Este Hippolyte Ier d’Este
Conjoint	François II de Mantoue
Enfants	Frédéric II de Mantoue Éléonore de Mantoue Ercole Gonzaga Ferdinand Ier de Guastalla Ippolita Gonzaga (en)
Parentèle	Marguerite de Bavière (belle-mère)

Isabelle d’Este(née le 20 mai 1474 à Ferrare et morte le 13 février 1539 à Mantoueen Italie), est une noble italienne, qui fut, comme sa sœur cadette la duchesse de Milan Béatrice, une des femmes les plus importantes de la Renaissance italienne et une figure à la fois culturelle et politique de tout premier plan. Elle est restée célèbre dans l’histoire comme la Première dame de la Renaissance.

Biographie

Isabelle d’Este est la fille aînée d’Hercule I^er d’Este, duc de Ferrare, de Modène et de Reggio, et de son épouse Éléonore de Naples, elle-même fille de Ferdinand I^er de Naples et d’Isabelle de Claremont. Sa plus jeune sœur est Béatrice d’Este qui épousa le duc de Milan, Ludovic Sforza.

Elle n’a que six ans à peine lorsqu’un contrat de mariage est signé, le 28 mai 1480, entre les Este et les Gonzague, contrat qui, si l’on peut dire, la « fiance » au fils aîné du marquis Frédéric I^er de Mantoue et de la belle Marguerite de Bavière, François, alors lui-même âgé de treize ans. Le négociateur mantouan trouva que plus que sa beauté, son intelligence et son talent sont admirables (più che la bellezza è mirabile l’intelletto e l’ingegno suo).
Elle épousera donc, à Mantoue même, le 12 février 1490, âgée de quinze ans, François II de Mantoue, âgé de vingt-trois ans, qui est, depuis 1484, marquis de Mantoue.
De leur union, naquirent huit enfants.

Dès son entrée dans la ville de Mantoue, les Mantouans sont tous immédiatement éblouis par son raffinement. De son côté, elle tomba tout aussitôt sous le charme irrésistible de la petite cour mantouane. Un mois seulement après son arrivée, elle écrivait à son père : « J’ai déjà pris tant d’amour à cette ville, que je ne peux pas ne pas prendre soin du respect et des intérêts des citadins (Io ho già preso tanto amore a questa città, che non posso fare che non piglia cura de li honori et utilitate^{N 1} de li citadini) ». Sa contribution fut absolument déterminante pour l’avènement d’un nouveau climat culturel très fécond. D’un goût parfaitement sûr, elle fut l’exigeante mécène d’une importante cour d’hommes de lettres, mais aussi de musiciens ou de peintres comme Andrea Mantegna (pour son studioletto).

Elle fut également fort habile et avisée en politique, ayant plusieurs fois à assumer la régence de l’État pendant les nombreuses absences de son mari, notamment durant la très délicate période de la captivité de François II à Venise.
Son adresse charismatique dans la sollicitation lui permit d’obtenir, en 1527, la pourpre cardinalice pour son fils bien-aimé Ercole et, en 1533, la dignité ducale pour son second fils Frédéric.

En réalité, derrière cette façade toute en beauté et en féminité, se cachait un cœur impavide qu’aucun obstacle ne pouvait arrêter. Elle écrivait d’elle-même à son propre sujet : « Même dans notre sexe se trouve une nature virile (Etiam^{N 2} nel nostro sesso^{N 3} si ritrovano animi virili^{N 4}). »

François II décéda en 1519, à l’âge de 52 ans à peine et elle lui survécut encore vingt ans. Elle mourut en 1539, âgée de 64 ans.

Descendance

De son mariage avec François II, naquirent huit enfants :

Éléonore de Mantoue (1493-1550) qui épousera en 1507 François Marie I^er della Rovere, duc d’Urbino ;
Margarita (1496-1496) ;
Frédéric (1500-1540) qui sera le 5^e marquis puis 1^er duc de Mantoue, titré sous le nom de Frédéric II ;
Livia (1501-1508) ;
Ippolita (1503-1570) qui sera nonne à Mantoue ;
Ercole (1505-1563) qui sera évêque de Mantoue en 1521 puis obtiendra la pourpre cardinalice en 1527 et qui sera l’un des présidents du concile de Trente ;
Ferdinand (Ferrante) qui sera le 1^er comte de Guastalla et chef de la lignée des Gonzague de Guastalla ;
Paola (1508-1569) enfin, qui sera nonne franciscaine à Mantoue.

Isabelle et les beaux-arts

Article détaillé : Portrait d’Isabelle d’Este.

Le mécénat

Isabelle est considérée comme le mécène le plus important de la Renaissance. Son influence est documentée par de nombreuses correspondances (environ 28 000 originaux et près de 12 000 copies) conservées à Mantoue¹^,².

Dans la peinture, les artistes les plus célèbres de l’époque tels que Giovanni Bellini, Giorgione, Leonardo da Vinci, Andrea Mantegna (peintre de la cour jusqu’en 1506), Le Pérugin, Raphaëlet Le Titien, ainsi que Le Corrège, Lorenzo Costa (peintre de la cour à partir de 1509), Dosso Dossi, Francesco Francia, Giulio Romano et beaucoup d’autres recevaient des commandes d’elle. Dans Palazzo Ducale (Mantoue), par exemple, son «Studiolo» était décoré avec des allégories de Mantegna, Le Pérugin, Costa et Le Corrège³.
Elle passait également des commandes aux sculpteurs et médailleurs les plus influents de l’époque, comme Michel-Ange, Pier Jacopo Alari Bonacolsi (L’Antico), Gian Cristoforo Romano et Tullio Lombardo et elle collectionnait des sculptures romaines⁴.
Dans les sciences humaines, elle était en contact avec L’Arétin, l’Arioste, Pietro Bembo, Balthazar Castiglione, Mario Equicola et Gian Giorgio Trissino⁵.
Dans la musique, elle soutenait les compositeurs Bartolomeo Tromboncino et Marco Cara et jouait elle-même au luth⁶.
Dans l’ architecture, elle ne pouvait pas s’offrir de nouveaux palais, mais employait de grands maîtres d’œuvre et architectes tels Biagio Rossetti et Battista Covo⁷.
Même dans la mode, elle devint une icône et une référence. Célèbres sont ses couvre-chefs («capigliari»/«balzo») et ses décolletés profonds qui étaient copiés en Italie et même à la cour française⁸.

Isabelle d’Este et «La Joconde»

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Léonard de Vinci 1499 – Isabelle d’Este/ Léonard de Vinci (atelier) 1502-1506 – La Joconde Le Prado, nettoyé en 2012 / Léonard de Vinci 1502-1506 – La Joconde

Outre Lisa del Giocondo(l’épouse d’un marchand florentin dont Leonardo avait fait un portrait⁹ – comme le cite Giorgio Vasari — bien qu’aujourd’hui il ne soit pas encore certain qu’il s’agisse bien de «la Joconde»), Isabelle d’Este est une candidate plausible¹⁰ pour le tableau le plus célèbre de Léonard de Vinci (1502-1506). Les similitudes frappantes avec son tableau «Isabelle d’Este» (Louvre) et leurs correspondances entre 1501 et 1506 demandant l’exécution du portrait comme promis¹¹ sont quelques indices solides pour corroborer l’hypothèse. D’autres arguments bien connus sont les montagnes en fond ¹² et l’accoudoircomme caractéristique dans les portraits de souverain de la Renaissance.

L’hétérogénéité et très peu de portraits

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

La personne d’Isabella d’Este en portraits (extraits de tableaux): Gian Cristoforo Romano – Médaille / Léonard de Vinci – Dessin / Titien (connu par copie Peter Paul Rubens) – ‘Isabelle en rouge’ / Titien 1536 (rajeunissant) – ‚Isabelle en noir’ versus ‚La Bella’ / Inconnu – Ambras miniature

Malgré son activité de mécène et son penchant pour l’autoreprésentation – aucune autre personnalité de son temps n’a fait aussi souvent l’objet de description écrites de son apparence physique¹³– on dispose de peu d’identifications formelles de sa personne sur des représentations picturales. Ces rares identifications sont de plus hétérogènes (la couleur des yeux et des cheveux ainsi que la forme des sourcils divergent dans les deux portraits de Titien)¹³ et il n’y a pas d’images d’elle entre 26 et 54 ans. On sait que la coquette Isabelle en s’éloignant de la jeunesse préférait des peintures idéalisées et répugnait à poser comme modèle¹⁴. Cependant, on a des raisons de penser qu’elle n’allait pas jusqu’à renoncer aux traits particuliers de son physique¹⁵.

C’est ainsi que plusieurs musées ont retiré leurs rares identifications par crainte d’erreur¹⁶. Les trois portraits en couleur restants demeurent très hétérogènes (tous au Kunsthistorisches Museum / KHM, Vienne)¹⁷:

«Isabelle en rouge» par le Titien c. 1529 (copie de Peter Paul Rubens c. 1605)
«Isabelle en noir» de Titien 1536
«Ambras miniature» du 16^e siècle

« La Bella » (Palazzo Pitti, Florence) est souvent avancé comme alternative plausible au portrait de Titien 1536 à Vienne, sachant qu’Isabelle avait commandé un portrait rajeunissant et flatteur alors qu’elle était déjà âgée de plus de 60 ans ; et la couleur des yeux, des cheveux et des sourcils et surtout la sensualité apparente correspondent parfaitement à ce que l’on sait d’elle¹⁸.

La médaille de Gian Cristoforo Romano (1495) est la seule identification fiable en raison de la signature originale gravée (plusieurs copies)¹⁹.

Anecdotes

Les ambassadeurs, en visite à Mantoue, recevaient la mission de leurs rois de faire des dessins des vêtements et des bijoux que portaient Isabelle. Ces dessins étaient destinés à être reproduits, à leur retour, à l’usage des rois qui les mandataient.
Isabelle fut une des premières femmes à porter des caleçons ! Elle raconte, dans une lettre aux Castiglione, une mésaventure survenue à la cour alors qu’une estrade sur laquelle se trouvent les dames de la cour s’écroule lamentablement et que tout ce beau monde se retrouve « les jambes en l’air (gambe all’aria) » ; elle écrit : « toutes les autres firent un superbe spectacle, qui étaient sans pantalon ; nous, par chance, nous les avions. (tutte le altre fecero uno bellissimo vedere, che erano senza calzoni; noi per fortuna li avevamo.) »
L’Arétin, son implacable ennemi, la décrit : « archi-malhonnêtement maquillée, dents d’ébène et cil d’ivoire (arcidisonestamente imbellettata, i denti d’ebano et le ciglia d’avorio). »

Notes et références

Notes

↑ Honori et utilitate est une expression latine signifiant respect (considérations) et intérêts. Donc en italien Honori ne doit pas être traduit par honneur et utilitate par utilité, ce serait un faux-ami.
↑ Etiam, mot latin signifiant aussi, même ou encore.
↑ Il ne s’agit pas du sexe au sens propre, mais de sa féminité.
↑ Viril ici au sens de fort

Références

↑ (en)Shemek, Deanna: Phaethon’s Children: The Este Court and its Culture in Early Modern Ferrara. Medieval and Renaissance Texts and Studies (Arizona) 2005, p. 277
↑ Pour un documentations des lettres liés d’art, confer: (it)Luzio, Alessandro: La Galleria dei Gonzaga – Appendice B: I ritratti d’Isabella d’Este. Casa Editrice L. F. Cogliati (Milan) 1913
↑ (de)Ferino, Sylvia: Isabella d’Este – Fürstin und Mäzenatin der Renaissance. Kunsthistorisches Museum Wien (Vienna) 1994, p. 86-425
↑ Ferino (1994), p. 106, 315, 321; (en)Cartwright, Julia: Isabella d’Este. Murray (London) 1907, table des matières
↑ Cartwright (1907), table des matières
↑ Ferino (1994), p. 429-432
↑ Ferino (1994), p. 18
↑ (en)Marek, George R. (1976). The Bed and the Throne: The Life of Isabella d’Este. New York: Harper and Row Publishers (New York) 1952, p. 159
↑ (de)Vasari, Giorgio: Lebensläufe der berühmtesten Maler, Bildhauer und Architekten. 1550 / Manesse Verlag (Zurich) 2005, p. 330
↑ (de)Zöllner, Frank: Leonardo da Vinci – Sämtliche Werke. Taschen Verlag (Cologne) 2007, p. 241 (notificative catalogue raisonné)
↑ (en)Lewis, Francis-Ames: Isabella and Leonardo. Yale University Press (New Haven) 2012, Appendix Letters p. 223-240 (les lettres originales en italien et anglais)
↑ Florence/Toscane versus Mantoue/Dolomites
↑ ^a et b Ferino (1994), p. 86
↑ Ferino (1994), p. 94
↑ Plusieurs correspondances sont la preuve de plaintes d’Isabelle vis-à-vis des peintres pour refaire la couleur des yeux et des cheveux, i.e. (it)Luzio, Alessandro: Federico Gonzaga ostaggio alla corte di Giulio II. Societa Romana di storia patria (Rome) 1887, p. 59: « … pregandolo tuttavia a ritoccare il ritratto ne’ capelli, che il pittore aveva fatti troppo biondi » et Luzio (1913), p. 213: « … a commutar gli occhij de nigri in bianchi »
↑ Confer:
- Royal Collection, London (RCIN 405762): Lorenzo Costa ‘Portrait of a Lady with a Lapdog‘ (c. 1500-05)
- Royal Collection, London (RCIN 405777): Giulio Romano ‘Margherita Paleologa’ (1531)
- Currier Museum of Art, Manchester (inv. 1947.4): Lorenzo Costa ‘Portrait of a Woman‘ (1506-10)
- Louvre, Paris (inv 894): Giovanni Francesco Caroto ‘Portrait de femme‘ (c. 1505-10)
↑ KHM Vienna: Inv. 83, Inv 1534, Inv 5081
↑ i.e. (it)Ozzola, Leandro (1931): Isabella d’Este e Tiziano. In: Bolletino d’Arte del Ministero della pubblica istruzione. BdA (Rome) 1931 No. 11, p. 491-494; Téléchargement: http://www.bollettinodarte.beniculturali.it/opencms/multimedia/BollettinoArteIt/documents/1407155929929_06_-_Ozzola_491.pdf [archive]
↑ KHM Vienna, Inv 6.272bß et Ferino (1994), p. 373-378

Annexes

Bibliographie

Christiane Gil, Isabelle d’Este, Pygmalion 2002

Isabella d’Este
Marchesa of Mantua Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»
Reliable identification Gian Cristoforo Romano 1495 – Portrait medal of Isabella d’Este (gold version 1505)
Born	19 May 1474 Ferrara, Italy
Died	13 February 1539 (aged 64) Mantua, Italy
Noble family	House of Este
Spouse(s)	Francesco II Gonzaga, Marquess of Mantua
Issue Eleonor Gonzaga, Duchess of Urbino Margherita Gonzaga Federico II, Duke of Mantua Livia Gonzaga Ippolita Gonzaga Ercole Gonzaga Ferrante Gonzaga Livia Gonzaga
Father	Ercole I d’Este
Mother	Eleanor of Naples

Isabella d’Este (19 May 1474 – 13 February 1539) was Marchesa of Mantua and one of the leading women of the Italian Renaissanceas 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. The poet Ariosto labeled her as the « liberal and magnanimous Isabella »,^[1] while author Matteo Bandello described her as having been « supreme among women ».^[2]Diplomat Niccolò da Correggio went even further by hailing her as « The First Lady of the world ».^[2]

She served as the regent of Mantua during the absence of her husband, Francesco II Gonzaga, Marquess of Mantua and the minority of her son, Federico, Duke of Mantua. In 1500 she met King Louis XII of France in Milan on a diplomatic mission to persuade him not to send his troops against Mantua.

She was a prolific letter-writer, and maintained a lifelong correspondence with her sister-in-law Elisabetta Gonzaga. Lucrezia Borgia was another sister-in-law; she later became the mistress of Isabella’s husband.

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Miniature of Isabella

Isabella d’Este grew up in a cultured family in the city-state of Ferrara. She received a fine classical education and, as a girl, met many famous humanist scholars and artists. Due to the vast amount of extant correspondence between Isabella and her family and friends, her life is unusually well-documented.^[3] She was born on Tuesday 19 May 1474 at nine o’clock in the evening^[4]^[5] in Ferrara, to Ercole I d’Este, Duke of Ferrara and Eleanor of Naples.^[6] Eleanor was the daughter of Ferdinand I, the Aragonese King of Naples, and Isabella of Clermont.^[7]

One year later on 29 June 1475 her sister Beatrice was born, and in 1476 and 1477 two brothers, Alfonso and Ippolito arrived. In 1479 and 1480 two more brothers were born; they were Ferrante and Sigismondo. Of all the children Isabella was considered to have been the favourite.^[8]

In the year of Ferrante’s birth, Isabella travelled to Naples with her mother. When her mother returned to Ferrara, Isabella accompanied her, while the other children stayed behind with their grandfather for eight years. It was during the journey with her mother that Isabella acquired the art of diplomacy and statecraft.

Education

Isabella, was a very well educated young woman. As a child she studied Roman history, and rapidly learned to translate Greek and Latin (the former would become her favourite language) [citation needed]. Because of her outstanding intellect, she often discussed the classics and the affairs of state with ambassadors. Moreover, she was personally acquainted with the painters, musicians, writers, and scholars, who lived in and around the court. Besides her knowledge of history and languages, she could also recite Virgil and Terence by heart. Isabella was also a talented singer and musician, and was taught to play the lute by Giovanni Angelo Testagrossa.^[9] In addition to all these admirable accomplishments, she was also an innovator of new dances, having been instructed in the art by Ambrogio, a Jewish dancing master.^[10]

She was described as having been physically attractive, albeit slightly plump; however, she also possessed « lively eyes » and was « of lively grace ».^[11] In 1480, at the age of six, Isabella was betrothed to Francesco, the heir to the Marquis of Mantua. Although he was not handsome, Isabella admired him for his strength and bravery; she also regarded him as a gentleman. After their first few encounters, she found that she enjoyed his company and spent the next few years getting to know him and preparing herself to be the Marchesa of Mantua. During their courtship, Isabella treasured the letters, poems, and sonnets he sent her as gifts.

Marchesa of Mantua

Francesco II Gonzaga, Marquess of Mantua, Isabella’s husband

Ten years later on 11 February 1490, at age 15, she married Francesco Gonzaga, who had by then succeeded to the marquisate. Isabella became his wife and Marchesa amid a spectacular outpouring of popular acclamation. Besides Marquis, Francesco was also Captain General of the armies of the Republic of Venice. She brought as her marriage portion the sum of 3,000 ducats besides valuable jewellery, dishes, and a silver service.^[12] Prior to the magnificent banquet which followed the wedding ceremony, Isabella rode through the main streets of Ferrara astride a horse draped in gems and gold.^[13]

As the couple had known and admired one another for many years, their mutual attraction deepened into love; marriage to Francesco allegedly caused Isabella to « bloom ».^[14] At the time of her wedding, Isabella was said to have been pretty, slim, graceful and well-dressed.^[15] Her long, fine hair was dyed pale blonde, and her eyes, « brown as fir cones in autumn, scattered laughter ».^[16]

Francesco, in his capacity of Captain General of the Venetian armies, was often required to go to Venice for conferences which left Isabella in Mantua on her own at La Reggia the ancient palace which was the family seat of the Gonzagas.^[17] She did not lack company, however, as she passed the time with her mother and sister, Beatrice; and upon meeting Elisabetta Gonzaga, her 18-year-old sister-in-law, the two women became close friends. They enjoyed reading books, playing cards, and travelling about the countryside together. Once they journeyed as far as Lake Garda during one of Francesco’s absences,^[17] and later travelled to Venice. They maintained a steady correspondence until Elisabetta’s death in 1526.

Almost four years after her marriage in December 1493, Isabella gave birth to her first child out of an eventual total of eight; it was a daughter, Eleonora, whom they called Leonora for short.

Children

Together Isabella and Francesco had eight children:^[18]

Eleonora Gonzaga (31 December 1493 – 13 February 1570), married Francesco Maria I della Rovere, Duke of Urbino, by whom she had issue
Margherita Gonzaga (13 July 1496 – 22 September 1496)
Federico II Gonzaga, Duke of Mantua (17 May 1500 – 28 August 1540), married Margaret Paleologa, by whom he had issue
Livia Gonzaga (1501 – January 1508).
Ippolita Gonzaga (13 November 1503 – 16 March 1570), a nun
Ercole Gonzaga (23 November 1505 – 2 March 1563), Cardinal, Bishop of Mantua
Ferrante Gonzaga (28 January 1507 – 15 November 1557), a condottiero; married Isabella di Capua, by whom he had issue
Livia Gonzaga (August 1508 – 1569), a nun

Lucrezia Borgia

A year after her marriage to Isabella’s brother, Alfonso^[19] in 1502, the notorious Lucrezia Borgiabecame the mistress of Francesco. Isabella had given birth to a daughter, Ippolita at about the same time, and she continued to bear him children throughout Francesco and Lucrezia’s long, passionate affair, which was more sexual than romantic.^[20] Lucrezia had previously made overtures of friendship to Isabella which the latter had coldly and disdainfully ignored. From the time Lucrezia had first arrived in Ferrara as Alfonso’s intended bride, Isabella, despite having acted as hostess during the wedding festivities, had regarded Lucrezia as a rival, whom she sought to outdo at every opportunity.^[21] Francesco’s affair with Lucrezia, whose beauty was renowned,^[14] caused Isabella much jealous suffering and emotional pain.^[20] Their liaison ended when he contracted syphilisas a result of encounters with prostitutes.

Regency

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Miniature of Isabella

Education

Marchesa of Mantua

Francesco II Gonzaga, Marquess of Mantua, Isabella’s husband

Almost four years after her marriage in December 1493, Isabella gave birth to her first child out of an eventual total of eight; it was a daughter, Eleonora, whom they called Leonora for short.

Children

Together Isabella and Francesco had eight children:^[18]

Eleonora Gonzaga (31 December 1493 – 13 February 1570), married Francesco Maria I della Rovere, Duke of Urbino, by whom she had issue
Margherita Gonzaga (13 July 1496 – 22 September 1496)
Federico II Gonzaga, Duke of Mantua (17 May 1500 – 28 August 1540), married Margaret Paleologa, by whom he had issue
Livia Gonzaga (1501 – January 1508).
Ippolita Gonzaga (13 November 1503 – 16 March 1570), a nun
Ercole Gonzaga (23 November 1505 – 2 March 1563), Cardinal, Bishop of Mantua
Ferrante Gonzaga (28 January 1507 – 15 November 1557), a condottiero; married Isabella di Capua, by whom he had issue
Livia Gonzaga (August 1508 – 1569), a nun

Lucrezia Borgia

Regency

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Portrait of Isabella d’Este by Leonardo da Vinci (1499-1500)

Isabella played an important role in Mantua during the city’s troubled times. When her husband was captured in 1509 and held hostage in Venice, she took control of Mantua’s military forces and held off their invaders until his release in 1512. In the same year, 1512, she was the hostess at the Congress of Mantua, which was held to settle questions concerning Florence and Milan.^[22] As a ruler, she appeared to have been much more assertive and competent than her husband. When apprised of this fact upon his return, Francesco was furious and humiliated at being upstaged by his wife’s superior political ability. This caused their marriage to break down irrevocably. As a result, Isabella began to travel freely and live independently from her husband until his death on 19 March 1519.

After the death of her husband, Isabella ruled Mantua as regent for her son, Federico. She began to play an increasingly important role in Italian politics, steadily advancing Mantua’s position. She was instrumental in promoting Mantua to a Duchy, which was obtained by wise diplomatic use of her son’s marriage contracts. She also succeeded in obtaining a cardinalatefor her son Ercole. She further displayed shrewd political acumen in her negotiations with Cesare Borgia, who had dispossessed Guidobaldo da Montefeltro, duke of Urbino, the husband of her sister-in-law and good friend Elisabetta Gonzaga in 1502.

Cultural pursuits

Isabella d’Este is famous as the most important art patron of the Renaissance; her life is documented by her correspondence, which is still archived in Mantua (c. 28,000 letters received and copies of c. 12,000 letters written).^[23]^[24]

Art patronage

In painting she had the most famous artists work for her, i.e. Giovanni Bellini, Giorgione, Leonardo da Vinci, Andrea Mantegna (court painter until 1506), Perugino, Raphael and Titian, but also Antonio da Correggio, Lorenzo Costa (court painter from 1509), Dosso Dossi, Francesco Francia, Giulio Romano and many others. For instance her ‘Studiolo’ in the Ducal Palace, Mantua, was decorated with allegories by Mantegna, Perugino, Costa and Correggio.^[25]
In parallel she contracted the most important sculptors and medallists of her time, i.e. Michelangelo, Pier Jacopo Alari Bonacolsi (L’Antico), Gian Cristoforo Romano and Tullio Lombardo, and collected ancient Roman art.^[26]
In humanities she was in contact with Pietro Aretino, Ludovico Ariosto, Pietro Bembo, Baldassare Castiglione, Mario Equicola, Gian Giorgio Trissinoetc.^[27]
In music she sponsored the composers Bartolomeo Tromboncino and Marco Caraand played the lute herself.^[28]Unusually, she employed women as professional singers at her court, including Giovanna Moreschi, the wife of Marchetto Cara.^[29]
In architecture she could not afford new palaces, however she commissioned architects like Biagio Rossetti and Battista Covo.^[30]
Being a leader of fashion, she ordered the finest clothing, including furs as well as the newest distillations of perfume, which she concocted herself and sent as presents. Her style of dressing in caps (‘capigliari’) and plunging décolletage was imitated throughout Italy and at the French court.^[31]

Isabella d’Este and Leonardo’s Mona Lisa

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Leonardo da Vinci 1499 – ‘Isabella d’Este’ / Leonardo da Vinci (workshop) 1502-06 – ‘Mona Lisa’ (Prado, Madrid, cleaned in 2012) / Leonardo da Vinci 1502-06 – ‘Mona Lisa’

Isabella d’Este has been proposed as a plausible candidate^[32] for Leonardo’s ‘Mona Lisa’ of 1502-06, which is usually considered a portrait of Lisa del Giocondo. (Lisa was the wife of a merchant in Florence and Giorgio Vasari wrote of her portrait by Leonardo^[33] – it remains open whether this is the portrait now known as the ‘Mona Lisa’.) Evidence in favor of Isabella as the subject of the famous work includes Leonardo’s drawing ‘Isabella d’Este’ from 1499 and her letters of 1501-06 requesting the promised painted portrait;^[34] further arguments are the mountains in the background^[35] and the armrest as a Renaissance symbol for a portrait of a sovereign.

Potential portrait identifications

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Isabella d’Este in portraits Details of the pictures: Gian Cristoforo Romano – Medal / Leonardo da Vinci – Drawing / Titian (known by copy Peter Paul Rubens) – ‘Isabella in Red’ / Titian 1536 (rejuvenated) – ‚Isabella in Black’ versus ‚La Bella’ / Unknown – Ambras Miniature

Despite her significant art patronage which included a number of portraits – no other person of her time was so often portrayed^[36] – there are very few surviving identified portraits of Isabella. These few identifications are known as inhomogeneous (i.e. differing eye and hair colours as well as divergent eyebrows in both Titian portraits)^[36]and there are no images of her between the ages of 26 and 54 (see picture). It is known that the elderly Isabella preferred idealized paintings and even waived sitting as a model.^[37] However it could be assumed that she still insisted on seeing her personal characteristics in the outcome.^[38] Isabelle carefully managed her image. A portrait of her by Andrea Mantegna was rejected because it ‘looked nothing at all like us’. The portrait most probably looked too much like Isabella who was prone to corpulence.

In recent years several museums have withdrawn their few identifications of portraits as Isabella because of the risk of misidentification.^[39] The remaining three colourful portraits are still inhomogeneous (Kunsthistorisches Museum/KHM, Vienna):^[40]

‘Isabella in Red’ by Titian, c. 1529 (lost, known from a copy by Peter Paul Rubens c. 1605)
‘Isabella in Black’ by Titian, 1536
‘Ambras Miniature’, 16th century

‘La Bella’ (Palazzo Pitti, Florence) has been discussed as an alternative to Titian’s 1536 portrait in Vienna, because the commission from the 60-year-old patron was for a rejuvenated portrait; if La Bella were Isabella, eye colour, hair colour, eyebrows and general appearance would homogenize in all known portraits, allowing potential links toward further identifications.^[41]

At present the 1495 medal by Gian Cristoforo Romano (several extant copies) is the only reliable identification because of the inscription created during Isabella’s lifetime.^[42]

Diplomatic missions and her treatment of slaves

Isabella had met the French king in Milan in 1500 on a successful diplomatic mission which she had undertaken to protect Mantua from French invasion. Louis had been impressed by her alluring personality and keen intelligence.^[43] It was while she was being entertained by Louis, whose troops occupied Milan, that she offered asylum to Milanese refugees including Cecilia Gallerani, the refined mistress of her sister Beatrice’s husband, Ludovico Sforza, Duke of Milan, who had been forced to leave his duchy in the wake of French occupation. Isabella presented Cecilia to King Louis, describing her as a « lady of rare gifts and charm ».^[44]

Isabella was also an extreme example of the Renaissance European tendency to treat black African slaves in her household as exotic accessories. Isabella’s fascination with black child servants is extensively documented.^[45] On 1 May 1491 Isabella asked Giorgio Brognolo, her agent in Venice, to procure a young black girl (‘una moreta’) between the ages of one-and-a-half and four, and twice in early June reminded him of the request, emphasizing that the girl should be ‘as black as possible’.^[46]Isabella’s household and financial records reflect she already had a significantly older black girl in her service when she inquired after a younger black child. Records also reflect that she obtained a little black girl from a Venetian orphanage, opened negotiations with a Venetian patrician household for the sale of a little black boy and purchased an enslaved little black girl from her sister.^[47] The commission for the purchase of a little girl « as black as possible » could be construed as a wish for maximum exoticism.^[48]

Widowhood

« Devoted head of state »

As a widow, Isabella at the age of 45 became a « devoted head of state ».^[49] Her position as a Marchesa required her serious attention, therefore she was required to study the problems faced by a ruler of a city-state. To improve the well-being of her subjects she studied architecture, agriculture, and industry, and followed the principles that Niccolò Machiavelli had set forth for rulers in his book The Prince. In return, the people of Mantua respected and loved her.^[50]

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Maiolica plate with the arms of Isabella and her late husband, Urbino, ca. 1524 (Victoria and Albert Museum)

Isabella left Mantua for Rome in 1527. She was present during the catastrophic Sack of Rome, when she converted her house into an asylum for about 2000 people fleeing the Imperial soldiers. Isabella’s house was one of the very few which was not attacked, due to the fact that her son was a member of the invading army. When she left, she managed to acquire safe passage for all the refugees who had sought refuge in her home.

Later years and death

After Rome became stabilized following the sacking, she left the city and returned to Mantua. She made it a centre of culture, started a school for girls, and turned her ducal apartments into a museum containing the finest art treasures. This was not enough to satisfy Isabella, already in her mid-60s, so she returned to political life and ruled Solarolo, in Romagna until her death on 13 February 1539. She was buried beside her husband in the Church of San Francesco in Mantua.^[51]

Legacy

During her lifetime and after her death, poets, popes, and statesmen paid tribute to Isabella. Pope Leo Xinvited her to treat him with « as much friendliness as you would your brother ».^[3] The latter’s secretary Pietro Bembo described her as « one of the wisest and most fortunate of women »; while the poet Ariosto deemed her the « liberal and magnanimous Isabella ». Author Matteo Bandello wrote that she was « supreme among women », and the diplomat Niccolò da Correggio entitled her « The First Lady of the world ».^[3]

Depiction in media

The artwork The Dinner Partyfeatures a place setting for Isabella d’Este.^[52]

Isabella d’Este is portrayed by Belgian actress Alexandra Oppo in the TV show Borgia.

Giacobbe Giusti

p. 94 ↑ Plusieurs correspondances sont la preuve de plaintes d’Isabelle vis-à-vis des peintres pour refaire la couleur des yeux et des cheveux

Tous les articles tagués p. 94 ↑ Plusieurs correspondances sont la preuve de plaintes d’Isabelle vis-à-vis des peintres pour refaire la couleur des yeux et des cheveux

Giacobbe Giusti, LEONARD de VINCI: Isabelle d’Este et «La Joconde»

Biographie

Descendance

Isabelle et les beaux-arts

Le mécénat

Isabelle d’Este et «La Joconde»

L’hétérogénéité et très peu de portraits

Anecdotes

Notes et références

Notes

Références

Annexes

Articles connexes

Bibliographie

Education

Marchesa of Mantua

Children

Lucrezia Borgia

Regency

Education

Marchesa of Mantua

Children

Lucrezia Borgia

Regency

Cultural pursuits

Art patronage

Isabella d’Este and Leonardo’s Mona Lisa

Potential portrait identifications

Diplomatic missions and her treatment of slaves

Widowhood

« Devoted head of state »

Later years and death

Legacy

Depiction in media

Articles récents

Méta