in question betrays unconsciously the odious disposition of the
Aragonese ruler; in these things too, he must needs be the most
fortunate, else woe be to those who are more successful! That the
greatest artists, for example Leonardo, should paint the mistresses of
their patrons was no more than a matter of course.

But the house of Este was not satisfied with the praises of others; it
undertook to celebrate itself. In the Palazzo Schifanoia Borso caused
himself to be painted in a series of historical representations, and
Ercole (from 1472 on) kept the anniversary of his accession to the
throne by a procession which was compared to the feast of Corpus
Christi; shops were closed as on Sunday; in the centre of the line
walked all the members of the princely house (bastards included) clad
in embroidered robes. That the crown was the fountain of honour and
authority, that all personal distinction flowed from it alone, had been
long expressed at this court by the Order of the Golden Spur, an order
which had nothing in common with medieval chivalry. Ercole I added to
the spur a sword, a goldlaced mantle, and a grant of money, in return
for which there is no doubt that regular service was required.

The patronage of art and letters for which this court has obtained a
world-wide reputation, was exercised through the University, which was
one of the most perfect in Italy, and by the gift of places in the
personal or official service of the prince; it involved consequently no
additional expense. Boiardo, as a wealthy country gentleman and high
official, belonged to this class. At the time when Ariosto began to
distinguish himself, there existed no court, in the true sense of the
word, either at Milan or Florence, and soon there was none either at
Urbino or at Naples. He had to content himself with a place among the
musicians and jugglers of Cardinal Ippolito till Alfonso took him into