Lyrical poets even went
so far as to sing the illicit flames of their lawfully married lords,
e.g. Angelo Poliziano, those of Lorenzo the Magnificent, and Gioviano
Pontano, with a singular gusto, those of Alfonso of Calabria. The poem
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.
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