Duchess of Ferrara


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Noun1.Duchess of Ferrara - Italian noblewoman and patron of the arts (1480-1519)Duchess of Ferrara - Italian noblewoman and patron of the arts (1480-1519)
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
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(77) Like her menfolk, Luisa capitalized on the profitable relationship between Filippo and the Aragonese: in particular, his close relationship with Eleonora d'Aragona, the Duchess of Ferrara. The tense relations between Ercole d'Este and King Ferdinand installed Eleonora at the helm of this critical patronage relationship, and she became a vital conduit at court for Luisa to all manner of patronage, intercession and aid.
Christine Fischer then provides insights into the activities and status of female composers, focusing on three case studies of contrasting time and location: a group of singers at the court of the Duchess of Ferrara in the late sixteenth century; the compositions of Francesca Caccini at the early seventeenth-century Florentine court of the Medicis; and the eighteenth-century operatic activities of the Electoral Princess of Saxony, Maria Antonia Walpurgis.
Incidentally, Lucretia Borgia - after three husbands, one of whom was murdered - flourished as the Duchess of Ferrara, eventually dying following childbirth at the age of 39 ...
Diane Yvonne Ghirardo has revealed that the Duchess of Ferrara was less interested in political intrigue than in running a business, and undertaking massive land development projects.
A few days after the death of Lucrezia Borgia, Duchess of Ferrara (1480-1519), from complications of childbirth, Giovanni Gonzaga wrote to their sister-in-law Isabella d'Este (1474-1539): "They say [that] the duchess left a good sum of money but only a few know how much." (1) Historians have elaborated on what contemporaries viewed as her great wealth at the time of her marriage in 1501, a spectacular dowry of gold and jewelry valued at 300,000 ducats, but the mystery to which Gonzaga alludes regarding her wealth has persisted to modern times.
Bradford divides the work into two parts: "The Pope's Daughter, 1480-1501" and "The Duchess of Ferrara, 1502-1519." In the first of these, Bradford has difficulty pulling Lucrezia out from the shadow of her more active father and brothers.
That he was loved in return by such as Lucrezia Borgia, the Duchess of Ferrara, was not, to judge by his portrait, because of his looks so much as his genre, affectionate nature, his poetry and his passionate letters.