Baldassare Castiglione


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Castiglione, Baldassare

 

Born Dec. 6, 1478, in Casatico, near Mantua; died Feb. 2, 1529, in Toledo, Spain. Italian writer.

Castiglione’s best-known work is The Courtier (books 1–4, 1528), a treatise in dialogue form. In the spirit of late humanism, Castiglione enumerated the qualities of the ideal courtier, or, in a broader sense, of the well-brought-up, broadly educated man with a developed personality. This ideal was current throughout Europe in the 16th and early 17th centuries and was reflected in literature.

WORKS

Opère, a cura di C Cordie.Milan-Naples [1960].
In Russian translation:
“Iz ‘Knigi o pridvornom.’ “In Khrestomatiia po zarubezhnoi literature. Epokha Vozrozhdeniia, vol. 1. Compiled by B. I. Purishev. Moscow, 1959.

REFERENCES

De Sanctis, F. Istoriia itaVianskoi literatury, vol. 2. Moscow, 1964.Rossi, M. B. Castiglione. Bari, 1946.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The term was first used by Baldassare Castiglione (1478-1529) in his book called The Book of the Courtier, which turned out be a classical Italian renaissance literature.
As you enter the Grande Galerie (Room 5), look to the left, where you'll find five more Leonardo paintings, and Raphael's exquisite 'Portrait of Baldassare Castiglione'.
Two Renaissance Friends: Baldassare Castiglione, Domizio Falcone, and Their Neo-Latin Poetry.
In the first two chapters of the monograph, Giusti examines the meanings and uses of the term courtesan in legal, archival, and personal documents, including travel diaries and epistolary exchanges, as well as in literary representations in the writings of Baldassare Castiglione, Pietro Aretino, and Matteo Bandello, and further exposes how the ambiguity of the term has persisted in recent scholarly interpretations of these documents.
"Letters" (27-38) is the "literary chapter" in which Giusti examines works by Baldassare Castiglione, Pietro Aretino, and Matteo Bandello to demonstrate how these writers "mirrored and supported the amphibology of the term courtesan, and the need for its framing" (14).
p.16 (Top Billing, Contenders) Coined by Italian Renaissance author Baldassare Castiglione, it is the practice of a certain nonchalance "to conceal all art, and make whatever is done or said appear to be without effort."
Tras la introduccion se desarrollan tres aspectos en el estudio: don Quijote como figura graciosa, como loco gracioso sin saberlo y como caballero gracioso a sabiendas; y Redondo se sirve en su analisis del Cortesano de Baldassare Castiglione para hacer algunos paralelismos, pues segun el mantuano el buen caballero ha de saber hablar con gracia y poder divertir a su entorno cortesano con ingenio.
Ainda no terceiro capitulo, deparamo-nos com um estudo dos tratados de civilidade de Baldassare Castiglione e Giovanni Della Casa, sendo que o primeiro chega a nomear um procedimento que faz largo uso da dissimulacao, a saber, a sprezzatura, que "opera pela dissimulacao ao esconder a arte e demonstrar facilidade no fazer e dizer" (MISSIO 2012, p.
(In conversation, the artist invokes Baldassare Castiglione's famous notion of sprezzatura--toilsome poise made seemingly effortless--as his artistic ideal.) The show also suggested a portrait of the contemporary artist as working stiff, putting in the hours, then letting rip a little with his coworkers.
But the skills of the artist are many, and Duncan's personal search through history took him, as well, to the Renaissance, notably to Baldassare Castiglione, the humanist author of The Courtier and subject of Raphael's famous portrait.
There have been many suggestions for who this foreground figure might be-an anonymous fencing master, Bernardino Pinturicchio, Baldassare Castiglione, Gianfrancesco Penni, Giovanni da Udine, Polidoro da Caravaggio, Marcantonio Raimondi, Baldassare Peruzzi, Antonio da Sangallo, Giovanni Battista Branconio dell'Aquila, Pietro Aretino (11) -but one of the most convincing is that he is Giulio Romano.
In La Cortegiana, he specifically critiques Baldassare Castiglione's discussion of the formation of knowledge, both cognitive and practical, as attained through one's vision and hearing, the senses defined by Plato and Aristotle as the true means to rational knowledge.