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Jennifer Newton
Jennifer Newton

The document discusses Giulio Romano, an Italian artist active in the early 16th century. It notes that he worked extensively for the Gonzaga family in Mantua, Italy, creating paintings for the Palazzo del T竪 and designing the tomb of Baldassare Castiglione. Shakespeare may have seen Romano's works on a visit to Mantua, as the document discusses possible references to Romano in The Winter's Tale and Love's Labor's Lost.

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Giulio Romano (c. 1492-1546) that rare Italian master, Julio Romano, who ... would beguile Nature of her custom. (The Winters Tale V.ii.97ff)
the author of The Winters Tale learnt that Giulio was a sculptor by reading the original Latin epitaphs on the tombstone at Mantua (Michell 225).
No courtier of the court of Elizabeth I, traveling in Italy, would have failed to visit the tomb of Baldassare Castiglione, author of The Courtier. The tomb of Castiglione, designed by Romano, was at Mantua (Miller, in Clark 239).
Romano arrived in Mantua from Rome in 1524 personally recommended and escorted by the Gonzagas cultural agent in Rome, Baldassare Castiglione (Paoletti 396). Guglielmo Gonzaga
A traveller who was so interested in Giulio Romano that he went to see his tomb and noted the inscription on it would certainly, while in Mantua, have gone to the famous Palazzo del T竪, built by the artist himself and filled with his paintings and drawings. Exhibited there were Giulios great pictures of the Trojan War (Michell 225).
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This wimpled, whining, purblind, wayward boy; / This senior-junior giant dwarf Dan Cupid (Loves Labors Lost III.I.179-180) [var. signior Iunios] or: This Signior Julios giant dwarf, Dan Cupid? Giulio Romano added it to Raphaels Battle of Constantine and repeated the head of the dwarf in his Gigantomachy in Mantua. (Miller, in Clark 239-241)
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For much imaginary work was there, Conceit deceitful, so compact, so kind, That for Achilles' image stood his spear, Grip'd in an armed hand, himself behind Was left unseen, save to the eye of mind (1422-1426).
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TROY ROME ENGLAND HECUBA LUCRECE ELIZABETH SINON TARQUIN ?
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I think then that the aim of the perfect Courtier is so to win for himself the favor and mind of the prince whom he serves, that he may be able to say, and always shall say, the truth about everything which is fitting for the prince to know, without fear, or risk of giving offense thereby; and that when he sees his prince's mind inclined to do something wrong, he may be quick to oppose, and gently to make use of the favor acquired by his good accomplishments, so as to banish every bad intent and lead his prince into the path of virtue. [C]ertain it is that man's mind tends to the best end, who purposes to see to it that his prince shall be deceived by no one, shall hearken not to flatterers or to slanderers and liars, and shall distinguish good and evil, and love the one and hate the other (Castiglione, The Book of the Courtier 2299).
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  • 7. Giulio Romano (c. 1492-1546) that rare Italian master, Julio Romano, who ... would beguile Nature of her custom. (The Winters Tale V.ii.97ff)
  • 8. the author of The Winters Tale learnt that Giulio was a sculptor by reading the original Latin epitaphs on the tombstone at Mantua (Michell 225).
  • 9. No courtier of the court of Elizabeth I, traveling in Italy, would have failed to visit the tomb of Baldassare Castiglione, author of The Courtier. The tomb of Castiglione, designed by Romano, was at Mantua (Miller, in Clark 239).
  • 10. Romano arrived in Mantua from Rome in 1524 personally recommended and escorted by the Gonzagas cultural agent in Rome, Baldassare Castiglione (Paoletti 396). Guglielmo Gonzaga
  • 11. A traveller who was so interested in Giulio Romano that he went to see his tomb and noted the inscription on it would certainly, while in Mantua, have gone to the famous Palazzo del T竪, built by the artist himself and filled with his paintings and drawings. Exhibited there were Giulios great pictures of the Trojan War (Michell 225).
  • 16. This wimpled, whining, purblind, wayward boy; / This senior-junior giant dwarf Dan Cupid (Loves Labors Lost III.I.179-180) [var. signior Iunios] or: This Signior Julios giant dwarf, Dan Cupid? Giulio Romano added it to Raphaels Battle of Constantine and repeated the head of the dwarf in his Gigantomachy in Mantua. (Miller, in Clark 239-241)
  • 32. For much imaginary work was there, Conceit deceitful, so compact, so kind, That for Achilles' image stood his spear, Grip'd in an armed hand, himself behind Was left unseen, save to the eye of mind (1422-1426).
  • 43. TROY ROME ENGLAND HECUBA LUCRECE ELIZABETH SINON TARQUIN ?
  • 48. I think then that the aim of the perfect Courtier is so to win for himself the favor and mind of the prince whom he serves, that he may be able to say, and always shall say, the truth about everything which is fitting for the prince to know, without fear, or risk of giving offense thereby; and that when he sees his prince's mind inclined to do something wrong, he may be quick to oppose, and gently to make use of the favor acquired by his good accomplishments, so as to banish every bad intent and lead his prince into the path of virtue. [C]ertain it is that man's mind tends to the best end, who purposes to see to it that his prince shall be deceived by no one, shall hearken not to flatterers or to slanderers and liars, and shall distinguish good and evil, and love the one and hate the other (Castiglione, The Book of the Courtier 2299).