An Italian renaissance example of female sex variance appears in Ariosto’s _Orlando Furioso_ (1531). Ariosto’s predecessor, Boiardo, in treating the same Roland material, cast as heroine the completely feminine Angelica, but Ariosto gave the lead to Bradamante, a young Amazon in full armor whose exploits equalled and sometimes exceeded those of the male knights. Indeed, Ariosto’s version has been cited as feministic because of her prominence in the plot.[8] We need consider only Canto 25, which tells how Bradamante while suffering from a head wound is shorn of her hair, and thereafter is universally mistaken for her twin brother. Sleeping one day in the forest she is discovered by “young Flordespine of Spain,” whose instant infatuation is so violent that Bradamante is wakened by a passionate kiss. Since in the chivalric code “cravenhood it were, befitting man of straw” not to respond, she at once confesses her sex. The disclosure has no effect upon the young princess’ ardor. Taking Bradamante home, Flordespine showers her with rich woman’s apparel and gifts, and laments all day—in almost the very words of Ovid’s Iphis—that she should be cursed with a love the like of which she has never met “mid mankind or herd.” Bradamante feels no answering attraction, but nothing indicates that either girl considers this love to be sinful. It is merely “unnatural.” The ladies had one common bed that night, Their bed the same but different their repose. One sleeps, one moans and weeps in piteous plight Because her wild desire more fiercely glows. And on her wearied lids should slumber light, All is deceitful that brief dreaming shows: To her it seems as if relenting heaven A better sex to Bradamante has given.[9] In the morning Bradamante quickly departs, to relieve a misery she cannot assuage. And now follows an interesting inversion of the theme. When Bradamante recounts her adventure at home, her twin brother, recognizing in Flordespine a beauty whom he has long admired but has had no chance to approach, makes off in secret in his sister’s knightly trappings and seeks the Spanish castle in her place. The princess welcomes him with rapture, again supplies woman’s dress, and only at night discovers his sex, which the boy, still posing as his sister, attributes to a timely bit of magic. The two live together for several weeks before the truth is learned by anyone else.