Note 8 page 8. ALFONSO ARIOSTO, (died 1526), was a cousin of the poet Ludovico. Little more seems to be known of him than that his father’s name was Bonifazio, that he was a gentle cavalier and brave soldier in the service of the Este family, and that he was a friend of Castiglione and of Bembo. His name appears at the head of each of the four dialogues composing THE COURTIER, and they purport to have been written at his suggestion. Señor A. M. Fabié, in his notes to the 1873 reprint of Boscan’s translation, affirms that Alfonso Ariosto had nothing to do with the poet Ludovico, belonged to a noble Bolognese family, and enjoyed much favour at the court of Francis I of France. Note 9 page 9. GIULIANO DE' MEDICI, (born 1478; died 1516), was the third son of Lorenzo the Magnificent and Clarice Orsini. His education seems to have been for a time entrusted to the famous scholar-poet Poliziano (see note 105). During his family’s exile from Florence (1494-1512), he resided much at the court of Urbino, where he was known as “the Magnifico Giuliano,” and where one wing of the great palace was reserved to his use and is still called by his name. He became the father of a boy afterwards known as Cardinal Ippolito de' Medici,—the original of Titian’s fine portrait in the Pitti Gallery. On the restoration of the Medici, Giuliano was placed at the head of affairs in his native city and succeeded in winning the good will of the Florentines, but his gentle disposition and love of ease thwarted other ambitious projects formed for his advancement by his brother Leo X, and he was too grateful to the dukes of Urbino for their hospitality to accept the pope’s intended appropriation of their duchy for his benefit. In 1515 he married Filiberta of Savoy and was created Duke of Nemours by her nephew Francis I of France. In the same year he was appointed Captain General of the Church, but failing health prevented his actual service, and he soon died of fever at Florence, not without suspicion of poison at the hands of his nephew Lorenzo. Several of his sonnets have survived, and are said to show no mean poetic faculty. Apart, however, from his appearance as an interlocutor in THE COURTIER and in Bembo’s _Prose_, his memory is best preserved by Michelangelo’s famous tomb at Florence. [Illustration: VITTORIA COLONNA MARCHIONESS OF PESCARA 1490-1547 ] Much enlarged from a cast, kindly furnished by M. Pierre Valton, of an anonymous medal in his collection at Paris.