Note 37 page 11. EMILIA PIA, (died 1528), was the youngest daughter of Marco Pio, one of the lords of Carpi. Her brother Giberto married a natural daughter of Cardinal Ippolito d'Este (see note 64), while her cousin Alberto Pio (1475-1530) was the pupil and became the patron and financial supporter of the scholar-printer Aldus Manutius. In 1487 she was married very young to the studious Count Antonio di Montefeltro (a natural half-brother of Duke Guidobaldo), who left her a widow in 1500. She resided at Urbino and became the trusted and inseparable companion of the Duchess Elisabetta, whom she accompanied on journeys and in exile, ever faithful in misfortune and sorrow. In the duchess’s testament she was named as legatee and executrix. She seems to have died without the sacraments of the Church, while discussing passages of the newly published COURTIER with Count Ludovico Canossa. The part taken by her in these dialogues evinces the charm of her winning manners as well as her possession of a variety of knowledge and graceful accomplishment rare even in that age of womanly genius. Always ready to lead or second the learned and sportive pastimes by which the court circle of Urbino gave zest to their intercourse and polish to their wit, she was of infinite service to the duchess, whose own acquirements were of a less brilliant kind. Note 38 page 11. It may be doubted whether the duchess’s influence always availed to secure what we should now regard as decorous behaviour at her court, and in an earlier draft of THE COURTIER Castiglione allowed himself a freedom, not to say licence, of expression singularly in contrast with the general tone of the version published. Note 39 page 12. The duchess and her husband were expelled from their dominions by Cesare Borgia in 1502, and again in 1516 she was compelled to leave Urbino for a longer time, when Leo X seized the duchy for his nephew Lorenzo de' Medici. Her conduct on these occasions showed rare fortitude and dignity. Note 40 page 12. These devices, so much in vogue during the 16th century in Italy, were the “inventions” which Giovio (a contemporary writer upon the subject) says “the great lords and noble cavaliers of our time like to wear on their armour, caparisons and banners, to signify a part of their generous thoughts.” They consisted of a figure or picture, and a motto nearly always in Latin. The fashion is said to have been copied from the French at the time of the invasions of Charles VIII and Louis XII.