[20] Lucrezia d’Este, born in 1535 and married to the duke in 1570. She spent almost all her time at the court of Ferrara. After her death her husband married Livia della Rovere and had one son, Federigo Ubaldo, but this youth died in his father’s lifetime in 1623, and the following year Francesco Maria surrendered the duchy to Urban VIII. [21] This portrait is almost certainly the one which is now in the Uffizi at Florence. On the death of Francesco Maria della Rovere in 1631, Claudia dei Medici, the widow of his son, returned to Florence, and took with her several of the pictures from the palace of Urbino--notably the portraits of Federigo di Montefeltro and the Duchess Battista, by Piero della Francesca--and transferred them to the Uffizi. The portrait of Pico probably went at the same time. [22] Monte d’Elce. The monument referred to still exists, though greatly defaced. [23] Isabella, daughter of Guidobaldo II., married Niccolo Sanseverino, Prince of Bisignano. [24] _Petites reines du micarême._ [25] Le More’s seems to have been a Parisian _restaurant de luxe_. “Chacun veut aujourd’hui aller diner chez Le More, chez Samson, chez Innocent, chez Havart, ministres de volupté et de profusion, et qui dans un royaume bien policé seroient bannis et chassés comme corrupteurs des mœurs” (Baudrillart, _Hist. du Luxe_, iii. 506). [26] Rabelais, i. 51, “un beau cabaret assez retirant a celluy de Guillot en Amiens.” Motteux evidently misread the name, as he renders it as “Will’s at Amiens.” [27] Incisa. [28] Petrarch was born at Arezzo, whither his family had fled during the Bianchi and Neri troubles. They dwelt, however, at Incisa, and the remains of the house are said still to exist. One of the walls bears a tablet with the following inscription:-- Perche Della casa paterna di FRANCESCO PETRARCH Colpa di secoli ingrati Meglio che dalle cure degli uomini Rispettata dal tempo Una memoria restasse Antonio Brucalassi incisano Correndo il giorno sesto d’Aprile MDCCCXXXXII Fra le antiche ruine Consacrò questo marmo. [29] Livy, xxii. 2-3. [30] See vol. ii., p. 54. [31] In Tuscany the art of straw-plaiting is a very old one, dating from the thirteenth or fourteenth centuries. In the sixteenth it had attained great importance in Signa and the adjacent villages. Francesco Naldi and Domenico Michelacci, a Bolognese, were its chief promoters and the pioneers of foreign trade. It now exists chiefly in Fiesole, and though fallen off somewhat, is an important branch of industry. [32] Cardinal Niccolò.