onsented to acknowledge Alfonso's tenure, upon his disbursement
of 100,000 ducats. This decision saved Modena to the bastard line of
Este, when Pope Clement VIII. seized Ferrara as a lapsed fief in 1598.
In the sixty-seven years which passed between the date of Charles's
coronation and the extinction of the duchy, Ferrara enjoyed the fame of
the most brilliant Court in Italy, and shone with the luster conferred
on it by men like Tasso and Guarini.

The few weeks which now remained before Charles left Bologna were spent
for the most part in jousts and tournaments, visits to churches, and
social entertainments. Veronica Gambara threw her apartments open to the
numerous men of letters who crowded from all parts of Italy to witness
the ceremony, of Charles's coronation. This lady was widow to the late
lord of Correggio, and one of the two most illustrious women of her
time.[5] She dwelt with princely state in a palace of the Marsili; and
here might be seen the poets Bembo, Mauro, and Molza in conversation
with witty Berni, learned Vida, stately Trissino, and noble-hearted
Marcantonio Flaminio. Paolo Giovio and Francesco Guicciardini, the chief
historians of their time, were also to be found there, together with a
host of literary and diplomatic worthies attached to the Courts of
Urbino and Ferrara or attendant on the train of cardinals, who, like
Ippolito de'Medici, made a display of culture. Meanwhile the
Dowager-Marchioness of Mantua and the Duchess of Savoy entertained
Italian and Spanish nobles with masqued balls and carnival processions
in the Manzoli and Pepoli palaces. Frequent quarrels between hot-blooded
youths of the rival nations added a spice of chivalrous romance to
love-adventures in which the ladies of these Courts played a too
conspicuous part. What still remained to Italy of Renaissance splendor,
wit, and fashion, after the Sack of Rome and the prostration of her
wealthiest cities, was concentrated in this sunset blaze of sumptuous
festivity at Bologna. Nor were the arts without illustrious
representatives. Francesco Mazzola, surnamed Il Parmigianino, before
whose altar-piece in his Roman studio the rough soldiers of Bourbon's
army were said to have lately knelt in adoration, commemorated the hero
of the day by painting Charles attended by Fame who crowned his
forehead, and an infant Hercules who handed him the globe. Titian, too,
was there, and received the honor of several sittings from the Emperor.
His l