Raphael 7

So the mythology that surrounds Urbino ,Federigo , and his sumptuous palace as propagated in The Courtier dates from a time when the greatness of Urbino was on the wane .Castiglione's account is in effect a nostalgic evocation of a "golden age" that was already a distant memory and irretrievable reality .The illustrious Federigo ,condottiere and patron of the arts ,was no more .Gone too was the tenuous balance of power that had sustained coexistence among the various states of Italy from the Peace of Lodi in April 1454 to the invasion of the peninsula by Charles VIII of France in 1494.The tiny Duchy of Urbino had fallen prey to the cupidity of new pretenders to the throne ,as had already been the case between June 1502 and August 1503 , when Cesare Borgia invaded Romagna , the Marches, and Umbria. The legacy of a "civil" society and of princely dignity persisted ,however. So did the echoes of that earlier period of extraordinary cultural ascendancy :the ducal palace itself,the Grand Liberally , and the paintings and sculptures liberally scattered throughout the town -------all these continued to attest to Urbino's fame across Italy .
所以围绕在乌尔比诺和费德里戈那华丽的宫殿的神话，被《廷臣》记载的时候正是乌尔比诺的辉煌渐弱的时候。卡斯特贝罗的描述实际上唤起了人们对一个怀旧的、遥远的记忆和无法挽回的“黄金时代”的记忆。没有人再像伟大的费德里戈那样作为雇佣兵队长和艺术的赞助人了。《洛迪合约》维持了从1454年4月到1494年的意大利诸邦之间近40年的和平，从法国的查理八世入侵意大利半岛开始被打破了。乌尔比诺的小公国早已成为贪婪的新王位觊觎者的猎物，正如在1502年6月到1503年8月，切萨雷·博基亚入侵罗马涅，马尔凯和翁布里亚时一样。然而，传统的"公民"社会与王侯的尊严依然存留。早期非凡的文化优势的回响：公爵宫殿本身宏伟壮丽，绘画和雕塑散落全镇——这些继续证明着乌尔比诺在意大利的名声。
【洛迪合约http://zh.wikipedia.org/wiki/%E6%B4%9B%E8%BF%AA%E5%92%8C%E7%B4%84】
【查理八世http://zh.wikipedia.org/wiki/%E6%9F%A5%E7%90%86%E5%85%AB%E4%B8%96_(%E6%B3%95%E5%85%B0%E8%A5%BF)】
【意大利战争 http://zh.wikipedia.org/zh-cn/%E6%84%8F%E5%A4%A7%E5%88%A9%E6%88%98%E4%BA%89】
【切萨雷·博基亚http://zh.wikipedia.org/wiki/%E5%88%87%E8%90%A8%E9%9B%B7%C2%B7%E5%8D%9A%E5%9F%BA%E4%BA%9A】
                
                
                
                
                
                
Castiglione was in fact only the most recent in a long line of apologists for Federigo and Urbino Praise had already been lavished on both man and city by a host of admirers ,including Poggio Bracciolini in his Historia Floren tina, Enea Silvio Piccolomini in Cosmographia and Antonio Rustico de Florentia in Panegiricon Comitis Federici.
事实上卡斯特罗只是穿起了关于费德里戈和乌尔比诺最近的一条长线，他们作为被崇敬者非常慷慨 的被人和城市崇拜着，包括在写佛罗伦萨历史的波焦布拉乔利尼，意大利新技术贝卢斯科尼皮科洛米尼Cosmographia和安东尼奥鲁斯蒂科弗洛朗蒂亚Panegiricon Comitis费代里奇。