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Isabella d’Este was known to be a well educated and powerful political figure and patron of the arts who was also known as being the “First Lady of Renaissance” in Italy.  In Clifford’s Isabella d’Esta in the Ducal Palace in Mantua”, Isabella d’Este’s portrait which was made by Francia Francesco in the year 1511was an object of play that was displayed in the palace for social courtly entertainments. The portrait, by Francesco Gian was a great success to the extent that it became a great success which served as a great inspiration and happiness for Isabella. Isabella’s portrait was a constituent dialogic of games of surprise which were staged at dinners hosted in Ferrara. The decorations that were prevalent in the rooms of the duchess seemed to be relatively simple and they employed techniques and motifs which referenced Isabella’s role as both a Renaissance art she supported during her time and as a ruler. The plate’s painting in white, gold and royal blue was in support of Urbino majolica which d’Este liked (Brown 2005).

In Thomas’ “The ducal palace: Herculean Ferrara”, a description of the developmental works that took place in the palace during the reign of Ercole is clearly explained. It locates the principal rooms through ascertaining their function and decoration and demonstrates the role of the duke in the overall planning and reconstruction of the palace. Borso was known to have occupied a suite of rooms that overlooked the Fountain Court. His room was decorated with squares of paper that were painted with devices and arms by most painters of Ferrara. Some extensive internal alterations were carried out by Borso in 1946 because of the Emperor’s impending visit. The arrangements and reconstructions of the rooms also played a key role for Borso’s burial site (Tuoghy 1996). 

In Welch’s  “Galeazzo Maria Sforza and the Castello di Pavia”,  the Castello di Pavia was the favored residence for Duke Gian Galeazzo (the Duke of Milan) and it was one of the most splendid buildings in the 14th and 15th centuries. The precise reconstruction of some of the two floors of the castle in Pavia was aimed at traditional iconography of games and courtly hunts. The political nature of the large scale redecoration project is reflected through numerous portraits (Welch 1989). 

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