5, he was called
upon in his capacity of court painter to paint the likeness of the
youthful Isabella for her affianced husband, Francesco Gonzaga; and
before the year was out he had to perform the same task for the other
little bride, who had just returned from Naples. The following paper in
the Ferrarese archives fixes the exact date of the portrait, which was
evidently sent as a Christmas gift to Lodovico Sforza at Milan. "On the
24th of December, 1485, Cosimo Tura received four gold florins from the
duke, for painting from life the face and bust of the Illustrissima
Madonna Beatrice, to be sent to Messer Lodovico Maria Sforza, Duca di
Bari, consort of the said Beatrice--Carlo Continga taking it to him."
Unfortunately, both of these portraits have perished, and the only
representation of Beatrice as a girl that we have is the sculptor
Cristoforo Romano's well-known bust in the Louvre.

While the native schools of painting became active and prosperous under
Ercole's auspices, a flourishing school of arts and crafts arose in
Ferrara under the immediate patronage of the duchess. From the day of
her marriage, Leonora not only showed that intelligent love of art and
learning which might have been expected in a princess of the house of
Aragon, but a warm interest in the well-being of her subjects, together
with excellent sense and a strong practical bent. At her invitation,
tapestry-workers from Milan and Florence came to settle at Ferrara, and
skilled embroiderers were brought over from Spain. The duchess herself
superintended these workers, selected the colours and patterns, and
became an authority in the choice of hangings and decoration of rooms.
While Ercole had an insatiable passion for gems and cameos, antique
marbles and ivories, Leonora showed an especial taste for gold and
silver metal-work. Silver boxes and girdles curiously chased and
engraved were constantly sent to the duchess by Milanese goldsmiths, and
among the workers in this line whom she frequently employed was
Francesco Francia, the goldsmith painter of Bologna. In 1488, this
artist sent her an exquisite chain of gold hearts linked together, which
excited general admiration, and may perhaps have been intended as a
bridal gift for Elizabeth Gonzaga, the sister of Isabella's betrothed
husband, who visited Ferrara that spring, on her way to Urbino.
Leonora's own jewels were said to be the finest and most artistic owned
by any princess of her day, and, as