of the palace at which the attendance was so large that many were unable
to gain admission. Lucretia was enthroned upon a tribune, and near her
were the princesses of Mantua and Urbino. Other prominent ladies and the
ambassadors also came and took up a position near her. The guests,
therefore, in spite of the crowd, had a chance to admire the beautiful
women, and their gowns and jewels. During the Renaissance, balls were
less formal than they are now. Pleasures then were more natural and
simple; frequently the ladies danced with each other, and sometimes even
alone. The dances were almost exclusively French, for even at that time
France had begun to impose her customs on all the rest of the world;
still there were some Spanish and Italian ones. Lucretia was a graceful
dancer, and she was always ready to display her skill. She frequently
descended from the tribune and executed Spanish and Roman dances to the
sound of the tambourine.[168]

The following day the eagerly expected dramatic performances were given.
First the duke had the actors appear in masks and costumes for the
purpose of reviewing them. The director of the troop then came forward
in the character of Plautus and read the program and the argument of
each piece which was to be rendered during the five evenings. The
selection of comedies by living dramatists in the year 1502 could not
have cost the duke much thought, for there were none of any special
importance. The _Calandra_ of Dovizi, which a few years later caused
such a sensation, was not yet written. It is true Ariosto had already
composed his _Cassaria_ and the _Suppositi_, but he had not yet won
sufficient renown for him to be honored by their presentation at the
wedding festivities.[169] Moreover, the duke would have none but classic
productions. He wanted to set all the world talking; and, in truth,
Italy had never seen any theatrical performances equal to these. We
possess careful descriptions of them which have not yet been
incorporated in the history of the stage. They show more clearly than do
the reports regarding the Vatican theater in the time of Leo X what was
the real nature of theatrical performances during the Renaissance;
consequently, they constitute a valuable picture of the times.

If one could follow the reports of Gagnolo, Zambotto, and Isabella, and
reproduce in imagination the brilliant wedding and the guests in their
rich costumes seated in rows, he would behold one of the faire