Born in Ferrara in 1474 as daughter of the Duke Ercole I of Ferrara and of Eleonor of Aragon, Isabella was married to Francesco Gonzaga only at the age of sixteen (though some girls got married even at thirteen or fourteen—not unusual at the time).

Have you ever learned about the Renaissance? If so, you have probably heard of her name because she became one of the most outstanding and refined women of the Renaissance, keen on music and poetry. Her son Federico was educated by the philosopher Pietro Pomponazzi and she made Mantova a cultural center.

Isabella also turned into an experienced diplomat, and guided the policies of the duchy firmly, both during her husband’s imprisonment in Venice and after his death (1519). During her husband’s imprisonment, Isabella obtained his liberation through skillful negotiations.

Keen on beautiful things and antiques, Isabella enriched the rooms of the Palace—especially her Studio and the Grotto, two small rooms given to her by her husband. For her Studio, Isabella called the painter Giovan Luca Palombeni who decorated, with friezes and coat-of-arms, the doors of the built-in wardrobes that covered it entirely. These were later replaced by a series of allegorical paintings, by Andrea Mantegna, as shown at top.

For the above Grotto, she called the brothers Mola who inlaid architectures of imaginary cities and palaces, musical instruments and graceful court scenes on wooden panels. In this room, Isabella gathered all kinds of masterpieces: small bronzes, precious manuscripts, musical instruments and a globe on which she followed Columbus’s voyages. Only three of the 1600 pieces, she had gathered, are still left here.

Learning the principles of Plato and Aristotle, she considered stringed instruments superior to winds, which were associated with vice and strife. This preference may have contributed to the development of the viol as a consort instrument capable of the sustaining effects of the wind players.

This sketch was made by Leonardo da Vinci.

The above fresco (part of the wall of the Camera degli Sposi, or bridal chamber, shown at top) shows Lodovico Gonzaga, Isabella’s grandfather-in-law, who in 1460 had persuaded Andrea Mantegna to make Mantua his permanent home and to become his court painter.

Lodovico, wearing a pinkish-purple robe, is shown seated beside his wife, surrounded by his large family and courtiers. His son Federigo proved himself as skillful a condottiere, as wily a diplomat, and as sensitive a patron as his father, but it was his grandson Francesco and his wife, Isabella, who lifted the court of Mantua to its highest fame.

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