Sprezzatura

Sprezzatura, is a term that originates from Castiglione's The Book of the Courtier. It is defined as “a certain nonchalance, so as to conceal all art and make whatever one does or says appear to be without effort and almost without any thought about it.” [Baldassare Castiglione, The Book of the Courtier: The Singleton Translation, Ed. Daniel Javitch, (New York: Norton, 2002), 32.] That is to say, it is the ability of the courtier to display “an easy facility in accomplishing difficult actions which hides the conscious effort that went into them.” [Wayne A. Rebhorn, Courtly Performances: Masking and Festivity in Castiglione’s Book of the Courtier, (Austin: Wayne State, 1978), 33.] "Sprezzatura" has also been described “as a form of defensive irony: the ability to disguise what one really desires, feels, thinks, and means or intends behind a mask of apparent reticence and nonchalance.” [Harry Berger Jr., “Sprezzatura and the Absence of Grace”, The Book of the Courtier: The Singleton Translation, Ed. Daniel Javitch, (New York: Norton, 2002), 297.]

History

"Sprezzatura" is a term that derives from Castiglione's "The Book of the Courtier". Castiglione wrote this book as an instruction manual for aspiring courtiers. "The Book of the Courtier" taught these people how to act, what to say, what talents to master, and how to dress to gain favour from their rulers and the nobility. The ideal courtier was supposed to be skilled in arms and in athletic events, and know the art of rhetoric, as well as the arts of music and dancing. [ Castiglione, The Courtier, x.] Since the ideal courtier was supposed to be able to do all of the above, the standard for the ideal courtier was set so high that it was practically unattainable. However, the courtier who had sprezzatura managed to make these difficult tasks look easy. Concerning "sprezzatura", Castiglione said:

Thus, "sprezzatura" was essential to becoming the ideal courtier, because having this quality allowed courtiers to survive in the highly competitive world of the nobility. If courtiers had this quality, they could gracefully blend into the court.

The Positive and Negative Attributes of "Sprezzatura"

"Sprezzatura" was a vital quality for a courtier to have, since it allowed courtiers to gracefully adapt to the highly competitive environment of the court. Courtiers essentially had to put on a performance for their peers [Rebhorn, Courtly Performances, 14.] and those who employed "sprezzatura" created the impression that they completely mastered the roles they played. [Rebhorn, Courtly Performances, 35.] A courtier’s "sprezzatura" made him seem to be fully at ease in court and like someone who was “the total master of self, society’s rules, and even physical laws, and [his "sprezzatura" created] the distinct impression that he [was] unable to err.” [Rebhorn, Courtly Performances, 44.] Moreover, courtiers who possessed "sprezzatura" could display their talents for their ruler to gain their favour without looking like they were putting on an act. [ Daniel Javitch, “Il Cortegiano and the Constraints of Depotism”, The Book of the Courtier: The Singleton Translation, Ed. Daniel Javitch, (New York: Norton, 2002), 325.]

However, while the quality of "sprezzatura" did have its benefits, this quality also had its downfalls. Since "sprezzatura" made difficult tasks seem effortless, those who possessed "sprezzatura" needed to be able to deceive people convincingly. [Howard Wescott, “The Courtier and the Hero: Sprezzatura from Castiglione to Cervantes”, Cervantes for the 21st Century, ed. Francisco La Rubia Prado, (Newark: Juan de la Cuesta, 2000), 227.] In a way, "sprezzatura" was “the art of acting deviously.” [Ibid] This “art” created a “self-fulfilling culture of suspicion” [Berger Jr., “Sprezzatura and the Absence of Grace”, 299.] because courtiers had to be diligent in maintaining their façades. “The by-product of the courtier’s performance is that the achievement of "sprezzatura" may require him to deny or disparage his nature.” [Berger Jr. “Sprezzatura and the Absence of Grace”, 306.] Consequently, "sprezzatura" also had its downsides, since courtiers who excelled at "sprezzatura" risked losing themselves to the façade they put on for their peers.

Examples

Raphael was an artist who exemplified "sprezzatura" from the beginning of his career, starting with his first signed work "The Marriage of the Virgin". “Inspired by his teacher Perugino’s rendering of the same subject, Raphael’s painting can be found to differ primarily from its model by its unique awareness of the importance of "sprezzatura".” [ Lynn M. Louden, “‘Sprezzatura’ in Raphael and Castiglione.”, Art Journal 28.1 (1968), 45.]

Raphael’s painting reveals its awareness of the importance of "sprezzatura" through Raphael’s representation of Joseph. Compared to Perugino’s more youthful representation of Joseph, Raphael’s version of Joseph is considerably more idealized and older. Perugino’s Joseph:

Bquote|despite his almost cloying sweetness in contrast to earlier depictions by other artists, retains a certain hardness of profile and angularity which Raphael has avoided by softening the anatomy of facial features and breaking the rigid profile ever so slightly. [Ibid.]

Additionally, “the poses and garments of the two also reveal a subtle transformation which reflects the same deliberate alteration of attitude.” [Ibid.] For instance, the gracefulness of Perugino’s Joseph is “emphasized by the highlighting of drapery and body. The easy S-like movement from ear to right toe is inescapably obvious.” [Ibid.] On the other hand, the grace displayed by Raphael’s Joseph “is equally great but perhaps more affecting since the manner of its expression is less obvious.” [Louden, “‘Sprezatura’ in Raphael and Castiglione”, 46.] Joseph’s posture demonstrates an understated grace, since his:

References

ee also

*The Book of the Courtier
* Baldassare Castiglione
*Raphael
*Perugino
*The Marriage of the Virgin (Raphael)
*Marriage of the Virgin (Perugino)

For Further Reading

#Berger Jr., Harry. “Sprezzatura and the Absence of Grace”, "The Book of the Courtier: The Singleton Translation." Ed. Daniel Javitch. New York: Norton, 2002.295-307.
#Castiglione, Baldesar. "The Book of the Courtier: The Singleton Translation." Ed. Daniel Javitch. New York: Norton, 2002.
#Javitch, Daniel. “"Il Cortegiano" and the Constraints of Depotism.” "The Book of the Courtier: The Singleton Translation." Ed. Daniel Javitch. New York: Norton, 2002. 319-328.
#Louden, Lynn M. “‘Sprezzatura’ in Raphael and Castiglione.” "Art Journal" 28.1 (1968): 43-49+53.
# Rebhorn, Wayne A. "Courtly Performances: Masking and Festivity in Castiglione’s Book of the Courtier." Austin: Wayne State, 1978.

External links

* [http://grammar.about.com/od/rs/g/sprezzatura.htm|Sprezzatura - Defintion and Examples of Sprezzatura]