The best of these courtesans seem to have been not altogether unworthy of the honor they received.  We can detect this in their letters.  There is a chapter on the letters of Renaissance prostitutes, especially those of Camilla de Pisa which are marked by genuine passion, in Lothar Schmidt’s Frauenbriefe der Renaissance.  The famous Imperia, called by a Pope in the early years of the sixteenth century “nobilissimum Romae scortum,” knew Latin and could write Italian verse.  Other courtesans knew Italian and Latin poetry by heart, while they were accomplished in music, dancing, and speech.  We are reminded of ancient Greece, and Graf, discussing how far the Renaissance courtesans resembled the hetairae, finds a very considerable likeness, especially in culture and influence, though with some differences due to the antagonism between religion and prostitution at the later period.

The most distinguished figure in every respect among the courtesans of that time was certainly Tullia D’Aragona.  She was probably the daughter of Cardinal D’Aragona (an illegitimate scion of the Spanish royal family) by a Ferrarese courtesan who became his mistress.  Tullia has gained a high reputation by her verse.  Her best sonnet is addressed to a youth of twenty, whom she passionately loved, but who did not return her love.  Her Guerrino Meschino, a translation from the Spanish, is a very pure and chaste work.  She was a woman of refined instincts and aspirations, and once at least she abandoned her life of prostitution.  She was held in high esteem and respect.  When, in 1546, Cosimo, Duke of Florence, ordered all prostitutes to wear a yellow veil or handkerchief as a public badge of their profession, Tullia appealed to the Duchess, a Spanish lady of high character, and received permission to dispense with this badge on account of her “rara scienzia di poesia et filosofia.”  She dedicated her Rime to the Duchess.  Tullia D’Aragona was very beautiful, with yellow hair, and remarkably large and bright eyes, which dominated those who came near her.  She was of proud bearing and inspired unusual respect (G.  Biagi, “Un’ Etera Romana,” Nuova Antologia, vol. iv, 1886, pp. 655-711; S. Bongi, Rivista critica della Letteratura Italiana, 1886, IV, p. 186).

Tullia D’Aragona was clearly not a courtesan at heart.  Perhaps the most typical example of the Renaissance courtesan at her best is furnished by Veronica Franco, born in 1546 at Venice, of middle class family and in early life married to a doctor.  Of her also it has been said that, while by profession a prostitute, she was by inclination a poet.  But she appears to have been well content with her profession, and never ashamed of it.  Her life and character have been studied by Arturo Graf, and more slightly in a little book by Tassini.  She was highly cultured, and knew several languages; she also sang well and played on many instruments.  In one of