THE SECOND BOOK OF THE COURTIER
times, if the prince lays aside his character of prince, and mingles equally with his inferiors yet in such fashion as to be recognizable, by renouncing his own rank he attains a higher one, in that he prefers to excel the rest not by authority but by merit, and to show that his worth is not enhanced by the fact that he is a prince.
12.— "I say then that in these martial sports the Courtier ought to use the like discretion, according to his rank. In horseback vaulting too, in wrestling, running and leaping, I should be well pleased to have him shun the vulgar crowd, or at most let himself be very rarely seen for there is not on earth a thing so excellent but the ignorant will tire of it and hold it of small account, if they see it often.
"As to music I hold the same opinion: hence I would not have our Courtier behave like many, who are no sooner come anywhere (even into the presence of gentlemen with whom they have no acquaintance), than without waiting to be urged they set about doing what they know and often what they do not know; so that it seems as if they had come only for the purpose of showing themselves, and had that for their chief profession. Therefore let the Courtier resort to music as a pastime and almost unwillingly, and not before vulgar people nor very many. And although he may know and understand that which he is doing, in this too I would have him hide the study and pains that are necessary in everything one would do well, and seem to value this accomplishment lightly in himself, but by practising it admirably make others value it highly."
13.— Then my lord Gaspar Pallavicino said:
"There are many kinds of music, vocal as well as instrumental: therefore I should like to hear which is the best of all, and at what time the Courtier ought to perform it.155
Messer Federico replied:
"I regard as beautiful music, to sing well by note, with ease and in beautiful style; but as even far more beautiful, to sing to the accompaniment of the viol,156 because nearly all the sweetness lies in the solo part, and we note and observe the fine manner and the melody with much greater attention when our ears are not occupied with more than a single voice, and more-
