warrior spirit, to be athletic, and have good knowledge of the humanities, Classics and fine arts. Over the course of four evenings, members of the court try to describe the perfect gentleman of the court. In the process, they debate the nature of nobility, humor, women, and love. Reception The Book of the Courtier was one of the most widely distributed books of the 16th century, with editions printed in six languages and in twenty European centers. The 1561 English translation by Thomas Hoby had a great influence on the English upper class's conception of English gentlemen. The Courtier enjoyed influence for some generations, not least in Elizabethan England following its first translation by Sir Thomas Hoby in 1561, a time when Italian culture was very much in fashion. Rhetoric Of the many qualities Castiglione's characters attribute to their perfect courtier, oratory and the manner in which the courtier presents himself while speaking is amongst the most highly discussed. Wayne Rebhorn, a Castiglione scholar, states that the courtier's speech and behavior in general is “designed to make people marvel at him, to transform himself into a beautiful spectacle for others to contemplate." As explained by Count Ludovico, the success of the courtier depends greatly on his reception by the audience from the first impression. This partly explains why the group considers the courtier's dress so vital to his success. Castiglione's characters opine about how their courtier can impress his audience and win its approval. Similar to the Classical Roman rhetoricians Cicero and Quintilian, Castiglione stresses the importance of delivery while speaking. In Book I, the Count states that when the courtier speaks he must have a “sonorous, clear, sweet and well sounding” voice that is neither too effeminate nor too rough and be “tempered by a calm face and with a play of the eyes that shall give an effect of grace.” (Castiglione 1.33) This grace, or grazia, becomes an important element in the courtier's appearance to the audience. Edoardo Saccone states in his analysis of Castiglione, “grazia consists of, or rather is obtained through, sprezzatura.” According to the Count, sprezzatura is the most important, rhetorical device the courtier needs. Peter Burke describes sprezzatura in The Book of the Courtier as “nonchalance”, “careful negligence”, and “effortless and ease.” The ideal courtier is someone who “conceals art, and presents what is done and said as if it was done without effort