with which her husband enfeoffed her of numerous lands. There was a certain similarity between the physiognomy of Beatrice and that "a bit impertinent" of the Laura of Antonio Grifo's Canzoniere Marciano. Ludovico and Beatrice are undoubtedly the couple who, in the Canzoniere queriniano illuminated by Grifo, at folio 119 r. acts as a guide to the others. It may have been depicted, again by Grifo, also in a letter cap illuminated at folio 182 v. of the incunabulum of the Divine Comedy preserved at the House of Dante in Rome. Another of her miniatures can be found in the Arcimboldi Missal of the Chapter Library of the Duomo of Milan, in the scene of the ducal investiture of her husband. More recently she has been honored along with her court in works by painters such as Giambattista Gigola (1816-1820), Giuseppe Diotti (1823), Francesco Gonin (1845), Francesco Podesti (1846), Cherubino Cornienti (1840 and 1858), Eleanor Fortescue-Brickdale (1920), and individually in Domenico Mingione's Portrait of Beatrice d'Este (2021), which faithfully reproduces Leonardo da Vinci's charcoal drawing. Issue Ercole Massimiliano, (1493–1530), count of Pavia, duke of Milan 1513 – 1515; Sforza Francesco, (1495–1535), Prince of Rossano and Count of Borrello 1497 – 1498, Count of Pavia and Duke of Milan 1521 – 1524 married in 1533 to Christina of Denmark (1522–1590), daughter of King Christian II of Denmark. The third son was born dead and, not having been baptized, could not be placed with his mother in the tomb. Ludovico, heartbroken, therefore had him buried above the door of the cloister of Santa Maria delle Grazie with this Latin epitaph: "O unhappy childbirth! I lost my life before I was born, and more unhappy, by dying I took the life of my mother and the father deprived his wife. In so much adverse fate, this alone can be of comfort to me, that divine parents bore me, Ludovico and Beatrice dukes of Milan. 1497, January 2". Cultural influence Literature Contemporary poets To Beatrice are dedicated the Triumphs of (1497), a poem in third rhyme of Petrarch and Dante's inspiration in which the poet mourns the untimely death of the duchess, "his dear companion", and invokes Death to allow him to follow her, railing against the cruel Fate and misery of the human condition, until Beatrice herself descends from Heaven to console him and to draw him out of his "past error", showing