Abstract
Modern scholars of courtly spectacle have unwittingly undone Ben Jonson's irony and proved Inigo Jones true. Courtly entertainments have indeed proved to be 'Spectacles of State,' illusions of power, to use Stephen Orgel's phrase, which reveal a great deal about how power was conceived and exercised in Renaissance state. Preoccupation with visual and aural elements of such entertainments however, has sometimes obscured importance of prose/Or verse, or Sense, particularly in case of nuptial festivities of Grand Duke Ferdinando I and Cristina of Lorraine, granddaugher of Catherine de'Medici, in 1589. As Nagler observes in his Theatre Festivals of Medici, the principal theatrical event of this 'Maggio Fiorentino' was performance of Girolamo Bargagli's La Pellegrina, or more accurately, attendant six intermezzi (italics mine).' His reference to 'Maggio
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