ABSTRACT
Illusion was perhaps the cortigiana onesta's most powerful tool. Yet well-concealed, artful imitation and appropriation were sixteenth century ideals. This is why Aretino, however sarcastically, could hold up illusion as the courtesan's chief virtue. Vocal bravura became a key element of the courtesan's illusion. For all the prominence of the cortigiana onesta from the mid-sixteenth century onward, their origins are unclear. Reminiscent of ancient Greek haeterae, the courtesan held special appeal for those with humanistic aspirations. The courtesan's public profile was anathema to chaste donne who at least feigned modesty. Reputation outweighed fact in matters of fame, making the illusion of virtue tantamount to virtue itself. Nothing embodied the courtesan's adaptation of elite manners to a public forum more than solo song. Musical ability, particularly the ability to sing, was expected of the elite and emulated by those who wished to ennoble themselves. As an emblem of venezianità, the giustiniana proved a useful tool on the stage.
