The first of these was Laura Peperara, for whom he is supposed to have produced some sixty compositions.

The second was the Princess Leonora d'Este.

Tasso's attachment to her has been so shrouded in mystery, conjecture and hair-splitting criticism, that none but a very rash man will pronounce confident judgment as to its real nature.

Nearly the same may be said about his relations to her sister, Lucrezia.

He has posed in literary history as the Rizzio of the one lady and the Chastelard of the other.
Yet he was probably in no position at any moment of his Ferrarese existence to be more than the familiar friend and most devoted slave of either.