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The Great Events by Famous Historians [Volumes 1-14]

Электронная книга - «The Great Events by Famous Historians [Volumes 1-14]». Краткое содержание книги:

Антология содержит:
The Great Events by Famous Historians, Volume 01
The Great Events by Famous Historians, Volume 02 / (From the Rise of Greece to the Christian Era)
The Great Events by Famous Historians, Volume 03
The Great Events by Famous Historians, Volume 04
The Great Events by Famous Historians, Volume 05 / (From Charlemagne to Frederick Barbarossa)
The Great Events by Famous Historians, Volume 06 / (From Barbarossa to Dante)
The Great Events by Famous Historians, Volume 07
The Great Events by Famous Historians, Volume 08 / The Later Renaissance: from Gutenberg to the Reformation
The Great Events by Famous Historians, Volume 09
The Great Events by Famous Historians, Volume 10
The Great Events by Famous Historians, Volume 11
The Great Events by Famous Historians, Volume 12
The Great Events by Famous Historians, Volume 13
The Great Events by Famous Historians, Volume 14
The Great Events by Famous Historians, Volume 17
The Great Events by Famous Historians, Volume 21 / The Recent Days (1910-1914)
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Alexander VI died five years after he had first unsheathed his sword. He left his son nothing firmly established but the single state of Romagna. All his other conquests were absolutely visionary, as he was not only enclosed between two hostile and powerful armies, but was himself attacked by a mortal disease. The Duke, however, possessed so much ability and courage, was so well acquainted with the arts either of gaining or ruining others as it suited his purpose, and so strong were the foundations he had laid in that short space of time, that if he had either been in health or not distressed by those two hostile armies, he would have surmounted every difficulty.

As a proof of the soundness of the foundation he had laid, Romagna continued faithful to him and was firm to his interest for above a month afterward. Although the Baglioni, the Vitelli, and the Ursini all came to Rome at that time, yet—half dead as he was—they feared to attempt anything against him. If he could not elect a pope of his own choice, he was at least able to prevent the election of one unfriendly to his interests. If he had been in health when Alexander died, he would have succeeded in all his designs; for he said, the very day that Julius II was elected, that he had foreseen every obstacle which could arise on the death of his father, and had prepared adequate remedies, but that he could not foresee that at the time of his father's death his own life would be in such imminent hazard.[1]

Upon a thorough review of the Duke's conduct and actions, I cannot reproach him with having omitted any precaution; and I feel that he merits being proposed as a model to all who by fortune or foreign arms succeed in acquiring sovereignty. For as he had a great spirit and vast designs, he could not have acted otherwise in his circumstances; and if he miscarried in them, it was solely owing to the sudden death of his father, and the illness with which he was himself attacked. Whoever, therefore, would secure himself in a new principality against the attempts of enemies, and finds it necessary to gain friends; to surmount obstacles by force of cunning; to make himself beloved and feared by the people, respected and obeyed by the soldiery; to destroy all those who can or may oppose his designs; to promulgate new laws in substitution of old ones; to be severe, indulgent, magnanimous, and liberal; to disband an army on which he cannot rely, and raise another in its stead; to preserve the friendship of kings and princes, so that they may be ever prompt to oblige and fearful to offend—such a one, I say, cannot have a better or more recent model for his imitation than is afforded by the conduct of Borgia.

One thing blamable in his actions occurred on the election of Julius II to the pontificate. He could not nominate the prelate whom he wished, but he had it in his power to exclude anyone whom he disliked. He ought therefore never to have consented to the election of one of those cardinals whom he had formerly injured, and who might have reason to fear him after his election; for mankind injure others from motives either of hatred or fear. Among others whom he had injured were St. Peter ad Vincula Colonna, St. George, and Ascanius. All the other candidates for the pontificate had cause to fear him except the Cardinal of Rouen and the Spanish cardinals—the latter were united to him by family connections—and the Cardinal d'Amboise, who was too powerfully supported by France to have reason to fear him.

The Duke ought by all means to have procured the election of a Spaniard, or, in case of failure, should have consented to the proposal of the Archbishop of Rouen, but on no account to the nomination of St. Peter ad Vincula. It is an error to think that new obligations will extinguish the memory of former injuries in the minds of great men. The Duke therefore in this election committed a fault which proved the occasion of his utter ruin[2].

[Footnote 1: On August 18, 1503, he and his father drank, by mistake, a poison which they had presumably prepared for one of their guests. The father died, and Borgia's life was for a time in extreme danger.]

[Footnote:2 Within thirteen months he lost all his sovereignties, and was imprisoned, but escaped to Spain, where he was killed in the attack on Viana in 1507.]

PAINTING OF THE SISTINE CHAPEL

THE SPLENDOR OF RENAISSANCE ART UNDER MICHELANGELO

A.D. 1508

CHARLES CLÉMENT

In the history of the Renaissance the revival of art adds a new glory to that of letters, and among the masters of that revival there is none greater than Michelangelo Buonarroti, sculptor, painter, architect, poet, and heroic man. He was descended from an ancient but not distinguished Florentine family, and was born at Caprese, Italy, March 6, 1475. In 1488 he was apprenticed to the painter Ghirlandajo. He studied antique marbles in the garden of San Marco, where he was discovered by Lorenzo de' Medici, who in 1489 took him into his palace. There the young student remained until his patron's death (1492), improving the great opportunities presented to him. The Mask of a Faun was sculptured during this time.

Before the expulsion of the Medici he went to Bologna, and there executed several works. Returning to Florence in 1495, he was called next year to Rome, where he lived till 1501, producing works which displayed his extraordinary genius, the most important of them being the Pieta di San Pietro (1498). Again returning to Florence, he carved his first David from an immense block of Carrara marble. In 1505 he was summoned again to Rome, by Pope Julius II, to design his tomb, and this work occupied Michelangelo, from time to time, throughout the remainder of his life. He was forced—probably through the intrigues of Bramante, his rival in architecture—to leave Rome, and once more (1506) returned to Florence. In the intervals between all these dates he produced many of his masterpieces.

From this period the historian follows Michelangelo through an important stage of his active career, showing how "the hand that rounded Peter's dome," and created so many other of the greatest works of art, toiled on with patient heroism, in spite of hinderances almost incredible. The painting of the Sistine Chapel, upon which his fame so largely rests, is here described in language that reveals the manhood no less clearly than the artistic genius of Michelangelo.

In 1508 Michelangelo returned to Rome and resumed his labors on the mausoleum. He had soon again to abandon them. Bramante had persuaded the Pope that it was unlucky to have his tomb erected, but advised him to employ Michelangelo in painting the chapel built by his uncle Sixtus IV. It was, in effect, in the beginning of this year that he commenced this gigantic decoration, which was destined to be his most splendid work. We shall see the resistance he first opposed to Julius' desire, and the ardor with which he undertook and the rapidity with which he accomplished the work, once he made up his mind to accept it; but first, since, at the period we have come to, most of the statues which now adorn the tomb of Julius II at San Pietro in Vinculo, and those more numerous that belonged to the original project, but which have been dispersed, were blocked out or finished, I wish to give, in order not to return to the subject, a general idea of this monument, to show what, from reduction to reduction, the original design has become, and what annoyances it occasioned its author.

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