第13章 THE STATE AS A WORK OF ART(13)

The elder of the King's sons, Alfonso, Duke of Calabria, enjoyed in later years a kind of co-regency with his father.He was a savage, brutal profligate, who in point of frankness alone had the advantage of Ferrante, and who openly avowed his contempt for religion and its usages.The better and nobler features of the Italian despotisms are not to be found among the princes of this line; all that they possessed of the art and culture of their time served the purpose of luxury or display.Even the genuine Spaniards seem to have almost always degenerated in Italy; but the end of this cross-bred house (1494 and 1503) gives clear proof of a want of blood.Ferrante died of mental care and trouble; Alfonso accused his brother Federigo, the only honest member of the family, of treason, and insulted him in the vilest manner.At length, though he had hitherto passed for one of the ablest generals in Italy, he lost his head and fled to Sicily, leaving his son, the younger Ferrante, a prey to the French and to domestic treason.A dynasty which had ruled as this had done must at least have sold its life dear, if its children were ever to hope for a restoration.But, as Comines one-sidedly, and yet on the whole rightly observes on this occasion, '_Jamais homme cruel ne fut hardi_': there was never a more cruel man.

The despotism of the Dukes of Milan, whose government from the time of Giangaleazzo onwards was an absolute monarchy of the most thorough-going sort, shows the genuine Italian character of the fifteenth century.The last of the Visconti Filippo Maria (1412-1447), is a character of peculiar interest, and of which fortunately an admirable description has been left us.What a man of uncommon gifts and high position can be made by the passion of fear, is here shown with what may be called a mathematical completeness.All the resources of the State were devoted to the one end of securing his personal safety, though happily his cruel egotism did not degenerate into a purposeless thirst for blood.He lived in the Citadel of Milan, surrounded by magnificent gardens, arbors, and lawns.For years he never set foot in the city, making his excursions only in the country, where lay several of his splendid castles; the flotilla which, drawn by the swiftest horses, conducted him to them along canals constructed for the purpose, was so arranged as to allow of the application of the most rigorous etiquette.Whoever entered the citadel was watched by a hundred eyes;it was forbidden even to stand at the window, lest signs should be given to those without.All who were admitted among the personal followers of the Prince were subjected to a series of the strictest examinations; then, once accepted, were charged with the highest diplomatic commissions, as well as with the humblest personal services both in this Court being alike honorable.And this was the man who conducted long and difficult wars, who dealt habitually with political affairs of the first importance, and every day sent his plenipotentiaries to all parts of Italy.His safety lay in the fact that none of his servants trusted the others, that his Condottieri were watched and misled by spies, and that the ambassadors and higher officials were baffled and kept apart by artificially nourished jealousies, and in particular by the device of coupling an honest man with a knave.His inward faith, too, rested upon opposed and contradictory systems; he believed in blind necessity, and in the influence of the stars, and offering prayers at one and the same time to helpers of every sort; he was a student of the ancient authors, as well as of French tales of chivalry.And yet the same man, who would never suffer death to be mentioned in his presence, and caused his dying favorites to be removed from the castle, that no shadow might fall on the abode of happiness, deliberately hastened his own death by closing up a wound, and, refusing to be bled, died at last with dignity and grace.