Forlì

At Prato he made the bronze grille for the chapel of the Girdle.

At Forli, over the door of the Canon's house, he wrought a Madonna with two angels in low relief, and he adorned the chapel of the Trinità in San Francesco with work in half relief for Messer Giovanni d'Auriolo.

In the church of San Francesco at Rimini, for Sigismondo Malatesti, he built the chapel of San Sigismondo, wherein there are many elephants, the device of that lord carved in marble.

To Messer Bartolomeo Scarmischi, canon of the Pieve of Arezzo, he sent a Madonna with the child in her arms, made of terracotta, with certain angels in half relief very well executed, which Madonna is now in the said Pieve, set up against a column.

He also painted for the said Pope in the palace the Chapel of the Sacrament, which was afterwards destroyed by Paul III in the making of a staircase through it.

In that work, which was an excellent example of his manner, he had wrought in fresco some scenes from the life of Jesus Christ, and he had made therein many portraits from life of distinguished persons of those times, which would probably now be lost if Giovial had not caused the following among them to be preserved for his museum.

Namely, Pope Nicholas V, the Emperor Frederick, who came to Italy at that time, Frate Antonino, who was afterwards Archbishop of Florence, Biondo da Forli, and Ferrante of Aragon.

Now Fra Giovanni appeared to the Pope to be, as indeed he was, a person of most holy life, peaceful and modest.

A mere recapitulation of a few of his transactions with the statesmen and soldiers of his time gives fair indication of his activities and supplies the sources from which he drew the experience and characters which illustrate The Prince.

His first mission was in 1499 to Catherine Sforza, my lady of Forli, of The Prince, from whose conduct and fate he drew the moral that it is far better to earn the confidence of the people than to rely on fortresses.

This is a very noticeable principle in Machiavelli, and it is urged by him in many ways as a matter of vital importance to princes.

In 1500 he was sent to France to obtain terms from Louis XII for continuing the war against Pisa.

End note.

and not of Charles begin note Charles the eighth King of France born fourteen seventy died fourteen ninety-eight end note as King Louis was brought into Italy by the ambition of the Venetians who desired to obtain half the state of Lombardy by his intervention I will speak of Louis and not of Charles as the one whose conduct is the better to be observed he having possession of Italy for the longest period and you will see that he has done the opposite to those things which ought to be done to retain a state composed of diverse elements King Louis was brought into Italy by the ambition of the Venetians who desired to obtain half the state of Lombardy by his intervention I will not blame the course taken by the king because wishing to get a foothold in Italy and having no friends there seeing rather that every door was shut to him owing to the conduct of Charles he was forced to accept those friendships which he could get and he would have succeeded very quickly in his design if in other matters he had not made some mistakes The king, however, having acquired Lombardy, regained at once the authority which Charles had lost.

Genoa yielded, the Florentines became his friends, the Marquess of Mantua, the Duke of Ferrara, the Bentivogli, my Lady of Forli, the Lords of Fenza, of Pesaro, of Rimini, of Camerino, of Piombino, the Lucchese, the Pisans, the Sienese, everybody made advances to him to become his friend.

Then could the Venetians realize the rashness of the course taken by them, which, in order that they might secure two towns in Lombardy, had made the king master of two-thirds of Italy.

A mere recapitulation of a few of his transactions with the statesmen and soldiers of his time gives fair indication of his activities and supplies the sources from which he drew the experience and characters which illustrate the Prince.

His first mission was in 1499 to Catherine Sforosa, my lady of Forli, of the Prince, from whose conduct and fate he drew the moral that it is far better to earn the confidence of the people than to rely on fortresses.

This is a very noticeable principle in Machiavelli, and it is urged by him in many ways as a matter of vital importance to princes.

In 1500 he was sent to France to obtain terms from Louis XII for continuing the war against Pisa.

I will not blame the course taken by the king, because wishing to get a foothold in Italy, and having no friends there, seeing rather that every door was shut to him owing to the conduct of Charles, he was forced to accept those friendships which he could get, and he would have succeeded very quickly in his design if in other matters he had not made some mistakes.

The king, however, having acquired Lombardy, regained at once the authority which Charles had lost.

Genoa yielded, the Florentines became his friends, the Marquess of Mantua, the Duke of Ferrara, the Bentivogli, my Lady of Forli, the Lords of Fenza, of Pesaro, of Rimini, of Camerino, of Piombino, the Lucchese, the Pisans, the Sienese, everybody made advances to him to become his friend.

Then could the Venetians realize the rashness of the course taken by them, which, in order that they might secure two towns in Lombardy, had made the king master of two-thirds of Italy.

The Florentines became his friends.

The Marquis of Mantua, the Duke of Ferrara, the Bentivogli, my lady of Forli, the lords of Faenza, of Pesaro, of Rimini, of Camerino, of Piombino, the Lucchese, the Pisans, the Sienese, everybody made advances to him to become his friend.

Then could the Venetians realize the rashness of the course taken by them, which, in order that they might secure two towns in Lombardy, had made the king master of two-thirds of Italy.

Let anyone now consider with what little difficulty the king could have maintained his position in Italy had he observed the rules above laid down and kept all his friends secure and protected.

The wise prince, therefore, has always avoided these arms and turned to his own, and has been willing rather to lose with them than to conquer with the others, not deeming that a real victory which is gained with the arms of others.

I shall never hesitate to cite Cesare Borgia and his actions.

This duke entered the Romagna with auxiliaries, taking there only French soldiers, and with them he captured Imola and Forli.

But afterwards, such forces not appearing to him reliable, he turned to mercenaries, discerning less danger in them, and enlisted the Orsini and Vitelli, whom presently, on handling and finding them doubtful, unfaithful, and dangerous, he destroyed and turned to his own men.

outrage, even for Florence.

Your Grace? I've just been informed that my kinsman, young Count Emilio de Forli, has been

assassinated in your city last night.

Your Grace, on behalf of Florence, may I express my deepest sympathy? I do not ask sympathy from Florence.

But the matter is of such great importance that we cannot dismiss it lightly.

Why? Why? Why did Duke Cesare Borgia want Alfredo Petrucci tried and hanged for murder? There was no connection between them that I could see.

And the relationship between himself and his slain kinsman, Emilio de Forli, was so distant and tenuous that it was almost non-existent.

Finally, the council arrived at a decision.

A mere recapitulation of a few of his transactions with the statesmen and soldiers of his time gives fair indication of his activities and supplies the sources from which he drew the experience and characters which illustrate the Prince.

His first mission was in 1499 to Catherine Sforosa, my lady of Forli, of the Prince, from whose conduct and fate he drew the moral that it is far better to earn the confidence of the people than to rely on fortresses.

This is a very noticeable principle in Machiavelli, and it is urged by him in many ways as a matter of vital importance to princes.

In 1500, he was sent to France to obtain terms from Louis XII for continuing the war against Pisa.

I will not blame the course taken by the King, because wishing to get a foothold in Italy, and having no friends there, seeing rather that every door was shut to him owing to the conduct of Charles, he was forced to accept those friendships which he could get, and he would have succeeded very quickly in his design if in other matters he had not made some mistakes.

The King, however, having acquired Lombardy, regained at once the authority which Charles had lost.

Genoa yielded, the Florentines became his friends, the Marquess of Mantua, the Duke of Ferrara, the Bentivogli, my Lady of Forli, the Lords of Faenza, of Pesaro, of Rimini, of Camerino, of Piombino, the Lucchese, the Pisans, the Sienese, everybody made advances to him to become his friend.

Then could the Venetians realize the rashness of the course taken by them, which in order that they might secure two towns in Lombardy had made the King master of two-thirds of Italy.

Up to the year 1422, he had made no attempt to recover the former possessions of his house in Tuscany, and the Florentines had no reason to doubt his honor or his goodwill.

But war between these powers broke out in consequence of a dispute about the little town of Forli in the Romagna.

Giorgio degli Orellaffi died in January 1422, leaving a son Tebaldo nine years old.

His mother was Lucrezia, daughter of Ludovico Alidosi, lord of Imola.

He desired to make himself guardian of his grandson, but the people of Forli, jealous of the supremacy of Imola, determined to give themselves to the church.

Filippo Maria seized the opportunity of meddling in the business on pretense of supporting the wife of the deceased duke.

The people called two Milanese Condottieri to their aid.

Genoa prepared a large fleet to help her suzerain, the Duke of Milan.

But he did not therefore cease to work, and he made many works in Urbino and in the neighboring cities.

At Forli he painted a chapel in company with Girolamo Genia, his friend and compatriot, and afterwards he painted entirely with his own hand a panel that was sent to Città di Castello, and likewise another for the people of Cagli.

At Castel Durante also he executed some works in fresco which are truly worthy of praise, as are all the other works by his hand, which bear witness that he was a graceful painter in figures, landscapes, and every other field of painting.

In Urbino, at the instance of Bishop Arrivabene of Mantua, he painted the chapel of San Martino in the Duomo, in company with the same Genia, but the altar panel and the middle of the chapel are entirely by the hand of Timoteo.

By their hands is a panel in the Duomo of Modena, and they painted many things in the Cardinal's palace at Trento in company with other painters.

At this time the painter and architect Hierolamo Genga was executing various decorations in the Imperial Palace above Pesaro, as will be related in the proper place, for Duke Francesco Maria of Urbino, and among the number of painters who were summoned to that work by order of the same Signor Francesco Maria, invitations were sent to Dosso and Battista of Ferrara, principally for painting of landscapes.

Many paintings having been executed long before in that palace by Francesco di Morozzo of Forli, Raffaello dal Colle of Borgo a San Sepolcro, and many others.

Now having arrived at the Imperial, Dosso and Battista, according to the custom of men of their kidney, found fault with most of the paintings that they saw, and promised the Duke that they would do much better work.