In the town of Parma there is one surpassingly strange relic of the past. The palace of the Farnesi, like many a haunt of upstart tyranny and beggared pride on these Italian plains, rises misshapen and disconsolate above the stream that bears the city's name. The squalor of this gray-brown edifice of formless brick, left naked like the palace of the same Farnesi at Piacenza, has something even horrid in it now that only vague memory survives of its former uses. The princely sprezzatura of its ancient occupants, careless of these unfinished courts and unroofed galleries amid the splendor of their purfled silks and the glitter of their torchlight pageantry, has yielded to sullen cynicism—the cynicism of arrested ruin and unreverend age. All that was satisfying to the senses and distracting to the eyesight in their transitory pomp has passed away, leaving a sinister and naked shell. Remembrance can but summon up the crimes, the madness, the trivialities of those dead palace-builders. An atmosphere of evil clings to the dilapidated walls, as though the tainted spirit of the infamous Pier Luigi still possessed the spot, on which his toadstool brood of princelings sprouted in the mud of their misdeeds. Enclosed in this huge labyrinth of brickwork is the relic of which I spoke. It is the once world-famous Teatro Farnese, raised in the year 1618 by Ranunzio Farnese for the marriage of Odoardo Farnese with Margaret of Austria. Giambattista Aleotti, a native of pageant-loving Ferrara, traced the stately curves and noble orders of the galleries, designed the columns that support the raftered roof, marked out the orchestra, arranged the stage, and breathed into the whole the spirit of Palladio's most heroic neo-Latin style. Vast, built of wood, dishevelled, with broken statues and blurred coats-of-arms, with its empty scene, its uncurling frescos, its hangings all in rags, its cobwebs of two centuries, its dust and mildew and discolored gold—this theatre, a sham in its best days, and now that ugliest of things, a sham unmasked and naked to the light of day, is yet sublime, because of its proportioned harmony, because of its grand Roman manner. The sight and feeling of it fasten upon the mind and abide in the memory like a nightmare—like one of Piranesi's weirdest and most passion-haunted etchings for the Carceri. Idling there at noon in the twilight of the dust-bedarkened windows, we fill the tiers of those high galleries with ladies, the space below with grooms and pages; the stage is ablaze with torches, and an Italian Masque, such as our Marlowe dreamed of, fills the scene. But it is impossible to dower these fancies with even such life as in healthier, happier ruins phantasy may lend to imagination's figments. This theatre is like a maniac's skull, empty of all but unrealities and mockeries of things that are. The ghosts we raise here could never have been living men and women: questi sciaurati non fur mai vivi. So clinging is the sense of instability that appertains to every fragment of that dry-rot tyranny which seized by evil fortune in the sunset of her golden day on Italy.In this theatre I mused one morning after visiting Fornovo; and the thoughts suggested by the battlefield found their proper atmosphere in the dilapidated place. What, indeed, is the Teatro Farnese but a symbol of those hollow principalities which the despot and the stranger built in Italy after the fatal date of 1494, when national enthusiasm and political energy were expiring in a blaze of art, and when the Italians as a people had ceased to be; but when the phantom of their former life, surviving in high works of beauty, was still superb by reason of imperishable style! How much in Italy of the Renaissance was, like this plank-built, plastered theatre, a glorious sham! The sham was seen through then; and now it stands unmasked: and yet, strange to say, so perfect is its form that we respect the sham and yield our spirits to the incantation of its music.

The battle of Fornovo, as modern battles go, was a paltry affair; and even at the time it seemed sufficiently without result. Yet the trumpets which rang on July 6th, 1495, for the onset, sounded the rÉveille of the modern world; and in the inconclusive termination of the struggle of that day the Italians were already judged and sentenced as a nation. The armies who met that morning represented Italy and France—Italy, the Sibyl of Renaissance; France, the Sibyl of Revolution. At the fall of evening Europe was already looking northward; and the last years of the fifteenth century were opening an act which closed in blood at Paris on the ending of the eighteenth.

If it were not for thoughts like these, no one, I suppose, would take the trouble to drive for two hours out of Parma to the little village of Fornovo—a score of bare gray hovels on the margin of a pebbly river-bed beneath the Apennines. The fields on either side, as far as eye can see, are beautiful indeed in May sunlight, painted here with flax, like shallow sheets of water reflecting a pale sky, and there with clover red as blood. Scarce unfolded leaves sparkle like flamelets of bright green upon the knotted vines, and the young corn is bending all one way beneath a western breeze. But not less beautiful than this is the whole broad plain of Lombardy; nor are the nightingales louder here than in the acacia-trees around Pavia. As we drive, the fields become less fertile, and the hills encroach upon the level, sending down their spurs upon that waveless plain like blunt rocks jutting out into a tranquil sea. When we reach the bed of the Taro, these hills begin to narrow on either hand, and the road rises. Soon they open out again with gradual curving lines, forming a kind of amphitheatre filled up from flank to flank with the ghiara, or pebbly bottom, of the Taro. The Taro is not less wasteful than any other of the brotherhood of streams that pour from Alp or Apennine to swell the Po. It wanders, an impatient rivulet, through a wilderness of boulders, uncertain of its aim, shifting its course with the season of the year, unless the jaws of some deep-cloven gully hold it tight and show how insignificant it is. As we advance, the hills approach again; between their skirts there is nothing but the river-bed; and now on rising ground above the stream, at the point of juncture between the Ceno and the Taro, we find Fornovo. Beyond the village the valley broadens out once more, disclosing Apennines capped with winter snow. To the right descends the Ceno. To the left foams the Taro, following whose rocky channel we should come at last to Pontremoli and the Tyrrhenian Sea beside Sarzana. On a May-day of sunshine like the present, the Taro is a gentle stream. A waggon drawn by two white oxen has just entered its channel, guided by a contadino with goat-skin leggings, wielding a long goad. The patient creatures stem the water, which rises to the peasant's thighs and ripples round the creaking wheels. Swaying to and fro, as the shingles shift upon the river-bed, they make their way across; and now they have emerged upon the stones; and now we lose them in a flood of sunlight.

It was by this pass that Charles VIII. in 1495 returned from Tuscany, when the army of the League was drawn up waiting to intercept and crush him in the mouse-trap of Fornovo. No road remained for Charles and his troops but the rocky bed of the Taro, running as I have described it between the spurs of steep hills. It is true that the valley of the Baganza leads, from a little higher up among the mountains, into Lombardy. But this pass runs straight to Parma; and to follow it would have brought the French upon the walls of a strong city. Charles could not do otherwise than descend upon the village of Fornovo, and cut his way thence in the teeth of the Italian army over stream and boulder between the gorges of throttling mountain. The failure of the Italians to achieve what here upon the ground appears so simple delivered Italy hand-bound to strangers. Had they but succeeded in arresting Charles and destroying his forces at Fornovo, it is just possible that then—even then, at the eleventh hour—Italy might have gained the sense of national coherence, or at least have proved herself capable of holding by her leagues the foreigner at bay. As it was, the battle of Fornovo, in spite of Venetian bonfires and Mantuan Madonnas of Victory, made her conscious of incompetence and convicted her of cowardice. After Fornovo, her sons scarcely dared to hold their heads up in the field against invaders; and the battles fought upon her soil were duels among aliens for the prize of Italy.

In order to comprehend the battle of Fornovo in its bearings on Italian history, we must go back to the year 1492, and understand the conditions of the various states of Italy at that date. On April 8th in that year, Lorenzo de' Medici, who had succeeded in maintaining a political equilibrium in the peninsula, expired, and was succeeded by his son Piero, a vain and foolhardy young man, from whom no guidance could be expected. On July 25th, Innocent VIII. died, and was succeeded by the very worst pope who has ever occupied St. Peter's chair, Roderigo Borgia, Alexander VI. It was felt at once that the old order of things had somehow ended, and that a new era, the destinies of which as yet remained incalculable, was opening for Italy. The chief Italian powers, hitherto kept in equipoise by the diplomacy of Lorenzo de' Medici, were these—the Duchy of Milan, the Republic of Venice, the Republic of Florence, the Papacy, and the Kingdom of Naples. Minor states, such as the republics of Genoa and Siena, the duchies of Urbino and Ferrara, the marquisate of Mantua, the petty tyrannies of Romagna, and the wealthy city of Bologna, were sufficiently important to affect the balance of power, and to produce new combinations. For the present purpose it is, however, enough to consider the five great powers.After the peace of Constance, which freed the Lombard Communes from imperial interference in the year 1183, Milan, by her geographical position, rose rapidly to be the first city of North Italy. Without narrating the changes by which she lost her freedom as a Commune, it is enough to state that, earliest of all Italian cities, Milan passed into the hands of a single family. The Visconti managed to convert this flourishing commonwealth, with all its dependencies, into their private property, ruling it exclusively for their own profit, using its municipal institutions as the machinery of administration, and employing the taxes which they raised upon its wealth for purely selfish ends. When the line of the Visconti ended, in the year 1447, their tyranny was continued by Francesco Sforza, the son of a poor soldier of adventure, who had raised himself by his military genius, and had married Bianca, the illegitimate daughter of the last Visconti. On the death of Francesco Sforza, in 1466, he left two sons, Galeazzo Maria and Lodovico, surnamed Il Moro, both of whom were destined to play a prominent part in history. Galeazzo Maria, dissolute, vicious, and cruel to the core, was murdered by his injured subjects in the year 1476. His son, Giovanni Galeazzo, aged eight, would in course of time have succeeded to the duchy, had it not been for the ambition of his uncle Lodovico. Lodovico contrived to name himself as regent for his nephew, whom he kept, long after he had come of age, in a kind of honorable prison. Virtual master in Milan, but without a legal title to the throne, unrecognized in his authority by the Italian powers, and holding it from day to day by craft and fraud, Lodovico at last found his situation untenable; and it was this difficulty of a usurper to maintain himself in his despotism which, as we shall see, brought the French into Italy.

Venice, the neighbor and constant foe of Milan, had become a close oligarchy by a process of gradual constitutional development, which threw her government into the hands of a few nobles. She was practically ruled by the hereditary members of the Grand Council. Ever since the year 1453, when Constantinople fell beneath the Turk, the Venetians had been more and more straitened in their Oriental commerce, and were thrown back upon the policy of territorial aggrandisement in Italy, from which they had hitherto refrained as alien to the temperament of the republic. At the end of the fifteenth century Venice, therefore, became an object of envy and terror to the Italian States. They envied her because she alone was tranquil, wealthy, powerful, and free. They feared her because they had good reason to suspect her of encroachment; and it was foreseen that if she got the upper hand in Italy, all Italy would be the property of the families inscribed upon the Golden Book. It was thus alone that the Italians comprehended government. The principle of representation being utterly unknown, and the privileged burghers in each city being regarded as absolute and lawful owners of the city and of everything belonging to it, the conquest of a town by a republic implied the political extinction of that town and the disfranchisement of its inhabitants in favor of the conquerors.

Florence at this epoch still called itself a republic; and of all Italian commonwealths it was by far the most democratic. Its history, unlike that of Venice, had been the history of continual and brusque changes, resulting in the destruction of the old nobility, in the equalization of the burghers, and in the formation of a new aristocracy of wealth. From this class of bourgeois nobles sprang the Medici, who, by careful manipulation of the State machinery, by the creation of a powerful party devoted to their interests, by flattery of the people, by corruption, by taxation, and by constant scheming, raised themselves to the first place in the commonwealth, and became its virtual masters. In the year 1492, Lorenzo de Medici, the most remarkable chief of this despotic family, died, bequeathing his supremacy in the republic to a son of marked incompetence.

Since the pontificate of Nicholas V. the See of Rome had entered upon a new period of existence. The popes no longer dreaded to reside in Rome, but were bent upon making the metropolis of Christendom both splendid as a seat of art and learning, and also potent as the capital of a secular kingdom. Though their fiefs in Romagna and the March were still held but loosely, though their provinces swarmed with petty despots who defied the papal authority, and though the princely Roman houses of Colonna and Orsini were still strong enough to terrorize the Holy Father in the Vatican, it was now clear that the Papal See must in the end get the better of its adversaries, and consolidate itself into a first-rate power. The internal spirit of the papacy, at this time, corresponded to its external policy. It was thoroughly secularized by a series of worldly and vicious pontiffs, who had clean forgotten what their title, Vicar of Christ, implied. They consistently used their religious prestige to enforce their secular authority, while by their temporal power they caused their religious claims to be respected. Corrupt and shameless, they indulged themselves in every vice, openly acknowledged their children, and turned Italy upside down in order to establish favorites and bastards in the principalities they seized as spoils of war.

The kingdom of Naples differed from any other state of Italy. Subject continually to foreign rulers since the decay of the Greek Empire, governed in succession by the Normans, the Hohenstauffens, and the House of Anjou, it had never enjoyed the real independence or the free institutions of the northern provinces; nor had it been Italianized in the same sense as the rest of the peninsula. Despotism, which assumed so many forms in Italy, was here neither the tyranny of a noble house, nor the masked autocracy of a burgher, nor yet the forceful sway of a condottiere. It had a dynastic character, resembling the monarchy of one of the great European nations, but modified by the peculiar conditions of Italian state-craft. Owing to this dynastic and monarchical complexion of the Neapolitan kingdom, semi-feudal customs flourished in the south far more than in the north of Italy. The barons were more powerful; and the destinies of the Regno often turned upon their feuds and quarrels with the crown. At the same time the Neapolitan despots shared the uneasy circumstances of all Italian potentates, owing to the uncertainty of their tenure, both as conquerors and aliens, and also as the nominal vassals of the Holy See. The rights of suzerainty which the Normans had yielded to the papacy over their Southern conquests, and which the popes had arbitrarily exercised in favor of the Angevine princes, proved a constant source of peril to the rest of Italy by rendering the succession to the crown of Naples doubtful. On the extinction of the Angevine line, however, the throne was occupied by a prince who had no valid title but that of the sword to its possession. Alfonso of Aragon conquered Naples in 1442, and neglecting his hereditary dominion, settled in his Italian capital. Possessed with the enthusiasm for literature which was then the ruling passion of the Italians, and very liberal to men of learning, Alfonso won for himself the surname of Magnanimous. On his death, in 1458, he bequeathed his Spanish kingdom, together with Sicily and Sardinia, to his brother, and left the fruits of his Italian conquest to his bastard, Ferdinand. This Ferdinand, whose birth was buried in profound obscurity, was the reigning sovereign in the year 1492. Of a cruel and sombre temperament, traitorous and tyrannical, Ferdinand was hated by his subjects as much as Alfonso had been loved. He possessed, however, to a remarkable degree, the qualities which at that epoch constituted a consummate statesman; and though the history of his reign is the history of plots and conspiracies, of judicial murders and forcible assassinations, of famines produced by iniquitous taxation, and of every kind of diabolical tyranny, Ferdinand contrived to hold his own, in the teeth of a rebellious baronage or a maddened population. His political sagacity amounted almost to a prophetic instinct in the last years of his life, when he became aware that the old order was breaking up in Italy, and had cause to dread that Charles VIII. of France would prove his title to the kingdom of Naples by force of arms.[D]Such were the component parts of the Italian body politic, with the addition of numerous petty principalities and powers, adhering more or less consistently to one or other of the greater states. The whole complex machine was bound together by no sense of common interest, animated by no common purpose, amenable to no central authority. Even such community of feeling as one spoken language gives was lacking. And yet Italy distinguished herself clearly from the rest of Europe, not merely as a geographical fact, but also as a people intellectually and spiritually one. The rapid rise of humanism had aided in producing this national self-consciousness. Every state and every city was absorbed in the recovery of culture and in the development of art and literature. Far in advance of the other European nations, the Italians regarded the rest of the world as barbarous, priding themselves the while, in spite of mutual jealousies and hatreds, on their Italic civilization. They were enormously wealthy. The resources of the papal treasury, the private fortunes of the Florentine bankers, the riches of the Venetian merchants might have purchased all that France or Germany possessed of value. The single duchy of Milan yielded to its masters seven hundred thousand golden florins of revenue, according to the computation of De Comines. In default of a confederative system, the several states were held in equilibrium by diplomacy. By far the most important people, next to the despots and the captains of adventure, were ambassadors and orators. War itself had become a matter of arrangement, bargain, and diplomacy. The game of stratagem was played by generals who had been friends yesterday and might be friends again to-morrow, with troops who felt no loyalty whatever for the standards under which they listed. To avoid slaughter and to achieve the ends of warfare by parade and demonstration was the interest of every one concerned. Looking back upon Italy of the fifteenth century, taking account of her religious deadness and moral corruption, estimating the absence of political vigor in the republics and the noxious tyranny of the despots, analyzing her lack of national spirit, and comparing her splendid life of cultivated ease with the want of martial energy, we can see but too plainly that contact with a simpler and stronger people could not but produce a terrible catastrophe. The Italians themselves, however, were far from comprehending this. Centuries of undisturbed internal intrigue had accustomed them to play the game of forfeits with each other, and nothing warned them that the time was come at which diplomacy, finesse, and craft would stand them in ill stead against rapacious conquerors.

The storm which began to gather over Italy in the year 1492 had its first beginning in the North. Lodovico Sforza's position in the Duchy of Milan was becoming every day more difficult, when a slight and to all appearances insignificant incident converted his apprehension of danger into panic. It was customary for the states of Italy to congratulate a new pope on his election by their ambassadors; and this ceremony had now to be performed for Roderigo Borgia. Lodovico proposed that his envoys should go to Rome together with those of Venice, Naples, and Florence; but Piero de' Medici, whose vanity made him wish to send an embassy in his own name, contrived that Lodovico's proposal should be rejected both by Florence and the King of Naples. So strained was the situation of Italian affairs that Lodovico saw in the repulse a menace to his own usurped authority. Feeling himself isolated among the princes of his country, rebuffed by the Medici, and coldly treated by the King of Naples, he turned in his anxiety to France, and advised the young king, Charles VIII., to make good his claim upon the Regno. It was a bold move to bring the foreigner thus into Italy; and even Lodovico, who prided himself upon his sagacity, could not see how things would end. He thought his situation so hazardous, however, that any change must be for the better. Moreover, a French invasion of Naples would tie the hands of his natural foe, King Ferdinand, whose grand-daughter, Isabella of Aragon, had married Giovanni Galeazzo Sforza, and was now the rightful Duchess of Milan. When the Florentine ambassador at Milan asked him how he had the courage to expose Italy to such peril, his reply betrayed the egotism of his policy: "You talk to me of Italy; but when have I looked Italy in the face? No one ever gave a thought to my affairs. I have, therefore, had to give them such security as I could."

Charles VIII. was young, light-brained, romantic, and ruled by parvenus who had an interest in disturbing the old order of the monarchy. He lent a willing ear to Lodovico's invitation, backed as this was by the eloquence and passion of numerous Italian refugees and exiles. Against the advice of his more prudent counsellors, he taxed all the resources of his kingdom, and concluded treaties on disadvantageous terms with England, Germany, and Spain, in order that he might be able to concentrate all his attention upon the Italian expedition. At the end of the year 1493, it was known that the invasion was resolved upon. Gentile Becchi, the Florentine envoy at the Court of France, wrote to Piero de' Medici: "If the king succeeds, it is all over with Italy—tutta a bordello." The extraordinary selfishness of the several Italian states at this critical moment deserves to be noticed. The Venetians, as Paolo Antonio Soderini described them to Piero de' Medici, "are of opinion that to keep quiet, and to see other potentates of Italy spending and suffering, cannot but be to their advantage. They trust no one, and feel sure they have enough money to be able at any moment to raise sufficient troops, and so to guide events according to their inclinations." As the invasion was directed against Naples, Ferdinand of Aragon displayed the acutest sense of the situation. "Frenchmen," he exclaimed, in what appears like a prophetic passion when contrasted with the cold indifference of others no less really menaced, "have never come into Italy without inflicting ruin; and this invasion, if rightly considered, cannot but bring universal ruin, although it seems to menace us alone." In his agony Ferdinand applied to Alexander VI. But the Pope looked coldly upon him, because the King of Naples, with rare perspicacity, had predicted that his elevation to the papacy would prove disastrous to Christendom. Alexander preferred to ally himself with Venice and Milan. Upon this Ferdinand wrote as follows: "It seems fated that the popes should leave no peace in Italy. We are compelled to fight; but the Duke of Bari (i.e., Lodovico Sforza) should think what may ensue from the tumult he is stirring up. He who raises this wind will not be able to lay the tempest when he likes. Let him look to the past, and he will see how every time that our internal quarrels have brought powers from beyond the Alps into Italy, these have oppressed and lorded over her."

Terribly verified as these words were destined to be—and they were no less prophetic in their political sagacity than Savonarola's prediction of the Sword and bloody Scourge—it was now too late to avert the coming ruin. On March 1, 1494, Charles was with his army at Lyons. Early in September he had crossed the pass of Mont GenÊvre and taken up his quarters in the town of Asti. There is no need to describe in detail the holiday march of the French troops through Lombardy, Tuscany, and Rome, until, without having struck a blow of consequence, the gates of Naples opened to receive the conqueror upon February 22, 1495. Philippe de Comines, who parted from the king at Asti and passed the winter as his envoy at Venice, has more than once recorded his belief that nothing but the direct interposition of Providence could have brought so mad an expedition to so successful a conclusion. "Dieu monstroit conduire l'entreprise." No sooner, however, was Charles installed in Naples than the states of Italy began to combine against him. Lodovico Sforza had availed himself of the general confusion consequent upon the first appearance of the French, to poison his nephew. He was, therefore, now the titular, as well as virtual, Lord of Milan. So far, he had achieved what he desired, and had no further need of Charles. The overtures he now made to the Venetians and the Pope terminated in a league between these powers for the expulsion of the French from Italy. Germany and Spain entered into the same alliance; and De Comines, finding himself treated with marked coldness by the Signory of Venice, despatched a courier to warn Charles in Naples of the coming danger. After a stay of only fifty days in his new capital, the French king hurried northward. Moving quickly through the Papal States and Tuscany, he engaged his troops in the passes of the Apennines near Pontremoli, and on July 5th, 1495, took up his quarters in the village of Fornovo. De Comines reckons that his whole fighting force at this time did not exceed nine thousand men, with fourteen pieces of artillery. Against him at the opening of the valley was the army of the League, numbering some thirty-five thousand men, of whom three fourths were supplied by Venice, the rest by Lodovico Sforza and the German emperor. Francesco Gonzaga, Marquis of Mantua, was the general of the Venetian forces; and on him, therefore, fell the real responsibility of the battle.

De Comines remarks on the imprudence of the allies, who allowed Charles to advance as far as Fornovo, when it was their obvious policy to have established themselves in the village and so have caught the French troops in a trap. It was a Sunday when the French marched down upon Fornovo. Before them spread the plain of Lombardy, and beyond it the white crests of the Alps. "We were," says De Comines, "in a valley between two little mountain flanks, and in that valley ran a river which could easily be forded on foot, except when it is swelled with sudden rains. The whole valley was a bed of gravel and big stones, very difficult for horses, about a quarter of a league in breadth, and on the right bank lodged our enemies." Any one who has visited Fornovo can understand the situation of the two armies. Charles occupied the village on the right bank of the Taro. On the same bank, extending downward towards the plain, lay the host of the allies; and in order that Charles should escape them, it was necessary that he should cross the Taro, just below its junction with the Ceno, and reach Lombardy by marching in a parallel line with his foes.

All through the night of Sunday it thundered and rained incessantly; so that on the Monday morning the Taro was considerably swollen. At seven o'clock the king sent for De Comines, who found him already armed and mounted on the finest horse he had ever seen. The name of this charger was Savoy. He was black, one-eyed, and of middling height; and to his great courage, as we shall see, Charles owed life upon that day. The French army, ready for the march, now took to the gravelly bed of the Taro, passing the river at a distance of about a quarter of a league from the allies. As the French left Fornovo, the light cavalry of their enemies entered the village and began to attack the baggage. At the same time the Marquis of Mantua, with the flower of his men-at-arms, crossed the Taro and harassed the rear of the French host; while raids from the right bank to the left were constantly being made by sharp-shooters and flying squadrons. "At this moment," says De Comines, "not a single man of us could have escaped if our ranks had once been broken." The French army was divided into three main bodies. The vanguard consisted of some three hundred and fifty men-at-arms, three thousand Switzers, three hundred archers of the Guard, a few mounted crossbow-men, and the artillery. Next came the Battle, and after this the rear-guard. At the time when the Marquis of Mantua made his attack, the French rear-guard had not yet crossed the river. Charles quitted the van, put himself at the head of his chivalry, and charged the Italian horsemen, driving them back, some to the village and others to their camp. De Comines observes, that had the Italian knights been supported in this passage of arms by the light cavalry of the Venetian force, called Stradiots, the French must have been outnumbered, thrown into confusion, and defeated. As it was, these Stradiots were engaged in plundering the baggage of the French; and the Italians, accustomed to bloodless encounters, did not venture, in spite of their immense superiority of numbers, to renew the charge. In the pursuit of Gonzaga's horsemen Charles outstripped his staff, and was left almost alone to grapple with a little band of mounted foemen. It was here that his noble horse, Savoy, saved his person by plunging and charging till assistance came up from the French, and enabled the king to regain his van.

It is incredible, considering the nature of the ground and the number of the troops engaged, that the allies should not have returned to the attack and have made the passage of the French into the plain impossible. De Comines, however, assures us that the actual engagement only lasted a quarter of an hour, and the pursuit of the Italians three quarters of an hour. After they had once resolved to fly, they threw away their lances and betook themselves to Reggio and Parma. So complete was their discomfiture, that De Comines gravely blames the want of military genius and adventure in the French host. If, instead of advancing along the left bank of the Taro and there taking up his quarters for the night, Charles had recrossed the stream and pursued the army of the allies, he would have had the whole of Lombardy at his discretion. As it was, the French army encamped not far from the scene of the action in great discomfort and anxiety. De Comines had to bivouac in a vineyard, without even a mantle to wrap round him, having lent his cloak to the king in the morning; and as it had been pouring all day, the ground could not have afforded very luxurious quarters. The same extraordinary luck which had attended the French in their whole expedition now favored their retreat; and the same pusillanimity which the allies had shown at Fornovo prevented them from re-forming and engaging with the army of Charles upon the plain. One hour before daybreak on Tuesday morning the French broke up their camp and succeeded in clearing the valley. That night they lodged at Fiorenzuola, the next at Piacenza, and so on; till on the eighth day they arrived at Asti without having been so much as incommoded by the army of the allies in their rear.

Although the field of Fornovo was in reality so disgraceful to the Italians, they reckoned it a victory upon the technical pretence that the camp and baggage of the French had been seized. Illuminations and rejoicings made the piazza of St. Mark in Venice gay, and Francesco da Gonzaga had the glorious Madonna della Vittoria painted for him by Mantegna, in commemoration of what ought only to have been remembered with shame.

A fitting conclusion to this sketch, connecting its close with the commencement, may be found in some remarks upon the manner of warfare to which the Italians of the Renaissance had become accustomed, and which proved so futile on the field of Fornovo. During the Middle Ages, and in the days of the Communes, the whole male population of Italy had fought light armed on foot. Merchant and artisan left the counting-house and the workshop, took shield and pike, and sallied forth to attack the barons in their castles, or to meet the emperor's troops upon the field. It was with this national militia that the citizens of Florence freed their Contado of the nobles, and the burghers of Lombardy gained the battle of Legnano. In course of time, by a process of change which it is not very easy to trace, heavily armed cavalry began to take the place of infantry in mediÆval warfare. Men-at-arms, as they were called, encased from head to foot in iron, and mounted upon chargers no less solidly caparisoned, drove the foot-soldiers before them at the points of their long lances. Nowhere in Italy do they seem to have met with the fierce resistance which the bears of the Swiss Oberland and the bulls of Uri offered to the knights of Burgundy. No Tuscan Arnold von Winkelried clasped a dozen lances to his bosom that the foeman's ranks might thus be broken at the cost of his own life; nor did it occur to the Italian burghers to meet the charge of the horsemen with squares protected by bristling spears. They seem, on the contrary, to have abandoned military service with the readiness of men whose energies were already absorbed in the affairs of peace. To become a practised and efficient man-at-arms required long training and a life's devotion. So much time the burghers of the free towns could not spare to military service, while the petty nobles were only too glad to devote themselves to so honorable a calling. Thus it came to pass that a class of professional fighting-men was gradually formed in Italy, whose services the burghers and the princes bought, and by whom the wars of the peninsula were regularly farmed by contract. Wealth and luxury in the great cities continued to increase; and as the burghers grew more comfortable, they were less inclined to take the field in their own persons, and more disposed to vote large sums of money for the purchase of necessary aid. At the same time this system suited the despots, since it spared them the peril of arming their own subjects, while they taxed them to pay the services of foreign captains. War thus became a commerce. Romagna, the Marches of Ancona, and other parts of the papal dominions supplied a number of petty nobles whose whole business in life it was to form companies of trained horsemen, and with these bands to hire themselves out to the republics and the despots. Gain was the sole purpose of these captains. They sold their service to the highest bidder, fighting irrespectively of principle or patriotism, and passing with the coldest equanimity from the camp of one master to that of his worst foe. It was impossible that true military spirit should survive this prostitution of the art of war. A species of mock warfare prevailed in Italy. Battles were fought with a view to booty more than victory; prisoners were taken for the sake of ransom, bloodshed was carefully avoided, for the men who fought on either side in any pitched field had been comrades with their present foemen in the last encounter, and who could tell how soon the general of the one host might not need his rival's troops to recruit his own ranks? Like every genuine institution of the Italian Renaissance, warfare was thus a work of fine art, a masterpiece of intellectual subtlety; and, like the Renaissance itself, this peculiar form of warfare was essentially transitional. The cannon and the musket were already in use; and it only required one blast of gunpowder to turn the shamfight of courtly, traitorous, finessing captains of adventure into something terribly more real. To men like the Marquis of Mantua war had been a highly profitable game of skill; to men like the MarÉchal de GiÉ it was a murderous horse-play; and this difference the Italians were not slow to perceive. When they cast away their lances at Fornovo, and fled—in spite of their superior numbers—never to return, one fair-seeming sham of the fifteenth century became a vision of the past.

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