第16章 THE STATE AS A WORK OF ART(16)

In the great Federigo (1444-1482), whether he were a genuine Montefeltro or not, Urbino possessed a brilliant representative of the princely order.As a Condottiere he shared the political morality of soldiers of fortune, a morality of which the fault does not rest with them alone; as ruler of his little territory he adopted the plan of spending at home the money he had earned abroad, and taxing his people as lightly as possible.Of him and his two successors, Guidobaldo and Francesco Maria, we read: 'They erected buildings, furthered the cultivation of the land, lived at home, and gave employment to a large number of people: their subjects loved them.' But not only the State, but the court too, was a work of art and organization, and this in every sense of the word.Federigo had 500 persons in his service; the arrangements of the court were as complete as in the capitals of the greatest monarchs, but nothing was built quarters sprang up at the bidding of the ruler: here, by the concentration of the official classes and the active promotion of trade, was formed for the first time a true capital; wealthy fugitives from all parts of Italy, Florentines especially, settled and built their palaces at Ferrara.But the indirect taxation, at all events, must have reached a point at which it could only just be borne.The Government, it is true, took measures of alleviation which were also adopted by other Italian despots, such as Galeazzo Maria Sforza: in time of famine, corn was brought from a distance and seems to have been distributed gratuitously; but in ordinary times it compensated itself by the monopoly, if not of corn, of many other of the necessaries of life fish, salt, meat, fruit and vegetables, which last were carefully planted on and ne ar the walls of the city.The most considerable source of income, however, was the annual sale of public offices, a usage which was common throughout Italy, and about the working of which at Ferrara we have more precise information.We read, for example, that at the new year 1502 the majority of the officials bought their places at 'prezzi salati' (pungent prices); public servants of the most various kinds, custom-house officers, bailiffs (massari), notaries, 'podesta,' judges, and even governors of provincial towns are quoted by name.As one of the 'devourers of the people' who paid dearly for their places, and who were 'hated worse than the devil,' Tito Strozza let us hope not the famous Latin poet is mentioned.About the same time every year the dukes were accustomed to make a round of visits in Ferrara, the so-called 'andar per ventura,' in which they took presents from, at any rate, the more wealthy citizens.The gifts, however, did not consist of money, but of natural products.

It was the pride of the duke for all Italy to know that at Ferrara the soldiers received their pay and the professors at the University their salary not a day later than it was due; that the soldiers never dared lay arbitrary hands on citizen or peasant; that the town was impregnable to assault; and that vast sums of coined money were stored up in the citadel.To keep two sets of accounts seemed unnecessary: the Minister of Finance was at the same time manager of the ducal household.The buildings erected by Borso (1430-1471), by Ercole I(till 1505), and by Alfonso I (till 1534), were very numerous, but of small size; they are characteristic of a princely house which, with all its love of splendor Borso never appeared but in embroidery and jewels indulged in no ill-considered expense.Alfonso may perhaps have foreseen the fate which was in store for his charming little villas, the Belvedere with its shady gardens, and Montana with its fountains and beautiful frescoes.

It is undeniable that the dangers to which these princes were constantly exposed developed in them capacities of a remarkable kind.