Princes of the Renaissance

PRINCES

OF THE

RENAISSANCE

Mary Hollingsworth

PRINCES

OF THE

RENAISSANCE

AN APOLLO BOOK

www.headofzeus.com

Frontispiece

Agnolo Bronzino, Duke Cosimo I, 1543–4 (Florence, Uffizi). The ideal Renaissance prince was a wise ruler, generous patron of the arts and, above all, a hero on the battlefield.

Wikimedia Commons / Art Gallery of New South Wales, Sydney, Australia.

An Apollo book

First published in 2021 by Head of Zeus Ltd

© 2021 Mary Hollingsworth

The moral right of Mary Hollingsworth to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act of 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of both the copyright owner and the above publisher of this book.

Every effort has been made to contact copyright holders for permission to reproduce material in this book, both visual and textual. In the case of any inadvertent oversight, the publishers will include an appropriate acknowledgement in future editions of this book.

A CIP catalogue record for this book is available from the British Library.

ISBN    [HB]   9781788547833

            [E]     9781788547826

Maps by Jeff Edwards / Isambard Thomas

Head of Zeus Ltd

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To John and Elisabeth

Contents

Title Page

Frontispiece

Copyright

Dedication

Ducats, Scudi & Florins:

A NOTE ON MONEY

INTRODUCTION

An Italian Identity

1

USURPERS

Alfonso of Aragon & Francesco Sforza

2

KNIGHTS AND HUMANISTS

Leonello d’Este & Sigismondo Malatesta

3

A FAMILY MAN

Ludovico Gonzaga & Barbara of Brandenburg

4

CONSPIRACY AND GREED

Ferrante I of Naples & Federigo da Montefeltro

5

NEST OF VIPERS

Ludovico Sforza, Ascanio Sforza & Giangaleazzo Sforza

6

SURVIVORS

Isabella d’Este & Alfonso d’Este

7

A NEW POLITICAL ORDER

Francesco Maria della Rovere & Federigo Gonzaga

8

THE NEW ROME

Doge Andrea Gritti & his cronies

9

DYNASTY

Paul III & the Farnese

10

PRECEDENCE AND REFORM

The Este & Cosimo de’ Medici

11

CONCLUSION

Conquerors

Appendices: Genealogical trees, Tables, Maps

Bibliography and Sources

Notes

Acknowledgements

About the Author

An Invitation from the Publisher

Ducats, Scudi & Florins:

A NOTE ON MONEY

Money was a complex business in Renaissance Italy. Each of the peninsula’s many states had its own silver-based currency as well as its own system of weights and measures. Large states also issued internationally recognized gold currencies such the Venetian ducat and the Florentine florin; there was also a Roman ducat, which was replaced by the gold scudo (pl: scudi) in 1530. For the purposes of this book, they were all were all broadly similar in value.

INTRODUCTION

AN ITALIAN IDENTITY

It is unlikely that the Renaissance would have happened without the humanists – the term derives from a humanista, Renaissance student slang for the university lecturer who taught their general arts courses (studia humanitatis), based on the study of classical texts on history, poetry, grammar, rhetoric and moral philosophy. This revival of interest in the culture of antiquity had its origins in late thirteenth-century Padua, where a small group of literate lawyers discovered the joys of the Latin poets and historians.

It was Petrarch (1304–74), living in Padua after a career at the papal court in Avignon, who transformed humanism into a movement that spread rapidly across Italy. His attempts to revive the ideals of ancient Rome were an inspiration to many who followed his example by searching the monastic libraries of western Europe for the lost manuscripts of ancient authors, collecting the antique coins churned up by farmers ploughing their fields and, above all, emulating his literary efforts with their own verse, histories and learned treatises, all written in correct Ciceronian Latin or, later, in ancient Greek. By the 1450s – less than a century after Petrarch’s death – humanism had become the dominant intellectual force in Italy.

*

Humanism fostered the sense of a uniquely Italian cultural identity, one that was distinct from that of nations beyond the Alps. It was a message that spoke eloquently to Italy’s princely rulers; even more so when Rome once again became the centre of the Christian world and the papacy increasingly Italian. For much of the fourteenth century the papacy had been the puppet of Europe’s secular monarchs, initially resident in Avignon under the protection of the French crown and then split by the Great Schism – in the end there were three popes, each supported by a different bloc of rulers and each claiming to be the rightful heir to St Peter. With the credibility of the papacy at stake, in 1417 the Council of Constance ended the Schism by electing its own pope, Martin V, and his return to Rome three years later marked the point at which Renaissance Italy began to emerge as a powerful economic, political and cultural force in Europe.

From a Roman baronial family himself, it was Martin V who took the first steps to free the papacy from foreign interference, a policy that was continued by his successors, who filled the College of Cardinals with Italians. Having restored their authority in the Papal States, which had disintegrated during the absence of the papacy in Avignon, they became central figures in the politics of the peninsula, manipulating alliances between rival rulers for their own ends. They were to have a significant impact – for good, and for bad – on the fortunes of all the princes in this book, as well as providing them with opportunities for employment in the wars that plagued Italy throughout most of the fifteenth and sixteenth centuries.

As heirs to the mighty empire of ancient Rome, the Italians were immensely proud of their past. They could read about it in histories, and they could see it in the great ruins that were visible across the peninsula, above all in Rome itself. But it was not just Rome that could boast an imperial heritage. Mantua was the birthplace of the poet Virgil, while Catullus and Pliny the Elder both came from Verona, as did Vitruvius, whose treatise on architecture was to have such a profound impact on the visual appearance of the cities of the Renaissance princes. Padua, which had been home to the historian Livy, claimed that it had been founded by Antenor after the Trojan Wars. Julius Caesar crossed the Rubicon which still flows into the Adriatic just north of Rimini, a port which boasted an Arch of Augustus and an ancient Roman bridge. The bay of Naples had once been the playground of rich patricians and powerful emperors, while Milan was the city where Emperor Constantine signed the edict that established Christianity as an official religion in his empire.

Rimini, Arch of Augustus, 27 BC: built by Emperor Augustus to commemorate the restoration of the Via Flaminia which connected Rome with northern Italy.

Kreder Katja / Alamy Stock Photo.

Verona, Porta Borsari, c.AD 75. Originally one of the city’s gates, this double arch was incorporated into the medieval fabric of Verona, its Roman origins clearly visible in the classical lettering of the inscription.

Witold Skrypczak / Alamy Stock Photo.

Italy may have been a geographical unit but it was not a political one. While its citizens shared memories of a golden age gone by, they did not dream of that past being reborn into a glorious future of a united Italy. On the contrary, the peninsula was divided into many independent states, each with its own strong sense of individual identity – and each with its own system of currency, weights and measures, its own taxes, dialect, culinary specialities and patron saint. In the aftermath of the collapse of the Roman empire, Italy had been invaded by many armies: the Lombards, the Byzantines, Charlemagne and the Franks, and so on. Above all, it had been the arena for the power struggle between Charlemagne’s successors as Holy Roman Emperors and an increasingly powerful papacy.

The small states of northern Italy emerged during the twelfth century, when pope and emperor agreed their independence in the Peace of Constance (1183), while Rome acquired its own area of secular authority in the old Byzantine lands of central Italy, the so-called Papal States; and south of Rome, where the Holy Roman Emperors held sway, became the kingdom of Naples. One of the results of this carving up of the old empire was to have a significant impact on the politics of Renaissance Italy: Milan, Mantua, Modena and Reggio were all imperial fiefs, owing their allegiance to the emperor north of the Alps; by contrast, Ferrara, Rimini, Urbino, Pesaro and Naples were all papal fiefs, technically part of the Papal States.

Initially these independent city-states set up communal governments but during the thirteenth and fourteenth centuries they were taken over, one by one, by powerful families who installed themselves as dynastic rulers: the della Scala in Verona (1262), the Este in Ferrara (1274) and Modena (1288), the Visconti in Milan (1277), the Carrara in Padua (1318) and the Gonzaga in Mantua (1328). By contrast, in Genoa and Venice a sort of semi-seigneurial rule evolved under the leadership of an elected duke (dialect: doge) chosen from the wealthy mercantile classes, while in Florence and other Tuscan city-states traders set up their own republics ruled by elected committees of guildsmen.

The relative merits of princely versus republican government was a hot topic of debate in the 1430s. And this contemporary issue was debated in terms of its classical antecedents: the morality of the Roman republic of Cicero versus the flowering of culture in the empire under the Caesars. For the humanists employed at the princely courts, it was Julius Caesar and his successors, the emperors of ancient Rome, who were the heroes. By contrast, Florentine humanists promoted the republican Scipio Africanus as the ideal statesman and judged the emperors of ancient Rome to have been decadent. The debate was not just political but extended to the relative merits of their contributions to culture and science – the arguments in defence of Caesar included not only his skills as a historian and orator in his own right, but also his generous patronage of literary talent.

In an audacious and imaginative move, Renaissance princes, encouraged by their humanists, adopted the cultural language of their forebears. Imperial Rome could provide flattering models for tyrants, usurpers, warriors and enlightened princes alike – though not for the Florentine republic, where any association with absolute rule was anathema. The nobility educated its sons and daughters in the culture of antiquity: they employed humanists to teach them classical history, oratory, poetry, ethics and mathematics, as well as experts in the more traditional aristocratic pursuits of horsemanship and the martial arts. Like their forebears, Renaissance princes knew the value of the arts as propaganda. Humanists promoted the power and authority of their masters in biographies and histories that exploited the themes of classical rhetoric and its tradition of lavish praise. Fifteenth-century cities adopted pagan figures to add ancient lustre to the Christian saints who were their traditional protectors. New all’antica images – images inspired by the remains of ancient Roman art – emerged to change both the style and content of sculpture and painting. One notable Renaissance invention was the portrait medal, developed by humanists inspired by the coins of ancient Rome. In the past, significantly, the use of portraits on coins had been restricted to the emperor, and their revival at the courts of fifteenth-century Italy was a visible attempt to draw parallels with the ancient world. And, most conspicuously, these princes commissioned palaces, villas and churches all ornamented with the columns, capitals and other details inspired by the architectural language of ancient Rome.

View of the Roman Forum in the late sixteenth century showing the ruins of the Temple of Antoninus and Faustina and the Temple of Vespasian, from Étienne Dupérac’s engravings of Roman monuments (1575).

Patrick Guenette / Alamy Stock Photo.

The world of the Renaissance prince was essentially a world of war. Many of them started their careers as mercenary soldiers. Some seized their titles by force, but the talents that won victory on the battlefield did not necessarily translate into the wise statecraft required in the palace. Not all were cruel, immoral or greedy but they were ambitious. And their survival depended on their ability to exchange their military prowess for the more subtle and devious skills required to prosper on the highly competitive stage of Italian politics – not least to negotiate the often conflicting ambitions of popes, kings and emperors, the ultimate arbiters of power on the peninsula.

Off the battlefield it was a world of luxury and leisure: in the woods and marshes hunting wild animals with dogs and falcons; in the lists competing in tournaments; at the dining table for great banquets and theatrical entertainments; at the card table to win or lose large sums of money; and, in all parts of the palaces and villas, that great staple of court life, gossip. Aristocratic women did not fight but they certainly enjoyed hunting and feasting. Key to our understanding of Renaissance princes is the fact that they were all closely related, by blood or marriage, creating a complex web of alliances and rivalries, and an endless cycle of war and diplomacy. Husbands, wives, mistresses, mothers-in-law, cousins, brothers and sisters, their relationships illustrate how this network acted as the glue holding Renaissance society together but could also spark the feuds that regularly threatened to tear it apart.

Renaissance princes and their courts were peripatetic, rarely spending more than a month in each place. They might travel to visit friends and relatives, to make trips to Rome for jubilee celebrations or to attend a papal coronation, or to go shopping in Venice, but mostly they moved between their palaces, castles and villas, exchanging their main residence for those in the smaller towns of their state, or to their country houses to hunt, fish or escape the summer heat. They travelled by road, with carriages provided for ladies and for the infirm, though plenty of women and most men rode everywhere. This way of life involved an enormous amount of work for the household staff, who had to pack all the chests containing the clothes, furniture, silver and hangings which were then loaded on to mules. One of the advantages of tapestry was that it was relatively easy to transport, rolled into custom-made leather travelling bags – and the rich hangings could transform the most unpromising space into a luxurious room with just a few nails.

Travel was more luxurious at the courts of northern Italy where they could take advantage of the network of waterways that linked Milan to Venice, along the Po, its tributaries and canals, that provided essential arteries of trade transporting merchandise, building materials and crops across the Lombard plain – and river barges were much easier to load than mules. The princes of Milan, Ferrara and Mantua all travelled on their own bucintoro, a ceremonial barge which provided a much more comfortable, though slower, mode of travel than the unmetalled surfaces of the peninsula’s roads. The bucintoro could be sailed but was more often manned by oarsmen and pulled by horses on narrow stretches of water. They could be huge structures, with a hull as much as 60 feet long supporting a superstructure of rooms, which were elaborately decorated with gilded ceilings and tapestries.¹ The tapestries were often specially made to fit these spaces which had much lower ceilings that their palace halls; and, with glass in the windows and stoves in the rooms, they were warm and cosy in damp winter weather.

Pisanello, Vision of St Eustace, c.1438–42 (London, National Gallery). The painter has included detailed portraits of the many breeds of hunting dogs owned, and loved, by the princes of the Renaissance.

Wikimedia Commons / The Yorck Project, 2002 / National Gallery London.

Above all, the courtly society of Renaissance Italy was Christian, and religion played a dominant role in the lives of ordinary people as well as those of princes. The rhythm of court life revolved around the calendar of the Christian year. Easter, the major feast, was celebrated with solemn Masses but also theatrical performances of the story of the Crucifixion; some princes held Maundy Day ceremonies in imitation of Christ and the Last Supper, hosting a meal for poor men, washing their feet and giving them money and clothes. There were more festivities to celebrate Corpus Christi and the Assumption of the Virgin, and often traditional presents for hard-working courtiers on quarter days, such as the goose at Michaelmas. Most princes celebrated Christmas and New Year – the twelve days of Christmas – at their principal residences. January was the season for feasting; traditional cycles of the months carved in panels on cathedrals depicted this month with a peasant holding a flagon, seated at a table heaped with food, or dancing. And the feasting usually lasted into Carnival, before the onset of Lent and the return of meat to the dining table to celebrate Easter again.

There were also the annual feast days of each city’s patron saint, which in many places was celebrated with a horse race: racing, then as now, was the sport of princes and many Renaissance princes bred their own racehorses. Other, less regular, festivities were held to mark the visits of diginitaries or the entry of a bride. One of the most important rituals of courtly society, weddings were invariably accompanied by several days of feasting, as well as jousts and mock battles, theatrical performances, archery contests and hunting expeditions. It was a holiday for ordinary people too, with shops and businesses closed, allowing everyone to gather along the processional route to watch the cavalcade. The streets were hung with colourful garlands of greenery and flowers, and splendidly ornamented with temporary arches decorated with dynastic details that proclaimed the status of the visitor or, in the case of a wedding, the links between the two houses.

The court provided plenty of work for craftsmen and suppliers. There were temporary wooden stands to erect for guests viewing the races and temporary arches to design and build for bridal entries. The arches were often decorated with reliefs that had been painted to look like marble and terracotta statues coloured to resemble bronze. Spice merchants not only supplied pigments for painters but also edible colourings for the cooks who created the elaborate dishes or sugar sculptures that displayed the coats-of-arms and emblems of the two families. Painters did not only decorate walls with fresco cycles and panel paintings; they were employed on a whole raft of items from banners displaying heraldic devices to wedding chests, bedheads and birth trays. The births of children, especially heirs, were celebrated with bonfires, church bells, fireworks, even free wine.

Extravagance was a duty expected of the rich and powerful in Renaissance Italy. As one humanist praised his noble patron:

You have not spared yourself from great expense in… the magnificence, the glories, the triumphs of arms, of the jousts and tournaments that you have prepared more readily to honour others and to give pleasure to your much loved subjects and to your splendid court, than for your own delight.²

Conspicuous consumption was the hallmark of aristocratic display in Renaissance society: how much you spent on your palaces and villas, your jewellery and clothes, your horses, your furnishings, the dishes you served at table, your tournaments and other leisure pursuits, all were indicators of your wealth and status. The details that were of special interest to the chroniclers recording the official entries of visitors in Renaissance Italy were essentially the opulence on show – the expensive Arabs, gold chains, damask and velvet dresses, even the number of pack mules bringing up the rear of the cavalcade. Tapestry in particular was one of the most important hallmarks of the rich: while plain wool hangings were only marginally more expensive than fresco, those made with silk and high-quality wool were five times more expensive, and the elaborate designs using gold and silver thread added significantly to the price.³

Renaissance princes developed new fashions to add to the list, notably collections of ancient statues and elaborate gardens, both of which derived from the habits of their imperial forebears. Above all, it was these princes who were responsible for the development of the art and architecture for which the Renaissance is justly famous. It was their leadership that enabled the creation of a new language for the display of the status and power of Italy’s aristocratic elite – with such success that it would also be adopted by rulers across Europe.

ALFONSO OF ARAGON (1396–1458)

King of Aragon, Catalonia, Sardinia and Sicily

FRANCESCO SFORZA (1401–66)

Mercenary soldier

René, Duke of Anjou

and rightful heir to the kingdom of Naples

Alonso Borja

King Alfonso’s elderly chief advisor

Filippo Maria Visconti, Duke of Milan

Jailer of King Alfonso and prospective father-in-law of Francesco Sforza

Bianca Maria Visconti

Duke Filippo Maria’s daughter

USURPERS

Alfonso of Aragon

&

Francesco Sforza

The sea was calm on 5 August 1435 when Alfonso V of Aragon set sail along the southern Italian coast in search of a small Genoese fleet which, according to his spies, was in the area. He was expecting an easy victory, a boost to his campaign to capture the kingdom of Naples. The Genoese were sighted off the isle of Ponza and the king was encouraged to see three of their galleys, apparently too cowardly to fight, head out into the Mediterranean. Alfonso should have been more wary: the Genoese were seasoned fighters and skilled in the art of naval warfare. The rest of the fleet suddenly tacked and, hurling torches of boiling oil and quicklime, rammed into the royal armada. And just when Alfonso thought that the Genoese were beginning to tire, those three galleys sailed back to give renewed energy to the assault. His seasick Spanish knights were no match for the Genoese sailors, who had been trained to fight on a pitching deck; the king was made a prisoner along with over 400 Spanish nobles.¹ A Neapolitan, celebrating his country’s narrow escape from foreign conquest, joyfully recorded: ‘No net cast in the sea has ever caught so many fish at once.’² Astonishingly, within weeks, Alfonso V had transformed this naval disaster into a diplomatic triumph, turning his jailer Filippo Maria Visconti, Duke of Milan, into his ally. Alfonso V’s move was one that would herald regime change not only in Naples but also in Milan, and significantly alter the political map of the peninsula.

Pisanello, Alfonso of Aragon, 1449 (New York, Metropolitan Museum of Art). The helmet and the royal crown testify to Alfonso’s role as conqueror of Naples.Pisanello, Francesco Sforza, c.1441 (New York, Metropolitan Museum of Art). As the inscription makes clear, Sforza owed his position to his father-in-law, Duke Filippo Maria Visconti.

Metropolitan Museum of Art, New York / Bequest of Gwynne M. Andrews, 1931.

Metropolitan Museum of Art, New York / Rogers Fund, 1974.

Naples was eventually conquered by Alfonso V in 1442 after a lengthy war of attrition, fought mostly on land, while Milan fell to the mercenary captain Francesco Sforza in 1450 after a short but vicious siege. Both victors were usurpers, though that was about all they had in common. One was a king, descended from the ancient Castilian house of Trastamare; the other, Francesco Sforza, was the bastard son of an unlettered mercenary soldier. Duke Filippo Maria, who played a key role in both their stories, contrasted the characters of the two men: the king, he thought, was a ‘lord by nature’ but Sforza was definitely not.³ Though Sforza certainly had talent, as recognized by Enea Silvio Piccolomini, whose memoirs are a key contemporary source for this period: ‘The destiny of man delights in changing the lowest to the highest but rarely has any man climbed from a cottage to a throne without ability.’⁴ Intriguingly, the stories of these two usurpers are closely intertwined – and they serve to remind us that the background to the Renaissance lay as much in the feats of men-at-arms as of those of men of letters.

*

Alfonso had inherited the throne of Aragon from his father on 2 April 1416 at the age of nineteen. Aragon had been a major power in the Mediterranean since 1100 – his full title was King of Aragon, Valencia, Catalonia, Majorca, Sicily, Sardinia and Corsica, with the courtesy titles of Duke of Athens and King of Jerusalem. He had been married the year before to his cousin Maria of Castile (the granddaughter of John of Gaunt). Educated in the art of war by courtiers and in the medieval Latin of the prayer book by priests, he was assiduous in carrying out his religious duties as monarch: he heard Mass several times a day and each Maundy Thursday he washed the feet of many paupers, serving them dinner while standing ‘at the table with a napkin round his neck’.⁵ Although very conscious of his rank, he was polite, friendly and generous; he rarely lost his temper and had a good sense of humour. He dressed plainly in expensive but not ostentatious clothes, favouring black velvet doublet and hose, tastefully embroidered with gold and pearls.⁶ By all accounts he was a quiet, serious man, whose passions included history, music and hunting – as a youth he had enjoyed gambling but had given up this vice after losing the huge sum of 5,000 florins in a single session.⁷

Alfonso spent four years consolidating his position in Spain before turning his attention to his more distant Mediterranean possessions. In May 1420, leaving Maria of Castile in charge in Barcelona, he set sail at the head of a large fleet carrying the huge royal entourage of courtiers, secretaries and servants as well as soldiers, horses and artillery, even his musicians and hunting dogs. Having secured possession of Sardinia in June, he then attempted to do the same at Corsica, but here his efforts were frustrated by the Genoese, who were determined to protect their commercial interests from interference from Spain.

However, Alfonso’s fortunes were about to change in a very unexpected manner. Early in 1421 envoys arrived from Queen Joanna II of Naples inviting the king to her court and offering to name him as her heir. The throne of Naples had been a dream long-cherished by the rulers of Aragon, who had been expelled from that kingdom back in the thirteenth century when the French dynasty of Anjou seized power. Joanna II, now aged fifty and childless, was the last of this Angevin dynasty. The royal council in Barcelona presciently warned Alfonso that this was an enterprise fraught with danger, though, according to one of his courtiers, he responded with characteristic vigour: ‘No one has ever won glory yet without danger and difficulty.’⁸

However optimistic Alfonso appeared, the difficulties were very real. Joanna II’s prevarication about naming an heir had caused alarm in Italy. In November 1420, without consulting the queen, Pope Martin V had taken the unilateral decision to proclaim her distant cousin Louis III, Duke of Anjou, as her successor. The queen’s spirited response to this had been to name Alfonso as her heir, deliberately stirring up trouble by transferring her allegiance to the house of Aragon, the traditional rival to that of Anjou. Louis had retaliated by persuading the commander of Joanna II’s army to defect, giving him the prize of Muzio Attendolo, one of Italy’s foremost mercenary soldiers, as leader of his own troops.

Nevertheless, despite the danger, Alfonso of Aragon made his formal entry into Naples on 5 July 1421. The queen welcomed him with a mock sea battle and publicly invested him as Duke of Calabria, the title traditionally reserved for the heir to the Neapolitan throne. He set up court at Castel Nuovo, one of several royal castles in the city, and enjoyed plenty of hunting and jousting, but he chafed at the queen’s refusal to allow him any share in the government. Worse, scheming courtiers and the notoriously factional Neapolitan barons who preferred the Anjou option fuelled the quarrels between the sovereign and her adopted son. And more opposition began to emerge on the wider political stage as several Italian states followed Martin V in voicing their support for Louis of Anjou. In particular Filippo Maria Visconti worried that a hostile ruler in Naples would directly threaten the economy of his client state Genoa; while fears about the safety of their galleys trading in the Mediterranean also turned both Florence and Venice against the Aragon claim.

Under pressure from both inside and outside her realm, Joanna II was forced to revoke her decision; on 14 September 1423 she dropped Alfonso V, declaring him a public enemy, and pronounced Louis of Anjou to be the new Duke of Calabria. Alfonso prepared to put up a fight but Louis of Anjou’s army, led by Muzio Attendolo, forced him to flee. The king sailed back to Spain and, in retaliation, launched an attack on Marseilles, where he stole the body of St Louis of Toulouse, the pious grandson of the first Angevin king of Naples. The Spanish troops were given royal permission to loot the city, but the king issued an order forbidding rape and he arranged for the women to be moved to the safety of the city’s churches under guard.⁹

Muzio Attendolo – whose nickname was Sforza, or ‘strongman’ – had earned his formidable reputation in the service of Milan, Florence and Ferrara before moving to Naples in 1412 to fight for King Ladislas, Joanna II’s predecessor. And joining him that year was his eleven-year-old bastard son, Francesco, the other protagonist of this chapter; as a mark of favour to his mercenary captain, the king gave the boy the title of Count of Tricarico. After Ladislas’s death in 1414, Joanna II continued to employ Muzio and rewarded him for his loyal military service with land and titles in the kingdom.

Warfare was endemic in Renaissance Italy – the jousts, tournaments and hunts that were such favourite sports among the nobility were excellent training for the battlefield. At the beginning of the fifteenth century war was waged not by professional armies but by troops of mercenary soldiers (condottieri) fighting under their captain who each signed a contract (condotta) promising to provide his employer with a quantity of lances to fight for a specified period. Muzio’s condotta with Ladislas, for example, was for 830 lances – one lance unit consisted of a soldier in full armour, a lightly armoured squire, a servant and five or six horses.¹⁰

War was also a seasonal affair and fighting usually halted in winter when the weather made many roads impassable. Just how dangerous conditions could be was evident in January 1424 when, after forcing Alfonso of Aragon to flee Naples, Muzio and Francesco were fighting on the northern borders of the kingdom. While crossing the river Pescara swollen by heavy rain, Muzio’s horse accidentally lost its footing and the soldier, in full armour, was dragged into the floodwaters and drowned. Francesco, aged just twenty-three, now took over the condotta. A promising fighter, as handsome and swaggering as his father, he adopted Muzio’s nickname ‘Sforza’ as his own surname. And the queen confirmed his right to inherit his father’s feudal possessions in the kingdom, which now included Benevento, Troia and Manfredonia, making the young soldier one of the leading feudal landowners in the kingdom.

Now that Alfonso of Aragon had been expelled from Naples and the succession secured on Louis of Anjou, Joanna II had no need of Sforza’s services and gave him permission to fight for Duke Filippo Maria in the ongoing war between Milan and Venice. In December 1427 the duke sent him to Genoa where rebels were threatening to expel the Milanese from the city and, unfortunately, he was caught in a surprise ambush. He was lucky not to have been killed but the incident infuriated the famously touchy Filippo Maria; it was not until 1429 that he gave Sforza another condotta, this time to fight with the army he had sent to Tuscany to defend Lucca against the Florentines. Fortunately for his future prospects, this expedition was highly successful – not only did he win a decisive victory in Lucca in July 1430, he also managed to secure 50,000 florins that the Florentines still owed his father.

Sforza’s reward was a stroke of excellent fortune, and one that had a surprising parallel in events in the life of his rival, Alfonso of Aragon. Stunned by the unexpected defection of one of his commanders, the duke decided to secure the loyalty of this talented condottiere by offering Sforza his own illegitimate daughter Bianca Maria as a bride. The betrothal took place on 23 February 1432; Sforza was thirty-one years old and his fiancée just six, too young for marriage itself, but the important subtext of the contract was that, as Filippo Maria had no son, Sforza himself would become the duke’s heir. He would have to be patient – not one of the soldier’s most notable virtues – and careful not to offend his tricky future father-in-law. However his luck held and the following year the duke, seizing the advantage of a pope preoccupied with his own affairs, encouraged Sforza to invade the Papal States. Presented with a fait accompli, Eugene IV had been obliged to cede the soldier the titles to Ancona and Fermo on the northern borders of Naples.

Milan, Duomo, begun 1386. A visible statement of the power and prestige of Giangaleazzo Visconti’s court, which rivalled those of Burgundy and France and provided a model for his Sforza descendants.

Jack Zhou 2015 / Getty Images.

While Sforza was building up his reputation and power base in Italy, Alfonso V was biding his time in Spain – and making overtures to his most powerful enemies in Italy, notably to Duke Filippo Maria and Martin V, whose support would be essential if he were to relaunch his bid for Naples. An astute politician, the king had the gift of patience. First he negotiated a secret deal with Filippo Maria, relinquishing his claim to Corsica in exchange for ports on the Ligurian coast south of Genoa. Currying favour with the pope was more complicated as Alfonso had been a supporter of the Spanish anti-pope Clement VIII. Now, on the advice of his chief councillor Alonso Borja, he swapped sides to play a key role in securing the abdication of the anti-pope and thus bringing the Great Schism, which had divided Christian Europe for a century, to an end. Martin V rewarded chief councillor Borja with the prestigious bishopric of Valencia but unfortunately the king’s anticipated political rewards were not forthcoming as the pope died in February 1431. It was a decisive moment: the new pope Eugene IV was Venetian and highly unlikely to support the Aragon claim to Naples but Joanna II was getting older – she had her sixtieth birthday in June that year. Alfonso V decided to gamble and, taking advantage of Eugene IV’s temporary difficulties like Filippo Maria, made his plans to return to Italy.

Alfonso left Barcelona later that year for Sicily, setting up his court at Messina, just across the strait from the mainland. He equipped a powerful fleet which he used to great success against pirates in Tunisia and it was this display of naval power so close to her realm that persuaded Queen Joanna that perhaps the future of Naples might indeed be safer under Alfonso. So she rewrote the succession, again, this time dropping Louis of Anjou in favour of the Spanish king – but their reconciliation would prove shortlived. When Louis died in November 1434 Joanna changed her will yet again, this time to favour Louis’s brother, René of Anjou. And then Joanna herself died on 2 February 1435. Ignoring the new will, Alfonso styled himself Alfonso I of Naples from the date of Joanna II’s death, and made plans to seize his kingdom by force. Fortunately for him René of Anjou was a prisoner of the Duke of Burgundy, who was married to Alfonso’s sister-in-law. But it was a very modest advantage – he faced almost universal hostility from Italy’s rulers who now lined up to create a formidable coalition on behalf of René: the new Venetian pope Eugene IV; Duke Filippo Maria of Milan; Florence, which was traditionally pro-France; and Venice and Genoa, both protecting their commercial interests.

As we know, Alfonso’s first bid for power resulted in his spectacular defeat at the Battle of Ponza in August 1435 and his capture by the Genoese, who sent their royal prisoner into the custody of their overlord, Duke Filippo Maria. Arriving in Milan on 15 September, the king was received with every courtesy and the two men apparently spent their first meeting discussing hunting. However, the talk soon turned to politics and Alfonso’s persuasive arguments convinced the duke that a French dynasty in Naples was a far greater threat to Visconti Milan than the Aragonese. It was true Charles VII’s wife was an Angevin princess but, more unsettling, his cousin, the Duke of Orléans, was Filippo Maria’s nephew – the son of his sister Valentina – and as such a legitimate descendant who would have a better claim to Milan than Filippo Maria’s own illegitimate daughter Bianca Maria. The two men agreed, somewhat arrogantly, to divide Italy into two spheres of influence and the duke pledged to support Alfonso’s campaign to seize Naples ‘in every possible way’.¹¹ There was no question of this alliance being made public so, on 21 September, Filippo Maria made a public show of his alliance with René of Anjou and then released Alfonso who, so he claimed, had been rescued from the Genoese ‘with great difficulty and expense’.¹²

Significantly, another clause in the secret treaty pitted Alfonso I directly against Francesco Sforza. The condottiere had fallen out with his future father-in-law, who had cancelled the betrothal to Bianca Maria, and had signed a condotta with Eugene IV, Venice and Florence for 1,000 lances.¹³ For a time it looked as if the king and the duke were about to go to war not only against Sforza but also against the pope and the two republics, but Filippo Maria changed his mind again and offered to reinstate the betrothal provided Sforza changed his loyalty back to the Milanese side. In the meantime, however, Sforza was showing signs of political skill. He had found himself another patron: the wealthy and wily Florentine banker, Cosimo de’ Medici. Aware of the advantages of making an ally of Milan after decades of enmity between the duchy and Florence, the banker had agreed to open a new branch of his bank in Ancona to provide financial backing to Sforza’s bid for power.¹⁴ The nature of their financial relationship had to remain top secret but, on Cosimo’s advice, Sforza accepted Filippo Maria’s offer: the new betrothal was signed on 28 March 1438 and Bianca Maria, now twelve years of age, was to receive the substantial dowry of 100,000 florins and the lordships of Asti and Tortona.

Meanwhile the war for Naples was gaining momentum. René of Anjou’s wife Isabelle of Lorraine had set up court in the city itself, where her husband joined her in 1438 after the large ransom demanded by the Duke of Burgundy had been paid. Alfonso had settled at Gaeta, a port on the northern borders of the kingdom, which he had conquered in 1435 soon after his release by Filippo Maria. He had begun the transformation of the castle at Gaeta into a royal residence for himself, his court and, importantly, his family. Alfonso had three children, Maria, Eleonora and Ferrante, all bastards – Queen Maria, an able partner to her husband in the business of government, had sadly proved unable to bear children. Although illegitimacy was no bar to inheritance at the Italian courts, it was more of a problem outside Italy so, while Alfonso could designate his son Ferrante as heir to Naples, he had to appoint his brother Juan to succeed as king of his Spanish possessions.

Alfonso’s priority was his campaign for Naples and he appointed a treasurer to take charge of raising the necessary funds in Spain.¹⁵ Fighting was expensive. The king bought African gold coins which were melted down to make Venetian ducats, and used the treasured relic of the Holy Grail in Valencia Cathedral as security to finance loans.¹⁶ He ordered artillery