New Italian sketches

by John Addington Symonds

The commandership-in-chief of the Venetian forces was perhaps the highest military post in Italy. It placed Colleoni on the pinnacle of his profession, and made his camp the favorite school of young soldiers. Among his pupils or lieutenants we read of Ercole d'Este, the future Duke of Ferrara; Alessandro Sforza, Lord of Pesaro; Boniface, Marquis of Montferrat; Cicco and Pino Ordelaffi, Princes of Forli; Astorre Manfredi, the Lord of Faenza; three Counts of Mirandola; two Princes of Carpi; Deifobo, the Count of Anguillara; Giovanni Antonio Caldora, Lord of Jesi in the March; and many others of less name. Honors came thick upon him. When one of the many ineffectual leagues against the infidel was formed in 1468, during the pontificate of Paul II., he was named captain-general for the crusade. Pius II. designed him for the leader of the expedition he had planned against the impious and savage despot Sigismondo Malatesta. King René of Anjou, by special patent, authorized him to bear his name and arms, and made him a member of his family. The Duke of Burgundy, by a similar heraldic fiction, conferred upon him his name and armorial bearings. This will explain why Colleoni is often styled "di Andegavia e Borgogna." In the case of René, the honor was but a barren show. But the patent of Charles the Bold had more significance. In 1473 he entertained the project of employing the great Italian general against his Swiss foes; nor does it seem reasonable to reject a statement made by Colleoni's biographer, to the effect that a secret compact had been drawn up between him and the Duke of Burgundy, for the conquest and partition of the Duchy of Milan. The Venetians, in whose service Colleoni still remained, when they became aware of this project, met it with peaceful but irresistible opposition.

Colleoni had been engaged continually since his earliest boyhood in the trade of war. It was not therefore possible that he should have gained a great degree of literary culture. Yet the fashion of the times made it necessary that a man in his position should seek the society of scholars. Accordingly his court and camp were crowded with students, in whose wordy disputations he is said to have delighted. It will be remembered that his contemporaries, Alfonso the Magnanimous, Francesco Sforza, Federigo of Urbino, and Sigismondo Pandolfo Malatesta, piqued themselves at least as much upon their patronage of letters as upon their prowess in the field.

Colleoni's court, like that of Urbino, was a model of manners. As became a soldier, he was temperate in food and moderate in slumber. It was recorded of him that he had never sat more than one hour at meat in his own house, and that he never overslept the sunrise. After dinner he would converse with his friends, using commonly his native dialect of Bergamo, and entertaining the company now with stories of adventure, and now with pithy sayings. In another essential point he resembled his illustrious contemporary, the Duke of Urbino; for he was sincerely pious in an age which, however it preserved the decencies of ceremonial religion, was profoundly corrupt at heart. His principal lordships in the Bergamasque territory owed to his munificence their fairest churches and charitable institutions. At Martinengo, for example, he rebuilt and re-endowed two monasteries, the one dedicated to St. Chiara, the other to St. Francis. In Bergamo itself he founded an establishment named "La Pietà," for the good purpose of dowering and marrying poor girls. This house he endowed with a yearly income of three thousand ducats. The sulphur baths of Trescorio, at some distance from the city, were improved and opened to poor patients by a hospital which he provided. At Rumano he raised a church to St. Peter, and erected buildings of public utility, which on his death he bequeathed to the society of the Misericordia in that town. All the places of his jurisdiction owed to him such benefits as good water, new walls, and irrigation-works. In addition to these munificent foundations must be mentioned the Basella, or Monastery of Dominican friars, which he established not far from Bergamo, upon the river Serio, in memory of his beloved daughter Medea. Last, not least, was the Chapel of St. John the Baptist, attached to the Church of S. Maria Maggiore, which he endowed with fitting maintenance for two priests and deacons.

The one defect acknowledged by his biographer was his partiality for women. Early in life he married Tisbe, of the noble house of the Brescian Martinenghi, who bore him one daughter, Caterina, wedded to Gasparre Martinengo. Two illegitimate daughters, Ursina and Isotta, were recognized and treated by him as legitimate. The first he gave in marriage to Gherardo Martinengo, and the second to Jacopo of the same family. Two other natural children, Doratina and Ricardona, were mentioned in his will: he left them four thousand ducats apiece for dowry. Medea, the child of his old age (for she was born to him when he was sixty), died before her father, and was buried, as we have seen, in the Chapel of Basella.

Throughout his life he was distinguished for great physical strength and agility. When he first joined the troop of Braccio, he could race, with his corselet on, against the swiftest runner of the army; and when he was stripped, few horses could beat him in speed. Far on into old age he was in the habit of taking long walks every morning for the sake of exercise, and delighted in feats of arms and jousting-matches. "He was tall, straight, and full of flesh, well-proportioned, and excellently made in all his limbs. His complexion inclined somewhat to brown, but was colored with sanguine and lively carnation. His eyes were black; in look and sharpness of light they were vivid, piercing, and terrible. The outlines of his nose and all his countenance expressed a certain manly nobleness, combined with goodness and prudence." Such is the portrait drawn of Colleoni by his biographer and it well accords with the famous bronze statue of the general at Venice.

Colleoni lived with a magnificence that suited his rank. His favorite place of abode was Malpaga, a castle built by him at the distance of about an hour's drive from Bergamo. The place is worth a visit, though its courts and gates and galleries have now been turned into a monster farm, and the southern rooms, where Colleoni entertained his guests, are given over to the silkworms. Half a dozen families, employed upon a vast estate of the Martinengo family, occupy the still substantial house and stables. The moat is planted with mulberry-trees; the upper rooms are used as granaries for golden maize; cows, pigs, and horses litter in the spacious yard. Yet the walls of the inner court and of the ancient state-rooms are brilliant with frescos, executed by some good Venetian hand, which represent the chief events of Colleoni's life—his battles, his reception by the Signory of Venice, his tournaments and hawking-parties, and the great series of entertainments with which he welcomed Christiern of Denmark. This king had made his pilgrimage to Rome, and was returning westward, when the fame of Colleoni and his princely state at Malpaga induced him to turn aside and spend some days as the general's guest. In order to do him honor, Colleoni left his castle at the king's disposal and established himself with all his staff and servants in a camp at some distance from Malpaga. The camp was duly furnished with tents and trenches, stockades, artillery, and all the other furniture of war. On the king's approach, Colleoni issued with trumpets blowing and banners flying to greet his guest, gratifying him thus with a spectacle of the pomp and circumstance of war as carried on in Italy. The visit was further enlivened by sham fights, feats of arms, and trials of strength. When it ended, Colleoni presented the king with one of his own suits of armor, and gave to each of his servants a complete livery of red and white, his colors. Among the frescos at Malpaga none are more interesting, and none, thanks to the silkworms rather than to any other cause, are fortunately in a better state of preservation, than those which represent this episode in the history of the castle.

Colleoni died in the year 1475, at the age of seventy-five. Since he left no male representative, he constituted the Republic of St. Mark his heir in chief, after properly providing for his daughters and his numerous foundations. The Venetians received under this testament a sum of one hundred thousand ducats, together with all arrears of pay due to him, and ten thousand ducats owed him by the Duke of Ferrara. It set forth the testator's intention that this money should be employed in defence of the Christian faith against the Turk. One condition was attached to the bequest. The legatees were to erect a statue to Colleoni on the Piazza of St. Mark. This, however, involved some difficulty; for the proud republic had never accorded a similar honor, nor did they choose to encumber their splendid square with a monument. They evaded the condition by assigning the Campo in front of the Scuola di S. Marco, where also stands the Church of S. Zanipolo, to the purpose. Here accordingly the finest bronze equestrian statue in Italy, if we except the Marcus Aurelius of the Capitol, was reared upon its marble pedestal by Andrea Verocchio and Alessandro Leopardi.

Colleoni's liberal expenditure of wealth found its reward in the immortality conferred by art. While the names of Braccio, his master in the art of war, and of Piccinino, his great adversary, are familiar to few but professed students, no one who has visited either Bergamo or Venice can fail to have learned something about the founder of the Chapel of St. John and the original of Leopardi's bronze. The annals of sculpture assign to Verocchio, of Florence, the principal share in this statue: but Verocchio died before it was cast; and even granting that he designed the model, its execution must be attributed to his collaborator, the Venetian Leopardi. For my own part, I am loath to admit that the chief credit of this masterpiece belongs to a man whose undisputed work at Florence shows but little of its living spirit and splendor of suggested motion. That the Tuscan science of Verocchio secured conscientious modelling for man and horse may be assumed; but I am fain to believe that the concentrated fire which animates them both is due in no small measure to the handling of his northern fellow-craftsman.

While immersed in the dreary records of crimes, treasons, cruelties, and base ambitions, which constitute the bulk of fifteenth-century Italian history, it is refreshing to meet with a character so frank and manly, so simply pious and comparatively free from stain, as Colleoni. The only general of his day who can bear comparison with him for purity of public life and decency in conduct was Federigo di Montefeltro. Even here, the comparison redounds to Colleoni's credit; for he, unlike the Duke of Urbino, rose to eminence by his own exertion in a profession fraught with peril to men of ambition and energy. Federigo started with a principality sufficient to satisfy his just desires for power. Nothing but his own sense of right and prudence restrained Colleoni upon the path which brought Francesco Sforza to a duchy by dishonorable dealings, and Carmagnola to the scaffold by questionable practice against his masters.