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This episode in Gianpaolo Baglioni's life may be illustrated by the curious story told about Gabrino Fondulo, the tyrant of Cremona. The Emperor Sigismund and Pope John XXIII. were his guests together in the year 1414.
But Guasconti, finding Baglioni's pertinacity intolerable, here broke away, and was gone before the professor could again seize his arm. He looked after the young man intently and shook his head. "This must not be," said Baglioni to himself. "The youth is the son of my old friend, and shall not come to any harm from which the arcana of medical science can preserve him.
The youth might have taken Baglioni's opinions with many grains of allowance had he known that there was a professional warfare of long continuance between him and Dr. Rappaccini, in which the latter was generally thought to have gained the advantage.
Giovanni grew white as marble, and stood motionless before the mirror, staring at his own reflection there as at the likeness of something frightful. He remembered Baglioni's remark about the fragrance that seemed to pervade the chamber. It must have been the poison in his breath! Then he shuddered shuddered at himself.
They succeeded so well that the second meeting was held at Magione a place belonging to the powerful Cardinal Orsini, situated near the Baglioni's stronghold of Perugia. Vitellozzo was carried thither on his bed, so stricken with the morbo gallico which in Italy was besetting most princes, temporal and ecclesiastical that he was unable to walk.
He instances Gian Paolo Baglioni's omission to murder Julius II., when that Pope placed himself within his clutches at Perugia. He might also have instanced Rinaldo degli Albizzi's refusal to push things to extremities by murdering Cosimo.
She added, with a peculiar emphasis, "I will drink; but do thou await the result." She put Baglioni's antidote to her lips; and, at the same moment, the figure of Rappaccini emerged from the portal and came slowly towards the marble fountain.
This youth, with something of a harlequin in his jumps and his ridiculous thin legs and preposterous round body, is evidently the model for the naked demi-gods of the Resurrection and the Paradise: he is the handsome boy as the fifteenth century gave him to Signorelli; opposite, he is the living youth of the fifteenth century idealized by the study of ancient sculpture; just as the "Thunder-stricken" may be some scene of street massacre such as Signorelli might have witnessed at Cortona or Perugia; while the agonies of the "Hell" are the grouped and superb agonies taught by the antique; just as the two archangels of the "Hell," in their armour of Baglioni's heavy cavalry, may represent the modern element, and the same archangels, naked, with magnificent flying draperies, blowing the trumpets of the Resurrection, may show the antique element in Renaissance art.
Valori, supported by Baglioni's military force, reigned supreme in the city, and prepared to reinstate the exiled family of princes. It said that Marco Dandolo of Venice, when news reached the Pregadi of the fall of Florence, exclaimed aloud: "Baglioni has put upon his head the cap of the biggest traitor upon record."
Banquets and festivities offered another kind of opportunity; and it was on such occasions that domestic tragedies, like Oliverotto's murder of his uncle and Grifonetto Baglioni's treason, were accomplished.
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