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Pope Alexander the sixt, desiring to make the Duke his son a great man, had a great many difficulties, present and future: first he saw no way there was whereby he might be able to make him Lord of any State, that was not the Churches; and if he turnd to take that from the Church, he knew that the Duke of Milan, and the Venetians would never agree to it; for Faenza and Riminum were under the Venetians protection.
They are composed throughout in terza rima without any division into acts or scenes, and are the work of one Alessandro Caperano of Faenza, thus hailing, like the later Amaranta, from the Romagna . In 1517 we find a fantastic pastoral entitled Pulicane, written in octaves by Piero Antonio Legacci dello Stricca, a Sienese, who was also the author of several rustic pieces, in which is introduced a monster half dog and half man.
Of the Orsini he had a warning when, after taking Faenza and attacking Bologna, he saw them go very unwillingly to that attack. And as to the king, he learned his mind when he himself, after taking the Duchy of Urbino, attacked Tuscany, and the king made him desist from that undertaking; hence the duke decided to depend no more upon the arms and the luck of others.
Malatesta, lord of Rimini, followed his example; thus the Duke of Valentinois entered both these towns without striking a single blow. Caesar left a sufficient garrison behind him, and marched on to Faenza.
However, having taken heart, although he was not as well practised in fresco as in oil-painting, Jacopo undertook to paint those two figures. And, withdrawing for he was still working with Andrea del Sarto to draw the cartoons at S. Antonio by the Porta a Faenza, where he lived, in a short time he carried them to completion; which done, one day he took his master Andrea to see them.
This is the Amaranta, a 'Comedia nuova pastorale' by Giambattista Casalio of Faenza, which most probably belongs to a date somewhat before 1538. In it the mutual love of Partenio and Amaranta is thwarted by the girl's mother Celia, who destines her for a goatherd. Partenio is led to believe that his love has played him false, while in her turn Amaranta supposes herself forsaken.
A great tumult arose as soon as the murder was known, the widow, with an infant son, fled into the fortress, the people took up arms, Giovanni Bentivogli, with a condottiere of the duke of Milan, named Bergamino, engaged for the occasion, entered Faenza with a considerable force, and Antonio Boscoli, the Florentine commissary, was also there.
The same is true about his pulpit in S. Croce at Florence, his treatment of the story of S. Savino at Faenza, and his "Annunciation" in the church of Monte Oliveto at Naples. Benedetto, indeed, may be said to illustrate the working of Ghiberti's influence by his liberal use of landscape and architectural backgrounds; but the style is rather Ghirlandajo's than Ghiberti's.
As his lieutenant in Rimini, with strict injunctions to preserve law and order, he left Ramiro de Lorqua, when, on November 2, he departed to march upon Faenza, which had prepared for resistance. What Cesare did in Rimini was no more than he was doing throughout the Romagna, as its various archives bear witness.
But Faenza, in spite of the courage and devotion of her defenders, could not have held out long against so formidable an army, had not winter come to her aid.
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