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I am the finest friar loon in Rome." The Duke of Urbino's agent, Hieronimo Staccoli, now appears for the first time upon the stage. It was through his negotiations that the former contracts for the tomb of Julius were finally annulled and a new design adopted.
Another, less far-seeing than Valentinois, might have made capital out of Urbino's late rebellion, and pillaged the country to provide for pressing needs. But that would have been opposed to Cesare's policy, of fostering the goodwill of the people he subjected.
A farewell to these memories of Urbino's dukedom should be taken in the crypt of the cathedral, where Francesco Maria II., the last Duke, buried his only son and all his temporal hopes. The place is scarcely solemn. Its dreary barocco emblems mar the dignity of death. A bulky Piet
To the mortmain of the Church reverts Urbino's lordship, and even now he meditates the terms of devolution. Jesuits cluster in the rooms behind, with comfort for the ducal soul and calculations for the interests of Holy See.
Michelangelo made Urbino's fortune, mourned his death, and undertook the guardianship of his children, as will appear in due course. All through his life the great sculptor was dependent upon some trusted servant, to whom he became personally attached, and who did not always repay his kindness with gratitude.
Imagination shifts the scene, and shows in that same loggia Rome's warlike Pope, attended by his cardinals and all Urbino's chivalry. The snowy beard of Julius flows down upon his breast, where jewels clasp the crimson mantle, as in Raphael's picture.
Yet this peculiar position of the palace, though baffling to a close observer of its details, is one of singular advantage to the inhabitants. Set on the verge of Urbino's towering eminence, it fronts a wave-tossed sea of vales and mountain summits toward the rising and the setting sun.
Meanwhile I address my prayers to that Lord of whom you spoke to me with so fervent and humble a heart when I left Rome, that when I return thither I may find you with His image renewed and enlivened by true faith in your soul, in like measure as you have painted it with perfect art in my Samaritan. Believe me to remain always yours and your Urbino's."
"Here, in my house," he informed them, "he committed an outrage upon a poor unfortunate, for which an account may yet be asked of me since it was under my roof that the thing befell, for all that I knew nothing of it." Upon being pressed by Paolo to tell them more, he parted with the information that the unfortunate in question was Urbino's jester Peppe. At that, Paolo's glance became more intent.
I have sent a goldsmith, Urbino's friend, in search of such an ornament, and hope to find it; but say nothing to her, and if you would like me to choose another article, please let me know." This letter winds up with a strange admonition: "Look to living, reflect and weigh things well; for the number of widows in the world is always larger than that of the widowers."
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