| Italian Renaissance - Italy - 1-9 War as Work of Art... |
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Index | pg. 31 |Previous Page - Next Page 1-9 War as Work of Art ...War as a Work of ArtIt must here be briefly indicated by what steps the art of war assumed the character of a product of reflection. Throughout the countries of the West the education of the individual soldier in the Middle Ages was perfect within the limits of the then prevalent system of defence and attack: nor was there any want of ingenious inventors in the arts of besieging and of fortification. But the development both of strategy and of tactics was hindered by the character and duration of military service, and by the ambition of the nobles, who disputed questions of precedence in the face of the enemy, and through simple want of discipline caused the loss of great battles like Crecy and Maupertuis. Italy, on the contrary, was the first country to adopt the system of mercenary troops, which demanded a wholly different organization; and the early intro- duction of firearms did its part in making war a democratic pursuit, not only because the strongest castles were unable to withstand a bombardment, but because the skill of the engineer, of the gunfounder, and of the artillerist-- men belonging to another class than the nobility--was now of the first importance in a campaign. It was felt, with regret, that the value of the individual, which had been the soul of the small and admirably organized bands of mercenaries, would suffer from these novel means of destruction, which did their work at a distance; and there were Condottieri who opposed to the utmost the introduction at least of the musket, which had lately been invented in Germany. We read that Paolo Vitelli, while recognizing and himself adopting the cannon, put out the eyes and cut off the hands of the captured 'schioppettieri' (arquebusiers) because he held it unworthy that a gallant, and it might be noble, knight should be wounded and laid low by a common, despised foot soldier. On the whole, however, the new discoveries were accepted and turned to useful account, till the Italians became the teachers of all Europe, both in the build- ing of fortifications and in the means of attacking them. Princes like Federigo of Urbino and Alfonso of Ferrara acquired a mastery of the subject compared to which the knowledge even of Maximilian I appears superficial. In Italy, earlier than elsewhere, there existed a comprehensive science and art of military affairs; here, for the first time, that impartial delight is taken in able generalship for its own sake, which might, indeed, be expected from the frequent change of party and from the wholly unsentimental mode of action of the Condottieri. During the Milano-Venetian war of 1451 and 1452, between Francesco Sforza and Jacopo Piccinino, the headquarters of the latter were attended by the scholar Gian Antonio Porcellio dei Pandoni, commissioned by Alfonso of Naples to write a report of the campaign. It is written, not in the purest, but in a fluent Latin, a little too much in the style of the humanistic bombast of the day, is modelled on Caesar's Commentaries, and interspersed with speeches, prodigies, and the like. Since for the past hundred years it had been seriously disputed whether Scipio Africanus or Hannibal was the greater, Piccinino through the whole book must needs be called Scipio and Sforza Hannibal. But something positive had to be reported too respecting the Milanese army; the sophist presented himself to Sforza, was led along the ranks, praised highly all that he saw, and promised to hand it down to posterity. Apart from him the Italian literature of the day is rich in descriptions of wars and strategic devices, written for the use of educated men in general as well as of specialists, while the contemporary narratives of northerners, such as the 'Burgundian War' by Diebold Schilling, still retain the shapelessness and matter- of-fact dryness of a mere chronicle. The greatest _dilettante _who has ever treated in that character of military affairs, Machiavelli, was then busy writing his 'Arte della Guerra.' But the development of the individual soldier found its most complete expression in those public and solemn conflicts between one or more pairs of combatants which were practiced long before the famous 'Challenge of Barletta' (1503). The victor was assured of the praises of poets and scholars, which were denied to the northern warrior. The result of these combats was no longer regarded as a Divine judgement, but as a triumph of personal merit, and to the minds of the spectators seemed to be both the decision of an exciting competition and a satisfaction for the honour of the army or the nation. It is obvious that this purely rational treatment of warlike affairs allowed, under certain circumstances, of the worst atrocities, even in the absence of a strong political hatred, as, for instance, when the plunder of a city had been promised to the troops. After the forty days' devastation of Piacenza, which Sforza was compelled to permit to his soldiers (1477), the town long stood empty, and at last had to be peopled by force. Yet outrages like these were nothing compared with the misery which was afterwards brought upon Italy by foreign troops, and most of all by the Spaniards, in whom perhaps a touch of oriental blood, perhaps familiarity with the spectacles of the Inquisition, had unloosed the devilish element of human nature. After seeing them at work at Prato, Rome, and elsewhere, it is not easy to take any interest of the higher sort in Ferdinand the Catholic and Charles V who knew what these hordes were, and yet unchained them. The mass of documents which are gradually brought to light from the cabinets of these rulers will always remain an important source of historical information; but from such men no fruitful political conception can be looked for. 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