uld not successfully resist the power of
Rome. The Pope was ready to spend enormous sums of money on this petty
war; the Duke's purse was shorter, and the mercenary troops he was
obliged to use, proved worthless in the field. Spaniards, for the
most part, pitted against Spaniards, they suffered the campaigns to
degenerate into a guerilla warfare of pillage and reprisals. In 1517
the duchy was formally ceded to Lorenzo. But this Medici did not live
long to enjoy it, and his only child Catherine, the future Queen of
France, never exercised the rights which had devolved upon her by
inheritance. The shifting scene of Italy beheld Francesco Maria
reinstated in Urbino after Leo's death in 1522.

This Duke married Leonora Gonzaga, a princess of the House of Mantua.
Their portraits, painted by Titian, adorn the Venetian room of the
Uffizzi. Of their son, Guidobaldo II., little need be said. He was
twice married, first to Giulia Varano, Duchess by inheritance of
Camerino; secondly, to Vittoria Farnese, daughter of the Duke of
Parma. Guidobaldo spent a lifetime in petty quarrels with his
subjects, whom he treated badly, attempting to draw from their pockets
the wealth which his father and the Montefeltri had won in military
service. He intervened at an awkward period of Italian politics. The
old Italy of despots, commonwealths, and Condottieri, in which his
predecessors played substantial parts, was at an end. The new Italy of
Popes and Austro-Spanish dynasties had hardly settled into shape.
Between these epochs, Guidobaldo II., of whom we have a dim and hazy
presentation on the page of history, seems somehow to have fallen
flat. As a sign of altered circumstances, he removed his court to
Pesaro, and built the great palace of the Della Roveres upon the
public square.

Guidobaldaccio, as he was called, died in 1574, leaving an only son,
Francesco Maria II., whose life and character illustrate the new age
which had begun for Italy. He was educated in Spain at the court of
Philip II., where he spent more than two years. When he returned, his
Spanish haughtiness, punctilious attention to etiquette, and
superstitious piety attracted observation. The violent temper of the
Della Roveres, which Francesco Maria I. displayed in acts of
homicide, and which had helped to win his bad name for Guidobaldaccio,
took the form of sullenness in the last Duke. The finest episode in
his life was the part he played in the battle of Lepanto, under hi