vacillation may be forgiven to a pope so harassed and beset, armed
with a handful of troops, and defended by a faith that only the weak
seemed to cherish. We perceive how small a role religion played in
these struggles for power when we hear the comment of Charles to the
papal nuncio on learning that Paul was turning to France: the Pope,
said the Emperor, had caught in old age an infection usually
acquired in youth, the morbus gallicus, the French disease. `06399
Paul neither stopped Protestantism nor effected any substantial
reforms, but he revitalized the papacy and restored it to grandeur and
influence. He remained to the end a Renaissance pope. He encouraged
and financed the work of Michelangelo and other artists, beautified
Rome with new buildings, embellished the Vatican with the Sala Regia
and the Cappella Paolina, took part in brilliant receptions,
welcomed fair women to his table, received musicians, buffoons, female
singers and dancers, at his court; `063910 even in his eighties this
Farnese was no spoil-sport. Titian transmitted him to us in a series
of powerful portraits. The best (in the Naples Museum) shows the
seventy-five-year-old Pontiff still strong, his face furrowed with
problems of state and family, but his head not yet bowed to time.
Three years later Titian painted an almost prophetic picture (also
in Naples) of Paul and his nephews Ottavio and Alessandro; the Pope,
now bent and weary, seems to question Ottavio suspiciously. In 1547
Paul's son Pierluigi was assassinated: in 1548 Ottavio rebelled
against his father, and entered into an agreement with Paul's
enemies to make Parma an Imperial fief. The old Pope, defeated even by
his children, surrendered himself to death (1549).
Julius III (1550-55) misnamed himself; there was nothing in him of
the virility and power and grandiose aims of Julius II; rather, he
resumed the easy ways of Leo X, and enjoyed the papacy with amiable
prodigality, as if the Reformation had died with Luther. He hunted,
kept court jesters, gambled for large sums, patronized bullfights,
made a cardinal out of a page who took care of his monkey, and, all in
all, gave Rome its last taste of Renaissance paganism in morals and
art. `063911 Outside the Porta del Popolo he had Vignola and others
build for him the pretty Villa di Papa Giulio (1553), and made it a
center of artists, poets, and festivities. He accommodated himself
peacefully to the policies of Charles V. He suffered inopportunely