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Tarquinius, Sextus Nero, Sextus et iste:

           Semper sub Sextis perdita Roma fuit."

      "Sextus Tarquinius, Sextus Nero, this also a Sextus" (Alexander Sextus, that is, Alexander the Sixth): "always under the Sextuses has Rome been ruined." And as if this were not enough, another distich struck with more directness at the vices of the Pope:—

        "Vendit Alexander claves, altaria, Christum:

           Emerat ille prius, vendere jure potest."

      "Alexander sells the keys, the altars, Christ. He bought them first, and has good right to sell."3

      Alexander had gained his election by bribes which he did not pay, and promises which he did not keep; and Guicciardini tells in a few words what use he made of his holy office, declaring, that, "with his immoderate ambition and poisoned infidelity, together with all the horrible examples of cruelty, luxury and monstrous covetousness, selling without distinction both holy things and profane things, he infected the whole world."4

      In 1503, after a pontificate of eleven years, Alexander died. Rome rejoiced. Peace, which for a long time had been banished from her borders, returned, and she enjoyed for a few days unwonted freedom from alarm and trouble. Her happiness found expression in verse:—

        "Dic unde, Alecto, pax haec effulsit, et unde

           Tam subito reticent proelia? Sextus obit."

      "Say whence, Alecto, has this peace shone forth? wherefore so suddenly has the noise of battle ceased? Alexander is dead."

      The rule of Borgia's successor, Pius III., lasting only twenty-seven days, afforded little opportunity to the play of indignant wit; but the nine years' reign of Julius II., which followed, was a period whose troubled history is recorded in the numerous epigrams and satires to which it gave birth. The impulsive and passionate vigor of the character of Julius, the various fortunes of his rash enterprises, the troubles which his stormy and rapacious career brought to the Papal city, are all more or less minutely told. The Pope began his reign with warlike enterprises, and as soon as he could gather sufficient force he set out to recover from the Venetians territory of which they had possession, and which he claimed as the property of the Papal state. It was said, that, in leading his troops out of Rome, he threw into the Tiber, with characteristic impetuosity, the keys of Peter, and, drawing his sword from its sheath, declared that henceforth he would trust to the sword of Paul. The story was too good to be lost, and it gave point to many epigrams, of which, perhaps, the one preserved by Bayle is the best:—

        "Cum Petri nihil efficiant ad proelia claves,

           Auxilio Pauli forsitan ensis erit."

      "Since the keys of Peter profit not for battle, perchance, with the aid of Paul, the sword will answer."5

      Julius was the first of the Popes of recent times to allow his beard to grow, and Raphael's noble portrait of him shows what dignity it gave to his strongly marked face. The beard was also regarded traditionally as having belonged to Saint Paul. "For me," the Pope was represented as saying, "for me the beard of Paul, the sword of Paul, all things of Paul: that key-bearer, Peter, is no way to my liking."

        "Huc barbam Pauli, gladium Pauli, omnia Pauli:

           Claviger ille nihil ad mea vota Petrus."

      But the most savage epigram against Julius was one that recalled the name of the great Roman, which the Pope was supposed to have adopted in emulation of that of Alexander, borne by his predecessor:—

        "Julius est Romae. Quid abest? Date, numina, Brutum.

           Nam quoties Romae est Julius, illa perit."

        "Julius is at Rome. What is wanting?

      Ye gods, give us a Brutus! For

        when Julius is at Rome, the city is lost."

      Pasquin became a recognized institution, as we have said, under Leo X., and was taken under the protection of the Roman people.6 His popularity was such as to lead to consequences of which he himself complained. He was made the vehicle of the effusions of worthless versifiers, and he was forced to cry out, "Woe is me! even the copyist fixes his verses upon me, and every one bestows on me his silly trifles."

      The application of these verses was alike appropriate to the life of the Pope, or to the reigns of Alexander VI., Julius II., and the one just beginning.

        "Me miserum! Copista etiam mihi carmina figit;

        Et tribuit nugas jam mihi quisque suas."

      He seems to have been successful in putting a stop to this injurious treatment; for not long after he declared, with a sarcasm directed against the prominent qualities of his fellow-citizens, "There is no better man at Rome than I. I seek nothing from any one. I am not wordy. I sit here and am silent."

        "Non homo me melior Rome est. Ego nil peto ab ullo.

        Non sum verbosus. Hic sedeo et taceo."

      It had become the custom, upon occasions of public festivity, to adorn Pasquin with suits of garments, and with paint, forcing him to assume from time to time different characters according to the fancy of his protectors. Sometimes he appeared as Neptune, sometimes as Chance or Fate, as Apollo or Bacchus. Thus, in the year 1515, he became Orpheus, and, while adorned with the plectrum and the lyre of the poet, Marforio addressed a distich to him in his new character, which hints at the popular appreciation of the Pope. The year 1515 was that of the descent of Francis I, into Italy, and of the bloody battle of Marignano. "In the midst of war and slaughter and the sound of trumpets," said Marforio, "you sing and strike your lyre: this is to understand the temper of your Lord."

        "Inter bella, tubas, caedes, canis ipse, lyramque

        Percutis. Hoc sapere est ingenium Domini."7

      But the character of most of those pasquinades which belong to the pontificate of Leo is so coarse as to render them unfit for reproduction. A general licentiousness pervaded Rome, and the vices of the Pope and the higher clergy, veiled, but not hidden, under the displays of sensual magnificence and the pretended refinements of degraded art, were readily imitated by a people taught to follow and obey the teachings of their ecclesiastical rulers. Corruption of every sort was common. Virtue and vice, profane and sacred things, were alike for sale. The Pope made money by the sale of cardinalates and traffic in indulgences. "Give me gifts, ye spectators," begged Pasquin; "bring me not verses: divine Money alone rules the ethereal gods."

        "Dona date, astantes; versus ne reddite: sola

        Imperat aethereis alma Moneta deis."

      Leo's fondness for buffoons, with whom he mercilessly amused himself by tormenting them and exciting them to make themselves ridiculous, is recorded in a question put to Pasquin on one of his changes of figure. "Why have you not asked, O Pasquil, to be made a buffoon? for at Rome everything is now permitted to the buffoons."

        "Cur non te fingi scurram, Pasquille, rogâsti?

        Cum Romae scurris omnia jam liceant."

      Leo died in 1521. His death was sudden, and not without suspicion of poison. It was said that the last offices of the Church were not performed for the dying man, and an epigram sharply embodied the report. "Do you ask why at his last hour Leo could not take the sacred things? He had sold them."

        "Sacra sub extremâ, si forte requiritis, horâ

        Cur Leo non potuit sumere: Vendiderat."

      The

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