with so much alacrity that mass was performed in it by the
close of 1450. Sigismondo entrusted the execution of his plans
to Leo Battista Alberti, who had to encase in a shell of classic
architecture a 13th-century Franciscan church. The original
edifice being left intact, it was a difficult question how to deal
with the windows and the Gothic arches of the interior. Alberti
solved the problem with marvellous skill, blending the old
architecture with the new style of the Renaissance, and giving
it variety without destroying its unity of effect.
Being eager to adorn his temple with the most precious marbles, Sigismondo's veneration for antiquity did not prevent him from pillaging many valuable classical remains in Rimini, Ravenna and even in Greece. Such was the zeal with which Alberti pursued his task that the exterior of the little Rimini church is one of the finest and purest achievements of the Renaissance, and surpasses in beauty and elegance all the rest of his works. But it is much to be deplored that he should have left the upper part of the facade unfinished. Alberti came to Rimini, made his design, saw the work begun and then left it to be carried out by very skilful artists, on whom he impressed the necessity of faithfully preserving its general character so as “not to spoil that music.”
The internal decorations, especially the enormous quantity of wall ornaments, consisting chiefly of scrolls and bas-reliefs, were executed by different sculptors under the personal direction of Malatesta, who, even when engaged in war, sent continual instructions about their work. It is difficult to give an exact idea of this extraordinary church to those who have no personal acquaintance with it. The vault was never finished, and still shows its rough beams and rafters. The eight side chapels alone are complete, and their pointed arches spring from Renaissance pilasters planted on black marble elephants, the Malatesta emblems, or on baskets of' fruit held by children. The surface of the pilasters is divided into compartments encrusted with bas-reliefs of various subjects and styles. Everywhere-on the balustrades closing the chapels, round the base of the pilasters, along the walls, beneath the cornice of both the exterior and the interior of the church-there is one ornament that is perpetually repeated, the interwoven initials of Sigismondo and Isotta. This monogram is alternated with the portrait and arms of Malatesta; and these designs are en wreathed by festoons linked together by the tyrant's second emblem, the rose. The most singular and characteristic feature of this edifice is the almost total absence of every sacred emblem. Rather than to St Francis and the God of the Christians it was dedicated-and that while Sigismondo's second wife still lived-to the glorification of an unhallowed attachment. Nature, science and antiquity were summoned to celebrate the tyrant's love for Isotta. The bas-reliefs of one of the chapels represent Jupiter, Venus, Saturn, Mars and Diana, together with the signs of the zodiac. And these subjects are derived, it appears, from a poem in which Sigismondo had invoked the gods and the signs of the zodiac to soften Isotta's heart and win her to his arms. The pageants of Mars and Diana seem to have been suggested by the Trionji of Petrarch. Elsewhere we see prophets and sibyls, personifications of the theological virtues and of the sciences. The delicate bas-reliefs of botany and medicine, history and astronomy, have been judged by some writers to be Grecian, on account of the ancient appearance of their marble, their inscriptions in Greek and Latin, and others that have never been deciphered. But a moment's examination of the sculptures is enough to destroy this hypothesis. Besides, some of the inscriptions are very easily read and record “Apollo Ariminaeus” and “Jupiter Ariminaeus.”
In the first chapel on the left is the family tomb of the Malatesta, with sculptured records of their triumphs and of their alleged descent from Scipio Africanus. Better worthy of notice is the third chapel to the right, known as that of the Angels, on account of the angels and children carved on its pillars. It is nominally dedicated to the archangel Michael, whose statue is enshrined in it; but the figure has the face of Isotta, the ruling deity of this portion of the church. For here is the splendid and fantastic tomb erected to this lady, during her life and previous to the death of Sigisrnondo's second wife. No monument, be it remarked, is raised over the burial-place of Ginevra and Polissena. The urn of Isotta's sarcophagus is supported by two elephants, and bears the inscription, “D. Isottae Ariminensi B. M. Sacrum, MCCCCL.” The “D.” has been generally interpreted as “Divae” and the “B. M.” as “Beatae Memoriae.” But some, unwilling to credit such, profanity, allege that the letters stand for “Bonae Memoriae.” Nevertheless, all who have seen the church must admit the improbability of similar scruples.
The numerous artists employed on the interior of the church were under the direction of the proto-maestro Matteo de Pasti the celebrated medallist. And indeed the peculiar and fantastic character of the sculptures in this chapel frequently recalls the designs of his famous works. All this decoration is in strange contrast with the grandly austere simplicity of the facade and outer walls of the church. There no ornament disturbs the harmony of the lines. The frieze beneath the cornice, reproducing the lovers’ initials and the Malatestian ensigns, is in such very low relief that it only enhances the perfection of “that music” produced by the marvellous skill of Alberti. Also the colour of the stone, a soft creamy white, adds to the general beauty of effect. And everything both within and without contributes to the profane and pagan character which it was Sigismondo's purpose to impress on the Christian church. On each of its outer walls are seven arched recesses, intended to contain the ashes of the first literati and scientists of his court. In the first, to the right, is the urn of the poet Basinio, one of his pensioners, in the second that of Giusto de' Conti, author of some rhymes on the Bella Mano, while the third bore the more famous name of Gemisthus Pletho. This well known Byzantine philosopher was the diffuser of Platonism in Florence during the time of Cosimo de' Medici, and had faith in the revival of paganism. Returning to his own people, he had died in the Morea. Sigismondo, having gone there in command of the Venetian expedition. against the Turks, exhumed the philosopher's bones as holy relics, and brought them to Rimini for worthy sepulture in his Christian pantheon.; All this is solemnly recorded in the inscription, which is dated 146 5. The fourth sarcophagus was that of Roberto Valturio (d. 1489), the engineer, author of De Re Militari, who had been Sigismondo's minister and had aided him in the construction of the castle of Rimini. The other urns on this side were placed by Malatesta's successors, and the arches on the left wall remained untenanted.
Sigismondo understood the science of fortification. He was also the first to discard the use of wooden bomb-shells, and substitute others cast in bronze. As a soldier his numerous campaigns had shown him to be possessed of all the best qualities and worst defects of the free captains of his time. He began his military career in 1432 in the service of Eugenius IV.; but, when this pope doubted his good faith and transferred the command to another, he sided with the Venetians against him, though at a later date he again served under him. On the decease of Filippo Maria Visconti in 1447 he joined the Aragonese against Venice and Florence; but, presently changing his flag, fought valiantly against Alphonso of Aragon and forced him to raise the siege of Piombino. In 1454 he accepted a command from the Sienese; but suddenly, after his usual fashion, he made peace with the enemies of the republic, and had to save himself by iiight from arrest for his perfidy. It was then that the letters from Isotta were confiscated. After this he began scheming to hasten the coming of the Angevins, and took part in new and more hazardous campaigns against adversaries such as the duke of Urbino, Sforza of Milan, Piccinino, and, worst of all, the Sienese pope, Pius II., his declared and mortal foe. This time Sigismondo had blundered; for the cause of Anjou was hopelessly ruined in Italy. He was therefore driven to make his submission to the pope, but, again rebelling, was summoned to trial in Rome (1460) before a tribunal of hostile cardinals. All the old charges against him were now revived
