The Baglioni were one of those families whose rule never took the shape of an avowed despotism. It was rather a leadership exercised by means of their vast wealth and of their practical influence in the choice of public officers. Within the family one man was recognised as head; but deep and secret jealousy prevailed among the members of the different branches. Opposed to the Baglioni stood another aristocratic party, led by the family of the Oddi. In 1487 the city was turned into a camp, and the houses of the leading citizens swarmed with bravos; scenes of violence were of daily occurrence. At the burial of a German student, who had been assassinated, two colleges took arms against one another; sometimes the bravos of the different houses even joined battle in the public square. The complaints of the merchants and artisans were vain; the Papal Governors and Nipoti held their tongues, or took themselves off on the first opportunity. At last the Oddi were forced to abandon Perugia, and the city became a beleaguered fortress under the absolute despotism of the Baglioni, who used even the cathedral as barracks. Plots and surprises were met with cruel vengeance; in the year 1491, after 130 conspirators, who had forced their way into the city, were killed and hung up at the Palazzo Comunale, thirty-five altars were erected in the square, and for three days mass was performed and processions held, to take away the curse which rested on the spot. A nephew of Innocent VIII. was in open day run through in the street. A nephew of Alexander VI., who was sent to smooth matters over, was dismissed with public contempt. All the while the two leaders of the ruling house, Guido and Ridolfo, were holding frequent interviews with Suor Colomba of Rieti, a Dominican nun of saintly reputation and miraculous powers, who under penalty of some great disaster ordered them to make peacenaturally in vain. Nevertheless the chronicle takes the opportunity to point out the devotion and piety of the better men in Perugia during this reign of terror. When in 1494 Charles VIII. approached, the Baglioni from Perugia and the exiles encamped in and near Assisi conducted the war with such ferocity, that every house in the valley was levelled to the ground. The fields lay untilled, the peasants were turned into plundering and murdering savages, the fresh-grown bushes were filled with stags and wolves, and the beasts grew fat on the bodies of the slain, on so-called Christian flesh. When Alexander VI. withdrew (1495) into Umbria before Charles VIII., then returning from Naples, it occurred to him, when at Perugia, that he might now rid himself of the Baglioni once for all; he proposed to Guido a festival or tournament, or something else of the same kind, which would bring the whole family together. Guido, however, was of opinion, that the most impressive spectacle of all would be to see the whole military force of Perugia collected in a body, whereupon the Pope abandoned his project. Soon after, the exiles made another attack, in which nothing but the personal heroism of the Baglioni won them the victory. It was then that Simonetto Baglione, a lad of scarcely eighteen, fought in the square with a handful of followers against hundreds of the enemy: he fell at last with more than twenty wounds, but recovered himself when Astorre Baglione came to his help, and mounting on horseback in gilded armour with a falcon on his helmet, like Mars in bearing and in deeds, plunged into the struggle.
At that time Raphael, a boy of twelve years of age, was at school under Pietro Perugino. The impressions of these days are perhaps immortalised in the small, early pictures of St. Michael and St. George: something of them, it may be, lives eternally in the great painting of St. Michael: and if Astorre Baglione has anywhere found his apotheosis, it is in the figure of the heavenly horseman in the Heliodorus.
The opponents of the Baglioni were partly destroyed, partly scattered in terror, and were henceforth incapable of another enterprise of the kind. After a time a partial reconciliation took place, and some of the exiles were allowed to return. But Perugia became none the safer or more tranquil: the inward discord of the ruling family broke out in frightful excesses. An opposition was formed against Guido and Ridolfo and their sons Gianpaolo, Simonetto, Astorre, Gismondo, Gentile, Marcantonio and others, by two great-nephews, Grifone and Carlo Barciglia; the latter of the two was also nephew of Varano, Prince of Camerino, and brother of one of the former exiles, Ieronimo della Penna. In vain did Simonetto, warned by sinister presentiment, entreat his uncle on his knees to allow him to put Penna to death: Guido refused. The plot ripened suddenly on the occasion of the marriage of Astorre with Lavinia Colonna, at Midsummer 1500. The festival began and lasted several days amid gloomy forebodings, whose deepening effect is admirably described by Matarazzo. Varano fed and encouraged them with devilish ingenuity: he worked upon Grifone by the prospect of undivided authority, and by stories of an imaginary intrigue of his wife Zenobia with Gianpaolo. Finally each conspirator was provided with a victim. (The Baglioni lived all of them in separate houses, mostly on the site of the present castle.) Each received fifteen of the bravos at hand; the remainder were set on the watch. In the night of July 15 the doors were forced, and Guido, Astorre, Simonetto, and Gismondo were murdered; the others succeeded in escaping.
As the corpse of Astorre lay by that of Simonetto in the street, the spectators, and especially the foreign students, compared him to an ancient Roman, so great and imposing did he seem. In the features of Simonetto could still be traced the audacity and defiance which death itself had not tamed. The victors went round among the friends of the family, and did their best to recommend themselves; they found all in tears and preparing to leave for the country. Meantime the escaped Baglioni collected forces without the city, and on the following day forced their way in, Gianpaolo at their head, and speedily found adherents among others whom Barciglia had been threatening with death. When Grifone fell into their hands near S. Ercolono. Gianpaolo handed him over for execution to his followers. Barciglia and Penna fled to Varano, the chief author of the tragedy, at Camerino; and in a moment, almost without loss, Gianpaolo became master of the city.
Atalanta, the still young and beautiful mother of Grifone, who the day before had withdrawn to a country house with the latters wife Zenobia and two children of Gianpaolo, and more than once had repulsed her son with a mothers curse, now returned with her step-daughter in search of the dying man. All stood aside as the two women approached, each man shrinking from being recognised as the slayer of Grifone, and dreading the malediction of the mother. But they were deceived: she herself besought her son to pardon him who had dealt the fatal blow, and he died with her blessing. The eyes of the crowd followed the two women reverently as they crossed the square with blood-stained garments. It was Atalanta for whom Raphael afterwards painted the world-famed Deposition, with which she laid her own maternal sorrows at the feet of a yet higher and holier suffering.
The cathedral, in the immediate neighbourhood of which the greater part of this tragedy had been enacted, was washed with wine and consecrated afresh. The triumphal arch, erected for the wedding, still remained standing, painted with the deeds of Astorre and with the laudatory verses of the narrator of these events, the worthy Matarazzo.
A legendary history, which is simply the reflection of these atrocities, arose out of the early days of the Baglioni. All the members of this family from the beginning were reported to have died an evil deathtwenty-seven on one occasion together; their houses were said to have been once before levelled to the ground, and the streets of Perugia paved with the bricksand more of the same kind. Under Paul III. the destruction of their palaces really took place.63