Moro

Definition and stakes

Ella Noyes,  The Story of Milan

“ It is not for nothing that the name of il Moro—the Moor—given to the dark-skinned boy in his childhood, has clung to him through history; it shows the conviction of his contemporaries and of posterity that it fitted not only his bodily appearance, but the complexion of his soul.
By his actions he must be judged. In the Italy of the Quattrocento, to do evil that good might come was excellent morality. The best men practised it, and differed only from the worst in the ends they pursued. Lodovico’s usurpation of power had its immediate justification in the salvation of the State.
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Source: Gutenberg

Ella Noyes,  The Story of Milan

“ Had men looked more closely into the monster of their imagination, they might have perceived that it was not Lodovico’s ambition that was most to be apprehended. The fatal situation which now developed seems to have been the product of two opposing fears. The Moro’s faith in himself and in his good fortune was a superstition which supported itself upon the lying prophecies of the astrologer ever at his side, and was at the mercy of every ill omen. His intrigues were often the devices of a man on the defensive, rather than the confident moves of a conqueror. ”
Source: Gutenberg

Ella Noyes,  The Story of Milan

“ Marchesino Stanza, Girolamo Tuttavilla, Galeazzo di San Severino, Galeotto di Caretto, a lettered noble and chronicler of Montferrato, all swelled the tuneful choir. The Moro himself is said to have included sonnet-making among his myriad activities. Around these distinguished figures hovered a host of lyrists of various rank and accomplishment, both natives and pilgrims attracted from afar to this now famous shrine of the Muses. Men of other occupations added their voices in moments of leisure. ”
Source: Gutenberg

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