chapter  11
1629-1635
Pages 12

Pasquino and Marforio were Rome’s ‘talking statues’, antique sculptures that were news hubs, on which political satires were posted about Roman politics and international events. The ‘Dance of Europe’s Princes’ was a commentary on Europe’s wars in which various ™›’—ŒŽœȱŠ—ȱœŠŽœȱŠ—ŒŽȱŠŒŒ˜›’—ȱ ˜ȱ ‘Ž’›ȱ ˜›ž—Žœǯȱ›’ĴŽ—ȱ‹Ž ŽŽ—ȱŗŜřŚȱŠ—ȱŗŜŚśǰȱ ’ȱ understandably focused on Italy, though not exclusively, as Marforio satirised most of Europe’s powers. Even the imperial generalissimo Albrecht von Wallenstein got a mention. What does this tell us about the Thirty Years’ War? The war captured public imagination, even if it would be unwise to think that Europeans shared a single news culture.2 Events in the Holy Roman Empire were narrated and glossed to German audiences, and also to ˜‘Ž›œȱž›‘Ž›ȱŠęŽ•ǰȱ›˜–ȱ—•Š—ȱ˜ȱŠ•¢ǯ3 Equally, Germans and Europeans joined the ˜œȱ˜ȱ›Ž’˜—Š•ȱŠ—ȱ’—Ž›—Š’˜—Š•ȱŒ˜—Ě’Œœȱ˜ȱœŽŽȱ’쎛Ž—ȱ™˜•’’ŒŠ•ȱ™Ž›–žŠ’˜—œȱ˜ȱŠ••’Š—ŒŽœȱ and disputes, centred on the empire. As the war was partly a media event, so it was also a series of inter-connected military theatres. From the Atlantic and North Sea to the Baltic and Mediterranean, across Northern Europe and the empire to Italy, dynastic interests, territorial claims, constitutional disputes and religious rivalries were entwined in the dance of war and diplomacy.