The Story of Florence. Gardner Edmund G.

Чтение книги онлайн.

СКАЧАТЬ of the Quattrocento, with all its loveliness and all its immorality–more lovely and far less immoral in Florence than anywhere else–was drawing to an end. A new prophet had arisen, and, from the pulpits of San Marco and Santa Maria del Fiore, the stern Dominican, Fra Girolamo Savonarola, denounced the corruption of the day and announced that speedy judgment was at hand; the Church should be chastised, and that speedily, and renovation should follow. Prodigies were seen. The lions tore and rent each other in their cages; lightning struck the cupola of the Duomo on the side towards the Medicean palace; while in his villa at Careggi the Magnifico lay dying, watched over by his sister Bianca and the poet Poliziano. A visit from the young Pico della Mirandola cheered his last hours. He received the Last Sacraments, with every sign of contrition and humility. Then Savonarola came to his bedside. There are two accounts of what happened between these two terrible men, the corruptor of Florence and the prophet of renovation, and they are altogether inconsistent. The ultimate source of the one is apparently Savonarola's fellow-martyr, Fra Silvestro, an utterly untrustworthy witness; that of the other, Lorenzo's intimate, Poliziano. According to Savonarola's biographers and adherents, Lorenzo, overwhelmed with remorse and terror, had sent for the Frate to give him the absolution which his courtly confessor dared not refuse (io non ho mai trovato uno che sia vero frate, se non lui); and when the Dominican, seeming to soar above his natural height, bade him restore liberty to Florence, the Magnifico sullenly turned his back upon him and shortly afterwards died in despair.18 According to Poliziano, an eyewitness and an absolutely whole-hearted adherent of the Medici, Fra Girolamo simply spoke a few words of priestly exhortation to the dying man; then, as he turned away, Lorenzo cried, "Your blessing, father, before you depart" (Heus, benedictionem, Pater, priusquam a nobis proficisceris) and the two together repeated word for word the Church's prayers for the departing; then Savonarola returned to his convent, and Lorenzo passed away in peace and consolation. Reverently and solemnly the body was brought from Careggi to Florence, rested for a while in San Marco, and was then buried, with all external simplicity, with his murdered brother in San Lorenzo. It was the beginning of April 1492, and the Magnifico was only in his forty-fourth year. The words of old Sixtus must have risen to the lips of many: Oggi è morta la pace d'Italia. "This man," said Ferrante of Naples, "lived long enough to make good his own title to immortality, but not long enough for Italy."

      Lorenzo left three sons–Piero, who virtually succeeded him in the same rather undefined princedom; the young Cardinal Giovanni; and Giuliano. Their father was wont to call Piero the "mad," Giovanni the "wise," Giuliano the "good"; and to a certain extent their after-lives corresponded with his characterisation. There was also a boy Giulio, Lorenzo's nephew, an illegitimate child of Giuliano the elder by a girl of the lower class; him Lorenzo left to the charge of Cardinal Giovanni–the future Pope Clement to the future Pope Leo. Piero had none of his father's abilities, and was not the man to guide the ship of State through the storm that was rising; he was a wild licentious young fellow, devoted to sport and athletics, with a great shock of dark hair; he was practically the only handsome member of his family, as you may see in a peculiarly fascinating Botticellian portrait in the Uffizi, where he is holding a medallion of his great grandfather Cosimo, and gazing out of the picture with a rather pathetic expression, as if the Florentines who set a price upon his head had misunderstood him.

      Piero's folly at once began to undo his father's work. A part of Lorenzo's policy had been to keep his family united, including those not belonging to the reigning branch. There were two young Medici then in the city, about Piero's own age; Lorenzo and Giovanni di Pier Francesco, the grandsons of Cosimo's brother Lorenzo (you may see Giovanni with his father in a picture by Filippino Lippi in the Uffizi). Lorenzo the Magnificent had made a point of keeping on good terms with them, for they were beloved of the people. Giovanni was destined, in a way, to play the part of Banquo to the Magnificent's Macbeth, had there been a Florentine prophet to tell him, "Thou shalt get kings though thou be none." But Piero disliked the two; at a dance he struck Giovanni, and then, when the brothers showed resentment, he arrested both and, not daring to take their lives, confined them to their villas. And these were times when a stronger head than Piero's might well have reeled. Italy's day had ended, and she was now to be the battle-ground for the gigantic forces of the monarchies of Europe. That same year in which Lorenzo died, Alexander VI. was elected to the Papacy he had so shamelessly bought. A mysterious terror fell upon the people; an agony of apprehension consumed their rulers throughout the length and breadth of the land. In 1494 the crash came. The old King Ferrante of Naples died, and his successor Alfonso prepared to meet the torrent of French arms which Ludovico Sforza, the usurping Duke of Milan, had invited into Italy.

      In art and in letters, as well as in life and general conduct, this epoch of the Quattrocento is one of the most marvellous chapters in the history of human thought; the Renaissance as a wave broke over Italy, and from Italy surged on to the bounds of Europe. And of this "discovery by man of himself and of the world," Florence was the centre; in its hothouse of learning and culture the rarest personalities flourished, and its strangest and most brilliant flower, in whose hard brilliancy a suggestion of poison lurked, was Lorenzo the Magnificent himself.

      In both art and letters, the Renaissance had fully commenced before the accession of the Medici to power. Ghiberti's first bronze gates of the Baptistery and Masaccio's frescoes in the Carmine were executed under the regime of the nobili popolani, the Albizzi and their allies. Many of the men whom the Medici swept relentlessly from their path were in the fore-front of the movement, such as the noble and generous Palla Strozzi, one of the reformers of the Florentine Studio, who brought the Greek, Emanuel Chrysolaras, at the close of the fourteenth century, to make Florence the centre of Italian Hellenism. Palla lavished his wealth in the hunting of codices, and at last, when banished on Cosimo's return, died in harness at Padua at the venerable age of ninety-two. His house had always been full of learned men, and his reform of the university had brought throngs of students to Florence. Put under bounds for ten years at Padua, he lived the life of an ancient philosopher and of exemplary Christian virtue. Persecuted at the end of every ten years with a new sentence, the last–of ten more years–when he was eighty-two; robbed by death of his wife and sons; he bore all with the utmost patience and fortitude, until, in Vespasiano's words, "arrived at the age of ninety-two years, in perfect health of body and of mind, he gave up his soul to his Redeemer like a most faithful and good Christian."

      In 1401, the first year of the fifteenth century, the competition was announced for the second gates of the Baptistery, which marks the beginning of Renaissance sculpture; and the same year witnessed the birth of Masaccio, who, in the words of Leonardo da Vinci, "showed with his perfect work how those painters who follow aught but Nature, the mistress of the masters, laboured in vain," Morelli calls this Quattrocento the epoch of "character"; "that is, the period when it was the principal aim of art to seize and represent the outward appearances of persons and things, determined by inward and moral conditions." The intimate connection of arts and crafts is characteristic of the Quattrocento, as also the mutual interaction of art with art. Sculpture was in advance of painting in the opening stage of the century, and, indeed, influenced it profoundly throughout; about the middle of the century they met, and ran henceforth hand in hand. Many of the painters and sculptors, as, notably, Ghiberti and Botticelli, had been apprentices in the workshops of the goldsmiths; nor would the greatest painters disdain to undertake the adornment of a cassone, or chest for wedding presents, nor the most illustrious sculptor decline a commission for the button of a prelate's cope or some mere trifle of household furniture. The medals in the National Museum and the metal work on the exterior of the Strozzi Palace are as typical of the art of Renaissance Florence as the grandest statues and most elaborate altar-pieces.

      With the work of the individual artists we shall become better acquainted in subsequent chapters. Here we can merely name their leaders. In architecture and sculpture respectively, Filippo Brunelleschi (1377-1446) and Donatello (1386-1466) are the ruling spirits of the age. Their mutual friendship and brotherly rivalry almost recall the loves of Dante and Cavalcanti in an earlier day. Although Lorenzo Ghiberti (1378-1455) justly won the competition for the second gates of the Baptistery, it is now thought that Filippo ran his successful rival much more closely than the critics of an earlier day supposed. Mr Perkins remarks СКАЧАТЬ