Some decades later, about 1360, Fazio degli Uberti describes, in his rhyming geography, the wide panorama from the mountains of Auvergne, with the interest, it is true, of the geographer and antiquarian only, but still showing clearly that he himself had seen it. He must, however, have ascended far higher peaks, since he is familiar with facts which only occur at a height of 10,000 feet or more above the sea—mountain-sickness and its accompaniments—of which his imaginary comrade Solinus tries to cure him with a sponge dipped in an essence. The ascents of Parnassus and Olympus, of which he speaks, are perhaps only fictions.
In the fifteenth century, the great masters of the Flemish school, Hubert and Jan van Eyck, suddenly lifted the veil from nature. Their landscapes are not merely the fruit of an endeavor to reflect the real world in art, but have, even if expressed conventionally, a certain poetical meaning—in short, a soul. Their influence on the whole art of the West is undeniable, and extended to the landscape-painting of the Italians, but without preventing the characteristic interest of the Italian eye for nature from finding its own expression.
On this point, as in the scientific description of nature, Aeneas Sylvius is again one of the most weighty voices of his time. Even if we grant the justice of all that has been said against his character, we must nevertheless admit that in few other men was the picture of the age and its culture so fully reflected, and that few came nearer to the normal type of the men of the early Renaissance. It may be added parenthetically, that even in respect to his moral character he will not be fairly judged, if we listen solely to the complaints of the German Church, which his fickleness helped to balk of the Council it so ardently desired.
He here claims our attention as the first who not only enjoyed the magnificence of the Italian landscape, but described it with enthusiasm down to its minutest details. The ecclesiastical State and the south of Tuscany—his native home—he knew thoroughly, and after he became Pope he spent his leisure during the favourable season chiefly in excursions to the country. Then at last the gouty man was rich enough to have himself carried in a litter across the mountains and valleys; and when we compare his enjoyments with those of the Popes who succeeded him, Pius, whose chief delight was in nature, antiquity, and simple, but noble, architecture, appears almost a saint. In the elegant and flowing Latin of his 'Commentaries' he freely tells us of his happiness.
His eye seems as keen and practiced as that of any modern observer. He enjoys with rapture the panoramic splendor of the view from the summit of the Alban Hills—from the Monte Cavo—whence he could see the shores of St. Peter from Terracina and the promontory of Circe as far as Monte Argentaro, and the wide expanse of country round about, with the ruined cities of the past, and with the mountain-chains of Central Italy beyond; and then his eye would turn to the green woods in the hollows beneath and the mountain-lakes among them. He feels the beauty of the position of Todi, crowning the vineyards and olive-clad slopes, looking down upon distant woods and upon the valley of the Tiber, where towns and castles rise above the winding river. The lovely hills about Siena, with villas and monasteries on every height, are his own home, and his descrip- tions of them are touched with a peculiar feeling. Single picturesque glimpses charm him too, like the little promontory of Capo di Monte that stretches out into the Lake of Bolsena. 'Rocky steps,' we read, 'shaded by vines, descend to the water's edge, where the evergreen oaks stand between the cliffs, alive with the song of thrushes.' On the path round the Lake of Nemi, beneath the chestnuts and fruit-trees, he feels that here, if anywhere, a poet's soul must awake—here in the hiding-place of Diana! He often held consistories or received ambassadors under huge old chestnut-trees, or beneath the olives on the greensward by some gurgling spring. A view like that of a narrowing gorge, with a bridge arched boldly over it, awakens at once his artistic sense. Even the smallest details give him delight through something beautiful, or perfect, or characteristic in them—the blue fields of waving flax, the yellow gorse which covers the hills, even tangled thickets, or single trees, or springs, which seem to him like wonders of nature.
The height of his enthusiasm for natural beauty was reached during his stay on Monte Amiata, in the summer of 1462, when plague and heat made the lowlands uninhabitable. Half-way up the mountain, in the old Lombard monastery of San Salvatore, he and his court took up their quarters. There, between the chestnuts which clothe the steep declivity, the eye may wander over all Southern Tuscany, with the towers of Siena in the distance. The ascent of the highest peak he left to his companions, who were joined by the Venetian envoy; they found at the top two vast blocks of stone one upon the other—perhaps the sacrificial altar of a prehistoric people—and fancied that in the far distance they saw Corsica and Sardinia rising above the sea. In the cool air of the hills, among the old oaks and chestnuts, on the green meadows where there were no thorns to wound the feet, and no snakes or insects to hurt or to annoy, the Pope passed days of unclouded happiness. For the 'Segnatura,' which took place on certain days of the week, he selected on each occasion some new shady retreat 'novos in convallibus fontes et novas inveniens umbras, quae dubiam facerent electionem.' At such times the dogs would perhaps start a great stag from his lair, who, after defending himself a while with hoofs and antlers, would fly at last up the mountain. In the evening the Pope was accustomed to sit before the monastery on the spot from which the whole valley of the Paglia was visible, holding lively conversations with the cardinals. The courtiers, who ventured down from the heights on their hunting expeditions, found the heat below intolerable, and the scorched plains like a very hell, while the monastery, with its cool, shady woods, seemed like an abode of the blessed.
All this is genuine modern enjoyment, not a reflection of antiquity. As surely as the ancients themselves felt in the same manner, so surely, nevertheless, were the scanty expressions of the writers whom Pius knew insufficient to awaken in him such enthusiasm.
The second great age of Italian poetry, which now followed at the end of the fifteenth and the beginning of the sixteenth centuries, as well as the Latin poetry of the same period, is rich in proofs of the powerful effect of nature on the human mind. The first glance at the lyric poets of that time will suffice to convince us. Elaborate descriptions of natural scenery, it is true, are very rare, for the reason that, in this energetic age, poetry had something else to paint nature vigorously, but no effort to appeal by their reader, which they endeavor to reach solely by their narrative and characters. Letter- writers and the authors of philosophical dialogues are, in fact, better evidence of the growing love of nature than the poets. The novelist Bandello, for example, observes rigorously the rules of his department of literature; he gives us in his novels themselves not a word more than is necessary on the natural scenery amid which the action of his tales takes place, but in the dedications which always precede them we meet with charming descriptions of nature as the setting for his dialogues and social pictures. Among letter-writers, Aretino unfortunately must be named as the first who has fully painted in words the splendid effect of light and shadow in an Italian sunset.
We sometimes find the feeling of the poets, also, itself with tenderness to graceful scenes of country Strozzi, about the year 1480, describes in a Latin elegy the dwelling of his mistress. We are shown an old ivy-clad house, half hidden in trees, and adorned with weather- stained frescoes of the saints, and near it a chapel much damaged by the violence of the River Po, which flowed hard by; not far off, the priest ploughs his few barren roods with borrowed cattle. This is no reminiscence of the Roman elegists, but true modern sentiment; and the parallel to it—a sincere, unartificial description of country life in general—will be found at the end of this part of our work.
It may be objected that the German painters at the beginning of the sixteenth century succeeded in representing with perfect mastery these scenes of country life, as, for instance, Albrecht Durer, in his engraving of the Prodigal Son. But it is one thing if a painter, brought up in a school of realism, introduces such scenes, and quite another thing if a poet, accustomed to an ideal or mythological framework, is driven by inward impulse into realism. Besides which, priority in point of time is here, as in the descriptions of country life, on the side of the Italian poets.
Discovery of Man
To the discovery of the outward world the Renaissance added a still greater achievement, by first discerning and bringing to light the full, whole nature of man. This period, as we have seen, first gave the highest development to individuality, and then led the individual to the most zealous and thorough study of himself in all forms and under all conditions. Indeed, the development of personality is essentially involved in the recognition of it in oneself and in others. Between these two great processes our narrative has placed the influence of ancient literature because the mode of conceiving and representing both the individual and human nature in general was defined and colored by that influence. But the power of conception and representation lay in the age and in the people.
The facts which we shall quote in evidence of our thesis will be few in number. Here, if anywhere in the course of this discussion, the author is conscious that he is treading on the perilous ground of conjecture, and that what seems to him a clear, if delicate and gradual, transition in the intellectual movement of the fourteenth and fifteenth centuries, may not be equally plain to others. The gradual awakening of the soul of a people is a phenomenon which may produce a different impression on each spectator. Time will judge which impression is the most faithful.
Happily the study of the intellectual side of human nature began, not with the search after a theoretical psychology—for that, Aristotle still sufficed—but with the endeavor to observe and to describe. The indispensable ballast of theory was limited to the popular doctrine of the four temperaments, in its then habitual union with the belief in the influence of the planets. Such conceptions may remain ineradicable in the minds of individuals, without hindering the general progress of the age. It certainly makes on us a singular impression, when we meet them at a time when human nature in its deepest essence and in all its characteristic expressions was not only known by exact observation, but represented by an immortal poetry and art. It sounds almost ludicrous when an otherwise competent observer considers Clement VII to be of a melancholy temperament, but defers his judgement to that of the physicians, who declare the Pope of a sanguine-choleric nature; or when we read that the same Gaston de Foix, the victor of Ravenna, whom Giorgione painted and Bambaia carved, and whom all the historians describe, had the saturnine temperament. No doubt those who use these expressions mean something by them; but the terms in which they tell us their meaning are strangely out of date in the Italy of the sixteenth century.
As examples of the free delineation of the human spirit, we shall first speak of the great poets of the fourteenth century.
If we were to collect the pearls from the courtly and knightly poetry of all the countries of the West during the two preceding centuries, we should have a mass of wonderful divinations and single pictures of the inward life, which at first sight would seem to rival the poetry of the Italians. Leaving lyrical poetry out of account, Godfrey of Strassburg gives us, in 'Tristram and Isolt,' a representation of human passion, some features of which are immortal. But these pearls lie scattered in the ocean of artificial convention, and they are altogether something very different from a complete objective picture of the inward man and his spiritual wealth.
Italy, too, in the thirteenth century had, through the 'Trovatori,' its share in the poetry of the courts and of chivalry. To them is mainly due the 'Canzone,' whose construction is as difficult and artificial as that of the songs of any northern minstrel. Their subject and mode of thought represents simply the conventional tone of the courts, be the poet a burgher or a scholar.
But two new paths at length showed themselves, along which Italian poetry could advance to another and a characteristic future. They are not the less important for being concerned only with the formal and external side of the art.
To the same Brunetto Latini—the teacher of Dante—who, in his 'Canzoni,' adopts the customary manner of the 'Trovatori,' we owe the first-known 'versi sciolti,' or blank hendecasyllabic verses, and in his apparent absence of form, a true and genuine passion suddenly showed itself. The same voluntary renunciation of outward effect, through confidence in the power of the inward conception, can be observed some years later in fresco-painting, and later still in painting of all kinds, which began to cease to rely on color for its effect, using simply a lighter or darker shade. For an age which laid so much stress on artificial form in poetry, these verses of Brunetto mark the beginning of a new epoch.84
About the same time, or even in the first half of the thirteenth century, one of the many strictly balanced forms of mere, in which Europe was then so fruitful, became a normal and recognized form in Italy—the sonnet. The order of rhymes and even the number of lines varied for a whole century, till Petrarch fixed them permanently. In this form all higher lyrical and meditative subjects, and at a later time subjects of every possible description, were treated, and the madrigals, the sestine, and even the 'Canzoni' were reduced to a subordinate place. Later Italian writers complain, half jestingly, half resentfully, of this inevitable mould, this Procrustean bed, to which they were compelled to make their thoughts and feelings fit. Others were, and still are, quite satisfied with this particular form of verse, which they freely use to express any personal reminiscence or idle sing-song without necessity or serious purpose. For which reason there are many more bad or insignificant sonnets than good ones.
Nevertheless, the sonnet must be held to have been an unspeakable blessing for Italian poetry. The clearness and beauty of its structure, the invitation it gave to elevate the thought in the second and more rapidly moving half, and the ease with which it could be learned by heart, made it valued even by the greatest masters. In fact, they would not have kept it in use down to our own century had they not been penetrated with a sense of its singular worth. These masters could have given us the same thoughts in other and wholly different forms. But when once they had made the sonnet the normal type of lyrical poetry, many other writers of great, if not the highest, gifts, who otherwise would have lost themselves in a sea of diffusiveness, were forced to concentrate their feelings. The sonnet became for Italian literature a condenser of thoughts and emotions such as was possessed by the poetry of no other modern people.
Thus the world of Italian sentiment comes before us in a series of pictures, clear, concise, and most effective in their brevity. Had other nations possessed a form of expression of the same kind, we should perhaps have known more of their inward life; we might have had a number of pictures of inward and outward situations—reflexions of the national character and temper—and should not be dependent for such knowledge on the so-called lyrical poets of the fourteenth and fifteenth centuries, who can hardly ever be read with any serious enjoyment. In Italy we can trace an undoubted progress from the time when the sonnet came into existence. In the second half of the thirteenth century the 'Trovatori della transizione,' as they have been recently named, mark the passage from the Troubadours to the poets— that is, to those who wrote under the influence of antiquity. The simplicity and strength of their feeling, the vigorous delineation of fact, the precise expression and rounding off of their sonnets and other poems, herald the coming of a Dante. Some political sonnets of the Guelphs and Ghibellines (1260-1270) have about them the ring of his passion, and others remind us of his sweetest lyrical notes.
Of his own theoretical view of the sonnet, we are unfortunately ignorant, since the last books of his work, 'De vulgari eloquentia,' in which he proposed to treat of ballads and sonnets, either remained unwritten or have been lost. But, as a matter of fact, he has left us in his Sonnets and 'Canzoni' a treasure of inward experience. And in what a framework he has set them! The prose of the 'Vita Nuova,' in which he gives an account of the origin of each poem, is as wonderful as the verses themselves, and forms with them a uniform whole, inspired with the deepest glow of passion. With unflinching frankness and sincerity he lays bare every shade of his joy and his sorrow, and molds it resolutely into the strictest forms of art. Reading attentively these Sonnets and 'Canzoni' and the marvelous fragments of the diary of his youth which lie between them, we fancy that throughout the Middle Ages the poets have been purposely fleeing from themselves, and that he was the first to seek his own soul. Before his time we meet with many an artistic verse; but he is the first artist in the full sense of the word—the first who consciously cast immortal matter into an immortal form. Subjective feeling has here a full objective truth and greatness, and most of it is so set forth that all ages and peoples can make it their own. Where he writes in a thoroughly objective spirit, and lets the force of his sentiment be guessed at only by some outward fact, as in the magnificent sonnets 'Tanto gentile,' etc., and 'Vede perfettamente,' etc., he seems to feel the need of excusing himself. The most beautiful of these poems really belongs to this class— the 'Deh peregrini che pensosi andate,' ('Oh, pilgrims, walking deep in thoughts,' from Vita Nuova.) Even apart from the 'Divine Comedy,' Dante would have marked by these youthful poems the boundary between medievalism and modern times. The human spirit had taken a mighty step towards the consciousness of its own secret life.
The revelations in this matter which are contained in the 'Divine Comedy' itself are simply immeasurable; and it would be necessary to go through the whole poem, one canto after another, in order to do justice to its value from this point of view. Happily we have no need to do this, as it has long been a daily food of all the countries of the West. Its plan, and the ideas on which it is based, belong to the Middle Ages, and appeal to our interest only historically; but it is nevertheless the beginning of all modern poetry, through the power and richness shown in the description of human nature in every shape and attitude. From this time forward poetry may have experienced unequal fortunes, and may show, for half a century together, a so-called relapse. But its nobler and more vital principle was saved for ever; and whenever in the fourteenth, fifteenth, and in the beginning of the sixteenth centuries, an original mind devotes himself to it, he represents a more advanced stage than any poet out of Italy, given— what is certainly always easy to settle satisfactorily—an equality of natural gifts to start with.
Here, as in other things in Italy, culture—to which poetry belongs— precedes the visual arts and, in fact, gives them their chief impulse. More than a century elapsed before the spiritual element in painting and sculpture attained a power of expression in any way analogous to that of the 'Divine Comedy.' How far the same rule holds good for the artistic development of other nations, and of what importance the whole question may be, does not concern us here. For Italian civilization it is of decisive weight.
The position to be assigned to Petrarch in this respect must be settled by the many readers of the poet. Those who come to him in the spirit of a cross-examiner, and busy themselves in detecting the contradictions between the poet and the man, his infidelities in love, and the other weak sides of his character, may perhaps, after sufficient effort, end by losing all taste for his poetry. In place, then, of artistic enjoyment, we may acquire a knowledge of the man in his 'totality.' What a pity that Petrarch's letters from Avignon contain so little gossip to take hold of, and that the letters of his acquaintances and of the friends of these acquaintances have either been lost or never existed! Instead of Heaven being thanked when we are not forced to inquire how and through what struggles a poet has rescued something immortal from his own poor life and lot, a biography has been stitched together for Petrarch out of these so-called 'remains,' which reads like an indictment. But the poet may take comfort. If the printing and editing of the correspondence of celebrated people goes on for another half-century as it has begun in England and Germany, illustrious company enough sitting with him on repentance.
Without shutting our eyes to much that is _. artificial in his poetry, where the writer is merely imitating himself and singing on in the old strain, we cannot fail to admire the marvelous abundance of pictures of the inmost soul — descriptions of moments of joy and sorrow which must have been thoroughly his own, since no one before him gives us anything of the kind, and on which his significance rests for his country and for the world. His verse is not in all places equally transparent; by the side of his most beautiful thoughts stands at times some allegorical conceit or some sophistical trick of logic, altogether foreign to our present taste. But the balance is on the side of excellence.
Boccaccio, too, in his imperfectly-known Sonnets, succeeds sometimes in giving a most powerful and effective picture of his feeling. The return to a spot consecrated by love (Son. 22), the melancholy of spring (Son. 33), the sadness of the poet who feels himself growing old (Son. 65), are admirably treated by him. And in the 'Ameto' he has described the ennobling and transfiguring power of love in a manner which would hardly be expected from the author of the 'Decameron.' In the 'Fiammetta' we have another great and minutely-painted picture of the human soul, full of the keenest observation, though executed with anything but uniform power, and in parts marred by the passion for high-sounding language and by an unlucky mixture of mythological allusions and learned quotations. The 'Fiammetta,' if we are not mistaken, is a sort of feminine counterpart to the 'Vita Nuova' of Dante, or at any rate owes its origin to it.
That the ancient poets, particularly the elegists, and Virgil, in the fourth book of the Aeneid, were not without influence on the Italians of this and the following generation is beyond a doubt; but the spring of sentiment within the latter was nevertheless powerful and original. If we compare them in this respect with their contemporaries in other countries, we shall find in them the earliest complete expression of modern European feeling. The question, be it remembered, is not to know whether eminent men of other nations did not feel as deeply and as nobly, but who first gave documentary proof of the widest knowledge of the movements of the human heart.
Why did the Italians of the Renaissance do nothing above the second rank in tragedy? That was the field on which to display human character, intellect, and passion, in the thousand forms of their growth, their struggles, and their decline. In other words: why did Italy produce no Shakespeare? For with the stage of other northern countries besides England the Italians of the sixteenth and seventeenth centuries had no reason to fear a comparison; and with the Spaniards they could not enter into competition, since Italy had long lost all traces of religious fanaticism, treated the chivalrous code of honour only as a form, and was both too proud and too intelligent to bow down before its tyrannical and illegitimate masters. We have therefore only to consider the English stage in the period of its brief splendor.
It is an obvious reply that all Europe produced but one Shakespeare, and that such a mind is the rarest of Heaven's gifts. It is further possible that the Italian stage was on the way to something great when the Counter-reformation broke in upon it, and, aided by the Spanish rule over Naples and Milan, and indirectly over almost the whole peninsula, withered the best flowers of the Italian spirit. It would be hard to conceive of Shakespeare himself under a Spanish viceroy, or in the neighbourhood of the Holy Inquisition at Rome, or in his own country a few decades later, at the time o English Revolution. The stage, which in its perfection is a product of every civilization, must wait for its own time and fortune.
We must not, however, quit this subject without mentioning certain circumstances which were of a character to hinder or retard a high development of the drama in Italy, till the time for it had gone by.
As the most weighty of these causes we must mention without doubt that the scenic tastes of the people were occupied elsewhere, and chiefly in the mysteries and religious processions. Throughout all Europe dramatic representations of sacred history and legend form the origin of the secular drama; but Italy, as will be shown more fully in the sequel, had spent on the mysteries such a wealth of decorative splendor as could not but be unfavorable to the dramatic element. Out of all the countless and costly representations, there sprang not even a branch of poetry like the 'Autos Sagramentales' of Calderon and other Spanish poets, much less any advantage or foundation for the secular drama.
And when the latter did at length appear, it at once gave itself up to magnificence of scenic effects, to which the mysteries had already accustomed the public taste to far too great an extent. We learn with astonishment how rich and splendid the scenes in Italy were, at a time when in the North the simplest indication of the place was thought sufficient. This alone might have had no such unfavorable effect on the drama, if the attention of the audience had not been drawn away from the poetical conception of the play partly by the splendor of the costumes, partly and chiefly by fantastic interludes (Intermezzi).
That in many places, particularly in Rome and Ferrara, Plautus and Terence, as well as pieces by the old tragedians, were given in Latin or in Italian, that the academies of which we have already spoken, made this one of their chief objects, and that the poets of the Renaissance followed these models too servilely, were all untoward conditions for the Italian stage at the period in question. Yet I hold them to be of secondary importance. Had not the Counter-reformation and the rule of foreigners intervened, these very disadvantages might have been turned into useful means of transition. At all events, by the year 1520 the victory of the mother-tongue in tragedy and comedy was, to the great disgust of the humanists, as good as won. On this side, then, no obstacle stood in the way of the most developed people in Europe, to hinder them from raising the drama, in its noblest forms, to be a true reflection of human life and destiny. It was the Inquisitors and Spaniards who cowed the Italian spirit, and rendered impossible the representation of the greatest and most sublime themes, most of all when they were associated with patriotic memories. At the same time, there is no doubt that the distracting 'Intermezzi' did serious harm to the drama. We must now consider them a little more closely.
When the marriage of Alfonso of Ferrara with Lucrezia Borgia was celebrated, Duke Ercole in person showed his illustrious guests the 110 costumes which were to serve at the representation of five comedies of Plautus, in order that all might see that not one of them was used twice. But all this display of silk and camlet was nothing to the ballets and pantomimes which served as interludes between the acts of the Plautine dramas. That, in comparison, Plautus himself seemed mortally dull to a lively young lady like Isabella Gonzaga, and that while the play was going on everybody was longing for the interludes, is quite intelligible, when we think of the picturesque brilliancy with which they were put on the stage. There were to be seen combats of Roman warriors, who brandished their weapons to the sound of music, torch-dances executed by Moors, a dance of savages with horns of plenty, out of which streamed waves of fire— all as the ballet of a pantomime in which a maiden was delivered from a dragon. Then came a dance of fools, got up as Punches, beating one another with pigs' bladders, with more of the same kind. At the Court of Ferrara they never gave a comedy without 'its' ballet (Moresca). In what style the 'Amphitruo' of Plautus was there represented (1491) at the first marriage of Alfonso with Anna Sforza), is doubtful. Possibly it was given rather as a pantomime with music than as a drama. In any case, the accessories were more considerable than the play itself. There was a choral dance of ivy-clad youths, moving in intricate figures, done to the music of a ringing orchestra; then came Apollo, striking the lyre with the plectrum, and singing an ode to the praise of the House of Este; then followed, as an interlude within an interlude, a kind of rustic farce, after which the stage was again occupied by classical mythology—Venus, Bacchus and their followers—and by a pantomime representing the judgement of Paris.
Not till then was the second half of the fable of Amphitruo performed, with unmistakable references to the future birth of a Hercules of the House of Este. At a former representation of the same piece in the courtyard of the palace (1487), 'a paradise with stars and other wheels,' was constantly burning, by which is probably meant an illumination with fireworks, that, no doubt, absorbed most of the attention of the spectators. It was certainly better when such performances were given separately, as was the case at other courts. We shall have to speak of the entertainments given by the Cardinal Pietro Riario, by the Bentivogli at Bologna, and by others, when we come to treat of the festivals in general.
This scenic magnificence, now become universal, had a disastrous effect on Italian tragedy. 'In Venice formerly,' writes Francesco Sansovino, about 1570, 'besides comedies, tragedies by ancient and modern writers were put on the stage with great pomp. The fame of the scenic arrangements (apparati) brought spectators from far and near. Nowadays, performances are given by private individuals in their own houses, and the custom has long been fixed of passing the carnival in comedies and other cheerful entertainments.' In other words, scenic display had helped to kill tragedy.
The various starts or attempts of these modern tragedians, among which the 'Sofonisba' of Trissino (1515) was the most celebrated, belong in the history of literature. The same may be said of genteel comedy, modelled on Plautus and Terence. Even Ariosto could do nothing of the first order in this style. On the other hand, popular prose-comedy, as treated by Machiavelli, Bibbiena, and Aretino, might have had a future, if its matter had not condemned it to destruction. This was, on the one hand, licentious to the last degree, and on the other, aimed at certain classes in society, which, after the middle of the sixteenth century, ceased to afford a ground for public attacks. If in the 'Sofonisba' the portrayal of character gave place to brilliant declamation, the latter, with its half-sister, caricature, was used far too freely in comedy also.
The writing of tragedies and comedies, and the practice of putting both ancient and modern plays on the stage, continued without intermission; but they served only as occasions for display. The national genius turned elsewhere for living interest. When the opera and the pastoral fable came up, these attempts were at length wholly abandoned.
One form of comedy only was and remained national—the unwritten, improvised 'Commedia dell' Arte.' It was of no great service in the delineation of character, since the masks used were few in number and familiar to everybody. But the talent of the nation had such an affinity for this style, that often in the middle of written comedies the actors would throw themselves on their own inspiration, so that a new mixed form of comedy came into existence in some places. The plays given in Venice by Burchiello, and afterwards by the company of Armonio, Val. Zuccato, Lod. Dolce, and others, were perhaps of this character. Of Burchiello we know expressly that he used to heighten the comic effect by mixing Greek and Slavonic words with the Venetian dialect. A complete 'Commedia dell' Arte,' or very nearly so, was represented by Angelo Beolco, known as 'Il Ruzzante' (1502-42), whose customary masks were Paduan peasants, with the names Menato, Vezzo, Billora, etc. He studied their dialect when spending the summer at the villa of his patron Luigi Cornaro (Aloysius Cornelius) at Codevico. Gradually all the famous local masks made their appearance, whose remains still delight the Italian populace in our day: Pantalone, the Doctor, Brighella, Pulcinella, Arlecchino, and the rest. Most of them are of great antiquity, and possibly are historically connected with the masks in the old Roman farces; but it was not till the sixteenth century that several of them were combined in one piece. At the present time this is less often the case; but every great city still keeps to its local mask—Naples to the Pulcinella, Florence to the Stentorello, Milan to its often so admirable Meneghino.
This is indeed scanty compensation for a people which possessed the power, perhaps to a greater degree than any other, to reflect and contemplate its own highest qualities in the mirror of the drama. But this power was destined to be marred for centuries by hostile forces, for whose predominance the Italians were only in part responsible. The universal talent for dramatic representation could not indeed be uprooted, and in music Italy long made good its claim to supremacy in Europe. Those who can find in this world of sound a compensation for the drama, to which all future was denied, have, at all events, no meagre source of consolation.
But perhaps we can find in epic poetry what the stage fails to offer us. Yet the chief reproach made against the heroic poetry of Italy is precisely on the score of the insignificance and imperfect representation of its characters.
Other merits are allowed to belong to it, among the rest, that for three centuries it has been actually read and constantly reprinted, while nearly the whole of the epic poetry of other nations has become a mere matter of literary or historical curiosity. Does this perhaps lie in the taste of the readers, who demand something different from what would satisfy a northern public? Certainly, without the power of entering to some degree into Italian sentiment, it is impossible to appreciate the characteristic excellence of these poems, and many distinguished men declare that they can make nothing of them. And in truth, if we criticize Pulci, Boiardo, Ariosto, and Berni solely with an eye to their thought and matter, we shall fail to do them justice. They are artists of a peculiar kind, who write for a people which is distinctly and eminently artistic.
The mediaeval legends had lived on after the gradual extinction of the poetry of chivalry, partly in the form of rhyming adaptations and collections, and partly of novels in prose. The latter was the case in Italy during the fourteenth century; but the newly-awakened memories of antiquity were rapidly growing up to a gigantic size, and soon cast into the shade all the fantastic creations of the Middle Ages. Boccaccio, for example, in his 'Visione Amorosa,' names among the heroes in his enchanted palace Tristram, Arthur, Galeotto, and others, but briefly, as if he were ashamed to speak of them; and following writers either do not name them at all, or name them only for purposes of ridicule. But the people kept them in its memory, and from the people they passed into the hands of the poets of the fifteenth century. These were now able to conceive and represent their subjects in a wholly new manner. But they did more. They introduced into it a multitude of fresh elements, and in fact recast it from beginning to end. It must not be expected of them that they should treat such subjects with the respect once felt for them. All other countries must envy them the advantage of having a popular interest of this kind to appeal to; but they could not without hypocrisy treat these myths with any respect.
Instead of this, they moved with victorious freedom in the new field which poetry had won. What they chiefly aimed at seems to have been that their poems, when recited, should produce the most harmonious and exhilarating effect. These works indeed gain immensely when they are repeated, not as a whole, but piecemeal, and with a slight touch of comedy in voice and gesture. A deeper and more detailed portrayal of character would do little to enhance this effect; though the reader may desire it, the hearer, who sees the rhapsodist standing before him, and who hears only one piece at a time, does not think about it at all. With respect to the figures, which the poet found ready made for him, his feeling was of a double kind; his humanistic culture protested against their mediaeval character, and their combats as counterparts of the battles and tournaments of the poet's own age exercised all his knowledge and artistic power, while at the same time they called forth all the highest qualities in the reciter. Even in Pulci, accordingly, we find no parody, strictly speaking, of chivalry, nearly humour of his paladins at times approaches it. By their side stands the ideal of pugnacity—the droll and jovial Morgante—who masters whole armies with his bellclapper, and who is himself thrown into relief by contrast with the grotesque and most interesting monster Margutte. Yet Pulci lays no special stress on these two rough and vigorous characters, and his story, long after they had disappeared from it, maintains its singular course. Boiardo treats his characters with the same mastery, using them for serious or comic purposes as he pleases; he has his fun even out of supernatural beings, whom he sometimes intentionally depicts as louts. But there is one artistic aim which he pursues as earnestly as Pulci, namely, the lively and exact description of all that goes forward. Pulci recited his poem, as one book after another was finished, before the society of Lorenzo il Magnifico, and in the same way Boiardo recited his at the court of Ercole of Ferrara. It may be easily imagined what sort of excellence such an audience demanded, and how little thanks a profound exposition of character would have earned for the poet. Under these circumstances the poems naturally formed no complete whole, and might just as well be half or twice as long as they now are. Their composition is not that of a great historical picture, but rather that of a frieze, or of some rich festoon entwined among groups of picturesque figures. And precisely as in the figures or tendrils of a frieze we do not look for minuteness of execution in the individual forms, or for distant perspectives and different planes, so we must as little expect anything of the kind from these poems.
The varied richness of invention which continually astonishes us, most of all in the case of Boiardo, turns to ridicule all our school definitions as to the essence of epic poetry. For that age, this form of literature was the most agreeable diversion from archaeological studies, and, indeed, the only possible means of re-establishing an independent class of narrative poetry. For the versification of ancient history could only lead to the false tracks which were trodden by Petrarch in his 'Africa,' written in Latin hexameters, and a hundred and fifty years later by Trissino in his 'Italy delivered from the Goths,' composed in 'versi sciolti'—a never-ending poem of faultless language and versification, which only makes us doubt whether this unlucky alliance has been more disastrous to history or to poetry.
And whither did the example of Dante beguile those who imitated him? The visionary 'Trionfi' of Petrarch were the last of the works written under this influence which satisfy our taste. The 'Amorosa Visione' of Boccaccio is at bottom no more than an enumeration of historical or fabulous characters, arranged under allegorical categories. Others preface what they have to tell with a baroque imitation of Dante's first canto, and provide themselves with some allegorical comparison, to take the place of Virgil. Uberti, for example, chose Solinus for his geographical poem—the 'Dittamondo'—and Giovanni Santi, Plutarch for his encomium on Federigo of Urbino. The only salvation of the time from these false tendencies lay in the new epic poetry which was represented by Pulci and Boiardo. The admiration and curiosity with which it was received, and the like of which will perhaps never fall again to the lot of epic poetry to the end of time, is a brilliant proof of how great was the need of it. It is idle to ask whether that epic ideal which our own day has formed from Homer and the 'Nibelungenlied' is or is not realized in these works; an ideal of their own age certainly was. By their endless descriptions of combats, which to us are the most fatiguing part of these poems, they satisfied, as we have already said, a practical interest of which it is hard for us to form a just conception—as hard, indeed, as of the esteem in which a lively and faithful reflection of the passing moment was then held.
Nor can a more inappropriate test be applied to Ariosto than the degree in which his 'Orlando Furioso' serves for the representation of character. Characters, indeed, there are, and drawn with an affectionate care; but the poem does not depend on these for its effect, and would lose, rather than gain, if more stress were laid upon them. But the demand for them is part of a wider and more general desire which Ariosto fails to satisfy as our day would wish it satisfied. From a poet of such fame and such mighty gifts we would gladly receive something better than the adventures of Orlando. From him we might have hoped for a work expressing the deepest conflicts of the human soul, the highest thoughts of his time on human and divine things—in a word, one of those supreme syntheses like the 'Divine Comedy' or 'Faust.' Instead of which he goes to work like the visual artists of his own day, not caring for originality in our sense of the word, simply reproducing a familiar circle of figures, and even, when it suits his purpose, making use of the details left him by his predecessors. The excellence which, in spite of all this, can nevertheless be attained, will be the more incomprehensible to people born without the artistic sense, the more learned and intelligent in other respects they are. The artistic aim of Ariosto is brilliant, living action, which he distributes equally through the whole of his great poem. For this end he needs to be excused, not only from all deeper expression of character, but also from maintaining any strict connection in his narrative. He must be allowed to take up lost and forgotten threads when and where he pleases; his heroes must come and go, not because their character, but because the story requires it. Yet in this apparently irrational and arbitrary style of composition he displays a harmonious beauty, never losing himself in description, but giving only such a sketch of scenes and persons as does not hinder the flowing movement of the narrative. Still less does he lose himself in conversation and monologue, but maintains the lofty privilege of the true epos, by transforming all into living narrative. His pathos does not lie in the words, not even in the famous twentythird and following cantos, where Roland's madness is described. That the love-stories in the heroic poem are without all lyrical tenderness, must be reckoned a merit, though from a moral point of view they cannot always be approved. Yet at times they are of such truth and reality, notwithstanding all ; and romance which surrounds them, that we might think them personal affairs of the poet himself. In the full consciousness of his own genius, he does not scruple to interweave t he events of his own day into the poem, and to celebrate the fame of the house of Este in visions and prophecies. The wonderful stream of his octaves bears it all forward in even and dignified movement.
With Teofilo Folengo, or, as he here calls himself, Limerno Pitocco, the parody of the whole system of chivalry attained the end it had so long desired. But here comedy, with its realism, demanded of necessity a stricter delineation of character. Exposed to all the rough usage of the half-savage street-lads in a Roman country town, Sutri, the little Orlando grows up before our eyes into the hero, the priest-hater, and the disputant. The conventional world which had been recognized since the time of Pulci and had served as a framework for the epos, here falls to pieces. The origin and position of the paladins is openly ridiculed, as in the tournament of donkeys in the second book, where the knights appear with the most ludicrous armament. The poet utters his ironical regrets over the inexplicable faithlessness which seems implanted in the house of Gano of Mainz, over the toilsome acquisition of the sword Durindana, and so forth. Tradition, in fact, serves him only as a substratum for episodes, ludicrous fancies, allusions to events of the time (among which some, like the close of cap. vi. are exceedingly fine), and indecent jokes. Mixed with all this, a certain derision of Ariosto is unmistakable, and it was fortunate for the 'Or- lando Furioso' that the 'Orlandino,' with its Lutheran heresies, was soon put out of the way by the Inquisition. The parody is evident when (cap. vi, 28) the house of Gonzaga is deduced from the paladin Guidone, since the Colonna claimed Orlando, the Orsini Rinaldo, and the house of Este—according to Ariosto— Ruggiero as their ancestors. Perhaps Ferrante Gonzaga, the patron of the poet, was a party to this sarcasm on the house of Este.
That in the 'Jerusalem Delivered' of Torquato Tasso the delineation of character is one of the chief tasks of the poet, proves only how far his mode of thought differed from that prevalent half a century before. His admirable work is a true monument of the Counter-reformation which had meanwhile been accomplished, and of the spirit and tendency of that movement.
Biography and in the in the Middle Ages and in the Renaissance
Outside the sphere of poetry also, the Italians were the first of all European nations who displayed any remarkable power and inclination accurately to describe man as shown in history, according to his inward and outward characteristics.
It is true that in the Middle Ages considerable attempts were made in the same direction; and the legends of the Church, as a kind of standing biographical task, must, to some extent, have kept alive the interest and the gift for such descriptions. In the annals of the monasteries and cathedrals, many of the churchmen, such as Meinwerk of Paderborn, Godehard of Hildesheim, and others, are brought vividly before our eyes; and descriptions exist of several of the German emperors, modelled after old authors—particularly Suetonius—which contain admirable features. Indeed these and other profane 'vitae' came in time to form a continuous counterpart to the sacred legends. Yet neither Einhard nor Wippo nor Radevicus can be named by the side of Joinville's picture of St. Louis, which certainly stands almost alone as the first complete spiritual portrait of a modern European nature. Characters like St. Louis are rare at all times, and his was favored by the rare good fortune that a sincere and naive observer caught the spirit of all the events and actions of his life, and represented it admirably. From what scanty sources are we left to guess at the inward nature of Frederick II or of Philip the Fair. Much of what, till the close of the Middle Ages, passed for biography, is properly speaking nothing but contemporary narrative, written without any sense of what is individual in the subject of the memoir.
Among the Italians, on the contrary, the search for the characteristic features of remarkable men was a prevailing tendency; and this it is which separates them from the other western peoples, among whom the same thing happens but seldom, and in exceptional cases. This keen eye for individuality belongs only to those who have emerged from the halfconscious life of the race and become themselves individuals.
Under the influence of the prevailing conception of fame an art of comparative biography arose which no longer found it necessary, like Anastasius, Agnellus, and their successors, or like the biographers of the Venetian doges, to adhere to a dynastic or ecclesiastical succession. It felt itself free to describe a man if and because he was remarkable. It took as models .Suetonius, Nepos (the 'viri illustres'), and Plutarch,-so far as he was known and translated; for sketches of literary history, the lives of the grammarians, rhetoricians, and poets, known to us as the 'Appendices' to Suetonius, seem to have served as patterns, as well as the widely-read life of Virgil by Donatus.
It has already been mentioned that biographical collections —lives of famous men and famous women—began to appear in the fourteenth century. Where they do not describe contemporaries, they are naturally dependent on earlier narratives. The first great original effort is the life of Dante by Boccaccio. Lightly and rhetorically written, and full, as it is, of arbitrary fancies, this work nevertheless gives us a lively sense of the extraordinary features in Dante's nature. Then follow, at the end of the fourteenth century, the 'vite' of illustrious Florentines, by Filippo Villani. They are men of every calling: poets, jurists, physicians, scholars, artists, statesmen, and soldiers, some of them then still living. Florence is here treated like a gifted family, in which all the members are noticed in whom the spirit of the house expresses itself vigorously. The descriptions are brief, but show a remarkable eye for what is characteristic, and are noteworthy for including the inward and outward physiognomy in the same sketch. From that time forward, the Tuscans never ceased to consider the description of man as lying within their special competence, and to them we owe the most valuable portraits of the Italians of the fifteenth and sixteenth centuries. Giovanni Cavalcanti, in the appendices to his Florentine history, written before the year 1450, collects instances of civil virtue and abnegation, of political discernment and of military valor, all shown by Florentines. Pius II gives in his 'Commentaries' valuable portraits of famous contemporaries; and not long ago a separate work of his earlier years, which seems preparatory to these portraits, but which has colors and features that are very singular, was reprinted. To Jacopo of Volterra we owe piquant sketches of members of the Curia in the time of Sixtus IV. Vespasiano Fiorentino has often been referred to already, and as a historical authority a high place must be assigned to him; but his gift as a painter of character is not to be compared with that of Machiavelli, Niccolo Valori, Guicciardini, Varchi, Francesco Vettori, and others, by whom European historical literature has probably been as much influenced in this direction as by the ancients. It must not be forgotten that some of these authors soon found their way into northern countries by means of Latin translations. And without Giorgio Vasari of Arezzo and his all-important work, we should perhaps to this day have no history of Northern art, or of the art of modern Europe, at all.
Among the biographers of North Italy in the fifteenth century, Bartolommeo Fazio of Spezia holds a high rank. Platina, born in the territory of Cremona, gives us, in his 'Life of Paul II,' examples of biographical caricatures. The description of the last Visconti, written by Piercandido Decembrio—an enlarged imitation of Suetonius—is of special importance. Sismondi regrets that so much trouble has been spent on so unworthy an object, but the author would hardly have been equal to deal with a greater man, while he was thoroughly competent to describe the mixed nature of Filippo Maria, and in and through it to represent with accuracy the conditions, the forms, and the consequences of this particular kind of despotism. The picture of the fifteenth century would be incomplete without this unique biography, which is characteristic down to its minutest details. Milan afterwards possessed, in the historian Corio, an excellent portrait-painter; and after him came Paolo Giovio of Como, whose larger biographies and shorter 'Elogia' have achieved a world-wide reputation, and become models for subsequent writers in all countries. It is easy to prove by a hundred passages how superficial and even dishonest he was; nor from a man like him can any high and serious purpose be expected. But the breath of the age moves in his pages, and his Leo, his Alfonso, his Pompeo Colonna, live and act before us with such perfect truth and reality, that we seem admitted to the deepest recesses of their nature.
Among Neapolitan writers, Tristano Caracciolo, so far as we are able to judge, holds indisputably the first place in this respect, although his purpose was not strictly biographical. In the figures which he brings before us, guilt and destiny are wondrously mingled. He is a kind of unconscious tragedian. That genuine tragedy which then found no place on the stage, 'swept by' in the palace, the street, and the public square. The 'Words and Deeds of Alfonso the Great,' written by Antonio Panormita during the lifetime of the king, are remarkable as one of the first of such collections of anecdotes and of wise and witty sayings.
The rest of Europe followed the example of Italy in this respect but slowly, although great political and religious movements had broken so many bonds, and had awakened so many thousands to new spiritual life. Italians, whether scholars or diplomatists, still remained, on the whole, the best source of information for the characters of the leading men all over Europe. It is well known how speedily and unanimously in recent times the reports of the Venetian embassies in the sixteenth and seventeenth centuries have been recognized as authorities of the first order for personal description. Even autobiography takes here and there in Italy a bold and vigorous flight, and puts before us, together with the most varied incidents of external life, striking revelations of the inner man. Among other nations, even in Germany at the time of the Reformation, it deals only with outward experiences, and leaves us to guess at the spirit within from the style of the narrative. It seems as though Dante's 'Vita Nuova,' with the inexorable truthfulness which runs through it, had shown his people the way.
The beginnings of autobiography are to be traced in the family histories of the fourteenth and fifteenth centuries, which are said to be not uncommon as manuscripts in the Florentine libraries—unaffected narratives written for the sake of the individual or of his family, like that of Buonaccorso Pitti.
A profound self-analysis is not to be looked for in the 'Commentaries' of Pius II. What we here learn of him as a man seems at first sight to be chiefly confined to the account which he gives of the various steps in his career. But further reflection will lead us to a different conclusion with regard to this remarkable book. There are men who are by nature mirrors of what surrounds them. It would be irrelevant to ask incessantly after their convictions, their spiritual struggles, their inmost victories and achievements. Aeneas Sylvius lived wholly in the interest which lay near, without troubling himself about the problems and contradictions of life. His Catholic orthodoxy gave him all the help of this kind which he needed. And at all events, after taking part in every intellectual movement which interested his age, and notably furthering some of them, he still at the close of his earthly course retained character enough to preach a crusade against the Turks, and to die of grief when it came to nothing.
Nor is the autobiography of Benvenuto Cellini, any more than that of Pius II, founded on introspection. And yet it describes the whole man— not always willingly—with marvelous truth and completeness. It is no small matter that Benvenuto, whose most important works have perished half finished, and who, as an artist, is perfect only in his little decorative speciality, but in other respects, if judged by the works of him which remain, is surpassed by so many of his greater contemporaries—that Benvenuto as a man will interest mankind to the end of time. It does not spoil the impression when the reader often detects him bragging or lying; the stamp of a mighty, energetic, and thoroughly developed nature remains. By his side our modern autobiographers, though their tendency and moral character may stand much higher, appear incomplete beings. He is a man who can do all and dares do all, and who carries his measure in himself. Whether we like him or not, he lives, such as he was, as a significant type of the modern spirit.
Another man deserves a brief mention in connection with this subject—a man who, like Benvenuto, was not a model of veracity: Girolamo Cardano of Milan (b. 1500). His little book, 'De propria vita,' will outlive and eclipse his fame in philosophy and natural science, just as Benvenuto's Life, though its value is of another kind, has thrown his works into the shade. Cardano is a physician who feels his own pulse, and describes his own physical, moral, and intellectual nature, together with all the conditions under which it had developed, and this, to the best of his ability, honestly and sincerely. The work which he avowedly took as his model—the 'Confessions' of Marcus Aurelius—he was able, hampered as he was by no stoical maxims, to surpass in this particular. He desires to spare neither himself nor others, and begins the narrative of his career with the statement that his mother tried, and failed, to procure abortion. It is worth remark that he attributes to the stars which presided over his birth only the events of his life and his intellectual gifts, but not his moral qualities; he confesses (cap. 10) that the astrological prediction that he would not live to the age of forty or fifty years did him much harm in his youth. But there is no need to quote from so well-known md accessible a book; whoever opens it will not lay it down il] the last page. Cardano admits that he cheated at play, that e was vindictive, incapable of all compunction, purposely cruel in his speech. He confesses it without impudence and without feigned contrition, without even wishing to make himself an object of interest, but with the same simple and sincere love of fact which guided him in his scientific researches. And, what is to us the most repulsive of all, the old man, after the most shocking experiences and with his confidence in his fellowmen gone, finds himself after all tolerably happy and comfortable. He has still left him a grandson, immense learning, the fame of his works, money, rank and credit, powerful friends, the knowledge of many secrets, and, best of all, belief in God. After this, he counts the teeth in his head, and finds that he was fifteen.
Yet when Cardano wrote, Inquisitors and Spaniards were already busy in Italy, either hindering the production of such natures, or, where they existed, by some means or other putting them out of the way. There lies a gulf between this book and the memoirs of Alfieri.
Yet it would be unjust to close this list of autobiographers without listening to a word from one man who was both worthy and happy. This is the well-known philosopher of practical life, Luigi Cornaro, whose dwelling at Padua, classical as an architectural work, was at the same time the home of all the muses. In his famous treatise 'On the Sober Life,' he describes the strict regimen by which he succeeded, after a sickly youth, in reaching an advanced and healthy age, then of eighty- three years. He goes on to answer those who despise life after the age of sixty-five as a living death, showing them that his own life had nothing deadly about it. 'Let them come and see, and wonder at my good health, how I mount on horseback without help, how I run upstairs and up hills, how cheerful, amusing, and contented I am, how free from care and disagreeable thoughts. Peace and joy never quit me.... My friends are wise, learned, and distinguished people of good position, and when they are not with me I read and write, and try thereby, as by all other means. to be useful to others. Each of these things I do at the proper time, and at my ease, in my dwelling, which is beautiful and lies in the best part of Padua, and is arranged both for summer and winter with all the resources of architecture, and provided with a garden by the running water. In the spring and autumn, I go for awhile to my hill in the most beautiful part of the Euganean mountains, where I have fountains and gardens, and a comfortable dwelling; and there I amuse myself with some easy and pleasant chase, which is suitable to my years. At other times I go to my villa on the plain; there all the paths lead to an open space, in the middle of which stands a pretty church; an arm of the Brenta flows through the plantations— fruitful, well-cultivated fields, now fully peopled, which the marshes and the foul air once made fitter for snakes than for men. It was I who drained the country; then the air became good, and people settled there and multiplied, and the land became cultivated as it now is, so that T can truly say: "On this spot I gave to God an altar and a temple, and souls to worship Him." This is my consolation and my happiness whenever I come here. In the spring and autumn, I also visit the neighbouring towns, to see and converse with my friends, through whom I make the acquaintance of other distinguished men, architects, painters, sculptors, musicians, and cultivators of the soil. I see what new things they have done, I look again at what I know already, and learn much that is of use to me. I see palaces, gardens, antiquities, public grounds, churches, and fortifications. But what most of all delights me when I travel, is the beauty of the country and the places, lying now on the plain, now on the slopes of the hills, or on the banks of rivers and streams, surrounded by gardens and villas. And these enjoyments are not diminished through weakness of the eyes or the ears; all my senses (thank God!) are in the best condition, including the sense of taste; for I enjoy more the simple food which I now take in moderation, than all the delicacies which I ate in my years of disorder.' After mentioning the works he had undertaken on behalf of the republic for draining the marshes, and the projects which he had constantly advocated for preserving the lagoons, he thus concludes:
'These are the true recreations of an old age which God has permitted to be healthy, and which is free from those mental and bodily sufferings to which so many young people and so many sickly older people succumb. And if it be allowable to add the little to the great, to add jest to earnest, it may be mentioned as a result of my moderate life, that in my eightythird year I have written a most amusing comedy, full of blameless wit. Such works are generally the business of youth, as tragedy is the business of old age. If it is reckoned to the credit of the famous Greek that he wrote a tragedy in his seventythird year, must I not, with my ten years more, be more cheerful and healthy than he ever was? And that no consolation may be wanting in the overflowing cup of my old age, I see before my eyes a sort of bodily immortality in the persons of my descendants. When I come home I see before me, not one or two, but eleven grandchildren, between the ages of two and eighteen, all from the same father and mother, all healthy, and, so far as can already be judged, all gifted with the talent and disposition for learning and a good life. One of the younger I have as my playmate (buffoncello), since children from the third to the fifth year are born to tricks; the elder ones I treat as my companions, and, as they have admirable voices, I take delight in hearing them sing and play on different instruments. And I sing myself, and find my voice better, clearer, and louder than ever. These are the pleasures of my last years. My life, therefore, is alive, and not dead; nor would I exchange my age for the youth of such as live in the service of their passions.'
In the 'Exhortation' which Cornaro added at a much later time, in his ninety-fifth year, he reckons it among the elements of his happiness that his 'Treatise' had made many converts. He died at Padua in 1565, at the age of over a hundred years.
This national gift did not, however, confine itself to the criticism and description of individuals, but felt itself competent to deal with the qualities and characteristics of whole peoples. Throughout the Middle Ages the cities, families, and nations of all Europe were in the habit of making insulting and derisive attacks on one another, which, with much caricature, contained commonly a kernel of truth. But from the first the Italians surpassed all others in their quick apprehension of the mental differences among cities and populations. Their local patriotism, stronger probably than in any other medieval people, soon found expression in literature, and allied itself with the current conception of 'Fame.' Topography became the counterpart of biography; while all the more important cities began to celebrate their own praises in prose and verse, writers appeared who made the chief towns and districts the subject partly of a serious comparative description, partly of satire, and sometimes of notices in which jest and earnest are not easy to be distinguished. Next to some famous passages in the 'Divine Comedy,' we have here the 'Dittamondo' of Uberti (about 1360). As a rule, only single remarkable facts and characteristics are here mentioned: the Feast of the Crows at Sant' Apollinare in Ravenna, the springs at Treviso, the great cellar near Vicenza, the high duties at Mantua, the forest of towers at Lucca. Yet mixed up with all this, we find laudatory and satirical criticisms of every kind. Arezzo figures with the crafty disposition of its citizens, Genoa with the artificially blackened eyes and teeth (?) of its women, Bologna with its prodigality, Bergamo with its coarse dialect and hard-headed people. In the fifteenth century the fashion was to belaud one's own city even at the expense of others. Michele Savonarola allows that, in comparison with his native Padua, only Rome and Venice are more splendid, and Florence perhaps more joyous—by which our knowledge is naturally not much extended. At the end of the century, Jovianus Pontanus, in his 'Antonius,' writes an imaginary journey through Italy, simply as a vehicle for malicious observations. But in the sixteenth century we meet with a series of exact and profound studies of national characteristics, such as no other people of that time could rival. Machiavelli sets forth in some of his valuable essays the character and the political condition of the Germans and French in such a way that the born northerner, familiar with the history of his own country, is grateful to the Florentine thinker for his flashes of insight. The Florentines begin to take pleasure in describing themselves; and basking in the well-earned sunshine of their intellectual glory, their pride seems to attain its height when they derive the artistic pre- eminence of Tuscany among Italians, not from any special gifts of nature, but from hard, patient work. The homage of famous men from other parts of Italy, of which the sixteenth Capitolo of Ariosto is a splendid example, they accepted as a merited tribute to their excellence.
Of an admirable description of the Italians, with their various pursuits and characteristics, though in a few words and with special stress laid on the Lucchese, to whom the work was dedicated, we can give only the title: Forcianae Questiones, by Ortensio Landi, Naples, 1536. Leandro Alberti is not so fruitful as might be expected in his description of the character of the different cities. A 'Commentario' (by Ortensio Landi, Venice, 1553) contains among many absurdities some valuable information on the unfortunate conditions prevailing about the middle of the century.
To what extent this comparative study of national and local characteristics may, by means of Italian humanism, have influenced the rest of Europe, we cannot say with precision. To Italy, at all events, belongs the priority in this respect, as in the description of the world in general.
Description of the Outward Man
But the discoveries made with regard to man were not confined to the spiritual characteristics of individuals and nations; his outward appearance was in Italy the subject of an entirely different interest from that shown in it by northern peoples.
Of the position held by the great Italian physicians with respect to the progress of physiology, we cannot venture to speak; and the artistic study of the human figure belongs, not to a work like the present, but to the history of art. But something must here be said of that universal education of the eye, which rendered the judgement of the Italians as to bodily beauty or ugliness perfect and final.
On reading the Italian authors of that period attentively, we are astounded at the keenness and accuracy with which outward features are seized, and at the completeness with which personal appearance in general is described. Even today the Italians, and especially the Romans, have the art of sketching a man's picture in a couple of words. This rapid apprehension of what is characteristic is an essential condition for detecting and representing the beautiful. In poetry, it is true, circumstantial description may be a fault, not a merit, since a single feature, suggested by deep passion or insight, will often awaken in the reader a far more powerful impression of the figure described. Dante gives us nowhere a more splendid idea of his Beatrice than where he only describes the influence which goes forth from her upon all around. But here we have not to treat particularly of poetry, which follows its own laws and pursues its own ends, but rather of the general capacity to paint in words real or imaginary forms.
In this Boccaccio is a master—not in the 'Decameron,' where the character of the tales forbids lengthy description, but in the romances, where he is free to take his time. In his 'Ameto' he describes a blonde and a brunette much as an artist a hundred years later would have painted them—for here, too, culture long precedes art. In the account of the brunette—or, strictly speaking, of the less blonde of the two—there are touches which deserve to be called classical. In the words 'la spaziosa testa e distesa' lies the feeling for grander forms, which go beyond a graceful prettiness; the eyebrows with him no longer resemble two bows, as in the Byzantine ideal, but a single wavy line; the nose seems to have been meant to be aquiline; the broad, full breast, the arms of moderate length, the effect of the beautiful hand, as it lies on the purple mantle—all this foretells the sense of beauty of a coming time, and unconsciously approaches to that of classical antiquity. In other descriptions Boccaccio mentions a flat (not medievally rounded) brow, a long, earnest, brown eye, and round, not hollowed neck, as well as—in a very modern tone—the 'little feet' and the 'two roguish eyes' of a black-haired nymph.
Whether the fifteenth century has left any written account of its ideal of beauty, I am not able to say. The works of the painters and sculptors do not render such an account as unnecessary as might appear at first sight, since possibly, as opposed to their realism, a more ideal type might have been favored and preserved by the writers. In the sixteenth century Firenzuola came forward with his remarkable work on female beauty. We must clearly distinguish in it what he had learned from old authors or from artists, such as the fixing of proportions according to the length of the head, and certain abstract conceptions. What remains is his own genuine observation, illustrated with examples of women and girls from Prato. As his little work is a kind of lecture, delivered before the women of this city—that is to say, before very severe critics—he must have kept pretty closely to the truth. His principle is avowedly that of Zeuxis and of Lucian—to piece together an ideal beauty out of a number of beautiful parts. He defines the shades of color which occur in the hair and skin, and gives to the 'biondo' the preference, as the most beautiful color for the hair, understanding by it a soft yellow, inclining to brown. He requires that the hair should be thick, long, and locky; the forehead serene, and twice as broad as high; the skin bright and clear (candida), but not of a dead white (bianchezza); the eyebrows dark, silky, most strongly marked in the middle, and shading off towards the ears and the nose; the white of the eye faintly touched with blue, the iris not actually black, though all the poets praise 'occhi neri' as a gift of Venus, despite that even goddesses were known for their eyes of heavenly blue, and that soft, joyous, brown eyes were admired by everybody. The eye itself should be large and full and brought well forward; the lids white, and marked with almost invisible tiny red veins; the lashes neither too long, nor too thick, nor too dark. The hollow round the eye should have the same color as the cheek. The ear, neither too large nor too small, firmly and neatly fitted on, should show a stronger color in the winding than in the even parts, with an edge of the transparent ruddiness of the pomegranate. The temples must be white and even, and for the most perfect beauty ought not to be too narrow. The red should grow deeper as the cheek gets rounder. The nose, which chiefly determines the value of the profile, must recede gently and uniformly in the direction of the eyes; where the cartilage ceases, there may be a slight elevation, but not so marked as to make the nose aquiline, which is not pleasing in women; the lower part must be less strongly colored than the ears, but not of a chilly whiteness, and the middle partition above the lips lightly tinted with red. The mouth, our author would have rather small, and neither projecting to a point, nor quite flat, with the lips not too thin, and fitting neatly together; an accidental opening, that is, when the woman is neither speaking nor laughing, should not display more than six upper teeth. As delicacies of detail, he mentions a dimple in the upper lip, a certain fullness of the under lip, and a tempting smile in the left corner of the mouth— and so on. The teeth should not be too small, regular, well marked off from one another, and of the color of ivory; and the gums must not be too dark or even like red velvet. The chin is to be round, neither pointed nor curved outwards, and growing slightly red as it rises; its glory is the dimple. The neck should be white and round and rather long than short, with the hollow and the Adam's apple but faintly marked; and the skin at every movement must show pleasing lines. The shoulders he desires broad, and in the breadth of the bosom sees the first condition of its beauty. No bone may be visible upon it, its fall and swell must be gentle and gradual, its color 'candidissimo.' The leg should be long and not too hard in the lower parts, but still not without flesh on the shin, which must be provided with white, full calves. He likes the foot small, but not bony, the instep (it seems) high, and the color white as alabaster. The arms are to be white, and in the upper parts tinted with red; in their consistence fleshy and muscular, but still soft as those of Pallas, when she stood before the shepherd on Mount Ida—in a word, ripe, fresh, and firm. The hand should be white, especially towards the wrist, but large and plump, feeling soft as silk, the rosy palm marked with a few, but distinct and not intricate lines; the elevations in it should be not too great, the space between thumb and forefinger brightly colored and without wrinkles, the fingers long, delicate, and scarcely at all thinner towards the tips, with nails clear, even, not too long nor to square, and cut so as to show a white margin about the breadth of a knife's back.
Aesthetic principles of a general character occupy a very subordinate place to these particulars. The ultimate principles of beauty, according to which the eye judges 'senza appello,' are for Firenzuola a secret, as he frankly confesses; and his definitions of 'Leggiadria,' 'Grazia,' 'Aria,' 'Maesta,' 'Vaghezza,' 'Venusta,' are partly, as has been remarked, philological, and partly vain attempts to utter the unutterable. Laughter he prettily defines, probably following some old author, as a radiance of the soul. The literature of all countries can, at the close of the Middle Ages, show single attempts to lay down theoretic principles of beauty; but no other work can be compared to that of Firenzuola. Brantome, who came a good half-century later, is a bungling critic by his side, because governed by lasciviousness and not by a sense of beauty.
Description of Human Life
Among the new discoveries made with regard to man, we must reckon, in conclusion, the interest taken in descriptions of the daily course of human life.
The comical and satirical literature of the Middle Ages could not dispense with pictures of everyday events. But it is another thing, when the Italians of the Renaissance dwelt on this picture for its own sake—for its inherent interest— and because it forms part of that great, universal life of the world whose magic breath they felt everywhere around them. Instead of and together with the satirical comedy, which wanders through houses, villages, and streets, seeking food for its derision in parson, peasant, and burgher, we now see in literature the beginnings of a true genre, long before it found any expression in painting. That genre and satire are often met with in union, does not prevent them from being wholly different things.
How much of earthly business must Dante have watched with attentive interest, before he was able to make us see with our own eyes all that happened in his spiritual world. The famous pictures of the busy movement in the arsenal at Venice, of the blind men laid side by side before the church door, and the like, are by no means the only instances of this kind: for the art, in which he is a master, of expressing the inmost soul by the outward gesture, cannot exist without a close and incessant study of human life. (Cf. Inferno xxi, 1-6, Purgatorio xiii, 61-66.) The poets who followed rarely came near him in this respect, and the novelists were forbidden by the first laws of their literary style to linger over details. Their prefaces and narratives might be as long as they pleased, but what we understand by genre was outside their province. The taste for this class of description was not fully awakened till the time of the revival of antiquity.
And here we are again met by the man who had a heart for everything— Aeneas Sylvius. Not only natural beauty, not only that which has an antiquarian or a geographical interest, finds a place in his descriptions, but any living scene of daily life. Among the numerous passages in his memoirs in which scenes are described which hardly one of his contemporaries would have thought worth a line of notice, we will here only mention the boat-race on the Lake of Bolsena. We are not able to detect from what old letter-writer or story-teller the impulse was derived to which we owe such lifelike pictures. Indeed, the whole spiritual communion between antiquity and the Renaissance is full of delicacy and of mystery.
To this class belong those descriptive Latin poems of which we have already spoken—hunting-scenes, journeys, ceremonies, and so forth. In Italian we also find something of the same kind, as, for example, the descriptions of the famous Medicean tournament by Politian and Luca Pulci. The true epic poets, Luigi Pulci, Boiardo, and Ariosto, are carried on more rapidly by the stream of their narrative; yet in all of them we must recognize the lightness and precision of their descriptive touch as one of the chief elements of their greatness. Franco Sacchetti amuses himself with repeating the short speeches of a troop of pretty women caught in the woods by a shower of rain.
Other scenes of moving life are to be looked for in the military historians. In a lengthy poem, dating from an earlier period, we find a faithful picture of a combat of mercenary soldiers in the fourteenth century, chiefly in the shape of the orders, cries of battle, and dialogue with which it is accompanied.
But the most remarkable productions of this kind are the realistic descriptions of country life, which are found most abundantly in Lorenzo il Magnifico and the poets of his circle.
Since the time of Petrarch, an unreal and conventional style of bucolic poetry had been in vogue, which, whether written in Latin or Italian, was essentially a copy of Virgil. Parallel to this, we find the pastoral novel of Boccaccio and other works of the same kind down to the 'Arcadia' of Sannazaro, and later still, the pastoral comedy of Tasso and Guarini. They are works whose style, whether poetry or prose is admirably finished and perfect, but in which pastoral life is ideal dress for sentiments which belong to a wholly sphere of culture.
But by the side of all this there appeared in Italian poetry, towards the close of the fifteenth century, signs of a more realistic treatment of rustic life. This was not possible out of Italy; for here only did the peasant, whether laborer or proprietor, possess human dignity, personal freedom, and the right of settlement, hard as his lot might sometimes be in other respects. The difference between town and country is far from being so marked here as in northern countries. Many of the smaller towns are peopled almost exclusively by peasants who, on coming home at nightfall from their work, are transformed into townsfolk. The masons of Como wandered over nearly all Italy; the child Giotto was free to leave his sheep and join a guild at Florence; everywhere there was a human stream flowing from the country into the cities, and some mountain populations seemed born to supply this current. It is true that the pride and local conceit supplied poets and novelists with abundant motives for making game of the 'villano,' and what they left undone was taken charge of by the comic improvisers. But nowhere do we find a trace of that brutal and contemptuous class-hatred against the 'vilains' which inspired the aristocratic poets of Provence, and often, too, the French chroniclers. On the contrary, Italian authors of every sort gladly recognize and accentuate what is great or remarkable in the life of the peasant. Gioviano Pontano mentions with admiration instances of the fortitude of the savage inhabitants of the Abruzzi; in the biographical collections and in the novelists we meet with the figure of the heroic peasant-maiden who hazards her life to defend her family and her honour.