The Civilisation of the Renaissance in Italy

CHAPTER IV.

THE HIGHER FORMS OF SOCIETY

THIS society, at all events at the beginning of the sixteenth century, was a matter of art; and had, and rested on, tacit or avowed rules of good sense and propriety, which are the exact reverse of all mere etiquette. In less polished circles, where society took the form of a permanent corporation, we meet with a system of formal rules and a prescribed mode of entrance, as was the case with those wild sets of Florentine artists of whom Vasari tells us that they were capable of giving representations of the best comedies of the day.871 In the easier intercourse of society it was not unusual to select some distinguished lady as president, whose word was law for the evening. Everybody knows the introduction to Boccaccio’s ‘Decameron,’ and looks on the presidency of Pampinea as a graceful fiction. That it was so in this particular case is a matter of course; but the fiction was nevertheless based on a practice which often occurred in reality. Firenzuola, who nearly two centuries later (1523) prefaces his collection of tales in a similar manner, with express reference to Boccaccio, comes assuredly nearer to the truth when he puts into the mouth of the queen of the society a formal speech on the mode of spending the hours during the stay which the company proposed to make in the country. The day was to begin with a stroll among the hills passed in philosophical talk; then followed breakfast,872 with music and singing, after which came the recitation, in some cool, shady spot, of a new poem, the subject of which had been given the night before; in the evening the whole party walked to a spring of water where they all sat down and each one told a tale; last of all came supper and lively conversation ‘of such a kind that the women might listen to it without shame and the men might not seem to be speaking under the influence of wine.’ Bandello, in the introductions and dedications to single novels, does not give us, it is true, such inaugural discourses as this, since the circles before which the stories are told are represented as already formed; but he gives us to understand in other ways how rich, how manifold, and how charming the conditions of society must have been. Some readers may be of opinion that no good was to be got from a world which was willing to be amused by such immoral literature. It would be juster to wonder at the secure foundations of a society which, notwithstanding these tales, still observed the rules of order and decency, and which knew how to vary such pastimes with serious and solid discussion. The need of noble forms of social intercourse was felt to be stronger than all others. To convince ourselves of it, we are not obliged to take as our standard the idealised society which Castiglione depicts as discussing the loftiest sentiments and aims of human life at the court of Guidobaldo of Urbino, and Pietro Bembo at the castle of Asolo. The society described by Bandello, with all the frivolities which may be laid to its charge, enables us to form the best notion of the easy and polished dignity, of the urbane kindliness, of the intellectual freedom, of the wit and the graceful dilettantism which distinguished these circles. A significant proof of the value of such circles lies in the fact that the women who were the centres of them could become famous and illustrious without in any way compromising their reputation. Among the patronesses of Bandello, for example, Isabella Gonzaga (born an Este, p. 44) was talked of unfavourably not through any fault of her own, but on account of the too free-lived young ladies who filled her court.873 Giulia Gonzaga Colonna, Ippolita Sforza married to a Bentivoglio, Bianca Rangona, Cecilia Gallerana, Camilla Scarampa, and others were either altogether irreproachable, or their social fame threw into the shade whatever they may have done amiss. The most famous woman of Italia, Vittoria Colonna874 (b. 1490, d. 1547), the friend of Castiglione and Michelangelo, enjoyed the reputation of a saint. It is hard to give such a picture of the unconstrained intercourse of these circles in the city, at the baths, or in the country, as will furnish literal proof of the superiority of Italy in this respect over the rest of Europe. But let us read Bandello,875 and then ask ourselves if anything of the same kind would have been then possible, say, in France, before this kind of society was there introduced by people like himself. No doubt the supreme achievements of the human mind were then produced independently of the helps of the drawing-room. Yet it would be unjust to rate the influence of the latter on art and poetry too low, if only for the reason that society helped to shape that which existed in no other country—a widespread interest in artistic production and an intelligent and critical public opinion. And apart from this, society of the kind we have described was in itself a natural flower of that life and culture which then was purely Italian, and which since then has extended to the rest of Europe.

In Florence society was powerfully affected by literature and politics. Lorenzo the Magnificent was supreme over his circle, not, as we might be led to believe, through the princely position which he occupied, but rather through the wonderful tact he displayed in giving perfect freedom of action to the many and varied natures which surrounded him.876 We see how gently he dealt with his great tutor Politian, and how the sovereignty of the poet and scholar was reconciled, though not without difficulty, with the inevitable reserve prescribed by the approaching change in the position of the house of Medici and by consideration for the sensitiveness of the wife. In return for the treatment he received, Politian became the herald and the living symbol of Medicean glory. Lorenzo, after the fashion of a true Medici, delighted in giving an outward and artistic expression to his social amusements. In his brilliant improvisation—the Hawking Party—he gives us a humorous description of his comrades, and in the Symposium a burlesque of them, but in both cases in such a manner that we clearly feel his capacity for more serious companionship.877 Of this intercourse his correspondence and the records of his literary and philosophical conversation give ample proof. Some of the social unions which were afterwards formed in Florence were in part political clubs, though not without a certain poetical and philosophical character also. Of this kind was the so-called Platonic Academy which met after Lorenzo’s death in the gardens of the Ruccellai.878

At the courts of the princes, society naturally depended on the character of the ruler. After the beginning of the sixteenth century they became few in number, and these few soon lost their importance. Rome, however, possessed in the unique court of Leo X. a society to which the history of the world offers no parallel.

CHAPTER V.

THE PERFECT MAN OF SOCIETY

IT was for this society—or rather for his own sake—that the ‘Cortigiano,’ as described to us by Castiglione, educated himself. He was the ideal man of society, and was regarded by the civilisation of that age as its choicest flower; and the court existed for him far rather than he for the court. Indeed, such a man would have been out of place at any court, since he himself possessed all the gifts and the bearing of an accomplished ruler, and because his calm supremacy in all things, both outward and spiritual, implied a too independent nature. The inner impulse which inspired him was directed, though our author does not acknowledge the fact, not to the service of the prince, but to his own perfection. One instance will make this clear.879 In time of war the courtier refuses even useful and perilous tasks, if they are not beautiful and dignified in themselves, such as for instance the capture of a herd of cattle; what urges him to take part in war is not duty, but ‘l’onore.’ The moral relation to the prince, as prescribed in the fourth book, is singularly free and independent. The theory of well-bred love-making, set forth in the third book, is full of delicate psychological observation, which perhaps would be more in place in a treatise on human nature generally; and the magnificent praise of ideal love, which occurs at the end of the fourth book, and which rises to a lyrical elevation of feeling, has no connection whatever with the special object of the work. Yet here, as in the ‘Asolani’ of Bembo, the culture of the time shows itself in the delicacy with which this sentiment is represented and analysed. It is true that these writers are not in all cases to be taken literally; but that the discourses they give us were actually frequent in good society, cannot be doubted, and that it was no affectation, but genuine passion, which appeared in this dress, we shall see further on.

Among outward accomplishments, the so-called knightly exercises were expected in thorough perfection from the courtier, and besides these much that could only exist at courts highly organised and based on personal emulation, such as were not to be found out of Italy. Other points obviously rest on an abstract notion of individual perfection. The courtier must be at home in all noble sports, among them running, leaping, swimming, and wrestling; he must, above all things, be a good dancer and, as a matter of course, an accomplished rider. He must be master of several languages; at all events of Latin and Italian; he must be familiar with literature and have some knowledge of the fine arts. In music a certain practical skill was expected of him, which he was bound, nevertheless, to keep as secret as possible. All this is not to be taken too seriously, except what relates to the use of arms. The mutual interaction of these gifts and accomplishments results in the perfect man, in whom no one quality usurps the place of the rest.

So much is certain, that in the sixteenth century the Italians had all Europe for their pupils both theoretically and practically in every noble bodily exercise and in the habits and manners of good society. Their instructions and their illustrated books on riding, fencing, and dancing served as the model to other countries. Gymnastics as an art, apart both from military training and from mere amusement, was probably first taught by Vittorino da Feltre (p. 213) and after his time became essential to a complete education.880 The important fact is that they were taught systematically, though what exercises were most in favour, and whether they resembled those now in use, we are unable to say. But we may infer, not only from the general character of the people, but from positive evidence which has been left for us, that not only strength and skill, but grace of movement was one of the main objects of physical training. It is enough to remind the reader of the great Frederick of Urbino (p. 44) directing the evening games of the young people committed to his care.

The games and contests of the popular classes did not differ essentially from those which prevailed elsewhere in Europe. In the maritime cities boat-racing was among the number, and the Venetian regattas were famous at an early period.881 The classical game of Italy was and is the ball; and this was probably played at the time of the Renaissance with more zeal and brilliancy than elsewhere. But on this point no distinct evidence is forthcoming.

A few words on music will not be out of place in this part of our work.882 Musical composition down to the year 1500 was chiefly in the hands of the Flemish school, whose originality and artistic dexterity were greatly admired. Side by side with this, there nevertheless existed an Italian school, which probably stood nearer to our present taste. Half a century later came Palestrina, whose genius still works powerfully among us. We learn among other facts that he was a great innovator; but whether he or others took the decisive part in shaping the musical language of the modern world lies beyond the judgment of the unprofessional critic. Leaving on one side the history of musical composition, we shall confine ourselves to the position which music held in the social life of the day.

A fact most characteristic of the Renaissance and of Italy is the specialisation of the orchestra, the search for new instruments and modes of sound, and, in close connection with this tendency, the formation of a class of ‘virtuosi,’ who devoted their whole attention to particular instruments or particular branches of music.

Of the more complex instruments, which were perfected and widely diffused at a very early period, we find not only the organ, but a corresponding string-instrument, the ‘gravicembalo’ or ‘clavicembalo.’ Fragments of these, dating from the beginning of the fourteenth century, have come down to our own days, adorned with paintings from the hands of the greatest masters. Among other instruments the first place was held by the violin, which even then conferred great celebrity on the successful player. At the court of Leo X., who, when cardinal, had filled his house with singers and musicians, and who enjoyed the reputation of a critic and performer, the Jew Giovan Maria and Jacopo Sansecondo were among the most famous. The former received from Leo the title of count and a small town;883 the latter has been taken to be the Apollo in the Parnassus of Raphael. In the course of the sixteenth century, celebrities in every branch of music appeared in abundance, and Lomazzo (about the year 1580) names the then most distinguished masters of the art of singing, of the organ, the lute, the lyre, the ‘viola da gamba,’ the harp, the cithern, the horn, and the trumpet, and wishes that their portraits might be painted on the instruments themselves.884 Such many-sided comparative criticism would have been impossible anywhere but in Italy, although the same instruments were to be found in other countries.

The number and variety of these instruments is shown by the fact that collections of them were now made from curiosity. In Venice, which was one of the most musical cities of Italy,885 there were several such collections, and when a sufficient number of performers happened to be on the spot, a concert was at once improvised. In one of these museums there were a large number of instruments, made after ancient pictures and descriptions, but we are not told if anybody could play them, or how they sounded. It must not be forgotten that such instruments were often beautifully decorated, and could be arranged in a manner pleasing to the eye. We thus meet with them in collections of other rarities and works of art.

The players, apart from the professional performers, were either single amateurs, or whole orchestras of them, organised into a corporate Academy.886 Many artists in other branches were at home in music, and often masters of the art. People of position were averse to wind-instruments, for the same reason887 which made them distasteful to Alcibiades and Pallas Athene. In good society singing, either alone or accompanied with the violin, was usual; but quartettes of string-instruments were also common,888 and the ‘clavicembalo’ was liked on account of its varied effects. In singing the solo only was permitted, ‘for a single voice is heard, enjoyed, and judged far better.’ In other words, as singing, notwithstanding all conventional modesty, is an exhibition of the individual man of society, it is better that each should be seen and heard separately. The tender feelings produced in the fair listeners are taken for granted, and elderly people are therefore recommended to abstain from such forms of art, even though they excel in them. It was held important that the effect of the song should be enhanced by the impression made on the sight. We hear nothing however of the treatment in these circles of musical composition as an independent branch of art. On the other hand it happened sometimes that the subject of the song was some terrible event which had befallen the singer himself.889

This dilettantism, which pervaded the middle as well as the upper classes, was in Italy both more widely spread and more genuinely artistic than in any other country of Europe. Wherever we meet with a description of social intercourse, there music and singing are always and expressly mentioned. Hundreds of portraits show us men and women, often several together, playing or holding some musical instrument, and the angelic concerts represented in the ecclesiastical pictures prove how familiar the painters were with the living effects of music. We read of the lute-player Antonio Rota, at Padua (d. 1549), who became a rich man by his lessons, and published a handbook to the practice of the lute.890

At a time when there was no opera to concentrate and monopolise musical talent, this general cultivation of the art must have been something wonderfully varied, intelligent, and original. It is another question how much we should find to satisfy us in these forms of music, could they now be reproduced for us.

CHAPTER VI.

THE POSITION OF WOMEN

TO understand the higher forms of social intercourse at this period, we must keep before our minds the fact that women stood on a footing of perfect equality with men.891 We must not suffer ourselves to be misled by the sophistical and often malicious talk about the assumed inferiority of the female sex, which we meet with now and then in the dialogues of this time,892 nor by such satires as the third of Ariosto,893 who treats woman as a dangerous grown-up child, whom a man must learn how to manage, in spite of the great gulf between them. There is, indeed, a certain amount of truth in what he says. Just because the educated woman was on a level with the man, that communion of mind and heart which comes from the sense of mutual dependence and completion, could not be developed in marriage at this time, as it has been developed later in the cultivated society of the North.

The education given to women in the upper classes was essentially the same as that given to men. The Italian, at the time of the Renaissance, felt no scruple in putting sons and daughters alike under the same course of literary and even philological instruction (p. 222). Indeed, looking at this ancient culture as the chief treasure of life, he was glad that his girls should have a share in it. We have seen what perfection was attained by the daughters of princely houses in writing and speaking Latin (p. 234).894 Many others must at least have been able to read it, in order to follow the conversation of the day, which turned largely on classical subjects. An active interest was taken by many in Italian poetry, in which, whether prepared or improvised, a large number of Italian women, from the time of the Venetian Cassandra Fedele onwards (about the close of the fifteenth century), made themselves famous.895 One, indeed, Vittoria Colonna, may be called immortal. If any proof were needed of the assertion made above, it would be found in the manly tone of this poetry. Even the love-sonnets and religious poems are so precise and definite in their character, and so far removed from the tender twilight of sentiment, and from all the dilettantism which we commonly find in the poetry of women, that we should not hesitate to attribute them to male authors, if we had not clear external evidence to prove the contrary.

For, with education, the individuality of women in the upper classes was developed in the same way as that of men. Till the time of the Reformation, the personality of women out of Italy, even of the highest rank, comes forward but little. Exceptions like Isabella of Bavaria, Margaret of Anjou, and Isabella of Castille, are the forced result of very unusual circumstances. In Italy, throughout the whole of the fifteenth century, the wives of the rulers, and still more those of the Condottieri, have nearly all a distinct, recognisable personality, and take their share of notoriety and glory. To these came gradually to be added a crowd of famous women of the most varied kind (i. p. 147, note 1); among them those whose distinction consisted in the fact that their beauty, disposition, education, virtue, and piety, combined to render them harmonious human beings.896 There was no question of ‘woman’s rights’ or female emancipation, simply because the thing itself was a matter of course. The educated woman, no less than the man, strove naturally after a characteristic and complete individuality. The same intellectual and emotional development which perfected the man, was demanded for the perfection of the woman. Active literary work, nevertheless, was not expected from her, and if she were a poet, some powerful utterance of feeling, rather than the confidences of the novel or the diary, was looked for. These women had no thought of the public;897 their function was to influence distinguished men, and to moderate male impulse and caprice.

The highest praise which could then be given to the great Italian women was that they had the mind and the courage of men. We have only to observe the thoroughly manly bearing of most of the women in the heroic poems, especially those of Bojardo and Ariosto, to convince ourselves that we have before us the ideal of the time. The title ‘virago,’ which is an equivocal compliment in the present day, then implied nothing but praise. It was borne in all its glory by Caterina Sforza, wife and afterwards widow of Giroloma Riario, whose hereditary possession, Forli, she gallantly defended first against his murderers, and then against Cæsar Borgia. Though finally vanquished, she retained the admiration of her countrymen and the title ‘prima donna d’Italia.’898 This heroic vein can be detected in many of the women of the Renaissance, though none found the same opportunity of showing their heroism to the world. In Isabella Gonzaga this type is clearly recognisable, and not less in Clarice, of the House of Medici, the wife of Filippo Strozzi.899