Durant W. The Renaissance. A History of Civilization in Italy from 1304-1576 A.D
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`05221 Burckhardt, Cicerone, in Vasari, IV, 320n.
`05222 Vasari, IV, 327.
`05223 Ibid., 329.
`05224 In Anderson, Architecture of the Renaissance in Italy, 145.
`05225 This section is especially indebted to Thomas Caldecott
Chubb's Aretino.
`05226 Chubb, 46.
`05227 Vasari, III, 77, Marcantonio Bolognese.
`05228 In Chubb, 117.
`05229 Symonds, Ital. Lit., II, 395.
`052210 Ariosto, Orlando furioso, xlvi, 14.
`052211 Maulde, 391.
`052212 Symonds, Lit., II, 399-400.
`052213 Ibid., 404.
`052214 Chubb, 205.
`052215 Aretino, Dialogues, p. 55.
`052216 Aretino, 108, 83.
`052217 Roeder, 498.
`052218 Ibid., 441.
`052219 Taine, Italy: Florence and Venice, 289.
`052220 In Gronau, Titian, 46.
`052221 Chubb, 437.
`052222 Vasari, IV, 286.
`052223 Ruskin, Stones of Venice, I, 10.
`052224 Vasari, IV, 298.
`052225 In Mather, Venetian Painters, 340.
`052226 Soulier, G., Le Tintoret, 12.
`052227 Ibid., 19; Mather, 342.
`052228 Soulier, 115.
`052229 Ruskin, Stones, III, 285.
`052230 Ibid., 295.
`052231 Symonds, Fine Arts, 377.
`052232 Soulier, 75-6.
`052233 Ruskin, Stones, II, 243.
`052234 Siviero, R., Catalogue of the Second National Exhibition
of the Works of Art Recovered in Germany, 45.
`052235 Mather, Venetian Painters, 396.
`052236 Ibid., 168.
`052237 416; Venturi and Skira-Venturi, Italian Painting: The
Creators of the Renaissance, 164.
`052238 Ruskin, Stones, II, 10.
`052239 Quoted by E. Herriot in a lecture at Cannes, Jan., 1951.
CHAPTER XXIII
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`05231 Thompson, J. W., 376.
`05232 Adams, Brooks, The New Empire, 90.
`05233 Cf. Barnes, H. E, History of Western Civilization, I, 867.
`05234 Robertson, J. M., I, 469.
`05235 Symonds, Catholic Reaction, I, 33.
`05236 Ibid., 38, 234-334; Sismondi, 763.
`05237 Symonds, Catholic Reaction, I, 273.
`05238 Coulton, Medieval Panorama, 679.
`05239 Ranke, History of the Popes, I, 181.
`052310 Guicciardini, X, 257.
`052311 Ibid., 258.
`052312 Cardan, Jerome, Book of My Life, ch. ii.
`052313 Ibid., ch. vi.
`052314 Hallam, H., Literature of Europe, I, 451-2.
`052315 Duhem, Leonardo, I, 229f; Wolf, A., History of Science,
Technology, and Philosophy in the Sixteenth and Seventeenth
Centuries, 537.
`052316 Cardan, ch. xiii.
`052317 Ch. xiv.
`052318 Prologue.
`052319 Walsh, The Popes and Science, 116.
`052320 Cornaro, 43-7.
`052321 Ibid., 66-72.
`052322 Ibid., 79, 92, 103.
`052323 Ibid., Introd., 31. Addison, in No. 195 of The Spectator,
III, 328, makes good use of Cornaro's treatise.
`052324 Hallam, II, 88.
`052325 Ibid., 119; Robertson, I, 470.
`052326 Hallam, II, 260.
`052327 Bandello, III, 123.
`052328 Holzknecht, Backgrounds of Shakespeare, 243.
`052329 Cambridge Modern History, III, 400-4.
`052330 Cellini, ii, 99.
`052331 Ibid., ii, 70.
`052332 James, Bologna, 317.
`052333 Vasari, III, 237, Pontormo.
`052334 Ibid., 245.
`052335 Cellini, i, 2.
`052336 Ibid., i, 14.
`052337 I, 26.
`052338 I, 52.
`052339 II, 33.
`052340 II, 50.
`052341 I, 51.
`052342 I, 73.
`052343 I, 64.
`052344 I, 55.
`052345 I, 74.
`052346 II, 26.
`052347 II, 12.
`052348 II, 28.
`052349 Ibid.
`052350 II, 34-5.
`052351 II, 37.
`052352 Notes by Symonds, p. 415.
`052353 I, 58.
`052354 Symonds, Michelangelo, 484.
`052355 Vasari, IV, 134, Michelangelo.
`052356 Ibid., 140.
`052357 148.
`052358 Symonds, Michelangelo, 501.
`052358a Ellis, H., Studies in the Psychology of Sex, Vol. II,
Sexual Inversion, 19.
`052359 Maulde, 182.
`052360 Symonds, 377; Taine, Italy: Rome and Naples, 188.
`052361 Symonds, 442.
`052362 Vasari, IV, 198.
`052363 Symonds, 490.
`052364 Vasari, IV, 219.
`052365 Ibid., 203.
`052366 Ruskin, Modern Painters, Part I, ch. ii, end.
`052367 Symonds, 372.
`052368 Balcarres, Lord, Evolution of Italian Sculpture, 271;
Spengler, O., Decline of the West, I, 276.
FOOTNOTES
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*05000 In DOS versions italicized text is enclosed in chevrons.
*05001 An excellent translation by Joseph Auslander:
In what bright realm, what sphere of radiant thought
Did Nature find the model whence she drew
That delicate dazzling image where we view
Here on this earth what she in heaven wrought?
What fountain-haunting nymph, what dryad sought
In groves, such golden tresses ever threw
Upon the gust? What heart such virtues knew?-
Though her chief virtue with my death is fraught.
He looks in vain for heavenly beauty, he
Who never looked upon her perfect eyes,
The vivid blue orbs burning brilliantly-
He does not know how Love yields and denies;
He only knows who knows how sweetly she
Can talk and laugh, the sweetness of her sighs. `05015
*05002 "A young woman is flighty, eager for many lovers; she rates
her beauty beyond what the mirror shows; and is proud.... She knows
neither virtue nor intelligence, always giddy like a leaf in the
wind."
*05003 The term medieval is used in these volumes as denoting
European history and civilization between A.D. 325 and 1492- between
Constantine and Columbus.
*05004 The Italians call the fourteenth century trecento, three
hundred; the fifteenth century quattrocento, four hundred; the
sixteenth century cinquecento, etc.
*05005 The revolt of the Sienese workers in 1371, the Ciompi
revolt in Florence in 1378, the almost simultaneous rebellion of Wat
Tyler in England, and the uprisings in France about 1380 suggest a
Continental wave of revolution, and a greater measure of
intercommunication and mutual influence, among the working classes
in Western Europe, than has generally been supposed.
*05006 All three of these coins, prior to 1490, will be loosely
reckoned in this volume as having the purchasing power of $25 in the
currency of the United States of America in 1952; after 1490 at
$12.50. A slow inflation cut the value of Italian currencies by
approximately fifty per cent between 1400 and 1580. `050154a
*05007 The Papal States may be listed under four provinces:
I. LATIUM, containing the cities of Tivoli, Civita Castellana,
Subiaco, Viterbo, Anagni, Ostia, and Rome;
II. UMBRIA, with Narni, Spoleto, Foligno, Assisi, Perugia, and
Gubbio;
III. THE MARCHES, with Ascoli, Loreto, Ancona, Senigallia, Urbino,
Camerino, Fabriano, and Pesaro; and
IV. THE ROMAGNA, with Rimini, Cesena, Forli, Faenza, Ravenna, Imola,
Bologna, and Ferrara.
*05008 Since 1274 it had been the custom to lock up the cardinals
when they met in conclave ( con clave, with a key) to choose a pope.
*05009 Vasari, in his Vite de' piu eccelenti architetti, pittori, e
scultori Italiani (1550), established the term Rinascita, and the
French Encyclopedie of 1751-72 first definitely used the word
Renaissance, to denote the flowering of letters and arts in the
fourteenth, fifteenth, and sixteenth centuries.
*05010 The origin of their name is a mystery. There is no evidence
that they were physicians, though they may at one time have joined a
medical guild in the loose way of Florentine guild demarcations. Nor
do we know the meaning of their famous emblem, the six red balls
( palle ) on a field of gold. These balls, reduced to three, became
the insignia of pawnbrokers in later times.
*05011 Or San Michele, erected by Francesco and Simone Talenti and
Benci di Cione (1337-1404), was the religious shrine of the Greater
Guilds. Each guild was represented by a statue placed in a niche on
the outer walls. Figures were contributed to this series by
Ghiberti, Verrocchio, Nanni di Banco, and Gian Bologna.
*05012 Cf. his busts of Marietta Strozzi in the Morgan Library,
New York, and in the National Gallery at Washington.
*05013 E.g., the Annunciation in San Lorenzo at Florence- a
peasant girl in modest deprecation; the Virgin Adoring the Child
(Berlin), rich in the blue of the Virgin's gown and the green bed of
flowers beneath the Child; a Madonna in the Uffizi, with grave
blonde face, flowing veil, and beautifully drawn robe; the Madonna
of the Pitti Gallery; the Madonna and Child of the Medici Palace;
the Virgin and Child Between Saints Frediano and Augustine, in the
Louvre; the Coronation of the Virgin, in the Vatican Pinacoteca; and
the Coronation in the Uffizi, with its graceful auxiliary figures,
and Filippo himself, kneeling in prayer, penitent at last.
*05014 Pulci published first the cantos referring to Morgante; the
completed poem was called Morgante maggiore- The Greater Morgante.
*05015 called Il Cronaca from the lively record he wrote of his
travels and studies.
*05016 Crowe and Cavalcaselle have labored to restore Filippino's
legitimacy, but their argument reduces itself to a gallant
wish. `050433
*05017 The Church, to check false prophets, had pronounced such
claims to be heretical.
*05018 Such bonfires of vanities were an old custom with mission
friars.
*05019 A reference to Alexander VI's candor about his children.
*05020 So named from the avenging fates represented on the pedestal.
*05021 Giangaleazzo, who had prayed to the Virgin for a son, was
so grateful for his success in begetting one that he vowed that all
his progeny should bear her name.
*05022 A precious but untranslatable sample by Poggio about Filelfo:
Itaque Chrysoloras, moerore confectus, compulsus precibus, malo
coactus, filiam tibi nuptui dedit a te corruptam, quae si extitisset
integra, ne pilum quidem tibi abrasum ab illius natibus
ostendisset. `050623
*05023 This portrait is by some students ascribed to Leonardo da
Vinci, and may represent Franchino Gaffuri, a musician at Lodovico's
court.
*05024 "And they will go wild for the things that are most beautiful
to seek after, to possess and make use of their vilest
parts.... `05073 The act of procreation and the members employed
therein are so repulsive that if it were not for the beauty of the
faces, and the adornment of the actors, and the pent-up impulse,
nature would lose the human species." `05074
*05025 The story may be a legend; we have only Vasari's evidence for
it. There is no evidence against it except a tradition which reports
that The Last Supper contained no likenesses of living men. `05077
*05026 In 1797 the lower panels were appropriated by French
conquerors; the Garden of Olives and the Resurrection are in
Tours, the Crucifixion is in the Louvre; good copies have replaced
these originals in the Verona polyptych.
*05027 The derivation and significance of this word are uncertain.
*05028 Would that my fire might warm this frigid ice,
And turn, with tears, this dust to living flesh,
And give to thee anew the joy of life!
Then would I boldly, ardently, confront
The man who snapped our dearest bond, and cry,
"O cruel monster! See what love can do!"
*05029 O God Redeemer! even while I sing
I see all Italy in flame and fire,
Brough by these Gauls who, spurred with courage high,
Advance to make a desert everywhere.
*05030 Called "Door of the Paper" because on a bulletin board near
it the Signory posted its decrees.
*05031 Cf. the seed-sower on the title page of the printed volume.
(See illustration.)
*05032 Cf. the honest portrait of Leonello d'Este (Bergamo); the
pensive Princess of the House of Este (Louvre), in a pretty
entourage of flowers and shells; the Profile of a Lady (Washington);
an impressive fresco, St. George, in St. Anastasia, Verona; and a
striking study in light and shade, St. Eustachius (London).
*05033 All these, with Ferrara and Ravenna, constitute the modern
compartimento of Emilia. Southeast of Rimini are the Marches, or
frontier provinces, of Pesaro and Urbino, Ancona, Macerata, and Ascoli
Piceno.
*05034 Rejecting as legend the alleged foundation of the Japanese
imperial dynasty in 660 B.C.
*05035 Pius IV presented it to Venice; hence its later name of
Palazzo Venezia. It was the official headquarters of Benito
Mussolini during the Fascist regime.
*05036 Stefano Infessura composed a Diario della citta di Roma,
a history of fifteenth-century Rome from family records and personal
observation. He was an ardent republican who looked upon the popes
as despots; he was also a partisan of the Colonna; he cannot be
trusted when he retails stories, not elsewhere confirmed, about the
wickedness of the popes. `051546
*05037 In a consistory of June, 1486, Cardinal Borgia reproached
Cardinal Balue for being drunk; to which Balue responded by calling
the future Alexander VI "son of a whore." `051557a
*05038 Says the judicious Roscoe: "His attachment to Vanozza appears
to have been sincere and uniform; and although his connexion was
necessarily disavowed, he regarded her as a legitimate wife." `05166
*05039 Cf. the admirable Creighton: "In the precarious condition
of Italian politics allies were not to be trusted unless their
fidelity was secured by interested motives; so Alexander VI used the
marriage connections of his family as a means to secure for himself
a strong political party. He had no one whom he could trust save his
own children, whom he regarded as instruments for his own plans."-
M. Creighton, History of the Papacy During the Period of the
Reformation, III, 263. The impartiality and learning of the
Anglican bishop is matched in this field only by the scholarship and
honesty of the Catholic Ludwig von Pastor's History of the Popes.
The existence of these two remarkable histories should long since have
dissipated the mist of legend cast by partisan pamphleteering around
the Renaissance popes.
*05040 Pastor (V, 417n) accepts the evidence as conclusive of
Alexander's guilt; but the Pope's character was so blackened by
hostile gossip that charity may still suspend judgment.
*05041 "The general tendency of investigation, while utterly
shattering all idle attempts to represent Alexander as a model pope,
has been to relieve him of the most odious imputations against his
character. There remains the charge of secret poisoning from motives
of cupidity, which indeed appears established, or nearly so, only in a
single instance; but this may imply others."- Richard Garnett in
The Cambridge Modern History, I, 242.
*05042 Cf. Cambridge Modern History, I, 239: "Nothing could be
less like the real Lucrezia than the Lucrezia of the dramatists and
romancers."
*05043 "These nations"- France, Spain, England, Hungary- "had now
become great military monarchies, for which" Italy's "loose bundle
of petty states was no match. A Cesare Borgia might possibly have
saved her if he had wrought at the beginning of the fifteenth
century instead of the end.... The only considerable approach to
consolidation was the establishment of the Papal Temporal Power, of
which Alexander and Julius were the chief architects. While the
means employed in its creation were often most condemnable, the
creation itself was justified by the helpless condition of the
Papacy without it, and by the useful end it was to serve when it
became the only vestige of dignity and independence left to Italy."-
Cambridge Modern History, I, 252.
*05044 Cf. his fondness for Federigo, son of Isabella d'Este. Gossip
did not scruple to put the vilest interpretation on this
affection. `051715
*05045 Which should be the Hermes of Praxiteles but more probably is
the Statue of Liberty in the harbor of New York.
*05046 It should be recalled that one might become a cardinal
without being a priest, and that cardinals were chosen for their
political ability and connections rather than for religious qualities.
*05047 On these hunts Leo's favorite retreat was the Villa Magliana.
Built for Sixtus IV, enlarged by Innocent VIII and Julius II, it was
adorned for Julius with frescoes of Apollo and the Muses by the
Umbrian Giovanni di Pietro (Lo Spagna). For its chapel Raphael
(between 1513 and 1520) designed three frescoes, of which two
survive in the Louvre; probably they were painted by Lo Spagna from
Raphael's cartoons. `051821
*05048 At Leo's death the tapestries were pawned to ease the papal
insolvency; at the sack of Rome they were seriously injured; one was
cut into fragments, and two were sold to Constantinople. All were
restored to the Sistine Chapel by 1554; and every year, on the feast
of Corpus Christi, they were exhibited to the people in the Piazza
di San Pietro. Louis XIV had them copied in oils. Seized by the French
in 1798, they were again returned to the Vatican in 1808. They are now
displayed there in a hall of their own, the Galleria degli Arazzi,
or Hall of the Arrases.
*05049 The picture was bought in 1753 for Frederick Augustus II of
Saxony at a price of 60,000 thalers ($450,000?), and for almost two
centuries it remained the chief treasure of the Dresden Gallery. Along
with Correggio's Holy Night, Giorgione's Venus, and some 920,000
other art objects, it was taken from Germany by the victorious
Russians after the Second World War. `051885
*05050 Another and finer Fornarina, in the Uffizi, is by
Sebastiano del Piombo.
*05051 Sarton concludes: "As to syphilis, I have been thus far
unable to discover a single description of it anterior to those
which appeared in quick succession in 1495 and following years. In
spite of frequent reaffirmations in recent years of the
pre-Columbian antiquity of European syphilis, I remain
unconvinced." `051937
*05052 Marsilius of Padua belongs rather to the Reformation than
to the Renaissance, and consideration of him is deferred accordingly.
*05053 Guicciardini wrote an important comment on this passage:
"It is true that the Church has prevented the union of Italy in a
single state; but I do not know whether this be a good or an evil. A
single republic might certainly have made the name of Italy
glorious, and been of the utmost profit to the capital city; but it
would have proved the ruin of every other city. It is true that our
divisions have brought many calamities upon us, although it should
be remembered that the invasions of the barbarians began at the time
of the Romans, precisely when Italy was united. And divided Italy
has succeeded in having so many free cities that I believe a single
republic would have caused her more misery than happiness.... This
land has always desired liberty, and therefore has never been able
to unite under one rule."- Considerazioni interno ai Discorsi di
Machiavelli, i, 12. `0519104