Poggio Bracciolini, Gian FrancescoGian Francesco Poggio Bracciolini.Vita di Poggio Bracciolini by William Shepherd, 1825
With Lorenzo de’ Medici the period of tutelage came to an end. The Magnificent Lorenzo, virtual ruler of Florence in the late 15th century, was one of the fine poets of his time. His sonnets show Petrarch’s influence but transformed with his own genius. His poetry epitomizes the Renaissance ideal of l’uomo universale (the renaissance man), the many-sided man. Love of nature, love of women, and love of life are the principal themes. The woodland settings and hunting scenes of Lorenzo’s poems suggest how he found relief from a busy public life; his love songs to his mistresses and his bawdy carnival ballads show the other face of a devoted father and affectionate husband. The celebration of youth in his most famous poem was etched with the sad realization of the brevity of life. His own ended at age 43.
Lorenzo de' Medici, painted terra-cotta bust, probably after a model by Andrea del Verrocchio and Orsino Benintendi, 1478/1521; in the National Gallery of Art, Washington, D.C. 65.8 × 59.1 × 32.7 cm.Courtesy National Gallery of Art, Washington, D.C., Samuel H. Kress Collection, 1943.4.92
Oh, how fair is youth, and yet how fleeting! Let yourself be joyous if you feel it: Of tomorrow there is no certainty—
Florence was only one centre of the flowering of the vernacular. Ferrara saw literature and art flourish under the patronage of the ruling Este family and before the end of the 15th century counted at least one major poet, Matteo Boiardo, author of the Orlando innamorato, an epic of Roland. A blending of the Arthurian and Carolingian epic traditions (see La Chanson de Roland), Boiardo’s Orlando inspired Ludovico Ariosto to take up the same themes. The result was the finest of all Italian epics, Orlando furioso. The ability of the medieval epic and folk traditions to inspire the poets of such sophisticated centres as Florence and Ferrara suggests that, humanist disdain for the Dark Ages notwithstanding, Renaissance Italians did not allow Classicism to cut them off from their medieval roots. Renaissance thought
While the humanists were not primarily philosophers and belonged to no single school of formal thought, they had a great deal of influence upon philosophy. They searched out and copied the works of ancient authors, developed critical tools for establishing accurate texts from variant manuscripts, made translations from Latin and Greek, and wrote commentaries that reflected their broad learning and their new standards and points of view. Aristotle’s authority remained preeminent, especially in logic and physics, but humanists were instrumental in the revival of other Greek scientists and other ancient philosophies, including stoicism, skepticism, and various forms of Platonism, as, for example, the eclectic Neoplatonist and gnostic doctrines of the Alexandrian schools known as Hermetic philosophy. All of these were to have far-reaching effects on the subsequent development of European thought. While humanists had a variety of intellectual and scholarly aims, it is fair to say that, like the ancient Romans, they preferred moral philosophy to metaphysics. Their faith in the moral benefits of poetry and rhetoric inspired generations of scholars and educators. Their emphasis upon eloquence, worldly achievement, and fame brought them readers and patrons among merchants and princes and employment in government chancelleries and embassies.
Humanists were secularists in the sense that language, literature, politics, and history, rather than “sacred subjects,” were their central interests. They defended themselves against charges from conservatives that their preference for Classical authors was ruining Christian morals and faith, arguing that a solid grounding in the classics was the best preparation for the Christian life. This was already a perennial debate, almost as old as Christianity itself, with neither side able to prove its case. There seems to have been little atheism or dechristianization among the humanists or their pupils, although there were efforts to redefine the relationship between religious and secular culture. Petrarch struggled with the problem in his book Secretum meum (1342–43, revised 1353–58), in which he imagines himself chastised by St. Augustine for his pursuit of worldly fame. Even the most celebrated of Renaissance themes, the “dignity of man,” best known in the Oration on the Dignity of Man (1486) by Giovanni Pico della Mirandola, was derived in part from the Church Fathers. Created in the image and likeness of God, people were free to shape their destiny, but human destiny was defined within a Christian Neoplatonic context of contemplative thought.
You will have the power to sink to the lower forms of life, which are brutish. You will have the power, through your own judgment, to be reborn into the higher forms, which are divine.
Perhaps because Italian politics were so intense and innovative, the tension between traditional Christian teachings and actual behaviour was more frankly acknowledged in political thought than in most other fields. The leading spokesman of the new approach to politics was Machiavelli" class="md-crosslink">Niccolò Machiavelli. Best known as the author of The Prince (1513), a short treatise on how to acquire power, create a state, and keep it, Machiavelli dared to argue that success in politics had its own rules. This so shocked his readers that they coined his name into synonyms for the Devil (“Old Nick”) and for crafty, unscrupulous tactics (Machiavellian). No other name, except perhaps that of the Borgias, so readily evokes the image of the wicked Renaissance, and, indeed, Cesare Borgia was one of Machiavelli’s chief models for The Prince.
Borgia, CesareCesare Borgia, oil painting; in the Uffizi Gallery, Florence.Alinari/Art Resource, New York
Machiavelli began with the not unchristian axiom that people are immoderate in their ambitions and desires and likely to oppress each other whenever free to do so. To get them to limit their selfishness and act for the common good should be the lofty, almost holy, purpose of governments. How to establish and maintain governments that do this was the central problem of politics, made acute for Machiavelli by the twin disasters of his time, the decline of free government in the city-states and the overrunning of Italy by French, German, and Spanish armies. In The Prince he advocated his emergency solution: Italy needed a new leader, who would unify the people, drive out “the barbarians,” and reestablish civic virtue. But in the Discourses on the First Ten Books of Livy (1517), a more detached and extended discussion, he analyzed the foundations and practice of republican government, still trying to explain how stubborn and defective human material was transformed into political community.
Machiavelli was influenced by humanist culture in many ways, including his reverence for Classical antiquity, his concern with politics, and his effort to evaluate the impact of fortune as against free choice in human life. The “new path” in politics that he announced in The Prince was an effort to provide a guide for political action based on the lessons of history and his own experience as a foreign secretary in Florence. In his passionate republicanism he showed himself to be the heir of the great humanists of a century earlier who had expounded the ideals of free citizenship and explored the uses of Classicism for the public life.
At the beginning of the 15th century, when the Visconti rulers of Milan were threatening to overrun Florence, the humanist chancellor Coluccio Salutati had rallied the Florentines by reminding them that their city was “the daughter of Rome” and the legatee of Roman justice and liberty. Salutati’s pupil, Leonardo Bruni, who also served as chancellor, took up this line in his panegyrics of Florence and in his Historiarum Florentini populi libri XII (“Twelve Books of Histories of the Florentine People”). Even before the rise of Rome, according to Bruni, the Etruscans had founded free cities in Tuscany, so the roots of Florentine liberty went very deep. There equality was recognized in justice and opportunity for all citizens, and the claims of individual excellence were rewarded in public offices and public honours. This close relation between freedom and achievement, argued Bruni, explained Florence’s superiority in culture as well as in politics. Florence was the home of Italy’s greatest poets, the pioneer in both vernacular and Latin literature, and the seat of the Greek revival and of eloquence. In short, Florence was the centre of the studia humanitatis.