Volume I Part 3 (1/2)

The upper cla.s.ses, on the other hand, differed quite as much from the upper cla.s.ses of feudal countries. They were, be it remembered, men of business, constantly in contact with the working cla.s.ses; Albizis, Strozzis, Pandolfinis, Guinigis, Tolomeis, no matter what their name, these men who built palaces and churches which outdid the magnificence of northern princes, and who might, at any moment, be sent amba.s.sadors from Florence, Lucca, or Siena, to the French or English kings, to the Emperor or the Pope, spent a large portion of their days at their office desk, among the bales of their warehouses, behind the counter of their shops; they wore the same dress, had the same habits, spoke the same dialect, as the weavers and dyers, the carriers and porters whom they employed, and whose sons might, by talent and industry, ama.s.s a fortune, build palaces, and go amba.s.sadors to kings in their turn. When, therefore, these merchant n.o.bles turned to the country for rest and relief from their cares, it was not to the country as it existed for the feudal n.o.ble of the North. Boar and stag hunts had no attraction for quiet men of business; forests stocked with wild beasts where vineyard and cornfield might have extended, would have seemed to them the very height of wastefulness, discomfort, and ugliness. Pacific and businesslike, they merely transferred to the country the habits of thought and of life which had arisen in the city. Not for them any imitation of the feudal castle, turreted and moated, cut up into dark irregular rooms and yards, filled with noisy retainers and stinking hounds. On some gentle hillside a well-planned palace, its rooms s.p.a.cious and lofty, and sparely windowed for coolness in summer; with a neat cloistered court in the centre, ventilating the whole house, and affording a cool place, full of scent of flowers and sound of fountains for the burning afternoons; a belvedere tower also, on which to seek a breeze on stifling nights, when the very stars seem faint for heat, and the dim plumy heads of cypress and poplar are motionless against the misty blue sky. In front a broad terrace, whence to look down towards the beloved city, a vague fog of roofs in the distance; on the side and behind, elaborate garden walks walled with high walls of box and oak and laurel, in which stand statues in green niches; gardens with little channels to bring water, even during droughts, to the myrtles, the roses, the stocks and clove pinks, over which bend with blossoms brilliant against the pale blue sky the rose-flowered oleander, the scarlet-flowered pomegranate; also aviaries and cages full of odd and harmless creatures, ferrets, guinea pigs, porcupines, squirrels, and monkeys; arbours where wife, daughters, and daughters-in-law may sew and make music; and neat lawns where the young men may play at quoits, football, or swordsticks and bucklers; and then, sweeping all round the house and gardens and terraces an undulating expanse of field and orchard, smoke-tinted with olive, bright green in spring with budding crops, russet in autumn with sere vines; and from which, in the burning noon, rises the incessant sawing noise of the cicalas, and ever and anon the high, nasal, melancholy chant of the peasant, lying in the shade of barn door or fig tree till the sun shall sink and he can return to his labour. If the house in town, with its s.p.a.cious store-rooms, its carved chapel, and painted banqueting hall, large enough to hold sons' children and brothers' wives and grandchildren, and a whole host of poor relatives, whom the wise father (as Pandolfini teaches) employs rather than strangers for his clerks and overseers--if this town house was the pride of the Italian burgess; the villa, with its farms and orchards, was the real joy, the holiday paradise of the over-worked man. To read in the cool house, with cicala's buzz and fountain plash all round, the Greek and Latin authors; to discuss them with learned men; to watch the games of the youths and the children, this was the reward for years of labour and intelligence; but sweeter than all this (how we feel it in Agnolo Pandolfini's speeches!) were those occupations which the city could not give: the buying and selling of plants, grain, and kine, the meddling with new grafted trees, the mending of spaliers, the straightening of fences, the going round (with the self-importance and impatience of a c.o.c.kney) to see what flowers had opened, what fruit had ripened over-night; to walk through the oliveyards, among the vines; to pry into stable, pig-stye, and roosting-place, taking up handfuls of drying grain, breaking twigs of olives, to see how things were doing; and to have long conversations with the peasants, shrewd enough to affect earnest attention when the master was pleased to vent his town-acquired knowledge of agriculture and gardening. Sweet also, doubtless, for younger folk, or such perhaps as were fonder of teaching new lute tunes to the girls than of examining into cabbages, and who read Dante and Boccaccio more frequently than Cicero or Sall.u.s.t; though sweet perhaps only as a vague concomitant of their lazy pleasures, to listen to those songs of the peasantry rising from the fields below, while lying perhaps on one's back in the shaded gra.s.s, watching the pigeons whirring about the belvedere tower. Vaguely pleasant this also, doubtless; but for a long while only vaguely. For, during more than two centuries, the burgesses of Italy were held enthralled by the Courtly poets of other countries; listening to, and reading, at first, only Provencals and Sicilians, or Italians, like Sordello, pretending to be of Provence or Sicily; and even later, enduring in their own poets, their own Guittones, Cavalcantis, Cinos, Guinicellis, nay even in Dante and Petrarch's lyrics, only the repet.i.tion (however vivified by genius) of the old common-places of Courtly love, and artificial spring, of the poetry of feudal nations. But the time came when not only Provencal and Sicilian, but even Tuscan, poetry was neglected, when the revival of Greek and Latin letters made it impossible to rewrite the threadbare mediaeval prettinesses, or even to write in earnest in the modern tongue, so stiff and thin (as it seemed) and like some grotesque painted saint, when compared with the splendidly fleshed antique languages, turning and twining in graceful or solemn involutions, as of a Pyrrhic or a maidens'

dance. And it was during this period, from Petrarch to Politian, that, as philologists have now proved beyond dispute, the once fas.h.i.+onable chivalric romance, and the poetry of Provencal and Sicilian school, cast off by the upper cla.s.ses, was gradually picked up by the lower and especially by the rural cla.s.ses. Vagabond ballad-singers and story-tellers--creatures who wander from house to house, mending broken pottery, collecting rags or selling small pedlar's wares--were the old clothesmen who carried about these bits of tarnished poetic finery. The people of the town, constantly in presence of the upper cla.s.ses, and therefore sooner or later aware of what was or was not in fas.h.i.+on, did not care long for the sentimental daintiness of mediaeval poetry; besides, satire and scurrility are as inevitable in a town as are dogs in gutters and cats on roofs; and the townsfolk soon set their own buffoonish or satirical ideas to whatever remained of the music of mediaeval poetry: already early in the fifteenth century the sonnet had become for the Florentine artizans a mere scurrilous epigram. It was different in the country. The peasant, at least the Tuscan peasant, is eminently idealistic and romantic in his literary tastes; it may be that he has not the intellectual life required for any utterances or forms of his own, and that he consequently accepts poetry as a ready-made ornament, something pretty and exotic, which is valued in proportion to its prettiness and rarity. Be the reason whatever it may, certain it is that nothing can be too artificial or high-flown to please the Italian peasantry: its tales are all of kings; princesses, fairies, knights, winged horses, marvellous jewels, and so forth; its songs are almost without exception about love, constancy, moon, stars, flowers. Such things have not been degraded by familiarity and parody as in the town; they retain for the country folk the vague charm (like that of music, automatic and independent of thorough comprehension) of belonging to a sphere of the marvellous; hence they are repeated and repeated with almost religious servility, as any one may observe who will listen to the stories and verses told and sung even nowadays in the Tuscan country, or who will glance over the splendid collections of folklore made in the last twenty years. Such things, must suffer alteration from people who can neither read nor write, and who cannot be expected to remember very clearly details which, in many cases, must have for them only the vaguest meaning. The stories split in process of telling and re-telling, and are completed with bits of other stories; details are forgotten and have to be replaced; the same happens with poetry: songs easily get jumbled together, their meaning is partially obliterated, and has to be restored or, again, an attempt is made by bold men to adapt some seemingly adaptable old song to a new occasion an old love ditty seems fit to sing to a new sweetheart.--names, circ.u.mstances, and details require arranging for this purpose; and hence more alterations.

Now, however much a peasant may enjoy the confused splendours of Court life and of Courtly love, he cannot, with the best will in the world, restore their details or colouring if they happen to become obliterated.

If he chance to forget that when the princess first met the wizard she was riding forth on a snow-white jennet with a falcon on her glove, there is nothing to prevent his describing her as walking through the meadow in charge of a flock of geese; and similarly, should he happen to forget that the Courtly lover compares the skin of his mistress to ivory and her eyes to Cupid's torches, he is quite capable of filling up the gap by saying that the girl is as white as a turnip and as bright-eyed as a ferret. As with details of description and metaphors, so also with the emotional and social parts of the business. The peasant has not been brought up in the idea that the way to gain a woman's affection is to stick her glove on a helmet and perform deeds of prowess closely resembling those of Don Quixote in the Sierra Morena; so he attempts to ingratiate himself by offering her presents of strawberries, figs, b.u.t.tons, hooks-and-eyes, and similar desirable things. Again, were the peasant to pay attentions to a married woman, he would merely get (what n.o.ble husbands were too well bred to dream of) a sound horsewhipping, or perhaps even a sharp knife thrust in his stomach; so that he takes good care to address his love songs only to marriageable young women. In this way, without any deliberate attempt .at originality, the old Courtly poetry becomes, when once removed to the country, thoroughly patched and seamed with rustic ideas, feelings, and images; while never ceasing to be, in its general stuff and shape, of a kind such as only professional poets of the upper cla.s.ses can produce. The Sicilian lyrics collected by Signor Pitre, still more the Tuscan poems of Tigri's charming volume, are, therefore, a curious mixture of high-flown sentiment, dainty imagery, and most artistic arrangements of metre and diction (especially in the rispetto, where metrical involution is accompanied by logical involution of the most refined mediaeval sort), with hopes and complaints such as only a farmer could frame, with similes and descriptions such as only the business of the field, vineyard, and dairy could suggest. A mixture, but not a jumble. For as in this slow process of a.s.similation and alteration only that was remembered by the peasant which the peasant could understand and sympathize with; and only that was welded into the once Courtly poetry which was sufficiently refined to please the people who delighted in the exotic refinement--as, in short, everything came about perfectly simply and unconsciously, there resulted what in good sooth may be considered as a perfectly substantive and independent form of art, with beauties and refinements of its own. And, indeed, it appears to me that one might say, without too much paradox, that in these peasant songs only does the poetry of minnesingers and troubadours, become thoroughly enjoyable; that only when the conventionality of feeling and imagery is corrected by the freshness, the straightforwardness, nay, even the grotesqueness of rural likings, dislikings, and comparisons, can the dainty beauty of mediaeval Courtly poetry ever really satisfy our wishes. Comparing together Tigri's collection of Tuscan folk poetry with any similar anthology that might be made of middle-high German and Provencal, and early Italian lyrics, I feel that the adoption of Courtly mediaeval poetry by the Italian peasantry of the Renaissance can be compared more significantly than at first seemed with the adoption of a once fas.h.i.+onable garb by country folk. The peasant pulled about this Courtly lyrism, oppressively tight in its conventional fit and starched with elaborate rhetorical embroideries; turned it inside out, twisted a bit here, a bit there, ripped open seam after seam, patched and repatched with stuffs and st.i.tches of its own; and then wore the whole thing as it had never been intended to be worn; until this cast-off poetic apparel, stretched on the freer moral limbs of natural folk, faded and stained by weather and earth into new and richer tints, had lost all its original fas.h.i.+onable stiffness, and crudeness of colour, and niminy-piminy fit, and had acquired instead I know not what grace of unexpectedness, picturesqueness, and ease.[1]

[1] Any one who is sceptical of the Courtly derivation of the Italian popular song may, besides consulting the admirable book of Prof.

d'Ancona, compare with the contents of Tigri's famous ”Canti popolari Toscani,” the following sc.r.a.ps of Sicilian and early Italian lyrics:--

The Emperor Frederick II. writes: ”Rosa di maggio--Colorita e fresca--Occhi hai fini--E non rifini--Di gioie dare--Lo tuo parlare--La gente innamora--Castella ed altura.”

Jacopo Pugliesi says of his lady: ”Chiarita in viso piu che argento--Donami allegrezze--Ben eo son morto--E mal colto--Se non mi dai conforto--_Fior dell' orto_.”

Inghilfredi Siciliano: ”Gesu Cristo ideolla in paradiso--E poi la fece angelo incarnando--Gioia aggio preso di giglio novello--E vago, che sormonta ogni ricchezza--Sua dottrina m' affrezza--Cosi mi coglie e olezza--Come pantera le bestie selvagge.”

Jacopo da Lentino: ”E di virtute tutte l' altre avanza--E somigliante a stella e di splendore--Colla sua conta (_cf_. Provencal _coindeta_, gentille) e gaia innamoranza--E piu bella e che rosa e che fiore--Cristo le doni vita ed allegranza--E s la cresca in gran pregio ed onore.”

I must finish off what might be a much longer collection with a charming little sc.r.a.p, quite in rispetto tone, by Guinicelli: ”Vedut 'ho la lucente stella diana--Ch' appare anzi che 'l giorno renda albore--Ch' a preso forma di figura umana--Sovr' ogni altra mi par che dia splendore--Viso di neve colorato in grana--Occhi lucenti, gai e pien d'amore--Non credo che nel mondo sia cristiana--Si piena di beltate e di valore.”]

Well; for many a year did the song of the peasants rise up from the fields and oliveyards unnoticed by the good townsfolk taking their holiday at the Tuscan villa; but one day, somewhere in the third quarter of the fifteenth century, the long-drawn chant of the rispetto, telling perhaps how the singer's sweetheart was beautiful as the star Diana, so beautiful as a baby that the Pope christened her with his own hands; the quavering nasal cadence of the stornello saying by chance--

Flower of the Palm, &c.,

did at last waken the attention of one lettered man, a man of curious and somewhat misshapen body and mind, of features satyr-like in ugliness, yet moody and mystical in their very earthiness; a man essentially of the senses, yet imperfect in them, without taste or smell, and, over and above, with a marvellously supple intellect; weak and coa.r.s.e and idealistic; and at once feebly the slave of his times, and so boldly, spontaneously innovating as to be quite unconscious of innovation: the mixed nature, or rather the nature in many heterogeneous bits, of the man of letters who is artistic almost to the point of being an actor, natural in every style because morally connected with no style at all. The man was Lorenzo di Piero dei Medici, for whom posterity has exclusively reserved the civic t.i.tle of all his family and similar town despots, calling him the Magnificent. It is the fas.h.i.+on at present to give Lorenzo only the leavings, as it were, of our admiration for the weaker, less original, nay, considerably enervate, humanistic exquisite Politian; and this absurd injustice appears to me to show that the very essence and excellence of Lorenzo is not nowadays perceived. The Renaissance produced several versatile and charming poets; and, in the midst of cla.s.sic imitation, one or two, of whom one is certainly Boiardo, of real freshness and raciness. But of this new element in the Renaissance, this element which is neither imitation of antiquity nor revival of mediaeval, which is original, vital, fruitful, in short, modern, Lorenzo is the most versatile example. He is new, Renaissance, modern; not merely in this or that quality, he is so all round. And this in the first place because he is so completely the man of impressions; the man not uttering wonderful things, nor elaborating exquisite ones, but artistically embodying with marvellous versatility whatever strikes his fancy and feeling--fancy and feeling which are as new as the untouched sculptor's clay. And this extraordinary temper of art for art's sake, or rather effect for effect and form's sake, was possible in that day only in a man equally without strong pa.s.sions, and without strong convictions. He is naturally attracted most by what is most opposed to the academic, Virgilian, Horatian, or Petrarchesque aestheticism of his contemporaries; he is essentially a realist, and all the effects, which he produces, all the beauty, charm, or beastliness of his work, corresponds to beauty, charm, or beastliness in the reality of things. If Lorenzo writes at one moment carnival songs of ribald dirtiness, at the next hymns full of holy solemnity; it is, I think, merely because this versatile artist takes pleasure in trying whether his face may not be painted into grinning drunkenness, and then elongated and whitened into ascetic gentleness. Instead of seeking, like most of his contemporaries, to be Greek, Roman, or mediaeval by turns, he preferred trying on all the various tricks of thought and feeling which he remarked among his unlettered townsfolk. His realism naturally drew him towards the cla.s.ses where realism can deal with the real; and not the affected, the self-conscious, the deliberately attempted. Hence those wonderful little poems, the carnival songs of the gold-thread spinners, of the pastry-cooks, of the shoemakers, which give us so completely, so gracefully, the whole appearance, work, manner, gesture of the people; give them to us with ease and rapidity so perfect, that we scarcely know how they are given; that we almost forget verses and song, and actually see the pulling, twisting, and cutting of the gold-threads; that we see and hear the shoemaker's hands smoothing down the leather of the shoe in his hand, to convince his customers of its pliability; that we see and smell the dear little pale yellow pasties nestling in the neat white baskets, after having stood by and watched the dough being kneaded, chopped, and floured over, the iron plates heated in the oven, the soft, half-baked paste twisted and bent; nay, we feel almost as if we had eaten of them, those excellent things which seem such big mouthfuls but are squeezed and crunched at one go like nothing at all. Hence, I mean from this love of watching effects and reproducing them, originated also the masterpiece of Lorenzo dei Medici, the ”Nencia da Barberino.”

This poem, of some fifty octaves, is the result of those Tuscan peasant songs, of which I have told you the curious Courtly descent, at last having struck the fancy of a real poet. It is, what Lorenzo's masterpiece necessarily must be, in the highest degree a modern performance; as modern as a picture by Bastien Lepage; as an opera, founded upon local music, by Bizet. For it is not by any manner of means a pastoral, a piece of conventional poetic decoration, with just a little realistic detail, more of the mere conventional or more of the realistic dominating according as it is a pastoral by Theocritus, or a pastoral by Quinault or Metastasio. It is the very reverse of this: it is the attempt to obtain a large and complete, detailed and balanced impression by the cunning arrangement of a number of small effects which the artist has watched in reality; it is the making into a kind of little idyl, something half narrative, half drama, with distinct figures and accessories and background, of a whole lot of little fragments imitated from the peasant poetry, and set in thin, delicate rims of imitation no longer of the peasant's songs, but of the peasant's thoughts and speech; a perfect piece of impressionist art, marred only in rare places by an attempt (inevitable in those days) to force the drawing and colour into caricature. The construction, which appears to be nowhere, is in reality a masterpiece; for, without knowing it, you are shown the actors, the background, the ups and downs of temper, the variation of the seasons; above all you are shown the heroine through the medium of the praises, the complaints, the narratives of the past, the imaginings of the future, of the hero, whose incoherent rhapsodizing const.i.tutes the whole poem. He, Vallera, is a well-to-do young farmer; she, Nencia, is the daughter of peasant folk of the castellated village of Barberino in the Mugello; he is madly in love, but shy, and (to all appearance) awkward, so that we feel convinced that of all these speeches in praise of his Nenciozza, in blame of his indifference, highly poetic flights and most practical adjurations to see all the advantages of a good match, the young woman hears few or none; Vallera is talking not to her, but at her, or rather, he is rehearsing to himself all the things which he cannot squeeze out in her presence. It is the long day-dream, poetic, prosaic, practical, and imaginative, of a love-sick Italian peasant lad, to whom his sweetheart is at once an ideal thing of beauty, a G.o.ddess at whose shrine songs must be sung and wreaths twined; and a very substantial la.s.s, who cannot be indifferent to sixpenny presents, and whom he cannot conceive as not ultimately becoming the sharer of his cottage, the cooker of his soup, the mender of his linen, the mother of his brats--a dream in which image is effaced by image, and one thought is expelled, unfinished, by another. She is to him like the Fairy Morgana, the fairy who kept so much of chivalry in her enchanted island; she is like the evening star when above his cottage it slowly pierces the soft blue sky with its white brilliancy; she is purer than the water in the well, and sweeter than the malmsey wine, and whiter than the miller's flour; but her heart is as hard as a pebble, and she loves driving to distraction a whole lot of youths who dangle behind her, captives of those heart-thievish eyes of hers. But she is also a most excellent housewife, can stand any amount of hard field labour, and makes lots of money by weaving beautiful woollen stuff. To see her going, to church of a morning, she is a little pearl!

her bodice is of damask, and her petticoat of bright, colour, and she kneels down carefully where she may be seen, being so smart. And then, when she dances!--a born dancer, bouncing like a little goat, and twirling more than a mill-wheel; and when she has finished she makes you such a curtsey; no citizen's wife in Florence can curtsey as she does.

It was in April that he first fell in love. She was picking salad in the garden; he begged her for a little, and she sent him about his business; las, alas! ever since then his peace has been gone; he cannot sleep, he can only think of her, and follow her about; he has become quite good-for-nothing as to his field work,--yet he hears all the people around laughing and saying, ”Of course Vallera will get her.” Only _she_ will pay no heed to him. She is finer to look at than the Pope, whiter than the whitest wood core: she is more delectable than are the young figs to the earwigs, more beautiful than the turnip flower, sweeter than honey. He is more in love with her than the moth is in love with the lamp; she loves to see him peris.h.i.+ng for her. If he could cut himself in two without too much pain, he would, just to let her see that he carries her in his heart. No; he would cut out his heart, and when she has touched it with that slender hand of hers, it would cry out, ”Nencia, Nencia bella.” But, after all, he is not to be despised: he is an excellent labourer, most learned in buying--and selling pigs, he can play the bagpipe beautifully; he is rich, is willing to go to any expense to please her, nay, even to pay the barber double that his hair may be nice and fuzzy from the crimping irons; and if only he were to get himself tight hose and a silk jerkin, he would be as good as any Florentine burgess. But she will not listen; or, rather, she listens and laughs. Yes, she sits up in bed at night and laughs herself to death at the mere thought of him, that is all he gets. But he knows what it is!

There is a fellow who will keep sneaking about her; if Vallera only catch him near his cottage, won't he give him a taste of his long new knife! nay, rip him up and throw his bowels, like those of a pig, to dry on a roof! He is sorry--perhaps he bores her--G.o.d bless you, Nencia!--he had better go and look after his sheep.

All this is not the poetry of the Renaissance peasant; it is the poem made out of his reality; the songs which Vallera sang in the fields about his Nencia we must seek in the volume of Tigri; those rispetti and stornelli of to-day are the rispetti and stornelli of four centuries ago; they are much more beautiful and poetic than any of Lorenzo's work; but Lorenzo has given us not merely a peasant's love-song; he has given us a peasant's thoughts, actions, hopes, fears; he has given us the peasant himself, his house, his fields, and his sweetheart, as they exist even now. For Lorenzo is gone, and, greater than he, the paladins and ladies of Boiardo and Ariosto, have followed the saints and virgins of Dante into the limbo of fair unrealities; and the very Greek and Roman heroes of a hundred years ago, the very knights and covenanters of forty years since, have joined them; but Vallera exists still, and still in the flesh exists his Nenciozza. Everything changes, except the country and the peasant. For, in the long farms of Southern Tuscany, with double row of blackened balcony all tapestried with heavy ingots of Indian corn, and spread out among the olives of the hillside, up which twists the rough bullock road protected by its vine trellis; and in the little farms, with queer hood-shaped double roofs (as if to pull over the face of the house when it blows hard), and pigeon towers which show that some day they must have been fortified, all about Florence; farms which I pa.s.s every day, with their sere trees all round, their rough gardens of bright dahlias and chrysanthemums draggled by the autumn rains--in these there are, do not doubt it, still Nencias: magnificent creatures, fit models for Amazons, only just a trifle too full-blown and matronly; but with real Amazonian limbs, firm and delicate, under their red and purple striped print frocks; creatures with heads set on necks like towers or columns, necks firm in broad, well-fleshed chest as branches in a tree's trunk; great penthouses of reddish yellow or l.u.s.treless black crimped hair over the forehead; the forehead, like the cheeks, furrowed a good deal--perhaps we dainty people might say, faded and wrinkled by work in the burning sun and the wind; women whom you see shovelling bread into the heated ovens, or plas.h.i.+ng in winter with bare arms in half-frozen streams, or digging up a turnip field in the drizzle; or on a Sunday, standing listless by their door, surrounded by rolling and squalling brats, and who, when they slowly look up at the pa.s.ser-by, show us, on those monumental faces of theirs, a strange smile, a light of bright eyes and white teeth; a smile which to us sophisticated townspeople is as puzzling as certain sudden looks in some comely animal, but which yet makes us understand instinctively that we have before us a Nencia; and that the husband yonder, though he now swears at his wife, and perhaps occasionally beats her, has nevertheless, in his day, dreamed, argued, raged, and sung to himself just like Lorenzo's Vallera.

The ”Nencia da Barberino” is certainly Lorenzo dei Medici's masterpiece: it is completely and satisfactorily worked out. Yet we may strain possibilities to the point of supposing (which, however, I cannot for a moment suppose) that this ”Nencia” is a kind of fluke; that by an accident a beautiful and seemingly appreciative poem has resulted where the author, a mediaeval realist of a superior Villon sort, had intended only a piece of utter grotesqueness. But important as is the ”Nencia,”

Lorenzo has left behind him another poem, greatly inferior in completeness, but which settles beyond power of doubt that in him the Renaissance was not merely no longer mediaeval, but most intensely modern. This poem is the ”Ambra.” It is simply an allegorical narrative of the inundation, by the river Ombrone, of a portion, called Ambra, of the great Medicean villa of Poggio a Caiano. Lorenzo's object was evidently to write a semi-Ovidian poem, of a kind common in his day, and common almost up to our own: a river-G.o.d, bearded, crown of reeds, urn, general dampness and uproariousness of temper, all quite correct; and a nymph, whom he pursues, who prays to the Virgin huntress to save her from his love, and who, just in the nick of time, is metamorphosed into a mossy stone, dimly showing her former woman's shape; the style of thing, charming, graceful, insipid, of which every one can remember a dozen instances, and which immediately brings up to the mind a vision of grand-ducal gardens, where, among the clipped ilexes and the cypress trunks, great lumbering water-G.o.ds and long-limbed nymphs splash, petrified and covered with melancholy ooze and yellow lichen, among the stagnant grotto waters. In some respects, therefore, there is in the ”Ambra” somewhat more artificial, more _barrocco_ than that early Renaissance of Politian and Pontano would warrant. There also several bits, half graceful, half awkward, pedantic, constrained, childish, delightful, like the sedge-crowned rivers telling each other anecdotes of the ways and customs of their respective countries, and especially the charming dance of zephyr with the flowers on the lawns of Cyprus, which must immediately suggest pictures by Piero di Cosimo and by Botticelli. So far, therefore, there is plenty to enjoy, but nothing to astonish, in the ”Ambra.” But the Magnificent Lorenzo has had the extraordinary whim of beginning his allegory with a description, twenty-one stanzas long, of the season of floods. A description, full of infinitely delicate minute detail: of the plants which have kept their foliage while the others are bare--the p.r.i.c.kly juniper, the myrtle and bay; of the flocks of cranes printing the sky with their queer shapes, of the fish under the ice, and the eagle circling slowly round the ponds--little things which affect us mixed up as they are with all manner of stiff cla.s.sic allusions, very much as do the carefully painted daisies and clover among the embossed and gilded unrealities of certain old pictures. From these rather finikin details, Lorenzo pa.s.ses, however, to details which are a good deal more than details, things little noticed until almost recently: the varying effect of the olives on the hillside--a grey, green ma.s.s, a silver ripple, according as the wind stirs them; the golden appearance of the serene summer air, and so forth; details no longer, in short, but essentially, however minute, effects. And then, suddenly leaving such things behind, he rushes into the midst of a real picture, a picture which you might call almost impressionistic, of the growth of rivers and the floods. The floods are a grand sight; more than a sight--a grand performance, a drama; sometimes, G.o.d knows, a tragedy. Last night, under a warm, hazy sky, through whose buff-tinted clouds the big moon crept in and out, the mountain stream was vaguely visible--a dark riband in its wide s.h.i.+ngly bed, when the moon was hidden; a narrow, shallow, broken stream, sheets of brilliant metallic sheen, and showers of sparkling facets, when the moon was out; a mere drowsy murmur mixing with the creaking and rustling of dry reeds in the warm, wet wind. Thus in the evening. Look down from your window next morning. A tremendous rus.h.i.+ng ma.s.s of waters, thick, turbid, reddish, with ominous steel-like l.u.s.tre where its coppery surface reflects the moist blue sky, now fills the whole bed, shaking its short fringe of foam, tossing the spray as it swirls round each still projecting stone, angrily tugging at the reeds and alders which flop their draggled green upon its surface; eddying faster and faster, encircling each higher rock or sandbank, covering it at last with its foaming red ma.s.s. Meanwhile, the sky is covered in with vaporous grey clouds, which enshroud the hills; the clear runnels, dash over the green banks, spirt through the walls, break their way across the roads; the little mountain torrents, dry all summer, descend, raging rivers, red with the hill soil; and with every gust of warm wind the river rises higher and rushes along tremendously impetuous. Down in the plain it eats angrily at the soft banks, and breaks its muddy waters, fringed on the surface with a sort of ominous grime of broken wood and earth, higher and higher against the pierheads of the bridges; shaking them to split their masonry, while crowds of men and women look on, staring at the rising water, at the planks, tables, beams, cottage thatches, nay, whole trees, which it hurls at the bridge piers. And then, perhaps, the terrible, soft, balmy flood-wind persisting, there comes suddenly the catastrophe; the embankment, shaken by the resistless current, cracks, fissures gives way; and the river rushes into the city, as it has already rushed into the fields, to spread in constantly rising, melancholy livid pools, throughout the streets and squares.

This Lorenzo saw, and, wonderful to say, in this soiled and seething river, in these torn and crumbling banks, in all the dreadfulness of these things, he saw a beauty and a grandeur. But he saw not merely the struggle of the waters and of the land; he--the heartless man who laid his hand even upon the saved-up money of orphan girls in order to keep up the splendour of his house and of his bank--saw the misfortunes of the peasantry; the mill, the cottage by the riverside, invaded by the flood; the doors burst open by the tremendous rus.h.i.+ng stream, the stables and garners filled with the thick and oozy waters; the poor creatures, yesterday prosperous, clinging to the roof, watching their sheep and cows, their hay, and straw, and flour, the hemp bleached in the summer, the linen spun and woven in the long winter, their furniture and chattels, their labour and their hope whirled along by the foaming river.

Thus by this versatile Lorenzo dei Medici, this flippant, egotistic artist and despot, has at last been broken the long spell of the Middle Ages. The Renaissance has sung no longer of knights and of spring, but of peasants and of autumn. An immoral and humanistic time, an immoral and humanistic man, have had at length a heart for the simpler, ruder less favoured cla.s.ses of mankind; an eye for the bolder, grander, more solemn sights of Nature: modern times have begun, modern sympathies, modern art are in full swing.

SYMMETRIA PRISCA.

Mirator veterum, discipulusque memor, Defuit mini symmetria prisca. Peregi Quod potui; Veniam da mihi, posteritas.

--_Lionardo da Vinci's epitaph by Platino Piatto_.