Jacob Burckhardt

“ Who can tell if the Italian before the thirteenth century possessed that flexible activity and certainty in his whole being--that play of power in shaping whatever subject he dealt with in word or in form, which was peculiar to him later? And if no answer can be found to these questions, how can we possibly judge of the infinite and infinitely intricate channels through which character and intellect are incessantly pouring their influence one upon the other. A tribunal there is for each one of us, whose voice is our conscience ”

“ From this evil and from the ill-starred Guelph sympathies of Florence for a foreign prince, which familiarized it with foreign intervention, came all the disasters which followed. But who does not admire the people which was wrought up by its venerated preacher to a mood of such sustained loftiness that for the first time in Italy it set the example of sparing a conquered foe while the whole history of its past taught nothing but vengeance and extermination? The glow which melted patriotism into one with moral regeneration may seem, when looked at from a distance, to have soon passed away ”

“ Italy had, in fact, become a school for scandal, the like of which the world cannot show, not even in France at the time of Voltaire. In him and his comrades there was assuredly no lack of the spirit of negation; but where, in the eighteenth century, was to be found the crowd of suitable victims, that countless assembly of highly and characteristically-developed human beings, celebrities of every kind, statesmen, churchmen, inventors, and discoverers, men of letters, poets and artists, all of whom then gave the fullest and freest play to their individuality? ”

“ In treating of the unseen world, he sometimes gives proofs of a boldness worthy of Dante, as when King David in the Limbo of the Patriarchs rises up to sing and prophesy, or when the Eternal, sitting on the throne clad in a mantle shining with pictures of all the elements, addresses the heavenly host. At other times he does not hesitate to weave the whole classical mythology into his subject, yet without spoiling the harmony of the whole, since the pagan deities are only accessory figures, and play no important part in the story. ”

“ 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. ”

“ Here the whole people are busied with what in the despotic cities is the affair of a single family. That wondrous Florentine spirit, at once keenly critical and artistically creative, was incessantly transforming the social and political condition of the State, and as incessantly describing and judging the change. Florence thus became the home of political doctrines and theories, of experiments and sudden changes, but also, like Venice, the home of statistical science, and alone and above all other States in the world, the home of historical representation in the modern sense of the phrase. ”

“ No doubt the supreme achievements of the human mind were then produced independently of the help 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 was then purely Italian, and which since then has extended to the rest of Europe. ”

“ The worldliness, through which the Renaissance seems to offer so striking a contrast to the Middle Ages, owed its first origin to the flood of new thoughts, purposes, and views, which transformed the mediæval conception of nature and man. This spirit is not in itself more hostile to religion than that ‘culture’ which now holds its place, but which can give us only a feeble notion of the universal ferment which the discovery of a new world of greatness then called forth. ”

“ These are the men who struck the loftiest notes of lyrical poetry, and who have attempted in their treatises and dialogues to give us an idealized image of the devouring passion-- 'l'amor divino.' When they complain of the cruelty of the winged god, they are not only thinking of the coyness or hard-heartedness of the beloved one, but also of the unlawfulness of the passion itself. They seek to raise themselves above this painful consciousness by that spiritualization of love which found a support in the Platonic doctrine of the soul, and of which Pietro Bembo is the most famous representative. ”

“ It was needful that noble and burgher should first learn to dwell together on equal terms, and that a social world should arise which felt the want of culture, and had the leisure and the means to obtain it. But culture, as soon as it freed itself from the fantastic bonds of the Middle Ages, could not at once and without help find its way to the understanding of the physical and intellectual world. It needed a guide, and found one in the ancient civilization, with its wealth of truth and knowledge in every spiritual interest. ”

“ 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. ”

“ The Opponents of the Despots In face of this centralized authority, all legal opposition within the borders of the State was futile. The elements needed for the restoration of a republic had been for ever destroyed, and the field prepared for violence and despotism. The nobles, destitute of political rights, even where they held feudal possessions, might call themselves Guelphs or Ghibellines at will, might dress up their bravos in padded hose and feathered caps or how else they pleased; thoughtful men like Machiavelli knew well enough that Milan and Naples were too 'corrupt' for a republic. ”

“ If the boundless development of individuality, stronger than the will of the individual, be the work of a historical providence, not less so is the opposing force which then manifested itself in Italy. How often, and against what passionate attacks of selfishness it won the day, we cannot tell, and therefore no human judgement can estimate with certainty the absolute moral value of the nation.
A force which we must constantly take into account in judging of the morality of the more highly developed Italian of this period, is that of the imagination. ”

“ The costumes of the time, as given us by the Italian painters, are the most convenient and the most pleasing to the eye which were then to be found in Europe; but we cannot be sure if they represent the prevalent fashion, or if they are faithfully reproduced by the artist. It is nevertheless beyond a doubt that nowhere was so much importance attached to dress as in Italy. The people was, and is, vain; and even serious men among it looked on a handsome and becoming costume as an element in the perfection of the individual. ”

“ A man in Cosimo's position—a great merchant and party leader, who also had on his side all the thinkers, writers and investigators, a man who was the first of the Florentines by birth and the first of the Italians by culture such a man was to all intents and purposes already a prince. To Cosimo belongs the special glory of recognizing in the Platonic philosophy the fairest flower of the ancient world of thought, of inspiring his friends with the same belief, and thus of fostering within humanistic circles themselves another and a higher resuscitation of antiquity. ”

“ 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. ”

“ It is hard, of course, to classify them according to the motives by which they were prompted, since political expediency, personal hatred, party hostility, fear, and revenge, all play into one another. It is no small honour to the Florentines, the most highly developed people of Italy, that offenses of this kind occurred more rarely among them than anywhere else, perhaps because there was a justice at hand for legitimate grievances which was recognized by all, or because the higher culture of the individual gave him different views as to the right of men to interfere with the decrees of fate. ”