The Civilisation of the Renaissance in Italy. Jacob Burckhardt

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the conception of fame, and that their subject itself—the universal empire of Rome—stood as a permanent ideal before the minds of Italians. From henceforth all the aspirations and achievements of the people were governed by a moral postulate, which was still unknown elsewhere in Europe.

      Here, again, as in all essential points, the first witness to be called is Dante. He strove for the poet’s garland313 with all the power of his soul. As publicist and man of letters, he laid stress on the fact that what he did was new, and that he wished not only to be, but to be esteemed the first in his own walks.314 But even in his prose writings he touches on the inconveniences of fame; he knows how often personal acquaintance with famous men is disappointing, and explains how this is due partly to the childish fancy of men, partly to envy, and partly to the imperfections of the hero himself.315 And in his great poem he firmly maintains the emptiness of fame, although in a manner which betrays that his heart was not set free from the longing for it. In Paradise the sphere of Mercury is the seat of such blessed ones316 as on earth strove after glory and thereby dimmed ‘the beams of true love.’ It is characteristic that the lost souls in hell beg of Dante to keep alive for them their memory and fame on earth,317 while those in Purgatory only entreat his prayers and those of others for their deliverance.318 And in a famous passage,319 the passion for fame—‘lo gran desio dell’eccellenza’—is reproved for the reason that intellectual glory is not absolute, but relative to the times, and may be surpassed and eclipsed by greater successors.

      The new race of poet-scholars which arose soon after Dante quickly made themselves masters of this fresh tendency. They did so in a double sense, being themselves the most acknowledged celebrities of Italy, and at the same time, as poets and historians, consciously disposing of the reputation of others. An outward symbol of this sort of fame was the coronation of the poets, of which we shall speak later on.

A contemporary of Dante, Albertinus Musattus or Mussattus, crowned poet at Padua by the bishop and rector, enjoyed a fame which fell little short of deification. Every Christmas Day the doctors and students of both colleges at the University came in solemn procession before his house with trumpets and, as it seems, with burning tapers, to salute him320 and bring him presents. His reputation lasted till, in 1318, he fell into disgrace with the ruling tyrant of the House of Carrara.

      This new incense, which once was offered only to saints and heroes, was given in clouds to Petrarch, who persuaded himself in his later years that it was but a foolish and troublesome thing. His letter ‘To Posterity’321 is the confession of an old and famous man, who is forced to gratify the public curiosity. He admits that he wishes for fame in the times to come, but would rather be without it in his own day.322 In his dialogue on fortune and misfortune,323 the interlocutor, who maintains the futility of glory, has the best of the contest. But, at the same time, Petrarch is pleased that the autocrat of Byzantium324 knows him as well by his writings as Charles IV.325 knows him. And in fact, even in his lifetime, his fame extended far beyond Italy. And the emotion which he felt was natural when his friends, on the occasion of a visit to his native Arezzo (1350), took him to the house where he was born, and told him how the city had provided that no change should be made in it.326 In former times the dwellings of certain great saints were preserved and revered in this way, like the cell of St. Thomas Aquinas in the Dominican convent at Naples, and the Portiuncula of St. Francis near Assisi; and one or two great jurists also enjoyed the half-mythical reputation which led to this honour. Towards the close of the fourteenth century the people at Bagnolo, near Florence, called an old building the ‘Studio’ of Accursius (b. about 1150), but, nevertheless, suffered it to be destroyed.327 It is probable that the great incomes and the political influence which some jurists obtained as consulting lawyers made a lasting impression on the popular imagination.

      To the cultus of the birthplaces of famous men must be added that of their graves,328 and, in the case of Petrarch, of the spot where he died. In memory of him Arquà became a favourite resort of the Paduans, and was dotted with graceful little villas.329 At this time there were no ‘classic spots’ in Northern Europe, and pilgrimages were only made to pictures and relics. It was a point of honour for the different cities to possess the bones of their own and foreign celebrities; and it is most remarkable how seriously the Florentines, even in the fourteenth century—long before the building of Santa Croce—laboured to make their cathedral a Pantheon. Accorso, Dante, Petrarch, Boccaccio, and the jurist Zanobi della Strada were to have had magnificent tombs there erected to them.330 Late in the fifteenth century, Lorenzo Magnifico applied in person to the Spoletans, asking them to give up the corpse of the painter Fra Filippo Lippi for the cathedral, and received the answer that they had none too many ornaments to the city, especially in the shape of distinguished people, for which reason they begged him to spare them; and, in fact, he had to be contented with erecting a cenotaph.331 And even Dante, in spite of all the applications to which Boccaccio urged the Florentines with bitter emphasis,332 remained sleeping tranquilly by the side of San Francesco at Ravenna, ‘among ancient tombs of emperors and vaults of saints, in more honourable company than thou, O Home, couldst offer him.’ It even happened that a man once took away unpunished the lights from the altar on which the crucifix stood, and set them by the grave, with the words, ‘Take them; thou art more worthy of them than He, the Crucified One!’333

      And now the Italian cities began again to remember their ancient citizens and inhabitants. Naples, perhaps, had never forgotten its tomb of Virgil, since a kind of mythical halo had become attached to the name, and the memory of it had been revived by Petrarch and Boccaccio, who both stayed in the city.

      The Paduans, even in the sixteenth century, firmly believed that they possessed not only the genuine bones of their founder Antenor, but also those of the historian Livy.334 ‘Sulmona,’ says Boccaccio,335 ‘bewails that Ovid lies buried far away in exile; and Parma rejoices that Cassius sleeps within its walls.’ The Mantuans coined a medal in 1257 with the bust of Virgil, and raised a statue to represent him. In a fit of aristocratic insolence,336 the guardian of the young Gonzaga, Carlo Malatesta, caused it to be pulled down in 1392, and was afterwards forced, when he found the fame of the old poet too strong for him, to set it up again. Even then, perhaps, the grotto, a couple of miles from the town, where Virgil was said to have meditated,337 was shown to strangers, like the ‘Scuola di Virgilio’ at Naples. Como claimed both the Plinys338 for its own, and at the end of the fifteenth century erected statues in their honour, sitting under graceful baldachins on the façade of the cathedral.

      History and the new topography were now careful to leave no local celebrity unnoticed. At the same period the northern chronicles only here and there, among the list of popes, emperors, earthquakes, and comets, put in the remark, that at such a time this or that famous man ‘flourished.’ We shall elsewhere have to show how, mainly under the influence of this idea of fame, an admirable biographical literature was developed. We must here limit ourselves to the local patriotism of the topographers

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