The fifteenth century was a remarkable period for Europe, and preeminently for Italy. During several ages Italy had grown great by means of commerce and religion. The crusades, which had impoverished the rest of Europe, had enriched her; and the subjugation of the nations to the court of Rome had made her the [pg 093] treasury of Europe. Material wealth permitted the encouragement of the study of literature, which relations of commerce or of conquest with the Greek empire had been the means of reviving. Manuscripts were collected, and the remains of monuments of classic art were studied. The love of antiquity gave perfection to art, and influenced literature. The work which centuries had slowly prepared now came to perfection. The scholastic philosophy declined; the sources of ecclesiastical education and of the existing religion were weakened; and by the close of the fifteenth century the tone of the age was in all respects changed. The devotion which had expressed itself in the great Gothic works of devotion of early ages was expiring, at least in Italy, and art itself gradually became secular, and expressed ideas more earthly.
When such a moment of material prosperity, combined with intellectual and social change, ensues immediately on the movement previously sketched, we should expect to find religion subjected to re-examination, and placed in temporary peril. The history confirms the supposition. If we regard this crisis as embracing about two centuries and a quarter,[301] comprehending the classical revival, the opening of a new geographical world, and the great religious changes of the Reformation,—a period commencing with the Renaissance, and closed by the creation of modern philosophy;—we shall find two principal movements of unbelief for investigation, the one caused by literature, a return to a spirit of heathenism analogous to that already described in Julian; the second caused by philosophy, a revival of pantheism. The first belonged especially to the close of the fifteenth century, and had its seat for the most part in Tuscany and Rome; the second to the sixteenth, and was represented in the university of Padua. In both these movements, especially in the former, the open expression of unbelief in literature is rare, though the incidental proofs of its existence are abundant. It [pg 094] was a time of the dissolution of faith, not of overt attack. Unbelief was Epicurean indifference, rather than earnestness in destroying the old creed.
Two of the most obvious proofs that we can select for proving the existence of a state of unbelief[302] are, the ridicule of religion expressed in the burlesque poetry of the time, and the antichristian sympathies of several distinguished men.
It would be incorrect however to attribute the satirical allusions in the poetry wholly to the influence of the classical revival; for the romantic epic in which they occur is the offshoot of the old prose romance of mediæval chivalry, which had in earlier ages amused the courts of princes by directing its banter against ecclesiastical persons and institutions.[303] But the tone of the poetry is now changed. The satire is directed against religion itself, not merely against the abuse of it, or the eccentricities of its adherents. Free thought is not merely political dissatisfaction, but religious unbelief. And with the alteration of the tone agrees also the increasing disposition to carry satire into the domain of the supernatural; which thus witnesses to the widespread unbelief in the hearers for whom it was designed. Italian critics have doubted indeed whether these epics are designed to convey a caricature, or pass beyond lawful satire:[304] yet even when allowance is made for the fact that they are an historic reproduction, and for the fund presented for humour by ecclesiastical peculiarities, it seems impossible to overlook the covert satire intended on church beliefs.[305] The intermixture [pg 095] of a comic element would not alone prove this. The miracle plays of the middle ages admitted comedy without intending irreverence;[306] and a gentle humour pervades many of the Autos of Calderon, which were acted on solemn festivals.[307] But there exists in the manner in which the supernatural element is managed by such poets as Pulci, Bello, and Ariosto, such evident purpose to bring into ridicule the existence of belief, that its parallel can only be found in the banter used by their imitator Byron, in his Vision of Judgment, and implies indifference both in author and reader; the expression of contempt, not of anger.[308]
The unbelief which existed in the courts for which this poetry was written, is a specimen of the general incredulity, or indifference to Christianity, which prevailed among the educated classes, and was fostered by classical studies and tastes. It seems strange to us, who have been long accustomed to regard classical culture as the basis of general education, and who are impressed with the conviction of the great assistance ministered by it to theological study, to regard it as the producing cause of unbelief. This result of it however was a transitory one, originating in the shock which arose from the novel thoughts and tastes which mingled themselves with the ancient pursuits, and altered the previous ideal of life. Ever since the earliest times, a chasm had unavoidably separated heathen literature from Christian; and a dislike to heathen studies existed, [pg 096] which found its full expression in Gregory the Great.[309] The result was, that the Christian civilization did not consciously admit the introduction of heathen thought; and when the mind awoke suddenly to a perception of its beauty and depth, though deeper spirits, like Erasmus, regarded it with the enlightened Christian approbation which Origen had formerly shown, others were led, like Julian of old, from their admiration of it, to look with indifference or hostility on Christianity. Some of the brilliant and elevated minds that adorned the court of the Medicis were suspected of unbelief, or of preferring Platonism to Christianity;[310] and after the woes of the French invasion at the end of the century had deepened the corruption of morals, and stamped out political liberty, the last freshness of artistic creation, which had linked the public mind to Christianity through the deep instincts of the taste, disappeared. The art and literature which succeeded are an index of the tone which prevailed. Gaining perfection in form by the imitation of classic models, they were cold, sensuous, unspiritual.[311] Classical mythology was intermixed with gospel doctrines; and the early years of the sixteenth century represent the semi-heathen tone of thought which was the transition to the perfect fusion which afterwards took place of the old learning and the new. It was an age similar to those of modern times in France and Germany, which have been called periods of humanism, when hope suggests the inauguration of a new moral and social era, and the pride of knowledge produces a general belief in the power of civilization to become the sole remedy for evil.[312]
The social conditions of the age added moral causes to the intellectual, which tended to increase the unbelief, especially in the literary classes. One of them is perhaps to be found in the fact that the church prizes were the only reward for authorship. By the beginning of the sixteenth century authors became largely appreciated through the press, and received patronage at the courts of the various Τύραννοι who had established themselves on the ruins of the old republics. In the absence of any law of copyright there was no protection for them,[313] and consequently no reward except church patronage, which was therefore conferred indiscriminately, and tended to foster disbelief in the very recipients of it. A merely professional hold of religion is the surest road to absolute disbelief. It is inconceivable that the ecclesiastical scandals which history blushes to narrate, could have been perpetrated by believers; and the unbelief imputed to persons in high station, such as Leo X with other popes, and cardinals such as Bembo, was doubtless, if true, partly the result of the degrading effects of professional insincerity.
Such a state of unbelief could not be permanent, whether it was the result of a decaying system, or of the introduction of new influences. Nor would we use unnecessarily a polemical tone in speaking of a period where there is so much cause for Christian humiliation; yet it is worthy of notice that such facts are a refutation of the attack which has frequently been made on Protestantism, as the cause of eclecticism and unbelief. The two great crises in church history, when faith almost entirely died out, and free thought developed into total disbelief of the supernatural, have been in Romish countries; viz., in Italy in this period, and in France during the eighteenth century. In both the experiment of the authoritative system of the catholic religion had a fair trial, and was found wanting.
Other causes besides the classical revival were operating to stimulate activity of mind and freedom of [pg 098] inquiry. It was an age in which the great system of the middle ages was finally dissolving. The discovery of new worlds seemed at once to call to Europe to break connexion with the old centre of ecclesiastical centralization; and to invite to that study of nature which should elevate, and as it were emancipate the mind, by teaching physical truth and the true method of discovery.[314] Political circumstances too, contributed toward the creation of ecclesiastical autonomy. The European nations had gradually grown into united families, and were now ready for cooperation in a system of balance of power.[315] The northern nations, long galled under the power of Rome, were panting for freedom; Germany first reforming her religion, and then throwing off her subjection; England first throwing off her subjection, and then compelled to reform herself. The old systems of thought were at an end. The change, like all social ones, was not abrupt, but it was decisive and final. It was the earthquake which shattered for ever the crust of error which had fettered thought.
It is a matter of wonder that the great revolutions just named passed with so little development of scepticism. In the nations north of the Alps there is hardly a trace. The charge of deism, directed in the fifteenth century against Pecock,[316] bishop of Chichester, appears [pg 099] to have been unfounded. The contest which Ulrich von Hütten carried on against the monks and schools of Cologne was literary rather than religious;[317] Hütten being the literary and political reformer rather than the sceptic. Even the most advanced spirits of the reformers,[318] Servetus and the Sozini, came forth from Italy, as from the centre of free thought. Nor were they unbelievers in the reality of a revelation; and they met with no support from the northern reformers. Servetus was martyred at Geneva, and the Sozini were banished into Poland. It was the spiritual earnestness which mingled with the intellectual movement in the Reformation, which prevented free thought from producing rationalism or unbelief. Protestantism was a form of free thought; but only in the sense of a return from human authority to that of scripture. It was equally a reliance on an historic religion, equally an appeal to the immemorial doctrine of the church with Roman Catholicism; but it conceived that the New Testament itself contained a truer source than tradition for ascertaining the apostolic declaration of it.[319]
But Italy was the witness of another sceptical tendency, besides that which resulted from the classic Renaissance, in the last remnant of the influence of [pg 100] mediæval philosophy. Throughout the sixteenth century, pantheism manifested itself in connexion with the philosophical studies of the university of Padua. The form in which it made itself felt was the disbelief of the immortality of the soul on speculative grounds. The cause of the disbelief was the influence of the philosophy of Averroes before noticed.[320]