A new outbreak of the plague, the invasion of the mercenary troops (compagnies) which had been left without resources by the temporary cessation of the Hundred Years' War, and personal bereavement in the death of his son and of his friend "Socrates," all served to cast a shadow over the opening years of the period covered by the Letters of Old Age (1363-1374). The plague, which had spared Milan in 1348, raged there with especial fury in 1361, and compelled Petrarch to leave the city. After a time of hesitation, during which he resolved first to return to Vaucluse, and then to accept Charles's invitation to Prague, he was forced, by the uncertainty of the roads, to give up both plans. He decided in the fall of 1362 to establish himself in Venice. Here he was furnished with a mansion, on the Riva degli Schiavoni, upon the condition that he should leave his library to the city. But, while Venice fulfilled her part of the bargain, the books, as we have seen, were never delivered.[98] The quiet of the city and its freedom from the martial turmoil of Lombardy, as well as the circumstance that it was the home of his daughter, who was happily married to a young nobleman,—all served to make Venice an attractive refuge. The city was naturally much visited by travellers, and Petrarch often had the pleasure of entertaining distinguished guests in his charming home, from the windows of which he could look off upon the busy harbour. Boccaccio came to see him more than once, but would not consent, in spite of Petrarch's entreaties, to make his permanent home with him.
The rest of the story is soon told. After five years at Venice the restless old man moved to Padua, where Francesco di Carrara, the son of his former friend, was in power. It was for this younger prince, with whom he lived upon the happiest terms, that he composed his little work upon The Best Form of Government.[99] This affords, as may readily be inferred, a marked contrast to the practical suggestions of Machiavelli's famous hand-book. The latter, however, only formulated principles of conduct already discovered by the very house of Carrara for which Petrarch prepared his manual.
Distracted by the noise of the city, which his failing health rendered the more distressing, the poet found a charming home at Arquà, pleasantly situated in the Euganean Hills, some twelve miles south of Padua. In this new Vaucluse he passed, with few interruptions, the last four years of his life. He was found by his attendants upon the 18th of July, 1374, his face bowed upon the book before him, dead.
During the long life that we have just reviewed Petrarch allowed scarcely a day to pass without writing one or more letters. The historical importance and multiform interest of his correspondence have already been dwelt upon. Letter-writing was, as he was aware, a veritable passion with him, which was destined to retain its hold until the very end. He frequently reasoned about it with characteristic self-consciousness, and the reader will note many allusions to the subject throughout the present collection. There is, however, one particularly full discussion of his feelings towards his favourite literary occupation, which is to be found in the following dedicatory preface, written, probably in 1359, as an introduction to his first collection of letters. In many ways it is one of the most suggestive of the epistles and merits careful study.
[1] None of the portraits of Petrarch, not even the well-known one in a codex of the Laurentian library, are authentic, unless it be the one reproduced at the beginning of this volume. See page [vii.]
[2] Eye-glasses were a somewhat new invention when Petrarch resorted to them. Poggendorf (Geschichte der Physik, pp. 93 sqq.) cites the first reference to them (1299), which reads as follows: "I found myself so oppressed by age that without the so-called eye-glasses, which have recently been discovered as a godsend to poor old persons, I could neither read nor write." We know little of the construction of these first spectacles. An early German painting (15th century), in the National Gallery at London, shows a saint with a completely developed pince-nez.
[3] Petrarch's father and Dante were banished forever from Florence upon the same day, January 27, 1302.
[4] This is doubtless one of the two or three obscure references to Laura, in Petrarch's correspondence. His frigid statement of the case is characteristic of Petrarch the Humanist as contrasted with Petrarch the singer. Compare the fervour of the sonnets with the original of this passage:—Amore acerrimo, sed unico et honesto, in adolescentia laboravi, et diutius laborassem, nisi iam tepescentem ignem mors acerba, sed utilis, extinxisset.