“Also I thank him for granting my desire of seeing our city at peace in my day without any fear of war, for ten or more years, from 1454 to 1464, during which time I experienced perfect tranquillity of mind, and reflected on the great anguish we endured in past times by reason of wars and fear of wars.
“Also I thank him for an admirable mother he gave me, named Caterina, who having four male children when our father, Pagolo, died, and being nineteen years of age, would not abandon us, but strenuously resisted the wishes of her mother and her brothers that she should marry again; and he left her with me for a long time, as she lived more than eighty years and was a great consolation to me.
“Also I thank him for the most worthy wife he gave me named Jacopa, daughter to Messer Palla di Nofri Strozzi, who was a most dear wife to me by reason of her great love for me and the good rule she kept in our house and family; she was given to me for a long time as she lived about fifty-five years, passing from this life on the 24th April, 1468, and this I consider the greatest loss that I ever had or could have.”
The marriage of Giovanni’s son Bernardo with the fascinating Nannina de’ Medici, sister of Lorenzo the Magnificent, was celebrated with extraordinary magnificence. The whole street and the loggia, which was enlarged for the occasion so as to cover the small triangular square in front of the palace, were hung with blue cloth and decorated with garlands of flowers and leaves. A stand, raised a foot and a half from the ground, was erected, and for three days every Florentine of note was entertained at the bridal feast, eating, drinking, dancing and listening to music. 1,004 wax candles were made on purpose to burn for twelve hours each, and 3,686 golden florins were spent by Giovanni in honour of his Medici daughter-in-law.
Bernardo was a man of inordinate ambition, and when Piero de’ Medici refused to listen to his advice, he became one of the most violent of his antagonists. In 1502 he strenuously advocated the appointment of a Gonfalonier for life, hoping the choice would fall upon himself: but when Piero Soderini was elected, he again joined the Medicean party, and the plot against Soderini was hatched in the Oricellari gardens. He is described by contemporaries as difficult to get on with. He scouted every plan that did not originate with himself, decried every form of government because he was not the chosen head, and was swayed by personal dislikes and a passion for popularity. But if he failed as a statesman his learning was undeniable. The oration de auxilio Typhernatibus adferendo, to induce the Florentines to succour Città di Castello, was published in London in 1733 as a model of elegant Latin, and at the same time his de Bello Gallico, which Erasmus declares might have been written by Sallust, went into a second edition. Muratori has published his de Urbe Roma, which is highly praised as a description of ancient Rome.
The celebrated Platonic Academy, instituted by Cosimo the Elder, met in the Rucellai gardens during the exile of its founder, whence its name of Academia degl’Orti Oricellari.
Of the six children of Bernardo Rucellai and Nannina de’ Medici two merit especial mention: Palla, who took the lead in turning the Gonfalonier Piero Soderini out of the Palazzo della Signoria, and thus paved the way for the return of the Medici to Florence; and then repenting of having placed his country under such tyranny, voted against the election of Cosimo I. to the throne, and is said to have been poisoned by him; and the more famous Giovanni, author of Rosmunda, Oreste, and Le Api. Giovanni, born in 1457, had Francesco da Diacceto as his master in philosophy and literature, and he was brought up with his cousin, Giovanni de’ Medici, afterwards Leo X., Bibbiena and Machiavelli, in the society of such men as Poliziano, Marsilio Ficino, the Pulci and Pico della Mirandola. Palla and Giovanni were sent to France to finish their education, and a charming letter written from Avignon by the latter is still extant.[87] “I seem to be in the Promised Land,” exclaims the young Florentine, “abounding in every good thing that can be desired in this world. Among others I find myself opposite a house which is intimately connected with that of Madonna Laura of Petrarch. And there, amidst other noble ladies, is one whose like mine eyes have never beheld; verily nothing save the name is lacking in her, so that the sonnets should hit the mark. And if, on my return, I appear to thee another Petrarch, do not be astonished, for love is the cause of all things; and if God (ut Platoni placet) non est mirandum if it works miracles. Also here kisses are allowed, as glances are at home, only I find they have a far sweeter flavour than in other places. Her name, to tell thee all, is Anna, and had I more time I would send thee something to prove what I have told thee. I have seen the effigy of Madonna Laura, which is indeed most beautiful, and worthy to be loved by such a man as was Petrarch. I wished to have her copied from the picture to send thee; but there is not to be found a man capable of doing it in the way I desire. Still I hope to send thee a sketch if fate so wills it. I have already learned to say nani and oi (yes and no), and I can give a kiss without smacking my lips.” When Giovanni de’ Medici became Pope, young Giovanni Rucellai followed him to Rome and entered the Church. He was for some time Papal Nuncio in France and afterwards Clement VII. made him Castellano of S. Angelo.
Giovanni Rucellai’s Rosmunda shares with the Sofonisba of Trissino the glory of being the first Italian tragedy. It depicts the well-known story of Alboin, who turned the skull of his wife’s father into a wine-cup, out of which he forces her to drink. When Giovanni died in 1526 he bequeathed to his brother Palla and to his friend Trissino a poem on bees. An eyewitness related to Scipione Ammirato how “these two friends when together in a room would jump upon a bench, declaim passages out of their tragedies, and then call upon the audience to decide which was the best. In one of these contests Rucellai inadvertently got upon the bench with his braces undone, and Trissino in a loud voice exclaimed: ‘Now see the man who would contend with me! Like a child he does not know how to fasten his braces.’” The Api was published in 1539, and Trissino undertook to see his friend’s work through the press. “It is,” writes Symonds, “no mere translation from Virgil; and though the higher qualities of variety, invention and imagination were denied to Rucellai, though he can show no passages of pathos to compete with the ‘Corycius senex,’ of humour to approach the battle of the hives, no episode, it need hardly be said, to match with ‘Pastor Aristaeus,’ still his modest poem is a monument of pure taste and classical correctness. It is the work of a ripe scholar and a melodious versifier, if not of a great singer; and its diction belongs to the best period of polite Italian.”
Giovan Battista, great-grandson of Pandolfo, a favourite of Cosimo I., acted as one of the Captains in the game of calcio, celebrated in the annals of Florence for its magnificence, which was played in honour of the marriage of Cosimo’s son Francesco de’ Medici by the young Florentine nobles. Giovanni, his grandson, studied mathematics under Galileo at Pisa, and was a remarkable linguist; like so many of his family he was a fine musician and a good artist. He gave wonderful feste, what we should now call garden parties, at Il Pratello, the Rucellai villa near Campi, sending tessere with one of the many emblems of the family to his guests, instead of invitations. By the kindness of the Countess Edith Rucellai I am enabled here to reproduce one with the emblem adopted by Bernardo after his marriage with Nannina de’ Medici—the Medicean ring and three ostrich feathers, white, green and red, denoting faith, charity and hope. Other emblems used by the family, such as a compass, a cupid, a peacock and poppies, are to be seen on the municipal palaces in towns where the Rucellai were Vicarii or Governors for Florence, on the façade of Sta. Maria Novella, of the Rucellai palace, and of their loggia. The oldest, Fortune standing in a ship and holding up a sail to catch the wind, alludes to the great commercial gains which had enriched the house.
