"Such was the simplicity of private manners,"—(I am now quoting Sismondi, but with the fullest ratification that my knowledge enables me to give,)—"and the economy of the richest citizens, that if a city enjoyed repose only for a few years, it doubled its revenues, and found itself, in a sort, encumbered with its riches. The Pisans knew neither of the luxury of the table, nor that of furniture, nor that of a number of servants; yet they were sovereigns of the whole of Sardinia, Corsica, and Elba, had colonies at St. Jean d'Acre and Constantinople, and their merchants in those cities carried on the most extended commerce with the Saracens and Greeks." {1}
{Footnote 1: Sismondi; French translation, Brussels, 1838; vol. ii., p. 275.}
66. "And in that time," (I now give you my own translation of Giovanni Villani,) "the citizens of Florence lived sober, and on coarse meats, and at little cost; and had many customs and playfulnesses which were blunt and rude; and they dressed themselves and their wives with coarse cloth; many wore merely skins, with no lining, and all had only leathern buskins; {1} and the Florentine ladies, plain shoes and stockings with no ornaments; and the best of them were content with a close gown of coarse scarlet of Cyprus, or camlet girded with an old-fashioned clasp-girdle; and a mantle over all, lined with vaire, with a hood above; and that, they threw over their heads. The women of lower rank were dressed in the same manner, with coarse green Cambray cloth; fifty pounds was the ordinary bride's dowry, and a hundred or a hundred and fifty would in those times have been held brilliant, ('isfolgorata,' dazzling, with sense of dissipation or extravagance;) and most maidens were twenty or more before they married. Of such gross customs were then the Florentines; but of good faith, and loyal among themselves and in their state; and in their coarse life, and poverty, did more and braver things than are done in our days with more refinement and riches."
{Footnote 1: I find this note for expansion on the margin of my lecture, but had no time to work it out:—'This lower class should be either barefoot, or have strong shoes—wooden clogs good. Pretty Boulogne sabot with purple stockings. Waterloo Road—little girl with her hair in curlpapers,—a coral necklace round her neck—the neck bare—and her boots of thin stuff, worn out, with her toes coming through, and rags hanging from her heels,—a profoundly accurate type of English national and political life. Your hair in curlpapers—borrowing tongs from every foreign nation, to pinch you into manners. The rich ostentatiously wearing coral about the bare neck; and the poor—cold as the stones and indecent.'}
67. I detain you a moment at the words "scarlet of Cyprus, or camlet."
Observe that camelot (camelet) from kamaelotae, camel's skin, is a stuff made of silk and camel's hair originally, afterwards of silk and wool. At Florence, the camel's hair would always have reference to the Baptist, who, as you know, in Lippi's picture, wears the camel's skin itself, made into a Florentine dress, such as Villani has just described, "col tassello sopra," with the hood above. Do you see how important the word "Capulet" is becoming to us, in its main idea?
68. Not in private nor domestic art, therefore, I repeat to you, but in useful magnificence of public art, these citizens expressed their pride:—and that public art divided itself into two branches—civil, occupied upon ethic subjects of sculpture and painting; and religious, occupied upon scriptural or traditional histories, in treatment of which, nevertheless, the nascent power and liberality of thought were apparent, not only in continual amplification and illustration of scriptural story by the artist's own invention, but in the acceptance of profane mythology, as part of the Scripture, or tradition, given by Divine inspiration.
69. Nevertheless, for the provision of things necessary in domestic life, there developed itself, together with the group of inventive artists exercising these nobler functions, a vast body of craftsmen, and, literally, manufacturers, workers by hand, who associated themselves, as chance, tradition, or the accessibility of material directed, in towns which thenceforward occupied a leading position in commerce, as producers of a staple of excellent, or perhaps inimitable, quality; and the linen or cambric of Cambray, the lace of Mechlin, the wool of Worstead, and the steel of Milan, implied the tranquil and hereditary skill of multitudes, living in wealthy industry, and humble honour.
70. Among these artisans, the weaver, the ironsmith, the goldsmith, the carpenter, and the mason necessarily took the principal rank, and on their occupations the more refined arts were wholesomely based, so that the five businesses may be more completely expressed thus:
The weaver and embroiderer,
The ironsmith and armourer,
The goldsmith and jeweller,
The carpenter and engineer,
The stonecutter and painter.