A new era in literature and art was about to dawn; its first bright rays were for Italy, that "land of taste and sensibility." With a pontiff who could say, "I have always loved accomplished scholars and belles-lettres; this love was born with me, and age has but increased it; for literature is the ornament and glory of the church; and I have always remarked that it knits its cultivators more firmly to the dogmas of our faith;" with such a pontiff, the intellectual movement that then pervaded Italian society was nobly sustained and enlivened, until at last the golden age again reappeared on earth. All sorts of encouragements, such as honorary employments, lucrative offices, pecuniary gratuities, and even ecclesiastical preferments, were lavished upon talent and genius. Every latent energy luxuriantly budded forth and blossomed in the genial sunshine of such munificence.
The academies of literary men philosophized on the banks of the Tiber or in the cool recesses of a fragrant villa. The lovers of the arts, the votaries of the muses, and the cultivators of polite literature sat side by side at the sumptuous banquets frequently given in the Vatican. At these grand entertainments all topics were convivially canvassed, and fancy soared aloft to delight the guests by her sublime improvisations. Popular favorites, like the poet of Arezzo and the "celestial" Accolte, read their productions in public halls to admiring multitudes; while the best scholars of the age, yielding to the invitation of Leo, filled the professorships of the great universities. Italy was then, in the beautiful words of Audin, "the promised land of the intellect;" [Footnote 174] and Rome the centre of learning and the nursery of great men. No wonder, then, that the snow-capped Alps presented but a feeble barrier to the transalpine scholar, and that every day some new Hannibal descended their craggy flanks and pushed forward to the seven-hilled city, to pay a courteous visit to the accomplished pontiff, and gratify a long-entertained desire of conversing with the celebrities of the age. The whole world thus recognized that
"The fount at which the panting mind assuages
Her thirst of knowledge, quaffing there her fill,
Flows from th' eternal source of Rome's imperial hill."
[Footnote 175]
[Footnote 174: Vie de Luther, vol. i. p. 179.]
[Footnote 175: Byron, Childe Harold, Canto III.]
Since the days of Petrarch, the Italian muse had all but hushed her lovely strains; her lyre was silent and unstrung. Politiano came, swept its music-breathing chords, and sent its sweet notes on the wings of the zephyrs throughout the Italian peninsula. All listened with rapture to the enchanting strains of the Tuscan siren, and, after a moment of hesitation, prepared their pens to write on every theme and to illustrate every department of science and letters. The classic models of heroic poetry, fresh from the Aldine presses or half consumed by the dust of ages, were taken down from their shelves and studied with passionate ardor. The children of song were delighted with the epic muse, and were now hard at work at their great poems. Mozarello elaborates his Porsenna; Querno, the archpoet, cadences the twenty thousand verses of his Alexias; Vida, like Horace of old, draws up the rules of the metrical art, and sings his Christiad in verses of Augustan purity and elegance; Ariosto, the Homer of Ferrara, condenses into his Orlando Furioso a vein of poetry so remarkable for its grace and energy as to leave it doubtful whether the palm of superiority should be awarded to him, or to the author of the Jerusalem Delivered. [Footnote 176] The terrible eventualities of tragedy and the more pleasing casualties of comedy were brought upon the stage by Trissino, Ruccellai, and Bibbiena; the protean burlesque assumed its most humorous forms under Berni's magic pen, and the shafts of satire were keenly pointed by Aretino, whose virulent epigrams drew upon him such an amount of physical retaliation that a contemporary writer calls him "the loadstone of clubs and daggers." [Footnote 177]
[Footnote 176: Laharpe. Cours de Littérature, vol. i. p. 435.]
[Footnote 177: See Addison, Spectator, No. 23.]
Guicciardini wrote the history of his country with the elegant diction of the great historians of Rome; Giovio's periods were so flowing as to make Leo X. declare that next to Livy he had not met with a more eloquent writer. The Prince of Macchiavelli enjoys a world-wide reputation, and his History of Florence is so remarkable for the beauty of its style, that it is said to have had more influence on Italian prose than any other work, except the Decameron of Boccaccio. Besides these reigning stars, there was a host of other literary celebrities who shed a brilliant lustre on Leo's golden reign. There was Fracastoro, who, at the early age of nineteen, had won the highest academic degree of the Paduan university, and was nominated to the professorship of logic; Navagero, whose aversion to an affected taste was so intense that he annually consigned to the flames a copy of Martial; Aleandro, who was only twenty-four when the celebrated Manuzio dedicated to him his edition of the Iliad, alleging as a reason for conferring this honor on a person so young, that his acquirements were beyond those of any other person with whom he was acquainted, and it is well known that the Venetian typographer was the friend and correspondent of almost all the literary characters of the day; Augurelli, whom a contemporary historian calls the most learned and elegant preceptor of his time; Castiglione, who was called by Charles V. the most accomplished gentleman of the age; Leonardo da Vinci, who, long before the philosopher of Verulam, proclaimed experiment the base of the physical sciences, and, before the astronomer of Thorne, taught the annual motion of the earth; and Calcagnini, who wrote an elaborate work to defend this startling thesis. The correction of the calendar was investigated by Dulciati, and even hieroglyphics found an expounder in the encyclopedic Valeriaro, who wrote no less than fifty-eight books on that abstruse subject. Literature, indeed, was a universal hobby; it was the royal road to distinction in an age when the love of the well-turned period and the mellifluous sonnet was epidemic. The lady cultivators of polite letters were numerous, and not only accomplished proficients but formidable rivals. The sonnets of Veronica Gambara rank among the best; Vittoria Colonna, in lively description and genuine poetry, excelled all her contemporaries with the sole exception of the inimitable Ariosto; and Laura Battifera is represented as the rival of Sappho.