Antonio and his Florentine relatives must have led a merry life in their delectable duchy. In the family correspondence we find allusions to hawking and partridge shooting; and the ducal stable provided good mounts for the young Italians who scoured the plains of Attica and Bœotia in quest of game. The cultured Florentines were delighted with Athens and the Akropolis. “You have never seen,” wrote Nicolò Machiavelli to one of his cousins, “a fairer land nor yet a fairer fortress than this.” It was there, in the venerable Propylaia, that Antonio had fixed his ducal residence. No great alterations were required to convert the classic work of Mnesikles into a Florentine palace. All that the Acciajuoli seem to have done was to cut the two vestibules in two so as to make four rooms, to fill up the spaces between the pillars with walls—removed so recently as 1835—and to add a second storey, the joist-sockets of which are still visible, to both that building and the Pinakotheke, which either then, or in the Turkish times, was crowned with battlements.
To the Florentine dukes is also usually ascribed the construction of the square “Frankish tower,” which stood opposite the Temple of Nike Apteros till it was pulled down in 1874 by one of those acts of pedantic barbarism which considers one period of history alone worthy of study, instead of regarding every historical monument as a precious landmark in the evolution of a nation. We can well believe that the Florentine watchman from the projecting turret daily swept sea and land in all directions, save where the massive cathedral of Our Lady shut out part of Hymettos from his view; and at night the beacon-fire kindled on the summit warned Akrocorinth of the approach of Turkish horsemen or rakish-looking galleys. Nor did the Italians limit their activity as builders to the castle-crag alone. Chalkokondyles expressly says that Antonio’s long and peaceful administration enabled him to beautify the city. There is evidence that the dukes possessed a beautiful villa at the spring of Kallirrhoe, and that close by they were wont to pray in the church of St Mary’s-on-the-rock, once a temple of Triptolemos. More than two centuries later a French ambassador heard mass in this church; and one of his companions found the lion rampant and the three lilies of the Florentine bankers, which visitors to the famous Certosa know so well, still guarding—auspicium melioris ævi—the entrance of the Turkish bazaar[111].
Of literary culture there are some few traces in Florentine Athens. It was in Antonio’s reign that Athens gave birth to her last historian, Laonikos Chalkokondyles, the Herodotos of mediæval Greece, who told the story of the new Persian invasion, and to his brother Demetrios, who did so much to diffuse Greek learning in Italy. Another of Antonio’s subjects is known to scholars as a copyist of manuscripts at Siena; and it is obvious that the two Italian Courts of Athens and Joannina were regarded as places where professional men might find openings. A young Italian writes from Arezzo to ask if either Antonio Acciajuoli or Carlo Tocco could give him a chair of jurisprudence, logic, medicine, or natural or moral philosophy[112]. Unfortunately, we are not told whether the modest request of this universal genius was granted or not.
Thus, for a long period, the Athenian duchy enjoyed peace and prosperity, broken only by a terrible visitation of the plague and further diminished by emigration—that scourge of modern Greece. But the modern Greeks have not the twin institutions, serfdom and slavery, on which mediæval society rested. Even the enlightened Countess of Cephalonia presented a young female slave to one of her cousins, with full power to sell or otherwise dispose of her as he pleased. Antonio did all in his power to retain the useful Albanians, who had entered his dominions in large numbers after the capture of the Despotat of Epeiros by Carlo Tocco in 1418, and thus rendered a service to Attica, the results of which are felt to this present hour. It is to the wise policy of her last Aragonese and her second Florentine duke that that Albanian colonisation is due which has given “the thin soil” of Attica numbers of sturdy cultivators, who still speak Albanian as well as Greek, and still preserve in such village names as Spata, Liosia, and Liopesi, the memory of the proud Albanian chieftains of Epeiros. Greek influence, too, grew steadily under a dynasty which was now half Hellenised. The notary and chancellor of the city continued to be a Greek; and a Greek archon was, for the first time since the Frankish conquest, to play a leading part in Athenian politics[113].
When one morning in 1435, after a reign of thirty-two years, Antonio’s attendants found him dead in his bed, a Greek as well as an Italian party disputed the succession. The Italian candidate, young Nerio, eldest son of Franco Acciajuoli, baron of Sykaminon, whom the late Duke had adopted as his heir, occupied the city. But the Duchess Maria Melissene and her kinsman, Chalkokondyles, father of the historian and the leading man of Athens, held the castle. Well aware, however, that the Sultan was the real master of the situation, the Greek archon set out for the Turkish Court to obtain Murad II’s consent to this act of usurpation. The Sultan scornfully rejected the bribes of the Athenian diplomatist, threw him into prison, and sent his redoubtable captain, Tourakhan, to occupy Thebes. Even then the Greek Duchess did not abandon all hope of securing Athens for the national cause. Through the historian Phrantzes she made an arrangement with Constantine Palaiologos, the future Emperor, then one of the Despots of the Morea, and the foremost champion of Hellenism, that he should become Duke of Athens, and that she should receive compensation near her old home in the Peloponnese. This scheme would have united nearly all Greece under the Imperial family; but it was doomed to failure. There was a section of Greeks at Athens hostile to Chalkokondyles—for party spirit has always characterised Greek public life—and this section joined the Florentine party, decoyed the Duchess out of the Akropolis, and proclaimed Nerio II. The marriage of the new Duke with the Dowager Duchess[114] and the banishment of the family of Chalkokondyles secured the internal peace of the distracted city; and the Sultan was well content to allow a Florentine princeling to retain the phantom of power so long as he paid his tribute with regularity.
The weak and effeminate Nerio II was exactly suited for the part of a Turkish puppet. But, like many feeble rulers, the “lord of Athens and Thebes” seems to have made himself unpopular by his arrogance; and a few years after his accession he was deprived of his throne by an intrigue of his brother, Antonio II. He then retired to Florence, the home of his family, where he had property, to play the part of a prince in exile, if exile it could be called. There he must have been living at the time of the famous Council, an echo of whose decisions we hear in distant Athens, where a Greek priest, of rather more learning than most of his cloth, wrote to the Œcumenical Patriarch on the proper form of public prayer for the Pope. A bailie—so we learn from one of his letters[115]—was then administering the duchy, for Antonio had died in 1441; his infant son, Franco, was absent at the Turkish Court; and his subjects had recalled their former lord to the Akropolis. There he was seen, three years later, by the first antiquary who ever set foot in Frankish Athens, Cyriacus of Ancona, the Pausanias of mediæval Greece.
That extraordinary man, like Schliemann, a merchant by profession but an archæologist by inclination, had already once visited Athens. In 1436 he had stayed there for a fortnight as the guest of a certain Antonelli Balduini; but on that occasion he was too much occupied copying inscriptions to seek an audience of the Duke. He, too, like the Capuan notary, went to see “Aristotle’s Study”; he describes the “house” or “palace of Hadrian”; he alludes to the statue of the Gorgon on the south of the Akropolis. But of contemporary Athens, apart from the monuments, he tells us little beyond the facts that it possessed four gates and that it had “new walls”—a statement corroborated by that of another traveller thirty years later, which might indicate the so-called wall of Valerian as the work of the Acciajuoli[116]. Of the inhabitants he says nothing; as living Greeks, they had for him no interest; was he not an archæologist?
In February 1444 the worthy Cyriacus revisited Athens; and on this occasion, accompanied by the Duke’s cousin and namesake, he went to pay his respects to “Nerio Acciajuoli of Florence, then prince of Athens,” whom he “found on the Akropolis, the lofty castle of the city[117].” Again, however, the archæological overpowered the human interest; and he hastened away from the ducal presence to inspect the Propylaia and the Parthenon. His original drawing of the west front of the latter building has been preserved in a manuscript, which formerly belonged to the Duke of Hamilton, but is now in the Berlin Museum, and is the earliest known pictorial reproduction of that splendid temple[118]. Other Athenian sketches may be seen in the Barberini manuscript of 1465, now at the Vatican, which contains the diagrams of San Gallo; and it seems that the eminent architect, who took the explanatory text almost verbatim from the note-books of Cyriacus, also copied the latter’s drawings.
The travels of the antiquary of Ancona in Greece demonstrate an interesting fact, which has too often been ignored, that the Latin rulers of the Levant were sometimes men of culture and taste. Crusino Sommaripa, the baron of Paros, took a pride in showing his visitor some marble statues which he had had excavated, and allowed him to send a marble head and leg to his friend Giustiniani-Banca, of Chios, a connoisseur of art who composed Italian verses in his “Homeric” villa. So deeply was Cyriacus moved by Crusino’s culture and kindness that he too burst out into an Italian poem, of which happily only one line has been published. Dorino Gattilusio, the Genoese lord of Lesbos, aided him in his investigation of that island; the Venetian governor of Tenos escorted him in his state-galley to inspect the antiquities of Delos; and Carlo Tocco II, whom he quaintly describes as “King of the Epeirotes,” gave him every facility for visiting the ruins of Dodona, and was graciously pleased to cast his royal eye over the manuscript account of the antiquary’s journey[119]. Another of the Tocchi is known to have employed a Greek priest to copy for him the works of Origen and Chrysostom; and in the remote Peloponnesian town of Kalavryta Cyriacus met a kindred soul, who possessed a large library from which he lent the wandering archæologist a copy of Herodotos. Thus, on the eve of the Turkish conquest, Greece was by no means so devoid of culture as has sometimes been too hastily assumed. It is clear, on the contrary, that her Frankish princes were by no means indifferent to their surroundings, and that the more enlightened of her own sons were conscious of her great past.