This accounts for the last extraordinary moments of Girolamo Savonarola’s life. For seven years his Florentine followers had
Leonardo da Vinci (1452–1519), a self-portrait
turned out to cheer his indictments of Pope Alexander VI’s depravity. Now, on the day of his last public appearance, which was also his execution, they flocked into the Piazza della Signoria to taunt and jeer his final agony. He had given Florence the best government the city had ever had. His only local enemies were the Arrabbiati, a political party resentful of his reforms. None of the witnesses to his agony could doubt that every charge he had laid at the door of the Borgia pontiff’s Vatican apartments was true. The explanation for their switch, otherwise inexplicable, is that the pope had threatened to excommunicate the city’s entire population if Florentines refused to turn on him. None had paused to wonder why God should be party to so monstrous an injustice. As children they had been taught that a pope possessed that terrible power, and they had never thought to question it.
Leonardo, sui generis, questioned everything. Rather than accept the world God had created, as Christians had always done, he probed endlessly into what human ingenuity could achieve by struggling against it. So mighty was his intellect and so broad the spectrum of his gifts—he was, among other things, a master of engineering, biology, sculpture, linguistics, botany, music, philosophy, architecture, and science—that presenting an adequate summary of his feats is impossible. However, it is worth noting that at a time when Europe was mired in ignorance, shackled by superstition, and lacking solid precedents in every scholarly discipline, this uneducated, illegitimate son of an Anchiano country girl anticipated Galileo, Newton, and the Wright brothers.
He did it by flouting absolute taboos. Dissecting cadavers, he set down intricate drawings of the human body—God’s sacred image—and wrote his Anatomy in 1510. Meantime he was diverting rivers to prevent flooding; establishing the principle of the turbine by building a horizontal waterwheel; laying the groundwork for modern cartography; discovering screw threads, transmission gears, hydraulic jacks, and swiveling devices; creating detailed, practical plans for breech-loading cannons, guided missiles, and armored tanks; building the world’s first revolving stage; developing a canal system whose locks are still in use; and, after exhaustive research into water currents and the flight of birds, designing a submarine, then a flying machine, and then—four centuries before Kitty Hawk—a parachute. Along the way he left an artistic heritage which includes The Adoration of the Magi, the Mona Lisa, and the Last Supper.
Medieval minds retained the orbs and maces of authority, yet they could not cope with men like Copernicus and Leonardo. Of course, that did not prevent them from trying. Leonardo was lefthanded; his notes, seven thousand pages of which have been preserved, were written in mirror script. Though quite legible, they can be read only by holding them up to a looking glass. In the sixteenth century that was enough to envelop him in suspicion. The existence of Satan and his extraordinary powers was believed to be irrefutable. Leonardo was capable of marvels, men whispered, but—and here they would nod knowingly — his inspiration was anything but divine. They knew where and how he would spend his afterlife; it had been memorably described two centuries earlier in the Divine Comedy of Dante Alighieri, which had included hell’s terrible warning to immigrants: “Lasciate ogni speranza, voi ch’entrate.”
Among the attentive listeners to this rubbish—predicting that upon his death the most gifted man in the pope’s realm would be told to abandon all hope before entering what lay beyond—was the new pontiff. In secret audiences Pope Leo X received the whisperers, nodded thoughtfully, and sent them away with expressions of gratitude. These smears came late in 1513, the worst possible time for Da Vinci. He was sixty-one years old and in straits. Encouraged by the Vatican’s patronage of Michelangelo and Raphael, and told that he could expect support from Giuliano de’ Medici—a brother of Leo—he appeared in Rome to ask the Holy See for support. He didn’t get it. The Holy Father not only denied him alms but decreed that his future research —particularly his sacrilegious mutilations of the divine image—would be either restricted or proscribed. Luckily, the French crown, not for the first time, came to the rescue of Italian genius. Francis I invited the great pariah to Paris as “first painter and engineer to the king.” He left his native land immediately and forever, spending his last years in a little castle near Amboise, working to the end on architectural blueprints and canal designs.
BEFORE THE DENSE, overarching, suffocating medieval night could be broken, the darkness had to be pierced by the bright shaft of learning —by literature, and people who could read and understand it. Here Durant is informative. Until late in the fifteenth century most books and nearly all education had been controlled by the Church. Volumes had been expensive, and unprofitable for writers, who, unprotected by copyright, lived on pensions or papal grants, in monastic orders, or by teaching. Few reached wide audiences. Scarcely any libraries possessed more than 300 books. The chief exceptions were those of Humphrey, duke of Gloucester, with 600; of the king of France, with 910, and of Christ Church priory, Canterbury, with some 2,000. So valuable were they that each volume was chained to a desk or lectern.
The typographical revolution did not come all at once. The Chinese had designed wooden typography before 1066 and used it to print paper money; block printing in Tabriz dated from 1294, and the Dutch may have experimented with it in 1430. Practical use of it awaited other discoveries—oily ink, for example, and paper. The ink was quickly found. Paper took longer. Muslims had introduced its manufacture to Spain in the 900s, to Sicily in the 1100s, to Italy in the 1200s, and to France in the 1300s. During that same century linen began to replace wool in the wardrobes of the upper classes; discarded linen rags became a cheap source of paper, and its price declined. The stage was set for the main event.
Its star, of course, was Johannes Gutenberg Gensfleisch, who preferred to be known by his mother’s maiden name (his father’s name, Gensfleisch, being German for “gooseflesh”). In 1448 he had moved from Strasbourg to Mainz, where, with the help of Peter Schöffer, his typesetter, he developed engraved steel signatures for each number, letter, and punctuation mark. Metal matrixes were formed to hold the figures, and a metal mold to keep them in line. Gutenberg then borrowed money to buy a press and, in 1457–1458, published his superb Bible of 1,282 outsized, double-columned pages. It was one of the great moments in the history of Western civilization. He had introduced movable type.
The invention of printing was denounced by, among others, politicians and ecclesiastics who feared it as an instrument which could spread subversive ideas. But they were a minority. Copies of the first type-printed book were studied all over Europe; Gutenberg had built a bonfire in Mainz, and printers throughout Christendom flocked to kindle their torches from it. Presses duplicating his—but at no profit to him, since patents, like copyrights, did not exist—appeared in Rome (1464), Venice (1469), Paris (1470), the Netherlands (1471), Switzerland (1472), Hungary (1473), Spain (1474), England (1476), Denmark (1482), Sweden (1483), and Constantinople (1490).
Who were the first readers, and how many were there? Historians have reasoned that businessmen needed books for trade and industry, and middle- and upper-class women wanted them for romantic escape. The difficulty here is that by the most positive estimate over half of the Continent’s male population was illiterate, and the rate among women was higher—perhaps 89 percent. (East of Vienna and north of the Baltic both figures were a great deal worse.) Exact calculations are impossible, but we know that reading was taught before writing. An examination of signed depositions, wills, applications for marriage certificates, bonds, and subscribers to declarations and protests permits a rough reckoning of illiteracy by both class and occupation.
Literacy rates varied from place to place and from time to time, but some general figures are available. The percentage of those who could not read at all was o percent in the clergy and profession
s. Among gentry it was 2 percent, yeomen 35 percent, craftsmen 44 percent, peasants 79 percent, and laborers 85 percent. By trade, 6 percent of the grocers were illiterate, 9 percent of the haberdashers, 12 percent of all merchants, 27 percent of bakers, 36 percent of innkeepers, 41 percent of brewers, 44 percent of tailors, 45 percent of blacksmiths, 48 percent of butchers, 59 percent of sailors, 64 percent of carpenters, 73 percent of gardeners, 76 percent of masons, 88 percent of bricklayers, 90 percent of the shepherds, and 97 percent of all thatchers.
In one important sense these figures, though reasonably accurate, are misleading. They represent comprehension of the vernacular, or colloquial, tongues—Spanish, Portugese, English, French, Dutch, Flemish, Danish, German, and Tuscan (Italian). Some grasp of the vernacular was sought by everyone who wished to raise himself in the world, but in most of Europe Latin was still the language of the elite—the Church, scholars, scientists, governments, and the courts. During 1501, for example, in France eighty volumes were published in Latin and only eight in French; in Aragon, between 1510 and 1540, one hundred and fifteen were printed in Latin and just five in Spanish. Indeed, throughout the sixteenth century Latin dominated works displayed at the annual Frankfurt book fair. Several reasons account for its survival. It was still the language of international communication; if you wanted to address the European public and be universally understood, you had to use it. In countries whose languages were rarely learned by foreigners—Flemish, German, and, yes, English—Latin was the language of choice.
Those who preferred the colloquial were few, and were sometimes resented by their peers; when the great French surgeon Ambroise Paré chose to publish his work on the method of treating gunshot wounds as La méthode de traicter les playes faites par les arquebuses et aultres bastons à feu, he was reproached by colleagues on the Faculty of Medicine at Paris. The Church aggressively opposed vernacular languages. Authors hesitated to use their native tongues because they were at the mercy of printers’ foremen and compositors. Thus, in an English manuscript, “be” could come out as “bee,” “grief” as “greef,” “these” as “thease,” “sword” as “swoord,” “nurse” as “noorse,” and “servant” as “servaunt.” Yet in the long run native languages were destined to triumph. The victory was not altogether glorious. It meant that the dream of a unified Christendom, with a single Latin tongue, was doomed.
That outcome was not evident in the early 1500s. The curricula at monastic schools were unchanged. All teaching there was in Latin; younger monks and country youth were led through primary instruction in the trivium—grammar, rhetoric, and dialectics (the art of reasoning)—and bright students were encouraged to tackle the quadrivium: astronomy, arithmetic, geometry, and music. The monks had made some progress in botany and geology, collecting curious minerals, herbs, and dried bird and animal skins, but a monk reincarnated from the eighth century would have found little that was unfamiliar. Boys from the surrounding countryside who attended classes picked up a kind of pidgin Latin, adequate for the comprehension of political and religious pamphlets. Later that would become important.
MEANTIME, outside monastery walls, the reading public was surging, though not by design. No new literacy programs were introduced, the educational process continued to be chaotic, and those who received any degree of systematic teaching had to be either fortunate or unusually persistent. The number of people who were fortunate remained stable. It was persistence, and the number of schools, which rose. As the presses disgorged new printed matter, the yearning for literacy spread like a fever; millions of Europeans led their children to classrooms and remained to learn themselves. Typically, a class would be leavened with women anxious to learn about literature and philosophy, and middle-class adolescents contemplating a career in trade.
Instruction was available in three forms: popular education, apprenticeship, and the courses of study at traditional schools and universities. Only the first was available to the vast majority, and it is impossible to define because it varied so from place to place. Two generalizations hold: popular education was confined to colloquial tongues, and it was unambitious. The teachers themselves knew no Latin; many were barely literate in their native languages. Some gave their services free, beginning with classes teaching little children their letters; others were poor women eager to make a few pennies. Pupils helped each other. The curriculum was limited to reading, writing, simple arithmetic, and the catechism. “That a relatively large number of people knew how to read, write and count,” conclude the authors of The New Cambridge Modern History, “was due to the casual and ill-organized efforts of thousands of humble individuals. Such were the uncertain foundations not only of the popularity of vernacular literature but also of technical advance and the diffusion of general knowledge.”
Apprentices were fewer. The sons of master journeymen were given special consideration; property qualifications were imposed on outsiders, and the children of peasants and laborers were excluded. In the cruder trades instruction was confined to skills which were mechanically imitated. But the better crafts went beyond that, teaching accounting, mathematics, and the writing of commercial letters. This was especially important to merchants—commerce was still regarded as a trade, though dealers were quickly forming the nucleus of the new middle class—and the sons of merchants led the way in learning foreign languages. They were already among the most attentive pupils. The growth of industry gave education a new urgency. Literacy had been an expensive indulgence in an agrarian culture, but in an urban, mercantile world it was mandatory. Higher education, based on Latin, was another world. Schools concentrated on preparing boys for it, using as fundamental texts Donatus’s grammar for instruction in Latin and Latin translations of Aristotle.
In 1502 the Holy See had ordered the burning of all books questioning papal authority. It was a futile bull—the velocity of new ideas continued to pick up momentum—and the Church decided to adopt stronger measures. In 1516, two years after Copernicus conceived his heretical solution to the riddle of the skies, the Fifth Lateran Council approved De impressione liborum, an uncompromising decree which forbade the printing of any new volume without the Vatican’s imprimatur.
As a response, that was about as fruitful as the twentieth-century encyclicals of Popes Pius XI and Paul VI rejecting birth control. De impressione liborum was, among other things, too late. The literary Renaissance, dating in England from William Caxton’s edition of Chaucer’s Canterbury Tales in 1477, had been under way for a full generation. As the old century merged with the new, the movement pushed forward, fueled by a torrent of creative energy, by the growing cultivation of individuality among the learned, and by the development of distinctive literary styles, emerging in force for the first time since the last works of Tacitus, Suetonius, and Marcus Aurelius had appeared in the second century. The authors, poets, and playwrights of the new era never scaled the heights of Renaissance artists, but they were starting from lower ground. With a few lonely exceptions—Petrarch’s De viris illustribus, Boccaccio’s Decameron—medieval Europe’s contributions to world literature had been negligible. Japan had been more productive, and the Stygian murk of the Dark Ages is reflected in the dismal fact that Christendom had then published nothing matching the eloquence of the infidel Muhammad in his seventh-century Koran.
In the years bracketing the dawn of the sixteenth century, that began to change. Indeed, considering the high incidence of illiteracy, a remarkable number of works written or published then have survived as classics. Le morte d’Arthur (1495) and Il principe (1513) are illustrative, though both authors are misunderstood by modern readers. In the popular imagination Sir Thomas Malory has been identified with the fictive chivalry of his tales. Actually he was a most unchivalrous knight who led a spectacular criminal career, which began with attempted murder and moved on to rape, extortion, robbery of churches, theft of deer and cattle, and promiscuous vandalism. He wrote his most persuasive romances behind bars.
Malory has been spared; N
iccolò Machiavelli has been slandered. Machiavelli was a principled Florentine and a gifted observer of contemporary Italy; his concise Il principe reveals profound insight into human nature and an acute grasp of political reality in the scene he saw. Nevertheless, because of that very book, he has been the victim of a double injustice. Though he was only analyzing his age, later generations have not only interpreted the work as cynical, unscrupulous, and immoral; they have turned his very name to a pejorative. In fact, he was a passionate, devout Christian who was appalled by the morality of his age. In an introspective self-portrait he wrote:
Io rido, e rider mio non passa dentro;
Io ardo, e I’arsion mia non par di fore.
I laugh, and my laughter is not within me;
I burn, and the burning is not seen outside.
Among the other memorable works of the time were Sebastian Brandt’s Das Narrenschiff; Peter Dorland van Diest’s Elckerlijk; Guicciardini’s Storia d’Italia; Rabelais’s Pantagruel; Castiglione’s Il cortegiano; Sir Thomas More’s Utopia; Philippe de Commines’s Mémoires; William Dunbar’s Dance of the Sevin Deidly Sinnes; Ludovico Ariosto’s Orlando Furioso; Fernando de Rojas’s La Celestina; Machiavelli’s Discorsi sopra la prima deca di Tito Livio, his penetrating Dell’arte della guerra, and his superb comedy, La Mandragola; the plays of John Skelton; the poetry of Sir Thomas Wyatt and Henry Howard, earl of Surrey; and all the works of Desiderius Erasmus, who left his native Holland to roam Europe’s centers of learning and turn out a stream of books, including Enchiridion militis Christiani, and Adagia, his collection of proverbs.
A world lit only by fire: the medieval mind and the Renaissance : portrait of an age Page 11
