History of the christian church

§ 66. The Artists.
Haec est Italia diis sacra.—Pliny.
Italian Humanism reproduced the past. Italian art was original. The creative productions of Italy in architecture, sculpture and painting continue to render it the world’s chief centre of artistic study and delight. Among Italian authors, Dante alone has a place at the side of Michelangelo, Raphael and Lionardo da Vinci. The cultivation of art began in the age of Dante with Cimabue and Giotto, but when Italian Humanism was declining Italian painting and sculpture were celebrating their highest triumphs. Such a combination and succession of men of genius in the fine arts as Italy produced, in a period extending over three centuries, has nowhere else been known. They divided their triumphs between Florence and Rome, but imparted their magic touch to many other Italian cities, including Venice, which had remained cold to the literary movement. Here again Rome drew upon Florence for painters such as Giotto and Fra Angelico, and for sculptors such as Ghiberti, Donatello, Brunelleschi and Michelangelo.

While the Italy of the 15th century—or the quattrocento, as the Italians call it—was giving expression to her own artistic conceptions in color and marble and churchly dome, masterpieces of ancient sculpture, restless, in the graves where for centuries they had had rude sepulture, came forth to excite the admiring astonishment of a new generation. What the age of Nicolas V. was for the discovery of manuscripts, the age of Julius II. was for the discovery of classic Greek statuary. The extensive villa of the Emperor Hadrian at Tivoli, which extended over several miles and embraced a theatre, lyceum, temple, basilica, library, and race-course, alone furnished immense treasures of art. Others were found in the bed of the Tiber or brought from Greece or taken from the Roman baths, where their worth had not been discerned. In Alexander VI.’s pontificate the Apollo Belvedere was found; under Julius II. the torso of Hercules, the Laocoön group ¹⁰²⁵and the Vatican Venus. The Greek ideals of human beauty were again revealed and kindled an enthusiasm for similar achievements.

Petrarca’s collections were repeated. Paul II. deposited his rich store of antiquities in his palace of San Marco. In Florence, Lorenzo de’ Medici was active in securing pieces of ancient art. The museum on the Capitoline Hill in Rome, where Nicolas V. seems to have restored the entire palace of the senate, dates from 1471, one of its earliest treasures being the statue of Marcus Aurelius. The Vatican museum was the creation of Julius II. To these museums and the museums in Florence were added the galleries of private collectors.

In architecture, the Renaissance artists never adopted the stern Gothic of the North. In 1452, Leon Battista Alberti showed to Nicolas V. a copy of his De re aedificatoria, a work on architecture, based upon his studies of the Roman monuments. Nicolas opened the line of great builders in Rome and his plans were on a splendid scale.

The art of the Renaissance blends the glorification of mediaeval Catholicism with the charms of classical paganism, the history of the Bible with the mythology of Greece and Rome. The earlier painters of the 14th and 15th centuries were more simple, chaste and devout than those of the 16th, who reached a higher distinction as artists. The Catholic type of piety is shown in the preponderance of the pictures of the Madonna holding the infant Saviour in her arms or on her lap and in the portraiture of St. Sebastian and other saints. Heavenly beauty and earthly sensuality meet side by side, and the latter often draws attention away from the former. The same illustrious painters, says Hawthorne, in the Marble Faun, "seem to take up one task or the other—the disrobed woman whom they called Venus, or the type of highest and tenderest womanhood in the mother of their Saviour—with equal readiness, but to achieve the former with far more satisfactory success." One moment the painter represented Bacchus wedding Ariadne and another depicted Mary on the hill of Calvary. Michelangelo now furnished the Pietà for St. Peter’s, now designed the Rape of Ganymede for Vittoria Colonna and the statue of the drunken Bacchus for the Roman Jacopo Galli. Titian’s Magdalen in the Pitti gallery, Florence, exhibits in one person the voluptuous woman with exposed breasts and flowing locks and the penitent saint looking up to heaven. Of Sandro Botticelli, Vasari said that "in many homes he painted of naked women a plenty." If, however, the Christian religion furnished only to a single writer, Dante, the subject of his poem, it furnished to all the painters and sculptors many subjects from both Testaments and also from Church history, for the highest productions of their genius.

In looking through the long list of distinguished sculptors, painters and architects who illuminated their native Italy in the Renaissance period, one is struck with the high age which many of them reached and, at the same time, with the brief period in which some of them acquired undying fame. Michelangelo lived to be 89, while Correggio died before he was 44. Titian, had he lived one year longer, would have rounded out a full century, while death took the brush out of Raphael’s hand before he was 37, a marvellous example of production in a short period, to be compared with Mozart in the department of music and Blaise Pascal in letters. And again, several of the great artists are remarkable examples of an extraordinary combination of talents. Lionardo da Vinci and Michelangelo excelled alike as architects, sculptors, painters and poets. Lionardo was, besides being these, a chemist, engineer, musician, merchant and profound thinker, yea, "the precocious originator of all modern wonders and ideas, a subtle and universal genius, an isolated and insatiate investigator," and is not unjustly called, on his monument at Milan, "the restorer of the arts and sciences." ¹⁰²⁶ His mural picture of the Last Supper in Milan, best known by the engraving of Raphael Morghen, in spite of its defaced condition, is a marvellous reproduction of one of the sublimest events, adapted to the monks seated around their refectory table (instead of the reclining posture on couches), and every head a study. As for Michelangelo, he has been classed by Taine with Dante, Shakespeare and Beethoven among the four great intellects in the world of art and literature.

Distinguishing in the years between 1300–1550 two periods, the earlier Renaissance to 1470 and the high Renaissance, from that date forward, we find that Italian art had its first centre in Florence, and its most glorious exhibition under Julius II. and Leo X. in Rome. ¹⁰²⁷ The earlier period began with Cimabue, who died about 1302, and Giotto, 1276–1336, the friend of Dante. According to the story, Cimabue found Giotto, then ten years old, drawing sheep on a stone with a piece of charcoal and, with his father’s consent, took the lad to Florence. These two artists employed their genius in the decoration of the cathedral erected to the memory of St. Francis in Assisi. The visitor to S. Croce and other sacred places in Florence looks upon the frescos of Giotto. His Dante, like Guido Reni’s Beatrice Cenci, once seen can never be forgotten. Symonds has remarked that it may be said, without exaggeration, that Giotto and his scholars, within the space of little more than half a century, painted upon the walls of the churches and the public places of Italy every great conception of the Middle Ages. ¹⁰²⁸ Fra Angelico da Fiesole, 1387–1455, is the most religious of the painters of this period, and his portraiture of saints and angels is so pure as to suggest no other impression than saintliness.

The mind is almost stunned by the combination of brilliant artistic achievement, of which the pontificate of Julius II. may be taken as the centre. There flourished in that age Perugino, 1446–1524,—Raphael’s teacher,—Lionardo da Vinci, 1452–1519, Raphael, 1483–1520, Michelangelo, 1475–1564, Correggio, 1493–1534, Andrea del Sarto, 1487–1531, and Titian, 1477–1576, all Italians.

Of Raphael, his German biographer has said his career is comprised in four words, "he lived, he loved, he worked, he died young." ¹⁰²⁹ He was an attractive and amiable character, free from envy and jealousy, modest, magnanimous, patient of criticism, as anxious to learn as to teach, always ready to assist poor artists. Michelangelo and he labored in close proximity in the Vatican, Michelangelo in the Sistine chapel, Raphael in the stanze and loggie. Their pupils quarrelled among themselves, each depreciating the rival of his master; but the masters rose above the jealousy of small minds. They form a noble pair, like Schiller and Goethe among poets. Raphael seemed almost to have descended from a higher world. Vasari says that he combined so many rare gifts that he might be called a mortal god rather than a simple man. The portraits, which present him as an infant, youth and man, are as characteristic and impressive as Giotto’s Dante and Guido Reni’s Beatrice Cenci.

Like Goethe, Raphael was singularly favored by fortune and was free from the ordinary trials of artists—poverty, humiliation and neglect. He held the appointment of papal chamberlain and had the choice between a cardinal’s hat and marriage to a niece of Cardinal Bibbiena, with a dowry of three thousand gold crowns. But he put off the marriage from year to year, and preferred the dangerous freedom of single life. His contemporary and admirer, Vasari, says, when Raphael felt death approaching, he "as a good Christian dismissed his mistress from his house, making a decent provision for her support, and then made his last confession."

The painter’s best works are devoted to religious characters and events. On a visit to Florence after the burning of Savonarola, he learned from his friend Fra Bartolomeo to esteem the moral reformer and gave him, as well as Dante, a place among the great teachers of the Church in his fresco of the Theologia in the Vatican. His Madonnas represent the perfection of human loveliness and purity. In the Madonna di San Sisto at Dresden, so called because Sixtus IV. is introduced into the picture, the eye is divided between the sad yet half-jubilant face of the Virgin Mother, the contemplative gaze of the cherubs and the pensive and sympathetic expression of the divine child.

Grimm says, Raphael’s Madonnas are not Italian faces but women who are lifted above national characteristics. The Madonnas of da Vinci, Correggio, Titian, Murillo and Rubens contain the features of the nationality to which these painters belonged. Raphael alone has been able to give us feminine beauty which belongs to the European type as such. ¹⁰³⁰

The last, the greatest, and the purest of Raphael’s works is the Transfiguration in the Vatican. While engaged on it, he died, on Good Friday, his birthday. It was suspended over his coffin and carried to the church of the Pantheon, where his remains repose in his chosen spot near those of his betrothed bride, Maria di Bibbiena. In that picture we behold the divinest figure that ever appeared on earth, soaring high in the air, in garments of transparent light, and with arms outspread, adored by Moses on the right hand and by Elijah on the left, who represent the Old Covenant of law and promise. The three favorite disciples are lying on the ground, unable to face the dazzling splendor from heaven. Beneath this celestial scene we see, in striking contrast, the epileptic boy with rolling eyes, distorted features, and spasmodic limbs, held by his agonized father and supported by his sister; while the mother imploringly appeals to the nine disciples who, in their helplessness, twitted by scribes, point up to the mountain where Jesus had gone. In connecting the two scenes, the painter followed the narrative of the Gospels, Matt. xvii. 1–14; Mark ix. 2–14; Luke ix. 28–37. The connection is being continually repeated in Christian experience. Descending from the Mount of Transfiguration, we are confronted with the misery of earth and, helpless in human strength, we look to heaven as the only source of help.
Earth has no sorrow that heaven cannot heal.
Michelangelo Buonarroti was 10 years older than Raphael, and survived him 44 years. He drew the inspiration for his sculptures and pictures from the Old Testament, from Dante and from Savonarola. He praised Dante in two sublime sonnets and heard Savonarola’s thrilling sermons against wickedness and vice, and witnessed his martyrdom. Vasari and Condivi both bear witness to his spotless morality. He deplored the corruptions of the papal court.
For Rome still slays and sells Christ at the court,

Where paths are closed to virtue’s fair increase.¹

The artist’s works have colossal proportions, and refuse to be judged by ordinary rules. They are divided between painting, as the frescos in the Sistine chapel of St. Peter’s, architecture as in St. Peter’s dome, and works of statuary, as Moses in Rome and David in Florence. His Pietà in St. Peter’s, a marble group representing the Virgin Mary holding the crucified Saviour in her arms, raised him suddenly to the rank of the first sculptor of Italy.² His Last Judgment, on the altar wall of the Sistine chapel, represents the dominant conception of the Middle Ages of Christ as an angry judge, and is as Dantesque as Dante’s Inferno itself. ¹⁰³³ The artist’s last work in marble was the unfinished Pietà, in the cathedral of Florence; his last design a picture of the crucifixion. In his last poems, he took farewell of the fleeting pleasures of life, turned to God as the only reality and found in the crucified Saviour his only comfort. This is the core of the evangelical doctrine of justification rightly understood.

The day of Michelangelo’s death was the day of Galileo Galilei’s birth in Florence. The golden age of art had passed: the age of science was at hand.

Among the greater churches of Italy,—the cathedrals of Milan, Venice, Pisa, Siena, Florence and Rome,—St. Peter’s stands pre-eminent in dimensions, treasures of art and imposing ecclesiastical associations. ¹⁰³⁴ This central cathedral of Christendom was not dedicated till 1626 by Urban VIII. Its reconstruction was planned on a colossal scale by Nicolas V., but little was done till Julius II. took up the work. Among the architects who gave to the building their thought, Bramante and Michelangelo did most. On April 18, 1506, Julius II. laid the first stone according to Bramante’s design. A mass being said by Cardinal Soderini, the old pope descended by a ladder into the trench which had been dug at the spot where the statue of St. Veronica now stands. There was much fear, says Paris de Grassis, that the ground would fall in and the pope, before consecrating the foundations, cried out to those above not to come too near the edge. Under Leo X., Raphael was appointed sole architect, and was about to deviate from Bramante’s plan, when death stayed his hand. Michelangelo, taking up the task in 1535, gave to the structure its crowning triumph in the dome, the noblest in Western Europe, and the rival of the dome of St. Sophia.
That vast and wondrous dome,

To which Diana’s marvel was a cell, —

Christ’s mighty shrine above his martyr’s tomb. ¹⁰³⁵
§ 67. The Revival of Paganism.
The revival of letters and the cultivation of art brought no purification of morals to Italy nor relief from religious formalism. The great modern historians of the period,—Voigt, Burckhardt, Gregorovius, Pastor, Creighton and Symonds,—agree in depicting the decline of religion and the degeneracy of morals in dark colors, although Pastor endeavors to rescue the Church from the charge of total neglect of its duty and to clear the mediaeval hierarchy and theology from the charge of being responsible for the semi-paganism of the Renaissance.

The mediaeval theology had put the priesthood in the place of the individual conscience. Far from possessing any passion to rescue Italy from a religious formalism which involved the seeds of stagnation of thought and moral disintegration, the priesthood was corrupt at heart and corrupt in practice in the highest seats of Christendom.⁶ Finding the clerical mind of Italy insincere and the moral condition of the Church corrupt, Humanism not only made no serious effort to amend this deplorable state but, on the contrary, it contributed to the further decadence of morals by a revival of paganism, now Epicurean, now Stoical, attested both in the lives and the writings of many of its chief leaders. Gregorovius has felt justified in pronouncing the terrible sentence that the sole end of the Italian Renaissance was paganism. ¹⁰³⁷

The worship of classical forms led to the adoption of classical ideas. There were not wanting Humanists and artists who combined culture with Christian faith, and devoted their genius to the cause of truth and virtue. Traversari strictly observed the rules of his monastic order; Manetti, Lionardo Bruni, Vittorino da Feltre, Ficino, Sadoleto, Fra Angelico, Fra Bartolomeo, Michelangelo and others were devout Christian believers. Traversari at first hesitated to translate classic authors and, when he did, justified himself on the ground that the more the Pagan writers were understood, the more would the excellence of the Christian system be made manifest. But Poggio, Filelfo, Valla and the majority of the other writers of the Renaissance period, such as Ariosto, Aretino, Machiavelli, were indifferent to religion, or despised it in the form they saw it manifested. Culture was substituted for Christianity, the worship of art and eloquence for reverence for truth and holiness. The Humanists sacrificed in secret and openly to the gods of Greece and Rome rather than to the God of the Bible. Yet, they were not independent enough to run the risk of an open rupture with orthodoxy, which would have subjected them to the Inquisition and death at the stake.⁸ Yea, those who were most flagrant in their attacks upon the ecclesiastics of their time often professed repentance for their writings in their last days, as Boccaccio and Bandello, and applied for extreme unction before death. So it was with Machiavelli, who died with the consolations of the Church which he undermined with his pen, with the half-Pagan Pomponius Laetus of Rome and the infamous Sigismondo Malatesta of Rimini, who joined to his patronage of culture the commission of every crime.

Dangerous as it may be to pronounce a final judgment upon the moral purity of a generation, even though, as in the case of the 15th century, it reveals itself clearly in its literature and in the lives of the upper classes, literary men, popes and princes, nevertheless this it is forced upon us to do. The Renaissance in Italy produced no Thomas à Kempis. No devout mystics show signs of a reform movement in her convents and among her clergy, though, it is true, there were earnest preachers who cried out for moral reform, as voices crying in the wilderness. Nor are we unmindful of the ethical disintegration of the Church and society at other periods and in other countries, as in France under Louis XIV., when we call attention to the failure of religion in the country of the popes and at a time of great literary and artistic activity to bear fruits in righteousness of life.

The Humanists were the natural enemies of the monks. For this they cannot be blamed. As a class, the monks hated learning, boasted of superior piety, made a display of their proud humility and yet were constantly quarrelling with each other. Boccaccio and the novelists would not have selected monks and nuns as heroes and heroines of their obscene tales if monastic life had not been in a degenerate state. Poggio, Filelfo, Valla, Bandello, Machiavelli, Ariosto, Aretino and Erasmus and the writers of the Epistolae virorum obscurorum chastised with caustic irony and satire the hypocrisy and vices of the monastic class, or turned its members into a butt of ridicule. To the charges of unchastity and general hypocrisy was added the imposition of false miracles upon the ignorant and credulous. It was common rumor that the nuns were the property of the monks. ¹⁰³⁹ The literature of the 15th century teems with such charges, and Savonarola was never more intense than when he attacked the clergy for their faithlessness and sins. Machiavelli openly declared "we Italians are of all most irreligious and corrupt," and he adds, "we are so because the representatives of the Church have shown us the worst example." Pastor has suggested that Humanists, who were themselves leading corrupt lives, were ill-fitted to sit in judgment upon the priesthood. This in a sense is true, and their representations, taken alone, would do no more than create an unfavorable presumption, but their statements are confirmed by the scandals of the papal court and the social conditions in Rome; and Rome was not worse than Venice, Florence and other Italian towns. The same distinguished historian seeks to parry the attacks of Humanistic writers and to offset the lives of the hierarchy by a long list of 89 saints of the calendar who lived 1400–1520. ¹⁰⁴⁰ The number is imposing, but outside of Bernardino da Siena, Fra Angelico, Jacopo della Marca and John of Capistrano, few of the names are known to general history, and the last two showed traits which the common judgment of mankind is not inclined to regard as saintly. Pastor also adduces the wills of the dying, in which provision was made for ecclesiastical objects, but these may indicate superstitious fear as well as intelligent piety. After all is said, it remains true that the responsibility and the guilt were with the clergy, who were rightly made the targets of the wits, satirists and philosophers of the time.

But while the Humanists were condemning the clerical class, many, yea, the most of them, lived in flagrant violation of the moral code themselves and inclined to scepticism or outright paganism. In their veneration of antiquity, they made the system of Plato of equal authority with the Christian system, or placed its authority above the Christian scheme. They advocated a return to the dictates of nature, which meant the impulses of the natural and sensuous man. The watchword, sequere naturam, "follow nature," was launched as a philosophical principle. The hard-fought controversy which raged over the relative merits of the two Greek thinkers, Aristotle and Plato, was opened by Plethon, who accused Aristotle of atheism. The battle was continued for many years, calling forth from contestants the bitterest personal assaults. In defending Plato, Ficino set the philosopher so high as to obscure the superior claims of the Christian religion, and it was seriously proposed to combine with the Scripture readings of the liturgy excerpts from Plato’s writings. ¹⁰⁴¹

The immortality of the soul was formally questioned by Pietro Pomponazzi, a popular teacher of the Aristotelian philosophy in Padua and Bologna. His tract, published in 1516, was burnt by the Franciscans at Venice, but was saved from a like fate in Rome and Florence by the intervention of Bembo and Julius de’ Medici. So widespread was the philosophy of materialism that the Fifth Lateran three years before, Dec. 19, 1513, deemed it necessary to reaffirm the doctrine of the soul’s immortality and to instruct professors at the universities to answer the arguments of the materialists. In the age of Julius II. and Leo X., scepticism reigned universally in Rome, and the priests laughed among themselves over their religious functions as the augurs once did in the ancient city.²

The chief indictment against Humanism is, that it lacked a serious moral sense, which is an essential element of the Christian system. Nor did it at any time show a purpose of morally redeeming itself or seek after a regenerative code of ethics. It declined into an intellectual and aesthetic luxury, a habit of self-indulgence for the few, with no provision for the betterment of society at large and apparently no concern for such betterment. The Humanists were addicted to arrogance, vanity, and lacked principle and manly dignity. They were full of envy and jealousy, engaged in disgraceful personal quarrels among themselves and stooped to sycophancy in the presence of the rich and powerful. Politian, Filelfo and Valla agreed in begging for presents and places in terms of abject flattery. While they poured contempt upon the functionaries of religion, they failed to imitate the self-denying virtues which monasticism enjoined and that regard for the rights of others which Christian teaching commands. Under the influence of the Renaissance was developed that delusive principle, called honor, which has played such an extensive rôle in parts of Europe and under which a polished culture may conceal the most refined selfishness.³