Romola (11 page)

It is easy to northern people to rise early on Midsummer morning, to see the dew on the grassy edge of the dusty pathway, to notice the fresh shoots among the darker green of the oak and fir in the coppice, and to look over the gate at the shorn meadow, without recollecting that it is the Nativity of Saint John the Baptist.

Not so to the Florentine—still less to the Florentine of the fifteenth century: to him on that particular morning the brightness of the eastern sun on the Arno had something special in it; the ringing of the bells was articulate, and declared it to be the great summer festival of Florence, the day of San Giovanni.

San Giovanni had been the patron saint of Florence for at least eight hundred years—ever since the time when the Lombard Queen Theodolinda had commanded her subjects to do him peculiar honour; nay, says old Villani, to the best of his knowledge, ever since the days of Constantino the Great and Pope Sylvester, when the Florentines deposed their idol Mars, whom they were nevertheless careful not to treat with contumely; for while they consecrated their beautiful and noble temple to the honour of God and of the "Beato Messere Santo Giovanni," they placed old Mars respectfully on a high tower near the River Arno, finding in certain ancient memorials that he had been elected as their tutelar deity under such astral influences that if he were broken, or otherwise treated with indignity, the city would suffer great damage and mutation. But in the fifteenth century that discreet regard to the feelings of the Man–destroyer had long vanished: the god of the spear and shield had ceased to frown by the side of the Arno, and the defences of the Republic were held to lie in its craft and its coffers. For spear and shield could be hired by gold florins, and on the gold florins there had always been the image of San Giovanni.

Much good had come to Florence since the dim time of struggle between the old patron and the new: some quarrelling and bloodshed, doubtless, between Guelf and Ghibelline, between Black and White, between orthodox sons of the Church and heretic Paterini; some floods, famine, and pestilence; but still much wealth and glory. Florence had achieved conquests over walled cities once mightier than itself, and especially over hated Pisa, whose marble buildings were too high and beautiful, whose masts were too much honoured on Greek and Italian coasts. The name of Florence had been growing prouder and prouder in all the courts of Europe, nay, in Africa itself, on the strength of purest gold coinage, finest dyes and textures, pre–eminent scholarship and poetic genius, and wits of the most serviceable sort for statesmanship and banking: it was a name so omnipresent that a Pope with a turn for epigram had called Florentines "the fifth element." And for this high destiny, though it might partly depend on the stars and Madonna dell' Impruneta, and certainly depended on other higher Powers less often named, the praise was greatly due to San Giovanni, whose image was on the fair gold florins.

Therefore it was fitting that the day of San Giovanni—that ancient Church festival already venerable in the days of Saint Augustine—should be a day of peculiar rejoicing to Florence, and should be ushered in by a vigil duly kept in strict old Florentine fashion, with much dancing, with much street jesting, and perhaps with not a little stone–throwing and window–breaking, but emphatically with certain street sights such as could only be provided by a city which held in its service a clever Cecca, engineer and architect, valuable alike in sieges and in shows. By the help of Cecca, the very saints, surrounded with their almond–shaped glory, and floating on clouds with their joyous companionship of winged cherubs, even as they may be seen to this day in the pictures of Perugino, seemed, on the eve of San Giovanni, to have brought their piece of the heavens down into the narrow streets, and to pass slowly through them; and, more wonderful still, saints of gigantic size, with attendant angels, might be seen, not seated, but moving in a slow mysterious manner along the streets, like a procession of colossal figures come down from the high domes and tribunes of the churches. The clouds were made of good woven stuff, the saints and cherubs were unglorified mortals supported by firm bars, and those mysterious giants were really men of very steady brain, balancing themselves on stilts, and enlarged, like Greek tragedians, by huge masks and stuffed shoulders; but he was a miserably unimaginative Florentine who thought only of that—nay, somewhat impious, for in the images of sacred things was there not some of the virtue of sacred things themselves? And if, after that, there came a company of merry black demons well armed with claws and thongs, and other implements of sport, ready to perform impromptu farces of bastinadoing and clothes–tearing, why, that was the demons' way of keeping a vigil, and they, too, might have descended from the domes and the tribunes. The Tuscan mind slipped from the devout to the burlesque, as readily as water round an angle; and the saints had already had their turn, had gone their way, and made their due pause before the gates of San Giovanni, to do him honour on the eve of his
festa
. And on the morrow, the great day thus ushered in, it was fitting that the tributary symbols paid to Florence by all its dependent cities, districts, and villages, whether conquered, protected, or of immemorial possession, should be offered at the shrine of San Giovanni in the old octagonal church, once the cathedral and now the baptistery, where every Florentine had had the sign of the Cross made with the anointing chrism on his brow; that all the city, from the white–haired man to the stripling, and from the matron to the lisping child, should be clothed in its best to do honour to the great day, and see the great sight; and that again, when the sun was sloping and the streets were cool, there should be the glorious race or Corso, when the unsaddled horses, clothed in rich trappings, should ran right across the city, from the Porta al Prato on the north–west, through the Mercato Vecchio, to the Porta Santa Croce on the south–east, where the richest of
Palii
, or velvet and brocade banners with silk linings and fringe of gold, such as became a city that half–clothed the well–dressed world, were mounted on a triumphal car awaiting the winner or winner's owner.

And thereafter followed more dancing; nay, through the whole day, says an old chronicler at the beginning of that century, there were weddings and the grandest gatherings, with so much piping, music and song, with balls and feasts and gladness and ornament, that this earth might have been mistaken for Paradise!

In this year of 1492, it was, perhaps, a little less easy to make that mistake. Lorenzo the magnificent and subtle was dead, and an arrogant, incautious Piero was come in his room, an evil change for Florence, unless, indeed, the wise horse prefers the bad rider, as more easily thrown from the saddle, and already the regrets for Lorenzo were getting less predominant over the murmured desire for government on a broader basis, in which corruption might be arrested, and there might be that free play for everybody's jealousy and ambition, which made the ideal liberty of the good old quarrelsome, struggling times, when Florence raised her great buildings, reared her own soldiers, drove out would–be tyrants at the sword's point, and was proud to keep faith at her own loss. Lorenzo was dead, Pope Innocent was dying, and a troublesome Neapolitan succession, with an intriguing, ambitious Milan, might set Italy by the ears before long: the times were likely to be difficult. Still, there was all the more reason that the Republic should keep its religious festivals.

And Midsummer morning, in this year 1492, was not less bright than usual. It was betimes in the morning that the symbolic offerings to be carried in grand procession were all assembled at their starting–point in the Piazza della Signoria—that famous piazza, where stood then, and stand now, the massive turreted Palace of the People, called the Palazzo Vecchio, and the spacious Loggia, built by Orcagna—the scene of all grand State ceremonial. The sky made the fairest blue tent, and under it the bells swung so vigorously that every evil spirit with sense enough to be formidable, must long since have taken his flight; windows and terraced roofs were alive with human faces; sombre stone houses were bright with hanging draperies; the boldly soaring palace tower, the yet older square tower of the Bargello, and the spire of the neighbouring Badia, seemed to keep watch above; and below, on the broad polygonal flags of the piazza, was the glorious show of banners, and horses with rich trappings, and gigantic
ceri
, or tapers, that were fitly called towers—strangely aggrandised descendants of those torches by whose faint light the Church worshipped in the Catacombs. Betimes in the morning all processions had need to move under the Midsummer sky of Florence, where the shelter of the narrow streets must every now and then be exchanged for the glare of wide spaces; and the sun would be high up in the heavens before the long pomp had ended its pilgrimage in the Piazza di San Giovanni.

But here, where the procession was to pause, the magnificent city, with its ingenious Cecca, had provided another tent than the sky; for the whole of the Piazza del Duomo, from the octagonal baptistery in the centre to the facade of the cathedral and the walls of the houses on the other sides of the quadrangle, was covered, at the height of forty feet or more, with blue drapery, adorned with well–stitched yellow lilies and the familiar coats of arms, while sheaves of many–coloured banners drooped at fit angles under this superincumbent blue—a gorgeous rainbow–lit shelter to the waiting spectators who leaned from the windows, and made a narrow border on the pavement, and wished for the coming of the show.

One of these spectators was Tito Melema. Bright, in the midst of brightness, he sat at the window of the room above Nello's shop, his right elbow resting on the red drapery hanging from the window–sill, and his head supported in a backward position by the right–hand, which pressed the curls against his ear. His face wore that bland liveliness, as far removed from excitability as from heaviness or gloom, which marks the companion popular alike amongst men and women—the companion who is never obtrusive or noisy from uneasy vanity or excessive animal spirits, and whose brow is never contracted by resentment or indignation. He showed no other change from the two months and more that had passed since his first appearance in the weather–stained tunic and hose, than that added radiance of good fortune, which is like the just perceptible perfecting of a flower after it has drunk a morning's sunbeams. Close behind him, ensconced in the narrow angle between his chair and the window–frame, stood the slim figure of Nello in holiday suit, and at his left the younger Cennini—Pietro, the erudite corrector of proof–sheets, not Domenico the practical. Tito was looking alternately down on the scene below, and upward at the varied knot of gazers and talkers immediately around him, some of whom had come in after witnessing the commencement of the procession in the Piazza della Signoria. Piero di Cosimo was raising a laugh among them by his grimaces and anathemas at the noise of the bells, against which no kind of ear–stuffing was a sufficient barricade, since the more he stuffed his ears the more he felt the vibration of his skull; and declaring that he would bury himself in the most solitary spot of the Valdarno on a
festa
, if he were not condemned, as a painter, to lie in wait for the secrets of colour that were sometimes to be caught from the floating of banners and the chance grouping of the multitude.

Tito had just turned his laughing face away from the whimsical painter to look down at the small drama going on among the checkered border of spectators, when at the angle of the marble steps in front of the Duomo, nearly opposite Nello's shop, he saw a man's face upturned towards him, and fixing on him a gaze that seemed to have more meaning in it than the ordinary passing observation of a stranger. It was a face with tonsured head, that rose above the black mantle and white tunic of a Dominican friar—a very common sight in Florence; but the glance had something peculiar in it for Tito. There was a faint suggestion in it, certainly not of an unpleasant kind. Yet what pleasant association had he ever had with monks? None. The glance and the suggestion hardly took longer than a flash of lightning.

"Nello!" said Tito, hastily, but immediately added, in a tone of disappointment, "Ah, he has turned round. It was that tall, thin friar who is going up the steps. I wanted you to tell me if you knew aught of him?"

"One of the Frati Predicatori," said Nello, carelessly; "you don't expect me to know the private history of the crows."

"I seem to remember something about his face," said Tito. "It is an uncommon face."

"What? you thought it might be our Fra Girolamo? Too tall; and he never shows himself in that chance way."

"Besides, that loud–barking `hound of the Lord'
[4]
is not in Florence just now," said Francesco Cei, the popular poet; "he has taken Piero de' Medici's hint, to carry his railing prophecies on a journey for a while."

"The Frate neither rails nor prophesies against any man," said a middle–aged personage seated at the other corner of the window; "he only prophesies against vice. If you think that an attack on your poems, Francesco, it is not the Frate's fault."

"Ah, he's gone into the Duomo now," said Tito, who had watched the figure eagerly. "No, I was not under that mistake, Nello. Your Fra Girolamo has a high nose and a large under–lip. I saw him once—he is not handsome; but this man…"

"Truce to your descriptions!" said Cennini. "Hark! see! Here come the horsemen and the banners. That standard," he continued, laying his hand familiarly on Tito's shoulder,—"that carried on the horse with white trappings—that with the red eagle holding the green dragon between his talons, and the red lily over the eagle—is the Gonfalon of the Guelf party, and those cavaliers close round it are the chief officers of the Guelf party. That is one of our proudest banners, grumble as we may; it means the triumph of the Guelfs, which means the triumph of Florentine will, which means triumph of the popolani."

"Nay, go on, Cennini," said the middle–aged man, seated at the window, "which means triumph of the fat popolani over the lean, which again means triumph of the fattest popolano over those who are less fat."