第27章 THE STATE AS A WORK OF ART(27)

This statistical estimate of outward life is, however, uniformly accompanied by the narrative of political events to which we have already referred.Florence not only existed under political forms more varied than those of the free States of Italy and of Europe generally, but it reflected upon them far more deeply.It is a faithful mirror of the relations of individuals and classes to a variable whole.The pictures of the great civic democracies in France and in Flanders, as they are delineated in Froissart, and the narratives of the German chroniclers of the fourteenth century, are in truth of high importance;but in comprehensiveness of thought and in the rational development of the story, none will bear comparison with the Florentines.The rule of the nobility, the tyrannies, the struggles of the middle class with the proletariat, limited and unlimited democracy, pseudo-democracy, the primacy o? a single house, the theocracy of Savonarola, and the mixed forms of government which prepared the way for the Medicean despotism all are so described that the inmost motives of the actors are laid bare to the light.At length Machiavelli in his Florentine history (down to 1492) represents his native city as a living organism and its development as a natural and individual process; he is the first of the moderns who has risen to such a conception.It lies without our province to determine whether and in what points Machiavelli may have done violence to history, as is notoriously the case in his life of Castruccio Castracani--a fancy picture of the typical despot.We might find something to say against every line of the 'Storie Fiorentine,'

and yet the great and unique value of the whole would remain unaffected.And his contemporaries and successors, Jacopo Pitti, Guicciardini, Segni, Varchi, Vettori, what a circle of illustrious names! And what a story it is which these masters tell us! The great and memorable drama of the last decades of the Florentine republic is here unfolded.The voluminous record of the collapse of the highest and most original life which the world could then show may appear to one but as a collection of curiosities, may awaken in another a devilish delight at the shipwreck of so much nobility and grandeur, to a third may seem like a great historical assize; for all it will be an object of thought and study to the end of time.The evil which was for ever troubling the peace of the city was its rule over once powerful and now conquered rivals like Pisa-a rule of which the necessary consequence was a chronic state of violence.The only remedy, certainly an extreme one and which none but Savonarola could have persuaded Florence to accept, and that only with the help of favourable chances, would have been the well-timed dissolution of Tuscany into a federal union of free cities.At a later period this scheme, then no more than the dream of a past age, brought (1548) a patriotic citizen of Lucca to the scaffold.

From this evil and from the ill-starred Guelph sympathies of Florence for a foreign prince, which familiarized it with foreign intervention, came all the disasters which followed.But who does not admire the people which was wrought up by its venerated preacher to a mood of such sustained loftiness that for the first time in Italy it set the example of sparing a conquered foe while the whole history of its past taught nothing but vengeance and extermination? The glow which melted patriotism into one with moral regeneration may seem, when looked at from a distance, to have soon passed away; but its best results shine forth again in the memorable siege of 1529-30.They were 'fools,' as Guicciardini then wrote, who drew down this storm upon Florence, but he confesses himself that they achieved things which seemed incredible;and when he declares that sensible people would have got out of the way of the danger, he means no more than that Florence ought to have yielded itself silently and ingloriously into the hands of its enemies.

It would no doubt have preserved its splendid suburbs and gardens, and the lives and prosperity of countless citizens; but it would have been the poorer by one of its greatest and most ennobling memories.

In many of their chief merits the Florentines are the pattern and the earliest type of Italians and modern Europeans generally; they are so also in many of their defects.When Dante compares the city which was always mending its constitution with the sick man who is continually changing his posture to escape from pain, he touches with the comparison a permanent feature of the political life of Florence.The great modern fallacy that a constitution can be made, can be manufactured by a combination of existing forces and tendencies, was constantly cropping up in stormy times; even Machiavelli is not wholly free from it.Constitutional artists were never wanting who by an ingenious distribution and division of political power, by indirect elections of the most complicated kind, by the establishment of nominal offices, sought to found a lasting order of things, and to satisfy or to deceive the rich and the poor alike.They naively fetch their examples from classical antiquity, and borrow the party names 'ottimati,' 'aristocrazia,' as a matter of course.The world since then has become used to these expressions and given them a conventional European sense, whereas all former party names were purely national, and oithor rhnrnotPrimPrl tho rnilqP nt iqqllP or cnrsnz from the caprice of accident.But how a name colors or discolors a political cause!