A little more information about Tito Livio Frulovisi
I have broken my New Year’s resolution. At the start of 2012, I promised myself that I would have twelve months off reviewing. It was a commitment to enforced abstinence: I enjoy reviewing books, I like the challenge of both summarising and engaging with a work in the space of a thousand or 1,500 words. But it is time consuming: it does not involve just making the space to give the book sustained reading time (a challenge, as it is); it also requires research in itself — sample-checking the author’s primary evidence to gain a sense of trust, or otherwise, in the scholarship, reading those secondary works that have been central to the construction of their argument but which one has not yet had chance to read. And then you have to wonder how many people pay attention to your wise comments anyway.
So, I had good intentions to avoid all reviewing this year. It did not last long. The offer to write on a volume in which Cristina Cocco edits one of the comedies of Tito Livio Frulovisi had a double attraction: first, the text being printed was by an author with whom I have more than a passing acquaintance, having written about this wandering humanist in the English Historical Review and elsewhere. Second, it was for the The Medieval Review, an on-line project housed at Indiana University. Its website is not as elegant or as user-friendly as that the Reviews in History site of London’s IHR, which I have had cause to mention recently; but it is a worthy project and one which surely has the future on its side: for how long can print journals continue to justify taking up space with notices of individual volumes which often appear long after publication? I can see an ongoing purpose to hardcopy review articles, and to more combative debates aroused in response to a single work, but the shorter review is something to which the internet is best suited.
And so, reader, I succumbed to temptation. And now the review is available on-line. I will not repeat here what is freely viewable elsewhere on the web. But I do want to mention here two facts about Frulovisi one of which appeared in that review and another which seems not to have received recent scholarly attention.
The first is a discovery I made a while ago; I have alluded to it both in print in Studi umanistici piceni and on this website but not discussed it in full. It is the fact that the sole copy of Frulovisi’s comedies, a holograph manuscript which is now Cambridge: St John’s College, MS. C. 10, includes evidence of its early provenance. Alfonso Sammut tentatively attributed the manuscript to the library of Humfrey, duke of Gloucester, but knew of no corroboration of his assumption. In fact, using a UV light in the darkest corner of the college’s upper library, ten years ago, I was able to decipher an ownership note that had been remarkably succesfully removed by rewashing — and it was, indeed, the duke’s mark of ownership, recording that it was a gift of the author. As I have argued elsewhere, the fact that Frulovisi presented to his barbarian patronthis manuscript of comedies most written for performance before a Venetian audience — a manuscript itself produced in England — raises questions about perceived cultural distance within quattrocento Christendom.
The other piece of information is one that seems not to have been mentioned in recent discussions of Frulovisi and which, indeed, revises my own chronology of his time in England. It is the fact that we can state with some certainty the date of the humanist’s departure from London for Italy. In the collection of papers Mediceo avanti il principato of the Archivio di Stato of Florence which are now magnificently available on-line (and I have to thank Angelo de Scisciolo and Fabrizio Riccardelli for bringing this resource to my attention) there is a document written in an English script which is a letter of introduction from Henry VI for Frulovisi to Cosimo de’ Medici. It explains that Frulovisi at that point was returning to his homeland (in natale solum ire); the letter is dated 26th August 1440.
The letter mentions Frulovisi’s services to the king and to his uncle, that is to Humfrey, duke of Gloucester — suggesting (against the tendency of recent scholarship) that he was by no means persona non grata in Greenwich, but also implying that the humanist had gained the attention of Henry VI, which he had so clearly craved. The dating of the letter is also notable, not just because it post-dates Frulovisi’s final departure by at least year from what is usually credited; it is so close to the time of the departure of the papal collector, Pietro del Monte, from England, that one wonders whether they travelled together, despite the somewhat fraught relations between the two as revealed in del Monte’s letter-book. Finally, the letter ends with the monogram of Thomas Bekynton, then secretary to the king, and it raises the question of whether Bekynton himself conjured up the prose the described Cosimo as someone who loved lettered and well-behaved men (literatos et bene moratos viros) — or were the words put into his pen by Frulovisi himself? That opens up a broader discussion about the presence of humanist Latin in the English chancery, something on which I have been writing recently and about which I could discuss further now, if only the length of this short post had not already become as long as a book-review.