bonæ litteræ: occasional writing from David Rundle, Renaissance scholar

Another manuscript from the circle of John Tiptoft

Posted in Manuscripts, Uncategorized by bonaelitterae on 3 August, 2014

This website has been feeling neglected. I see that it is over two months since I posted here and those who read the last message might imagine that I was stung into silence by the lashes I had to bear from my severest critic. Far from it: I am not scared of him. I have not been idle – or, rather, I was wonderfully, blissfully idle all too briefly when in vacanze beneath the deep blue sky of the Mausoleum of Galla Placidia. My silence has been occasioned by the opposite of idleness: I have been working hard on several projects which have provided new nuggets of information that I have honestly been intending to share with you, if only there were a spare moment. The findings could provide a set of pithy interventions for Notes & Queries — indeed, it seems to me that the internet, properly organised, can provide a space probably more appropriate now for that sort of learned comment or minor revelation than old-style paper periodicals could. Imagine: an on-line journal, Aperçus & obiter dicta.

The first of these little discoveries I will mention is also the most recent. Yesterday, following up a lead from the major on-going publication of the catalogue of illuminated manuscripts in Cambridge college collections, I entered the cyber-world of Corpus Christi’s Parker Library. I have already commented on how rich a resource this is – and I do so in full consciousness of the criticisms some have levelled at it, not all of them unjustly: it is expensive, it does need more updating than it presently receives, but it does provide such a wealth of primary material, making it possible to engage with a manuscript and coax it to offer up some of its secrets without even holding it in your hand.

One of the manuscripts which I viewed was MS. 409, a mid-fifteenth-century Italian humanist copy of Cicero’s De finibus. As I ‘turned’ the pages (perhaps that noun too needs inverted commas), I had a growing sense of a familiar presence lurking in the margins. One of the drawbacks of the on-line – or, at least, of my habits of use – is that I find it encourages one to progress through the volume, rather than as one would when picking up the book, begin by looking at the first and then the final folios (which are usually richest in provenance information) before turning over every leaf. So, it was only when I reached the last three or four images that my suspicion proved well founded. For, following the main text, in another hand which M. R. James describes charitably as ‘italic’, there is a short collection of epitaphs. I felt certain they are written by John Free, a Bristolian, the Wunderkind of English humanism, educated in the school of Guarino da Verona and then resident in Rome — it is said he was on the verge of being made a bishop when he died all too young in 1464. Some alleged foul play.

John Free was also, for a while at the turn of the 1450s to 1460s, the secretary of John Tiptoft, and I have sometimes seen them in company, with both annotating the same manuscript. As is apparent from other pages on this website, I have an ongoing interest in the library of Tiptoft, earl of Worcester and self-appointed heir to Humfrey, duke of Gloucester in his book-collecting and promised patronage of the University of Oxford. So, you will appreciate that it mattered to me to confirm or refute my impression that Free was at work in this manuscript. It did not take long to corroborate my first thought, but here is a salutary warning to us Google scholars: if I had confined my checking to on-line resources, it would have been difficult to find the evidence to clinch the case. There are few specimens of John Free available – the most accessible and extensive being the two pages of a manuscript he wrote for Tiptoft, now in the British Library as MS. Harl. 2639. While there are general similarities and some shared idiosyncracies between the bookhand there and the script in the Parker’s MS. 409, the latter is too cursive to make a firm identification with confidence. There is in Oxford’s Balliol collection a manuscript that includes Free’s own rapidly-written transcription of a Poggio translation; it is MS. 124 but that is not yet been photographed and uploaded by the college’s energetic archivist to her excellent flickr account. So, it is only by using hard copy reproductions that I could find a match so close to make the identification irrefutable. In other words, however tiresome we may find it, we always have to move away from our screen to make the most of what we find on it.

So, this manuscript shows that it passed through the hands of John Free. It also has other annotations which link it to the circle of John Tiptoft and we may, indeed, be able to associate it also with their friend in Ferrara, Ludovico Carbone — but I say that only tenatively until I have had chance to see the manuscript truly in the flesh. What my page-turning did reveal is that this manuscript does not contain any of the tell-tale evidence of the earl’s own handwriting, but, even without that, I suspect there is justification to suppose that it was in his collection. The main text ends with an added note in an English gothic script (fol. 81v) and it would be reasonable to assume that the volume was in England from the late fifteenth century and stayed here to reach, in the mid-sixteenth century, its donor to Corpus, Archbishop Parker. As we have seen, however, Free never returned to England and there is little sign that the books he himself owned did reach his homeland. On the other hand, we know that a large part of his former employer’s collection did come to England — not all, it must be said, and hardly any reached the institution to whom he had promised it, the University of Oxford. But there is certainly enough examples to show that the books he purchased on his Italian travels returned with him and, after his untimely death during the Lancastrian Readeption, were on the market. It seems likely that this was the fate of Cambridge: Corpus Christi College, MS. 409. Thus, it is now added, as 31.5 to the listing on this website of ‘probable’ manuscripts from Tiptoft’s library.

This, then, was a virtual find – the first, I think, I have made without the book physically before me. I might add, though, that the frisson, the breathless moment of excitement, is not much less than if I were sitting far from home in the library itself. I will admit that the quickened pulse and tingling sensation which comes with the act of discovery is what keeps me in the business — it is a drug, a stimulant or perhaps an aphrodisiac, previously only available in special collections rooms. I have also to admit that I am not quite sure how I feel about it becoming more readily available and (forgive the pun) free to use.

 

 

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Searching for Guarino in Ferrara

Posted in Humanism by bonaelitterae on 22 September, 2012

Holidays are still, in some residual sense, holy days. Even without working hours vacated, apart from the chore of site-seeing in the sun, there remain some duties, some acts of respect that order the days. Site-seeing itself is a habit of reverence, not an adherence to any faith more stringent than the cult of culture, perhaps, but certainly a recognition of others’ faith. We step out of the sunlight into the shade of a church and may not comprehend the deity who once inhabited there (and may do still); we may consciously contrast our cerebral engagement with the cultish goings-on that have had their home there but by our visiting presence – like it or not – we are conforming to an appreciation of the power the place has had and, by conforming, extending its after-life.

The reverence we show, of course, is not confined to locations of the religious. There are plenty of sites for secular pilgrimage, whether they be the homes of famous figures or temples to the arts. I have talked before of my experience of Arquà Petrarca in the Euganean hills, complete with his stuffed cat (these places are often the sites of relics all as dubious as the medieval splinters of the True Cross). One of the artefacts on display there were the visitors books, recording the grand tourists who had come to pay their respects to the little god who was the house’s long-dead inhabitant; I saw last week in Ferrara an equivalent in the house of Ludovico Ariosto, where the page rests permanently open at the signature of Giuseppe Verdi – we bend forward (the natural movement of the supplicant) to take a closer look of when opera met epic.

But being in Ferrara on my summer break, I was not there as a true believer in Ariosto. As you might expect from my interests, I was more interested in the physical remains of the studia humanitatis. In particular, it  would have seemed an act of impiety not to seek out the memorials to Guarino da Verona who, as his name demonstrates, was not a local son but who, invited here to lecture at the university by Leonello d’Este stayed for most of the rest of his life, dying in 1460. Indeed, it was his reputation as a schoolmaster and a scholar – much more than Angelo Decembrio’s verbose idealisation of Leonello’s court or even Leon Battista Alberti’s transient association with Ferrara – that made the d’Este city a site of significance on the humanist map. Considering that I have recently polished off an article suggesting we should rethink the construction of Guarino’s reputation (building on comments I made in Humanism in Fifteenth-Century Europe), some might suggest that my search for Guarino was more an act of penance than simply of reverence. If so, I think I can say I have expiated for my sins.

What I found remarkable was that, despite all the cobbled streets with the red-bricked houses being so evocative of the city’s Renaissance past, there was little trace of Ferrara’s best-known humanist. There is, of course, the inscription in memory of him in the church of San Paolo – a copy of the original which was destroyed in the 1570 earthquake that shook the city; I remember seeing and transcribing that inscription when I first visited the city eleven years ago but by the 450th anniversary of Guarino’s death, when I was again briefly in Ferrara, the church was closed for restoration, and it remains so. Perhaps, in part, because that was inaccessible and so could not sate my interest, I wanted to find other evidence. But in a city which has various methods of marking their monuments and their characters – the municipal yellow street signs announcing in terse fashion the details of a palazzo or a church, the older inscriptions written into a building’s wall remembering the notable birth or other event that occurred therein, the red-lettered plaques erected by Ferrariae Decus – there is precious little outward and visible sign of Guarino’s presence. In a city which marks on its tourist map the house not only of Ariosto but also of Ercole d’Este’s favourite architect, Biagio Rossetti, and where Ariosto has certainly become the favourite son, celebrated in the name of both a piazza and a street (let alone one named after his masterpiece, Orlando Furioso), and where the city’s troublesome export to Florence, the fiery friar, Girolamo Savonarola, is commemorated by a statue in the shadow of the castello as well as the road running past (ironically) San Francesco, there is no place for an external plaque or memorial to the humanist who is credited with having given life to Ferrara’s Renaissance. There is a via Carbone, presumably named after Ludovico, the humanist who saw himself as Guarino’s successor and who delivered his funeral oration; the street is now known for its cinema. There is also, outside the city walls, a modern via Pannonio, perhaps after Janus Pannonius, Hungarian student of Guarino, later bishop and rebel against Matthias Corvinus, as well as being the author of bisexual erotic poetry. Where, though, is Guarino himself?

Palazzo Guarini-Giordani, Ferrara

Not, it should be said, where he is claimed to be. The city does have a via Guarini, so-called because it begins at the corner of the Palazzo Guarini-Giordani, designed by Biagio Rossetti and far up within the ‘addizione erculea’, the grandiose town-planning project of Ercole d’Este to extend the city north of the original walls of the city that ran alongside the Castello (a scheme perhaps as egotistical but undeniably more successful that Æneas Sylvius Piccolomini’s renaissance of his home village as the papal retreat of Pienza). Above the doorway into the Palazzo, now part of Ferrara’s university (much expanded since Guarino’s day), there is what I take to be a nineteenth-century notice celebrating the palace’s famous inhabitants; it names as the first of those Guarino da Verona himself. So, here we have the evidence for which I am searching – except it is so obviously implausible, Guarino having been dead for a half a lifetime before the building was begun in 1496. It was, in fact, designed for one of Guarino’s many sons, Battista, who followed his father in his scholarly pursuits, but he lived to enjoy his new house only for a few years, dying in the high summer of 1503. The Palazzo and the road beside it are, in reality, named after the dynasty that could trace itself back to Guarino, rather than the humanist himself.

Ferrara, Palazzo Guarini-Giordani, notice recording the ‘presence’ of Guarino

Recognition of the error made me want all the more to find as precisely as possible where Guarino actually resided in his adopted town – where, that is, he lived, slept and ran his private school, his conturbernium, which the likes of Janus Pannonius attended and where English travellers like William Gray, future bishop of Ely, and John Tiptoft, earl of Worcester, would presumably have visited him. My pursuit, I must admit, drove my darling mild-mannered wife to distraction.

Ferrara, via del Turco, the presumed site of the house of Guarino

Some brief searching (not enough to interrupt the rest of the holiday) showed that we do have some written evidence of the humanist’s residence, largely thanks to the researches of the incomparable Remigio Sabbadini: we know that he lodged at the house of the Strozzi and that, as the Dizionario biografico degli italiani states, ‘andò ad abitare nell’attigua casa dei Boiardi, in via S. Michele, che prese in affitto per tre anni e che poi acquistò per 3500 lire marchesane, 550 delle quali donategli dal marchese’. There is a slight complication: there is not now in the street plan of Ferrara any record of a road of San Michele, but there is a church, closed, deconsecrated and in poor repair. The route to it is now called the via del Turco (after the medieval Turchi family) and it was at the upper end of this road, near the via Cortevecchia, that Guarino had his house. The casa Strozzi was pulled down long ago, replaced in the seventeenth century by a wooden theatre which itself was replaced by a brick building in the nineteenth century which later became a cinema. The picture-house, in contrast to the successful one on via Carbone, has closed for business and the empty building shows a lack of loving care. As Guarino’s more permanent home – known as the casa Boiardi after the noble Boiardo family, forefathers of the poet Matteo Maria – was next door to the casa Strozzi, we can identify its location and view the spot, but much of it has now disappeared: there is a break in the building line, with an area now used for parking. Behind that, though, there are houses and they include one Renaissance lintel above a low doorway. Perhaps this is one small remnant of the building Guarino called home.

There is not, you will be unsurprised to hear, any plaque or notice to record the connexion of the site with the learned humanist. As I have suggested, this is not because the Ferrarese are adverse to advertising their heritage. Indeed, further down the same street, a modern apartment block has retained one stone of an older building, which records the Pico della Mirandola stopped there. I enjoy the juxtaposition of notices that now festoons that wall.

Ferrara, via del Turco 29, inscription to Pico and its modern accompaniment

It is, of course, understandable that Guarino has become overshadowed in the city of Ariosto; the poet has long been the talisman of Ferrara’s contribution to culture. In 1933, the ‘centenario ariostesco’ was celebrated, for instance, by a significant exhibition of local Renaissance art including the likes of Cosmè Tura and Garofalo. I think we can anticipate with some confidence that there will be a menu of cultural events as rich as the local dish of salama da sugo organised to mark the next significant Ariostean anniversary in twenty-one years’ time. But rejoicing in that maestro of the volgare should not mean that a Latinate scholar who was also important to Ferrara’s identity need be forgotten. Perhaps in the years running up to 2033, the Ferrarese could find a moment to remember the achievements of their most famous schoolmaster – 2029 would mark the sixth centenary of the arrival of Guarino da Verona in their city. If they did arrange such an act of pietas, I for one would willingly make the pilgrimage to their doorstep.

New set of links: Latin humanist texts

Posted in Humanism by bonaelitterae on 28 September, 2008

If you scroll right down to the bottom of the screen, you will see on the right-hand side a short set of links. I am building up a list of humanist (mainly quattrocento) texts available on-line and this is the first step.

There are some useful sites which act as gateways or collect together relevant texts. I have found especially useful the Society for Neo-Latin Studies webpages, and the neo-Latin section of The Latin Library. The texts I have cited come partly thanks to their assistance and partly through wider trawling. They are hosted on a range of websites and appear in a range of formats: some are html texts, others are as images of printed books (either early modern or later), one is a transcription with a link to images of a relevant manuscript. They differ in elegance – the text of Carbone’s funeral oration on Guarino is a sad specimen: it is taken from Garin’s indispensable Prosatori latini, and appears with ragged ends of each line, reflecting the line-ends in the printed text. The quality of the edition also varies.

What particularly strikes me, however, is the paucity of texts available on-line, and the curious nature of what does appear. It might be said that the web of the new millennium need not have any space for a dead language but the democracy of the on-line universe is a Babel of idioms, including the lingua franca of Old Europe (I particularly like the Finnish Latin news station). The Latin of the quattrocento humanists, of course, could be accused of being neither one thing nor the other: not given to the freedom of medieval Latin, at the same time, it does not meet the standards expected of neo-Latin. That said, neo-Latinists are a tolerant bunch and do mention fifeenth-century texts in the on-line resources they are compiling. Whatever the reasons for the relatively low number of texts – at a time when the I Tatti Library series is making many works accessible in hard-copy – what is most striking is the curious nature of what is available.

Often, the texts which can be viewed are not the major works by that author. The best example of this is Leonardo Bruni, the pre-eminent Florentine humanist of the early quattrocento. His De Studiis, as you can see, is available — a relatively minor work but one in which there is modern scholarly interest. Apart from that, Biblioteca Italiana provides a copy of his short tract on whether all Romans spoke Latin which though it may be of interest could hardly be called a work through which he made his reputation. If we wanted to read a work which was  seminal to his intellectual formation, we would want to see his Dialogi ad Petrum Paulum Histrum or his Laudatio Florentinae Urbis. Neither is available, and with the latter of these there is a particular irony. The Laudatio, his praise of Florence which has become a foundation text of civic humanism, was a best-seller in his own lifetime and one of the works for which he was best known — but, after his death, in the age of new-fangled print, it was somehow forgotten and not edited until the twentieth century, by Hans Baron. So, as one medium gave way to another, this small but significant work lost its leading status. Is this happening again? Is the dictum that history repeats itself being proven true?