Plumbing Renaissance visionaries for Wisdom- Brian Keeler
For all those movers and shakers over the decades and centuries who have justified their selfishness from the writing of Machiavelli, or more accurately, what is said to be Machiavelli's credo, there is fortunately now a newly discovered antidote. The proviso above is mentioned because many think Machiavelli was maligned by subsequent writers. The revelation of this essay is; bringing to light a political theorist who was born just a few decades before the Florentine, Machiavelli, in nearby Sienna.
In a recent book by James Hankins, titled " Political Meritocracy in Renaissance Italy'' and subtitled, "The Virtuous Republic of Siena" we learn of a counter ethos to the man who supposedly coined the term, "The ends justify the means" and the more abhorrent adage of, " well-used cruelty."
Above- a painting by the author- a. view of Florence. Machaivelli and Patrizi mentioned in this esssay, both would have walked this street, a view of Santa Croce in half light is depicted here. This small oil on linen 12" x 16" illustrates the title of this essay- veering toward a vision of beauty. In this case the golden light of May evening.
If we recoil at the two credos mentioned above it is understandable. Yet the influence of just such works of Machiavelli are surprisingly wide-spread. Though this topic of Renaissance virtue, or lack thereof, may not be a burning question to most readers or seemingly relevant to contemporary issues, I find the two recent books by Hankins to be brimming with relevancy, wisdom and corollaries to today's politics.
The man that Hankins brings to the fore is Franceso Patrizzi (1413-1494). As one commentator, Lee Oser, on Hankins' work says- he has "unearthed a forgotten genius." And indeed, we can revel in the work of Patrizi through this book. I would say the general ethos of Patrizi is more in need today than ever before. As we are further immersed in strident polarization and toxic partisan politics ramping up to the elections, these works may be a Godsend for the times.
For starters let's take this observation of Hankins' about Patrizi.
"But he was a conservative in the finest sense of wanting to preserve what was beautiful and good in the Western Tradition and he understood that it is far easier to destroy good things than to preserve them. He feared revolutions, whether instigated by a mob, as oligarchy or a tyrant. His ideal state was built above all for the stability and peaceful flourishing, not for conquest."
This passage brings to mind the January 6th attack by a mob on the US. Capitol. The assault on the seat of government was arguably instigated by a tyrant, who egged on his mob to preserve an oligarchy. Seems almost prescient that a man living in the 1400's in Siena could foretell the state of American politics in the 21st century.
The idea of visionary virtue was mentioned in the title to this essay and this aspect of Patrizi's thinking is especially missing in today's discourse. A further application of this concept of working ethics and virtue into the fabric of life brings in urban planning and art. Leon Battista Alberti, the Italian architect and theorist whose life span overlapped with Patrizi, popularized the idea of a painting being a window into spatial depth is cited here. The idea of architecture and urban planning as contributing to the overall environment of fostering virtue is fascinating. When we traverse the streets of Urbino for example or Orvieto or Siena and many other towns of Italy, we can feel in the very structure of the streets, churches, towers and houses that concord and virtue were part of the aspiration, if not the reality in bricks and mortar. There is a painting in The Walters Art Gallery in Baltimore by a Renaissance artsit titled, "The Ideal City" that alludes to this idea of urban space suggesting virtue and dignity.
Of course we know that the history of medieval and Renaissance Italy was just as sordid and fraught with political and military plots and actions that were just a repellent and lacking in virtue as today's events. Still, we can appreciate the motivation of peace and order in Tuscan towns when viewing the Pietra Serena, the grey stone used in church interiors or stained glass of French cathedrals.
Here is another passage from Hankins book to underscore my point.
" Patrizi was, finally, a true representative of the larger Renaissance movement, an advocate of what I have called elsewhere the 'Virtuous Environment'.
Following the lead of Leon Bartista Alberti and of his own patron, Pope Pius II, was the first political theorist, to my knowledge, to explore the potential of urban planning to shape civic values and facilitate a free way of life."
The mission of Patrizzi and his general ethos was to promote a conducive government that relies on principles that support and encourage virtue. Throughout these examples one is easily led to see how so many of our contemporary politics are the exact opposite of virtue. And the obvious recipient of this criticism is in the person of the D.T., arguably one who flaunts every virtue. Patrizi has a primary concern with virtue but with a corollary mission of preventing the ignorant, greedy and ambitious from influencing the conduct of public affairs. We are indeed in dark times when we see dissimulation and vile rhetoric almost expected on a daily basis from this vile man- the D.T.
Education by example and study is encouraged by Patrizi to foster virtue. His call for an educated citizenry was all part of his quest for virtue in politics. The idea that politics could be an avenue for virtue seems almost anathema today as politics today is rife with viciousness and hyperbole to assert and agenda. Patrizi refers to the ancients, as with his reference to Aristotle's Nicomachean Ethics. From this Athenean he garners, "statesman cannot lead his citizens to virtue unless he understands and acts with virtue himself." Do any of the antics, histrionics and flaunting of law and civility of the man vying for the republican party's presidential nomination remotely resemble virtue? On the contrary we are pelted on a daily basis by a fuisillade of vile affronts.
Further harkening back to Aristotle, Patrizi is an advocate of cities and governments as assisting the people to reach fulfilment Aristotle believed that the state exists to realize the higher potential of human nature. Related to this, by contrast, Patrizzi discouraged attendance at spectacles that inflamed or manipulated the passions, prejudices and hatreds. We think he must have been referring to the Roman spectacles of blood entertainment at the arenas throughout the ancient world. And again, his prescience could be alluding to a MAGA rally that incites followers to violence.
Above- The Arno River in Florence with the Ponte Vecchio depicted in a plein air painting by the author. This 18" x 24" oil on canvas on panel is titled, "June Morning, Florence, Ponte Vecchio."
The contrast between the idealism of Patrizi and the crass (supposed) pragmatism of Machiavelli keeps presenting itself throughout this book and by extension, a nod to who are following certain credos today. Whether it is Ayn Rand, Adolf Hitler, Mussolini or Ronald Regan, who all supposedly would have Machaivelli's work for bedside reading, we can only wonder how things would have developed if Patrizi's star was on the ascendant allowing his work to become the more influential. Hankens offers a caveat on the styles of the two renaissance theorists.
" His manner of composition is apt to disappoint modern readers. especially if they come to him from the study of Machiavelli. Patrizi is not a pithy writer, and he does not display Florentine's analytical brilliance. That is in part because, unlike Machiavelli, he is not trying to be clever and provocative, but judicious and learned."
I for one am grateful for Hankins sleuthing at the Villa I Tatti, the former home in Florence of the art connoisseur, Bernard Berenson. The Berenson villa is now a center for Reniassance studies just outside of Florence in the foothills and available to Harvard scholars. Through Hankins research we are again given hope and vision for a better way of life and government that was articulated in Siena in the 15th century. Hankins understandably laments in his conclusion that we as a society are unfortunate that so many courses on Machiavelli have been offered. The result is the justification of a kind of ethos of cynicism and power politics. We see this today in spades. The politics and modus operandi of Trump is again the example of this. One of his former advisors, John Kelly is worth quoting here.
“The depths of his dishonesty is just astounding to me. The dishonesty, the transactional nature of every relationship, though it’s more pathetic than anything else. He is the most flawed person I have ever met in my life."
And to further underscore the difference between Machiavelli and Patrizi- the former advises in this book, The Prince, "learn how not to be good." Further, as if taken from today's headlines, to advance one's career the Florentine recommends committing fraud, exterminating enemies or allies and manipulating religious superstitions to advance a ruler's interest. Do we see any of this in the xenophobic, racist hate-mongering of today?
In conclusion, there is a painting of hope that comes to mind. It is also illustration of effective governance in Siena. It is a fresco called, "The Allegory of Good and Bad Government" by Ambrogio Lorenzetti, painted between 1438- 39. Patrizi would have known of these paintings as they represent the concerns of the day. We could even imagine a dialogue between painter and writer. The Good Government part of this fresco cycle shows women dancing, singing and playing a tambourine as if to underscore harmony and virtue. Patrizi would have been pleased with seeing his ideas given visual form and expression. As the title to this essay suggests, we need a vision of virtue today. Lorenzetti gave form to the intellectual musings of Patrizi and we could turn to the arts of today for a similar sanctuary and vision of hope.
Above- The fresco painting in Palazzo Publico in the center of Siena is titled, "The Efffects of Good Government on City Life" or the "Allegory of Good and Bad Government." It is a fresco by from 1348 by Ambrogio Lorenzetti. It is a genre scene showing women dancing in front of what appears to be a sock merchant's booth on a Siena street.
Above- A street scene in Florence painted plein air by the author. It depicts Piazza Santissima Annunziata and Via Dei Servi with a view toward Brunelleschi's Dome. The original is a 24" x 26 oil on linen and available at the North Star Fine Art in Ithaca, NY.
To view a video of this work being created on location- check out this youtube link-
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