Val d'Arno: Ten Lectures on the Tuscan Art Directly Antecedent to the Florentine Year of Victories; Given Before the University of Oxford in Michaelmas Term, 1873 — John Shaqi
Val d'Arno: Ten Lectures on the Tuscan Art Directly Antecedent to the Florentine Year of Victories; Given Before the University of Oxford in Michaelmas Term, 1873Ruskin, John
History
Val d'Arno: Ten Lectures on the Tuscan Art Directly Antecedent to the Florentine Year of Victories; Given Before the University of Oxford in Michaelmas Term, 1873
Ruskin, John
Art -- Italy -- Tuscany
100. "Frederick of _Antioch_." Note the titular coincidence. The
disciples were called Christians first in Antioch; here we have our
lieutenant of Antichrist also named from that town. The anti-Christian
Germans got into Florence upon Sunday morning; the Guelphs fought on
till Wednesday, which was Candlemas;--the Tower of the Death-watch was
thrown down next day. It was so called because it stood on the Piazza of
St John; and all dying people in Florence called on St. John for help;
and looked, if it might be, to the top of this highest and best-built of
towers. The wicked anti-Christian Ghibellines, Nicholas of Pisa helping,
cut the side of it "so that the tower might fall on the Baptistery. But
as it pleased God, for better reverencing of the blessed St. John, the
tower, which was a hundred and eighty feet high, as it was coming down,
plainly appeared to eschew the holy church, and turned aside, and fell
right across the square; at which all the Florentines marvelled, (pious
or impious,) and the _people_ (anti-Ghibelline) were greatly delighted."
101. I have no doubt that this story is apocryphal, not only in its
attribution of these religious scruples to the falling tower; but in
its accusation of the Ghibellines as having definitely intended the
destruction of the Baptistery. It is only modern reformers who feel the
absolute need of enforcing their religious opinions in so practical a
manner. Such a piece of sacrilege would have been revolting to Farinata;
how much more to the group of Florentines whose temper is centrally
represented by Dante's, to all of whom their "bel San Giovanni" was
dear, at least for its beauty, if not for its sanctity. And Niccola
himself was too good a workman to become the instrument of the
destruction of so noble a work,--not to insist on the extreme
probability that he was also too good an engineer to have had his
purpose, if once fixed, thwarted by any tenderness in the conscience of
the collapsing tower. The tradition itself probably arose after the
rage of the exiled Ghibellines had half consented to the destruction,
on political grounds, of Florence itself; but the form it took is of
extreme historical value, indicating thus early at least the suspected
existence of passions like those of the Cromwellian or Garibaldian
soldiery in the Florentine noble; and the distinct character of the
Ghibelline party as not only anti-Papal, but profane.
Public-domain text, read in full here on John Shaqi.
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