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THE CIVILIZATION OF THE RENAISSANCE IN ITALY

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Bianca
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« on: October 07, 2008, 10:34:36 am »










                                              THE STATE AS A WORK OF ART






Despots of the Fourteenth Century



The tyrannies, great and small, of the fourteenth century afford constant proof that examples such as these were not thrown away. Their misdeeds cried forth loudly and have been circumstantially told by historians. As States depending for existence on themselves alone, and scientifically organized with a view to this object, they present to us a higher interest than that of mere narrative.

The deliberate adaptation of means to ends, of which no prince out of Italy had at that time a conception, joined to almost absolute power within the limits of the State, produced among the despots both men and modes of life of a peculiar character. The chief secret of government in the hands of the prudent ruler lay in leaving the incidence of taxation as far as possible where he found it, or as he had first arranged it. The chief sources of income were: a land tax, based on a valuation; definite taxes on articles of consumption and duties on exported and imported goods: together with the private fortune of the ruling house. The only possible increase was derived from the growth of business and of general prosperity. Loans, such as we find in the free cities, were here unknown; a well-planned confiscation was held a preferable means of raising money, provided only that it left public credit unshaken--an end attained, for example, by the truly Oriental practice of deposing and plundering the director of the finances.

Out of this income the expenses of the little court, of the bodyguard, of the mercenary troops, and of the public buildings were met, as well as of the buffoons and men of talent who belonged to the personal attendants of the prince. The illegitimacy of his rule isolated the tyrant and surrounded him with constant danger, the most honorable alliance which he could form was with intellectual merit, without regard to its origin. The liberality of the northern princes of the thirteenth century was confined to the knights, to the nobility which served and sang. It was otherwise with the Italian despot. With his thirst for fame and his passion for monumental works, it was talent, not birth, which he needed. In the company of the poet and the scholar he felt himself in a new position, almost, indeed, in possession of a new legitimacy.

No prince was more famous in this respect than the ruler of Verona, Can Grande della Scala, who numbered among the illustrious exiles whom he entertained at his court representatives of the whole of Italy. The men of letters were not ungrateful. Petrarch, whose visits at the courts of such men have been so severely censured, sketched an ideal picture of a prince of the fourteenth century. He demands great things from his patron, the lord of Padua, but in a manner which shows that he holds him capable of them. 'Thou must not be the master but the father of thy subjects, and must love them as thy children; yea, as members of thy body. Weapons, guards, and soldiers thou mayest employ against the enemy---with thy subjects goodwill is sufficient. By citizens, of course, I mean those who love the existing order; for those who daily desire change are rebels and traitors, and against such a stern justice may take its course.'

Here follows, worked out in detail, the purely modern fiction of the omnipotence of the State. The prince is to take everything into his charge, to maintain and restore churches and public buildings, to keep up the municipal police, to drain the marshes, to look after the supply of wine and corn; so to distribute the taxes that the people can recognize their necessity; he is to support the sick and the helpless, and to give his protection and society to distinguished scholars, on whom his fame in after ages will depend.
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