Let us now give a glance at those festivals the chief feature of which was the procession itself.
There is no doubt that from an early period of the Middle Ages the religious processions gave rise to the use of masks. Little angels accompanied the sacrament or the sacred pictures and relics on their way through the streets; or characters in the Passion -- such as Christ with the cross, the thieves and the soldiers, or the faithful women -- were represented for public edification. But the great feasts of the Church were from an early time accompanied by a civic procession, and the naiveté of the Middle Ages found nothing unfitting in the many secular elements which it contained. We may mention especially the naval car (carrus navalis), which had been inherited from pagan times, and which, as an instance already quoted shows, was admissible at festivals of very various kinds, and is associated with one of them in particular -- the Carnival. Such ships, decorated with all possible splendor, delighted the eyes of spectators long after the original meaning of them was forgotten. When Isabella of England met her bridegroom, the Emperor Frederick II, at Cologne, she was met by a number of such chariots, drawn by invisible horses, and filled with a crowd of priests who welcomed her with music and singing.
But the religious processions were not only mingled with secular accessories of all kinds, but were often replaced by processions of clerical masks. Their origin is perhaps to be found in the parties of actors who wound their way through the streets of the city to the place where they were about to act the mystery; but it is possible that at an early period the clerical procession may have constituted itself as a distinct species. Dante described the 'Trionfo' of Beatrice, with the twenty-four Elders of the Apocalypse, with the four mystical Beasts, with the three Christian and four Cardinal Virtues, and with Saint Luke, Saint Paul, and other Apostles, in a way which almost forces us to conclude that such processions actually occurred before his time. We are chiefly led to this conclusion by the chariot in which Beatrice drives, and which in the miraculous forest of the vision would have been unnecessary or rather out of place. It is possible, on the other hand, that Dante looked on the chariot as a symbol of victory and triumph, and that his poem rather served to give rise to these processions, the form of which was borrowed from the triumph of the Roman Emperors. However this may be, poetry and theology continued to make free use of the symbol. Savonarola in his 'Triumph of the Cross' represents Christ on a Chariot of Victory, above his head the shining sphere of the Trinity, in his left hand the Cross, in his right the Old and New Testaments; below him the Virgin Mary; on both sides the Martyrs and Doctors of the Church with open books; behind him all the multitude of the saved; and in the distance the countless host of his enemies -- emperors, princes, philosophers, heretics -- all vanquished, their idols broken, and their books burned. A great picture of Titian, which is known only as a woodcut, has a good deal in common with this description. The ninth and tenth of Sabellico's thirteen Elegies on the Mother of God contain a minute account of her triumph, richly adorned with allegories, and especially interesting from that matter-of-fact air which also characterizes the realistic painting of the fifteenth century.
Nevertheless, the secular 'Trionfi' were far more frequent than the religious. They were modeled on the procession of the Roman Imperator, as it was known from the old reliefs and the writings of ancient authors. The historical conceptions then prevalent in Italy, with which these shows were closely connected, have already been discussed.
We now and then read of the actual triumphal entrance of a victorious general, which was organized as far as possible on the ancient pattern, even against the will of the hero himself. Francesco Sforza had the courage (1450) to refuse the triumphal chariot which had been prepared for his return to Milan, on the ground that such things were monarchial superstitions.
Continued on page seven.
The Civilization of the Renaissance in Italy
by Jacob Burckhardt
Part Five: Society and Festivals
Chapter 9 - Festivals: 1 2 3 4 5 6 7 8 9
Chapter 8 <<< Contents >>> Part Six
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