第28章 THE STATE AS A WORK OF ART(28)(2 / 3)

among them flashes of wonderful insight.He recognizes, for example, the law of a continuous though not uniform development in republican institutions, and requires the constitution to be flexible and capable of change, as the only means of dispensing with bloodshed and banishments.For a like reason, in order to guard against private violence and foreign interference--'the death of all freedom'--he wishes to see introduced a judicial procedure ('accusa') against hated citizens, in place of which Florence had hitherto had nothing but the court of scandal.With a masterly hand the tardy and involuntary decisions are characterized which at critical moments play so important a part in republican States.Once, it is true, he is misled by his imagination and the pressure of events into unqualified praise of the people, which chooses its officers, he says, better than any prince, and which can be cured of its errors by 'good advice.' With regard to the Government of Tuscany, he has no doubt that it belongs to his native city, and maintains, in a special 'Discorso' that the reconquest of Pisa is a question of life or death; he deplores that Arezzo, after the rebellion of 1502, was not razed to the ground; he admits in general that Italian republics must be allowed to expand freely and add to their territory in order to enjoy peace at home, and not to be themselves attacked by others, but declares that Florence had un at the wrong end, and from the first made deadly Pisa, Lucca, and Siena, while Pistoia, 'treated like a brother,' had voluntarily submitted to her.

It would be unreasonable to draw a parallel between the few other republics which still existed in the fifteenth century and this unique city--the most important workshop of the Italian, and indeed of the modern European spirit.Siena suffered from the gravest organic maladies, and its relative prosperity in art and industry must not mislead us on this point.Aeneas Sylvius looks with longing from his native town over to the 'merry' German imperial cities, where life is embittered by no confiscations of land and goods, by no arbitrary officials, and by no political factions.Genoa scarcely comes within range of our task, as before the time of Andrea Doria it took almost no part in the Renaissance.