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Updated: June 1, 2025
If we discover him at either, perhaps he has caught that new green-sickness from the north, and thinks himself a singing-bird." A singing-bird was what Raffaele Muti proved to be. In the Mediterranean lands a new idea was beginning to alter the conduct of society.
The question as to the existence of an indigenous school of painting before the Italian artistic invasion is still a subject of acrimonious discussion among critics; there is none, however, as to its existence in the plastic arts. The old French tradition died hard, and not before it had stamped upon Italian Renaissance architecture the impress of its native genius and adapted it to the requirements of French life and climate. The Hôtel de Cluny, finished in 1490, still remains to exemplify the beauty of the native French domestic architecture modified by the new style. The old Hôtel de Ville, designed by Dom. da Cortona and submitted to Francis in 1532, was dominated by the French style, and not until nearly a century after the first Italian Expedition were the last Gothic builders superseded. The fine Gothic church of St. Merri was begun as late as 1520 and not finished till 1612, and the transitional churches of St. Étienne and St. Eustache remind one, by the mingling of Gothic and Renaissance features, of the famous metamorphosis of Agnel and Cianfa in Dante's Inferno, and one is tempted to exclaim, Ome, come ti muti! Vedi, che gi
So now, in Italy, as in southern France, sometimes in wild hill castles as well as in the city palaces, a hymn of adoration rose to the new divinity. This was the song that Raffaele Muti, plucking at his twelve harp strings, raised in the hall of the Big Hornets' Nest at twilight. He sat by the fireplace on the guests' settee, beside Madonna Gemma.
He acknowledged the paramount authority of the Abbasid caliph, Muti, and that potentate recognised his supreme power in the kingdom of Egypt.
"Now we will give your carcass to the wild beasts, your brothers!" "Let my daughter pass through," bawled old Grangioia; then, receiving no response, struck clumsily at Lapo. With a twist of his sword Lapo disarmed the old man, calling out: "Keep off, kinsman! I will not shed Grangioia blood unless you force me to it. Let Muti come forward.
Nicolotto Muti was a thin, calm politician, elegant in his manners and speech, his lips always wearing a sympathetic smile. By the fireplace, after chatting of this and that, he remarked, with his hand affectionately on Cercamorte's knee: "I am trying to find trace of my little Raffaele, who has vanished like a mist. It is said that he was last seen in this neighbourhood.
Because he was the young brother of Nicolotto Muti they admitted him into the castle. His countenance was effeminate, fervent, and artful. The elegance of his manner was nearly Oriental. The rough soldiers grinned in amusement, or frowned in disgust. Madonna Gemma, confronted by his strangeness and complexity, neither frowned nor smiled, but looked more wan than ever.
Once more her brow became bleaker than a winter mountain; her eyes were haggard from nightmares; she trembled at every sound. Pacing her bower, interminably she asked herself one question. And at last, when Lapo would have passed her on the stairs, she hurled into his face: "What did you do to Raffaele Muti?" He started, so little did he expect to hear her voice.
The Muti family counts Mutius Scævola among its ancestors. This nobility, whether authentic or not, is at all events very ancient, and is of independent origin. It has not been hatched under the robes of the Popes. The second category is of Pontifical origin. Its titles and fortunes have their origin in nepotism.
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