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Updated: May 13, 2025
Lodovico Sforza, the lord of Mirandola, and Piero de' Medici felt themselves specially aggrieved, and kept urging Alexander to extinguish this source of scandal to established governments. Against so great and powerful a host one man could not stand alone. Savonarola's position became daily more dangerous in Florence.
Alexander VI, as we may suppose, had not been without influence in bringing about this sudden and astonishing reaction, although he was not present in person; and had scarcely learned the news of Savonarola's fall and arrest when he claimed him as subject to ecclesiastical jurisdiction.
Before that time his whole life had been greatly influenced by the teachings of Savonarola who had preached both passionately and learnedly in Florence, advocating liberty. From the time he fell under Savonarola's wonderful power, the artist grew more and more mystic and morbid.
Yet, strange to say, it was at the end of the fifteenth century that the genius of the thirteenth revived. Italian literature was cultivated for its own sake under the auspices of Lorenzo de' Medici. The year 1494 marks the resurrection of the spirit of old liberty beneath the trumpet-blast of Savonarola's oratory.
It was here that Savonarola's ordeal by fire would have had place had it not been frustrated. Vasari also gives Orcagna the four symbolical figures in the recesses in the spandrels of the arches.
Savonarola's sojourn at Bologna in the Dominican Monastery lasted for seven years, during which his spirit was occupied not only with faith and prayer, but with deep meditation on the miserable condition of the Church. His soul was stirred to wrathful indignation.
She makes him preach the "religion of humanity," which was certainly not taught in his day. He preached duty, indeed, and appealed to conscience; but he preached duty to God rather than to man. The majesty of a personal God, fearful in judgment and as represented by the old Jewish prophets, was the great idea of Savonarola's theology.
The pressing problem for Romola just then was not to settle questions of controversy, but to keep alive that flame of unselfish emotion by which a life of sadness might still be a life of active love. Her trust in Savonarola's nature as greater than her own made a large part of the strength she had found. And the trust was not to be lightly shaken.
In the face of all public and private corruptions, his soul is as Piagnone as Savonarola's, and the vices of Arrabbiati, small and great, are always his text, upon which he preaches virtue. Zola is to me so vast a theme that I can only hope here to touch his work at a point or two, leaving the proof of my sayings mostly to the honesty of the reader.
It is still possible for even a French historian of the Church to enumerate among the articles cast upon Savonarola's famous pile, poesies erotiques, tant des anciens que des modernes, livres impies ou corrupteurs, Ovide, Tibulle, Properce, pour ne nommer que les plus connus, Dante, Petrarque, Boccace, tous ces auteurs Italiens qui deja souillaient les ames et ruinaient les moeurs, en creant ou perfectionnant la langue.
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