Vlad the Father

Vlad III Dracul was the son of Vlad II Dracul. Vlad the father was an illegitimate son of Mircea I of Wallachia, voivode (military leader) of Wallachia, who died in 1418. Under Mircea, Wallachia controlled the largest territory in its history. After his death, succession passed through a few of his sons before it got to Vlad II.

We know little about Vlad II's early life, but he must have been born prior to 1395 because historians agree that by that date he was sent to Hungary as a hostage to King Sigismund. Vlad spent some time there: Sigismund claimed that Vlad had been educated at his court.

When Vlad's father died (and the succession was fought over by various sons, both legitimate and otherwise), Vlad stayed in Hungary and other parts of the Holy Roman Empire. Sigismund treated him well, inducting him into the chivalric Order of the Dragon (the inspiration for Vlad and his son to add Dracul "Dragon" as an epithet). He was even asked to be the official receiver when the Emperor of Constantinople, John VIII Paleologos, visited to ask for help against the Ottomans in 1423.

Vlad hoped some day to return to Wallachia as its leader, but while waiting for that day he settled in Transylvania. While there he lived in Sighișoara, in a house where there is now a plaque commemorating his time. The plaque claims that his son Vlad II was born there. Vlad the elder also had coins minted there.  Sighișoara is a UNESCO World Heritage Site because it is the model of a small medieval fortified town.

Vlad ruled Wallachia twice. The first time was 1436-1442 after his brother Alexander I. In 1442, after being accused of treachery by the Ottomans (long story), he was summoned by the Ottoman governor of Bulgaria to show loyalty. He left his eldest son Mircea in charge. Vlad was captured by the Ottomans. released later, he returned to Wallachia and became voivode again from 1443-1447, after which he was dethroned by the governor of Hungary who put his nephew Vladislav in place. Vlad II was executed.

Sigismund of Hungary had created the Order of the Dragon ostensibly to fight the Ottoman Empire. Let's see how that worked out for him next time.

The Night Attack at Târgoviște

Most of the history of human beings was spent in the dark; that is, without efficient illumination. There were ways and ways of maneuvering in the dark of the night, but they were a far cry from flashlights and streetlights. Accomplishing tasks in the dead of night were hampered by the lack of lighting. War, especially, was difficult, because you needed to distinguish friend from foe, and not trip over things. Military engagements were rarely staged at night.

So when Vlad Tsepes, voivode of Wallachia, chose a night-time attack on Sultan Mehmed II of the Ottoman Empire, he showed particular daring. Here's why and it happened.

Mehmed had aided Vlad in re-taking Wallachia from Vlad's usurping cousin, but was outraged that Vlad would not therefore pay him homage (he impaled the two envoys sent to collect the homage, called jizya). 

But let's jump back a bit. Mehmed would have really liked free rein of the Danube, whose left bank was controlled by Wallachia from which an attack on Ottoman ships could come. Pope Pius II had called for a Crusade against the Ottomans in 1460, but Vlad was the only potentate who showed any interest in it. The lack of enthusiasm for a Crusade emboldened Mehmed to spread his power further. In pursuit of his goal, he wound up capturing a friend of Vlad's, torturing his men and sawing Vlad's friend in half.

This is when Vlad wrote to Mehmed, saying he could not afford to pay the jizya, nor could he accept Mehmed's offer to meet and negotiate because he feared Hungary would try to conquer Wallachia if he left. That is when Mehmed discovered that Vlad was going to actually meet with Hungary's Matthias Corvinus, and Mehmed sent men to arrange an ambush. Vlad learned about it beforehand and ambushed the ambushers, attacking with handguns while they were trapped in a narrow pass.

Shortly after, Vlad invaded Bulgaria and caused great devastation and death. When Mehmed next entered Bulgaria, he discovered (by Vlad's count, in a letter to Corvinus) 23,884 Turks impaled waiting for him. There were several skirmishes and battles between Vlad's and Mehmed's armies, and Vlad prevailed in all.

Later, Mehmed advanced toward the Wallachian capital of Târgoviște. On 17 June 1462, Vlad attacked during the night. He was prepared: he had disguised himself as a Turk and snuck into the camp, wandering around the make sure he knew the layout of the camp and where the Sultan's tent was. He attacked in the night with thousands of horsemen, blowing bugles and carrying torches (see illustration). An Italian chronicler claims they attacked several times from three hours after sunset until four in the morning. A recounting by a Wallachian veteran claims that Mehmed fled shamelessly in the confusion.

Vlad's army was pursued days later, leading to another grisly sight: the road leading to the Bulgarian capital was lined with 20,000 impaled Ottomans. Vlad certainly understood the value of psychological warfare.

A note on the name "Dracula." It simply means "Son of Dracul." Vlad was the third of that name, the son of Vlad Dracul II. Dracul means "Dragon." So did Vlad III get his bloodthirstiness from his father, along with the name? We'll look at dad Dracul next time.

Dracula versus the Turks

Long before he engaged in the bloodthirsty military tactics that made him the historical inspiration for a vampire count, Vlad Tsepes (a young teen) and his brother Radu (12; called "the handsome") were hostages of the Ottoman Empire to ensure the loyalty of their father, Vlad II "The Dragon," Voivode (Prince, military leader) of Wallachia.

Vlad's father and eldest brother were killed when a governor of Hungary invaded Wallachia in 1447 and installed Vlad's cousin Vladislav, but then Hungary tried to attack the Ottomans with Vladislav along. The Ottomans decided the best counter was to invade Wallachia with Vlad Tsepes along. It was successful, but when Vladislav re-invaded within a year, Vlad had to return to the Ottoman Empire for safety.

Later, Vladislav's alliance with Hungary deteriorated, and Hungary threw its influence in with Vlad, so he invaded Wallachia, and after some bloody exchanges including starting the practice of impaling enemies (and earning the nickname "Vlad the Impaler"), he installed himself as voivode in 1460.

Because he had been freed and had help from the Ottomans, Sultan Mehmed II sent two envoys to Vlad to demand homage; Vlad had them impaled (of course). In February 1462 he invaded Ottoman territory, impaling (of course) tens of thousands of Turks. Mehmed decided that revenge was best served by replacing Vlad in Wallachia with his younger brother Radu. Vlad decided an alliance with the King of Hungary, Matthias Corvinus, was his next best option for help. Mehmed learned that Vlad was heading to see Corvinus, and had his men ambush Vlad. Vlad managed to escape the ambush.

His next move is known as the Night Attack at Târgoviște. That, and the end of Dracula, will be presented tomorrow.

The Pope and Dracula

Pope Pius II (18 October 1405 - 14 August 1464) was very busy, looking for political alliances and ways to expand his authority.

It wasn't all politics: in 1461 he canonized Saint Catherine of Siena. Much of the rest of his energy was put into more worldly actions, however, even if they had religious goals.

One of his first actions in 1458 was to make an alliance with Ferdinand II of Aragon who was pressing a claim to Naples (Naples was being contested between the House of Aragon and the House of Anjou.) In 1461, however, he persuaded King Louis XI of France to abolish something called the Pragmatic Sanction of Bourges, established in 1438 that required a Church Council every ten years that had power to overrule the papacy in France. Louis thought that, in turn, Pius would support him in the Naples question, but Pius stood by his alliance with Ferdinand and Louis reinstated the Pragmatic Sanction again.

He tried to mediate between the two sides of the Thirteen Years' War between Poland and the Teutonic Knights. Failing to bring them to agreement, he declared both groups anathema.

When Duke Sigismund arrested Nicholas of Cusa (when he was bishop of Brixen) for attempting reforms and reclaiming lost diocesan revenue, Pius excommunicated Sigismund.

He was very concerned about the Turks, who had come as far west as they ever had in 1453 with the taking of Constantinople. He convened a congress in Mantua in 1459 to arrange a new Crusade against the Turks. The attempt failed; Christendom did not rise to the occasion. He did, however, inspire a prince of Wallachia, a province in Romania, to mount a war against Sultan Mehmed II of Turkey. That prince was named Vlad Tsepes, also known as Vlad III, or Vlad the Impaler, but whose other nickname came down to modern times as a famous literary figure: Dracula.

Tomorrow I'll tell you about how Dracula tried to save Christendom from infidels.

The Loving Pope Pius II

Pius II was the only pope to write an autobiography while he reigned. Lest you think he probably sanitized his life so that it seemed more appropriate for a pope, in this case he included events that were quite the opposite. He was an author of more than an autobiography: he also wrote Historia de duobus amantibus ("A Tale of Two Lovers"; see the illustration), and others.

Born Enea Silvio Bartolomeo Piccolomini to a soldier, he was one of 18 children (many of whom did not live long). He worked at the family farm until the age of 18, when he left to study at Siena, where he settled as a teacher. In 1431 he left teaching to be secretary to a bishop who was on his way to the Council of Basel, but changed jobs when that bishop ran out of money. He then went to Scotland on a secret mission, where he had a dalliance and fathered a child, who died young. He described Scotland as "wild, bare and never visited by the sun in winter."

Back in Basel, he was offered a diaconate, but disliked the obligation of abstinence. He was sent to Strasbourg, where he fathered another child (who died at 14 months). Later, at the court of Holy Roman Emperor Frederick III, he was named court poet for his cleverness and facility with language. While there, it is believed that he observed events that were turned into the "Tale of Two Lovers."

Enea did not care much for morals or strictness, but he realized that the way to power lay in the Church. His diplomatic skills working for Pope Eugene IV impressed those around him, so Eugene's successor Nicholas V made him Bishop of Trieste, and later Bishop of Siena. Now he wanted to advance, and desired to become a cardinal. He thought his chance came in 1455, but then Pope Calixtus III wanted to promote his own nephews first, and so Enea did not become a cardinal until 1456.

That meant, however, that he was part of the papal conclave on 10 August 1458, right after Calixtus died. Enea did his best to work his diplomatic skills among the cardinals and, although there were many with more experience and better ethical reputations, he managed to gather the votes so that a second ballot elected him unanimously.

According to his own writing, he did not rise above the desires of the flesh, but he did not neglect papal duties, and was keen on spreading Christianity, calling for a crusade against the Turks, who had taken Constantinople in 1453 and were now a strong presence in the Eastern Mediterranean.

Politics makes strange bedfellows, and successful Crusades sometimes required allying oneself with potentates you would not normally work with. Pius reached out to a voivode ("chief military leader") of a region in Romania called Wallachia, whose position north of the Turks would make him a helpful ally in surrounding them. Tomorrow, I'll talk about the link between Pius and a few other people mentioned in this blog, and then about his alliance with someone who had never before been mentioned: Dracula.

See you then.

Decline of the Republic of Siena

After a number of different governing bodies (a pun will become clear once you read this), Siena turned to Gian Galeazzo Visconti to lead them against the threat of Florentine expansion. He was thrust out of power five years later, however, and they went back to a council, in this case the Ten Priors. In an even more surprising move, they allied with Florence against Naples' King Ladislaus.

Also, although the Noveschi families had been exiled, a prominent Sienese named Enea Silvio Bartolomeo Piccolomini became Pope Pius II, and his influence allowed the nobles to return. The head of the Noveschi was Pandolfo Petrucci, who spent his time gathering political power until finally he was able to set himself up as a tyrant.

As with Gian Galeazzo Visconti, sometimes a strong individual is needed to get a government back on track. (Machiavelli's advice on this came about a decade after Petrucci's coup.) He did lead Siena back to greatness, promoting arts and sciences. Unfortunately, the Petrucci family was power-hungry. Pandolfo was succeeded by his son Borghese, but four years later Borghese was ousted by his cousin Raffaello. Raffaello was a cardinal, and his duties forced him to hand the control his nephew Francesco, who managed a year before Pandolfo's youngest son Fabio ousted him. Fabio was not well-liked, and in 1525 Siena exiled him.

With the Petrucci family gone, Siena saw even more internal strife. Once again the Noveschi were ousted. They were supported by Pope Clement VII, who sent an army to Siena, but it was defeated. Taking advantage of the chaos, Holy Roman Emperor Charles V installed a Spanish garrison about 1529, but Siena got rid of them in 1552 with help from France. Charles sent an army with Florentine help to lay siege to Siena, who endured for 18 months before giving up, surrendering to Spain. Since King Philip II of Spain owed large sums to the Medicis, he gave Siena to Florence. Self-rule was denied them for a long time.

One of the creations of the Republic was the Monte di Pietà or "mount of piety," founded in 1472, where poor people could get loans with manageable interest. It got its funds from charitable donors, and loans would be assured by the borrower handing over possessions as collateral. Yes, it functioned more like a pawnbroker, or an organized charity, but it helped numerous people and inspired similar arrangements all over Europe. This Siena institution never stopped functioning. Today it is called the Banca Monte dei Paschi di Siena, and qualifies as the oldest continuously functioning bank in the world.

Pope Pius II has been mentioned before, once even involving politics, but I'd like to look at him more closely, especially because he has a link to an even more interesting character that you all have heard of, but has not yet been mentioned here. More tomorrow (and, of course, the next day).

Republic of Siena

According to legend, Siena was founded by Senio and Ascanio, who were sons of Remus (who founded Rome with his brother Romulus). More verifiably, Romans established a military outpost in 30CE.

After the fall of Rome and prior to the Republic of Siena, for many years the city and area was run by the bishops. During a territorial dispute with Arezzo, the bishop asked for help from the nobility, who demanded a greater say in administering the city in exchange. This led eventually to ending the control by the bishops and the founding in 1125 by a consular government.

Siena prospered under the Republic, becoming a center of money-lending and the wool trade. It expanded its influence over Southern Tuscany. In 1286 the government evolved to the Nove, "The Nine," chosen from the Noveschi political party of wealthy merchants. Under the Nove Siena rose to new heights of power, producing the Cathedral of Siena and improving the city walls.

Under the Noveschi, Siena's political and economic power grew in southern Tuscany until it became a rival to Florence. Of particular issue was the fact Siena was predominantly Ghibelline versus the Florentine Guelphs. This post explains the difference; Dante mentions their conflict in his Commedia. With help from Manfred of Sicily, Siena defeated Florence in the 1260 Battle of Montaperti. Some 15,000 Florentines were killed in the battle, and Siena entered a Golden Age until...

...the Black Death. Siena was devastated, In 1355, just as they might have been recovering from the plague, Holy Roman Emperor Charles IV of Luxembourg entered Siena and the population decided to throw out the Nove and the power of the Noveschi, replacing it with the Dodici, "The Twelve." They were presently replaced by the Quindici, "The Fifteen" in 1385, then the Dieci (Ten, in 1386), then the Undici, (Eleven, 1388-1398), followed by the "Twelve Priors" from 1398-99. Ultimately, all these experiments in governing by councils ended when the fear of Florentine expansion motivated the city to turn to a single strong ruler, Gian Galeazzo Visconti, the first Duke of Milan.

Tomorrow I'll tell you about the return of the Nove, the decline of the Republic, and (my favorite), the "mount of piety," which still exists.

The Start of the Italian Renaissance

Because there are no "hard and fast" dates for cultural eras (although I nominate 1453CE for one), the Italian Renaissance painting is carefully divided up into four phases: the Proto-Renaissance (1300–1425), the Early Renaissance (1425–1495), the High Renaissance (1495–1520), and Mannerism (1520–1600, which we in this blog can safely ignore). Cimabue (c.1240 - 1302) is often called the first great artist of the Proto-Renaissance period in Italian art. Why "photo"? If it's new and part of the rebirth, why can't we just say he is the first of the Italian (prefix-free) Renaissance?

Part of the problem is that the Renaissance does not begin everywhere all at once. These phases represent trends in art and are tied to specific artists who tried something "new" and whose work influenced the style of others. The Proto-Renaissance in Italian art was dominated by two figures: Cimabue and Duccio of Siena (his Madonna and Child, now in the London National Gallery, is shown above). Along with two contemporaries, Guido of Siena and Coppo di Marcovaldo, they seem to have been influenced by the unknown the so-called Master of St Bernardino. They specialized in stylized religious paintings in which the angle of the head and position of the hands, for instance, were determined by traditional icon paintings in the Byzantine style.

Proto-Renaissance painting was dominated by religious art. During this Proto period the Black Death inspired a change in theme to the need to approach death in a state of penitence; images of death and the torments of Hell began to dominate church art. More than one painting is named "Triumph of Death" from this era.

Much of this was happening in Siena, ruled by a republic since 1125. I'd like to talk about its history next time.

Cimabue

Cimabue (c.1240 - 1302) was an Italian painter and a designer of mosaics. In case you have not yet heard of this man, his name is pronounced (forgive the amateur phonics) chim-uh-boo-ee. His real name was Cenni di Pepo. The nickname is thought to mean "bull-headed" (see the third paragraph for a possible explanation).

Born in Florence, he probably studied originally under Byzantine-style artists, but he "rose above it." His painting style is credited with defying the usual flat medieval style and developing more realistic proportions with lifelike shading. Giorgio Vasari centuries later told the tale that it was Cimabue who came across a young Giotto sketching sheep and, so amazed at his realistic drawing, invited him (with Giotto's father's permission) to come to Cimabue's studio.

Vasari, supposedly quoting a contemporary of Cimabue, says "Cimabue of Florence was a painter who lived during the author's own time, a nobler man than anyone knew but he was as a result so haughty and proud that if someone pointed out to him any mistake or defect in his work, or if he had noted any himself... he would immediately destroy the work, no matter how precious it might be."

In a case of the student exceeding the master, Dante mentions (not places, although Cimabue was dead by the time Dante was writing the Commedia) Cimabue in the Purgatorio as an example of fleeting fame while discussing those who suffer from excessive pride: “Cimabue thought himself the master of painters; Giotto took from him the glory and relegated him to oblivion.”

To be fair, however, Cimabue was not relegated to oblivion. We are aware of several works by Cimabue (more than those of which we can be certain were made by Giotto). For instance, the illustration above is a small detail (Judas betraying Christ) from a fresco in the Church of San Francesco (St. Francis) in Assisi, commissioned by Pope Nicholas IV (the first Franciscan who became pope).

Cimabue is also credited with the round stained glass window of the choir of Siena Cathedral, as well as a painted Madonna and Child (now in the Louvre), and the fresco Christ Enthroned between the Virgin and St. John the Evangelist in Pisa Cathedral.

One interpretation of Cimabue's impact on art is to call him the first great artist of the Italian Porto-Renaissance. I suppose Proto-Renaissance could use some explanation, which I'll provide tomorrow.

Giotto

Giotto (c.1267 - 8 January 1337) is one of the best-known painters and architects of the Italian Renaissance, and yet we know very little for certain about his life or work. An 1850 plaque exists in a tower house in a village north of Florence declaring it was his birthplace, but recent documentary evidence shows that he was born in a farmhouse in Florence. His father was a blacksmith named Bondone.

As a boy he was discovered by the famous artist, Cimabue, who saw him sitting on a rock drawing such lifelike pictures of sheep that Cimabue offered to take him on as an apprentice. "Lifelike" was the hallmark of his art. His contemporary Giovanni Villani called him "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature."

Many of the stories about Giotto's life and work come from much later, in the Lives of the Most Excellent Painters, Sculptors, and Architects by Giorgio Vasari (1511 - 1574). Vasari mentions that Giotto painted a fly on a face in a painting of Cimabue's so lifelike that Cimabue kept trying to brush it off. Another anecdote by Vasari tells that Pope Benedict XI sent a messenger to Giotto, asking for a sample of his artwork to determine if he was good enough to commission. Giotto sent a red circle by hand that was so precise it looked as if it had been drawn with a compass. The messenger reported to the pope that Giotto had not moved his arm when he drew it.

Vasari attributed many works to Giotto, but there are only a few with provenance that tie them directly to him. One is the decoration of the Scrovegni Chapel in Padua, completed around 1305. Its frescoes of the life of the Virgin and the life of Christ is regarded as one of the supreme masterpieces of the Early Renaissance. He was also chosen by the commune of Florence in 1334 to design the new campanile (bell tower) of the Florence Cathedral.

While we are on the subject of Italian Renaissance artists, we should not neglect Cimabue. We'll look at him tomorrow.

Medieval Mosaics

Mosaic art—arranging pieces of stone, glass (called tesserae), or other material to make shapes and pictures—has existed since the 3rd millennium BCE, when pebbles were used to make floors with designs. They became widespread in ancient Greece and Rome, not just as public art but for domestic use: every household would be enhanced by mosaics on the floors (not usually on the walls, where fresco was used for decoration).

The earliest mosaics, found in a temple in Mesopotamia, were roughly cube-shaped bits of stone, along with pieces of shell and ivory. Around 1500 BCE we start to see evidence of glazed tiles being used. Rome and Greece elevated mosaic use to a high art (although most named mosaic artists in the Roman Empire have Greek names).

The Middle Ages chose brightly colored glass and gold leaf to make mosaics. When Ravenna became the capital of the Western Roman Empire, it became the site of several magnificent buildings with equally impressive mosaics. When the Lombards were problematic, Pope Adrian I turned to Charlemagne for aid. For Charlemagne's reward, he was allowed to take away from Ravenna anything he wanted. What he wanted was Roman art and architecture, so a number of Roman columns, statues, and mosaics traveled north to become a part of his complex at Aachen.

Taking and re-using older architecture and artwork was actually a recognized practice, and the elements were called spolia, from the Latin for "spoils." An example of spolia in Aachen is the porphyry columns in the Palatine Chapel which likely came from Ravenna. Charlemagne must have liked what he saw in Ravenna, because his Palatine Chapel's design is very similar to the church of San Vitale in Ravenna. The Palatine's ceiling and walls are covered in mosaic that is clearly Byzantine in style (see the illustration).

As the 13th century approached, mosaicists were also painters. One of the best known now (in the Modern Age) was Giotto, whom we'll talk about next time.

Ravenna, the Capital Cities

Ravenna in northern Italy has been occupied since at least the 5th century BCE, when a tribe called the Umbri lived in dwellings built on poles over the swampy area. Pliny the Elder said they were considered by some to be the oldest people in Italy, and that their name came from the Greek word for thunderstorm, because they survived the great deluge spoken of in Greek mythology.

They came under Roman control in 89 BCE under Octavian, who built a harbor there on the Adriatic shore. In 408CE, the Emperor Honorius moved his court there from Rome, making it his capital. When Odoacer overthrew Romulus Augustus and the Western Roman Empire collapsed, Odoacer made Ravenna his capital. Then Theodoric attacked Ravenna in 489 and made it the capital of the Ostrogothic kingdom. This lasted until 540, when Belisarius captured Ravenna for the Byzantine Emperor Justinian I, who made it the capital of Byzantine Italy.

Difficulty managing that part of Italy (and attempting to conquer more) from Constantinople caused the Byzantine emperors to rely more on the authority and aid of the pope, who was becoming a powerful landowner due to gifts, but when the Lombards descended into Italy the pope turned to a more local solution: Charlemagne. As a result of Charlemagne's aid, Ravenna became part of the Papal States. It remained part of the Papal States for centuries, until it was incorporated into a unified Italy in the mid-19th century.

During this constant "changing of hands" Ravenna did not lose some of its amazing early architecture. The UNESCO World Heritage Sites List has eight sites in Ravenna, all built between 430 and 549 CE, as well as several other historical sites.

Dante Alighieri retired to Ravenna after being rejected by his home town of Florence for his past actions. There is an annual music festival with operas performed at a theater named for him. Lord Byron, Oscar Wilde, Herman Hesse, and T.S.Eliot all visited Ravenna and wrote poems about it, and Tolkien fans will be interested to know it may have been the "inspiration behind Minas Tirith."

Ravenna did not earn itself an epithet like "The Eternal City" or the "City of Light," but it is sometimes called the "capital of mosaics." I'll be happy to explain that tomorrow.

Paolo and Francesca

In the 2nd circle of Hell in Dante's Inferno, Dante and Virgil see two lovers, Paolo and Francesca, condemned for lust (see the illustration by Dante Gabriel Rossetti). Just as they allowed themselves to be swept away by their passions, they are buffeted by heavy winds. Francesca tells her story, while a silent Paolo weeps in the background.

She was seized with a powerful passion while reading the story of Galehaut (mentioned in yesterday's post). the theme of such a strong love "overpowered" the two. Unfortunately, she was married to Paolo's brother, who killed the two for their affair.

The two were historical figures: Francesca da Polenta, married to Giovanni Malatesta, and Giovanni's brother Paolo Malatesta (who was also married). The marriage was not one of love. Francesca's father was at odds with Giovanni's father, who was lord of Rimini. The marriage was designed to make peace between two noble and powerful families. Some time in the early 1280s, Giovanni found the two in Francesca's bedroom, and killed them.

In Dante's telling, Francesca blames the overwhelming power of Love for her actions and misfortune, accepting no blame on the part of the two lovers. Despite this, she becomes for Dante an example of the love poetry he himself wrote about earlier in his career. She tells her story without interruption, and becomes a symbol of a strong woman condemned by circumstance outside her control, because of the power of the story of Galehaut. Dante draws a parallel between the great love tale from literature and the real love tale before him.

So now we come to the point of what we started yesterday: why did Boccaccio subtitle his Decameron with Prencipe Galehaut? Boccaccio uses Galehaut—especially through the lens of his hero Dante's use of Galehaut as inspiration for Francesca's and Paolo's actions—as a symbol of his regard and compassion for women who have never been allowed the freedom of men to do as they wished. It is his acknowledgement that women should be given agency: as the women in the Decameron not only share equal social standing with the men in their ten-day community, but also in the stories told of women who manage by their wits or gain the outcomes they want.

If they were historical figures, was their affair so well-known that Dante would know the details? As it happens, remember that I told you here that he spent his final years in Ravenna? His host was Guido Novello, also known as Guido Il da Polenta, lord of Ravenna from 1316 to 1321, and the nephew of Francesca da Polenta!

Ravenna must be a little interesting, since Dante chose it for his retirement. Let's learn the delights of Ravenna next time.

The Titles of the Decameron

Giovanni Boccaccio played around with titles, and not only for his own works. Dante Alighieri's magnum opus was called by the author Commedia, "Comedy," but in later years it began being referred to as the "Divine Comedy" by Boccaccio, and the name stuck. Boccaccio had a good reason for tacking that adjective onto Dante's work, and not just because of the obvious reason.

When Boccaccio wrote his Decameron (c.1353), he apparently thought of it as a parallel or complement to Dante's work, because Boccaccio sometimes called his tale of ten young people telling ten stories per day for ten days  l'Umana commedia ("the Human comedy").

Besides that, Boccaccio also had a subtitle for the Decameron that is often overlooked, and the explanation for it has a couple of layers. His subtitle (seen above in an early Italian edition) was Prencipe Galeotto, or "Prince Galehaut." Who was that, and why was it important to Boccaccio? What message did it convey to his audience?

Galehaut was well-known to the medieval literary crowd as a prince from the Arthurian legends, specifically from the French Lancelot cycle. Galehaut was a half-giant who brings a massive army to challenge King Arthur's rule over Logres. Galehaut's forces are superior, but he is so enamored of the prowess of a Black Knight fighting for Arthur's side that he stops the battle solely for the opportunity to meet this knight and spend time with him. TheBlack Knight turns out to be a young Lancelot, and thus begins a deep friendship between the two, interpreted by some as a strong chivalric bond and by some as a homosexual bond.

Enter Guinevere. Galehaut realizes Lancelot's love for Guinevere, and steps back from Lancelot to avoid being "in the way." Later, when Guinevere is accused oof infidelity to Arthur and flees, Lancelot and she find refuge in Galehaut's castle. Galehaut dies at the age of 39 from his unrequited longing for the man he gave up. He is laid in a magnificent tomb that he had built to commemorate their friendship. Lancelot at his death is also laid in that tomb, side by side with Galehaut.*

Galehaut becomes a symbol of greatness, abandoning one's own desires for the sake of another's. How does this apply to the Decameron? 

For that, we need to turn to Dante again, and visit the second circle of Hell where we meet two lovers, Paolo and Francesca. Come back tomorrow, and we will start to put it all together.

*Malory changes this story, using the name Galahad.

Boccaccio's Decameron

Giovanni Boccaccio's best known work to modern readers is his Decameron, a Greek word that means "Ten Days." In it, seven young men and three young women go into the hills above Florence to spend ten days in a villa to escape the Black Death, currently ravaging the cities and countryside.

One theory of the Black Death was that it resulted from bad air rising from swamps and cesspools, and going up into the fresh air outside the city was one way to escape it. Of course, whether the disease were being transmitted by fleas jumping from mammal to mammal or being spread by contact with those who were ill, getting away from crowded populations into fresh air would be an obvious smart choice.

The ten young people decide to pass the time by each telling a tale each day, resulting over the ten days in a collection of 100 tales. Each of the ten takes a turn being the king or the queen for a day, and gets to choose the day's theme. The themes include comedy, tragedy, romance, etc., but go beyond those simple topics.

One day is for stories of virtue, one is romances that end happily, while one is for romances that end in tragedy. There are tales of luck, tales about women who play tricks on men, and tales where the main character is in trouble but saves himself or herself by quick thinking at the climax.

The whole is not just a sequence of tales. Boccaccio gives us a description of other ways that the ten occupy their time, including songs that they sing to entertain each other. These songs, the daily activities, and the tales themselves with some of their recurring concepts of mocking the clergy, nouveau riche vs. old noble families, and the similarity between men and women's lust and ambition, paint a picture of 14th century Italian life in prose that is a useful introduction to the feelings of the time and place.

Boccaccio likely made up none of the tales, but that does not mean there is no original material. The medieval approach was to take a known tale and develop it in new ways. Most of the tales in the Decameron can be found in other forms in earlier sources...and later, since his tales were read and used by others, such as Geoffrey Chaucer in the Canterbury Tales.

Despite the name Decameron, Boccaccio also referred to the work by two other names, which are interesting anecdotes in their own way. I'll share those tomorrow.