Sandro Filipepi (Botticelli) lived most of his life in Florence and, having been patronised by the wealthy Medici family, for whom he painted such masterpieces as The Birth of Venus, he fell under the influence of the reforming priest Savanarola. Savanarola organised The Bonfire of the Vanities at which the citizens of Florence were told to forego their dissolute and self-indulgent ways and burn those things which might inhibit their progress to Heaven.
A year or two later Savanarola was himself publically burned alive by the disenchanted Florentines. In this poem ('not of the modern style', it must be admitted) an elderly Jesuit speaks to a younger priest about the artist,
Daily Confession
See shambling 'neath his hood across the street
A man reformed - had you been here to meet
His younger self you may have been impressed
By youthful beauty and artistic zest -
No sin in that - for we soldiers of Christ
May understand (if not condone) at least,
The troublesome allure of human flesh.
You know my heart, I see (you smile and blush).
So, Signor Filipepi, over there,
Head bowed before this church, wearing threadbare
Coat of plainest weave and reverently
Crossing himself - bless him in return - see
A man saved for our God and for the Faith,
....sancti. He turned away from fame and wealth.
For once he was a painter of the school
Of Fra Lippi - not of the modern style.
Alas at times his skill served pagan tastes
And certain works show modesty debased.
While you may blame his patrons, nonetheless,
He made good profit from lasciviousness.
No doubt the great Medici paid him well
And feted Sandro's genius until
They left our city and decamped to Rome
(They will be back. This is their ancient home.)
But, for all that, he is a soul reclaimed.
Savanorola, though he can be blamed
For grievous error and deserved his fate,
Held such sway over our unfortunate
Bereft, devout and daily penitent
That in his fear of flames, to flames he sent
His profane works and piled them high upon
The Bonfire of the Vanities. No-one
Who was there can forget the gleaming eyes
The fervent looks, the mob's approving cries.
Michelangelo, it is said, looked on.
Perhaps. I think he had already gone
To Rome - and now his David contemplates
Both bonfire sites. How fickle are the Fates.


Comments: 25
Thank you for sharing this Mike
Blessings ~
Rene
I really liked the poem. I want some deep, reflective comment to give you, but I don't have one. Maybe more coffee would help?
I learned something new... It's never too late for that, right?
Somehow in the business of life and children and meeting needs I missed a thing or two. It'll take some time to catch up.
I took a trip to the renaissance this morning. Wow, it made me think...
"What would I throw on the fire?"
Thanks Mike... Have a great day
Kristina
I do.
David, yes, the old priest is a very cynical character. He enjoys the power he wields over Sandro's soul. And there is little sympathy for the reforming Dominican, Savanarola, from the Jesuit.
In Rome, recently, I was intrigued by the sheer wealth and power of the Church which stands so oddly next to the teachings of its founder. I was also surprised to see Neptune under the papal tiara and crossed keys at the Trevi Fountain and Michelangelo's use of Graeco Roman mythology on the wall of the Sistine Chapel - hence, '..How fickle are the Fates.'
This is a thoroughly enjoyable read. I have come back to this several times this week, and I must say that each time I find myself wanting to linger; reread to make sure I haven't missed anything. I thought your use of the elder priest's position 'poignant' to the dynamics of spirituality and its role in the arts. Fine work!
Beautiful verse and in the dwelling of simmering fire of the background,
an evaluating story baring glory could be perceived as privileged friend across
the great Continents amazing !!!
I love how you shine another light on history and make it a more intimate experience than a recording in a history book.
Your vocabularly is a treat. Feted...debased...Sancti...Coat of plainest weave
Lastly, if this is in a form beyond couplets, the style escapes me. I ask because you'd submitted it to Mindful Poetry, which is ruled by an iron hand who only accepts poetry in a recognized form. ;-)
This poem has been featured at Mindful Poetry as all dramatic monologues for the month of October.