Titian’s painting of Pietro Aretino 1545
How do you bring the past alive? This is the question that any writer of historical fiction has to ask themselves. In writing my book TITIAN’S BOATMAN I had the problem of evoking Renaissance Venice, so imagine my delight when I came across this quote when I was browsing through the introduction to a selection of Aretino’s letters by Thomas Caldecot Chubb:
“His letters are indeed a source book for his era. Whether I were an historical novelist, or a serious social historian, I would turn to his writings as a gold mine.”
And I have to say a gold mine is exactly right because Aretino wrote about everything you can think of art, food, sex, politics, war, friendship, tarot cards and rosaries. And his letters are written to dukes, doges, kings, princes and emperors as well as artists (including Titian), courtesans, and even his own gondolier. They range in style from the earthy to the arty from the grandiose to the comic. They bring Renaissance Venice to life in an extraordinary way and I can’t recommend them highly enough if you’re at all interested in this period of history. It is like reading a mash-up of Nigel Slater, Brian Sewell, AA Gill and Clive James, with every now and again a bit of Claire Rayner thrown in. Oh, how he loves to give advice, especially about the affairs of the heart!
Here he is on a painting by Titian of St John carrying a lamb in his arms:
“The lamb he bears in his arms is so lifelike that it actually drew a bleat from a passing ewe.”
Part of the charm of his letters is that through them you meet the whole of Venetian society from the top to the bottom. He writes to Titian’s son telling him to come home and get back to his studies and he writes here in a rage to the acquaintance of someone who has crossed him
“Tell your ruffian friend that I have decided not to order his moustache cut off… The reason is that it would be cheating the executioner if he were not allowed to hang him uncarved up.”
He wasn’t above taking a pop at Titian if he didn’t think his painting was up to scratch. This is what he had to say about the above painting which he sent to the Duke of Florence:
“Truly it breaths, its pulses beat and it is animated with the same spirit with which I am in actual life, and if I had only counted out more crowns to him, the clothes I wore would likewise have been as shiny and soft yet firm to the touch as are actual satin, velvet and brocade.”
So who was this man whose volumes of letters contain (according to Chubb) approximately 4000 pages of begging, fawning and flattering and 4 or 500 pages which are as readable now as if they’d been written yesterday, who was nicknamed the scourge of princes, who was Titian’s great friend and propagandist, who wrote poems and pornography as well as these wonderful, infinitely quotable letters?
Titian’s first portrait of Aretino
Aretino was born in Arezzo in 1492, the son of a cobbler. At the age of 14 he began as he meant to go on by being thrown out of school for composing a sacrilegious sonnet. He left home and went to Rome where he lost his job as a household servant for stealing a silver cup. He bummed around being at various times a hostler (certainly a hustler!), a pimp, a mule skinner and a hangman’s assistant. He returned to Rome and came to the attention of Pope Leo when he wrote a satirical pamphlet called The Last Will and Testament of the Elephant that made witty and indecent jibes at every important person in Italy including the Pope. Leo (the pope) was amused, summoned Aretino and gave him a position in his household, presumably on the basis that it was better to have someone like him pissing out of rather than into his tent.
After various escapades, including backing the loser in the next papal election, an attempt on his life and the writing of 16 filthy sonnets to accompany a series of indecent paintings titled The Modes of Intercourse, Aretino wound up in Venice in 1527. It was in Venice, which was then at the height of its splendour, that he did most of his writing. If ever a man and a city were suited to each other it was Aretino and Venice. It was to be his home for the next thirty years until his death in 1556.
I hope this post will have whetted your appetite to explore more (and indeed read my book!) but finally for all you cheese lovers out there this is how to respond on that day which will inevitably come when you receive the gift of an ENORMOUS cheese!
“I assure you that I do not believe that from the udders of all the herds of cattle and the flocks of sheep that Apollo ever looked upon, would have come, in their whole lifetime, enough milk to make a cheese as enormous as the one that you … made me a gift of… When I saw it, the admiration it aroused in me, went into conference with the appetite which its excellence and handsome appearance evoked …”
Dear God, how big was it? But you see what I mean? The perfect thank you letter and proof that he was a man incapable of writing a dull word even about a cheese!
The Chubb book: The Letters of Pietro Aretino published by Archon Books in 1967 is more difficult and expensive to come by but better in my opinion. There is also a selection of his letters published by Penguin Classics in 1976 which can be tracked down more easily and cheaply in the usual second hand book markets. Also available is The Ragionamenti (The Dialogues) which is said to have influenced Rabelais. It is a series of conversations between two elderly harlots about the lives of wives, nuns and courtesans. It is both filthy and funny, a deliberate mocking of the classical dialogues of Plato. Pornography certainly but also a scathing satire on society.