If any church festival was held by universal consent to call for exceptional efforts, it was the feast of Corpus Christi, which in Spain gave rise to a special class of poetry.We possess a splendid description of the manner in which that feast was celebrated at Viterbo by Pius II in 1462.The procession itself, which advanced from a vast and gorgeous tent in front of San Francesco along the main street to the Cathedral, was the least part of the ceremony.The cardinals and wealthy prelates had divided the whole distance into parts, over which they severally presided, and which they decorated with curtains, tapestry, and garlands.Each of them had also erected a stage of his own, on which, as the procession passed by, short historical and allegorical scenes were represented.It is not clear from the account whether all the characters were living beings or some merely draped figures; the expense was certainly very great.There was a suffering Christ amid singing cherubs, the Last Supper with a figure of St.
Thomas Aquinas, the combat between the Archangel Michael and the devils, fountains of wine and orchestras of angels, the grave of Christ with all the scene of the Resurrection, and finally, on the square before the Cathedral, the tomb of the Virgin.It opened after High Ma s and Benediction, and the Mother of God ascended singing to Paradise, where she was crowned by her Son, and led into the presence of the Eternal Father.
Among these representations in the public street, that given by the Cardinal Vice-Chancellor Roderigo Borgia, afterwards Pope Alexander VI, was remarkable for its splendor and obscure symbolism.It offers an early instance of the fondness for salvos of artillery which was characteristic of the house of Borgia.
The account is briefer which Pius II gives us of the procession held the same year in Rome on the arrival of the skull of St.Andrew from Greece.There, too, Roderigo Borgia distinguished himself by his magnificence; but this festival has a more secular character than the other, as, besides the customary choirs of angels, other masks were exhibited, as well as 'strong men,' who seem to have performed various feats of muscular prowess.
Such representations as were wholly or chiefly secular in their character were arranged, especially at the more important princely courts, mainly with a view to splendid and striking scenic effects.The subjects were mythological or allegorical, and the interpretation commonly lay on the surface.Extravagances, indeed, were not wanting--gigantic animals from which a crowd of masked figures suddenly emerged, as at Siena in the year 1465, when at a public reception a ballet of twelve persons came out of a golden wolf; living table ornaments, not always, however, showing the tasteless exaggeration of the Burgundian Court and the like.Most of them showed some artistic or poetical feeling.The mixture of pantomime and drama at the Court of Ferrara has been already referred to in the treating of poetry.The entertainments given in 1473 by the Cardinal Pietro Riario at Rome when Leonora of Aragon, the destined bride of Prince Hercules of Ferrara, was passing through the city, were famous far beyond the limits of Italy.The plays acted were mysteries on some ecclesiastical subject, the pantomimes, on the contrary, were mythological.There were represented Orpheus with the beasts, Perseus and Andromeda, Ceres drawn by dragons, Bacchus and Ariadne by panthers, and finally the education of Achilles.Then followed a ballet of the famous lovers of ancient times, with a troop of nymphs, which was interrupted by an attack of predatory centaurs, who in their turn were vanquished and put to flight by Hercules.The fact, in itself a trifle, may be mentioned as characteristic of the taste of the time, that the human beings who at all festivals appeared as statues in niches or on pillars and triumphal arches, and then showed themselves to be alive by singing or speaking, wore their natural complexion and a natural costume, and thus the sense of incongruity was removed; while in the house of Riario there was exhibited a living child, gilt from head to foot, who showered water round him from a spring.
