Marks of Opulence: The Why, When and Where of Western Art 1000–1914. Colin Platt
dukes, vastly wealthy though they were, to survive unscathed through the deeply disruptive bullion famines of the fifteenth century. The accompanying hiatus in Europe’s money supply imposed constraints of every kind on the economy. It had begun with the mid-fourteenth-century exhaustion and closure of the Central European silver mines, aggravated by hoarding and accumulations of plate, and by the steady drain of bullion towards the East. Severe by 1400, the famine was most complete in 1440–65, when so catastrophic were the silver shortages that every mint was empty and hardly a new coin was struck. Surrounded by a countryside in deep recession, mid-century Brussels (home of the Burgundian court) was one of only four Brabantine cities to ride the storm successfully, the others being Malines (the legal centre), Louvain (for its new university), and Antwerp (for its capture of the English cloth trade). Even so, for almost a generation from 1437 the Brabantine mint at Brussels struck no new silver coins, closing completely (i.e. for gold as well as silver) for rather more than half of that long period.12
Defaulting rulers, among them Edward IV of England, contributed to the crisis which, from the late 1450s, had enveloped even Florence, damaging the Medici and causing the collapse of several major banking families (the Baldesi, the Partini, the Banchi and their like) in the late autumn of 1464. ‘It is the greatest calamity that has happened in this city since 1339 [the bankruptcy of the Bardi and Peruzzi]’, reported Angelo Acciaiuoli, himself a banker, that December. However, Florence’s crisis proved short-lived, and of more general significance to the economies of the West was the all but total disappearance – ‘throughout the universe’, thought the councillors of Barcelona in 1447 – of an official silver coinage, along with the small change (petty currency or ‘black’ money) of everyday transactions in street and marketplace.13 Disadvantaged already by uncompetitive pricing and by the deflationary pressures of the Burgundians’ pursuit of hard money, the once famous Brabantine draperies, with their long-established German and French outlets, had only just survived the growing competition of English imports. Then, in the mid-fifteenth century, two decades of currency starvation wiped them out.14
A flexible economy – and Brabantine Malines had one of those – can survive just about anything. But whereas the weavers of Malines moved successfully into dyeing and leather-processing, gun-founding, furriery, embroidery and carpet-making, the more normal case was that of Flemish Ypres, unable to diversify or to make the required transition from the high-cost quality draperies of the traditional Low Countries industry to the cheaper cloths which alone could compete with English imports. There had been some 1500 looms at Ypres in 1311; by 1502, that number had fallen to just a hundred, while population had retreated by two-thirds.15 Flanders’ loss was England’s gain, with English cloth exports rising by as much as two and a half times between Edward IV’s debasements of 1464–5 and the early 1500s. However, England too had suffered devastating currency shortages in the mid-century. And the subsequent continent-wide success of English cloth – swamping the European markets in what would be likened thirty years later to ‘an immense inundation of the sea’ – was at least in part the product of a 1450s rationalization of the export trade, concentrating capital in fewer hands as those without access either to cash or to credit went out of business.16
‘I thank God and ever shall’, wrote John Barton (d.1491) of Holme, merchant of the Staple of Calais, ‘’tis the sheepe hath payed for all.’ And for a rich man like himself, obtaining credit held few terrors even in the worst of times, nor would he have been excluded, as lesser men might be, from those complex barter arrangements – exchanging wool for alum, cloth for wine or iron – which were all that the mid-century currency shortages allowed. By making the rich still richer, the post-plague bullion famine thus added another element to the already serious distortion of family inheritance histories created by exceptionally high mortalities and low birth-rates. If the generations are too compressed and wealth cascades too rapidly, and if a failure to reproduce, or the sudden death of heirs, brings unanticipated enrichment to distant kin, high levels of consumerism may result. In late-medieval Europe, such extraordinary windfall riches – a major factor, even then, in the funding of the arts – bore no more relation to the real health of the economy than the inflated lottery takings of today.
In those circumstances exactly, it was the deaths in quick succession of no fewer than six better-qualified heirs that catapulted John Hopton on 7 February 1430 into the spreading estates which enabled him to take a leading role in the rebuilding of his parish church at Blythburgh.17 And it was other swiftly acquired fortunes which made great church-rebuilders also of John Barton of Holme, of John Tame of Fairford, of John Baret of Bury, of Thomas Spring of Lavenham, and of the Cloptons (John especially) of Long Melford. These small-town English clothiers, protected from competition by the Low Countries slump, could expect to sell everything they produced. Nothing could prevent them getting richer. However, even in those Flemish cities which lost out most to English exports, there had been opportunities enough under Burgundian rule for the accumulation of considerable private fortunes. Mid-century Ghent – its looms fallen silent and its weavers out of work – was among the more prominent casualties of the recession. Yet just two decades earlier, a wealthy Ghent couple had nevertheless found the means to commission a high-quality painted altarpiece from the best artists of the day, pensioners of Philip the Good. Hubert and Jan van Eyck’s luminous polyptych, the Adoration of the Lamb (1432), was painted for the personal chantry at St John’s (now Ghent Cathedral) of Joos Vijd and Elizabeth Borluut. It was a ‘stupendous’ painting: huge and vastly detailed.18 And of course it was enormously expensive.
Other big commercial fortunes in the post-plague North included those of William Canynges, shipowning philanthropist of Bristol, and Jacques Coeur, merchant-financier of Bourges. Each would support an ambitious building programme – a cathedral-like preaching nave for St Mary Redcliffe (Bristol); a fabulous townhouse in Bourges – in which there is not the slightest evidence of economy. Likewise vast preaching naves, spectacular prodigy gatehouses, and big town halls characterized the more successful of the late-medieval German towns where, for example, by the early 1500s the taxable worth of some thirty-seven burghers of Nuremberg and fifty-three of Augsburg – each assessed at more than 10,000 Rhenish florins – would have ranked them among the top 1 per cent of Florentine taxpayers a century earlier.19 Meanwhile in Florence itself the number and scale of individual private fortunes continued growing. And it was the steadily increasing disposable wealth of Florence’s better-off citizenry which underpinned its continuing eminence in the arts.
By far the richest man in Florence in 1427 (the year of the great catasto or tax assessment) was Palla Strozzi. However, Palla’s son, Gianfrancesco, was to be among those brought down in the major banking debacle of 1464. And if even the greatest Florentine fortunes were thus so vulnerable to collapse, long-term investment in the arts in general – and in large-scale palace-building in particular – might have seemed in normal circumstances unlikely. In practice, the opposite was the case. New fortunes, unlike old, invite display; and Florence was awash with new money. By the 1490s another Strozzi, Filippo, had grown individually so rich that he was worth more than twice as much in real terms as the great Palla. It was Filippo who began building the huge Strozzi Palace, far exceeding his own family’s needs, which he then left unfinished on his death. Furthermore, Filippo and his contemporaries, as well as being distinctly richer than their early fifteenth-century counterparts, belonged also to a much larger group. There had been nobody in Florence in 1427 to equal Palla Strozzi. Just a century later, there were no fewer than eighty Florentine citizens at least as rich as Palla, of whom eight enjoyed fortunes twice as large.20
For many of these, public patronage of the arts was acceptably part of the price of Florentine citizenship. Pride in their city was motivation enough. However, a more general occasion for investment in the arts was provided by after-death soul-care. Palla Strozzi’s many