Edward Hutton: Tolentino

Before the unification of Italy, Romagna and the Marches had been part of the Papal States for about a thousand years. Hutton viewed unification as a conquest of the South by the northern Kingdom of Piedmont, a conquest in which he believed more was lost than gained by cities like Tolentino.

St. Nicholas Basilica, Tolentino

The truth would seem to be that the cities under the Papal dominion enjoyed a far greater measure of real freedom than those subject to a mere Signore, and that the difference between being actually independent and being subject to the Pope was a negligible one. Says an historian of Tolentino: “The Accoramboni were never lords in Tolentino. It is false to assert it. We were always free under the Church. The people of Tolentino would never endure tyranny. The men of Camerino—yes; but we were made of different stuff.” And this feeling, which we may be sure was based on substantial fact, was really universal throughout the Romagna and the Marches. When the Piedmontese came in, in 1860, “the people of Ravenna,” we read, “were forced to the polling booth at the point of the bayonet.” And this new liberty was recommended to those who enjoyed the reality for ages! (229)

The most famous citizen of Tolentino was St. Nicholas (1245-1305), an Augustinian monk. 

Tolentino, it may be thought, as the birthplace of a great saint, may have been more Papal than her neighbors, but in fact this is not so. The great figure of S. Nicholas is not in any sense of the word political; its appeal is altogether human and universal…. 

Perugino: S. Nicholas

It might seem that in S. Nicholas of Tolentino we have an example of that rare sweetness of character which is perhaps in greater or lesser degree the portion of all the saints, but which in him was so overwhelming that men and women followed him, flocked to his Masses, or sought him in the confessional for no other reason. As a preacher, no doubt, he was amazingly successful, but rather by reason of some inward sweetness and charm than of the victorious eloquence of his mere words. For thirty years he lived in Tolentino in the Augustinian convent there, a star in the March, something which men could not explain or dismiss from their minds, women knelt to kiss his robe, and even those in the flower of their age gladly heard his voice, as though it had been some sweet far-away music. By the very beauty of his nature he drew thousands from the half-brutal worldliness in which they lived, and seems indeed to have brought to them something of the strange incomprehensible beauty of his own vision. (229-230)

On the way to Tolentino Hutton passed through tiny Monte San Giusto and mentioned a painting by Lorenzo Lotto.

 

Beyond Pausula, by a rough and hilly road across the Cremone valley, we come to the little walled town of Monte San Giusto, and there in the church of S. Maria is a Crucifixion by Lotto, painted in 1531. (227)

I wonder if he actually saw this magnificent painting by the Venetian master. The small church of S. Maria in Telusiano is hard to find and the painting would have been difficult to see before the invention of coin-operated lighting. A few years ago my wife and I visited Monte San Giusto to see the painting. Here is a link to my account.

Lorenzo Lotto: Crucifixion detail

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Edward Hutton: The Cities of Romagna and the Marches, NY, 1925.