Understanding the Languages Spoken by Italian Artists Before the 19th Century

Before the 19th century, the languages spoken by Italian artists such as Gentile Bellini, Michelangelo, and Titian provide a fascinating window into the linguistic landscape of Renaissance Italy. The complexity and diversity of the languages used by these artists highlight the changing nature of linguistic identity and the evolving concepts of standardization and standard languages.

The Linguistic Landscape of Renaissance Italy

The Italian Renaissance, a period of cultural and artistic renaissance, also saw significant changes in the linguistic landscape. The idea of 'languages' as distinct entities was not widely recognized until the unification of Italy in 1861, and even then, the Tuscan dialect was elevated to the status of lingua franca (common language) of the new nation state. Before this, people primarily saw themselves as speaking a regional form of Latin, which varied widely across different regions.

Classical Latin vs. Vernacular Latin

During the Renaissance, the educated class, the literate, and religious clergy continued to use Classical Latin, which was the prestige language of scholarship and the Church. However, vernacular Latin, or 'vulgar' Latin, was the linguistic reality for the common people. This vernacular was so diverse and regional that it is often considered the precursor to the modern Italian dialects.

Florentine Tuscan Rising to Preeminence

The reign of a standardized lingua franca did not truly begin until the 14th century with the rise of Florentine Tuscan. Writers such as Dante Alighieri played a significant role in establishing Florentine as the standard language of the educated class, replacing the Classical Latin that had been the norm for centuries. This shift was largely driven by the prestige of Florence and the Florentine dialect.

Gentile Bellini: Coming from a literate family, Gentile Bellini was well-versed in the aristocratic Venetian standard Italian of the late 15th century and Latin. His work in Istanbul suggests his adaptability, as finding a Venetian drogman, or interpreter, was straightforward. Similarly, some Turkish patricians spoke languages other than Turkish, indicating the complexity of linguistic barriers even in a cosmopolitan setting.

The Case of Michelangelo Buonarroti

Buonarroti, as a recognized poet, contributed to the evolving Tuscan dialect. His Tuscan, written during the Renaissance, was a dynamic language influenced by changes in Florence's population and the work of normalization by academic institutions. This Florentine Tuscan was different from the dialect of the previous century and had graphical and grammatical conventions that reflected these changes.

Titian and his Multilingualism

Titian, a prolific Venetian painter, was no exception to the multilingualism of the time. He spoke various languages including Venetian dialects such as "Cadino," a rheto-romance dialect. His associations with Emperor Charles V and the nobility of his court likely exposed him to French, an international 'middle French' spoken in Italian markets, and a specific French dialect used in Venice for trading with French lords in Greece.

Charles V spoke Spanish, never fully Italian, and preferred speaking French. This reflects the complexity of multilingualism in the Italian Renaissance, where even a king might use support from professionals to navigate different linguistic landscapes. Philip II, son of Charles V, similarly preferred Spanish and only spoke a few words of French during his first audiences in Brussels.

Conclusion

Given that many Italian artists were educated and traveled, it is reasonable to assume that they communicated in both their local dialects and Florentine Tuscan. Their interactions with other European courts and markets likely exposed them to a variety of languages such as Greek, High German, and French. Nonetheless, the reality of the time was much more complex, with many individuals using multiple languages to navigate the linguistic diversity of the Italian Renaissance.