Читаем Medici Money: Banking, metaphysics and art in fifteenth-century Florence полностью

One says, “the money is sent,” but in fact it was paid out on order to the Curia in Rome, either by a branch of the same bank that had received the money abroad or by a trusted correspondent bank. Actually to travel on horseback or by foot across Europe with money was dangerous. “Beware of rivers in flood,” one messenger is warned. “Go armed and in company.” So a pilgrim, or priest, or choirmaster traveling to Rome goes first to his nearest bank, in London, Bruges, Cologne, Avignon — except for Constantinople, there are no banks east of the Rhine — buys a letter of credit, travels to Rome, and cashes it on arrival. A little is lost on the exchange rate, a little is paid in bank services, but he cannot be robbed. More than any other organization, it is the Church, then, that, despite its condemnation of many banking practices, needs and stimulates the growth of the international bank. Because the Church is the largest international economic entity. It will be hard for the pope to send to hell the people who collect his taxes and make his grandiose projects possible.

And more than any other organization, it is the Church that aggravates the difficulties of balancing the cash flow around Europe. For how can the banks in Rome continue to pay out Church tributes collected elsewhere if they don’t take in any cash? There is already a trade imbalance between Italy and northern Europe. London and Flanders are buying silks, spices, and alum from and through Italy in considerable quantities, but all they have to offer in return are raw English wool, some wall hangings, some Dutch linen. However many of these things they send, it never seems to amount to the value of what they want to buy. Already, then, more money has to be brought into Italy, in coin, than sent out of it. The Rome anomaly makes the situation worse; the papal court is sucking in huge quantities of cash and not sending any back. What arrives in Rome is spent mainly on luxury goods — heavy brocades, silks, artwork, and silverware — and these don’t come from Northern Europe.

As far as possible, the bankers, who are also merchants, get around the problem with triangular movements. Florence buys raw wool from the English Cotswolds. The Florentine banks in London can pay the sheep farmers with the money they have taken in for papal tributes. Florence cleans and weaves the wool and sends finished cloth for sale in Rome, where the local branch of the same Florentine banks can now recover some of the cash previously paid out on behalf of their London branches. There are similar triangles through Venice and Barcelona. But the problem is complicated and sometimes gold or silver has to be sent directly to Rome, hidden in a bale of wool perhaps. Or the Germans send ingots from their silver mines under armed guard. It is not very convenient. Fortunately, there were also the so-called discretionary deposits.

In his twelve years working in his cousin’s business in Rome, Giovanni di Bicci must have learned everything he needed to know to set up a major bank. He learned how important it was for a bank to have its own branches in the major business centers and how to mix financial and commercial transactions across different countries to keep his capital at work. But most of all, he would have learned how important was the difference between the spirit of the law and its application. When the Church asked for loans from a bank, for example, the bank could not ask for interest in return, because usury was a sin. So in its role as trading company, it would increase the price of the goods it sold to the Church to the tune of the interest it felt it deserved from the loans it had made. All the same, when a bishop, or a cardinal, or the pope himself had money to put in a bank and wanted to play investor rather than borrower, he was eager to get something in return. Though it must not be called an interest. And this, as we shall see, was the discretionary deposit.

Перейти на страницу:

Похожие книги

Время, вперед!
Время, вперед!

Слова Маяковского «Время, вперед!» лучше любых политических лозунгов характеризуют атмосферу, в которой возникала советская культурная политика. Настоящее издание стремится заявить особую предметную и методологическую перспективу изучения советской культурной истории. Советское общество рассматривается как пространство радикального проектирования и экспериментирования в области культурной политики, которая была отнюдь не однородна, часто разнонаправленна, а иногда – хаотична и противоречива. Это уникальный исторический пример государственной управленческой интервенции в область культуры.Авторы попытались оценить социальную жизнеспособность институтов, сформировавшихся в нашем обществе как благодаря, так и вопреки советской культурной политике, равно как и последствия слома и упадка некоторых из них.Книга адресована широкому кругу читателей – культурологам, социологам, политологам, историкам и всем интересующимся советской историей и советской культурой.

Валентин Петрович Катаев , Коллектив авторов

Культурология / Советская классическая проза