This aptitude of the invert for primitive religion, for sorcery and divination, would have its reaction on popular feeling, more especially when magic and the primitive forms of religion began to fall into disrepute. The invert would be regarded as the sorcerer of a false and evil religion and be submerged in the same ignominy. This point has been emphasized by Westermarck in the instructive chapter on homosexuality in his great work on Moral Ideas.[54] He points out the significance of the fact, at the first glance apparently inexplicable, that homosexuality in the general opinion of medieval Christianity was constantly associated, even confounded, with heresy, as we see significantly illustrated by the fact that in France and England the popular designation for homosexuality is derived from the Bulgarian heretics. It was, Westermarck believes, chiefly as a heresy and out of religious zeal that homosexuality was so violently reprobated and so ferociously punished.
In modern Europe we find the strongest evidence of the presence of what may fairly be called true sexual inversion when we investigate the men of the Renaissance. The intellectual independence of those days and the influence of antiquity seem to have liberated and fully developed the impulses of those abnormal individuals who would otherwise have found no clear expression, and passed unnoticed.[55]
Muret, the Humanist, may perhaps be regarded as a typical example of the nature and fate of the superior invert of the Renaissance. Born in 1526 at Muret (Limousin), of poor but noble family, he was of independent, somewhat capricious character, unable to endure professors, and consequently he was mainly his own teacher, though he often sought advice from Jules-César Scaliger. Muret was universally admired in his day for his learning and his eloquence, and is still regarded not only as a great Latinist and a fine writer, but as a notable man, of high intelligence, and remarkable, moreover, for courtesy in polemics in an age when that quality was not too common. His portrait shows a somewhat coarse and rustic but intelligent face. He conquered honor and respect before he died in 1585, at the age of 59. In early life Muret wrote wanton erotic poems to women which seem based on personal experience. But in 1553 we find him imprisoned in the Châtelet for sodomy and in danger of his life, so that he thought of starving himself to death. Friends, however, obtained his release and he settled in Toulouse. But the very next year he was burnt in effigy in Toulouse, as a Huguenot and sodomist, this being the result of a judicial sentence which had caused him to flee from the city and from France. Four years later he had to flee from Padua owing to a similar accusation. He had many friends but none of them protested against the charge, though they aided him to escape from the penalty. It is very doubtful whether he was a Huguenot, and whenever in his works he refers to pederasty it is with strong disapproval. But his writings reveal passionate friendship for men, and he seems to have expended little energy in combating a charge which, if false, was a shameful injustice to him. It was after fleeing into Italy and falling ill of a fever from fatigue and exposure that Muret is said to have made the famous retort (to the physician by his bedside who had said: "Faciamus experimentum in anima vili"): "Vilem animam appellas pro qua Christus non dedignatus est mori."[56]
A greater Humanist than Muret, Erasmus himself, seems as a young man, when in the Augustinian monastery of Stein, to have had a homosexual attraction to another Brother (afterward Prior) to whom he addressed many passionately affectionate letters; his affection seems, however, to have been unrequited.[57]
As the Renaissance developed, homosexuality seems to become more prominent among distinguished persons. Poliziano was accused of pederasty. Aretino was a pederast, as Pope Julius II seems also to have been. Ariosto wrote in his satires, no doubt too extremely:—
"Senza quel vizio son pochi umanisti."[58]
Tasso had a homosexual strain in his nature, but he was of weak and feminine constitution, sensitively emotional and physically frail.[59]
It is, however, among artists, at that time and later, that homosexuality may most notably be traced. Leonardo da Vinci, whose ideals as revealed in his work are so strangely bisexual, lay under homosexual suspicion in his youth. In 1476, when he was 24 years of age, charges were made against him before the Florentine officials for the control of public morality, and were repeated, though they do not appear to have been substantiated. There is, however, some ground for supposing that Leonardo was imprisoned in his youth.[60] Throughout life he loved to surround himself with beautiful youths and his pupils were more remarkable for their attractive appearance than for their skill; to one at least of them he was strongly attached, while there is no record of any attachment to a woman. Freud, who has studied Leonardo with his usual subtlety, considers that his temperament was marked by "ideal homosexuality."[61]
Michelangelo, one of the very chief artists of the Renaissance period, we cannot now doubt, was sexually inverted. The evidence furnished by his own letters and poems, as well as the researches of numerous recent workers—Parlagreco, Scheffler, J. A. Symonds, etc.—may be said to have placed this beyond question.[62] He belonged to a family of 5 brothers, 4 of whom never married, and so far as is known left no offspring; the fifth only left 1 male heir. His biographer describes Michelangelo as "a man of peculiar, not altogether healthy, nervous temperament." He was indifferent to women; only in one