The Story of Florence 1

The Story of Florence 1

The Story of Florence PREFACE The present volume is intended to supply a popular history of the Florentine Republic, in such a form that it can also be used as a guide-book. It has been my endeavour, while keeping within the necessary limits of this series of _Mediæval Towns_, to point out briefly the most salient features in the story of Florence, to tell again the tale of those of her streets and buildings, and indicate those of her artistic treasures, which are either most intimately connected with that story or most beautiful in themselves. Those who know best what an intensely fascinating and many-sided history that of Florence has been, who have studied most closely the work and characters of those strange and wonderful personalities who have lived within (and, in the case of the greatest, died without) her walls, will best appreciate my difficulty in compressing even a portion of all this wealth and profusion into the narrow bounds enjoined by the aim and scope of this book. Much has necessarily been curtailed over which it would have been tempting to linger, much inevitably omitted which the historian could not have passed over, nor the compiler of a guide-book failed to mention. In what I have selected for treatment and what omitted, I have usually let myself be guided by the remembrance of my own needs when I first commenced to visit Florence and to study her arts and history. It is needless to say that the number of books, old and new, is very considerable indeed, to which anyone venturing in these days to write yet another book on Florence must have had recourse, and to whose authors he is bound to be indebted--from the earliest Florentine chroniclers down to the most recent biographers of Lorenzo the Magnificent, of Savonarola, of Michelangelo--from Vasari down to our modern scientific art critics--from Richa and Moreni down to the Misses Horner. My obligations can hardly be acknowledged here in detail; but, to mention a few modern works alone, I am most largely indebted to Capponi's _Storia della Repubblica di Firenze_, to various writings of Professor Pasquale Villari, and to Mr Armstrong's _Lorenzo de' Medici_; to the works of Ruskin and J. A. Symonds, of M. Reymond and Mr Berenson; and, in the domains of topography, to Baedeker's _Hand Book_. In judging of the merits and the authorship of individual pictures and statues, I have usually given more weight to the results of modern criticism than to the pleasantness of old tradition. Carlyle's translation of the _Inferno_ and Mr Wicksteed's of the _Paradiso_ are usually quoted. If this little book should be found helpful in initiating the English-speaking visitor to the City of Flowers into more of the historical atmosphere of Florence and her monuments than guide-books and catalogues can supply, it will amply have fulfilled its object.   E. G. G.   ROEHAMPTON, May 1900. CONTENTS      CHAPTER I                                             PAGE      _The Commune and People of Florence_                     1      CHAPTER II      _The Times of Dante and Boccaccio_                      32      CHAPTER III      _The Medici and the Quattrocento_                       71      CHAPTER IV      _From Fra Girolamo to Duke Cosimo_                     111      CHAPTER V      _The Palazzo Vecchio--The Piazza della Signoria--The      Uffizi_                                                146      CHAPTER VI      _Or San Michele and the Sesto di San Piero_            184      CHAPTER VII      _From the Bargello past Santa Croce_                   214      CHAPTER VIII      _The Baptistery, the Campanile, and the Duomo_         246      CHAPTER IX      _The Palazzo Riccardi--San Lorenzo--San      Marco_                                                 283      CHAPTER X      _The Accademia delle Belle Arti--The Santissima      Annunziata, and other Buildings_                       314      CHAPTER XI      _The Bridges--The Quarter of Santa Maria      Novella_                                               340      CHAPTER XII      _Across the Arno_                                      374      CHAPTER XIII      _Conclusion_                                           409        *       *       *       *       *      _Genealogical Table of the Medici_                     423      _Chronological Index of Architects, Sculptors and      Painters_                                              424      _General Index_                                        430 ILLUSTRATIONS                                                            PAGE      _Pallas taming a Centaur (Photogravure)_[1]   Frontispiece      _Florence from the Boboli Gardens_                       3      _The Buondelmonte Tower_                                20      _The Palace of the Parte Guelfa_                        29      _Arms of Parte Guelfa_                                  31      _Florentine Families_                                   33      _Corso Donati's Tower_                                  40      _Across the Ponte Vecchio_                              47      _Mercato Nuovo, the Flower Market_                      51      _The Campanile_                                         63      _Cross of the Florentine People_                        70      _Florence in the Days of Lorenzo the Magnificent_       80      _The Badia of Fiesole_                                  83      "_In the Sculptor's Work-shop_" (_Nanni di        Banco_)                                               97      _Arms of the Pazzi_                                    110      _The Death of Savonarola_                              135      "_The Dawn_" (_Michelangelo_)                          144      _The Palazzo Vecchio_                                  147      _Looking through Vasari's Loggia, Uffizi_              161      "_Venus_" (_Sandro Botticelli_)                        178      _Orcagna's Tabernacle, Or San Michele_                 185      _Window of Or San Michele_                             191      _Tower of the Arte della Lana_                         201      _House of Dante_                                       207      _Arms of the Sesto di San Piero_                       213      _Bargello Courtyard and Staircase_                     217      _Santa Croce_                                          233      _Old Houses on the Arno_                               245      _The Baptistery_                                       251      _The Bigallo_                                          264      _Porta della Mandorla, Duomo_                          267      _Statue of Boniface VIII_                              270      _Arms of the Medici from the Badia at Fiesole_         283      _Tomb of Giovanni and Piero dei Medici_                288      _The Well of S. Marco_                                 299      _The Cloister of the Innocenti_                        331      _A Florentine Suburb_                                  337      _The Ponte Vecchio_                                    343      _The Tower of S. Zanobi_                               347      _Arms of the Strozzi_                                  353      _In the Green Cloisters, S. Maria Novella_             357      _In the Boboli Gardens_                                374      _The Fortifications of Michelangelo_                   399      _Porta San Giorgio_                                    403      _Map of Florence                               facing_ 422   [1] "_The Frontispiece and the Illustrations facing pages 97, 135,   144, 178 and 288 are reproduced, by permission, from photographs by   Messrs Alinari of Florence._" The Story of Florence CHAPTER I _The People and Commune of Florence_      "La bellissima e famosissima figlia di Roma, Fiorenza."          --_Dante._ Before the imagination of a thirteenth century poet, one of the sweetest singers of the _dolce stil novo_, there rose a phantasy of a transfigured city, transformed into a capital of Fairyland, with his lady and himself as fairy queen and king:      "Amor, eo chero mea donna in domino,        l'Arno balsamo fino,        le mura di Fiorenza inargentate,      le rughe di cristallo lastricate,        fortezze alte e merlate,        mio fedel fosse ciaschedun Latino."[2]   [2] "Love, I demand to have my lady in fee,         Fine balm let Arno be,       The walls of Florence all of silver rear'd,       And crystal pavements in the public way;         With castles make me fear'd,       Till every Latin soul have owned my sway."           --LAPO GIANNI (_Rossetti_). But is not the reality even more beautiful than the dreamland Florence of Lapo Gianni's fancy? We stand on the heights of San Miniato, either in front of the Basilica itself or lower down in the Piazzale Michelangelo. Below us, on either bank of the silvery Arno, lies outstretched Dante's "most famous and most beauteous daughter of Rome," once the Queen of Etruria and centre of the most wonderful culture that the world has known since Athens, later the first capital of United Italy, and still, though shorn of much of her former splendour and beauty, one of the loveliest cities of Christendom. Opposite to us, to the north, rises the hill upon which stands Etruscan Fiesole, from which the people of Florence originally came: "that ungrateful and malignant people," Dante once called them, "who of old came down from Fiesole." Behind us stand the fortifications which mark the death of the Republic, thrown up or at least strengthened by Michelangelo in the city's last agony, when she barred her gates and defied the united power of Pope and Emperor to take the State that had once chosen Christ for her king.      "O foster-nurse of man's abandoned glory        Since Athens, its great mother, sunk in splendour;      Thou shadowest forth that mighty shape in story,        As ocean its wrecked fanes, severe yet tender:      The light-invested angel Poesy        Was drawn from the dim world to welcome thee.      "And thou in painting didst transcribe all taught        By loftiest meditations; marble knew      The sculptor's fearless soul--and as he wrought,        The grace of his own power and freedom grew." Between Fiesole and San Miniato, then, the story of the Florentine Republic may be said to be written. The beginnings of Florence are lost in cloudy legend, and her early chroniclers on the slenderest foundations have reared for her an unsubstantial, if imposing, fabric of fables--the tales which the women of old Florence, in the _Paradiso_, told to their house-holds--      "dei Troiani, di Fiesole, e di Roma."   [Illustration: FLORENCE FROM THE BOBOLI GARDENS] Setting aside the Trojans ("Priam" was mediæval for "Adam," as a modern novelist has remarked), there is no doubt that both Etruscan Fiesole and Imperial Rome united to found the "great city on the banks of the Arno." Fiesole or Faesulae upon its hill was an important Etruscan city, and a place of consequence in the days of the Roman Republic; fallen though it now is, traces of its old greatness remain. Behind the Romanesque cathedral are considerable remains of Etruscan walls and of a Roman theatre. Opposite it to the west we may ascend to enjoy the glorious view from the Convent of the Franciscans, where once the old citadel of Faesulae stood. Faesulae was ever the centre of Italian and democratic discontent against Rome and her Senate (_sempre ribelli di Roma_, says Villani of its inhabitants); and it was here, in October B.C. 62, that Caius Manlius planted the Eagle of revolt--an eagle which Marius had borne in the war against the Cimbri--and thus commenced the Catilinarian war, which resulted in the annihilation of Catiline's army near Pistoia. This, according to Villani, was the origin of Florence. According to him, Fiesole, after enduring the stupendous siege, was forced to surrender to the Romans under Julius Cæsar, and utterly razed to the ground. In the second sphere of Paradise, Justinian reminds Dante of how the Roman Eagle "seemed bitter to that hill beneath which thou wast born." Then, in order that Fiesole might never raise its head again, the Senate ordained that the greatest lords of Rome, who had been at the siege, should join with Cæsar in building a new city on the banks of the Arno. Florence, thus founded by Cæsar, was populated by the noblest citizens of Rome, who received into their number those of the inhabitants of fallen Fiesole who wished to live there. "Note then," says the old chronicler, "that it is not wonderful that the Florentines are always at war and in dissensions among themselves, being drawn and born from two peoples, so contrary and hostile and diverse in habits, as were the noble and virtuous Romans, and the savage and contentious folk of Fiesole." Dante similarly, in Canto XV. of the _Inferno_, ascribes the injustice of the Florentines towards himself to this mingling of the people of Fiesole with the true Roman nobility (with special reference, however, to the union of Florence with conquered Fiesole in the twelfth century):--                   "che tra li lazzi sorbi      si disconvien fruttare al dolce fico."[3]   [3] "For amongst the tart sorbs, it befits not the sweet fig to   fructify." And Brunetto Latini bids him keep himself free from their pollution:--      "Faccian le bestie Fiesolane strame        di lor medesme, e non tocchin la pianta,        s'alcuna surge ancor nel lor letame,      in cui riviva la semente santa        di quei Roman che vi rimaser quando        fu fatto il nido di malizia tanta." [4]   [4] "Let the beasts of Fiesole make litter of themselves, and not   touch the plant, if any yet springs up amid their rankness, in which   the holy seed revives of those Romans who remained there when it   became the nest of so much malice." The truth appears to be that Florence was originally founded by Etruscans from Fiesole, who came down from their mountain to the plain by the Arno for commercial purposes. This Etruscan colony was probably destroyed during the wars between Marius and Sulla, and a Roman military colony established here--probably in the time of Sulla, and augmented later by Cæsar and by Augustus. It has, indeed, been urged of late that the old Florentine story has some truth in it, and that Cæsar, not only in legend but in fact, may be regarded as the true first founder of Florence. Thus the Roman colony of Florentia gradually grew into a little city--_come una altra piccola Roma_, declares her patriotic chronicler. It had its capitol and its forum in the centre of the city, where the Mercato Vecchio once stood; it had an amphitheatre outside the walls, somewhere near where the Borgo dei Greci and the Piazza Peruzzi are to-day. It had baths and temples, though doubtless on a small scale. It had the shape and form of a Roman camp, which (together with the Roman walls in which it was inclosed) it may be said to have retained down to the middle of the twelfth century, in spite of legendary demolitions by Attila and Totila, and equally legendary reconstructions by Charlemagne. Above all, it had a grand temple to Mars, which almost certainly occupied the site of the present Baptistery, if not actually identical with it. Giovanni Villani tells us--and we shall have to return to his statement--that the wonderful octagonal building, now known as the Baptistery or the Church of St John, was consecrated as a temple by the Romans in honour of Mars, for their victory over the Fiesolans, and that Mars was the patron of the Florentines as long as paganism lasted. Round the equestrian statue that was supposed to have once stood in the midst of this temple, numberless legends have gathered. Dante refers to it again and again. In Santa Maria Novella you shall see how a great painter of the early Renaissance, Filippino Lippi, conceived of his city's first patron. When Florence changed him for the Baptist, and the people of Mars became the sheepfold of St John, this statue was removed from the temple and set upon a tower by the side of the Arno:-- "The Florentines took up their idol which they called the God Mars, and set him upon a high tower near the river Arno; and they would not break or shatter it, seeing that in their ancient records they found that the said idol of Mars had been consecrated under the ascendency of such a planet, that if it should be broken or put in a dishonourable place, the city would suffer danger and damage and great mutation. And although the Florentines had newly become Christians, they still retained many customs of paganism, and retained them for a long time; and they greatly feared their ancient idol of Mars; so little perfect were they as yet in the Holy Faith." This tower is said to have been destroyed like the rest of Florence by the Goths, the statue falling into the Arno, where it lurked in hiding all the time that the city lay in ruins. On the legendary rebuilding of Florence by Charlemagne, the statue, too--or rather the mutilated fragment that remained--was restored to light and honour. Thus Villani:-- "It is said that the ancients held the opinion that there was no power to rebuild the city, if that marble image, consecrated by necromancy to Mars by the first Pagan builders, was not first found again and drawn out of the Arno, in which it had been from the destruction of Florence down to that time. And, when found, they set it upon a pillar on the bank of the said river, where is now the head of the Ponte Vecchio. This we neither affirm nor believe, inasmuch as it appeareth to us to be the opinion of augurers and pagans, and not reasonable, but great folly, to hold that a statue so made could work thus; but commonly it was said by the ancients that, if it were changed, our city would needs suffer great mutation." Thus it became _quella pietra scema che guarda il ponte_, in Dantesque phrase; and we shall see what terrible sacrifice its clients unconsciously paid to it. Here it remained, much honoured by the Florentines; street boys were solemnly warned of the fearful judgments that fell on all who dared to throw mud or stones at it; until at last, in 1333, a great flood carried away bridge and statue alike, and it was seen no more. It has recently been suggested that the statue was, in reality, an equestrian monument in honour of some barbaric king, belonging to the fifth or sixth century. Florence, however, seems to have been--in spite of Villani's describing it as the Chamber of the Empire and the like--a place of very slight importance under the Empire. Tacitus mentions that a deputation was sent from Florentia to Tiberius to prevent the Chiana being turned into the Arno. Christianity is said to have been first introduced in the days of Nero; the Decian persecution raged here as elsewhere, and the soil was hallowed with the blood of the martyr, Miniatus. Christian worship is said to have been first offered up on the hill where a stately eleventh century Basilica now bears his name. When the greater peace of the Church was established under Constantine, a church dedicated to the Baptist on the site of the Martian temple and a basilica outside the walls, where now stands San Lorenzo, were among the earliest churches in Tuscany. In the year 405, the Goth leader Rhadagaisus, _omnium antiquorum praesentiumque hostium longe immanissimus_, as Orosius calls him, suddenly inundated Italy with more than 200,000 Goths, vowing to sacrifice all the blood of the Romans to his gods. In their terror the Romans seemed about to return to their old paganism, since Christ had failed to protect them. _Fervent tota urbe blasphemiae_, writes Orosius. They advanced towards Rome through the Tuscan Apennines, and are said to have besieged Florence, though there is no hint of this in Orosius. On the approach of Stilicho, at the head of thirty legions with a large force of barbarian auxiliaries, Rhadagaisus and his hordes--miraculously struck helpless with terror, as Orosius implies--let themselves be hemmed in in the mountains behind Fiesole, and all perished, by famine and exhaustion rather than by the sword. Villani ascribes the salvation of Florence to the prayers of its bishop, Zenobius, and adds that as this victory of "the Romans and Florentines" took place on the feast of the virgin martyr Reparata, her name was given to the church afterwards to become the Cathedral of Florence. Zenobius, now a somewhat misty figure, is the first great Florentine of history, and an impressive personage in Florentine art. We dimly discern in him an ideal bishop and father of his people; a man of great austerity and boundless charity, almost an earlier Antoninus. Perhaps the fact that some of the intervening Florentine bishops were anything but edifying, has made these two--almost at the beginning and end of the Middle Ages--stand forth in a somewhat ideal light. He appears to have lived a monastic life outside the walls in a small church on the site of the present San Lorenzo, with two young ecclesiastics, trained by him and St Ambrose, Eugenius and Crescentius. They died before him and are commonly united with him by the painters. Here he was frequently visited by St Ambrose--here he dispensed his charities and worked his miracles (according to the legend, he had a special gift of raising children to life)--here at length he died in the odour of sanctity, A.D. 424. The beautiful legend of his translation should be familiar to every student of Italian painting. I give it in the words of a monkish writer of the fourteenth century:-- "About five years after he had been buried, there was made bishop one named Andrew, and this holy bishop summoned a great chapter of bishops and clerics, and said in the chapter that it was meet to bear the body of St Zenobius to the Cathedral Church of San Salvatore; and so it was ordained. Wherefore, on the 26th of January, he caused him to be unburied and borne to the Church of San Salvatore by four bishops; and these bishops bearing the body of St Zenobius were so pressed upon by the people that they fell near an elm, the which was close unto the Church of St John the Baptist; and when they fell, the case where the body of St Zenobius lay was broken, so that the body touched the elm, and gradually, as the elm was touched, it brought forth flowers and leaves, and lasted all that year with the flowers and leaves. The people, seeing the miracle, broke up all the elm, and with devotion carried the branches away. And the Florentines, beholding what was done, made a column of marble with a cross where the elm had been, so that the miracle should ever be remembered by the people." Like the statue of Mars, this column was destroyed by the flood of 1333, and the one now standing to the north of the Baptistery was set up after that year. It was at one time the custom for the clergy on the feast of the translation to go in procession and fasten a green bough to this column. Zenobius now stands with St Reparata on the cathedral facade. Domenico Ghirlandaio painted him, together with his pupils Eugenius and Crescentius, in the Sala dei Gigli of the Palazzo della Signoria; an unknown follower of Orcagna had painted a similar picture for a pillar in the Duomo. Ghiberti cast his miracles in bronze for the shrine in the Chapel of the Sacrament; Verrocchio and Lorenzo di Credi at Pistoia placed him and the Baptist on either side of Madonna's throne. In a picture by some other follower of Verrocchio's in the Uffizi he is seen offering up a model of his city to the Blessed Virgin. Two of the most famous of his miracles, the raising of a child to life and the flowering of the elm tree at his translation, are superbly rendered in two pictures by Ridolfo Ghirlandaio. On May 25th the people still throng the Duomo with bunches of roses and other flowers, which they press to the reliquary which contains his head, and so obtain the "benedizione di San Zenobio." Thus does his memory live fresh and green among the people to whom he so faithfully ministered. Another barbarian king, the last Gothic hero Totila, advancing upon Rome in 542, took the same shorter but more difficult route across the Apennines. According to the legend, he utterly destroyed all Florence, with the exception of the Church of San Giovanni, and rebuilt Fiesole to oppose Rome and prevent Florence from being restored. The truth appears to be that he did not personally attack Florence, but sent a portion of his troops under his lieutenants. They were successfully resisted by Justin, who commanded the imperial garrison, and, on the advance of reinforcements from Ravenna, they drew off into the valley of the Mugello, where they turned upon the pursuing "Romans" (whose army consisted of worse barbarians than Goths) and completely routed them. Fiesole, which had apparently recovered from its old destruction, was probably too difficult to be assailed; but it appears to have been gradually growing at the expense of Florence--the citizens of the latter emigrating to it for greater safety. This was especially the case during the Lombard invasion, when the fortunes of Florence were at their lowest, and, indeed, in the second half of the eighth century, Florence almost sank to being a suburb of Fiesole. With the advent of Charlemagne and the restoration of the Empire, brighter days commenced for Florence,--so much so that the story ran that he had renewed the work of Julius Caesar and founded the city again. In 786 he wintered here with his court on his third visit to Rome; and, according to legend, he was here again in great wealth and pomp in 805, and founded the Church of Santissimi Apostoli--the oldest existing Florentine building after the Baptistery. Upon its facade you may still read a pompous inscription concerning the Emperor's reception in Florence, and how the Church was consecrated by Archbishop Turpin in the presence of Oliver and Roland, the Paladins! Florence was becoming a power in Tuscany, or at least beginning to see more of Popes and Emperors. The Ottos stayed within her walls on their way to be crowned at Rome; Popes, flying from their rebellious subjects, found shelter here. In 1055 Victor II. held a council in Florence. Beautiful Romanesque churches began to rise--notably the SS. Apostoli and San Miniato, both probably dating from the eleventh century. Great churchmen appeared among her sons, as San Giovanni Gualberto--the "merciful knight" of Burne-Jones' unforgettable picture--the reformer of the Benedictines and the founder of Vallombrosa. The early reformers, while Hildebrand was still "Archdeacon of the Roman Church," were specially active in Florence; and one of them, known as Peter Igneus, in 1068 endured the ordeal of fire and is said to have passed unhurt through the flames, to convict the Bishop of Florence of simony. This, with other matters relating to the times of Giovanni Gualberto and the struggles of the reformers of the clergy, you may see in the Bargello in a series of noteworthy marble bas-reliefs (terribly damaged, it is true), from the hand of Benedetto da Rovezzano. Although we already begin to hear of the "Florentine people" and the "Florentine citizens," Florence was at this time subject to the Margraves of Tuscany. One of them, Hugh the Great, who is said to have acted as vicar of the Emperor Otto III., and who died at the beginning of the eleventh century, lies buried in the Badia which had been founded by his mother, the Countess Willa, in 978. His tomb, one of the most noteworthy monuments of the fifteenth century, by Mino da Fiesole, may still be seen, near Filippino Lippi's Vision of St Bernard. It was while Florence was nominally under the sway of Hugo's most famous successor, the Countess Matilda of Tuscany, that Dante's ancestor Cacciaguida was born; and, in the fifteenth and sixteenth cantos of the _Paradiso_, he draws an ideal picture of that austere old Florence, _dentro dalla cerchia antica_, still within her Roman walls. We can still partly trace and partly conjecture the position of these walls. The city stood a little way back from the river, and had four master gates; the Porta San Piero on the east, the Porta del Duomo on the north, the Porta San Pancrazio on the west, the Porta Santa Maria on the south (towards the Ponte Vecchio). The heart of the city, the Forum or, as it came to be called, the Mercato Vecchio, has indeed been destroyed of late years to make way for the cold and altogether hideous Piazza Vittorio Emanuele; but we can still perceive that at its south-east corner the two main streets of this old _Florentia quadrata_ intersected,--Calimara, running from the Porta Santa Maria to the Porta del Duomo, south to north, and the Corso, running east to west from the Porta San Piero to the Porta San Pancrazio, along the lines of the present Corso, Via degli Speziali, and Via degli Strozzi. The Porta San Piero probably stood about where the Via del Corso joins the Via del Proconsolo, and there was a suburb reaching out to the Church of San Piero Maggiore. Then the walls ran along the lines of the present Via del Proconsolo and Via dei Balestrieri, inclosing Santa Reparata and the Baptistery, to the Duomo Gate beyond the Bishop's palace--probably somewhere near the opening of the modern Borgo San Lorenzo. Then along the Via Cerretani, Piazza Antinori, Via Tornabuoni, to the Gate of San Pancrazio, which was somewhere near the present Palazzo Strozzi; and so on to where the Church of Santa Trinita now stands, near which there was a postern gate called the Porta Rossa. Then they turned east along the present Via delle Terme to the Porta Santa Maria, which was somewhere near the end of the Mercato Nuovo, after which their course back to the Porta San Piero is more uncertain. Outside the walls were churches and ever-increasing suburbs, and Florence was already becoming an important commercial centre. Matilda's beneficent sway left it in practical independence to work out its own destinies; she protected it from imperial aggressions, and curbed the nobles of the contrada, who were of Teutonic descent and who, from their feudal castles round, looked with hostility upon the rich burgher city of pure Latin blood that was gradually reducing their power and territorial sway. At intervals the great Countess entered Florence, and either in person or by her deputies and judges (members of the chief Florentine families) administered justice in the Forum. Indeed she played the part of Dante's ideal Emperor in the _De Monarchia_; made Roman law obeyed through her dominions; established peace and curbed disorder; and therefore, in spite of her support of papal claims for political empire, when the _Divina Commedia_ came to be written, Dante placed her as guardian of the Earthly Paradise to which the Emperor should guide man, and made her the type of the glorified active life. Her praises, _la lauda di Matelda_, were long sung in the Florentine churches, as may be gathered from a passage in Boccaccio. It is from the death of Matilda in 1115 that the history of the Commune dates. During her lifetime she seems to have gradually, especially while engaged in her conflicts with the Emperor Henry, delegated her powers to the chief Florentine citizens themselves; and in her name they made war upon the aggressive nobility in the country round, in the interests of their commerce. For Dante the first half of this twelfth century represents the golden age in which his ancestor lived, when the great citizen nobles--Bellincion Berti, Ubertino Donati, and the heads of the Nerli and Vecchietti and the rest--lived simple and patriotic lives, filled the offices of state and led the troops against the foes of the Commune. In a grand burst of triumph that old Florentine crusader, Cacciaguida, closes the sixteenth canto of the _Paradiso_:      "Con queste genti, e con altre con esse,        vid'io Fiorenza in si fatto riposo,        che non avea cagion onde piangesse;      con queste genti vid'io glorioso,        e giusto il popol suo tanto, che'l giglio        non era ad asta mai posto a ritroso,      ne per division fatto vermiglio."[5]   [5] "With these folk, and with others with them, did I see Florence in   such full repose, she had not cause for wailing;   With these folk I saw her people so glorious and so just, ne'er was   the lily on the shaft reversed, nor yet by faction dyed   vermilion."--Wicksteed's translation. When Matilda died, and the Popes and Emperors prepared to struggle for her legacy (which thus initiated the strifes of Guelfs and Ghibellines), the Florentine Republic asserted its independence: the citizen nobles who had been her delegates and judges now became the Consuls of the Commune and the leaders of the republican forces in war. In 1119 the Florentines assailed the castle of Monte Cascioli, and killed the imperial vicar who defended it; in 1125 they took and destroyed Fiesole, which had always been a refuge for robber nobles and all who hated the Republic. But already signs of division were seen in the city itself, though it was a century before it came to a head; and the great family of the Uberti--who, like the nobles of the contrada, were of Teutonic descent--were prominently to the front, but soon to be _disfatti per la lor superbia_. Scarcely was Matilda dead than they appear to have attempted to seize on the supreme power, and to have only been defeated with much bloodshed and burning of houses. Still the Republic pursued its victorious course through the twelfth century--putting down the feudal barons, forcing them to enter the city and join the Commune, and extending their commerce and influence as well as their territory on all sides. And already these nobles within and without the city were beginning to build their lofty towers, and to associate themselves into Societies of the Towers; while the people were grouped into associations which afterwards became the Greater and Lesser Arts or Guilds. Villani sees the origin of future contests in the mingling of races, Roman and Fiesolan; modern writers find it in the distinction, mentioned already, between the nobles, of partly Teutonic origin and imperial sympathies, and the burghers, who were the true Italians, the descendants of those over whom successive tides of barbarian conquest had swept, and to whom the ascendency of the nobles would mean an alien yoke. This struggle between a landed military and feudal nobility, waning in power and authority, and a commercial democracy of more purely Latin descent, ever increasing in wealth and importance, is what lies at the bottom of the contest between Florentine Guelfs and Ghibellines; and the rival claims of Pope and Emperor are of secondary importance, as far as Tuscany is concerned. In 1173 (as the most recent historian of Florence has shown, and not in the eleventh century as formerly supposed), the second circle of walls was built, and included a much larger tract of city, though many of the churches which we have been wont to consider the most essential things in Florence stand outside them. A new Porta San Piero, just beyond the present facade of the ruined church of San Piero Maggiore, enclosed the Borgo di San Piero; thence the walls passed round to the Porta di Borgo San Lorenzo, just to the north of the present Piazza, and swept round, with two gates of minor importance, past the chief western Porta San Pancrazio or Porta San Paolo, beyond which the present Piazza di Santa Maria Novella stands, down to the Arno where there was a Porta alla Carraia, at the point where the bridge was built later. Hence a lower wall ran along the Arno, taking in the parts excluded from the older circuit down to the Ponte Vecchio. About half-way between this and the Ponte Rubaconte, the walls turned up from the Arno, with several small gates, until they reached the place where the present Piazza di Santa Croce lies--which was outside. Here, just beyond the old site of the Amphitheatre, there was a gate, after which they ran straight without gate or postern to San Piero, where they had commenced. Instead of the old Quarters, named from the gates, the city was now divided into six corresponding Sesti or sextaries; the Sesto di Porta San Piero, the Sesto still called from the old Porta del Duomo, the Sesto di Porta Pancrazio, the Sesto di San Piero Scheraggio (a church near the Palazzo Vecchio, but now totally destroyed), and the Sesto di Borgo Santissimi Apostoli--these two replacing the old Quarter of Porta Santa Maria. Across the river lay the Sesto d'Oltrarno--then for the most part unfortified. At that time the inhabitants of Oltrarno were mostly the poor and the lower classes, but not a few noble families settled there later on. The Consuls, the supreme officers of the state, were elected annually, two for each sesto, usually nobles of popular tendencies; there was a council of a hundred, elected every year, its members being mainly chosen from the Guilds as the Consuls from the Towers; and a Parliament of the people could be summoned in the Piazza. Thus the popular government was constituted. Hardly had the new walls risen when the Uberti in 1177 attempted to overthrow the Consuls and seize the government of the city; they were partially successful, in that they managed to make the administration more aristocratic, after a prolonged civil struggle of two years' duration. In 1185 Frederick Barbarossa took away the privileges of the Republic and deprived it of its contrada; but his son, Henry VI., apparently gave it back. With the beginning of the thirteenth century we find the Consuls replaced by a Podesta, a foreign noble elected by the citizens themselves; and the Florentines, not content with having back their contrada, beginning to make wars of conquest upon their neighbours, especially the Sienese, from whom they exacted a cession of territory in 1208.   [Illustration: THE BUONDELMONTE TOWER] In 1215 there was enacted a deed in which poets and chroniclers have seen a turning point in the history of Florence. Buondelmonte dei Buondelmonti, "a right winsome and comely knight," as Villani calls him, had pledged himself for political reasons to marry a maiden of the Amidei family--the kinsmen of the proud Uberti and Fifanti. But, at the instigation of Gualdrada Donati, he deserted his betrothed and married Gualdrada's own daughter, a girl of great beauty. Upon this the nobles of the kindred of the deserted girl held a council together to decide what vengeance to take, in which "Mosca dei Lamberti spoke the evil word: _Cosa fatta, capo ha_; to wit, that he should be slain; and so it was done." On Easter Sunday the Amidei and their associates assembled, after hearing mass in San Stefano, in a palace of the Amidei, which was on the Lungarno at the opening of the present Via Por Santa Maria; and they watched young Buondelmonte coming from Oltrarno, riding over the Ponte Vecchio "dressed nobly in a new robe all white and on a white palfrey," crowned with a garland, making his way towards the palaces of his kindred in Borgo Santissimi Apostoli. As soon as he had reached this side, at the foot of the pillar on which stood the statue of Mars, they rushed out upon him. Schiatta degli Uberti struck him from his horse with a mace, and Mosca dei Lamberti, Lambertuccio degli Amidei, Oderigo Fifanti, and one of the Gangalandi, stabbed him to death with their daggers at the foot of the statue. "Verily is it shown," writes Villani, "that the enemy of human nature by reason of the sins of the Florentines had power in this idol of Mars, which the pagan Florentines adored of old; for at the foot of his figure was this murder committed, whence such great evil followed to the city of Florence." The body was placed upon a bier, and, with the young bride supporting the dead head of her bridegroom, carried through the streets to urge the people to vengeance. Headed by the Uberti, the older and more aristocratic families took up the cause of the Amidei; the burghers and the democratically inclined nobles supported the Buondelmonti, and from this the chronicler dates the beginning of the Guelfs and Ghibellines in Florence.