The Story of Florence. Gardner Edmund G.
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"good men of the People, without whose deliberation no great thing or expense could be done"; and, nominally at least, a parliament. Next came the Captain of the People (usually an alien noble of democratic sympathies), with a special council or credenza, called the Council of the Captain and Capetudini (the Capetudini composed of the consuls of the Guilds), of 80 members; and a general council of 300 (including the 80), all popolani and Guelfs. Next came the Podestà, always an alien noble (appointed at first by King Charles), with the Council of the Podestà of 90 members, and the general Council of the Commune of 300–in both of which nobles could sit as well as popolani. Measures presented by the 12 to the 100 were then submitted successively to the two councils of the Captain, and then, on the next day, to the councils of the Podestà and the Commune. Occasionally measures were concerted between the magistrates and a specially summoned council of richiesti, without the formalities and delays of these various councils. Each of the seven greater Arts7 was further organised with its own officers and councils and banners, like a miniature republic, and its consuls (forming the Capetudini) always sat in the Captain's council and usually in that of the Podestà likewise.
There was one dark spot. A new organisation was set on foot, under the auspices of Pope Clement and King Charles, known as the Parte Guelfa–another miniature republic within the republic–with six captains (three nobles and three popolani) and two councils, mainly to persecute the Ghibellines, to manage confiscated goods, and uphold Guelf principles in the State. In later days these Captains of the Guelf Party became exceedingly powerful and oppressive, and were the cause of much dissension. They met at first in the Church of S. Maria sopra la Porta (now the Church of S. Biagio), and later had a special palace of their own–which still stands, partly in the Via delle Terme, as you pass up it from the Via Por Santa Maria on the right, and partly in the Piazza di San Biagio. It is an imposing and somewhat threatening mass, partly of the fourteenth and partly of the early fifteenth century. The church, which retains in part its structure of the thirteenth century, had been a place of secret meeting for the Guelfs during Guido Novello's rule; it still stands, but converted into a barracks for the firemen of Florence.
Thus was the greatest and most triumphant Republic of the Middle Ages organised–the constitution under which the most glorious culture and art of the modern world was to flourish. The great Guilds were henceforth a power in the State, and the Secondo Popolo had arisen–the democracy that Dante and Boccaccio were to know.
CHAPTER II
The Times of Dante and Boccaccio
"Godi, Fiorenza, poi che sei sì grande
che per mare e per terra batti l'ali,
e per l'inferno il tuo nome si spande."
THE century that passed from the birth of Dante in 1265 to the deaths of Petrarch and Boccaccio, in 1374 and 1375 respectively, may be styled the Trecento, although it includes the last quarter of the thirteenth century and excludes the closing years of the fourteenth. In general Italian history, it runs from the downfall of the German Imperial power at the battle of Benevento, in 1266, to the return of the Popes from Avignon in 1377. In art, it is the epoch of the completion of Italian Gothic in architecture, of the followers and successors of Niccolò and Giovanni Pisano in sculpture, of the school of Giotto in painting. In letters, it is the great period of pure Tuscan prose and verse. Dante and Giovanni Villani, Dino Compagni, Petrarch, Boccaccio and Sacchetti, paint the age for us in all its aspects; and a note of mysticism is heard at the close (though not from a Florentine) in the Epistles of St. Catherine of Siena, of whom a living Italian poet has written–Nel Giardino del conoscimento di sè ella è come una rosa di fuoco. But at the same time it is a century full of civil war and sanguinary factions, in which every Italian city was divided against itself; and nowhere were these divisions more notable or more bitterly fought out than in Florence. Yet, in spite of it all, the Republic proceeded majestically on its triumphant course. Machiavelli lays much stress upon this in the Proem to his Istorie Fiorentine. "In Florence," he says, "at first the nobles were divided against each other, then the people against the nobles, and lastly the people against the populace; and it ofttimes happened that when one of these parties got the upper hand, it split into two. And from these divisions there resulted so many deaths, so many banishments, so many destructions of families, as never befell in any other city of which we have record. Verily, in my opinion, nothing manifests more clearly the power of our city than the result of these divisions, which would have been able to destroy every great and most potent city. Nevertheless ours seemed thereby to grow ever greater; such was the virtue of those citizens, and the power of their genius and disposition to make themselves and their country great, that those who remained free from these evils could exalt her with their virtue more than the malignity of those accidents, which had diminished them, had been able to cast her down. And without doubt, if only Florence, after her liberation from the Empire, had had the felicity of adopting a form of government which would have kept her united, I know not what republic, whether modern or ancient, would have surpassed her–with such great virtue in war and in peace would she have been filled."
The first thirty-four years of this epoch are among the brightest in Florentine history, the years that ran from the triumph of the Guelfs to the sequel to the Jubilee of 1300, from the establishment of the Secondo Popolo to its split into Neri and Bianchi, into Black Guelfs and White Guelfs. Externally Florence became the chief power of Tuscany, and all the neighbouring towns gradually, to a greater or less extent, acknowledged her sway; internally, in spite of growing friction between the burghers and the new Guelf nobility, between popolani and grandi or magnates, she was daily advancing in wealth and prosperity, in beauty and artistic power. The exquisite poetry of the dolce stil novo was heard. Guido Cavalcanti, a noble Guelf who had married the daughter of Farinata degli Uberti, and, later, the notary Lapo Gianni and Dante Alighieri, showed the Italians what true lyric song was; philosophers like Brunetto Latini served the state; modern history was born with Giovanni Villani. Great palaces were built for the officers of the Republic; vast Gothic churches arose. Women of rare beauty, eternalised as Beatrice, Giovanna, Lagia and the like, passed through the streets and adorned the social gatherings in the open loggias of the palaces. Splendid pageants and processions hailed the Calends of May and the Nativity of the Baptist, and marked the civil and ecclesiastical festivities and state solemnities. The people advanced more and more in power and patriotism; while the magnates, in their towers and palace-fortresses, were partly forced to enter the life of the guilds, partly held aloof and plotted to recover their lost authority, but were always ready to officer the burgher forces in time of war, or to extend Florentine influence by serving as Podestàs and Captains in other Italian cities.
Dante was born in the Sesto di San Piero Maggiore in May 1265, some eighteen months before the liberation of the city. He lost his mother in his infancy, and his father while he was still a boy. This father appears to have been a notary, and came from a noble but decadent family, who were probably connected with the Elisei, an aristocratic house of supposed Roman descent, who had by this time almost entirely disappeared. The Alighieri, who were Guelfs, do not seem to have ranked officially as grandi or magnates; one of Dante's uncles had fought heroically at Montaperti. Almost all the families connected with the story of Dante's life had their houses in the Sesto di San Piero Maggiore, and their sites may in some instances still be traced. Here were the Cerchi, with whom he was to be politically associated in after years; the Donati, from whom sprung one of his dearest friends, Forese, with one of his deadliest foes, Messer Corso, and Dante's own wife, Gemma; and the Portinari, the house according to tradition of Beatrice, the "giver of blessing" of Dante's Vita Nuova, the mystical lady of the Paradiso. Guido Cavalcanti, the first and best of all his friends, lived a little apart from this Sesto di Scandali–as St Peter's section of the town came to be called–between the Mercato Nuovo and San Michele in Orto. Unlike the Alighieri, though not of such ancient birth as theirs, the Cavalcanti were exceedingly rich and powerful, and ranked officially among the grandi, the Guelf magnates. At this epoch, as Signor Carocci observes in his Firenze scomparsa, Florence must have presented the aspect of a vast forest of towers. These towers rose over the houses of powerful and wealthy families, to be used for offence or defence, when the faction fights raged, or to be dismantled
The Arte di Calimala, or of the Mercatanti di Calimala, the dressers of foreign cloth; the Arte della Lana, or wool; the Arte dei Giudici e Notai, judges and notaries, also called the Arte del Proconsolo; the Arte del Cambio or dei Cambiatori, money-changers; the Arte dei Medici e Speziali, physicians and apothecaries; the Arte della Seta, or silk, also called the Arte di Por Santa Maria; and the Arte dei Vaiai e Pellicciai, the furriers. The Minor Arts were organised later.