The Story of Florence. Gardner Edmund G.

Franco Sacchetti, politician, novelist and poet, may be taken as the last Florentine writer of this period; he anticipates the popular lyrism of the Quattrocento, rather in the same way as a group of scholars who at the same time gathered round the Augustinian, Luigi Marsili, in his cell at Santo Spirito heralds the coming of the humanists. It fell to Franco Sacchetti to sing the dirge of this heroic period of art and letters, in his elegiac canzoni on the deaths of Petrarch and Boccaccio:–

      "Sonati sono i corni

      d'ogni parte a ricolta;

      la stagione è rivolta:

      se tornerà non so, ma credo tardi."

      CHAPTER III

       The Medici and the Quattrocento

      "Tiranno è nome di uomo di mala vita, e pessimo fra tutti gli altri uomini, che per forza sopra tutti vuol regnare, massime quello che di cittadino è fatto tiranno."–Savonarola.

      "The Renaissance of the fifteenth century was in many things great, rather by what it designed or aspired to do, than by what it actually achieved."–Walter Pater.

       NON già Salvestro ma Salvator mundi, "thou that with noble wisdom hast saved thy country." Thus in a sonnet does Franco Sacchetti hail Salvestro dei Medici, the originator of the greatness of his house. In 1378, while the hatred between the Parte Guelfa and the adherents of the Otto della Guerra–the rivalry between the Palace of the Party and the Palace of the Signory–was at its height, the Captains of the Party conspired to seize upon the Palace of the Priors and take possession of the State. Their plans were frustrated by Salvestro dei Medici, a rich merchant and head of his ambitious and rising family, who was then Gonfaloniere of Justice. He proposed to restore the Ordinances against the magnates, and, when this petition was rejected by the Signoria and the Colleges,15 he appealed to the Council of the People. The result was a riot, followed by a long series of tumults throughout the city; the Arti Minori came to the front in arms; and, finally, the bloody revolution known as the Tumult of the Ciompi burst over Florence. These Ciompi, the lowest class of artizans and all those who were not represented in the Arts, headed by those who were subject to the great Arte della Lana, had been much favoured by the Duke of Athens, and had been given consuls and a standard with an angel painted upon it. On the fall of the Duke, these Ciompi, or popolo minuto, had lost these privileges, and were probably much oppressed by the consuls of the Arte della Lana. Secretly instigated by Salvestro–who thus initiated the Medicean policy of undermining the Republic by means of the populace–they rose en masse on July 20th, captured the Palace of the Podestà, burnt the houses of their enemies and the Bottega of the Arte della Lana, seized the standard of the people, and, with it and the banners of the Guilds displayed, came into the Piazza to demand a share in the government. On July 22nd they burst into the Palace of the Priors, headed by a wool-comber, Michele di Lando, carrying in his hands the great Gonfalon; him they acclaimed Gonfaloniere and lord of the city.

      This rough and half-naked wool-comber, whose mother made pots and pans and whose wife sold greens, is one of the heroes of Florentine history; and his noble simplicity throughout the whole affair is in striking contrast with the self-seeking and intrigues of the rich aristocratic merchants whose tool, to some extent, he appears to have been. The pious historian, Jacopo Nardi, likens him to the heroes of ancient Rome, Curius and Fabricius, and ranks him as a patriot and deliverer of the city, far above even Farinata degli Uberti. The next day the Parliament was duly summoned in the Piazza, Michele confirmed in his office, and a Balìa (or commission) given to him, together with the Eight and the Syndics of the Arts, to reform the State and elect the new Signoria–in which the newly constituted Guilds of the populace were to have a third with those of the greater and minor Arts. But, before Michele's term of office was over, the Ciompi were in arms again, fiercer than ever and with more outrageous demands, following the standards of the Angel and some of the minor Arts (who appear to have in part joined them). From Santa Maria Novella, their chosen head-quarters, on the last day of August they sent two representatives to overawe the Signoria. But Michele di Lando, answering their insolence with violence, rode through the city with the standard of Justice floating before him, while the great bell of the Priors' tower called the Guilds to arms; and by evening the populace had melted away, and the government of the people was re-established. The new Signoria was greeted in a canzone by Sacchetti, in which he declares that Prudence, Justice, Fortitude, and Temperance are once more reinstated in the city.

      For the next few years the Minor Arts predominated in the government. Salvestro dei Medici kept in the background, but was presently banished. Michele di Lando seemed contented to have saved the State, and took little further share in the politics of the city. He appears later on to have been put under bounds at Chioggia; but to have returned to Florence before his death in 1401, when he was buried in Santa Croce. There were still tumults and conspiracies, resulting in frequent executions and banishments; while, without, inglorious wars were carried on by the companies of mercenary soldiers. This is the epoch in which the great English captain, Hawkwood, entered the service of the Florentine State. In 1382, after the execution of Giorgio Scali and the banishment of Tommaso Strozzi (noble burghers who headed the populace), the newly constituted Guilds were abolished, and the government returned to the greater Arts, who now held two-thirds of the offices–a proportion which was later increased to three-quarters.

      The period which follows, from 1382 to 1434, sees the close of the democratic government of Florence. The Republic, nominally still ruled by the greater Guilds, is in reality sustained and swayed by the nobili popolani or Ottimati, members of wealthy families risen by riches or talent out of these greater Guilds into a new kind of burgher aristocracy. The struggle is now no longer between the Palace of the Signory and the Palace of the Party–for the days of the power of the Parte Guelfa are at an end–but between the Palace and the Piazza. The party of the Minor Arts and the Populace is repressed and ground down with war taxes; but behind them the Medici lurk and wait–first Vieri, then Giovanni di Averardo, then Cosimo di Giovanni–ever on the watch to put themselves at their head, and through them overturn the State. The party of the Ottimati is first led by Maso degli Albizzi, then by Niccolò da Uzzano, and lastly by Rinaldo degli Albizzi and his adherents–illustrious citizens not altogether unworthy of the great Republic that they swayed–the sort of dignified civic patricians whose figures, a little later, were to throng the frescoes of Masaccio and Ghirlandaio. But they were divided among themselves, persecuted their adversaries with proscription and banishment, thus making the exiles a perpetual source of danger to the State, and they were hated by the populace because of the war taxes. These wars were mainly carried on by mercenaries–who were now more usually Italians than foreigners–and, in spite of frequent defeats, generally ended well for Florence. Arezzo was purchased in 1384. A fierce struggle was carried on a few years later (1390-1402) with the "great serpent," Giovanni Galeazzo Visconti, who hoped to make himself King of Italy by violence as he had made himself Duke of Milan by treachery, and intended to be crowned in Florence. Pisa was finally and cruelly conquered in 1406; Cortona was obtained as the result of a prolonged war with King Ladislaus of Naples in 1414, in which the Republic had seemed once more in danger of falling into the hands of a foreign tyrant; and in 1421 Leghorn was sold to the Florentines by the Genoese, thus opening the sea to their merchandise.

      The deaths of Giovanni Galeazzo and Ladislaus freed the city from her most formidable external foes; and for a while she became the seat of the Papacy, the centre of Christendom. In 1419, after the schism, Pope Martin V. took up his abode in Florence; the great condottiere, Braccio, came with his victorious troops to do him honour; and the deposed John XXIII. humbled himself before the new Pontiff, and was at last laid to rest among the shadows of the Baptistery. In his Storia Florentina Guicciardini declares that the government at this epoch was the wisest, the most glorious and the happiest that the city had ever had. It was the dawn of the Renaissance, and Florence was already full of artists and scholars, to whom these nobili popolani were as generous and as enlightened patrons as their successors, the Medici, were to be. Even Cosimo's fervent admirer, the librarian Vespasiano Bisticci, endorses Guicciardini's verdict: "In that time," he says, "from 1422 to 1433, the city of Florence was in a most blissful state, abounding with excellent men in every faculty, and it was full of admirable

15

The "Colleges" were the twelve Buonuomini and the sixteen Gonfaloniers of the Companies. Measures proposed by the Signoria had to be carried in the Colleges before being submitted to the Council of the People, and afterwards to the Council of the Commune.