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The Cerchi, with less character and less zeal, but rich, liberal, and showy, and with more of rough kindness and vulgar good-nature for the common people, were more popular in Guelf Florence than the Parte Guelfa; and, of course, the Ghibellines wished them well.

Niccolo de' Cerchi, with many of his friends, went to his estates, and being arrived at the bridge of Affrico, was attacked by Simone, son of Corso Donati. The contest was obstinate, and one each side had a sorrowful conclusion; for Niccolo was slain, and Simone was so severely wounded that he died on the following night.

However, having each retired to their houses, the Cerchi determined to attack the Donati, but, by the valor of Corso, they were repulsed and great numbers of them wounded. The city was in arms. The laws and the Signory were set at nought by the rage of the nobility, and the best and wisest citizens were full of apprehension.

"By San Giovanni!" said the cautious Bratti, who had not shaken off his original suspicions concerning the shabbily-clad possessor of jewels, "he did right to run away from me, if he meant to get into mischief. I can swear that I found him under the Loggia de' Cerchi, with a ring on his finger such as I've seen worn by Bernardo Rucellai himself. Not another rusty nail's worth do I know about him."

And although at first they would not listen to the advice of the pope, they were now compelled to turn to him for assistance, declaring that instead of uniting the city, Charles had caused greater disunion than before. The pope again sent Matteo d'Acquasparta, his legate, who made peace between the Cerchi and the Donati, and strengthened it with marriages and new betrothals.

He compelled the existing Signory to withdraw privately to their own houses, elected a new one from the people of the Neri party, and for five days plundered the leaders of the Bianchi. The Cerchi, and the other heads of their faction, finding Charles opposed to them, withdrew from the city, and retired to their strongholds.

The Loggia de' Cerchi stood in the heart of old Florence, within a labyrinth of narrow streets behind the Badia, now rarely threaded by the stranger, unless in a dubious search for a certain severely simple doorplace, bearing this inscription: Qui Nacque Il Divino Poeta.

Of this kind of pest our city has produced a more copious brood than any other; for not one but many have disturbed and harassed her: first the Buondelmonti and the Uberti; then the Donati and the Cerchi; and now, oh ridiculous! oh disgraceful thought! the Ricci and the Albizzi have caused a division of her citizens.

Corso Donati sends murderers to kill an enemy among the Cerchi. Guido Cavalcanti strives to stab Corso in the back as he passes him. Where the dagger fails, they try poison without scruple. The best of them decline a share in a murder much as an Irish peasant may decline a share in an agrarian outrage, with a certain delicacy and readiness to stand by and see it done.

They say in Siena that Duccio, in the year 1348, gave the design for the chapel that is in the square, against the wall of the Palazzo Principale; and it is read that there lived in his times a sculptor and architect of passing good talent from the same country, named Moccio, who made many works throughout all Tuscany, and particularly one in the Church of S. Domenico in Arezzo, namely, a tomb of marble for one of the Cerchi, which tomb acts as support and ornament for the organ of the said church; and although it may appear to some that it is not a very excellent work, yet, if it is considered that he made it while still a youth, in the year 1356, it cannot but seem passing good.