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Maria Fiore in Florence, being its architect from 1294 till 1310, was the first in that city to use coloured slabs and panels of marble in a sort of flat mosaic on a vast scale on the outside of buildings. His example has been extensively followed throughout Italy. The art of Pietra Dura mosaic began under Cosimo I. who imported it, if one may use such an expression, from Lombardy.
We might mention, as famous instances, the Neri and Bianchi factions introduced into Pistoja in 1296 by a quarrel of the Cancellieri family, the dismemberment of Florence in 1215 by a feud between the Buondelmonti and Amidei, the tragedy of Imelda Lambertazzi, which upset Bologna in 1273, the student riot which nearly delivered Bologna into the hands of Roméo de' Pepoli in 1321, the whole action of the Strozzi family at the period of the extinction of Florentine liberty, the petty jealousies of the Cerchi and Donati detailed by Dino Compagni, in 1294.
The Welsh rising of 1294 had taken place independently of him, but it was not Philip's fault that Morgan did not once more excite Glamorgan to rebellion. A better opening for intrigue was found in Scotland. Ever since the accession of John Balliol, there had been appeals from the Scottish courts to those of Edward.
Then in 1182 the cathedral was transferred to S. Reparata, which stood on part of the site of the Duomo, and in 1294 the decision to rebuild S. Reparata magnificently was arrived at, and Arnolfo di Cambio was instructed to draw up plans.
Both form the double heart of Florence, such as it beat in the Middle Ages, the former for politics, and the latter for religion, and the two so well united that they formed but one. Nothing can be nobler than the public edict passed in 1294 for the construction of the national cathedral.
This was in 1294; the palmy period, or culmination time of the TEUTSCHES RITTERTHUM. Concerning which, on wider accounts, we must now say a word. Barbarossa's Army of Crusaders did not come home again, any more than Barbarossa.
On the wall that forms an angle with this is a fresco, The Crucifixion, 1294, by Fra Angelico from the Dominican monastery at Fiesole. A door L. of 1297 leads to containing a small but choice collection of early Italian paintings, all of which will repay careful study.
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