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Michelangelo's work, which never reached the wall of the room, as Leonardo's had done, was completed as a cartoon in 1504 to 1506 in his studio in the hospital of the dyers in Sant' Onofrio, which is now the Via Guelfa.
The result of that bloody struggle was really a victory for the Arti Maggiori, the Arti Minori being bribed with promises and thus separated from the populace, who had sided with the Parte Guelfa, which was beaten for ever. The oligarchy was saved, but the struggle between rich and poor was by no means over.
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.
Other commissions for statues poured in, and in 1504 he was invited to design a cartoon for the Palazzo Vecchio, to accompany one by Leonardo, and a studio was given him in the Via Guelfa for the purpose. This cartoon, when finished, so far established him also as the greatest of painters that the Masaccios in the Carmine were deserted by young artists in order that this might be studied instead.
What is important here is the fact that it is to the greater Guilds and to the Parte Guelfa that we owe the church itself that is to say, to the merchants and trades of the city while the beautiful shrine within is due to a secular Company consisting of some of the greatest citizens, and to a large extent opposed to the regular Orders of St. Dominic and St. Francis.
Bare for the most part and empty, its original beauty and simplicity still remain to it; nor should any who find it omit to pass into the priest's house, to see the old Baptistery now in the hands of Benedictine nuns. On our way back to Pisa by the Lung' Arno Gambacorti, we may look always with new joy at the Torre Guelfa, almost all that is left of the great arsenal built in 1200.
To the south of the bridge is the Loggia dei Banchi, and farther to the west, on the Lung' Arno, the great palace of the Gambacorti rises, now the Palazzo del Comune, and farther still, the Madonna della Spina, a little Gothic church of marble; while if you pass a little way westward, the Torre Guelfa comes into sight at the bend of the river among the ruins of the old arsenal.
If it could be seen in the beautiful spacious transept of S. Croce, or even in Santo Spirito across Arno, that sense as of something elaborate and complicated would perhaps not be felt; but here in Or San Michele one seems to have come upon a priceless treasure in a cave. The Parte Guelfa originally set up their statue of St.
It is enough to refer to the importance of the Parte Guelfa in the history of Florence.
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