The Story of Siena and San Gimignano. Gardner Edmund G.

had not long remained united. There was still a Guelf faction within the walls, headed by the Tolomei, and the nobles were daily growing more estranged from the people. There was fighting in the Piazza Tolomei in 1265, when the people fired the palace; and again, in 1267, when, after the fall of Manfred, the Guelfs commenced to raise their heads anew. It was in these years that Provenzano Salvani became the ruling spirit of the State, and, in Dante’s words, “in his presumption thought to bring all Siena into his own hands.” It was mainly through his influence that Siena joined with Pisa in aiding Corradino, the youthful grandson of the great Frederick, in his designs upon Italy. Corradino came, a victim marked for the slaughter; and in August 1268 he rode into Siena with his army, and was received with the utmost joy as true Caesar. It was during his stay here that his troops, united with the Sienese, gained a slight victory in the Valdarno, and the prisoners brought into the city seemed to the exulting Ghibellines an augury of the complete triumph of the imperial cause. In the utter overthrow of these aspirations on the disastrous field of Tagliacozzo, “where without arms the old Alardo conquered,” a friend of Provenzano’s had fallen into the hands of the Angevin victor, who set a heavy ransom as the price of his life. Then was it that Provenzano appeared in the guise of a supplicant in the Campo, as Dante tells us in the Purgatorio, begging money of all that passed by, till the sum was made up “to deliver his friend from the torment that he was suffering in Charles’ prison.”

      In the very next year a more bitter fate was Provenzano’s own. With Florentine aid, the Guelf exiles were threatening the Sienese frontier, and Provenzano Salvani, with Count Guido Novello, led a mixed force of Tuscan Ghibellines and Spanish and German mercenaries to attack Colle di Val d’Elsa. Here, in June 1269, they were surprised by a smaller force of French cavalry under Guy de Montfort, “routed and rolled back in the bitter paces of flight,” the Florentines and Guelf exiles taking ample vengeance for the slaughter of Montaperti. More than a thousand Sienese fell. Provenzano himself, to whom before the battle it had been foretold that his head should be the highest in the field, was taken prisoner, and murdered in cold blood by Cavolino Tolomei, who rode through the host with his head upon the point of his lance. Among the Guelf exiles in Colle was a noble lady named Sapia – the wife, it is said, of Ghinibaldo Saracini – who waited in agonised suspense in a tower near the field, declaring that she would hurl herself down from the window if her countrymen were victorious. When she saw them routed, and watched the furious Guelf pursuit, she broke out into the paroxysm of delight recorded by Dante, “crying to God, Henceforth I fear thee no more.”8

      The battle of Colle di Val d’Elsa closes the period of Ghibelline supremacy in Siena. In the following year Guy de Montfort, as vicar of King Charles, forced the Sienese to take back their Guelf exiles, who soon drove out the Ghibellines. Instead of the Twenty-four, the chief power was now vested in a Thirty-six, who included both nobles and popolani. The long struggle with Florence was over for the present, Siena being forced to join her rival in the Guelf League under the suzerainty of the Angevin king. And as was inevitable when the Guelfs got the upper hand in an Italian state, in 1280 the nobles, or gentiluomini, were excluded from the Government, which was now put into the hands of the “Fifteen Governors and Defenders of the Commune and People of Siena.” A daring, but unsuccessful attempt of the Ghibelline exiles and their adherents within the walls to recapture the city in 1281 only resulted in strengthening the new democratic government. In 1285 the Fifteen were reduced to Nine, the famous magistracy of the Signori Nove, “the Lords Nine, the Defenders of the Commune and People of the city and district of Siena, and of the jurisdiction of the same,” in which no members of noble houses could sit (though still eligible for the other offices of the State, such as those of the Provveditori di Biccherna). Their term of office was two months, during which they lived at the expense of the State in one or other of the palaces of the city, rented for the purpose, until the present Palazzo Pubblico was built. The Nine were chosen from the popolo di mezzo, the rich and enlightened merchant class, that came between the nobles and the plebeians. Throughout the story of Siena we find the word Monte used to denote the faction or order that held sway, and this was the beginning of the Monte dei Nove, whose adherents were afterwards known as the Noveschi. The order that had previously held the supremacy is henceforth known as the Monte de’ Gentiluomini.

      The Siena of this epoch of Guelf predominance is that luxurious city of the gente vana, the “vain folk,” that Dante knew, the city whose paths he trod in the early days of his exile. Senseless extravagance reigned side by side with hectic devotion and mystic enthusiasm. Typical, indeed, of this time are two figures of whom we read in the Divina Commedia; the young nobleman, Lano Maconi, who, having squandered all his substance in riotous living, joined in the unsuccessful expedition of the Sienese and Florentines against Arezzo in 1288, and, when the Sienese fell into an ambush at the ford of Pieve del Toppo, instead of saving his life by flight, dashed into the middle of the Aretines and found the death he sought; Pietro Pettignano, Franciscan tertiary and combseller of the Terzo di Camollia, who saved the soul of Monna Sapia by his prayers, saw visions and wrought miracles, and after a life of humility and righteousness died in 1289, and was venerated as a saint.9 Magnificent processions, gorgeous ceremonies of church and state, sumptuous balls and banquets, celebrated the bestowing of the order of knighthood upon the nobles of city and contado – each aristocratic house striving to eclipse the other in lavish hospitality and brilliant display. Amidst it all we hear the voice of that realist of the Trecento – Cecco degli Angiolieri, who “anticipates Villon from afar”10– singing of the three things for which he cares, la donna, la taverna, e’ l dado, celebrating his sordid passion for Becchina, the shoemaker’s daughter, pouring venomous abuse upon his own father, who persisted in living on and thus keeping him out of his heritage, railing against all mankind in half furious, half humorous style, daring to break a lyric lance even with the divine Florentine, Dante Alighieri himself. More characteristic of Siena is Cecco’s contemporary; Folgore da San Gimignano, in his corona of fourteen sonnets addressed to the brigata nobile e cortese, a club of twelve extravagant young Sienese nobles. Month by month through the year he sets forth a round of pleasures of every kind, feasting and hunting, music and jousting (the latter, in spite of a reference to Camelot, of a very harmless, carpet-knight description), dallying in pleasant places with lovely women. Nowhere else shall you find so perfect a picture of the splendid life and delicate living of courtly circles in “soft Siena” —Siena l’amorosa madre di dolcezza, as another poet called her – with her gay young gallants —

      “Who as King Priam’s sons might surely stand,

      Valiant and courteous more than Lancelot,

      Each one, if need should be, with lance in hand,

      Would fight in tournament at Camelot.”

      It was from these glittering, luxurious scenes that one of Siena’s proudest nobles, Bernardo Tolomei, fled to the desert, in 1313, to found the great convent of Monte Oliveto Maggiore, and to return to the city in 1348 with his white-robed companions, to lay down his life for his fellow-countrymen during the pestilence.

      Until the advent of that terrible pestilence of 1348, the epoch of the supremacy of the Nine is the brightest in the history of Siena. “In that time,” wrote Fra Filippo Agazzari, a few years later, “the city of Siena was in such great peace, and in such great abundance of every earthly good, that almost every feast day innumerable weddings of young women were celebrated in the city.”11 It is the epoch in which most of Siena’s noblest buildings were reared, the epoch in which its three supreme painters – Duccio di Buoninsegna, Simone Martini, Ambrogio Lorenzetti – for a brief while raised the school of their native city to an equality with that of Florence. Trade flourished, the university prospered; the Republic remained Guelf, though it retained a certain Ghibelline element within its core that kept it from an aggressive policy, and led the more strenuous Florentines to a proverb touching their neighbour: La lupa puttaneggia, “the she-wolf plays the harlot.” In 1303 the Sienese purchased Talamone – which they fondly hoped to make into a valuable sea-port whereby they might become a great maritime power to rival