a mountain every time they came out and went home again. Florence took its name from one Fiorino, marshal of the camp, in the Roman army, who was killed in the battle of Fiesole. As he was the flower of chivalry, his name was thought of good augury; the more so, as roses and lilies sprang forth plenteously from the spot where he fell. Hence the fragrant and poetical name which the City of Flowers has retained until our days; and hence the cognizance of the three flowers-de-luce which it has borne upon its shield. Julius Cæsar, whose sword had severed the infant city from its dead mother in so Cæsarean a fashion, had set his heart upon calling the town after himself, and took the contrary decree of the Roman Senate very much in dudgeon. He therefore left the country in a huff, and revenged himself by annihilating vast numbers of unfortunate Gauls, Britons, Germans, and other barbarians, who happened to come in his way.
The first public edifice of any importance erected in the city was a temple to Mars, with a colossal statue of that divinity in the midst of it. This is the present baptistery, formerly cathedral, of Saint John; for the temple never was destroyed, and never can be destroyed, until the day of judgment. This we know on the authority of more than one eminent historian. It is also proved by an inscription to that effect in the mosaic pavement, which any one may inspect who chooses to do so.[1]
The town was utterly destroyed A.D. 450, by Totila, Flagellum Dei, who, with great want of originality, immediately rebuilt Fiesole; thus repeating, but reversing, the achievement of the Romans five hundred years before. So Fiesole and Florence seem to have alternately filled and emptied themselves, like two buckets in a well, down to the time of Charlemagne. That emperor rebuilt Florence, but experienced some difficulty in doing so, by reason of the statue of Mars, which had been thrown into the Arno. The temple, converted to Christian purposes, had been the only building to escape the wrath of Totila; but owing to the pagan incantations practised when the town was originally consecrated to the god of war, the statue of that divinity would not consent to lie quietly and ignominiously in the bed of the Arno, while his temple and town were appropriated to other purposes. The river was dragged. The statue was found and set upon a column near the edge of the river, on a spot which is now the head of the Ponte Vecchio. True to its pugnacious character, it brought nothing but turbulence and bloodshed upon the town. The long and memorable feuds between the Guelphs and Ghibellines began by the slaying of Buondelmonte in his wedding dress, at the base of the statue. (A.D. 1215.)
There could be no better foundation for romance or drama than the famous Buondelmonte marriage, before which, sings Dante, Florence had never cause to shed a tear, and after which the white lily of her escutcheon was dyed red in her heart's blood. There were four noble families in Florence, of surpassing importance,—the Buondelmonti, the Uberti, the Donati, and the Amidei. A match-making widow of the Donati has a daughter of extraordinary beauty, whom she intends to bestow in marriage upon the young chief of the Buondelmonti. Before she has time to complete her arrangements, however, Buondelmonte betroths himself to a daughter of the house of Amidei. Signora Donati waylays him, as he passes the door, and suddenly displays to him the fatal beauty of her daughter. "She should have been your bride," said the widow, "had you not been so hasty." The gentleman, dazzled by the beauty of the girl, and satisfied by the prudent mother as to the dowry, marries Signorina Donati upon the spot. Next day, riding across the Ponte Vecchio upon a white horse, he is beset by a party of friends and relatives of the deserted damsel, and killed close by the statue of Mars. All the nobles of Florence take part in the question;
- ↑ Villani, Cron. Lib. I. c. xlii.
