The Divine Comedy of Dante Alighieri: The Inferno — Dante Alighieri — John Shaqi
The Divine Comedy of Dante Alighieri: The Inferno
Dante Alighieri · en
Like the city itself, the nobles in the country around had been feudally
subject to the Marquis of Tuscany. After Matilda's death they claimed to
hold direct from the Empire; which meant in practice to be above all
law. They exercised absolute jurisdiction over their serfs and
dependants, and, when favoured by the situation of their castles, took
toll, like the robber barons of Germany, of the goods which passed
beneath their walls. Already they had proved to be thorns in the side of
the industrious burghers; but at the beginning of the twelfth century
their neighbourhood became intolerable, and for a couple of generations
the chief political work of Florence was to bring them to reason. Those
whose lands came up almost to the city gates were first dealt with, and
then in a widening circle the country was cleared of the pest. Year
after year, when the days were lengthening out in spring, the roughly
organised city militia was mustered, war was declared against some
specially obnoxious noble and his fortress was taken by surprise, or,
failing that, was subjected to a siege. In the absence of a more
definite grievance, it was enough to declare his castle dangerously near
the city. These expeditions were led by the nobles who were already
citizens, while the country neighbours of the victim looked on with
indifference, or even helped to waste the lands or force the stronghold
of a rival. The castle once taken, it was either levelled with the
ground, or was restored to the owner on condition of his yielding
service to the Republic. And, both by way of securing a hold upon an
unwilling vassal and of adding a wealthy house and some strong arms to
the Commonwealth, he was compelled, along with his family, to reside in
Florence for a great part of every year.