Via del Corso, 18 – Inferno – Canto VIII – vv 61 – 63
Plaque located in Via del Corso above number 18, where the houses of the Adimari relatives of the Argenti were once located.
coat of arms: CAVICCIULI Family.
Inferno – Canto VIII – vv 61 – 63
“TVTTI GRIDAVANO: – A FILIPPO ARGENTI! –
E’ L FIORENTINO SPIRITO BIZZARRO
IN Sè MEDESMO SI VOLGEA CO’ DENTI.”
All the other damned souls were shouting: “Get Filippo Argenti!” And that Florentine spirit, who by nature was arrogant and eccentric, turned upon himself, biting his own flesh in a fit of rage and despair.
Filippo degli Adimari, a Florentine nobleman, was known by the nickname “Argenti” because he used to shoe his horse with silver horseshoes.
While crossing the river Styx, Dante Alighieri recognizes the spirit of this man and, in a surge of indignation, clearly expresses how his ancient grudge against Argenti has now transformed into a desire to see him subjected to eternal torment.
At that point, the other damned souls join in a chorus of screams and set upon Argenti, who thrashes in the mud with uncontrollable fury. This episode represents a significant moment in which Dante manifests his adherence to Divine Justice. Argenti’s punishment perfectly symbolizes the contrapasso: his own excessive rage consumes him, serving as a powerful depiction of the retribution reserved for those who committed the sin of wrath.
Filippo Argenti is placed among the wrathful in the Fifth Circle of Hell. Immersed in the mire of the Styx (one of the infernal rivers), these souls continuously strike one another with slaps, punches, and bites.
Via Calzaiuoli 11/13R – Inferno – canto X – vv 58 – 63
Plaque located in Via Calzaiuoli between numbers 11R and 13R, where the houses of the Cavalcanti family once stood.
Coat of arms: CAVALCANTI Family.
Inferno – canto X – vv 58 – 63
” . . . SE PER QUESTO CIECO
CARCERE VAI PER ALTEZZA D’INGEGNO,
MIO FIGLIO OV’è? E PERCHE’ NON è TECO?
ED IO A LUI: DA ME STESSO NON VEGNO:
COLUI CHE ATTENDE Là PER QUI MI MENA,
FORSE CUI GUIDO VOSTRO EBBE A DISDEGNO.
“If you are journeying through this dark prison (Hell) by virtue of your lofty genius, where is my son? And why is he not with you?”
“I do not come here on my own (by my own merit): he (Virgil) who waits for me down there leads me through this place, perhaps towards Her (Beatrice) for whom your Guido held disdain.”
When Farinata degli Uberti appears from his tomb, recognizing Dante’s intelligence and acumen, he asks if he is in that infernal place merely passing through as a living soul.
Dante replies, immediately clarifying that his presence there is not independent; it is due to the guidance of someone else, referring to the poet Virgil, who is waiting for him nearby to lead him back to the surface.
At this point, the focus shifts to another damned soul, Cavalcante dei Cavalcanti (who overhears the dialogue). Seeing Dante alive, Cavalcante interrupts the conversation to ask for news of his son, Guido Cavalcanti, distressed by the fact that Dante is in that place.
Guido Cavalcanti, a follower of Epicureanism, was placed by Dante among the heresiarchs in the Sixth Circle of Hell, where the damned lie within flaming tombs.
Cortile Palazzo Vecchio – Inferno – canto X – vv 91 – 93
This plaque is located in Piazza della Signoria, within the inner courtyard of Palazzo Vecchio.
Inferno – canto X – vv 91 – 93
” . . . FV’ IO SOL COLà DOVE SOFFERTO
FV PER CIASCVUN DI TòRRE VIA FIORENZA
COLVI CHE LA DIFESI A VISO APERTO. “
“I was the only one present in that place where everyone else (the Florentines) would have agreed to see Florence wiped away; I was the one who defended her openly (with courage and without hiding).”
Farinata degli Uberti, addressing Dante, proudly recalls his crucial role at a specific historical moment. With the expression “là dove sofferto / fu per ciascun di tòrre via Fiorenza” (where it was agreed by everyone to do away with Florence), he refers to the Council of Empoli in 1260. Following the crushing Ghibelline victory at Montaperti, all the exiled and victorious leaders agreed on the necessity of demolishing and erasing Florence to definitively eliminate the Guelph faction.
However, Farinata firmly emphasizes: “Ma fu’ io solo” (But I was the only one); he boasts of being the only Ghibelline representative to stand strongly against this resolution that would have destroyed the city. He reiterates that he defended her “a viso aperto” (with an open face), meaning his defense was public, explicit, and full of courage. These verses highlight Farinata’s great nobility of spirit and his profound patriotism—qualities that Dante, despite being his political adversary and finding him among the damned heretics, deeply respects and admires.
Dante places this character among the heresiarchs of the Sixth Circle of Hell, accusing him of Epicureanism.
Ponte Vecchio – Inferno – canto XIII – v 146
Plaque located in the center of the Ponte Vecchio, beneath the loggia.
Inferno – canto XIII – v 146
” . . . IN SVL PASSO D’ARNO.”
To fully grasp the meaning, it is essential to consider the entire tercet. Here, the damned soul reveals that he is originally from Florence, a city that changed its patron protector from Mars to Saint John the Baptist. Because of this, the city is a victim of constant wars; only the fragment of the pagan god’s statue on the Arno preserves it from total destruction.
He says that Mars, out of revenge for the change of patron, will forever make Florence unhappy (“will make it sorrowful”).
Immediately after, he adds that if it were not for the fact that a fragment of the statue of Mars still remains on the bridge over the Arno (believed to be a remnant of a Roman statue located on the Ponte Vecchio), the citizens who rebuilt the city would have done so in vain, as the god’s wrath would have already completely destroyed it.
In short, line 146 means that the survival of Florence is due to that “passo d’Arno” (the bridge crossing) where the only remaining trace of the old protector is found.
Via De’ Cerretani – Inferno – canto XV – vv 82 – 84
This plaque is located in Via de’ Cerretani, on the exterior wall of the Church of Santa Maria Maggiore, the site where the tomb of Dante’s master, Brunetto Latini, is situated.
Inferno – canto XV – vv 82 – 84
” . . . IN LA MENTE M’E FITTA, E OR M’ACCORA
LA CARA E BVONA IMAGINE PATERNA
DI VOI, QVANDO NEL MONDO AD ORA AD ORA
M’INSEGNAVATE COME L’VOM S’ETERNA!”
“Fixed in my mind and now deeply saddening to my heart is your dear and benevolent image (which was to me like that of a father), of when, in the world of the living, step by step, you taught me how man makes himself eternal [through fame and virtue]!”
Dante expresses here his profound gratitude and affection for Brunetto Latini (damned among the sodomites), recognizing him as his primary educator.
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“The dear and kind paternal image of you”: This highlights the affectionate and formative relationship, which was almost like that of a father and son.
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“You taught me how man makes himself eternal”: This is the key passage. Brunetto had taught Dante how to achieve immortality or lasting fame through the wise use of intellect and writing (the path to earthly glory). Even though Brunetto is in Hell, Dante does not deny the fundamental importance of his teachings in his life.
Dante places Latini in the third ring of the Seventh Circle of Hell among the sodomites. Their punishment consists of running under a rain of fire without ever stopping; if they stop, they are forced to lie pinned to the ground for a hundred years, unable to defend themselves from the flames.
Via De’ Tornabuoni – Inferno – Canto XVII – vv 58 – 60
This plaque is located in Via de’ Tornabuoni, near number 1r.
Coat of arms: GIANFIGLIAZZI Family.
Inferno – Canto XVII – vv 58 – 60
” . . . COM’IO RIGVARDANDO TRA LOR VEGNO,
IN VNA BORSA GIALLA VIDI AZZVRRO,
CHE D’VN LEONE AVEVA FACCIA E CONTEGNO.”
“And as I moved closer to observe them, upon a yellow purse I saw an azure mark (the symbol), which had the face and the posture of a Lion.”
In these verses, Dante finds himself in the third ring of the Seventh Circle (the area of the Usurers) and observes the souls who are weeping, with purses hanging from their necks displaying their family crests.
“As I look further among them with careful attention, I saw upon a yellow purse the image of an azure lion, which had the appearance and bearing of a [heraldic] lion.”
Dante does not name the usurer in question but identifies him through the coat of arms painted on the purse.
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“Upon a yellow purse I saw azure”: The purse (the medium through which the damned soul displays his shame and obsession) is yellow. On the purse, there is a heraldic emblem in azure.
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“Which had the face and posture of a lion”: The crest is a lion. Scholars almost unanimously identify this coat of arms (an azure lion on a gold/yellow field) as that of the Gianfigliazzi, a Florentine family well-known for usury.
Dante continues by identifying other usurers through their crests, showing how the obsession with money has reduced these people to mere emblems of their vice. He places a member of the Gianfigliazzi household in the third ring of the Seventh Circle because they enriched themselves through money-lending rather than hard work. They are condemned to sit upon the scorching sand, tormented by a rain of fire.
Piazza San Giovanni – Inferno, canto XIX – v 17
Plaque located in Piazza San Giovanni, on the side of Via Martelli, at the foot of the Baptistery.
Inferno – canto XIX – v 17
“Non mi parean men ampi né maggiori
che que’ che son , NEL MIO BEL SAN GIOVANNI,
fatti per loco d’i battezzator”
“They seemed to me neither less wide nor greater than those used as baptismal fonts in my beautiful San Giovanni;”
The episode of Canto XIX takes place in the Third Bolgia of the Eighth Circle, where the Simoniacs (those who bought or sold ecclesiastical privileges) are punished. Here, Dante encounters Pope Nicholas III, who prophesies the future damnation of Pope Boniface VIII and Pope Clement V. The canto concludes with a fierce invective by Dante against the rampant corruption within the Church.
Dante uses the affectionate expression “il mio bel San Giovanni” (my beautiful Saint John) to refer to the Baptistery of Florence, the most sacred and beloved symbol of his city. The poet had been baptized there, and according to tradition, every Florentine citizen felt a profound emotional bond with this place.
Via Dante Alighieri – Inferno – Canto XXIII – vv 94 – 95
This plaque is located in Via Dante Alighieri, above number 2, near the Dante’s House Museum.
Coat of arms: ALIGHIERI Family.
Inferno – Canto XXIII – vv 94 – 95
“. . . I WAS BORN AND RAISED UPON THE BEAUTIFUL RIVER ARNO IN THE GREAT CITY”
“I was born and I grew up along the banks of the beautiful river Arno, in the great city [of Florence].”
These two verses are part of the introduction of Dante himself, as he responds to the questions of Catalano dei Malavolti and Loderingo degli Andalò—two damned souls who had previously been sent to Florence as peacemakers (the Frati Gaudenti).
The poet uses this phrasing to identify himself with pride as a citizen of Florence—the “gran villa” (the great city)—which stands upon the “bel fiume d’Arno” (the beautiful river Arno). This brief but powerful declaration highlights the poet’s deep bond with his native land.
Via dei Tavolini – Inferno, Canto XXXII, vv. 79-81 – vv. 106-108
Plaque located in Via dei Tavolini, between numbers 6 and 8.
Coat of arms: ABATI Family.
Inferno, Canto XXXII, vv. 79-81
“PIANGENDO MI SGRIDò: – PERCHE’ MI PESTE? SE TU NON VIENI A CRESCER LA VENDETTA DI MONTAPERTI, PERCHè MI MOLESTE?”
“Weeping, he harshly rebuked me, saying: ‘Why are you trampling me? Unless you have come to increase the vengeance for Montaperti, why do you torment me?'”
Walking toward the center of Cocytus, Dante and Virgil enter the zone called Antenora. Dante is freezing and accidentally strikes the head of a damned soul with his foot. The soul, Bocca degli Abati—one of the betrayers of his homeland—weeps and reproaches Dante, telling him not to trample him. Bocca degli Abati asks Dante why he is kicking him if he has not come to avenge the betrayal of the Battle of Montaperti, and thus invites him to leave him alone.
Inferno, Canto XXXII, vv. 106-108
QUANDO VN ALTRO GRIDò:- CHE HAI TV BOCCA? NON TI BASTA SONAR CON LE MASCELLE, SE TV NON LATRI? QVAL DIAVOL TI TOCCA?
“When another damned soul cried out: ‘What is it, Bocca? Is it not enough for you to chatter with your teeth (from the cold), but you must also bark? What devil is tormenting you?'”
…Another damned soul intervenes, rebuking Bocca and asking why he is screaming in that manner. At this point, having learned the name of the traitor (Bocca), Dante promises him that he will reveal his infamy to the entire world.
Bocca degli Abati is placed in the second zone of the Ninth Circle, Antenora, among those who betrayed their homeland. They are condemned to remain imprisoned in the frozen lake of Cocytus.
Via San Salvatore al Monte – Purgatorio – Canto XII – vv 100 – 105
“This commemorative plaque is located in Via di San Salvatore al Monte, at the beginning of the monumental staircase that leads to Piazzale Michelangelo.”
Purgatorio – Canto XII – vv 100 – 105
” . . . PER SALIRE AL MONTE
DOVE SIEDE LA CHIESA CHE SOGGIOGA
LA BEN GUIDATA SOPRA RUBACONTE,
SI ROMPE NEL MONTAR L’ARDITA FOGA,
PER LE SCALEE, CHE SI FERO AD ETADE
CH’ERA SICURO IL QUADERNO E LA DOGA.”
” …To ascend the mountain where the church stands—the one that overlooks the city (Florence) which was once well-governed, situated above the Rubaconte bridge—the steepness of the climb is broken by the stairs. These steps were built in an era when public records and measurements were still held sacred (that is, during a time of civic honesty).”
To describe the arduous climb within Purgatory, Dante draws a parallel with the stone stairs leading up to the Basilica of San Miniato al Monte. This church still overlooks Florence today, positioned directly above what was then the Rubaconte Bridge (known today as Ponte alle Grazie).
Dante uses this vivid memory to launch a political critique: he notes that the stairs were constructed by just administrators. This stands in stark contrast to the corruption of his own time. Specifically, he refers to the scandals of 1299, when corrupt officials tampered with the public ledgers (the quaderno) and cheated on the legal measurements of salt (the doga). By doing so, Dante highlights the moral decay of Florence, contrasting the physical “climb” toward God with the city’s “descent” into dishonesty.
Piazza Piave – Purgatorio – Canto XIV – vv 16 – 18
Plaque located in Piazza Piave on the Tower of the Old Mint (Torre della Zecca Vecchia), featuring verses dedicated to the Arno River.
Purgatorio – Canto XIV – vv 16 – 18
” . . . PER MEZZA TOSCANA SI SPAZIA
VN FIVMICEL CHE NASCE IN FALTERONA
E CENTO MIGLIA DI CORSO NOL SAZIA.”
“Through the heart of Tuscany flows a small river that rises from Mount Falterona, and its course extends for more than a hundred miles.”
“In these verses, Dante is speaking with a soul in Purgatory who wishes to know his identity. Dante replies by stating that he comes from the region bathed by the Arno—the river that originates on Mount Falterona and travels for over a hundred miles throughout Tuscany.”
Via del Corso – Purgatorio – Canto XXIV vv 79 – 84
A commemorative plaque located in Via del Corso, on the remains of the Donati Tower.
Coat of arms: Donati family
Purgatorio – Canto XXIV vv 79 – 84
“. . . . . . . . . . IL LOCO, V’FVI A VIVER POSTO,
DI GIORNO IN GIORNO PIV’ DI BEN SI SPOLPA,
ED A TRISTA RVINA PAR DISPOSTO.
. . . . . . . . . . QVEI CHE PIV’ N’HA COLPA
VEGG’IO A CODA D’VNA BESTIA TRATTO
INVER LA VALLE OVE MAI NON SI SCOLPA.
“… the place where I was born (Florence) is being stripped of its goodness day by day, and seems poised for a dismal ruin.” “Do not worry, for I see the man who is most to blame (Corso Donati) being dragged by the tail of a horse toward the valley (Hell) where no sin can be atoned for.”
“In Purgatory, Dante encounters Forese Donati. The conversation begins with the Poet lamenting the moral decay of his homeland, Florence. Immediately after, Forese utters a prophecy regarding the violent and tragic death of his brother: Corso will be dragged to Hell tied to a horse’s tail, which will leave him horribly disfigured. Dante places Donati among the gluttonous in the sixth terrace of Purgatory, condemned to suffer from hunger and to be hollowed out by a terrifying emaciation.”
Via del Corso – Purgatorio – canto XXX – vv 31 -33
“This plaque, featuring verses dedicated to the poet’s muse, Beatrice Portinari, was placed in Via del Corso at the former site of the Portinari houses, to the right of the entrance to Palazzo Portinari-Salviati.
Coat of arms: Portinari family
Purgatorio – canto XXX – vv 31 -33
“SOVRA CANDIDO VEL CINTA D’OLIVA
DONNA M’APPARVE, SOTTO VERDE MANTO,
VESTITA DI COLOR FIAMMA VIVA.”
“Over a veil of pure white, crowned with olive branches, a woman appeared to me, robed in a green mantle and garments the color of living flame [red].”
“At the end of his journey through Purgatory, Dante experiences the vision of Beatrice. She appears dressed in the colors of the theological virtues (white, green, and red, representing Faith, Hope, and Charity) and wears an olive crown, which symbolizes peace and wisdom.”
Via Dante Alighieri – Paradiso, Canto XV, vv. 97-99
“Plaque situated in Via Dante Alighieri near house number 1, on the left-hand side of the Badia Fiorentina.”
Paradiso, Canto XV, vv. 97-99
” FIORENZA, DENTRO DALLA CERCHIA ANTICA,
OND’ELLA TOGLIE ANCORA E TERZA E NONA,
SI STAVA IN PACE SOBRIA E PVDICA.”
“Florence, confined within her most ancient walls (the first circuit of walls), from which she still marks the hours of Tierce and Nones, lived (during the time of Cacciaguida, in the 12th century) in a state of peace, characterized by sobriety—that is, frugality and moderation—and by modesty—meaning morality and decency.”
“These verses are fundamental as they represent Cacciaguida’s nostalgic eulogy of the ‘Old Florence,’ standing in stark contrast to the corrupt and fractious city Dante knew.
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The Ancient Circuit (La Cerchia Antica): This refers to the city’s first, most restricted wall perimeter, dating back to Roman times or the early stages of urban development.
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Tierce and Nones (Terza e Nona): These are not merely times of day but canonical hours—specific moments set aside for prayer. Tierce is the third hour after sunrise (around 9:00 AM), while Nones is the ninth hour (around 3:00 PM). Mentioning these hours suggests that civic life still followed the rhythms established by the Church and monastic life, symbolizing a rigorous moral and social order.
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Peaceful, Sober, and Modest (Pace, Sobria e Pudica): These three adjectives describe ancient Florence as not only peaceful (free from the violent internal strife of Dante’s time) but also parsimonious (sober) and morally upright (modest). This is far removed from the unbridled luxury and decadence that, according to the great-great-grandfather, had led the city to its modern-day ruin.”
Via del Corso 1/3r – Paradiso, Canto XV, vv. 112-114
Plaque located in Via del Corso, near house numbers 1r and 3r.
Paradiso, Canto XV, vv. 112-114
” BELLINCIONI BERTI VID’IO ANDAR CINTO
DI CVOIO E D’OSSO, E VENIR DALLO SPECCHIO
LA DONNA SVA SANZA IL VISO DIPINTO.”
“I saw (in my time) Bellincion Berti (a man of high noble lineage) walking with a belt made simply of leather and bone, and I saw his wife turn away from her mirror without having painted her face (that is, without using makeup).”
“These three verses offer a vivid, concrete example of the sobriety and modesty that Cacciaguida had spoken of in general terms just before (vv. 97-99). To make his description more powerful, he cites two historical Florentine figures well known in Dante’s time:
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Bellincion Berti: He was a high-ranking Florentine nobleman (father of the ‘good Gualdrada,’ a figure of virtue) who lived in the 12th century. Cacciaguida uses him as a symbol of the ancient nobility, which was modest and did not flaunt its wealth.
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‘Girt with leather and bone’ (Cinto di cuoio e d’osso): His belt, a standard part of male attire, was simple and frugal, made of humble, functional materials (leather) or items of little value (bone). This stands in direct contrast to the rich belts adorned with gold and gems that were fashionable in Dante’s day.
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His Lady (La Donna Sua): Referring to Bellincion Berti’s wife (or, by extension, the Florentine woman of that era).
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‘Without a painted face’ (Sanza il viso dipinto): She would leave her mirror without having applied makeup (‘painted’ her face). This detail serves as proof of the feminine modesty and decency of the past. The woman of that time felt no need to alter her appearance with cosmetics, which Dante viewed as symbols of the vanity and superficiality he condemned in contemporary Florence.”
Via degli Speziali – Paradiso, Canto XVI, vv. 40-42
This plaque is located in Via degli Speziali, between house numbers 11r and 3.
Paradiso, Canto XVI, vv. 40-42
” GLI ANTICHI MIEI ED IO NACQVI NEL LOCO
DOVE SI TROVA PRIA L’VLTIMO SESTO
DA QVEL CHE CORRE IL VOSTRO ANNVAL GIVOCO”
“My ancestors and I were born in the district (or location) where the final sixth part of the racecourse is first encountered, coming from that point where your annual race (the palio) takes place.”
“In these verses, Cacciaguida responds to Dante’s request to know his geographic origins within Florence. The answer is given through a complex periphrasis—typical of Dante—using a topographical reference well known to Florentines of that era.
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‘The Final Sixth’ (L’ultimo sesto): In Dante’s time, the municipal territory of Florence was divided into six districts, called sesti.
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‘The Annual Game’ (Il vostro annual givoco): This refers to the Palio of San Giovanni, a horse race held every year on June 24th (the feast of the patron saint). The race began outside the city gates and concluded in the city center.
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The Point of Reference: Cacciaguida indicates that he and his family were born at the point where the Palio route, upon entering the city, reached the boundary of the Sesto di Porta San Pietro, just before entering the final sixth of the course. This location is identifiable as the area between Porta San Piero and the ancient Badia Fiorentina.
Significance: Rather than naming the neighborhood directly, Cacciaguida uses this precise topographical point to define his family’s ancient heritage. It proves that his lineage was of ancient and indigenous Florentine origin, born and raised within the city’s original core.”
Via del Corso, 4/6r – Paradiso, Canto XVI, vv. 94-96
Plaque located in Via del Corso, between numbers 4r and 6r.
Paradiso, Canto XVI, vv. 94-96
” . . . LA PORTA, CH’AL PRESENTE è CARCA
DI NOVA FELLONIA, DI TANTO PESO,
CHE TOSTO FIA IATTVRA DELLA BARCA.”
“… the district (Porta San Pietro), which nowadays is weighed down and submerged by new wicked acts and betrayals, has become so heavy (in a moral and political sense) that it will soon cause the shipwreck (or the loss) of the ship of the city (Florence).”
“These verses are among the most obscure and prophetic in Cacciaguida’s discourse, culminating his lament over the decadence of Florence with a stark prophecy of ruin.
Cacciaguida denounces the moral degradation of his Florence. The area of Porta San Pietro is highlighted as the place where newcomers contaminated ancient values. The most glaring example of this degeneration was the explosive rivalry between the Cerchi family—wealthy and newly settled—and the historic Donati family. This conflict, which originated from property boundary disputes, was not merely a neighborhood quarrel; it was the catalyst that split the Guelphs into the Black and White factions.”
Via dei Tavolini, 1r – Paradiso – Canto XVI – vv 101 – 102
Plaque located in Via dei Tavolini, near house number 1r.
Coat of arms: Galigai family
Paradiso – Canto XVI – vv 101 – 102
” . . . . . . . . . . ED AVEA GALIGAIO
DORATA IN CASA SVA GIà L’ELSA E’L POME.”
“…and the Galigaio family already had the hilt and the pommel (of the sword) gilded in their home.”
“Dante and Cacciaguida are listing the ancient and honored families of Florence. The Galigai were a family of Fiesolan origin, wealthy and powerful, who later split and played a role in the city’s internal conflicts. The hilt and the pommel are the parts of the sword’s grip. Possessing a sword with these parts gilded (or adorned with gold) was a sign of immense wealth and nobility, symbolizing their high status as knights and warriors.
In summary, Cacciaguida is stating that in his time, the Galigai family had already reached a level of wealth and prestige that allowed them to afford such sumptuous weaponry.”
Cortile Palazzo Vecchio – Paradiso – Canto XVI – vv 109 – 110
Plaque located inside the courtyard of Palazzo Vecchio.
Coat of arms: Degli Uberti family
Paradiso – Canto XVI – vv 109 – 110
” OH QVALI VIDI QVEI CHE SON DISFATTI
PER LOR SVPERBIA !”
“Oh, how high I saw those who are now in ruin because of their pride!”
–“OH QVALI VIDI” (Oh, how great I saw them): This exclamation emphasizes the surprise and the weight of this past vision. In this context, the term “quali” is used to indicate “how great” or “how powerful” they once were.
“QVEI CHE SON DISFATTI” (Those who are undone): This refers to those Florentine families whom Cacciaguida had seen at the height of their power and wealth, but who, at the time he speaks (and in Dante’s own time), have since fallen, been ruined, and scattered, losing all their influence.
“PER LOR SVPERBIA” (By their pride): This is the direct cause of their downfall. Pride (Superbia)—excessive presumption and arrogance—is the vice that, according to Cacciaguida, led to the moral corruption and subsequent material and political destruction of these ancient Florentine houses.
In summary: Cacciaguida laments and highlights that many illustrious families of Florence’s past were punished and destroyed by their own arrogance and immoderate ambition.
The family in question is the Uberti: their pride led them to ruin and exile from the city after rebelling against the Municipal Ordinances (Ordinamenti Comunali). The tower-houses of the Uberti once stood majestic precisely where Palazzo Vecchio is located today.
Via Lamberti – Paradiso – Canto XVI – vv 110 – 111
Plaque located in Via Lamberti, near house numbers 18r and 20r.
Coat of arms: Lamberti family
Paradiso – Canto XVI – vv 110 – 111
” . . . . . . . . . . E LE PALLE D’ORO
FIORIAN FIORENZA IN TVTT’I SVOI GRAN FATTI”
“…and the golden orbs (of the Lamberti coat of arms) honored and shone throughout Florence in all its great endeavors.”
“The ‘golden balls’ (palle d’oro) refer to the famous heraldic coat of arms of the Lamberti family. Their shield was characterized by a golden field with red orbs (or ‘balls’).
‘FIORIAN FIORENZA’: This is a figurative verb meaning ‘they honored,’ ‘they shone,’ or ‘they were an ornament for Florence.’ The Lamberti family, with its wealth and power, brought prestige to the city during its great actions, undertakings, and moments of glory.
In summary: Cacciaguida is stating that, in his time, the coat of arms (and thus the power and prestige) of the Lamberti family adorned and glorified Florence in all its most important endeavors. However, this family also fell into ruin due to its pride.”
Via delle Oche – Paradiso – Canto XVI – vv 112 – 114
Plaque located in Via delle Oche, on what remains of the Visdomini Tower.
Coat of arms: Visdomini family
Paradiso – Canto XVI – vv 112 – 114
“COSì FACEAN LI PADRI DI COLORO
CHE, SEMPRE CHE LA VOSTRA CHIESA VACA,
SI FANNO GRASSI, STANDO A CONSISTORO.”
“In the same way (with honor) acted the fathers of those who today (their descendants), every time your diocese (of Florence) is without a bishop (vacant), enrich themselves dishonestly by participating in the ecclesiastical council (the consistory).”
“The fathers of this family acted in an honorable and loyal manner, just like the other virtuous families previously mentioned (such as the Galigai and Lamberti).
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The Vacant See: The ‘church’ in this case refers to the Florentine diocese. When a bishop dies or is transferred, the episcopal seat is ‘vacant’ (vaca).
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‘Farsi grassi’ (To grow fat): This is an idiomatic expression meaning ‘to enrich oneself’ or ‘to appropriate assets.’
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The Consistory: The ‘Consistoro’ was the council that temporarily managed the Curia’s assets in the absence of a bishop. Dante accuses the Visdomini family (among others) of cynically exploiting this interregnum to pillage or fraudulently administer the Church’s patrimony. Rather than acting as protectors, they used their position to profit from the Church’s wealth.”
Via delle Oche, 35/37r – Paradiso – Canto XVI – vv 115 – 117
Plaque located in Via delle Oche, between house numbers 35r and 37r.
Coat of arms: Adimari family
Paradiso – Canto XVI – vv 115 – 117
“L’OLTRACOTATA SCHIATTA CHE S’INDRACA
DIETRO A CHI FVGGE, ED A CHI MOSTRA IL DENTE
O VER LA BORSA, COM’AGNEL, SI PLACA.”
“The arrogant lineage (the Adimari) that rages and becomes as fierce as a dragon when pursuing those who flee, but becomes as quiet as a lamb before anyone who shows their teeth (force) or, alternatively, shows their purse (money).”
“This refers almost certainly to the Adimari family, notorious for their pride and for being among Dante’s political enemies who contributed to his exile. The term ‘oltra cotata’ specifically means ‘excessively presumptuous’ or ‘arrogant.’
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The Dragon: The lineage becomes a ‘dragon’ (a symbol of ferocity and cruelty) only when chasing those who run away—meaning those who are weaker or unable to defend themselves. It is a portrait of cowardice masked as aggression.
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The Lamb: The final critique is devastating and reveals their opportunistic nature. They immediately calm down like a ‘lamb’ (a symbol of docility) when they encounter an opponent who shows strength or a threatening attitude (‘shows their teeth’). Alternatively, they allow themselves to be bribed and appeased with money (‘shows their purse’).
In short, the Adimari family is accused of being arrogant toward the weak while remaining submissive and venal toward the strong or those who can corrupt them.”
Borgo De’ Greci – Paradiso – Canto XVI – vv 124 – 126
Plaque located in Borgo de’ Greci, near house number 29.
Paradiso – Canto XVI – vv 124 – 126
“NEL PICCOL CERCHIO S’ENTRAVA PER PORTA
CHE SI NOMAVA DA QVE’ DELLA PERA.”
“One entered the smallest circuit of walls (the most ancient walls of Florence) through a gate that took its name from those (the family) of the Della Pera.”
“NEL PICCOL CERCHIO” (In the small circle): This indicates the first and oldest circuit of walls in Florence, which enclosed the heart of the city during the Roman and early medieval periods. Cacciaguida uses it as a symbol of a Florence that was simple, contained, and virtuous.
“S’ENTRAVA PER PORTA / CHE SI NOMAVA DA QVE’ DELLA PERA” (One entered through a gate named after those of the Pear): The gate in question took its name from the noble family (specifically the Peruzzi, whose coat of arms featured pears), located in the southwestern quadrant of the first circuit. The fact that a city gate bore the name of a family was an indication of immense prestige.
Via de’ Cerchi – Paradiso – Canto XVI – vv 127 – 132
Plaque located in Via de’ Cerchi, at the corner of Via de’ Tavolini.
Coat of arms: Della Bella family
Paradiso – Canto XVI – vv 127 – 132
“CIASCVN CHE DELLA BELLA INSEGNA PORTA
DEL GRAN BARONE . . .
DA ESSO EBBE MILIZIA E PRIVILEGIO;
AVVEGNA CHE COL POPOL SI RAVNI
OGGI COLVI CHE LA FASCIA COL FREGIO.”
“Every family that bears upon its coat of arms the fair ensign of the great Baron (Hugh of Tuscany)—whose honor and merit are remembered and celebrated on the feast day of Saint Thomas (December 21st)—received from him their knighthood and great privileges. Despite this, today, he who bears that same coat of arms with a decorative border (Giano della Bella) aligns himself with the faction of the common people.”
Via del Proconsolo – Paradiso – Canto XVI – vv 127 – 130
Plaque located in Via del Proconsolo, on the facade of the Church of Santa Maria Assunta.
Coat of arms: Hugh of Tuscany
Paradiso – Canto XVI – vv 127 – 130
“CIASCVN CHE DELLA BELLA INSEGNA PORTA
DEL GRAN BARONE, IL CVI NOME E IL CVI PREGIO
LA FESTA DI TOMMASO RICONFORTA,
DA ESSO EBBE MILIZIA E PRIVILEGIO.”
“This refers to Marquess Hugh of Tuscany (who died on December 21, 1001), a powerful imperial feudal lord who was considered the founder of the Florentine nobility. Hugh of Tuscany died on the feast day of Saint Thomas the Apostle, and on that day his memory was celebrated, serving as a testament to his great fame and piety. The families that traced their lineage back to Hugh received significant privileges from him.”
“Hugh of Tuscany, often called the ‘Great Baron’ by Dante, was the Margrave of Tuscany and a key figure in the transition of Florence into a prominent medieval power.
Via Por Santa Maria – paradiso – Canto XVI – vv 136 -139
This plaque is located in Via Por Santa Maria, near house number 11r.
Coat of arms: Amidei family.
paradiso – Canto XVI – vv 136 -139
“LA CASA DI CHE NACQVE IL VOSTRO FLETO,
PER LO GIVSTO DISDEGNO CHE V’HA MORTI,
E PVOSE FINE AL VOSTRO VIVER LIETO,
ERA ONORATA ESSA E I SVOI CONSORTI.”
“The household (the Amidei and their allies) from which your weeping originated (the mourning and divisions of Florence), due to the just resentment that caused your ruin (through civil strife) and put an end to your peaceful existence, was honored back then—both the family itself and those associated with it.”
“This refers to the House of Amidei and, in a broader sense, all their family allies.
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‘IL VOSTRO FLETO’ (Your weeping): This means your grief or, more extensively, the civil wars that tore Florence apart (the division between Guelphs and Ghibellines). Dante attributes the first spark of these conflicts to the Buondelmonte episode.
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The ‘Just Resentment’ (Il giusto sdegno): This refers to the anger felt by the Amidei, who took revenge for a slight they suffered. The offense was committed by Buondelmonte de’ Buondelmonti, who had promised to marry a woman of the Amidei family but instead married a Donati, dishonoring his betrothed.
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The Murder: The Amidei retaliated by killing Buondelmonte (at the foot of the statue of Mars). This murder gave rise to the city’s factional split. Before this event, the Amidei family and their allies were highly esteemed and respected in Florence.
In summary: Cacciaguida concludes his review of illustrious but fallen families by identifying the Amidei’s revenge as the fatal turning point that ended the ‘joyful life’ and peace of ancient Florence, introducing the feuds that ultimately ruined the city.”
Borgo Santi Apostoli – Paradiso – Canto XVI – vv 140 – 144
This plaque is located in Borgo Santi Apostoli, in front of house number 6.
Coat of arms: Buondelmonte family
Paradiso – Canto XVI – vv 140 – 144
“O BVONDELMONTE . . . . . . . . . .
MOLTI SAREBBER LIETI CHE SON TRISTI,
SE DIO T’AVESSE CONCEDVTO AD EMA
LA PRIMA VOLTA CH’A CITTà VENISTI!”
“O, Buondelmonte… many people who are now sorrowful (due to divisions and mourning) would instead be happy, if only God had granted you to the river Ema the first time you came toward the city!”
“This direct invective emphasizes the historical significance of the character. Buondelmonte was a Guelph nobleman whose broken marriage engagement to a woman of the Amidei family led to his murder by the opposing faction, triggering the civil wars.
The fate of countless Florentines would have been better if Buondelmonte had never set foot in the city—that is, if he had drowned in the Ema stream on his way there—and, consequently, had never been killed, thus avoiding the fatal spark of the feud.”
Ponte Vecchio – Paradiso – Canto XVI – vv 145 – 147
This plaque is located on the Ponte Vecchio, at the corner of Piazza del Pesce.
Paradiso – Canto XVI – vv 145 – 147
” . . . CONVENIASI A QVELLA PIETRA SCEMA
CHE GVARDA IL PONTE, CHE FIORENZA FESSE
VITTIMA NELLA SVA PACE POSTREMA.”
“…it was destined that in that very place, by the pedestal of the broken statue overlooking the Bridge (Ponte Vecchio), Florence would make a victim of him, bringing its last days of peace to an end.”
“It was a sign of destiny (or perhaps a curse from the god Mars himself) that the murder of Buondelmonte took place exactly at the foot of the broken base (la pietra scema) of the statue of the pagan god Mars. This is because the murder itself was the sacrificial act that would irrevocably condemn Florence to decades of strife and bloodshed, marking the final end of the city’s serenity.”
Cortile Palazzo Vecchio – Paradiso – Canto XVI – vv 149 – 154
This plaque is located in the courtyard of Palazzo Vecchio.
Paradiso – Canto XVI – vv 149 – 154
“VID’IO FIORENZA IN Sì FATTO RIPOSO.
CHE NON AVEA CAGION ONDE PIANGESSE;
CON QVESTE GENTI VID’IO GLORIOSO
E GVSTO IL POPOL SVO TANTO, CHE IL GIGLIO
NON ERA AD ASTA MAI POSTO A RITROSO,
Nè PER DIVISION FATTO VERMIGLIO:”
“I saw Florence in such a state of serenity that she had no reason to complain or weep. I saw her people so honorable and esteemed that the Lily (the city’s symbol) had never been displayed upside down on the staff (as a sign of defeat or infamy), nor had it ever been made red (changed in color) due to internal divisions.”
“This is a description of Florence in an era of perfect peace and tranquility (riposo), knowing none of the mourning or discord that would later afflict her. The people were honored and respected thanks to the valor of the ancient, virtuous families mentioned previously. Florence was so strong and respected that she had never suffered such humiliation.
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The Lily (Il Giglio): The most ancient coat of arms of Florence was a white lily on a red field.
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The Change of Colors: Due to the struggles between Guelphs and Ghibellines, the Guelphs (who were victorious in 1251) wished to distinguish themselves and reversed the colors, adopting the red lily on a white field.
The Canto closes with this powerful image of a lost Florence: a city where even the symbol of the homeland has been stained and altered by the blood of civil strife.”
Battistero – Paradiso – Canto XXV vv 1 – 9
Plaque placed at the foot of the Baptistery, on the side facing the Cathedral.
Paradiso – Canto XXV vv 1 – 9
” SE MAI CONTINGA CHE ‘L POEMA SACRO
AL QVALE HA POSTO MANO E CIELO E TERRA
SI CHE M’HA FATTO PER PIV ANNI MACRO,
VINCA LA CRVDELTA CHE FVOR MI SERRA
DEL BELLO OVILE, OV’IO DORMì AGNELLO
NIMICO AI LVPI, CHE LI DANNO GVERRA,
CON ALTRA VOCE OMAI, CON ALTRO VELLO
RITORNERO POETA, ED IN SVL FONTE
DEL MIO BATTESIMO PRENDERO ‘L CAPELLO”
“If it should ever happen that the sacred poem, to which both Heaven (divine experience) and Earth (human experience) have set their hand, and which has made me lean for many years (due to the labor it cost me), should overcome the cruelty [of my enemies] that keeps me barred from the fair fold (Florence), where as a lamb I slept, a foe to the wolves that war against it; then I shall return as a poet, with a new fame (‘another voice’) and honor (‘another fleece’), and I shall receive the laurel crown at the font of my Baptism [the Baptistery of San Giovanni].”
“Dante defines the Comedy as ‘sacred’ not only for its subject matter but because it is an overarching work of universal scope. The expression ‘Heaven and Earth’ indicates its total inspiration. ‘Made me lean’ (fatto macro) is a captatio benevolentiae that highlights the enormous physical and moral effort the composition cost him during his years of exile.
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The Fair Fold and the Wolves: The ‘fair fold’ (bell’ovile) is an affectionate, biblical metaphor for his birthplace, Florence, seen as a protected place. The ‘wolves’ are his political enemies (the Black Guelphs) who condemned him.
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Another Fleece (Altro vello): Dante imagines returning not as the young, exiled Guelph, but as a world-renowned poet. The ‘fleece’ continues the sheep/lamb metaphor, suggesting a mature, poetic ‘coat.’
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The Baptismal Font: The climax of his hope is the Baptistery of San Giovanni. He desires the laurel crown—the symbol of the poet laureate—not in a foreign court, but in the most sacred and significant place of his own city.
In summary: These verses express Dante’s deepest hope: that the universal value of his work might be recognized, compelling his enemies to recall him from exile and crown him poet in his beloved Florence, as a deserved honor for his life and his labor.”
Piazza del Duomo – Paradiso – Canto XXXIII – vv 1 – 9
This plaque is located in Piazza Duomo, at the corner of Via del Campanile.
Paradiso – Canto XXXIII – vv 1 – 9
“VERGINE MADRE FIGLIA DEL TUO FIGLIO
UMILE ED ALTA PIù CHE CREATURA
TERMINE FISSO D’ETERNO CONSIGLIO
TU SE’ COLEI CHE L’UMANA NATURA
NOBILITASTI SI, CHE IL SUO FATTORE
NON DISDEGNò DI FARSI SUA FATTURA.
NEL VENTRE TUO SI RACESSE L’AMORE
PER LO CUI CALDO NELL’ETERNA PACE
COSì è GERMINATO QUESTO FIORE
ANNO MARIANO MCMLIV
“Saint Bernard offers a prayer to the Virgin, praising her as the highest and yet the humblest of all creatures. Mary has so ennobled human nature that God Himself willed to become incarnate within it. Within her womb, the love between God and humanity was rekindled, causing the celestial rose of the blessed to bloom; for them, she is a constant light of charity, and for mortals, she is an inexhaustible fountain of hope.”