W A L KS IN F L O RE N C E

AN D I TS EN VI R ON S

S U SA N AND JO A N N A H O R N ER

WI T H I L L U S T RAT IO N S

VO L I I . .

N E W E D I TI O N , R E VI S E D AN D EN L A R

LO N D O N

S M IT H , ELD ER, CO .
, 1 5 WAT ER LO O F LAC E
l

1 8 84

!A 1 ! r ig h t s r es e r v ed ]
 C O N T EN T S

THE S EC O N D VO LU M E .

U F FIZ I G ALLERY —F I RST C O RR I D O R

U FFIZ I G ALLERY —R OO M O F T H E EARLY M AS T ERS
U FFI ZI G ALLERY — LATER T U S C AN AR T
U F F IZ I G ALLERY R OO M O F S M ALL P I CT U RES B Y T U S C AN
-

M AS T ERS
U FFI Z I G ALLERY —T H E T R I B U NE P I C T U RES B EL O N G I N G
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T O O TH ER S C H OO LS
U FFI Z I G ALLERY— VENE TI AN P I CT U RES
U FF I Z I G ALLERY—SALA D I L O REN Z O M O NA C O
U FF IZ I G ALLERY — T H E P O R T RA I T B AR O CC I O AND
, ,

N I O B E R OO M S
U FFI ZI G ALLERY —O R IG I NAL DRAW I N G S B Y TH E O LD
M AS T ERS
U FFI ZI G ALLERY— EN G RAV I N G S
U FFI ZI G ALLERY — I N T A G L I AND C A M EI .

U FF I Z I GA LLERY—C O I NS AND M EDALS

U F F I Z I G ALLERY —B R O N Z ES AN D S C U L P TU RE .

TH E A C ADE M Y AN D S C AL Z O
T H E P I T T I G ALLERY —LAR G E R OO M S
TA B ERNA C LES —C ENA C O L O O F RA FF AELLE AND TA P E S
,

TR I ES
TH E AR C H /EO L OG I C AL M U SE U M —E G Y P T I AN ANT I QU ITI E S
TH E AR C H E O L O G I C AL M U SE U M —ETR U S C AN ANT I Q U I T I E S
M U SE U M O F TH E B AR GE LL O
 CONTENTS OF TH E SE CO ND VOL UI VE .

PAG E

T H E U N I V ERS I TY O F F L O REN C E —M U SE U M O F NA TU RAL

S C I EN C E — T H E T R I B U N E O F G AL I LE O
XXI . TH E ENV I R O NS O F F L O REN C E —T H E C O NV EN T O F SAN
D O M EN I C O —B AD I A O F F I ES O LE
F I E S O LE
TH E V I LLA P AL M I ER I —T H E O LD B O L O G N ESE R O AD
P RA T O L I N O — M O N TE SENAR I O
V I LLA ST I B B ERT — M ED I C E AN V I LLA O F C ARE GG I
P ETRA I A — C A ST E LL O—C I N O R I P O R C E LA I N M A N U F AC°

T O RY
XX V I . SA N SALV I —TH E C ASTL E O F V I N C I G L I ATA — RO V EZZ A N O

S E T T I G NAN O
ANT E LLA
SAN M I N I AT O AL M O N T E
T H E P O RTA R O M AN A —TH E C ERT O S A
TH E I M P R U N ET A — SAN F EL I C E I N EM A—S A NT A M A R
G H ERI T A I N R I P O L I —T O RRE D EL GA LL O— C H U RC H
O F SA N L E O N ARD O
B E LL O S G U AR D O —M A R I G N O LLE— P O RT A SAN F R E D I A N O .

V I LL A D E M I DO F F fl P O G G IO A C A I AN O
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S I G NA —L A V ERN I A —C A M A L D O I I VA LI O M B RO SA
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C H R O N O L O G Y O F ART I S T S

A P PEN D I X

I N D EX
[LL US TR A T I O N S TO TH E SE C ON D

AN GE L , BY F R A A N GE L I C O

SE A L O F TH E RE P U B L I C—G O LD F LO R I N —G EM O F
SAV O NAR O LA

C O ATS O F AR M S O F F L O REN C E TH E G U I LDS AN D

, ,

D I S T I N G U I SH E D F A M I L I E S
 WA L KS IN F LO R EN C E .

C H A P T ER I .

TH E UF F I Z I GA LLER Y .

E
begin our review of the P u bl ic Galleries with th e
U fiiz i as it contains the w o rks of artists from the
,

eleventh to the seventeenth centuries and thus illustrates the ,

h istory of art from the revival to the decline

, T h e limits of .

thi s book oblige u s to confine our descriptions chiefly to

T uscan and especially F lorentine art
,
We hope thus to a ff ord
,
.

some assistance to the foreigner who may not have time to ,

acquire a profo u nd knowledge of the subj ect and who at first , ,

sight may find it di ffi cult to discover any merit still less

, ,

beauty in the early native style of painting

,
.

F irst Corridor .

The corridor extending along three sides of the Gallery is

, ,

lined with sarcophagi stat u es and busts as well as pictures

, , ,

deserving notice tho u gh with few exceptions inferior as works

, , , ,

of art to those contained in the adj oining rooms

,
We are .

obliged to omit the numbers on the frames as they are ,

repeatedly altered either upon the introduction o f new pictures

, ,

or in accordance with the plans of succeeding directors of the

vor 11 . B
 UFFIZ I GA LLER Y .

Gallery We therefore refer the visitor for the numbers to

.
, , , ,

the latest printed catalogue and only select the most important
,

pictu res following as nearly as possible th e chronological

, , ,

order .

Th e earli est example of art is a M adonna and Child by ,

A n drea R ico of Candia who died abo u t 1 1 0 5 ,

H is works .

belong to what has been called By z antine art T h e treatment .

of the subj ect is conventional T h e Child seated on one hand .

,

of the Virgin clings with a natural movement to her other

,

hand though this picture is defective i n drawing th e action is ,

’
not devoid o f grace T h e outline of the Virgin s head is traced
.

with care the nose i s long the eyes half closed but sweet i n
, , ,

expression and there is a certai n digni ty i n the pose of the

,

head which i nclines to one side the colour however is brown

, , ,

and coppery and the outline hard,

.

T h e two pictures which bear the nam e of Cimab u e ( 1 2 4 0

1 302 are only feeble specimens of his school T h o ugh a .

reform er o f the art Cimabue retained much of the By z antine

,

ma n ner which prevailed i n Italy before he ventured to pass th e

bou ndary of traditional rules and endeavoured to i ntrod u ce ,

forms more analogous to nature as well as more classical ,

beauty .

A small picture follows o f the school of Giotto the pupil ,

of Cimabue the A scension of St J ohn the Evangelist a subj ec t .

,

treated i n nearly the sam e manner by Giotto him sel f in a chapel

of Santa Croce this pict u re formed the predella or lower par t ,

of an altar piece painted for the Guild of Sil k M erchants an d

-
, ,

bears their arms at either end— vi z a Gate the Porta di S .

, ,
.

M aria which once stood near the Ponte Vecch i o in the q uarte r
, ,

where th e silk merchants had their residence .

Christ in the Garden of Gethsemane i s attributed to Giott o

( 1 2 66 I t was in the year 1 2 7 6 that Cimabu e took
Giotto —a boy of ten years of age— from tending sheep i n th e
fields to learn the art of painting T h e intercourse with Ger
‘

m any caused by the influx of Germans i n the train of the em

,
 FIRS T CO RRID O R .
3

p e ro rs,
as well as the residence of Italian merchants in Ger
m any had already begun to a ff ect the style o f architect u re
, .

i n I taly when a T eutonic in fl u ence became likewise appare nt

,

i n the art of p ai nting T h e approach to classical beau ty of.

form so u ght by Cimab u e becam e s u bordinate to a dramatic

representation of the story and a more idealistic treatment ,
.

Cimab u e had attempted to improve the external form Giotto ,

now endeavoured to impart greater life and movement and to ,

give expression t o tho u ght and feeling .

I n this pict u re the angel presenting the cup to the Saviou r

‘

hardl y differs from the conventional type i n Rico s picture 5 bu t

’

the co u ntenance of Christ especially the mo u th is singu larl y , ,

beautiful and meek whilst H is whole action suggests the idea o f

,

fervent prayer St J ohn has almost a feminine bea u ty and he

. .
, ,

as well as St Peter and St Jam es is represented i n a nat u ral

. .
,
}

and easy posture of sleep Th e background is gold in accord .

,

ance with the taste of the period th e landscape is hard and ,

the trees and rocks stiff but the colour of the fig u res is soft ,

and agreeable A smal l grey headed old man kneeling in one

.
-

corner and wearing the simple dress of a F lorentine citi z en

, ,

represents the donator or the person at whose req u est the ,

‘

pict u re was painted T h e predella below is divided into tw o

.

compartments in one J u das betrays the Saviour by a kiss i n ,

the other Christ prepares for H is cru cifixion In both th e action

, .
, .

is natural and full of life but the shadows are brown the nose , ,

and eyes still elongated ; and the want of perspective in th e

heads produces flatness and false drawing especially in th e ,

1
three qu arter face
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.

A Piet a or Lamentation over the Body of the Saviour is

, ,
:

by T ommaso di S tefano sum am ed G io ttin o or La Scimia della , ,

—
N atura the A pe of N ature from his close imitation of all h e -

saw .Great u ncertain ty prevails regarding the histo ry o f

G io ttin o but he undoubtedly belonged to the school o f
Th ough of th e sch o o of l G i o tt o, it is doub te d wh eth e r t h i s pictu re is
b y th e m ast e r h i mse l f .
4 UFFIZ I GA LL ER Y .

G iotto, and flourished about the commencemen t o f the fou r

‘
t eenth century T his distemper picture has great merits th e
.

d ead Christ is very noble i n expression and its calm m otionles s , ,

f orm gives greater force by contrast to the passionate gri ef o f , ,

a l l around T h e drawing o f th e body a f fords no i ndication of

.

anatomical science though as described by C aval casell e th e , , ,

‘

S aviour youth ful well for me d and simply rendered is a genuin e

,
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, ,
’
piece of Giottesqu e nude T h e most beauti ful figures are .
,

o n e o f the M arys who with her back turn ed to the spec tator , , ,

k isses the hand o f Christ with reverence as well as sorrow and ,

S t J ohn who contemplates the S aviour with clasped hands

.
, .

T h e actions o f the hands and heads correspond well an d ,

e xpress the abandonment of grie f St B enedict and S t . . .

Z en ob ius with their hands laid on the heads o f the pe rsons

,

before them are fi ne ; b u t the countenances o f most o f th e

,

fi gures are exaggerated especially that o f the M agdalene at , ,

t h e feet o f the Saviour T h e background is gilt the colou r .

warm and powerful though with a want of harm ony arising , ,

f rom the violent red o f the vermilion which has apparently ,

s tood the test of time better than the other colours or has been ,

r etouche d G io ttino was noted for the brilliancy of his lights

a nd the depth of his shadows .

A life si z e figure o f St John th e Evangelist which follo ws

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is also o f the school o f Giotto .

Art in T uscany was early divided into two great schools the ,

F lorentine and the S iennese T here is greater action and life .

i n the F lorentine a deeper sentimen t with less varie ty i n th e

S iennese I n the words o f the Germ an art critic K ugler Th e
.
, ,

fi rs t takes the lead i n composition and character the second ,

”I
i n the spiritual charm o f individual figu re s .

D i st emp er gl ut i n o us ve h i cl e su ch a s w h ite o f egg o r th e j u i ce o f

-
a , ,

th e fi g tre e u se d b e f o re a n o il med i um w as i nv e nt e d
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,
.

H a n dbu ch a er Ku m tgesc/z z clz te v o n F ra nz K ugl er—D z e l ta l z emlrcfi

’ ’
’ ’

2
,

M a l erez die R oma n tz scfi m P erz oa e p 5 03 ; D ie M a l erez dc:

’ '
’
’ ’

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G erma m sc/z en S ty l es p 6 40
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 FIRST CORRID OR .
5

An A nnunciation ,the j oi nt work of Simone M emmi ( 1 2 8 5

1 3 4 4 and Lip o M e m mi —r
) p ( 3
P is an example of S iennes e
’
treatment It was painted for the alt a r o f Sant A nsano i n the
.

cathedral o f Siena T h e fame o f these artists was equal to that

.

of Giotto ; the pict u re itself was probably wholly by S imone ,

and Lippo was employed for the decoration It is thu s .

described by C av al ca sell e T h e Virgi n in the act of receivin g ,

the A ngel and shrinking with a side long action and wit h
,
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a ff ected softness of motion from him is rendered with an extra ,

ordinary exaggeration o f tenderness in the closed lids a nd

hardly apparent iris of the eyes T h e A ngel is presente d
.

kneeling i n a dress and stole all engraved with embroidery in

,

relief and the words issuing from his mouth are given in a
, .

simi l ar manner T his is a picture whose aff ected tendernes s

.

might well have had i nfluence on the school of mystic painters .

S t A nsan o and Santa G iu l itta on either side belong to thi s

.
'

picture In the medallions above th e A nnunciation are prophets

. .

T h e panel is vertically split and restored so that the figure o f ,

1
th e A ngel is inj ured .

A M adonna and Child with A ngels is by another S iennes e

artist Pietro Laura ti also known as Pietro Loren z etti (a ir3 5 6 )
, ,

a contemporary of the two M emmi and of the F lorentin e ,

G io ttino T his picture was executed i n 1 3 4 0 but is not a goo d

.
,

specimen o f the master A nother picture representing di ff eren t

.
,

incidents in the lives of celebrated hermits is attributed to th e ,

same artist who has treated the subj ect in a large fresco on th e
,

walls of the Campo Santo at Pisa i n both of which he shows a ,

dramatic power approaching more nearly to Gio tt othan to hi s

,

own countryman Simone M e mmi .

l
We return to F lorentine art in the A nnunciation by N eri
’
de Bicci which tho u gh not o f superlative merit deserves a
, , ,

passing notice as the work of an artist belonging to a family o f

,

pai nters of some reputation who lived towards the end of th e

,

f ourteenth and the beginning of the fifteenth century N eri .

See C ro w e a nd C a val ca sel l e vol 11 p 7 9 , . . . .

 6
« UFFIZ I GA LLE R Y .

b elonged to the third generation whose works mark a d ecline ,

i n art for the B icci were among th e last followers of Giotto .

H is pictures are flat pale and inh a rrn o n io u s i n colour

, ,
Th e .

eacock s feathers
’
i n the angels wings are symboli cal o m m
’

p f i o r

t ality . I n the A nnunciation by A gnolo Gaddi we

return to the flourishing period o f the Giottesqu e school T his .

’
a rtist is a painter of great power who preceded N eri de ,

B icci by half a centu ry T h e predella to the picture is ve ry

.

i nteresting the subj ects included in it are the Worship o f the

S hepherds the A dorati on of the M agi and the Presentation i n
, ,

t h e T emple T here i s great tenderness and beauty i n the

.

f emale heads .

Th e Coronation o f the Virgin with S t F rancis and St ,

. .

Joh n the Baptist on one side St D ominic and St I ves on ,

. .

the other h as been attributed to S pinello of A re zz o but it is

, ,

hardly worthy of so distinguished an artist and may have been ,

by the hand of his pupil G e rin i I t is de fective i n drawing .

,

e specially i n the hands and feet but there is truth of expressi on , ,

a nd the Virgi n has a certain loveliness and grace .

T h e C ru ci fi xion by S pinello of A re zz o ( c 1 3 3 3
,
.

p ainted on a gold ground and composed o f s mall figures

,
has ,

g reat varie ty of expression and there is beauty i n the f

,
ainting
V irgin .T h e soldiers to the right i nten t on casting lots for the ,

g arment are animated and characteristic

, .

T h e next A nnunciation is by an artist of the school of

O rca gn a one of the most celebrated o f Giotto s followers who
‘
’
, , ,

with a still greater art ist M asaccio helped to bring the art o f , ,

p ainting to the perfection which it attai ned a centu ry later .

A n altar piece of the school of Giotto represents the Virgi n

-

s eated on a throne she holds a rose an d the C h il d h a s a '

—
,

g o l d fi n c h in its hand the bird of sacrifice called so from the ,

blood red feathers on its head T here is a certain digni ty in

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.

t hese stiff figures : a lily and two angels are below I n the .

compartments o n either side of the picture are St J oh n th e

~
,
.

B aptist and St F rancis St M atthew and the M agdalen e

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 FIRS T CO RRID OR .
l

A bove the altar piece are representations in mi niat u re of a

-

Calvary and the apostles Peter and Paul Below this altar
, .

piece are three small pictures : a Crucifixion the M adonna , ,

and St J ohn the two last seated mo u rning on a rock T hey

. .

are by D o n Loren z o M onaco (5 1 3 7 0 —1 4 2 .

S t Lawrence is by Z enobio Stro zz i ( 1 4 1 2

. the predella
represents the martyrdom of the saint and St Lawrence saving ,
.

the so u l of the Emperor H enry I I from demons l

H e carries . .

a white bann er with a red cross Z enobio Stro zz i was a .

miniat u re painter and scholar of F ra A ngelico

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S t Cosimo and St D amian the patron saints of the

. .
,

M edici family and of the Guild of Physicians is by Bicci di

, ,

Loren z o ( c 1 3 5 0 the father of N eri de Bicci ’

fl
. .

In the predella to these pictures is represented a miracle by

these holy physicians A ccording to the legend a certain
.
,

man a l icted with a cancer in his leg was performing his

, ,

devotions in the Church of St Cosimo and St D amian i n . .

R ome when he fell asleep

,
T h e two saints appeared to him .

i n a dream and cut ting o ff the diseased leg replaced it by

, , ,

that of a M oor lately dead anointing the new leg with celestial ,

2
ointment so that the man became whole from that time
, .

T his picture was at one time attached to a pilaster of the

F lorentine cathedral in whose decorations Bicci di Loren z o
,

was m u ch employed T h e saints of the Guild of Physicians

.

are represented with their bo x of ointment and their pincers .

T h e A doration of the M agi is by Loren z o M onaco though

professedly a miniature painter and illuminator of manuscripts
-

this C a ma l dol ine friar executed important works both inde

fl
,

pendently and assisted by F ra A ngelico who was his j unior

, , .

H e was a pupil of A gnolo Gaddi and his pai ntings have a ,

certain a i n ity with those of his contemporary Parri S pinelli ,

the son of Spinello of A re zz o T h e outlines of both are hard .

,

and there is less skill i n the composition than individuality

S ee P oetry f
o S a cred a nd Legen da ry A rt, by M rs . J a meson .

2
[Mt] .
8 UFFIZ I GA L L ER Y .

and vari ety o f expression T h e colouring o f M onaco s pic .

’

tures is bright and full rather than harmonious ,

.

T h e picture below is by an artist who was the first to

’
introduce historical subj ects Gi u liano d Arrigo s u rnamed .
,

P e sell o ( 1 3 6 7 worked with his grandson I l P e sel l in o ,

( 1 42 2 and as the younger man imbibed the spirit as

well as manner of the elder artist and only survived him eleven ,

years their works can hardly be disting u ished from one another
,
.

T h e P e sel li preceded Botticelli and C redi and the grandfather ,

began his studies u nder painters of the school o f Giotto Th e .

A doration of the M agi is m entioned by Vasari as havi ng been

executed by order of the S ignory or Government o f F lorence , ,

for the Chapel o f Santa Lucia de M a gno l i which still exists in ’

,

the Vi a de B ardi T his picture contains a portrait o f D onato

’
.

A cciaj ol i celebrated i n his days as an orator ph ilosopher

, , ,

and mathema tician who died i n 1 4 7 8 T h e figure with a

,
.

black cap on His head and his hand on his breast i n th e , ,

centre may be supposed t o represent D onato T here is much

,
.

indivi duali ty life and variety o f action i n the thirty figures

, ,

composing this picture T h e weakest part is the H oly F amily .

— a de fect not unusual with those artists whose genius lay i n

portrait a landscape background and foreground filled i n by
dogs hawks & c are all finished with minute attention t o
, ,
.
,

detail Th e tawny brown colour is unpleasant but i s probably

.
,

caused in part by time and restorations .

A n altar piece follows by Loren z o di Pietro surnamed I l

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Vecchietta ( c 1 4 1 2 so called probably from his delight

.
-

, ,

i n representing old age H e was more highly esteemed by hi s .

contemporaries than in later times T his picture painted in .

,

1 44 7 ,
has been much restored ; i t represents the M adonna and
Child with St B artholomew and St James and one of the
. .
,

M agi kneeling to th e left of the Virgin ; St A ndre w St Law .

, .

rence and St D ominic are on her right ; the last also kn eel
,
.

’
i ng I t was executed for one Giacomo d A ndreuccio a silk
.
,

merchant as recorde d in the inscription B elow this altar piece

,
.
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[O UFFIZ I GA LL E R Y '

’
what affected paltry and pinched T hese remarks are equally
, , .

a pplicable to the two other pictures by Piero di Cosimo which ,

a lso represent s u bj ects taken from classic fable : the S acrifice

t o J ove for th e safety of A ndromed a and A ndromeda liberated ,

b y Perse us from the sea monster .

T h e Coronation of the Virgi n by Cosimo R osselli ( 1 4 3 9

’
the assistant of N eri de Bicci and the master of Piero ,

d i Cosimo and F ra Bartolommeo is pai nted i n full warm colours , , ,

a n d i s carefu lly drawn ; there is beauty an d grace as well as ,

v ariety of expression in th e surrou nding cherubs

,
Cosimo .

R osselli may be considered the link be tween the last of the de

g enerate Giottesque school and the n e w and superior class o f

a rt growing into maturity in the fi fteenth century .

A battle piece is by Paolo U ccello ( 1 3 9 7 —

-
1 47 whose
greatest work i s the portrait o f Sir J ohn H awkwood i n the
c athedral . T his composition is an interesting example o f the
T he
’
a rtist s earliest attempts at perspective and foreshortening .

f ailures are m ore obvious from the attem pt being somewhat

a mbitious but nevertheless there are proo fs o f a great step
; , ,

h aving been m ade i n advance of even contemporary artists .

T his picture was one of four which adorned the garden of the
Bartolini at G ua l f o n da near F lorence I t is well described by
,
.

C a v a l c a sell e : A daring boldness of action marks the knights

‘

a n d barbed steeds i n tilt ; but the conception is more praise

worthy than successful ; and the effect of certai n movemen t s

s uch as that of the kicking horse is lu dicrous and grotes q u e ,
.

A gain the foreshortened position of a prostrate steed present

, ,

i n g his belly and heels as well as the legs of his fallen rider to
, ,

t h e spectator s u ggests the wish rather than the power to over

,

c ome a di f ficulty of no mean kind Perspective of broken .

l ances shields and helmets is laboriously carried o u t and dis

, , , ,

t ant episodes of archers men a t arms and dogs show that

,
- -

, ,

U ccello already possessed the art of perspective but the spec

t ator has before him the lifeless and wooden models of divers
fi gures their geom etrical substance without the fi nal dressing
, ,
 FIRS T CORRID O R . I I

that would give life to the form and its action A dded to this .
,

s harp outlines cut out the fig u res and the inj ury done by time ,

a n d restoration to the colo u rs renders the whole prod u ction of

1 ’
less interest to the lover of good pict u res than to the critic .

A M adonna and Child is by Al essio B al do v in e tti ( 1 4 2 7

supposed to have been a pupil of Paolo U ccello H e .

was one of those artists engaged in improving the vehicle used

in painting and endeavouring to substitute oil for distemper
,
.

T o the right of the Virgi n are placed St John the Baptist S t .

,
.

Cosimo and St D amian with St F rancis on his knees to her

,
.
, .

l eft St Lawrence his gridiron embroidered on the border of

,
.
,

h is deacon s dress S t A nthony and a warrior saint St

’
. .

D ominic kneels in the foreground T h e heads are feeble and

.
,

t h e colour pale ; but the drawing is careful and the expression ,

o f th e co u ntenan ces serious and pleasing .

N ext to this is a very fine picture by Cosimo R osselli the

M ado nna enthroned with the Child at her breast and seated
,

on her knee ; her right hand rests tenderly on the head of the
youthfu l St J ohn the Baptist ; on either side are St James with
. .
,

h is pilgrim s staff and book and St Peter A ngels hold a

’
.
, .

c rown shaped like a mitre over the head of the Virgin ; flames
, ,

rest on the back of her throne to which are also attached ,

c ornucopi ae of fr u it T h e details are finished with the utmost

.

c are and the figures take their place well on the light back
,

grou nd T here is a tho u ghtful expression in the Virgin s face ;

.
’

her golden hair is bound with a transparent veil and she wears ,

a pale blue dress and red mantle .

Th e M adonna and Child by Sandro B otticelli ( 1 4 4 7 — 1 51 0

)
i s a feeble specimen of the master .

A nother M adonna and Child a circ u lar composition i s by , ,

Luca S ignorell i of Cortona ( 1 44 1 —1

5 2 3 ) four shepherds are in
t he background and above the picture are three medallions i n
,

d ead colour which represent the S aviour and two prophets

, .

T h e expression of the Virgin is sad but tender and her atti ,

~

S ee C ro w e a nd C a v al casell e vo l 11 p 2 8 7
1
, . . . .
12 UFFIZI GAL L ER Y .

tude is ve ry graceful though the drawing i s not wholly correc t

, .

T his artist belongs to a later peri od than the P o ll aj o l i his firs t

i mpressions of art were taken from the U mbrian schoo l s whi ch ,

s oftened the severe and bold character of his genius He .

studied anatomy in F lorence and the impulse h e gave to a rt , .

may be traced from Paolo U ccello to M ichael A ngelo S ignor .

elli is said to have painted this picture for Loren z o de M e ’

d ici . It was formerly i n the Villa o f Castello near F lorence , .

T h e first of two portra its below is attributed to Piero di

Cosimo but rather resembles the manner o f A ndrea del Sarto
, .

I t is fi ne i n expression and C hiaroscuro bu t has been muc h ,

repai nted the secon d though attributed to an u nknow n ,

artist may possibly be by Credi it is an excellent picture re

, ,

markable for correct drawing life careful finish and fi ne , , ,

colour .

A large picture is by Gerino o f Pistoi a of the M adonna a nd ,

Child with S t James St Cosimo and M ary M agdalene o n

fl
. .
, , ,

their right and St Catharine St Louis St Ives and St R och

,
.
, .
,
.
, .

on their le ft Gerino lived early in the sixteenth century a nd

.
,

s tudied i n the school o f Pe rugi no the master o f R a ell e T hi s

'

.
,
’
picture was painted i n 1 5 2 9 when the artist s powers were de ,

c l in ing It i s a feeble production and only deserves notic e

.
,

because by th e hand of one who i n his best days was con , ,

s idere d a w o rth y representative o f the school and who possesse d ,

the qualities of a diligent colourist and a fair copyist of h is

master ( Peru gino ) as regards type and proportion drawing an d
, ,

colour .

Christ appearing in the Garden to M ary M agdalene is a

y outhful production o f A ndrea del S arto ( 1 48 8 th e

picture was brought to the Gal lery from the Church o f Sa n

J acopo tra F ossi T h e j oy and surprise of the M agdalene i s
.

well expressed on her face and in the action of her hands .

T hough feeble the colour i s very agreeable

,
T h e predella h a s .

S t H ele na with the Cross St J erome and Santa R osa wit h

.
, .
,

a baske t o f whi te roses .

 FIRS T CO RRID O R . 1 3

fl
A M adonna and Chi d with St Eli z abeth by M arian o
l .
,

G raz ia dei of Pescia a pupil of Ridolfo Ghirlandaio who

, ,

ourished about the middle of the sixteenth century : this is

b elieved to be his only remaining picture and was once the ,

a ltar piece in the Chapel of S t Bernard i n the Pala zz o Vecchio

-
. .

Th e A ngel of the A nnunciation and M adonna which follow

a little further down the corridor are by Agnolo Bron z ino ( 1 5 0 2

a master of the second revival T hey are pure in draw .

i n g and colo u r but insipid ,

.

A sp a sz mo or Christ bearing his Cross by Passignano an

'

, , ,

a rtist wh o died i n 1 6 3 8 has grandeur of expression and cor

,

rect drawing ; it was executed for the Church o f S a n G iova n

n ino in F lorence
, .

T h e Creation of A dam is by Jacopo Chimenti da Empoli ,

a n artist belonging to the latter half of the sixteenth and the

beginning of the seventeenth century .

Th e M artyrdom of St Lawrence by Cigoli ( 1 5 5 9 .

,

a nd the M agdalene by Cristofano A llori with the

( 1 577

s ame subj ect by Cigoli are all pictures of the R evival

,
.

A large Crucifixion by Loren z o Lippi a F lorenti ne belongs , ,

t o the seventeenth century ; Lippi is better known as a poet

t han pai nter as he composed a poem which obtained some re

,

p utation with his contemporaries called the M almantile de , ,

s cribing the defence of this small fortified town near S igna ,

d uring the war conducted against F lorence by the Prince of

O range i n 1 5 2 9 .

Th e remaining pictures in the corridor are not of su f ficient

importance to detain the visitor 1
.

Th e ch ro no o l gy ists wh o a re ment i on e d in th e ga ll eri es o r

of th e art
m useu ms w ill b e f o und a lp h a b et i ca lly a rra nge d a t th e end o f th i s v o l um e .
 C H A P T ER II .

UFFIZI GA L LER Y— R O OM O F TH E EA RL Y M A S TE R S .

H E farthest
room of the suite parallel with the fi rst cb r
rido r contai ns the works of some of the earliest painter s

o f th e T uscan school .

T o the right of the entrance is an altar piece by F ra F ilippo -

Lippi ( 1 4 0 6 which i s supposed to have been painte d

for the chapel of the Pala zz o R iccardi origi nally M edici , ,

and b u ilt by the first Cosimo for himself and his family T h e .

Virgin is seated in a window from whence there is a pleasin g

,

landscape of rocks and trees a winding river and the seashore ;

,

two boy angels bri ng the I nfant Christ to his mother ; she is
seen in profile and her fac e is that o f a fair young girl wh o
, ,

gaz es down at th e angels whilst the Child extends H is arms to

,

‘
her one of th e angels looks back laughing F ra F ilippo w a s .

early left an orphan and was adopted into the M onastery o f th e

,

Carmine at F lorence where h e becam e a monk H e was a

, .

painter of ve ry original genius and th e best colourist of hi s

,

day b esides being remarkable for his carefu l drawing h is

,

pictures like those of his contemporaries are however o fte n

, , , ,

wanting i n relie f A lthough th e heads here have no idealist i c

.

beauty th e artist has given such a tender expression and youth

,

ful freshness to his representation of the Virgin that the com

position has a charm o f itself apart from perfection of form .

1
A p e t i ti on o f th i s pi cture by F ra Filipp o
re , b u t di ff eri n g in so me

re sp ec t s a n d e v e n m o re b ea ut i f u l is in th e C o u n c il
, ,
C ha m b er of th e I nno

c e n ti a t Fl o renc e .
 EARL Y MA S TERS . 1 5

Above this altar piece is a circular picture by Loren z o Credi

-

( 59 5
1 4 —1 the M adonna worshipping the Child T h e figure s .

are large i n proportion the Child ro u n d and pl u mp the com

,

position is Leonardes q u e in treatment the colo u ring soft b u t ,

1
somewhat feeble owing to the absence of relief
,
A n angel .

s u staining the kneeling St John is very gracefu l and the atti

.
,

tude and co u ntenance most reverential .

N ext to this is another circular pict u re of the M adonna a n d

Child s u rro u nded by angels the work of S andro B otticelli
, ,
’

( T here is a n a zz ete and grace as well as religio u s

'

1 44 7 v

feeling i n this painting pec u liar to the master and the ex

, ,

tre m itie s are more elegantly formed than is u s u al with B otti

celli T h e eager face of an angel telling the glad tidings to a
.

listening companion and the rapt reverential look in the rest

, , ,

who appear to sing hymns of praise form a bea u tifu l contras t ,

with the still sad countenance of her whose heart is pi erced ‘

there is a lassitude of hopeless grief i n her features which ,

seems to anticipate sorrow but which hardly belongs to th e ,

j oyful M other of the new born Saviour Sh e holds the Child

-
.

tenderly i n H im the innocence of infancy is blended with th e ‘

dignity of the prophet T h e colour is clear but paler than is

.
,

us u al with Botticelli .

B elow is an A nnunciation bro ught from th e M onastery ,

of M onte O liveto near F lorence some attribute this pic

ture to Ridolfo Ghirlandaio the nephew o f D omenico ,

others with more probability assign it to Loren z o Credi a nd

, , ,

others again to Leonardo da Vinci But so feeble a production

, .

is hardly worthy of any of these great masters T h e chie f .

m erit lies in the pleasing landscape background and i n th e ,

’
expression of the angel s face the whole picture especially th e ,

head of the Virgin has undergone such severe treatment by th e

,

hand of the restorer that it is hardly possible to j udge of wha t

,

its merits may have been .

A circular picture of the H oly F amily beside the Botticell i

S ee C ro w e a nd C a v a l ca sell e, v ol . iii p
. .
41 2 .
1 6 UFFIZI GA LL ER Y .

is by Luca Signorelli ( 1 44 1 the pupil o f Piero della

F rancesca T h e M adonna i s reading ; the Chri st seen i n
.
,

p rofile with,
averted head appears to listen whilst
, looking at ,

S t J oseph who kneels before the M adonna and Child

.
, T he .

s ubj ect is grandly and powerfully treated and the composition ,

o riginal ; the picture has however been much inj ured and
, , ,

t h e gla z es on the flesh have been destroyed .

A fi ne Coronation of the Virgin by F ra A ngelico da F i esole

( 3 7
1 8 — 14
5 5) i s genera l ly removed from i ts place by the copyist .

T h e singular delicacy o f colour and pure atmosphere through

fl
o u t arrest the attenti on o f every visitor Th e artist F ra .
,

A ngelico painted this picture for the H ospital of S anta M aria

,

N uova o f F lorence and it was only brought to th e U iz i i n

,

1 825 T h e figures are pai nted on a gold ground with engraved

.
,

l ines to represent rays or the e ff ulgence o f a supern atural

, ,

light T h e Virgin bends to receive the crown the head of the

.

C hrist is feeble and these tw o fi gu res though di gnified and

, ,

grace fu l are the least success fu l part of the picture ; the

,

p rincipal charm consists i n the exquisite beauty the pure and ,

tranquil j oy which seems almost to breathe in the slender and

,

delica te form s of the angels who float rather than walk through ,

the ma z es o f the mystic dance I f musi c and pai nting were .

ever allied their union is expressed i n this lovely and barm o

,

n io u s painting ; th e celestial beauty above and around is in

s om e measure shed on th e crowd o f spectators saints and , ,

holy personages whose grand and noble cou ntenances still

,

b ear the impress of their earthly bodies among them are seen
k neeling angels belonging to the h eavenly choir ; some with
h arps and others swinging censers .

F ra A ngelico or more properly F ra Giovanni da F iesole

, ,

was born i n a T uscan village of the province of M ugello .

H e was christened Guido but took the name of Giovanni ,

when he entered a D ominican monaste r y still existing half , ,

w a y between F lorence and F iesole where his piety and wonder ,

f u l skill i n the delineation of celestial beings obtained for hi m

 8 UFFIZI GAL L E R Y .

th e left of the spectator St Peter is led out o f prison by an ,

.

angel to the right is his cr u cifixion T here i s great variety in .

the heads and in the action o f th e figures though according to , ,

C ava l ca sel l e the value of this piece lies chiefly i n a lively

‘
,

colour and flowi ng drapery which reveal the master of Spinello , .

’

A t either end in small compartments apostles are i ntroduced

, , .

Jacopo was a native o f the Casentino a w ide valley enclosed ,

be tween the mounta i ns which lie behind Vallombrosa H ere .

T addeo Gaddi when employed to paint the chapels of

,

Cristoforo Landino ( the ancestor of the celebrated Greek

scholar of the same name ) discovered the talent of Jacopo and , ,

bringing him to F lorence i nstructed him i n hi s art Jacopo ,

afterwards founded the Guild o f Painters who placed them ,

selves under th e patronage of the Virgin S t Z e no b iu s St J ohn ,

.
, .

the Baptist an d St Luk e ,

T h e two last are introduced
. .

together i n one compartment o f Giovanni da M ilano s altar ’

piece Jacopo shared with Gherardo Sta m ina the honour o f

.

i nstructing the great A retine painter Spinello , .

T h e A nnunciation by Sandro B otticelli is painted i n

, ,

distemper with the same pale colour observable i n the circular

picture by him i n this room T h e Virgin looks rou nd from .

the prayer book be fore which she had been kneeling and with
-

eyes cast down and her hands raised i n a gesture of wonder

, ,

she appears to deprecate the honou r i ntended for her T h e .

angel j u st alighted kneels i n a reverential attitude before the

, ,

H andmaid of the Lor d

’
‘
A cool an d pleasant landscape ,

with a river fi elds a city and a tall tree in the foreground are
, , , ,

seen from the open window I n the predella is a painting of .

the Saviour rising from the tomb with the handkerchief of St ,

.

Veronica bearing the impress o f H is face A t either corner are

,
.

shields with a greyhou nd rampant the arms of the Castiglione ,

family for whom the picture was probably painted

,
.

A grand and fi n el y coloured pict u re n ex t th e window of

-
.
,

three saints is by S ebastiano M ainardi a scholar of D omenico

, ,

Ghirlandaio who was living in 1 4 8 7 T h e central figure is St

,
. .

S tephen the first martyr holding the palm branch

,
the expres ,
 EA RL Y MA S TERS . 1 9

sion of his head is very fine and the hands are beautifu lly ,

painted H e stands i n a niche and on each side are other

.
,

niches with St Peter and St James bearing his pil grim sta ff T h e
,
. . .

predella below by F ra A ngelico was i ntended for a large a ltar

, ,

piece which was executed for the Guild of F lax M erchants

,
1
.

I n the centre of the predella is the A doration of the M agi ,

i n which the Virgin is especially lovely to the left is St Peter .

preaching and St M ark looking u p in devout admiration

.
,

whilst writing his Gospel to the dictation of his brother apostle

to the right is the death of St M ark A ccording to the legend . .

M ark was converted by S t Peter and became his favourite.

,

disciple he founded the Church of A lexandria but the ,

heathen reviled him as a magician and d u ring the feast of , ,

S erapis they sei z ed and dragged him thro u gh the streets till
, ,

he perished miserably ; a dreadful tempest of hail and light

ning fell u pon his murderers by which they were dispersed and
,

2
destroyed T h e heathen are distinguished by the Gentile
.

banner bearing the scorpion T h e sad and wondering expres .

sion of two of the disciples who contemplate the body of St

,
.

M ark is admirably given

,
the colour as usual with F ra ,

A ngelico is exquisitely delicate and p u re

,
.

Prudence near the door by A ntonio Po l laj o l o ( 1 4 2 9

,

i s one of a series of pi ctures representing the Virtues which ,

this artist with the help of Botticelli painted for the T ribunal
, ,

of the M ercan z ia in the Pia zz a della Signoria : Prudence a

, ,

noble figure is seated under an arch of colo u red marbles with

, ,

a serpent i n one hand a mirror in the other ; a pale green

,
-

drapery arranged in formal tho u gh majestic folds is spread

, , ,

over her knees ; her attit u de is calm and unconstrained T h e .

drawing is simple and firm with a careful attention to the ,

finish of the dress and ornaments the hands are finely executed
the shadows clear and delicate — light upon light T h e draperies .

are among the best executed by the P ol l aj ol i and cleverly ,

N o w in th e S a l a di Lo re nz o M o na co .

2
S ee Legen da ry A rt, by M rs . J a meson p , . 88 .
20 UFFIZI GA LLE R Y .

define the forms T h e drawing is bold and strongly marked

.
,

the flesh tints bright and clear T h e whole is evidently coloured .

1 ’
with tones m oistened with an oil m edium .

A more remarkable work by A ntonio P o ll aj o l o is a large

picture representing three saints S t James between S t .
, .

Eustace and St Vincent . T hey stand on a floor of variegated

.

marbles the hat of S t James encircled with j ewels is on the

.
, ,

ground the outline of the figures is sharply defin ed against a

pale sky and landscape T h e drawing is vigorous and correct
.

the heads are painted i n distemper whilst an oi l m edium has ,

been used for the dress ; the rich stuff and j ewels be ing i n
relief from the thick z mpa sto of the colours T h e minute fi nish
'

.
,
’
of detail recalls the goldsmith s work for which the P o ll aj ol i
were famous T his picture was painted in 1 4 7 0 for the altar of
.

the Chapel of the Cardinal o f Portugal i n Sa n M iniato al M onte .

F ortitude by B otticelli was i ntended to complete the series

, ,

o f the Virtues on which the P o l laj o l i were engage d T here i s

,

less si mplicity and maj esty i n this composition than i n the

Prudence of A ntonio P o l l aj o l o but the colour and the
C hiaroscuro are rich and f i ne T h e extremities of the figure are
.

too coarse but there is dignity and thoughtfulness in the face

,

the mouth i s firm the eyes clear and the action of the hands
, , ,

grasping th e mace correspond well with the i dea conveyed

,

by the countenance ; the union o f feminine gen tleness and

masculine strength recalls the Christian type o f F ortitu de ,

clothed in the armour o f righteousness .

’

A M adonna also by B otticelli was painted at a period when

, ,

he was endeavouring to i mitate the manner as well as apply the

technical treatment of the brothers P o ll aj o l i T h e Virgin is .

seated beneath an arch through which i s seen a rose garden , .

Th e Child is i n a natural posture H e raises to H is mouth the

seeds of the pomegranate fruit which H e holds in his other ,

hand whilst ga z ing i n H is mother s face who looks down on

,
’
,

H im wi th a sweet sad smile the drapery and accessori es are

drawn with care and the colour is fu ll and rich
, .

1
S ee C ro w e a n d C a v a l ca se l l e v o l 1 1 pp 3 9 0 39 1 , . . .
, .
 EA RL Y MA STERS . 21

The portraits of F ederigo di M ontefeltro D u ke of U rbino , ,

and of his wife Battista S forz a are by Piero della F rancesc a

, ,

( 1 41 6 Piero was from Borgo S a n Sepolcro but studied ,

under the P ol l aj o l i and having earned a repu ta tio n in F lorence

, ,

he was invited to the Court of U rbino in 1 4 6 9 Giovanni Santi ,

the father of Raffaelle defrayed the cost of the j ourney T h e

, .

genius as well as scientific attainm ents of Piero della F rancesca

exercised a beneficial influence on the youthfu l Ra ff aelle and ,

Piero became also the instructor of Luca Signorelli of Cortona , .

H is portraits of the D uke a n d D uchess of U rbino are com

mended by Ca va l ca sell e N othing can exceed the L eon
a rdesq u e precision of the drawing or the softness and fusion o f ,

the imp a sto l

. T h e painting has however suffered from
’
, ,

cleaning as on a nearer inspection it can be perceived that

,

the hair of the D uchess is in some parts almost rubbed away I t .

is in the form o f a diptych and within the two doors are allegories
, ,

representing on one side F ederigo in a triumphal car o n th e ,

other Battista with similar accompaniments a charming land

,

scape forms the backgro u nd in both T his painting is th e .

more interesting from the history of the persons represented .

Th e ancestors of F ederigo were the two M o nte f el tri father and ,

son who are mentione d by D ante i n his Inferno and Purga

,

torio and whose descendants still possess land i n the R oman

,
’

states
C/t ia f
’
a i
’ ’
ae M on ti Id in tra Urbin o
,

E l giogo a i eke
’
Tev er si d isserra
’ ’
.

I nf ern o, t
ca n o x x vn .

If
’
u i ( ii M o ntef el tro, io f u i B u on con te .
’

P u rga tomo, v
'

ca n to .

F o r I w a s f rom th e m o u n ta i ns th e re b e tw een
U rbi n o and th e yo k e w h e n ce T ib e r b u rsts ’
.

as as

I w as of M on tef e l tro , a nd a m B uo n co n te .
’

L ongf ell ow Tra n sl a tion

’
s .

1
S e e C ro w e a nd C a va l ca sel l e
’
s f I istory f
o P a in ting, v ol . 11. pp .
5 29 ,
22 UFFIZI GA LLER Y .

F ederigo
was distinguished as a soldier and as a patron o f
art and letters T h e depression i n his nose was caused by a
.

wou nd received i n battle H e was created D u ke of U rbino by.

’
S ixtus IV when the Pope s nephew Giovanni della R overe
.
, , ,

married F e de rigo s second daughter H is wife Battista Sforz a

’
.
, ,

was celebrated for her learning as well as beauty but died at ,

the early age of twenty six leaving an infant son Guidobaldo

-

, , ,

who succeeded to the dukedom on the death of his father T w o .

striking portra its o f F e de rigo and Battista i n marble relief are , ,

now in the M useum of the B arg ello as well as a bust of Battista ,

taken after death both of these give a higher idea of her beauty
than the picture by Piero della F rancesca .

,
—
A predella by Luca S ignorelli 1 4 4 1 1 5 2 represents the
A nnunciation the Worship of the S hepherds and the A dora
, ,

tion of the M agi A beautiful landscape background connects

.

the three T h e A ngel of the A nnunciation with wings closed

.
, ,

bu t his drapery still agitat ed by his flight appears to have ,

j ust descended upon earth ; his countenance is radiant with

j oy as he bears the lily to the Virgin who with her head bent
, , ,

and her hands clasped listen s attentively Each scene tells its
,
.

own story and the face of the Virgin is the same throughou t
, ,

varying only with the different emotions caused by the event .

I n the A doratio n of the M agi she i s very beautiful the

youths in attendance on the kings wear the party coloured ,
-

tight fi tting garmen ts of the F lorentine young men of fashion

-

at the time Luca Signorelli painted a warm green tone prevails

throughout the picture .

We have thus before u s the works of three painters who

succeeded one another ; P o l l aj ol o Piero della F rancesca who , ,

studied u nder the P o ll aj oli and S ignorell i the pupil of Piero , ,

della F rancesca and we can trace the same precision and care
i n the drawing b u t with i ncreased freedom in the yo unger
,

painter H is colours are less ga u dy and he d wells more on

.
,

the expression of his subj ect than on display of skill i n re pre

senting j ewellery and fine clothing .

T h e S aviour appearing to the M agdalene is by Loren z o

 EARL Y MA S TERS . 23

Credi ( 1 4 5 9 T h e head of Christ is feeble the ex ,

pression of the M agdalene sweet and earnest ; the details as ,

well as the landscape background are highly finished T h e ,

.

S aviour and the M agdalene or the Woman of Samaria ( sup ,

posed by some to be the same person ) is also by Loren z o , .

Credi T h e Saviour seated on the wall looks down compas

.
, ,

sio n a te l y and points to H imself ; H is h ands are beautifully

,

drawn and colo u red tho u gh the head again is feeble

, .

B etween these two pict u res is Perseus liberating A ndromeda

from the S ea M onster by Piero di Cosimo ( 1 4 6 2 , of
whose pictures we have already seen examples in the c orridor .

T his painting was exec u ted for F ilippo S tro zz i the founder o f ,

the S tro zz i family H is descendant Giovanni Stro zz i presented

.
, ,
.

it to Sfor z a Al m e ni the C hamberlain of D uke Cosimo I who

, .
,

held it in high estimation A ccording to Vasari Pi ero d i .

,
‘

Cosimo never painted anything better for it is impossible to ,

conceive a sea monster more whimsically imagined than this

-

nor a more resol u te attitude than that of Perseus who strikes ,

at him in the air with his sword H ere i s A ndromeda bo u nd .

,

divided between fear and hope of a most fair co u ntenance ; ,

and here in the foreground are many people collected in various

, ,

and strange cost u mes playing on instruments and singing

, ,

among whom some lau gh and rej oice at the liberation of A n

dro m e da whose faces are tr u ly divine T h e landscape is beau
,
.

tifu l and agreeable in colo u r, and the gradation of tints and

,

soft effects in this work is conducted with great care .

A nother predella is attrib u ted to F rancesco di Giorgio ( 1 4 3 9

a Siennese artist better known as an engineer and archi
,

te c t
. C a v al ca se l l e observes that he seems to have combined
,

most of the S iennese characteristics of his time with a fancy akin ,

to that of B otticelli and a fashion o f drapery like that of the

,

P o ll aj o l i .H e inherited defects already conspic u ous in Vec

c h ie tta ( see Corridor ) such as slender withered
, and angular , ,

figures the action of which is rendered i n an awkward and

,

S ee C ro w e a n d C a v a l c a sel l e v o l iii p 1 1 9
1
, . . . .
24 UFFIZI GA LLER Y .

1
often pompou sly a ff ected manner-
T h e s u bj ect of thi s pre .

della which was painted about 1 4 8 0 is taken from the life of

, ,

St B enedi ct the architectural backgro u n d i s drawn with neat

.

ness and there is a careful attention to detail displayed i n

,

the hooks behind the windows for holding back the outer
blinds the ring on the wall the cat, th e dog barking 81 0 St
, , , .

B enedict as a boy is on his way to th e desert an d is fol

, , ,

lowed by his nurse Cyrilla who borrowed from a neighbour

, , .

a wooden trencher which she accidentally broke ; not being

,

able to replace it she was i n great distress u ntil St Benedict

, ,
.

?
restored i t by his prayers I n the compartment on the left ,

S t B enedict is tempted by devils i n the desert ; o n th e right

.
,

h e is visited i n his M onastery of M onte Cassino by T otila ,

th e king of the Goths .

T h e A nn u nciation is by Loren z o Credi Th e Virgin i s .

kneeling at her prayers when the A ngel appears beckoning ,

with one fi nger and holding th e lily her co u ntenance i s full

,

of soul ; the head figure and drapery of the angel are drawn
, ,

with the utmost precision .

T h e A dorati on of the M agi is by D omenico Ghirlandai o

( 1 44 9 the greatest master of his age in whose school ,

M ich ael A ngelo and other celebrat ed art ists were formed .

Ghirlandaio began life as a goldsmith and his skill in the manu ,

facture of golden garlands obtained for him this cognomen as ,

his real name was Bigordi H e always painted in distemper .

,

and though the style of colo u r peculiar to F lorentine artists o f

,

the period is conspicu o u s i n hi s works he did not adopt the ,

new method of an oil medium Ghirlandaio followed in th e .

steps of B al do v in etti I n this A doration of the M agi he h a s

.

introduced a light landscape background with the view of a ,

seaport ; the distance well preserved is seen thro u gh arches , ,

resting on pilasters with rich decorations Beneath a roof con .

1
S ee C ro w e a nd C a v a l ca se l l e, v ol . iii p . . 65 .

2
S ee M rs .J ameson s L egends of ’
til e M on a stic O rders, p . 21 ; a n d La tin

Ch ristia n ity, by M il ma n v o l ii , . .
 C H A P T ER III .

UF F I Z Y GA LLER Y—L A TE R TUSCA N A R T .

EAV I N G the room assi gned to the works of th e early

masters we commence another epoch in A rt O il i s
, .

taking the place of distemper ; perspective which Paolo U ccello ,

and his contemporaries were groping to discover i s no longer ,

a hidden science ; anatomy enables the artist to draw with

greater acc u racy and C hiarosc u ro and colour have their esta
,

b l ish e d laws .

T h e earliest painting in this room is a circular picture by

S andro Botticelli ( 1 44 7 which still belongs to the T rans
i tio n school ; it repre se n ts a M adonna and Child with angels .

T h e Virgi n s head and figure are grandl y drawn and her coun
’

te na n c e tho u gh humble is full of dignity ; j oy and love beam

, ,

i n th e trustfu l eyes o f th e Child and a sweet smile is on H is ,

parted lips th e extremities are large but firmly and correctly ,

drawn T w o angels one of whom is looking eagerly at the

.
,

Virgin whilst holding the ink bottle i nto which she dips her
,
-

pen to i nscribe the hymn We magnify T hee O Lord are

, ,
‘
, ,
’

s u pposed to be portraits of the brothers Giuliano and Loren z o

de M edici the grandsons of Cosi mo Pater Patri ae Gi u liano
’
, , ,

who fell in the Pa zz i conspiracy is probably the angel next the ,

spectator whilst Loren z o who lived to be the generous patron

, ,

o f art and literature is l ooking at his brother

,
A third angel .
,

with one arm gracefully encircling both yo u ths bends over them , ,

and two others whose heads are seen behi nd hold a crown
, ,

o ver the M adonna a lovely and peacefu l landscape forms th e

 LA TER TUS CA N ART . 27

backgro u nd T h e colour of this pict u re is rich full and har

.
, ,

m o nio u s the shadows are delicate and every part is finished ,

with care ; it is painted in distemper the dress with an oil ,

medium and the hair and ornaments touched in with gol d ;

,

the circular form of composition is treated with great skill .

O n the opposite wall the Virgin rising from the T omb is

, ,

by Piero di Cosimo ( 1 4 6 2 S h e ga z es u pwards with a

rapt expression as the H oly Spirit descends upon her T h e .

hands are well composed tho u gh the right is badly drawn St

, . .

J ohn the Evangelist S t D ominic S t Peter and St Piero

,
.
,
.
,
.

M artire are on either side S t M argaret and St Catharine . . .

kneel in the foregro u nd ; all the fig u res are more or less dis
agreeable and coarse b u t the landscape background is pleasing
, .

T h e A doration of the M agi o n the same wall is an u m , ,

finished picture by Leonardo da Vinci a man of extraordinary , ,

al most u niversal geni u s ,

B orn in 1 4 5 2 he was thirty years of
.
,

age when R affaelle entered the world and he only preceded ,

him one year in his death which took place i n 1 5 1 9 Vasari , .

thus all u des to this picture A n A doration of the M agi i n ,

m any respects especially i n the heads very fine it was in the

, ,

house of A merigo B e n c i opposite the Loggia dei Per u zz i but

, ,
’
was left imperfect like many of his works T his sketch rather
,
.
,

than painti ng is peculiarly i nteresting as an example of Le o

,

nardo s manner of beginning his pict u res the design i s care

’

fu lly drawn and the gro u nd painted solidly in chiaroscuro of

, ,

brown and white formed a preparation for the colo u r and

,

gla z es T h e Virgin is very gracefu l the Child fu ll of dignity

.
, ,

and both are of that type which from having been introduced ,

by D a Vinci is known as Leonardesqu e ; there is an infinite

,

variety in the heads many of them are very beautifu l and each
, ,

is a st u dy from nature a landscape with houses and trees is , ,

f aintly traced in the backgro u nd .

O f the same period and near this picture is the same sub
, ,

j e c t by F ilippino Lippi ( 1 45 7 T h e Virgin a modest ,

and gracefu l girl looks down on the Child with a placid smile
, ,
28 SUF F JZ J GA LLER Y .

while H e shrinks half playfu lly from H is worshippers Joseph

-

who i s represented as an ordinary peasant stands behi nd T h e , .

group rises diagonally the kings and their attendants on th e

,

left as well as the group of shepherds o n the right incline

, ,

towards the H oly F amily T h e heads have the character of .

portraits T here is a striki ng group to the right where a man

.
,

in a black cap tells the news to one who listens eagerly whilst ,

behind them another leans back apparently abs orbed i n seri

, ,

ous meditation T h e M oor beh ind the old man in the fore
.

ground is characteristic o f hi s rac e A nother old man with a .

b ald head on the left grasping an astrolabe i s Pier F rancesco

, ,

de M edici the son o f Cosimo s brother Loren z o T here are

’
,
’
.

portraits here of Giovanni the son of F rancesco born i n 1 4 6 7 , , ,

and of his co u si n Piero the father of Loren z o the M agnificent ;

,

also o f a secon d Piero F rancesco grandson of the first and , ,

father of Loren z ino the murderer of D uke Alexander T h e

, .

landscape background is intersperse d with figures i n natural

grou ps T h e colour of this picture is clear warm and fresh
.
, ,

throughou t composed of simple full reds yellows and blacks

, , ,

the artist has successfully contended with the di ffi culty of intro

duc ing so great a number of figures i n a comparatively small
space whilst preservi ng yet not rendering too obvious the
, , ,

form of the composition T h e lines are pleasing the action of .

,

every figure is natural whilst each contributes to the expression

,

of the one idea or subj ect of the picture

, ,
.

A noth er maste rpiece of F ilippin o Lippi is above the c irc u

lar picture by B otticelli I t was painted i n 1 4 8 5 for the Sala
.

degli O tto or Prior s Chamber in the Pala zz o Vecchio T h e

,
’
,
.

M adonna is seated in a shrin e three scallop shells th e em ,

blem of the pil grim adorn the steps of her throne ; angels
,

sustain a crown over her head and scatter roses T h e Virgi n .

i s simple and girlish almost to i nsipidity she looks meekly

down ; her golden hair falls on her shoulders which are covered ,

with the us u al blue mantle ; the Child a lovely infant hold s , ,

an open book and turns towards St Victor who has a singu

, . .
,
 LA TER TUS CAN ART . 29

l arl yfine head ; he ga z es at the Christ his hands crossed on ,

his breast St John the Baptist looks o u t of the picture at the

. .

spectator T h e Baptist stands firmly ; his emaciated f eet and

.

legs are well drawn O n the other side are St B enedict with
. .
,

open book an d S t Z e n o b iu s distinguished by th e red F loren

,
.
,

tine lily on the clasp of his mantle : his cro z ier the a rc h ite c ,

tural background adorned with arab esques and all the acces ,

so rie s are carefully exec u ted

,
A book with a crimson velvet .

cover is on the floor and helps to break the hori z ontal line in
,

the foreground ; the colo u r I S rich and harmonio u s .

B eside the A doration of the M agi by F ilippino Lippi I S the

Visitation of M ary to Eli z abeth by M ariotto Al b e rtin elli , .

Al b ert inel l i was born i n 1 4 7 4 and was a p u pil of Cosimo ,

R osselli and fellow pupil of the still more celebrated F ra

,
-

Bartolommeo whose manner he endeavoured to imitate T his

, .

picture painted i n 1 5 0 3 for the priests of the Congregation of

,

S a n M artino — near whose ch u rch Al b ertin el li kept a wine shop -

—is his best production Th e figure of Eli z abeth is sing u larly .

beautiful ; the earnest reverential absorbed ga z e and gentle , , ,

embrace as she bends forward to salute her who was to be the

,

mother of the S aviour is ful l of tender love yet sober and , ,

passionless and loses none of the dignity appropriate to age

, .

M ary stands to receive her i n her calm countenance we read

the handmaid of the Lord accepting the homage thus offered her , .

T h e composition drawing and colour are alike admirable and

, , ,

raise the feelings of the spectator to the conception of the artist .

A n arch whose pilasters are finely decorated with arabes q ues

, ,

encloses the group the sky is low i n tone clear and beautifu lly , ,

grad u ated T h e drapery of the figures falls i n ample folds ;

.

the white handkerchief on the head of Eli z abeth is managed

with great skill so as not to attract the eye or divert attention
, ,

f rom her face which is in shade the plants i n the foregro u nd

,

and other details are highly finished and copied from nature , .

Th e predella below representi ng the A nnunciation the N ativity

, , ,

and the Presentation in the T emple is sweet in colour and ,

30 UFFIZI GALLER Y .

drawing ; the landscape in the centre i s ve ry beauti ful but , ,

from the gla z ings having been i nj ured by time the effect is pale ,

and dead beside that of the pri ncipal pict u re .

O pposite the pictu re of th e A doration o f the M agi by ,

Leonardo da Vinci i s a noble chiarosc u ro composition by F ra

,

Bartolommeo one of th e most important artists of the latter

,

half of the fi fteenth cent ry ( 4 7 5 1

u 1 — T h e Virgin seated ,

on a throne with the Child on her knees and the infant St

, ,
.

John kneeli ng form th e central group behind the Virgin St

, ,
.

A nna with outstretched arms and eyes raised to heaven

, , ,

adores the H oly T rinity the dove descends U pon her T o th e .

right a lovely young girl kneeling beside the throne of the

,

Virgin represents Santa R eparata she holds a palm branch i n

,

her right hand while her left rests on a book B ehind her as well
, .
,

as on the other side of the throne are ranged eight D ominican ,

friars four and fo u r among whom — probably one o f those to

, ,

th e left who stands facing the spectator— is the portrait of the

,

artis t St Z e n o b ius and St M ark

. kneel i n front ; above.

hover beauti ful boy angels with musical i n struments appearing ,

to float i n the air whils t two have descended on earth and are ,

seated at the foot of the throne singing from a scroll which i n ,

the u n fi nished state of the pict u re i s only indicate d T h e rapt

look of St A nna and the dignified composure and grandeur
.
,

of the D ominicans and the saints i n the foreground heighten , ,

by contrast the charm of the sweet girlish simplicity of the

,

Virgin and of Santa R eparata as well as th e playfu l grace of ,

the I nfant Christ of St John and of the lovely angels which

,
.
, ,

have hardly been excelled by R affaelle him sel f St A nna the . .

,

mother of the Virgin i s s u pposed by her good offices to have

, , ,

saved F lorence from the tyranny of the D u ke of A thens she

is here therefore s u rro u nded by th e patron saints of the city .

T h e picture was painted for the Co u ncil Chamber of the Pala zz o

della Signoria the money in payment was advanced by the
government to the artist and the reason of its being left i n ,

the presen t unfinished state is u nexplai ned F ra B artolommeo .

 LA TER T US CAN A R T .
31

studied first in the school of Cosimo R osselli and afterwards ,

:

endeavo u red to master the pri nciples laid down by Leonardo

da Vinci for drawing and colour and to reduce them to practice , .

H is comrade and friend was M ariotti A l b ertin el l i who wa s ,

deeply mortified when Bartolommeo converted by the preaching ,

of Savonarola entered the D ominican monastery of St M ark

, . .

Like Leonardo da Vinci he commenced hi s pictures in chiaro

,

scuro or simple light and shade and painting over these h e

, ,

fi nished by thin gla z es of colour which gave richness variety , , ,

and depth to the shadows and brilliancy to the lights , .

Th e next pictures i n order of time are by R idolfo Ghir

l a n da io ( 1 4 8 3 the son of D omenico he was a pupil o f
Piero di Cosimo and the friend of the youthful R a ff aelle H e
, .

has here represented the miracles of the favourite F lorentine

saint Z e nob iu s ; they were painted for the Company of St
, .

Z e no b iu s who had their residence next to that of the Canons

,

of Santa M aria del F iore i n the Pia zz a del D uomo Both

“

, .

pictures have been much repainted an d are not therefore fair , , ,

specimens of the master T h e restorer has even inj u red the

.

drawing as for example the hand of the lady whose child is

, , ,

bro u ght to life I n the backgro u nd of this picture are seen th e

.

ho u ses of a F lorentine street and the bell tower of th e old ,

Church of San Piero M aggi ore afterwards demolished T h e , .

child is just re awakening and draws u p one small foot whil e

-

, ,

the arm s are extended and the eyes raised to heaven T h e

, .

colour of death is still u pon the hands and lips T h e gesture .

of the weeping mother who implores the bishop to j oin hi s

,

prayers to hers is very natural and to u ching and in contras t

, ,

with the calm and trustfu l countenance of St Z en ob iu s O n e . .

of the priests who supports his stole ga z es at him with admiring

, ,

confidence ; the other is attracted by the movement of th e

child T h e variety of expression i n the spectators behind is
.

naturally given the interest in th e event visibly diminishing as

,

they are farther removed from the scene of the miracle T h e .

other picture represents the M iracle of the T ree Th e body of .

32 UFFIZI GALLER Y .

St Z e n o b iu s
. is borne from S t Loren z o and is on its way to the.
,

Cathedral part of the f a ea de with the Campanile of Giotto , ,

and the T ower of the Pala zz o Vecchio may be perceived to the ,

left the Baptistery to the right ; the withered tree which the
,

corpse happened to touch is putti ng forth leaves T h e same .

variety of expression is n oticeable i n the spectators here as i n ,

the former picture : a pillar erected o n the spot s till com

m e m o ra te s this miracle of the F lorenti ne saint T h e figures of .

the bearers are dignified their drapery falling i n l arge folds

,
1
.

T h e painting after this is St S ebastian by R a zz i o f S ienna .

,

( I l S odoma 1 47 7 , and one of the most bea u tiful treat

ments of the subj ect ever t ransferred to canvas T h e saint is .

tied to a tree an arrow piercing his neck whilst an angel ( the

, ,

least successful part of the picture ) descends with a crown o f

,

T h e colou r har d y ; p asses chiaroscuro ; it is

martyrdom .
l
delicate and harmonious with wonderful breadth a beautiful ,

distant landscape forms the background Th e drawing of .

the figure especially i n the extr emities is noble and classical

, ,

the writhing of the body and the contortion of th e limbs indi

cate great su f fering yet thi s is given without exaggeration or
,

inj uring the grace ful outline of the composition whilst the ,

whole attention of the spectator is centred in the h eavenly

’
beauty o f the saint s glorified face ; m ortal pain seems there
overcom e by faith and we behold the expression of the most
,

tender lo v e u nited with the courage of the m artyr O n the .

back of the canvas i s a representation o f the Virgin with the

I nfant J esus St R och and St S igismun d T h e picture was
, . . .

painted in 1 5 2 5 as a standard for the Confraternity of St .

S ebastian .

F rancesco G ra n a cc i ( 1 4 7 7 the friend of M ichael

A ngelo and the adviser of R idolfo Ghirlandaio is the artist
, ,

who painted the altar piece representing S t T homas receiving

-
.

the girdle of the Virgin which is one of his best productions

, .

T h e Virgin is insipid her figure is hard in outline on a heavy

, ,

1
S e e ch a p te r o n Sa n Lo renz o .
 UFFIZI GA LL ER Y .

over the picture do not produce spotti ness and there is an ,

excellent e ff ect o f open air daylight i n a hot sunny climate A

-
.

likeness of Cosimo the Pater Patri ae and a portrait —probably

, ,

from the life — o f the Grand D uke Cosimo I are by the sam e .

master .

Christian art in drawing colour composition and expression

, , , ,

had reached their highest per fection during the life of M i chael
A ngelo an d had begu n their decline during the m iddle or
,

latter half o f the sixteenth centu ry Exaggerated forms were .

produced by those who without the genius could i mitate the

, ,

peculiarities o f the grea t scu l pto r an d who found it easier to repre

,

sent si z e than strength and to follow artificial r ules rather than

,

the laws o f nature T he religious sentiment of an early pe riod

.
,

and the pseudo paganism o f the M edicean school had been

-

succeeded by bigotry and superstition the m oral sense was

blunted by th e most horrible crimes i n those who should have
been the leaders o f the people and when liberty fell with the
accession of the Grand D ukes art was de graded to flatter their ,

vanity or became subordinate to m erely ornamental pu rposes .

Agnolo B ron z ino ( 1 5 0 2 so called from hi s swarthy

complexi on was among the best of th e i n ferior class o f artists
,

of thi s period H e was a better painter of portraits than o f

.

history Lan z i describes h is colouring as sometimes leaden

.
‘
,
’
sometimes chalky A large picture by this master represents
.

Christ s D escent into Limbo T h e figure o f J udith to the

’
.

right is the portrait o f B ianca Cappello the mistress and after , ,

wards the wife o f the Grand D uke F rancis I the son of

,
.
,

Cosim o I H er beau ty made her the subj ect of a romantic

.

s tory and her talent and good qualities i n spite of her crimes
, , ,

deserved a happier fate T h e flattery intended here must have

.

failed in accomplishing its purpose since Judith has no great ,

pretension to beauty .

T h e portrait of a sculptor by B ron z ino has the head care

fully drawn and the expression is animated O ver a door are .

portrai ts o f the children of D uke Cosimo I T h e boy .

 L A TE R T US CA N A R T .
35

F erdinand was his second son who after having taken orders
, , ,
’
and received the cardinal s hat ; was absolved from his vows in
order that he might succeed his brother on the ducal throne .

T h e little girl M arie de M edici died j ust as she had reached

’
, ,

womanh ood and such was the character of Cosi mo that she
, ,

was said to have received a slow poison from her own father .

H er h and is bea u tifu lly painted .

T h e nephe w and p u pil of Bron z ino was A lessandro A llori

( 5 35
1 who contin u ed his adherence to the maxims of

the school formed by the servile followers of M ichael Angelo ,

even after his own son Cristofano with his friend and rival , ,

Ludovico Cigoli had emancipated themselves and were e n

, ,

dea v o u ring to revive the st u dy of chiaroscuro and colour .

With Giorgio Vasari ( 1 5 1 1 —1 5 7 4) —in spite of his invaluable

history of art and artists — the real decline of art commenced .

A n ideal portrait by him of Loren z o de M edici is accompanied

’

by fancifu l accessories with a symbolical meaning in c o mpli

, ,

ment to the reigning house H e has also pain ted the portrait
.

of D uke Alexander i n armour with a view of Florence in the

,

backgro u nd T h e head and hands are well executed T his

. .

picture is above the Virgin and St T homas by G ra nacci .

, .

A D eposition by R a ff aello B o ttic in i Vanni wh o lived ,

early i n the sixteenth century is fine in colour clear and brigh t

, , ,

but hard the composition and drawing are feeble Th e two .

M arys behind the Virgin an d the M agdalene at the feet are

, ,

the finest parts of the pict u re .

Erminia H ealing the Wounds of T ancred i s by O ttavio

Vannini ( 1 5 8 5
T h e S toning of St Stephen is the fi nest work of Cigoli
.

( 1 5 59 the great reformer i n art but whose school ,

su rvived him only a few years T h e expression of the dying

.

—
saint is very to u ching and beautiful his eyes a re half closed ,

his brow contracted from bodily su ff ering and his hands ,

extended i n prayer whilst he si nks from exhaustion

, T he .

f igures of the men stoning him are coarse but power ful T he , .

D 2
36 UFFIZI GA LL ER Y .

light from above falls fi nely on th e head of St Stephen and on .

the braw ny arm of the man i n the foreground who stamps on ,

the fainting martyr T h e backgrou nd is composed of archi

.

tecture and trees and is kept low i n tone T h e small group to

,
.

th e left beside St Paul i nclu des a portrait o f the artist T h e

,
.
, .

picture has u nfortunately su ff ered from restorati ons .

O ver the door leading to th e other rooms of th is suite is an

A doration o f the M agi by Cristofano A llori ( 1 5 77
, the
son o f A l essandro A llori and th e friend and follower o f Cigoli
, .

T h e picture is u nfin ished but it i s the only work by thi s ,

master i n th e room T here i s nothing elevated in the fi gure s

.

which compose the group T hey are ordinary peasants and .

,

i nstead o f a H oly F amily they m ight be better described as a

,

handsom e count ry girl with a child on her lap and an old

peasant by her side T h e picture i s painted with broad touche s
.

and full dark colours .

N ear the entrance o f the room o f early T uscan masters

i s a picture by Jacopo Chimenti of Empoli ( 1 5 5 4 It
represents St Ives a sai nt claimed though without any ce rt ai nty
.
, , ,

by the F ranciscans H e was j udge advocate over a diocese i n

.
-

F rance and died i n 1 3 0 3

,
H e appears here i n th e costume o f
.

a j udge with a glory round his head and is listening to th e

,

pleadings of th e w idows and o rphans o f whom h e i nstituted ,

himsel f the protector T h e picture i s power fu lly coloured and

.

i n fi ne chiaroscuro T h e figures i n the foreground stand in

.

easy nat u ral postures an d some of th e heads have a consider

, ,

able share of b eau ty .

H igh u p to the left of the A doration o f the M agi by Cristo ,

fano Allori is a portrait by Baldassare F ranceschini of Volterra

, ,

( 1 61 1 T his portrait is supposed to represent th e

Venetian F ra Paolo S arpi ( who died i n though with little
’
probability unless th e date given for Baldassare s birth be
,

incorrec t .
 C H A P T ER I V .

UFFIZI GA LL E R K —R O OIII OF SM A LL PI C TURES B Y

TUSCA N M A S TE R S .

N a passage leading from that containing the larger pictures

of th e T u scan school to the T rib u ne i s a valuable col
lection of smaller paintings many of which were executed by
,

the same artists whose pictures we have already described .

T h e work o f greatest importance is on the wall to the l e ft

’
on entering and is one o f S andro B otticelli s most celebrated
,

compositions H e has called the subj ect Calumny as he took

.
,

1
his idea from a description of a painting by the Greek A pelles .

A pelles had been slandered by a bro ther artist j ealous of his ,

fame and the false acc u ser had been listened to by his patron
, ,

King Ptolemy of Egypt ; although fi nally acqu itted A pelles ,

co u ld not forget the o ff ence and he took his revenge by pain t

,

ing Ptolemy as King M idas with ass s ears seated i n j udgm ent ’
, ,

and with Susp i c i on and Ignorance on either side M idas .

extended his hand to Calumny who approached with a glowing ,

co u ntenance bearing a torch in her left hand whilst dragging a

, ,

youth along with her right the youth raised his hand to ask
aid from heaven Envy decked Cal u mny with flowers as i f
.

to render her more attractive R epentance followed represented ,

as a female attired in black who turned her head towards,

T ruth and wept with shame and remorse

,
S uch was the .

subj ect as treated by A pelles b u t B otticelli although a dh er

, ,

ing to most of the fig u res has not followed this descriptio n

,

1
S e e Luci a n, D e Co l u mn . ix pp. . 2 -
6, v o l. iii pp
. . 1 22 -
1 27.
3s UFFIZI GA L LER Y .

closely T h e study of the anti q ue is shown throughout espe

.
,

c ia l l y in the nude figure of T r u th looking upwards as i f a p ,

pealing to heaven T h e male fi gure addressing the ki ng was

.

probably meant to signi fy R age the lovely female who drags

the youth on the grou nd by th e hair o f his head is Calum ny ,

o n whom Envy scatters flowers Th e fi gu res on either side .

o f K ing M idas which in the picture by A pelles represented

,

S uspicion and Ignorance may here be supposed to represent

,

Cruelty and M ercy alternately swaying th e weak j udgment of

,

the Pri nce wh o looks pu zz led by opposite opinions T h e

, .

grand old hag at the fa rther end w ith hands crossed and ,

with a wicked scowl as she looks back at T ruth probably ,

represents F alsehood th e mother of Calumny A beautiful

, .

architectural backgrou nd unites the separate groups and

figu r es ; the pale blue sky and the sea shore appear between -

the open arches rich frie z es reliefs and statues adorn , ,

th e palace ; the sculpture is taken from classical and sacred

subj ects ; a bright pure atmosphere prevails throughout th e
,

pic ture in which the outlines of every form appear sharply de

,

fi ned the brilliancy o f the light the high fi nish o f every deta i l
, ,

an d the accurate distances are especially to be remarked T he .

fem ale heads are all from one model even to their golden hair ; ,

but there is variety of expression to compensate for monotony

o f features which are drawn with delicacy and precision
,
.

O n either side of this picture are most lovely m iniatures by

F ra A ngelico which once formed the predella to an altar piece
,
-
.

T h e subj ects are the M arriage and D eath o f the Virgi n I n the .

fi rst th e youths who had aspired to her han d break their rods
, ,

on beholding her u nion with J oseph A ccording to the legend .

,

the high priest to whose charge she had been consigned

-
, ,

desire d that each candidate should bring a rod to the T emple ,

and that he whose rod sent forth buds should be the chosen
husband o f M ary J oseph s rod decided in his favour and he
.
’
,

i s here represented bearing the blows dealt him by th e dis

appointed suitors with wonderful equanimity T h e fem ale .
 SMAL L T US CAN PIC TURE S .
39

figures are drawn with great elegance and have all the refi ne ,

ment characteristic of the painter A dove rests on the branch .

J oseph holds in his hand .

I n the companion picture the Virgin appears in sleep rather

than death T h e Saviour holds her n ew born soul in his arms ;
.
-

the colour i s clear and delicate —a p u re blue prevails through

out.

N ear the window is another exquisite little picture also by ,

F ra A ngelico T h e infant St John is brought to his father

. .

Z acharias who is writing his name the maiden who stoops to

,

present the i nkstand to him and the other with the child are,

very gracefu l the two heads behind are not less lovely .

Eli z abeth i s s u pported by a female attendant T h e scen e is

'

lai d in a garden before a house with orange trees on the wall ,

grass and fl owers are in the foregro u nd .

A most beautifu l picture by Cigoli represents St F rancis .

receiving the S tigmata H is sinking frame and the exha u stion

.

expressed i n every feature are given with marvellous truth the

painting is highly finished and the drawing and colouring ,

are excellent
A portrait by Andrea del Sart o ( 1 4 8 8 1 5 3 0 ) o f hi m
.

self -

when young is a good pict u re below it is that of a child by

,

S anto di T iti ( 1 5 3 6
St A ug u stine in his S tudy is an exquisitely fi nish e d minia
.
-

t u re attributed to F ilippo L ippi b u t doubtfu l T h e saint is

, , .

seated i n a niche writing the head is very fine a green ,

c u rtai n is drawn aside and papers are scattered on the ground

, .

Judith with the head of H olofernes by Cristofano Allori is

, , ,

a repetition i n miniature of his celebrated picture in the Pitti .

A portrait in fresco of Bianca Cappello the second wi f e o f ,

th e Grand D u ke F rancis I is by Alessandro A llori ( 1 5 3 5

.
,

Alessandro s pictures are in general feeble and devoid o f

’

interest T his fresco was discovered in a villa not far from

.

Careggi beyond the Porta Sa n Gallo At the farther end

,
.

of this room facing the window is another portrait o f Bianca

, , ,
40 UFFIZI GA L LE R Y .

by Agnolo B ron z ino at the back of wh ich is an allegory ,

the dream of human life N eith er pict u re gives any idea of a . .

beauty which was so celebrated among her contemporaries ,

and which has only been preserved i n a cameo likeness i n the

room of gems .

T h e martyrdom of St M aurice and the T heban Legion is .

by Jacopo Pontormo ( 1 4 9 4— 1
5 the master o f the A llori he
has introduced the portrait of his patron Carlo N eroni as , ,

receiving baptism from an angel on a hill to the left of the ,

picture .

T h e portrait o f Elea nora of T oledo the u nhappy wife o f ,

th e Grand D uke C osimo I i s by Agnolo Bro nz ino Christ .

,

with the disciples at Emmaus by Cristofano Allori ; and St , .

F rancis kneeling be fore the Cross by A lessandro

, , .

O n the opposite wall near the window is a man i n armou r ,

by Agnolo B ron z ino and below this i s the portrait of Pico ,

della M irandola by an unknown artist T h e interest of this

, .

picture only consists in its being the likeness o f a remarkable

man the friend of M arsilio F i cino who presided over Cosimo
, ,

de M edici s Platonic A ca demy Pico was likewise a member

’ ’
.

’
of this society but his commentaries on Plato s writings are
,

sai d to be m ore obscure than the text H e died at the age o f .

thi rty two and was buried i n the Church of S t M ark i n

-

,
.

F lorence H e is here represented holding i n his hand the

.

e ffigy o f Cosimo de M edici ’

.

T h e portraits of M ari e de M edici the eldest daughter of

’
,

the Grand D uke Cosimo I and of her brother D o n Gar z ia .

, ,
.

are by Agnolo Bron z ino M arie fell in love with a page at .

her father s Court the son of M alatesta Lord of R imini and

’
, , ,

Cosimo to prevent the m arriage i s supposed to have a dm inis

, ,

tere d poison to his own daughter and caused her early death ,
.

T h e merry faced boy holding a go l dfi n c h is very unlike the

-

hero of another domestic tragedy ; b u t when a man while ,

hunting at Pisa he acci denta lly killed his brother i n a q u arrel

,
.

O n presenting himself after the deed to his father Cosimo ,

42 UFFIZI GA LLE R Y .

breadth i n chiaroscuro and colour i s carefu lly maintained .

1
A n A nnu nciation i n chiaroscuro i s on the back of the picture .

N ear this are two mi niat u res by B otticelli — the F riends o f

H olofernes discovering his headless corpse i n the tent ; an d
J udith followed by her n u rse who be ars away the head Both , .

pictures are remarkable for grandeu r o f composition and fi nish .

T h e first subj ect is treated with painfu l reality though fi ne and ,

rich i n colour ; the expression of horror at the discovery is given

with the utmost truth T h e second tho u gh m uch repainted
.
, ,

i s th e m ore attractive of th e two A cool morn ing light is dawn .

‘

i ng over th e di st a nt landscape where the hostile army is seen ,

i n confusion at th e murder of their leader J u dith walks on .

calmly and with a smile of tri u mph on her face tempered by

,

seriou s thought Sh e carries a sword i n one hand an olive

.
,

branch in th e other and turns her head towards her attendant

, ,

who cast in a coarser mould is bendi ng beneath her bu rden

, , ,

and appears to move with hasty steps as if i n fear of pursuit , .

T h e head o f H olo fernes has the appearance of sleep still upon

the dead features .

H ercules fighting wi th th e H ydra and the same hero throw ,

i ng A nt aeus over the rock are by A ntonio P o l l aj ol o T hey, .

are marvellous for the representation of strength and a proo f ,

that grandeur of drawing and composition does not depend on

si z e T h e M edusa s head is supposed to be the celebrated
.
’

picture by Leo nardo da Vinci of which Vasari writes He ,

took a fancy to paint a picture of a M edusa with a head gear -

of serpents the strangest and m ost extravagant invention

,

i maginable ; but as it was a work which required time it re ,

2
T h e original picture of which thi s
’
mained incomplete .
,

appears to be a copy was long i n the palace of the Grand ,

D u ke Cosi m o I T h e exaggerated chiaroscuro makes it diffi

.

cult to distinguish any of the det ai ls T h e eyes are turned .

backwards and a film o f vapour from the lips implies that life is
,

1
S ee C ro w e and C a v a l c a se l l e , v ol . iii p
. .
44 2 .

2
S ee Va sa ri , Vite de P ittori
’
.
 S IWA LL TUS CA N PIC TURES .
43

not yet extinct T h e serpents are a tangled mass which glide

.
,

and twist aro u nd the head ; mice toads and other reptiles , ,

crawl about the dark cavern in which the M ed u sa is laid .

A n A nnunciation by Loren z o Credi with a predella in dead ,

colour represents the Creation of Ev e the F all and the Ex

, , ,

pulsion from Paradise a garden walk is seen here in long per

sp ec tiv e T h e Virgin is in a room with three open arches she
.

’
raises her head i n glad su rprise the angel s head is very fi ne
and expres sive his hands are folded on his bosom
,
Both .

figures are however deficient i n grace and elegance

, , .

A lovely head of S anta Lu cia is by Carlo D olce ( 1 6 1 6

near which is a powerful portrait by Loren z o Credi o f
his master A ndrea V ero c ch io T h e small eyes are full of life
,
.

and intelligence ; the fi rm set mouth and the muscles around -

are indicated so as to suggest movement the spacio u s round

forehead and the quiet nostrils —all denote resol u tion and
'

power We have the portrait of a simple citi z en yet a great

.
,

m a ster T h e hands rest easily on the ledge in front ; to the

.

right a landscape is seen thro u gh an open window

,
.

A nother portrait by Credi represents M esser A lessandro

B ra sc e si S ecretary to the F lorentine R epublic in 1 4 9 7 : an
,

i nteresting head T h e pict u re approaches so nearly in style

.

and colo u r the portrait by an unknown artist mentioned i n th e

fi rst corridor that we can hardly hesitate to assign them to the
,

same hand T h e portrait of an old man painted on a tile has

.

marvello u s character and animation and is carefu lly drawn , .

Some suppose it to be the work of T ommaso Guidi di Gio

vanni commonly known as M asaccio ( 4
,
1 0 1 —1 428
) others a ttri
b u te it to Botticelli .

T h e head of a youth by A ndrea del S arto i s supposed to

be a portrait of a friend of the artist who was a novice or ,

student with the monks of Vallombrosa .

A t the end of this room farthest from the window and near ,

the entrance from the room of T uscan pictures i s a bowl for ,

carrying gifts on which Jacopo Pontormo has painted the

,
44 UFFIZI GA L L E R Y .

B irth of St J ohn the B aptist on this same wall is also a small

.

sketch by F ra Bartolommeo of the Eternal descending on

, ,

clouds and borne up by Cherubim whilst angels blow trumpets

, , .

T h e feeble light here makes it impossible to j udge of the merits

of pictures so far removed from the wi ndow and few if any , , ,

of them are of superlative merit I n one co m er i s the portrait .

of a lady taken i n profile by A lessandro Allori It is sti ff and .

formal but the pleasant smile on the face the arched nose full
, , ,

chin and flori d complexion may have gi ven th e lady some

, ,

claim to admiration i n her day

fl
.

T h e head o f a youth by Leonardo da Vinci ( 1 4 5 2 —1 5 1 9 )

furnishes an admirable study for the portrait painter T h e eyes -
.

are liquid the lips mobile th e smooth forehead the esh in ess
, ,

o f the cheeks and rou nded chin have all the qualitie s of youth , ,

yet retain the i ndi cation of bone and muscle beneath T h e pe r .

spe c tiv e of the head is c arefully O bserved the hair fi nely treated , ,

and gradually lost in the dark green backgrou nd T h e young -

.

man wears a black cap and dress wi th a white collar fitting ,

closely round his neck T h e shadows of the flesh are care fully
.

graduated and though inj ured by the cleaner the tints of n ature
, , ,

are produced with won derful truth an d delicacy .

T h e T emple o f H ercules by F ra n c ia b igio ( 1 4 8 2 1 5 2 — th e

friend and as sis tant of A ndrea del Sarto form ed one side of a ,

bridal chest : the colouri ng is harmonious the draperi es very ,

fi nely drawn and th e heads are varied in expression ; there is

,

an agreeable landscape background C a val ca sell e observes on .

this composition O f F ra nc ia bigio s late period broad — ’

,

brown animated and quickly done S om e fi gures taken appa

, , .

1
from lbert i b i merits in his e a rl y
’ ’
re n tl A D ii re r F r a n c i
y a
.
g o s

days consisted according to Vasari i n a careful attention to

, ,

the rules of proportion ; he adopted the method followed by .

F ra Bartolommeo but later in life he aimed at produci ng many

,

pictures rather than any one of high excellence

,
.

A predella in three compartments by R aff aello B o ttic ini or

S ee C ro w e a nd C a v a l case l l e v o l iii p 5 1 2
'

1 . . . .
,
 SMALL T US CAN PIC TURES .
45

Vanni was painted for the altar — piece of the D eposition from
the Cross in the room of T uscan masters T h e subj ects of
.

this picture are— Christ D riving the S ellers from the T emple ;
H is Entrance into J erusalem ; and the Woman of Samaria .

A lovely little M adonna and Child with S t John is an u n

“

fi nished work by F ra Bartolommeo .

An A ngel with S carlet and White Wings bending over a

,

guitar i s by R osso il F iorentino ( 1 4 9 4

,
T here are
several other pictures here but none of su f ficient importance to
,

deserve mentioning although they bear the names of Vasari

, ,

Jacopo da Empoli F ederigo Z ucchero & c

, , .
 C H A P T ER V .

UFFIZI GA LLER Y TH E TRIB ON E —P I C TURES B E L ON G

[N C TO O TH ER S CH O OL S .

H E T ri bune is an octagonal room built by the Gran d

D uke F erdinand I to contain his collection of ca m e i
.

a nd i ntagli T h e cupola above was inlai d with m other o f pearl

.
- -

a n d the room was at first surrounded by carved ebony cabinets

w hilst i n the c en tre stood a splendid table o f pietra dura ,

around which were placed the fi nest antique statues T he .

c abinets and gems have been removed and the walls hung with ,

a choice selection o f pictures which are not however seen to

, , ,

a dvantage from th e confi ned space and imperfect light

,
.

F acing the door leadi ng t o the corri dor i s the celebrated

Venu s de M edici Sh e is thu s described i n th e notes o f M r
’
. .

’
J ohn B ell from whose T ravels in Italy we have already
,
‘

quoted i n other part s of thi s work : T h e Venus de M edici ‘ ’

,

t ruly a subj ect for th e little and beautiful measuring only four ,

feet eleven inches exqu isite i n all its forms and proportions ,

but much i nj ured in the restored parts ; found i n the Villa

H adrian i n T ivoli
’
T h e Venus was brought to F lorence with
.

the Apoll ino opposite which i s a rare example of a statu e dis

,

covered entire I t was however unfortunately broken by the

.
, ,

fall of o ne of the pict u res and the T uscan sc u lptor Bartolini

, , ,

who u ndertook the repairs concealed them by a worse inj ury

, ,

a s he pai nted the whole statu e and thu s destroyed the trans ,

p a re n c y of th e marble ; but the easy attitude the dignity and ,

grace of th e figure with the beauty of the face and limbs are
, ,

u naltered and constitute one o f the most charming o f antiqu e

,
 TH E TRIB UNE .

s tatues T h e D ancing F aun opposite is i n strange contrast

.

with the elegance of the A poll in o T hough the F aun was re .

paired by M ichael A ngelo the original part o f the statue con ,

tinu e s the fi nest M r Bell s admiration of this work makes him

’
. .

severely critical on the additions by the modern artist T his .

‘

s tatue he proceeds is perhaps the most exquisite piece of art

’ ‘
, ,

of all that remains O f the ancient the T orso is the finest that
can be imagined I t is adventuro u s to di ff er from
.

so great a master as M ichael A ngelo who when he restored it , , ,

must have st u died the s u bj ect well and who is even said to ,

have taken the idea of the head and arms from an antique gem ;
( )
but he has given ro u nd and fl eshy forms to a shrunk and

somewhat aged figu re evidently intended for the caricature of

,

dru nkenn ess and folly T h e limbs are all in a strained and.

staggering attitude T h e whole body inclines forward and

.
,

there m u st have been a proportioned bend backwards of the

head to counterbalance the inclination of the trunk Buonarroti
,
.

has g iven too fresh and full a face for his shrunk meagre and , ,

dried u p body
-
T h e remark that this st atue is the caricature
.
’ ‘

’
of drunkenness and folly appears somewhat exaggerated for
it has rather the wild movements of a being half animal hal f ,

human —the fau n of the ancients — engrossed with the pleasure

O f the moment and i n the delirium of a Bacchanalian dance .

A s a learned anatomist and art critic M r Bell s observa

’
.
,

tions on the remaining statues are no less i nteresting and im

portant : T h e K nife Grin der not exempt from faults but most
‘
, ,

n tere sting; the whole posture and the whole composition being

s ingularly j ust and eff ective T h e knife blade in the right hand .

touches the grinder ; the body slightly bent forward is balanced , ,

by the resting of the fingers of the left hand on the block ,

whilst the head for which the whole forms of the trunk are ex
,

q u isite l y prepared is turned round ,

Th e figure i s neither lean .

ing nor resting but is yet full of nature ; the attitude being evi
,

de ntl y that of momentary action T h e e yes of the slave are .

not fixed on the work H is bony s q uare form the strength .

, ,
48 UFFIZI GA LLER Y .

of the neck the squali d countenance the short neglected hair

, , ,

th e character of a slave still more plainly written on his coars e

hard hands and wrinkl ed brow ; yet it is a slave presented wi th ,

all the fine broad expression of nature bearing all the striki n g ,

features of strength and labour T h e Wrestlers a beautiful .

,

little group ; the figures too much under si z e delicately and ,

ex q uisitely fi nish ed for the subj ect T h e slender li mbs seem .

exiles from the body and owing to an a ff ectation of anatomy

, ,

and science have too much fibre ; the heels and toes are too
,

small ; the legs of th e conqu eror are stringy and quite out of
drawing T h e whole may be described as being a nice well
.
,

fi nished little group but wanting i n grandeur action and

, ,
’
expression .

B ehind the statue of the Venu s is placed the el zej i d ce na re ’

o n panel of A ndrea del Sarto the greatest colourist o f the ,

F lorentine school T h e M adonna with her eyes cast down

.
, ,

stands on a pedestal ; sh e holds a book on which the Child ,

steps as with infantine grace and playfu lness H e climbs to her

,

neck the girlish features of the M adonna have a nobility and

grandeur o f expression rarely fou nd in the works of A n drea .

St F rancis and St J ohn stand on either side ; St F rancis is

. . .

an ordinary peasant with a mournful cou ntenance ; St J ohn .

,

gentle earnest and very beautiful ; most lovely angels support

, ,

th e Virgi n T h e composition O f this picture is pyramidal the

.
,

extremities o f the figures are drawn admirably and everything ,

is i n j ust balance ; there i s great breadth o f chiaroscuro the

colour is rich and harmonio u s and a deep religious feeling and
,

dignity pervades the whole .

B elow this pict u re is one of the gems o f the collection a ,

triptych by A ndrea M antegna ( 1 4 3 0 F inished with

exquisite delicacy an d care it has at the same time all the
,

grandeur o f drawing and composition o f a picture of larger

dimensions T h e subj ects are : the A doration of the M agi
.
,

with the Circumcision and the R esurrection on either side .

I t once adorned the Chapel of the D ucal Palace at M antua ,

 UFFI ZI GA LLER Y

was under the i nfluence of Leonardo da Vinci whose style it ,

closely resembles Lan z i remarks o f this pictu re I am

fl
.

i nclined to believe that the sam e characteristic of an a ff able ,

generous disposition diligent in th e search after perfect beauty

, ,

must have made them ( Ra a ell e and Leonardo ) known to one

’
another even i f they had not been u nited by fri endship
, A .

certain resemblance to the painter him self and the dress being ,

that o f a citi z en who did not belong to F lorence ( which

Ra ff aelle had visited at that peri od ) make it probable that this ,

is the portrait of his a u nt Santa who was married to a rich ,

tailor but who when left a you ng widow resided with hi s

, , ,

father Giovanni ; Ra ff a e l l e s mother h a d died when he was a

,
’

child T his picture w as brought from the Villa of Poggio

.

a Caiano i n
A bove the door leading from the rooms of T usca n masters
is a M adonna and Child with St Joh n and St S ebastian by . .
,

Pietro Perugi no ( 1 44 6 T o the left of the door i s

another portrai t by Ra ff aelle d U rbino called the F ornarina ’
,
'
,

or Baker s Wife ; but so little re se mb l ing th e picture o f th e

’

same name i n the Barberin i Palace i n R om e that this is ,

probably a m isnomer and the port rait is believed to represent

,

B eatrice of F errara the mistress of Loren z o d U rbino th e

,
’
,

father of Cath arine de M edici ’

Passavant the biographe r .
,

of R a ff aelle places the date of this pict u re at 1 5 1 2 T h e artist

,
.

rises here to a fulness and depth of colour which can only be

compared to Giorgione who had died the previo u s year ,
.

T h e M adonna del Po zz o or Virgin at the Well is attributed , ,

to R a ff aelle but is probably by F ra nc ia bigio It i s painted

fl
.
,

with much sweetness the children are very lovely and playful
but neither the Virgin nor other parts of th e composition have
the grace and dignity o f Ra a ell e s paintings ’
’

St J ohn in the Wilderness is th e only painting on canva s

.

by Ra ff aelle Al though a noble picture the subj ect is treated

.
,

as a stu dy and Passavant traces in the finished picture th e

,

S ee J D Pa ssa v a n t s R af a el v on Url irw v o l i p 1 8 4

1 ’
f . . .
. . , .
 TH E TRIB UNE .
5 1

hand of a p u pil it has the refore rather served as a valuable

, ,

lesson for the young artist than awakened much interest in the
1
visitor to the gallery .

T h e M adonna del Cardellino the M adonna of the Gold -

fi nc h — next the picture of S t John is one of R a ff a ell e s most

’
.
,

charming compositions and belongs to his F lorentine period

, .

T his great artist s works are divided into three styles the
’

first ac q uired when a diligent p u pil under Perugino and

F rancia and when his genius was kept in strict s u bordination
,

to the rules and mannerism of these schools the second begin

ning with hi s first visit to F lorence and interco u rse with the ,

great artists there who awakened new i deas of the wider bo un

,

da ries of A rt his third and last style belonging to his R oman

period when he had st u died from R oman models and Venetian
,

pict u res and had gained that grandeur of o u tline and c o m

,

position and richness of colour which found their culmination

, ,

in his latest works the T ransfiguration and the M adonna di

,

S a n S isto T h e M adonna del Cardellino was painted i n 1 5 0 5

.
,

when R affaelle was twenty two years of age for Loren z o N asi -

, ,

a F lorentine who presented it to his bride T h e picture was

,
.

inj ured in 1 5 4 8 when N asi s house was shaken by an earth

,
’

q u ake but it was carefu lly repaired

,
It is as Passavant .
‘
,
’

observes fu ll of lovely simplici ty and heavenly grace and the

,
‘
,

2 ’
possessor held it in great honour all his life T h e fresh and .

pure feeling in the composition and colo u r has a charm which

no copy can wholly convey and however familiar we may be ,

with repetitions and engravings this pict u re can neither disap ,

point a t first sight nor ca u se satiety by being frequently visited

, .

T o the right of the door i s R a ff a ell e s maj estic portrait of

’

Pope Julius I I painted i n his latest R oman manner for the

.
, ,

family of the ponti ff the D ella R overe Julius I I was connected

,
. .

by marriage with the D u ke of U rbino the patron of the painter , ,

who had likewise a friend in the youth ful heir to the duchy ,

1
S ee J . D . P assa v a nt s Raf ael
’
v on Urbino, v ol . i p
. .
92 .

2
M id .
52 UFFIZI GA LLER Y .

the nephew of the duke F rancesco della R overe T here is a

, .

repetition o f this picture i n the Pitti Palace and both are ,

probably by the hand of Ra ff aelle a third is i n the N ational

Gallery of London T h e original design in chalk is i n th e
.

Pala zz o Corsini o f F lorence T h e character of the irascible.

and resolute old man who u nited the genius o f a ruler and
,

warrior with taste for art and th e refinement of a high bred -

gentleman is expressed i n the features attitude and dress of

, , ,

the Pope .

A bove the M adonna del Po zz o is a fi ne picture of I saiah ,

by F ra Bartolommeo and further on is th e com panion picture

,

o f Job T hey are both very powerful i n drawing and expres

.

sion and are painted in full deep colou r T hey were executed
,
.

for a F lorentine m erchant and made part of the great picture ,

o f the R esurrection o f our Saviour which i s in the Galle ry of ,

th e Pitti Palace .

B etween the Prophets is a portrait of the Emperor Charles

V m ounted on a splendid white charger A n eagle holding a
. .
,

crown of laurel soars above him T his pictu re is an imaginary

,
.

portra it by Vandyke ( 1 5 9 9 since the Emperor died i n

1 55 8 .

A bove
the portrait of Pope J uliu s I I is a beautifully painted .
-

head of J ohn the B aptist by Correggio which was formerly i n

, ,

the villa of Poggio a Caiano ; on the other side of the door

leading to the Corridor i s the daughter of H erodias beari ng ,

the head o f the Baptist i n a charger with the executioner by , ,

B ernardino Luini of M ilan ( 1 4 6 0 H igher u p a very ,

lovely H oly F amily is by Paolo Veronese ( 1 5 2 8 St

~
.

J ohn kisses the foot of the I nfant Christ ; S t Catharine a .

,

beautiful Veneti an woman with her palm branch stands beside ,

-

the Child St J oseph is to the left of th e picture

. .

A most exq u isi te small painting by Correggio of the Virgin ,

K neeling i n A doration of the Child was a royal gift by the ,

D uke of M antua to the Grand D u ke Cosimo I I A sleeping .

Endy m ion by Guercino ( 1 5 9 0

,
i s a good specimen of
 L OMB ARD S CH O O L .
53

the Bolognese school of art T w o pictures of A dam and Ev e.

are by Lu cas Kranach ( 4 7 1 5

1 2 — and beneath is a H oly
F am ily by M ichael A ngelo Buonarroti ( 1 4 7 5
,
T h e his
tory of this last picture given by Vasari establishes its a u
, ,

th e n tic ity otherwise it wo u ld be diffic u lt to believe the great

,

master co u ld have been capable of s u ch distorted and de fective

drawing as i n the arm and part of the figure of the Virgin
,
.

H e r constrained attitude is characteristic of this artist s love of

’

grappling with di f ficulties .

T h e A doration of the M agi by A lbert D u rer ( 1 4 7 1 ,

is interesting as an example of the work of the greatest of

German m asters Christ R ising from the T omb is by Lucas van
.

—
Leyden ( 4 9 4 1 5 3
1 T here are other pictures of merit in the
T rib u ne but in too O bscure positions to be seen to advantage
,
.

F rom the T rib u ne the visitor passes through a series o f

small roo m s containing pictures by artists from di ff erent
,

Italian S tates as well as D utch F lemish German and F rench

, , , , .

I n the first room of paintings of the Ven etian and Lombard

schools and on the wall to the left of the entrance from the
, ,

T ribune is a most exquisite pict u re by A ndrea M antegna

, ,

e Virgin i s seated with the Child on her

( 1 43 0 Th
knees u nder a rock i n the wilderness a lan dscape in the back
,

ground T h e colour is sober but harmonious the drawing

.
,

and composition have much grande u r and every detail is deli ,

ca tely finished N o t far from this picture is a lovely little

.

sketch of St A gnes crowned by A ngels by Paolo Veronese

.
,

also St A nna presenting cherries to the Child with St John

.
, .

the Baptist and Joachim by M azz olino di F errara 1 4 8 1 —

, , 1 5

O n the wall farthest from the window to the right of the ,

entrance there is a very beautiful picture of children sporting

,

under trees by F rancesco A lbano ( 1 5 7 8

,

O n the opposite wall to the left a most lovely little painting ,

F R
of a H oly amily is by Guido eni ( 5 7 5 1 1 — the infant St .

J ohn kisses the foot of the Child Above it is another H oly .

F amily of m u ch bea u ty by A nnibale Caracci ( 1 5 6 0

, A
54 UFFIZI GALLER Y .

larger picture towards the centre of the wall by Pa rm iggia n o ,

( 5
1 0 4 represents a H oly F amily with S t J erom e and , .

the M agdalene T h e Virgin caressing the Child by Carlo .

,

C igna n i ( 1 6 2 8 a B olognese painter of the school of

A lbano is greatly admired
,
C igna n i was according to Lan z i .
, ,

one of the most reno w ned painters of his time ?

T h e two rooms which follow contain many very i nteresting
pictures of the D utch and German schools
, R embrandt .

M ieris O sta de N e tsc h e r and T eniers are well represented i n

, , ,

the first room i n their small pictures ,

A H oly F amily by .
,

Rembrandt ( 1 6 0 6 to the right of the entrance is highly ,

fi nished and a most beautiful example of his treatment o f

,

chiaroscuro .

I n the next room to the left near the window is the portrait ,

of an old man s head by H olbei n ( 1 4 9 8 ’

,
one o f that
artist s fi n est works
’ ‘
I n the catalogue it is given as a portrait
.

o f Zw ingl ius ; but as the great reformer died in battle at the

age of forty seven in 1 5 3 1 this portrait of a feeble old man was
-

p robably that o f some burgomaster o f the town of B asle It , .

i s pai nted with hardly any shadow y et the relie f and the mor ,

Ozdez z a o r tenderness of flesh are perfect whilst the expression

, , ,
.

i s most life like T here are several other portraits in this room
-
.
,

al so by H olbein ; but one if authentic would be of especial , ,

interest to the English visitor as it i s supposed to represent S ir ,

T hom as M ore when young T his portrait if really his likeness

,
.
, ,

must have been painted soon after the artist s arrival in England ’

in 1 5 2 6 when M ore was forty si x years of age

,
:
H olbei n -
.

worked for three years in S ir T homas M ore s house at Chelsea ’

,

where H enry VI I I visited the Chancellor and expressed his .

,

pleasure i n the painter s works T h e picture hangs on the wall ’

.

to the left an d near the door and whether of Sir T homas ,

—
M ore or whe ther by H olbein o r as some s u ppose by an —
, ,

I talian artist it is a good painting O n the opposite side of

,
.

the room near the door of exit is another very interesting

, ,

Lanz i S toria P z ttor ea del l a I ta l ia v o l v S cu o l a B o l o g nese p 1 45

' '

1
z ,
. .
, , . .
,
 FLEMISH AND FR ENCH S CH O OL . (5 5

portrait by H olbein of one R ichard Southwell ; small tablets

,

of bron z e on the frame bear inscriptions describing him as ,

a Councillor of S tate u nder King H enry VI I I A portrai t o f . .

Lu ther at the farther end O pposite the w indow is by Kranach

, ,

Luther s wife Catharine Bora by H olbein is a superior paint

’
, , ,

i ng to that of Kranach N ear these are two interesting small

.

portraits in one frame also by Kranach of the Protestan t

, ,

Electors John and F rederick A bove the portrait of S outh .

well is a fine portrait by Albert D iirer of his father and beside ,

'

it another excellent portrait of a man at his prayers by H ans

,

H emling or M emling ( 1 4 40 living ,

N o t far from these is one of Cla u de Lorraine s charming

’

landscapes which has been engraved in his Liber Verita tis

, .

T wo pictures here are by A drian Brauer the rival of T eniers ,

—
( 1 6 0 8 1 6 40 )
rooms that follow are devoted to the F lemish and
The
F rench schools A very lovely portrait of the Princess Claudia
.
,

daughter of the Grand D u ke F erdinand I and wife o f the .

,

A rchd u ke Leopold of A ustria is by J ustus Su ste rma ns ( 1 5 9 7 ,

T here are two other good portraits by the same art ist ,

of a gentleman of the P ul ic ia ni family and of a lady H e ha s , .

also a picture here of S t M argaret and the D ragon

. .

I n the last room containing paintings by F rench artists t o ,

the right of the entrance is the portrait of the celebrated beauty ,

M adam e de Grignan the dau ghter of M adame de S evign e by

, ,

Peter M ignard ( 1 6 1 0 A sm all portrai t of M adame de

Sevign e by the same painter is at the farther end of the
, ,

room facing the window A l fi e ri and his wife Countess of .

,

A lbany and widow of the young Pretender are painted by

, ,

S averio F abre ( 1 7 6 6 A very fi ne portrait of Bossuet i s

by Rigaud ( 1 6 5 9 T here are two portraits of gentlemen
attired i n black by Philippe Champagne T h e portrait of J ean
,
.

Jac q ues R ousse au is by N icolas La rgilliere of Paris ( 1 6 5 6 ,

T his artist was esteemed for his fresh and transparent

method of colour and his correct drawing A young girl and
,
.
56 UFFIZI GA L L ER Y .

boy placed opposite on e another near the entrance to this room ,

and c al led Pilgrims are by A lexis G rim o n who died i n 1 7 40

, , .

H is vigorous style and good colour gave promise of great

emi nence in his art but an i dle dissipated life obliged him to
, ,

work only for the payment of hi s debts .

5 8 UFFIZI GA LLER Y .

walk is seen in perspective through an arch and there is a ,

pavement o f variegated marbles i n the foreground S ix fluted .

columns on either side of the arch give the idea of a portico

i n which the Virgin is at prayer ; but the accessories belong
rather to a pri ncess i n her palace than to the simple maiden
of N a z areth A small picture u nder glass by Vittore Car
.
,

p a c c io ,
who flourished in 1
5 00 of a n u mber o f figures
,
is a ,

new and valuable addition to the gallery .

T h e D ead Chri st i n th e m idst of the A postles i s a very

bea u ti ful and delicately executed drawing by Gian B ellini
( e . 1 4 2 8 and near the door is a ve ry fi ne full length -

figure o f a gentleman dressed i n black by M orone ( 1 5 1 0

1
57 )
8
Avery lovely little picture o f the M artyrdom of S t J ustina .
,

by Paolo Veronese to the left o f the door i s followed by a

, ,

M adonna and Child surrou nded by heads of Cherubim by ,

T itian ; th e tone of this pic ture i s heavy probably the fault of ,

the res torer and the Virgin a lovely Venetian woman wants
, , ,

expression .

Venus lamenting the death of A donis by Alessandro ,

B o nv ic in o or I I M oretto of Brescia ( 1 5 1 4 is a splendid

piece of p a i nting ; and M oses with the flocks o f his father in -

law by Leandro Ponte da Bassano ( 1 5 5 8

,
is also very
fi ne and of a deep full colour .

O n e of the most i mportant pictures i n this room is by

T intoretto ( 1 5 1 2 though attributed to on e o f his school
the Entrance of ou r S aviour i nto Jerusalem It is original .

i n treatment full of life and varie ty and true to nature

, ,
.

H igh on the fo u rth wall i s a fine portrait of A dmiral Venier ,

b y T intoretto H e wears a crimson silk mantle over his armour

.
,

one hand rests on a helmet ; the sea is seen through th e open

w indow .

T h e portrait of the D uchess of U rbino by T itian i s most , ,

interesting for compositio n and colo u r tho u gh this la st has,

su ff ered greatly from the cleaner and the soft Venetian glaz es
,
 VENE TIAN S CH O OL .
59

have been destroyed leaving the face hard and sharp in out
,

line H er portrait when yo u ng is i n the Pitti Gallery where it

.
,
’
was long known under the misnomer O f the B ella di T i z iano ‘
.

N ear the entrance to the room is the husband of the

D uchess also by T itian a very fine picture and in better
, , ,

preservation F rancesco della R overe I wa s the grandfather

. .

of F rancesco M aria whose portrait by Baroccio is in the

T ribune T his D uke was one of the most successful generals
.

of his time H e was the nephew and adopted heir of Guido

.

baldo da M ontefeltro D u ke of U rbino and great nephew of, ,

Pope Sixtus IV Educated under the auspices of men of

.

genius and learning who formed the Court of Guidobaldo and

,

his D uchess Elisabetta Gon z aga F rancesco was the friend of ,

the yo u thful Ra ff aelle who is said to have painted him whe n

, ,

a fair young man in his fresco of the S chool of A thens

,
.

D uring the reign of Pope A lexander VI ( Borgia) G u idobaldo .

,

was deprived of his d u chy and F rancesco of his heredi tary ,

possessions ; but when another u ncle of F rancesco became

Pope under the name O f Juli u s I I he was restored to his
, .
,

rights and after the death of Guidobaldo succeeded to the

,

D uchy of U rbino When hardly eighteen years of age he was

.
,

entru sted with the command of the Papal forces ; but when
Le o X succeeded Juli u s as ponti ff the D uchy of U rbino was
.
,

too tempting a morsel and the new Pope sei z ed on various ,

pretexts to deprive F rancesco of his dominions he at length

succeeded i n banishing F rancesco and he then created his ,

own nephew Loren z o the father of Catha rine de M edici

, ,
’
,

D uke of U rbino ; the new d u ke was however as much hated , ,

as F rancesco was beloved a n d when on the early death of , ,

Loren z o Leo proposed to include U rbino in the Papal S tates

, ,

F rancesco aided by his own people recovered his domi nions

, , ,

and assumed the command of the allied armies of Italy H e .

was present at the coronation of the Emperor Charles V at .

Bologna i n 1 5 30 and died in 1 5 3 8 at the age of for ty seven

, , ,
-
.

H is D uchess Eleonora Gon z aga w as related to his aunt

'

, ,
 UFFIZI GA LLER Y .

Elisabetta, the wife o f Guidobaldo di M ontefeltro ,

D uke of

U rbino .

Between the portraits of the D uke and D u chess of U rbino

i s a large painting by Carlo Cagliari ( 1 5 7 0 the son of
Paolo Veronese it represents the Virgin in glory with Saints
b elow .

St M argaret bearing the Palm o f M artyrdom above the

.
,

door is by Palma Giovane ( 1 5 44

,

Enteri ng th e farther room to the right is a battle piece by

,
-

T i tian th e sketch for a large picture o f the Battle of the B ridg e

,

at Cadore in which th e Condottiere or Captain o f F ree

, ,

Companies B artolommeo A lviano is seen on one side i n front

, , ,

with his hand on his b aton o f command T h e p i cture itsel f

.

was painted for one o f the rooms o f the D ucal Palace at

Venice and was destroyed by fire i n 1 5 7 0 T h e landscape
,
.

i s a faith ful representation o f the neighbourhood of Cadore ,

’
T itian s birthplace .

T here is a striking por trait on the n ext wall i n glowing ,

colours of a man with a red beard and h a ir by Paris B ordone

, ,

( and above i t I S th e portrait o f Giovanni d t

1 51 3 e

M edici of the Bande N ere by T itian Giovanni was the fathe r

.

o f Cosimo the fi rst Grand D uke o f Fl orence H e served as

,
.

a captain of a F ree Company in th e wars against th e Papal

general F rancesco della R overe o f U rbino whose picture we
, ,

have j ust not iced Giovanni also fought against the F rench
.
,

an d was killed at the battle of M antua in 1 5 2 6 .

Th e M arriage at Cana o f Galilee by T intoretto is the sketch

for his celebrated pai ntin g o n th e ceiling o f the Sacristy o f
S an ta M aria della S alute at Venice .

B elow i s th e sketch by T itian of th e Virgi n and Child f o r

h is beauti ful picture in Santa M aria de F rari at Venice ; h is ’

me thod o f work may here b e stu died B o sch in i a contem .

,
’

p o ra r
y and friend of Palma Giovane thus describes
,
T itian s
practice H e grou nded his picture with such a layer o f
colou r that i t served as a bed or foundation on which to build
,
 VENE TIA N S CH O O L . 61

the expression ; an d I have myself seen the bold touches given

by a br u sh laden with colour sometimes a stripe of p u re terra ,

rosso which he used as a half tint sometimes with white lead

, , ,

whilst with the same bru sh he painted in red black and yello w , , ,
1 ’
a nd thus formed the relief for a light .

T w o interesting pictures here are attributed to Giorgione .

T h e first represents the Infant M oses o ff ered his choice between

b u rning coals and gold in the presence of King Pharaoh the ,

second the Judgment of S olomon

,
.

A picture of the M adonna and Child i n which the Child , ,

wears a coral necklace and presents a pomegranate to St , .

C atharine is by T itian and extremely lovely

, ,
.

T h e m uc h a dm ire d F lora by T it ian is painted with wonder

~

f u l gradation in the flesh tints ; the l u xuriant loveliness and

golden hair of the female represented are the only merits which
constitute this pict u re such a favourite as there is an utter want ,

of so u l or expression i n the face N ear it is a most splendid .

portrait by Giovanni Battista M oroni ( 1 5 1 0 —1 5 7 8 ) of G io va n

A ntonio Pantera the author of the M onarchy of Christ which ‘ ’
, ,

was published in 1 5 3 5 H e is i n a black dress a white parch

.

m ent volume is before him .

O n the third wall the Virgin and Child to w hom St John , .

is presenting fl owers with St A nthony beside them is a most .

,

lovely composition by T itian .

Beyond this pict u re is a splendid painting of the Crucifixion

by Paolo Veronese evidently a sketch for a larger work T h e
,
.

centurion to the right is on a noble white charger which is

, , ,

1
i su o i q u a dri c o n u na ta l m a ssa di co l o ri ch e serviva no p er
A b a ssa v a
f a r l e tto 0 b ase a ll e esp re ssi o n i c h e so p ra po i li do v e va f a bb ri ca re e ne ho

ve du ti a nch io de co lpi reso l u ti co n p e nn e ll a te m a ssiccie di co l o ri a ll e

,
’
,
’
,

v o l te d un strisc i o di te rra ro ssa sch i e tta egli se rviva pe r m ez a ti nta a l tre

’
-
z
,

v o l t e co n u na pe nne ll a ta di bi a cca co n l o st esso p enne ll o ti nto di ro sso di

n e ro e di gi a ll o f o rm a v a il rili e v o d u n ch i a ro —
,

Lo M in iere dell a P ittu ra

’ ’
.
,

con a ggiu n ti di B osofi in i .

Th i s k e t ch
s h as , h o w e v e r, be en supp o sed to b e a co py by S ir J osh ua
Rey n o l ds, w h en h e w a s stu dyi ng T i ti a n s ma nn e r a t Ve n i ce
’
.
62 UFFIZI GA LLER Y .

dashing forwards and nearer the foreground are the soldiers

,
.

who draw lots for the garment St Joh n is seen to the left.
,

leading the Virgi n away T h e picture i s rich in colour and has

.
,

truth and variety of expression .

A good portrait by T intoretto represents the sculptor

S ansovino .

N ear the door i s th e portrait by T itian of Catharine Cornaro ,

Queen of Cypru s as St Catharine with her whe el o f martyr

,
.
,

dom which might here be eq u ally typical o f the wheel o f

,

fortune T h e great grand daughter of M arco Cornaro D oge

.
-

of Venice this lady was married to the son of Lusi gnan King
, ,

of Cyprus on which occasion sh e wa s formally adopted a

,

daughter of the Republic When left a widow in 1 4 7 5 sh e

.
,

was obliged by the S enate to resign to them her right over the
island and to return to Venice where however she was allowed
, , , ,

to pass the rest o f her days in regal state .

 C H A P T ER VII .

UFFIZI GA LLER Y— SA L A D I L OREN Z O III O N A C O .

N A R R O W passage
leads to the Sala di Lo renz o M onaco
'

T h e walls of this passage are covered te mporarily with

portraits of vario u s artists for which there is no space in the
,

two large rooms assigned for the purpose Th e artists best .

—
known are N orthcote when young a good picture Hayter a ,
’

f eeb l e pa in ting ; a small but interesting portrait O f Gavin

H amilton who spent most of his life in R ome where he
, ,

became eminent as an antiqu arian as well as pai nter and th e

,

A merican H ealey ,
N ante u il represents the F rench school
.
,

and the rest of the space is occ u pied by portraits of artists

German Italian and of other nations of whom only a f e w
, , ,

are known even by nam e to the English visitor .

Some of the most important pict u res belonging to the Gal

lery are collected in the room at the end of this passage Th e .

two principal are by Loren z o M onaco ( 1 3 7 0—1 4 2 5 P) and by ,

F ra A ngelico T hough alike in simplicity of thought and in

.

religious feeling these two friars differed essentially as men and

,

as pai nters T here is more force and more gorgeous colouring

.

i n Loren z o greater purity and elevation in A ngelico T h e

, .

altar piece by M onaco who is first m entioned as a painter in

-

1 41 0 ,was executed for his own M onastery of Santa M aria

degli A ngeli in F lorence I t was removed to the A bbey Church
.

of Sa n Pietro a Cerreto near Certaldo in the Val d Elsa in

, ,
’
,

the sixteenth century where it remained until 1 8 4 0

, Th e .

frame is richly decorated and gilt having three pinnacles at ,

64 UFFIZI GALL ER Y . .

the top within which are enshrined representations of t h e

,

Eternal between S eraphim the Virgin and the A ngel of the , ,

A nn u nciation on either side of the frame are small figures of the

Prophets of the O l d T estament T h e subj ect o f the picture i s .

the Coronation of the Virgin ; she is attired in w hite and with , ,

hands clasped i n adoration bends her head to receive the crown , ,

which the Savio u r i s placing on her head M ost lovely angel .

heads appear behind and beneath the canopy of th e throne

two i n white garments with their arms folded kneel at the feet
, ,

o f the Saviour and the Virgin ; two others swi ng censers i n the
f oreground and a third i n the centre plays the organ
,
T he
, ,
.

s aints who are assembled as spec tators are all male and though , ,

e arnest in expression have coarse and comm on faces they

,

rest or float on the blu e star lit arch of heaven T h e colour

,
-
.

i ng is clear vivid and powerful T h e predella below is the

, ,
.

m ost beautifu l part of the picture both from the dramatic man ,

ner in which th e story is told and from the delicacy o f colou r ,

a n d beautiful expression o f many of the heads T h e compart .

ment farthest to th e right represents St B enedict restoring a .

brother monk to life who has been crushed by a wall falli ng on

,

h im ; a mischievou s little devil i s occ u pied tryi ng to loosen th e

s tones N ext follows St B enedict paying a visit to h is sister
. .

S cholastica and her community o f nuns according to the

l ege nd after conversing on spirit u al matters he was prepari ng
, ,

to depart when Scholastica prayed that he m ight be detained

, ,

and i mmediately such a storm arose that S t B enedict had to

. .

remain some hours longer? In the same compartment S t .

B enedict i s saving a monk from drowni ng T h e two central .

compartments which divide the story of the saint contain the

Visit of the M agi and the Virgin and Joseph worshipping the
,

Child Beyond these St B enedict i s seen leaving his mon as tery

. .

for the wilderness as he passes out his countenance is that of ,

o n e lost in anxious tho u ght a little devil p u lls him along I n .

th e same compartment he is represented amidst the rocks

“

1
S ee IlI on a stie Orde rs , by M rs . J a meson .
66 UFFIZI GA LL ER Y .

A n Adora tion of the M agi by Sandro B otticelli whils t re ,

tai ning the strong individuality of the master is after the manner ,

of F ra F ilippo and o f the P o ll aj o l i H e painted this picture .

shortly after th e d eath o f Cosimo de M edici th e Pater Patri ae ’

, ,
i

an d has represented him attired i n a robe of black and gold ,

kneeling before the M adonna and kissing the feet of the holy ,

Child A young man to the left in the foreground who looks

.
, ,

down with a haughty air may represent Loren z o the M agnificent

, ,

th e grandson of Cosimo T w o youths to the right one o f whom

.
,

wears a robe o f white and gold the other dressed i n black and ,

red and with dark hair are supposed to be po rt raits o f Giuliano

, ,

( the grandson of Cosimo and brother o f L oren z o the M agni

fi ce n t) who was murdered in the Pa zz i conspiracy and o f
, ,

his uncle Giovanni th e son of Cosimo who died j ust before

, ,

his father N either survived their youth and this picture was
.
,

probably painted to commemorate those o f th e family recently

deceased T h e elderly ma n i n a scarlet mantle kneeling beside
.

them may b e supposed to represent Loren z o the brother o f ,

Cosimo and the ancestor o f the Grand D ucal branch of the

,

M edici T h e H oly F amily is the weakest p art o f the picture

.

but the fi gure o f Joseph stands gracefu lly in earnest contem ,

p l a tio n of the Virgin and Child T h e group o f attendants are .

evidently portraits Vasari mentions this painting as one of

.

th e best of the period ?

A bove is a M adonna adoring the Child by Loren z o Credi ;
, ,

an angel crowns the Child with olive ; the landscap e back

ground though conventional is in good perspective the
, ,

outlines are hard but correct the colour p al e the Child is i n a

,

natural attitude and the limbs delicately ro u nded and in fantine

, .

Credi was a conscientious and diligent artist : the companion

of Leon ardo da Vinci in the school of A nd rea V eroc c h io he ,

endeavoured to vi e with him i n the hard smooth surface h e

gave to his pictures and as he lived at a period when artis ts ,

1 See Vite de P ittori,

’
by Vasa ri p , . 1 1 5
.
 S A LA D ] L ORENZ O M O NA C O . 67

were gradually s u bstituting an oil medi u m for distemper Cre di ,

himself carefu lly prepared his vehicle and pigments .

A painting by D omenico Ghirlandaio represents the

M adonna seated in a shrine her feet resting on a rich carpet ,

laid over steps of variegated marbles and with a vase of lilies ,

below I n the backgro u nd is a trellis with cypresses and roses

.
,

appearing above T h e archangels M ichael and R aphael

.
, ,

stand on either side of the H oly F amily whilst inferior angels ; ,

like a troop of little schoolgirls are gathered in playfu l attit u des ,

behind two of their yo u ng faces peep between the bars of the

trellis T hey none of them possess a high or refined type of
.

beau ty but like the Virgin their faces are round fresh and
, , , , ,

innocent St M ichael a bea u tifu l yo u th stands with his sword

. .
, ,

in his hand Raphael the gu ardian o f h u man so u ls clothed in

, ,

long garments has a casket in his hand s u pposed to contain

, ,

the charm against evil spirits St Z e no b iu s and St J u stu s . . .

kneel in front ; both heads are fin e St Z en ob iu s may be . .

recognised by the F lorentine lily on the clasp of his mantle .

T h e drawing of this pict u re is firm and free the colour clear

and simple Ghirlandaio painted it in his youth for a ch u rch
.

of St J u stus in F lorence which was destroyed during the siege

fl
.
,

of 1 5 2 9 at which time this work was carried to the Ch u rch of

,

La Cal z a near the Porta R omana whence it was removed to

, ,

the Gallery of the U iz i in 1 8 5 7 .

A large and important work by the most individual artist of

the F lorentine school follows vi z a T abernacle i n the form o f .

a diptych or panel enclosed within two doors executed by F r

, ,

A ngelico for the Guild of F lax M erchants in 1 4 3 3 t it was i n

their residence near the M ercato Vecchio u ntil 1 7 7 7 when it
, , ,

was removed to this gallery O n the panel are the Virgin and .

Child life si z e with a curtain of cloth of gold behind whilst

,
-

, ,

on the surrounding arch are angels of surpassing loveliness , ,

playing musical i nstruments the trumpet organ cymbals , , , ,

psaltery & c I nside the doors are represented St John the

, . .

Baptist and S t M ark outside St M ark as the patron saint of

.
, .

2
68 UFFIZI GA LLE R Y .

the Gu ild of F lax and St Peter? T h e predella to this pictu re

,
.

is in the room of O l d M asters i n the U ffiz i ,

.

Th e B irth of Venu s is a fi ne example o f B otticelli T hough .

i n ferior to F ra A ngelico in the qual ities o f spiritualised beauty

and refinement of form B otticelli h as greater s trength with ear
, ,

n estne ss purity
,
and even grace it is in the re al m o f profane
,

story and allegory that he delights to indulge his luxuriant fancy .

T h e goddess has newly risen from the sea and stands on a ,

shell ; a nymph typical of spring prepares to throw a re d

, ,

mantle over her whilst Z ephy ru s and A u rora waft her towards
,

the shore T h e hands and feet o f Venus have evidently been

.

studied from classical sculpture they are dra wn with care and
elegance and she stands gracefu lly with an air o f timid
,

bewilderm ent at first awakening to existence ; the tenderness

o f her expression gives an interest to features which are without
any claim to a high order of charms and invests them with a ,

certain beauty S pring as she bo unds forward hardly seeming

.
, ,

to touch the grou nd is wonderfu lly buoyant for a figure so

,

clumsy ; the movem ent produced by the wind on her dre ss ,

and on the mantle she holds towards Venus is well given , .

T h e male and female fig u res Zephyru s and A urora scatter , ,

roses and breathe on the goddess their garments are blown ,

back in a contrary direction by the current o f air caused by

the rapidity O f their descent T h e sky is grey as in early
.

morning ; the ripple on the sea is m arked by a succession of

even conventional curves the golden light of dawn touches
the edge of the shell and the rushes in the foreground and ,

sparkles on the sea shore but the general tone of the picture
-

is sober I t is painted in distemper and was executed by

.
,

order of Loren z o de M edici for the Villa of Castello for which

’
,

v illa Botticelli also painted an Allegory on Spring now i n the ,

F lorentine A cademy .

B eneath is a predella by F rancesco d U bertino surnamed ’

,

1
Se eB a rge ll o ,
ro o m co n ta n n i i g th e w o r k s o f Lu ca de ll a Ro bbi a , f or
b ea uti f u l f ra me wh i ch o n ce co n ta n ed i h is pi ctu re .
 SA L A D I L O RE NZ O MO NA CO . 69

1 1 B a cch iac c a ( 1 494 a pupil of Perugino and o f the best ,

F lorentine colourist A ndrea del S arto ,

H e painted this .

predella for the Church of Sa n Loren z o T ho u gh the drawing .

a n d composition are feeble the colour is agreeable ,

the subj ect
is taken from the life of St Aca siu s in the centre the Emperor
.

H adrian subdues a rebellion by the help of angels on the left ,

A c a siu s and his comrades are baptised on the right they are ,

cr u cified on M ount A rarat a lovely T u scan landscape forms

the background Th e commander on horseback in the co rn
.
,

p a rt m e n t to the right is drawn with much spirit and the angel

, ,

gathering laurel leaves i s very lovely .

O ver the door is a picture of the M adonna and Child w ith

S t Joseph by R idolfo Ghirlandaio the nephew of D omenico
.
, ,

( 1 48 3 O n the wall beyond is an altar piece by Gentile -

da F abriano 3 7 0 41 1 - —
representing four saints St John the .

Baptist S t N icholas with his three golden balls M ary M agda

,
.
,

lene and St George O n the vestment of St N icholas are

, . . .

m i n i atures of the Birth of Christ the Worship of the M agi the , ,

F light into Egypt the M assacre of the Innocents the Presenta

, ,

tion in the T emple and the Entombment , O n e of the .

disciples visiting the sep u lchre is ga z ing at the angels who

watch beside it T h e predella below is by Beno zz o G oz z ol i
.

( 1 420 the p u pil of F ra A ngelico who witho u t possessing ,

the highest order of geni u s had great versatility with a , ,

red u ndant fancy ; the pleasing as well as animated character ,

of h is works both landscape and figu re earned for him a name

, ,

among the best artists of his time T h e painting before us

‘
.

does not give a j ust idea of his powers which can a l o n e b e ,

appreciated in his frescoes in the Campo Santo of Pisa and in ,

his other beau tifu l frescoes of the R iccardi Palace in F lorence .

I n the centre of this predella Christ is rising from the tomb ,

with extended arms displaying the wo u nds in H is hands from

, ,

which the blood trickles towards the sho u lder th u s showing the ,

position on which H e hung on the cross ; H e looks down with a

O n one side St
’
peaceful smile for all is accomplished
,
‘
. .
70 UFFIZI GA L LER Y .

J ohn ga z es at H im with c o nfi ding love ; on the other th e ,

M agdalene the type of repentant sinners weeps bitterly

, , In a.

compartment to the right of the spectator are represented S t .

A nthony and S t Benedict ; to the left the M arriage of St

.
, .

Cathari ne S h e stands timidly at a little distance from the I n

.

fant Christ whilst exte nding her hand to receive the ring the
,

Child looks down with a sweet smile and raises H is hand to

,

bless whilst H is mother ga z es fondly on H im It has been

‘

.
,

s u ggested that this predella belonged to the Chapel of the

R iccardi Palace and that the picture to which it was attached
,

i s lost i f this be true the pict u re by F ra F ilippo i n the room

,

of O l d M asters may have been painted earlier for the same

chapel and been replaced by that of B eno zz o G o z z o l i
, .
 C H A P T ER VI I I .

GA LL E R Y—TH E P ORTRA IT, B A R O CCIO AN D

N IOB E R O OM S .

HE two next rooms were built by Cardinal Leopold de ’

M edici for his collection of portraits of distingu ished

artists from all co u ntries beginning from an early period a n d
, , ,

whenever it was possible painted by themselves F ollowing

,
.

the example of the Cardinal succeeding rulers in T u scany have

,

invited celebrated painters and sc u lptors to send their portraits

to the U ffiz i Gallery .

O n the w al l to the right of the window i n the larger room i s

a highly fi n ish e d portrait of Leonardo da Vinci who was no less
-

distinguished for the in fl u ence he exercised on contemporary

art and artists than for the bea u ty and finish of his style of
,

painting and the u niversal ity O f his geni u s in other branches of

,

knowledge N ear his portrait is that of M asaccio painted i n

.
,

tempera he is in his w orking day dress the face is youthfu l

-

and interesting in expression tho u gh hardl y giving an idea of

,

the power displayed in his frescoes A bove him are portraits .

of the Spaniard D iego Velas qu e z ( 1 5 9 4 of Gi u lio

R omano ( 1 4 9 2 and of R affaelle T h e portrait of A ndrea
.

del Sarto painted on a tile represents him in mid dle life ;

beyond is a good portrait of Cristofano Allori I n each portrait
, .

is traced more or less the character of the artist ; the power

united with refinement of Leonardo da Vinci the idealism of ,

M asaccio the grace of R aff aelle and the realistic mind of

, ,

A ndrea apparent in all his pictures however they may receive

, ,
 72 UFFIZI GA LL ER Y .

a touch o f poetry from grace o f movement and his delight i n ,

rich and harmonious colour .

F acing the windows is a very interesting portrait of H ans

H olbein the serious thoughtfu l and indom itably patient
, ,

German artist is here well depicted N ear him is a good .

portrait o f his contemporary Quintin M atsys the A ntwerp , ,

blacksmith and painter ( 1 4 5 0 A bove is a very fi ne

portrait of R ubens ( 1 5 7 7 as well as another of Vandyke
( 1 599 and near the entrance a beauti fu l portrai t o f
Perugino O n the other side of the entrance and still facing
.

the windows are portraits of F ran z M iers ( 1 6 3 5 and

a very excellent highly fi nish e d likeness of Ge rard D o w -

( 1 61
3 as well as a singular portrait of A lbert D u rer
( 1 47 1 —1 5 2 8 )
Onthe wall to the left o f the window are portraits of
celebrated Venetian artists among whom the most remarkable ,

are J acopo B assano ( 1 5 1 0 Leandro Bassano ( 1 5 5 8

T itian T intoretto and Jacopo Palma il Vecchio ( 1 4 8 0
, , ,

A bove the portrait o f T itian is that of Paolo Veronese ,

and of the F rench pai nter and engraver Callot ( 1 5 9 3 1 6 3 —

A fter these the most interesting portraits are those of Cigoli
, ,

F ederigo Baroccio Jacopo d Empoli Giovanni di Sa n Giovanni

’
, , ,

Pordenone P o cc e tti Santo di T iti and Vasari B esides T u scan

, , , .

artists there are portraits o f the great B olognese Caracci

,

A gostino A nnibale Lu dovico and A ntonio il Gobbo or

, , , ,

the D eformed of the sixteenth and seventeenth cent u ries ;

,

likewise of Guido R eni Guercino D omenichino and Carlo

:

, , ,

D olce Luca C a mb ia si ( 1 5 2 7 —1 5 8 5 ) represents the Genoese

.

school and D osso D ossi ( 1 4 7 9 —1 5 4 2 ) the F errarese the por

,

trait of Pa rmiggia n o ( 1 5 0 4—1 5 4 6 ) is also interesting there is no

portrait of Correggio .

I n the smaller room are portraits of A ngelica Kau ff man

( 1 742 and of M adame L e Br (
u n living in this
last portrait is so great a favo u rite that it is generally with th e
copyist i n the large room A s a painting it is excellent and the .
,
74 UFFIZI GA LLER Y
'
.

artist o f the period o f the decline but who with Cigoli and , ,

others attempted the revival of art in F lorence T h e larg e

, .

pict u re on the wall to the right by Baroccio represents the , ,

M adonna del Popolo the Virgi n interceding with her S o n for

the benediction of certain charitable persons who have bestowed
alms on the poor and on widows T his picture i s painted in .

’
the artist s u sual florid style ; the principal figures are feeble ,

and the M adonna commonplace A n angel to the right of th e .

S avio u r looking down at the spectator i s however very lovely

, , , , ,

and there is an interesting gro u p below painted with nature

and grace of a mother bidding her two children look upwards
, .

A good Gherardo della N otte of a group of angels worship ,

ping the Child from whom the light proceeds is on the wall to ,

the left o f the door Gerard H o n th o rst o f U trecht was born

.
, ,

i n 1 5 9 2 and died abo u t 1 6 8 0 O n either side of this picture

,
.

are portraits of Bartolommeo P a n c ia tic hi and his wife Lucre z ia ,

de P u lci by A gnolo Bron z ino T h e picture of Lucre z ia is

’
,
.

hard i n outli ne but clear i n colour and the hands are drawn ,

with care T h e fam ily of the Pulci stand recorded as far back
.

as the days of Charlemagne when they were among the F loren

,

tine nobles who lived within the first circ u it of walls but the
name is best known by Luigi Pulci born i n 1 4 3 1 the author , ,

of the M organte M aggi ore ’

T h e Pistoiese family of Pancia
.

tich i boast of a still m ore remote origin and trace their ancestors ,

to a R oman consul T h e husband of this Lu cretia B a rto l o m

.
,

meo was a man of som e literary fame he imbibed Protestant

,

opinions when residing at the F rench Court and in 1 5 5 2 was ,

imprisoned by the I nquisition .

A good picture above the portrait of Bartolommeo Pancia

tichi of the Virgin holding the Infant Christ wrapped in swad
dl ing clothes i s by Luca C a mb ia si of Genoa ( 1 5 2 7
, ,

T h e portrait of the celebrated Galileo Galilei the founder ,

of the S chool of Experimental Philosophy born at Pisa 1 5 6 4 , , ,

is by Ju st u s Su sterm an s Galileo died 1 6 4 2 .

T o the left is another good portrait by a F leming F ran z ,

 TH E B AR OCCIO R O OM .
75

P o rb u s ( 51 7 0 of the sc u lptor F rancavilla who executed ,

the gro u ps o u tside the ch u rch of the SS T rinit a at F lorence . .

T h e large pict u re of the Virgin and Child appearing to St .

Lo u is of T o u lo u se when kneeling at the altar is a fi ne work

, ,

of Carlo D olce ( 1 6 1 6 Th e earnest prayerfu l expression

of the saint a n d the playfu l expression of the Infa n t Christ are
,

beautifu lly rendered .

A H oly F amily by Goi v a n

,
A ntonio S o gl ia n i ( 1 4 8 1 —1
53
i s very agreeable in colo u r and resembles in its general treat
, ,

ment the works of Loren z o Credi and F ra Bartolommeo of

, ,

whom the artist was a faithfu l imitator ; he was held in s u ch

high estimation by his contemporaries that he was con
side re d a rival to A ndrea del S arto N ear this is a good portrait .

of a lady holding a cameo in her hand by A gnolo Bron z ino ,

behind her is a kneeling stat u e Th e marriage of Cana in .

Galilee by A lessandro Bron z ino is a feeble prod u ction

, ,
.

I n the centre of the wall facing the entrance is a large

pict u re by H o n th o rst the Worship of the Shepherds A .

M ag dalene by Carlo D olce on one side and th e Virgin by

, , , ,

Sassoferrato on the other are both favo u rite pict u res T here
, ,
.

is a bright portrait of H elen F orman Ru bens first wife in the ,

’
,

corner to the right Large and important b u t dark pict u res by

.
,

Caravaggio 1 4 9 5 —1 Jes u s Disp u ting with the D octors and ,

the Pharisee with the Piece of M oney oc cu py the space between ,

and above them are two fu ll length portraits : the first by -

F ran z D o u en ( 1 6 5 6 o f a la dy named in the catalog u e

Eli z abeth H o u rey probably H ervey and English

,
to the left ,

the portrait of M argaret of Lorraine by Vandyke Sh e Wa s sister , .

of a D u ke of Lorraine and married to Gaston of O rleans the

, ,

yo u nger brother of Lo u is X I V of F rance by whom she becam e .

,

the mother of M argaret of O rleans the unhappy wife of the ,

Grand D u ke Cosimo I I I .

A large eq u estrian portrait of Philip IV of Spain by .

,

Velas q u e z ( 1 5 9 4 faces the Baroccio pict u re It is the .

finest pict u re in this room and the F lorentine sc u lptor T acca

, , ,
76 UFFIZI GA L L E R Y .

is said to have modelled his likeness o f the king for his statue
i n M a drid from this painting .

’
A pretty bright young girl s head to the right o f the
Velas q ue z is by Baroccio T h e portrait of Claudia F elicia the
.
,

second wife of the Emperor Leopold is one o f the best works ,

o f Carlo D olce ; the Princess has overturned an idol and ,

places a cruci fix i n its stead the date i s on the book before

her 1 6 7 5
,
.

H igh on the wal l beside the entrance is a picture by A lbani , ,

the I nfant Jesus surrounded by angels O ffering H im the in stru

ments o f the Passion B elow it is a B oar H unt by S nyders
.
,

( 1
579
—1 6 57)
I n this room are some very fi ne tables in pietra dura or ,

F lorentine mosaic design ed by the m ost celebrated artists of

,

—
the seventeenth centu ry Ligo z z i P o c c etti &c T h e table
, , .

beneath the Worship of the S hepherds by H o n th o rst is of ,

inferior workmanship to the others though supposed to be that ,

ordered by th e Grand D uke F rancis I in 1 5 6 8 for the altar o f .

the M edici M ausole u m i n Sa n Loren z o It was one of the .

fi rst works o f the ki nd but was afterwards set aside for a

,

superior table I n the centre is a landscape with ill executed

.
-

fi gures boats are on the water and trees and r u stic houses
,

scattered over the country near the corners are smaller views .

T h e next room O ff this corridor was built by the Grand

D uke Pietro Leopoldo for the reception o f the statues of
,

N iobe and her children which he brought from the M edicean

,

Palace in R ome to F lorence in 1 7 7 5 T hey are arranged

, , .

singly aro u nd . T h e mother is vainly trying to shield her

you ngest da u ghter from the envious shafts of A pollo and D iana
they are at the farther end of the room and probably formed ,

the centre of the gro u p which i s supposed to have filled the

,

pediment of a temple T h e head of N iobe is extremely fi ne

.
,

as well as her action and that of the young girl clinging to her
, .

T h e right hand of the mother and the left foot of the da u ghter
,

are late restorations the arms of N iobe as well as her drapery , ,

 TH E NIOB E R O OM 77

are clumsy and coarse probably intended to be seen at a ,

distance perhaps also beca u se the work was executed i n a

,

period when Greek art was declining and when the combina ,

tion of grandeur of form and finish of detail with that wonderfu l ,

comprehension of fitness or propriety belonging to the age of

Phidias was no longer practised T h e daughter looking down
,
.

sorrowfu lly is very lovely she i s supposed to be contemplating

the beautifu l corpse of the yo u th — which is now placed facing
the entrance of this room and which is perhaps the fi nest of ,

the whole series T h e most gracefu l fig u res are those of the

.

girl who has been wo u nded in the back of her neck and two
of her sisters who with fl ying drapery are ru nning away and
, , , ,

which are farthest removed from the statue of N iobe Th e .

Pedagogue is heavy and u gly and the stat u es in general differ ,

so much i n degrees of excellence that even s u pposing they ,

formed one gro u p it would be difficult to assign them to the

,

sam e master .

Behind these statues are h u ng large pict u res of great merit ,

especially that by R ubens representing H enry IV of F rance at ,

.

the battle of Ivry It is unfinished and belongs to th e series of

.
,

pai ntings now in the Lo u vre commemorating events in the

, ,

life of the great king ; happily this pict u re has escaped injury
from the cleaner T h e action of the horses that in particular
.
,

on which H enry is mounted and the attitude of the king ( in ,

spite of the absurd fl attery which has placed the thunderbolt of

Jove in his hand) are fu ll of life and spirit ; and there is
wonderfu l skill displayed in combining distinctness with the
confu sion of a battle T h e opposite picture is likewise by
.

Ru bens and represents H enry s triumphant entry into

’

Pari s
.

A large picture by S u sterma n s of the F lorentine S enate

.
,

taking the oath of allegiance to the Grand D uke F erdinand

though in a very bad condition from the q u antity of black
paint used by the artist has some interest i n containing the ,

portraits of F erdinand a heavy looking youth w h o is haughtily

,
-

,
78 UFFIZI GA L LE R Y

receiving the homage of his s u bj ects and of his widowed ,

mother and his grandmother Christi na o f Lorraine who had , ,

been R egents during his minority .

T h e last room o ff this corridor contains pictures bequeathed

to the Gallery by the M archese Leopoldo P eroni A s no .

catalogue has been published of these pict u res many of which ,

deserve a fuller notice we can only allude to a few of the

,
’
best. A butcher s shop by T eniers tho u gh a disagreeable
, ,

subj ect is a good Specimen of the master : near it are very

,

sweet little landsca pes by Poussin and a small bu t charm ing ,

picture of the I nfant Christ and St John learning to read .

,

whilst the Virgin and J oseph are looking on F acing the door .

is a most beautiful Virgi n adoring the Child a painting of the ,

F lorentine school T h e gem of this collection however is an

.
, ,

A ngel of the A nnunciation by C arlo D olce — one of his fi nest

,

works and the Virgin belonging to the A ngel of the A nnuncia

tion which is also very lovely A ngels watching beside the dead
,
.

’
Christ and a sweet girl s head with several good landscapes
, , ,

are among the most attractive pai ntings here .

T h e only pictures o f importance in th e corridor adj oi ning

these rooms are : the portrait of Ge neral Paoli the hero of ,

Corsica by R ichard C o swa y and the landscapes of A gostino

, ,

T assi the master of Claude Lorraine whose pictures are very

, ,

rare but of which there are two fi ner examples in the Pitti
,
.

U pwards of thirty more pictures have been recently ac q uired

for the Gallery and additional rooms beyond the S ala di
,

Loren z o M onaco are preparing for their reception A mong .

these is the collection belonging to the H ospital of Santa M aria

,

N uova already described ; the most important being the Last

,

Judgment a fresco by F ra Bartolommeo and M ariotto Albert

,

in el li a lovely M adon n a and three boy angels supporting the

I nfant Christ i n tempera by F ra F ilippo Lippi a fi ne picture
, ,

by So gl ia n i and a large trip tych by H ugo Van der Goes a

, ,

F leming who lived towards the end of the fourteenth or be

,

gi nning o f the fi fteenth century T his picture is remarkable .

 UFFIZI GALLER Y .
79

for beau ty of colour and composition vigour and animation

, ,

especially in the shepherds who worship th e Child in the

,

centra l compartment and the delicate finish of detail o bserv

,

able in the flowers in vases in the foreground I n the wings

.

are portraits of the family of the Portinari the donators b u t

, ,

the little girl kneeling behind her mother to the right though
,

sometimes called the Beatrice of D ante co u ld not possibly have

,

been her portrait since Van der Goes lived a century and a h a lf
,

later
.
 C H A P T ER I X .

UFFIZI GA LLER Y—ORIGIN A L D R A WIN GS B Y THE OLD

M A S TE R S .

T the further end of the third corridor are three rooms i n ,

which are exhibited a selection from the val u able c oll ec

tion o f u pwards of three th ousand drawings belonging to the
M u seum T h e Conservator Signor N erino F erri has arranged
.
, ,

another series i n his private rooms i n th e gallery and courte ,

o u sl y a ffords every facility to those who desire to study more of

the drawings .

Th e letter T m eaning tergo—back — o n any of the fram es

,

or cases in these rooms infers that there are drawings on the

,

back of the paper which may be seen by application to the

,

guards .

T o the right o f the entrance on the wall o f the first room

, ,

i s the dr awing o f a Sai nt baptising by Parri Spinello ( 1 3 8 7 ,

the son of the m ore celebrated S pinello of Are zz o .

T his design appears to have been intended for part of th e

frescoes of St Cecilia and the Conversion o f M ax imia n and
.

Valerian i n the Sacristy o f the Carm ine where he probably ,

assisted his father .

I n the case below N o 3 is a design by T addeo Gaddi

,
.
,

( 1 3 00 the Visitation of M ary to Eli z abeth for one of ,

the series of small pict u res i n the A cademy A lso a seated .

figure of Christ by A gnolo Gaddi ( 1 3 3 3 T h e outline

i s pricked through to transfer the drawing to the panel
,
.

O n the second line of th e wall above is Christ in glory ,

giving the key to St Peter by Loren z o de B icci ( 3 5

.
,
1 0 P—1 42
7)
’
82 UFFIZI GA LLER Y .

R
’
F rame N o 7 contains
. 1 part
1 of a ff a e ll e s design for th e
D ispute of the S acrament in the Stan z e of the Vatican above
are several grand drawings by F ra Bartolommeo ( 1 4 7 5
b u t these are hung too high to be well seen I n case .

N o 3 6 is a drawing by F ilippino Lippi

.
— Sr Cecilia before the .

Proconsul .

Immediately over cases N o s 3 8 3 6 and 8 1 are drawi ngs .

, ,

by D omenico Ghirlandaio ( 1 4 4 9 for his frescoes i n the

Choir of S anta M aria N ovell a v iz the Visitation ; his fi rst , .

idea for this subj ect marked 2 9 1 a graceful fig u re of a woman

,

po u ring water i nto a basi n wh ich is introduced in the fresco of

,

the B irth of the Virgin a man kneeling and two women one ,

facing the spectator the other t u rning her back wh ich are in
, ,

the fresco of the B irth of St J ohn the Baptist ; lastly th e .

,

M arriage of the Virgin ; there are various other drawings by

the same master in this frame O ver case N o 2 6 against the . .
,

third wall is an other st u dy by Ghirlandaio for his pic tu re of

, ,

the Visitation in the Louvre Case 4 1 has the sketch by .

B otticelli for T r u th in his pict u re of Calumny i n the room of

, , ,

small T u scan paintings i n this Gallery .

I n fram e N o 1 4 2 is a drawing by R a ff aelle of J esus bearing

.
,

H is Cross on H is way to Calvary

,
O ver case N O 1 9 w h ich . .
,

contains drawings by M asaccio ( 1 4 0 1 is the frame N o .

—
1 3
9 with
,
the Baptism of Christ by Perugino ( 1 44 6 1
5 2, o f
—
which there are two pictures one i n F u l igno and the other ,

in Perugia I n the same frame is a beautiful representation of

.

the A ngel Gabriel by Loren z o Credi ( 1 4 5 9

,

F ram e N o 1 0 1 on the third line above contains a drawing

.
, ,

by R affaelle of Christ i n the Garden o f Gethsemane for the ,

pict u re in the F lorentine A cademy which is there attrib u ted to ,

his master Perugino ,

.

Below this in cases N o s 2 3 and 2 6 are drawings by F ra

,
.
,

A ngelico or his scholars as well as by B eno zz o G oz z o l i and

, ,

A ndrea V ero c ch io 1 4 3 5
I n frame N o 8 0 above the cases N o s 4 1 and 44 are fine
.
,
.
,

drawings by Pier di Cosimo ( 1 4 6 2

 D RA WI TVGS B Y TH E OL D MA S TERS
. .

On the fourth wall frame N O 1 8 8 F ort u ne is attrib u ted to

,
.
, ,

M ichael A ngelo ( 1 4 7 5 possibly the design for his pict u re

in the Corsini Gallery in F lorence I n case N o 4 8 below are . .
, ,

drawings by Botticelli a Ven u s draped reposing with C u pid , , , ,

is especially lovely .

F rame N o 9 2 contains fi ne examples of the firm and care

.

f u l drawing of Gi u liano P esel l o ( 1 3 6 7

In frame N o 1 5 2 is Ra ff a e ll e s sketch for the Liberation of
.
’

S t Peter in the S tan z e of the Vatican

. the left side of this
drawing differs i n some respects from the fresco .

T h e cases beneath this window have st u dies by Camillo

Pr o caccino of M ilan ( 1 5 4 6 by Palma Giovane ( 1 5 44 ,

and others .

In the case N O 4 8 4 is a design by D aniele da Volterra

.

( 5 9
1 0 for part of the D eposition from the Cross in the
Ch u rch O f the T rinit a de M onti at R ome which is esteemed
’
,

one of the seven fi nest pict u res in the world

O ver this on the second line in frame N o 1 5 1 is Ra ff a ell e s
,
.
,
’

design for the I nfant Christ springing from the cradle into H is
mother s arms in the pict u re which the artist painted for
’
,

F rancis I of F rance and which is now in the Lo u v re

.
,
.

J u st below i n frame N O 3 9 on the first line is the design

,
.
, ,

by F ra F ilippo Lippi ( 1 4 0 6—1 4 6 9 ) for h is pict u re O f the Virgin

receiving the Child from angels which is i n the room of O l d ,

M asters in the U ffiz i as well as for the same s u bject which

, , ,

with some slight diff erence he painted for the Sala del ,

Commissario in the H ospita l of the I nnocenti .

In frame N o 1 4 1 the third line above are two sai nts by

.
, , ,

F ra Bart o lommeo ; and in frame N o 1 3 4 close to the door .

, ,

are designs by the same artist for the St M ark in the Pitti .
,

and for one of his figu res in the picture of St A nna in the .

U tfi z i.

Between these i s a large drawing by R affaelle frame ,

’
N o 1 4 3 for one of the scenes in Pint u ricchio s frescoes in the
.
,

Library at S ienna T his drawing represents a cavalcade esco rt

. ,

G 2
84 UFFIZI GA L L E R Y .

ng E
neas Silvius Piccolomini afterwards Pope Pius I I to , .
,

the Council of Basle .

I n the corner beside the door frame N o 9 9 has a gro u p of

, ,
.

five apostles a st u dy by Per u gino for his pict u re of the

,

A ssumption i n the Church of the S S A nnun z iata and below .

’
it i n frame N o 1 0 4 i s the same arti st s design for the Virgin
,
.
, ,

i n h is bea u tiful fresco of the Crucifixion i n the Convent of

S anta M addalena de Pa zz i of F lorence
’
A lso his design for .

Elij ah in the T ransfi gu ration in the Sala del Cambio at Perugia

, .

T h e sepia pai nting on the third line above frame N o 2 0 2 i s , .

,

a copy from A ndrea del Sa rto s F aith and H ope in the cloister ’

of the Scal z o of F lorence .

Th e drawings i n the centre of each room are among th e

best of the collection and face the windows i n order to be
,

seen to greater advantage F ram e N o 6 6 has studies by

. .

D omenico Ghirlandaio F ram e N o 2 8 St B ernard a study

. . .
,

by F ilippino Lippi for his pict u re o f the Vision of the M adonna

i n the Badi a or A bbey of F lorence .

Case N o 4 8 9 has the Virgin A doring the Child in a Garden

.

of Roses by F rancesco F rancia ( 1 4 5 0

,
the picture is
in M u nich .

T h e cases on this side incl u ding from N o 4 8 9 to N o 4 9 3 . .

,

contain drawings by F ranci a Gian B ellini Pier della F ran , ,

cesca Gi u lio R omano P a rmiggia n o Vittore Carpaccio and

, , , ,

others which we do not specify because no well known painting

, ,
-

by any of these artists is represented .

Entering the second room to the right frame N O 1 5 4 has , ,

.

the sketch by R aff aelle for th e D eposition from the Cross i n

,

the B orghese Gallery at R ome T h e expression of each .

cou ntenance is full of life individ u ality and deep feeling , , ,

and the drawing of the figures is very powerfu l T h e sam e .

fram e contains the Virgin on h er knees with the I nfant ,

Christ and St J ohn by R a ff aelle a study for a small

.
,

picture i n the Esterha z y collection at Pesth F rame .

’
N o 1 5 8 has Ra ff a ell e s sketch of St John preaching i n the
. .
 DRA WING S B Y TH E O LD MA S TERS . 85

Wilderness in the T rib u ne of th e U ffiz i ; also the Prophet

D aniel bet ween two angels a st u dy by R aff aelle for his fresco,

in Santa M aria della Pace at R ome .

F rame N o 1 5 7 has two female fig u res part of a study by

.
,

R affaelle for the Spasimo di S icilia at M adrid

,
F rame N O 1 5 5 . .
,

Pa u l Preaching at A thens by R aff aelle is the sketch for the ,

Cartoon in the S o u th Kensington M u se u m in London .

T h e cases below N os 4 6 6 and 4 6 5 contain very spirited

,
.
,

drawings by Vittore Carpaccio who was living in 1 5 0 0 I n case , .

N O 4 6 7 is a drawing by Gian B ellini ( 1 4 2 8 —1 5 1 6 ) the s u bj ect is

.

a procession entering a church the ho u ses in the backgro u nd

are drawn with so much attention to detail that the artist has ,

even introduced the sca ff oldings on the roofs used to this day ,

in Venice to hang o u t linen to dry there are other admirable

drawings in other frames by the same artist especially the ,

heads of an old man and of a yo u th .

F rame N o 2 2 0 in the corner of this room has a sketch in

.
, ,

red chalk for the Epiphany by A ndrea del Sarto one of his , ,

frescoes in the Co u rt of the SS A nn u n z iata O n the second wall . .

,

frame N o 1 8 3 the profile of a woman with a pec u liar head

.
,

dress by M ichael Angelo is sometimes called a portrait of

, ,

Vittoria Colonna .

F rames N o s 1 8 5 1 8 6 1 8 7 contain st u dies by M ich a el

.
, ,

A ngelo ; that m arked 6 0 1 is known as l a n ima da n n a ta —the

’

condemned so u l ; the yo u th marked 6 0 4 beneath this is the ,

study for on e of the C a rya tid ae in the va u lting of the ceiling

i n the S istine Chapel ; there is likewise the Lyb ia n Sibyl f o r
the same I n frame N O 1 8 7 is the design for the M edicean
. .

mon u ments in the Sagrestia N u ova of Sa n Loren z o at F lorence .

In frame N o 1 9 2 are st u dies of vario u s n u de figu res by M ichael

.

A n gelo for his Cartoon of the Pisan War in which he competed ,

with Leonardo da Vinci b u t which was never fi nished ,

.

F ra m e N o 1 9 3 on the second line has another study for

.
,

the pilasters of the va u lting in the ceiling of the Sistine Chapel

and a D emon f o r the Last Judgment I n frame N o 1 9 4 is an . .
86 UFFIZI GA LLER Y

old man with a bald head and other st u dies likewise by , ,

M ichael A ngelo .

F rame N o 1 9 6 contains st u dies of the anatomy of the leg

.
,

also by M ichael A ngelo S ir Charles B ell allu ding to this .

,

drawing in his A natomy of Expression observes

‘
I recog ,
’

n ise d the u tmost accuracy of anatomy in the great artist s

’

studies in his pen and ink sketches o f the knee for example , ,

every point of bone m u scle tendon and ligament are marked

, , , ,

1 ’
and perhaps a little exaggerated .

F rame N o 2 0 1 has the st u dy for the head of the Infant S t

. .

J ohn in the H oly F amily of the Pitti by A ndrea del S arto I n .

frame N o 1 9 9 is the drawing o f a hand resting on a book th e

.
,

design for that o f the Virgin in the T ribune by A ndrea del

Sarto .

F rame N o 2 0 7 has the sketch for the D eposition from the

.

Cross by A ndrea del Sarto in the Pitti .

F rame N o 2 0 9 contains St John the Baptist preaching to

. .

the M u ltitude a study by A ndrea for his fresco in the Scal z o

,

also a port rait of Lucre z ia his wife , .

I n fram e N o 2 0 3 are studies by A ndrea for part o f the

.

N ativity of th e Virgi n in the vestibule of the SS A nnun z iata . .

F rame N o 2 1 7 has most interesting studies by the sam e

.

artist o f Christ and several of the A postles in his fresco of the

Last S upper at Sa n Salvi near F lorence ,
.

I n frame N O 2 3 0 there are several ve ry animated gro u ps

.

of women by Giorgione ( 1 4 7 8 and i n frame N O 1 1 7 .

the H oly F amily by F ra B artolommeo for his picture in the

Pitti B eside this in case N o 1 1 8 is St John the Baptist“
.
,
.
, .

also by F ra Bartolommeo for his picture in Sa n M arco ,

.

O n the fourth wall in frame N o 2 4 9 is Christ in the H ouse

,
.
,

of th e Pharisee by Paolo Veronese ( 1 5 2 8 for the pict u re

i n th e R oyal Palace at Genoa .

—
F ram e No 2
59 has
. the sketch by T intoretto ( 5
1 1 2 1
5 9 4)

1
S ee A n a tomy f
o Express ion , by S ir C h a rl es B e ll p , . 2 04.
 DRA WING S B Y TH E O LD MA STER S . 87

of the M iracle of St M ark for his celebrated p ic ture in the .

A cademy of Venice I n case N o 4 5 8 i s the D eposition from

. .

the Cross by F ra Bartolommeo .

T h e frame N o 9 8 in the centre facing the window to the

.
, , ,

right has a splendid drawing by A ndrea M antegna ( 1 4 3 0

,

u dith with the head of H olofernes one of the finest

1 506
) of J ,

compositions exhibited here .

N ext this drawing in frame N o 9 6 are several other excel ,

.
,

lent M a n tegn a s : H erc u les and A nt aeu s and a kneeling Virgin , .

F rames N o s 1 0 7 1 0 9 and 1 1 0 contain very fine heads by

.
, ,

Leonardo da Vinci of old m en and of women and st u dies of, ,

drapery .

I n frame N o 1 2 9 is a fine drawing by F ra Bartolommeo of

.

St S tep h en a draped fig u re holding a palm branch

.
,
.

T h e cases below contain — N o 5 2 9 a fine composition of .

,

Cigoli the D eath of St Jerome N o 5 2 8 beau tiful drawings

,
. .
,

by Vanni ( 1 5 6 3 fu ll of feeling ; N o s 5 2 7 and 5 2 6 .

,

designs by G u ercino N o 5 2 5 figures and landscapes by .

,

A nnibale Caracci ( 1 5 6 0—1 6 0 9 ) and N O 5 2 4 several drawings .

,

by T itian incl u ding a very clever portrait O f a man (marked

,

1 66 1 )
Tothe left the frame N O 1 0 0 contains a drawing by Per u
, .

gino of S t F rancis for a pict u re in the Choir of the SS A nn u n

. .

z iat a F rame N o 9 7 has other drawings by the same master

.

for the Sala del Cambio at Peru gia I n frame N o 1 4 4 is the . .

Woman i n the I ncendio del Borgo by Raff aelle ; she holds a

vase on her head and her garments are agitated by the ,

draught occasioned by the fire .

F rame N o 1 4 8 St George and the D ragon by R aff aelle

.
, .
, ,

for his small picture at S t Petersb u rg and the same s u bj ect by .

,

him for his pict u re i n the Lo u vre .

F rame N o 1 3 6 has a study by R aff aelle for th e M adonna

.

with the Veil at Paris also for the M adonna del Gran D uca
in the Pitti .

F rame N o 1 3 5 contains sketches by Ra ff aelle for th e

.
«
88 UFFIZI GA LLE R Y .

Virgi n and Child of the O rleans collection now i n the pos ,

session of the Earl of Ellesmere i n B ridgewater H ou se , ,

London .

F rame N o 1 4 6 has th e sketch of th e M adonna del Pesce

.
,

by R affaelle for the picture at M adrid I n frame N o 1 4 0 i s

,
. .

Philosophy a female fi gure with two boy genii by Ra ff aelle

, , ,

wh ich he introduced as Pallas i nto his S chool of A thens in the

S tan z e at Rome .

F ram e N O 1 3 8 contains M oses S triking the R ock an d the

.

Worship of the Golden Calf for the Loggia in the Vati can and
i n fram e N o 1 4 7 i s a sketch also for the Loggia of the Eternal
.
,

commanding N oah to b u ild th e A rk by R aff aelle , .

F rame N O 1 4 9 . B acchus a nu de figure with a vase on the

, ,

head called L I do l in o is by the sam e master

,
’

, .

I n frame N o 1 66 is a beautifu l composition by Ra zz i ( il

.
,

S odoma) of S ienna ( 1 4 7 7 of the Virgi n supporting on

her knees the body of the S avio u r .

B elow fram e N o 1 0 0 i n case 4 9 4 are drawings by Ra ff aelle

.
,

and his scholars that o f the combat of H ercules and a Centa u r

i s beautifu lly drawn and full of spirit .

I n cases N o s 4 9 6 and 4 9 7 are drawings by Giulio R omano

.

and Peri no del Vaga .

I n case N o 5 0 0 are design s by D omenico B e cca f u m i

.

1 4 8 6 —1 5
( for the pavement of the Cathedral at S ienna .

Case N O 5 0 1 contains lovely sketches by P a rm iggia n o

. .

A t the entrance of the third room turning to the right i n ,

frame N o 1 2 4 is a drawing by F ra Bartolommeo of the

.
, ,

M adonn a della M isericordia for his picture at Lucca .

I n frame N o 2 7 7 on the third line above there is a study

.
,

by A nnibale Caracci for t h e tri u mph of Bacch u s and A riadne

, ,

a fresco in the Pala zz o F arnese at R om e .

I n case N o 4 3 6 are st u dies by R affaellino del Garbo ( 1 4 6 6

.

1 5 2 4 ) of the Vision of S t B ernard for his picture now in

.
,

B erlin and above it in frame N o 3 5 0 is a care f u l little drawing

,
.
,

by P o cce tti ( 1 5 4 8 for the interior of the cupola o f the

90 UFFIZI GA LLER Y .

O ver case N o 4 4 2 i n frame N o 3 3 9 is a drawing by

.
,
.
,

N icholas Po u ssin of the M u rder of the I nnocents

,
.

Cases N o s 4 4 8 44 7 and 4 4 6 against the third wall have

.
, ,

drawings by Giorgio Vasari among which in case N o 44 6 is ,

.
,

his sketch for his imaginary portrait of Loren z o de M edici i n ’

the T u scan room of this gallery .

O n the fourth wall i n fram e N o 4 1 1 i s a brilliant drawing .

,

by R u bens of his first wife H elen F orman

, ,
.

Case N o 4 5 1 has studies by Loren z o Credi one of which is

.
,

for the A nnunciation i n the U fiiz i ‘

.

Case N o 4 5 2 contains stu dies by F ra Bartolommeo for th e

.
, ,

M adonna enthroned with St A nna and other saints i n the .

T uscan room of this Galle ry .

O ver case N o 4 5 3 i n frame N o 3 9 9 is a carefu l and minute

. .

drawi ng by Jac q ues Callot ( 1 5 9 2

,
for his celebrated
engraving of the F air at the I mpruneta a village seven miles ,

from F lorence .

Case N o 4 5 4 contains designs by Raffaelle for five of hi s

.

cartoons now in the S o u th Kensington M u se u m

,
Pa u l
preaching at Athens F eed my S heep Paul and Barnab as at
Lystra the M iraculous D raught of F ishes ; and part of the
composition for the D eath of A nanias and Sapphira B esides .

these there are drawings o f two fig u res for the S chool of

,

A thens and for one of the M uses in the Parnassus which are
, ,

i ntrod u ced in the frescoes of the Stan z e i n the Vatican

also M oses i n the B u rning Bush one of the subj ects of the
, ,

Logg i a .

F rames N o s 3 9 6 and 3 9 8 have spirited drawings by Velas

.

que z ( 1 5 9 4—1 66 0 ) of Cavaliers on H orseback ; and between

them in fram e N o 4 0 5 is a soldier and other clever and free
,
.
,

sketches by J ac q u es Callot .

I n case N o 4 5 6 i s a drawing from M ichael A ngelo s Virgin

.
’

and Child in the Sacristy of Sa n Loren z o by R aff aello da ,

M ontelupo .

F rame N o 4 2 0 has an extremely clever and life like draw

.
-
 D RA I/VI IVG S B Y TH E O LD III A S TE R S 91

—1 6 4 0 of a Village D octor extract

ing by Adrian (
B ra u w e r 1 60 8 )
’
ing the corn from a Peasant s F oot .

I n the centre to the right are very fi ne drawings by the

German masters beginning with frame N O 4 2 8 a half fi gu re
,
.
,
-

of the Savio u r by M artin S c h Onga u e r ( 1 4 2 0

,

F rame N o 4 5 has a drawing by

2 . A D r r 1 1 —
l bert ii e ( 4 7 1 5 2 8 )
of the D eposition from the Cross I n the same frame is the .

drawing for D iirer s celebrated etching of D eath on a H orse

’

as well as the design for the F alconer O ther fine drawings by .

D iire r are i n frame N O 4 1 9 and in frame N O 4 2 7 is a very

.
, .

grand composition by him O f the Savio u r Bearing H is Cross .

In frame N O 2 9 3 St J erome Worshipping the Cru cifix is by

. .

Guercino .

F rom cases N o s 5 2 0 to 5 1 2 are decorative and architect u ral

.

drawings by F il ippino Lippi Salviati Vasari Celli ni and , , , ,

Perino del Vaga .

F rame N o 1 1 9 to the left conta i ns most bea u tifu l heads

.
, ,

of a child and a young girl with the A ngel and Virgin O f the
,

A nnunciation by F ra Bartolommeo by whom there are othe r

fl
, ,

drawings i n these frames from 1 2 0 to 1 3 0 I n frame N o 1 2 2 . .

are st u dies for the Virgin and Child in the pict u re of St A nna .

i n the U i z i and for the Garden of Gethsemane I n fram e N O

,
. .

1 1 6 are the designs for Job and Isaiah in the T rib u ne and i n ,

frame N o 1 2 8 are beautifu l st u dies for H oly F amilies F rame

. .

N o 1 6 5 contains drawings by M ariotto A l b e rtin el l i of A ngels i n

.

the Last J u dgment for the fresco which has been removed from
the H ospital of Santa M aria N u ova and which will probably be ,

shortly transferred to this Gallery I n frame N O 1 6 2 is . .

A l b e rtin e ll i s design f o r his bea u tifu l pict u re of the Visitation

’

of M ary to Eli z abeth in the T u scan room of the U ffi z i .

F rame N o 2 8 7 has drawings by Guido R eni ; and fram e

..

N o 2 8 9 a st u dy by D omenichino ( 1 5 8 1 —1 6 4 1 ) of fl ying
.
,

angels which he introd u ced into his pict u re of the Communion

,

of S t J erome in the Vatican

. .

Cases N o s 5 0 3 to 5 1 1 contain designs for vases and every

.
92 UFFI ZI GALLE R Y .

variety of decorative art by Caravaggio F ontana Pierino del , ,

Vaga & c I n case 5 0 7 are drawings by P o c c e tti for the decora

,
.

tion O f the portico of the I nnocenti in the Pia zz a della S S .

A nnun z iata at F lorence .

I n case N o 5 1 1 are drawings by the sculptor B enedetto da

.

Rov ez z a n o .

A mong the drawings not exhibited to the public b u t which ,

can be seen in the rooms o f S ignor F erri is a rare copy of ,

.

Ill u strations of the I nferno P u rgatorio and Paradiso of D ante

, , ,

by F e de rigo Z u ccaro ( 1 5 3 9 which he executed when he

was painting in the Escurial of Spai n It is entitled D ante .
‘

h isto ria to da F ederico Z uccaro l anno M D X C I I I

’
T he .

drawings are made in red and black c halk or penned i n ,

with bistre T hey are the only record of this period of Z u c

.

caro s life as the paintings with w h ich he adorned the Escurial

’

for Philip I I so little pleased the King that after paying the
.
,

artist mu nifi c e ntl y he dismissed him and ordered all hi s work

, ,

t o be expunged and replaced by other paintings by Pellegrino

T ibaldi .
 4 UFFIZI GA LLER Y .

p u pil of U go da Carpi H is works are very scarce T hose . .

exhibited here co nsist principally of processions which extend ,

nearly the whole length of the room and i ncl u de a m u ltit u de ,

of figu res drawn in clear sharp o u tline and full of li fe an d

, , ,

spirit T h e subj ects are the T riumph of F aith the Grand T u rk

.
,

going to M osq u e and the entrance of the Emperor Charles V , .

i nto Bologna .

O n the wall opposite the staircase i n fram e N O 2 4 is a , .

,

woodc u t by U go da Carpi after R aff aelle of Ai n ea s carry , ,

ing his father A nchises and the Palladiu m followed by his ,

son A ccording to B ryan T hough slight Ugo s woodc u ts

.
,
‘
,
’

are excellent and exhibit a close resemblance to the designs of

,

1 ’
th e artists from wh ich they are taken .

N o 2 5 S t J ohn Preaching i n the Wilderness is also by

.
,
.
,

U go da Carpi as well as N O 2 6 the M iraculo u s D ra u ght of

,
.
,

F ishes T h e M artyrdom of S t Peter and S t Pa u l in the sam e

. . .

frame with S t J ohn i n the Wildern ess is from a design by

,
.
,

Pa rm iggia no engraved by A ntonio da T rento who flo u rish ed

, ,

from 1 5 3 0 to 1 5 4 5 Born at T rent he st u died u nder Parmig .

,

giano but learnt his art of engraving from Ugo da Carpi H e

,
.

generally used three blocks the first for the o u tline the second , ,

?
for the dark shadows and th e third for the half tints ,
-

N o 2 9 near the window A nanias and S apphira is by Ugo

.
, , ,

da Carpi .

S everal engravings after the works of Parmigiano follow ,

by N ic o l e B o l drin i called Il Vicentino ; and i n the farthest ,

corner of the sam e wall is the B ea u ti ful Gate of the T emple ,

by Ra ff aelle engraved by Parmigiano himsel f

,
.

T h e next room contains impressions taken from plat e s of

n iello and early copper —
,
plate engravings in Italy T h e art of .

niello already known to the ancients was re vived i n Italy by ,

M aso F in igu erra a F lorentine of th e fifteenth cent u ry

, The .

design was traced upon a silver plate and the lines cut with ,

a sharp tool after wh ich the interstices were filled i n with a

:

1
S ee B ry a n 5 D iction a ry o
f P a in t rs a n d E ngra v ers I bid e .
2
.
 E N GRA VI N G S .
5

mixt u re of melted lead and silver ; before this hardened im ,

pressions were made on paper to try the eff ect a n d th u s led ,

the way to the discovery of copper a nd steel engra v ing .

In frame N o 4 4 are impressions from a niello by Pere .

,

grino da Cesio or Cesena a goldsmith and engraver who , , ,

lived towards the latter part of the fifteenth and commence ,

ment of the sixteenth cent u ry .

N o 4 5 is a very rare engraving after a composition by

.

B otticelli the Planet Ven u s by Baccio Baldini a F lorentine

, , ,

goldsmith born abo u t 1 4 3 6 T his is one of a series of the

,
.

S even Planets of which there is a complete set in the British

,

M u se u m and in the Biblioth eq ue at Paris

,
C u pid s Vintage .
’

in the same fram e is also a scarce Italian engraving , .

O n the wall facing the entra n ce to this room is N o 4 7 the .

,

D eath of Goliath also by Baccio Baldini a n d Botticelli , T his .

engraving was known to Bartsch the writer on the art of ,

engraving and is val u able from its rarity Baldim was a

,
.

F lorentine gol dsmith the frien d of Botticelli F o u r Prophets ,

.
,

by Baldini after Botticelli belong to a series T h e initials

, , .

A B have cau sed this engraving to be attributed to Botticelli

. .
,

w h o however always signed with the i nitials of his real name

, , ,

A lessandro F il ipe pi .

Th e impressions taken from niello the invention of M aso ,

F inigu e rra were speedily followed by copper plates in which

, ,

the artist s attention was directed to the effect prod u ced by the
’

impressions instead of as in niello e ngraving consideri n g the

, , ,

impressions only as experiments to test the excellence of the

defi gn .

N o 4 8 , a Combat
. of Giants is a splendid co mposition by
,

A ntonio P o l l aj ol o .

F rom N o s 4 9to 6 0 on the upper line are frames contain

.
,

i ng fi fty engravi ngs of the so called Playing Cards generally -

attrib u ted to A ndrea M antegna ( 1 4 3 0 they form here

a complete set b u t as they were not fastened on card they
, ,

co u ld never have been used as a game .

9 6 UFFIZI GALLER Y .

N o 50
. i s an u nfinished engraving also by A ndrea M a n ,

tegna of the H oly F amily in a grotto s u rrounded by a choi r

,
‘

of angels I t is an early impression and almost u niq u e T h e

.
, .

artist adopted this composition for part O f his pict u re of the

Worship of the M agi n o w in the T rib u ne of the U ffiz i Gallery
, .

B elow this engraving is a Bacchanalian scene by M antegna .

N o 5 6 three female fig u res danci ng after th e design

.
, ,

for a picture by M antegna in the Louvre at Paris by Z oan , ,

A ndrea the ass u med name o f an engraver who signed his

, ,

plates Z A probably a corruption of Gian A ndrea in the

. .
, ,

Venetian dialect H e lived i n the early part of th e sixteenth

.

century and appears to have belonged to the Lombard School

,

of engraving .

N o 5 7 J udith with the H ead of H olofernes after M a n

.
, ,

tegna is also by Z oan A ndrea

,
.

N o 5 3 a large engraving by Botticelli of the A ssumption

.
, ,

of the Virgin Sh e gives her girdle to St T homas ; the

. .

A postles below seek for her in the tomb from whence she has ,

newly risen a Landscape backgro u nd completes the picture

this engraving is ve ry scarce as there are only four impressions ,

known to exist .

N O 5 9 the Calumny of A pelles by M o c etto of Verona

.
, ,

1 4 4—P
( 5 ) is taken from
,
the description by L u cian and ,

i nteresting to compare with the sam e s u bj ect by Botticelli i n , ,

the room of small T u scan pict u res of this gallery M idas is .

between Ignorance and S u spicion ; Calumny led by Envy , ,

drags along Innocence ; she is attended by A mbition an d

F raud R epentance with T ruth follow last .

N o 7 0 the Worship of the M agi by R obetta a F lorentine

.
, , , ,

born about 1 4 6 0 H is prints are scarce ; this engraving i s .

after the design of F ilippino Lippi for his large pict u re painted ,

in 1 4 9 6 and now i n this Gal lery

,
.

D escending a flight of steps we arrive at the commence ,

m ent o f the passage leading to th e Pitti T h e names of the .

engravers or schools of engraving w h ose works are exhibited

, ,
9 8 UFFIZI GA LL ER Y .

having engraved the second plate of this subj ect c o ntra iy to ,

an engagem ent he had entered i nto with him I n the sam e .

frame with the M urder of the I nnocents is the M adonna of the

Cradle and the M adonna of the Palm T ree .

N o 8 1 the M ater D olorosa

.
,
M ary stands behind the body
of the Savio u r and looks up to heaven ; th e sleeve of the right
arm fits so closely that though the edge is marked at th e wrist
, ,

the arm has been often supposed bare ? Passavan t considered

this engraving in tenderness delicacy of feeling and i n the
, , ,

noble expression of the heads to surpass all h e knew of M arc ,

A ntonio . Below it is the Last Supper : Christ i n the centre

, ,

and six disciples o n either side .

N o 7 8 the Eternal commanding N oah to build the A rk

.
, , ,

and the M adonna o f the Coscia Lu nga the Virgin sits near a
cradle with the I nfant Christ i n her lap near them kneels the
, ,

little St John with a strip o f parchment i n hi s hand J oseph

.

behind a young man i s seen to the right in the backgro u nd .

I n this sam e frame is St Cecilia which di f fers i n details from

.
,

R a ff a ell e s picture at Bologna

’
.

N O 8 7 on the wall i n the corner near the window is part of

.
, ,

the history of Psyche painted by R a ff aelle when he assisted

, ,

Gi u lio R omano i n the frescoes O f the F arnesina Pa lace at

R ome . T h e F lying M ercury to th e right i s full o f life and
movement .

N O 9 2 contains A dam and Ev e engraved by M arc

.
,

A ntonio after M ichael A ngelo and an i nteresting portrait of

, ,

Raff aelle in his st u dio ; he has no beard his hair hangs on ,

his shoulders and he wears a cap and mantle th rown across

,

his chest Besides these this frame contains the Eternal

.
,

appearing to I saac and the Sacrifice of N oah by M arco of ,

R avenna M arco D ente da R avenna born i n 1 4 9 6 went to

.
, ,

R ome to s tu dy u nder M arc A ntonio and imitated the bold ,

style of his master with s u ch success as to rank next him as an

engraver ; b u t he has neither his neatness nor fi nish and is ,

1
Se e Pa ssa v a nt Ra f ael o on Uré in o v o l 1 1 p 6 3 0
,
f
, . . . .
 E N GRA VI N GS .
99

very unequal in his work H e was killed at the siege of ?

R ome in 1 5 2 7
,
.

N o 9 4 H erc u les and A nt aeus after a design by R a ff aelle is

.
, , ,

one of the fi nest engravings of M arc A ntonio I t has also been .

engraved by Agostino Ve ne z iano ( 1 4 9 0 who came to

R ome to study u nder the great master of his art and was ,

only second to M arco D ente da R avenna I n the same frame .

are Ven u s M ars and C u pid also two lovely Sibyls

, ,
.

N o 9 5 a most lovely Ven u s and C u pid R a ff a ell e s M use 0

’
.
, ,

Poetry i n the Parnass u s and Ven u s at the Bath by M arc , ,

A ntonio also a gro u p of children dancing by him an d below , ,

it the same s u bj ect by M arco da R avenna ,

.

T h e next series of engravings are most of them by M arco

da R avenna N O 1 0 1 the Graces copied from M arc A ntonio ;
. .
, ,

the composition s u ggested by the anti q ue gro u p in the M u se u m

at Per u gia .

N o 1 0 2 the Statue of M arcus Au reli u s at R ome : in this frame

.
,

and those which follow are s u bj ects taken from classical art , .

N o 1 0 9 an engraving by Gi u lio R omano of the M adonna

.
,

del Collo Lu ngo by Parmigiano i n the Pitti .

T h e next series of engravings are by Giulio B o naso n e and

N icolas B e a triz e t .

B o n a so n e was a very disting u ished engra v er from Bologna

u died with M arc A ntonio H
( 5
1 10 who st e entirely .

worked with the graver his o u tlines are clear and his e m , ,

gravings have great elegance N icolas B ea triz et was F rench .

,

born at T hionville 1 5 0 7 but he went early to study in R ome

, , ,

where he died i n 1 5 6 2 h e was probably also a scholar of

M arc A ntonio s p u pil Agostino Vene z iano
’
.
,

N O 1 1 7 St J erome in Prayer a fine composition by T itian

.
,
.
, ,

is likewise engra ved by B e a triz et .

N o 1 1 9 Children at Play after Raff aelle is by an engraver

.
, , ,

—
known as 1 1 M aestro del D ado t h e master of the Die — who
1
S ee B ry a n ,
D iction a ry o f E ngra v ers, a nd P a ssa v a nt , Raf a el v on

UrOino, v ol . i .
, p .
5 90 .
1 00 UFFIZI GA LLER Y .

worked at R ome from 1 5 3 2 to 1 5 3 5 H e was one of the imme .

diate fo llowers of M arc A ntonio and engraved excl u sively ,

after R a ff a el l e s designs thu s preserving the record of some

’

which have been lost .

S everal engravings follow by Giorgio Ghisi o f M antu a

1
5 20 whose works are very rare .

N o 1 3 0 is the D ispute of the S acram ent in the S tan z e of

.
,

the Vatican and a very fi ne engraving N O 1 3 3 the Woman

, .
,

taken in A d u ltery a beautifu l composition by Gi u lio Romano

, ,

engraved by D iana Ghisi ( 1 5 3 0 the sister of Giorgio

Ghisi and o f Rido l fi Ghisi the painter ; who was instr u cted ,

i n her art by her brother Giorgio A composition by R a ff aelle .

,

N o 1 2 8 called La Sa e tta is powerfully rendered by Giorgio Ghisi

.
, ,
.

N O 1 4 0 a Bacchanalian scen e and the Combat of the

.
, ,

H oratii and Curiatii is by f En e a s Vico of Parma ( 1 5 1 9 ,

who Visited Rome to study under M arc A ntonio .

We now arrive at the works of a great master and founder

of another school of engraving Cornelius Cort born in H olland , ,

1
53 6 and
,
who died i n R om e 1
5 7 8 H e went to Italy in .

his youth and resided in T itian s house in Venice where b e ’

,

engraved some of the fi nest works of the great painter and ,

then proceeded to R ome where he established his school T h e ,

.

’
art of engraving according to Bryan had hitherto been nearly
, ,
‘

c onfi ned to small plates and it was Corneli u s Cort that opene d
,

the way to a more important walk i n the art It was under this .

able artist that Agostino Caracci acqu ired his admirable use of
the graver T h e plates of Corneli u s Cort are entirely exec u ted
.

’
with this instrument in a bold open and masterly style , ,
.

F rom N o 1 4 3 to N o 1 5 1 are engravings by this ar tist

. .
,
.

T hose of a later school follow comprising Cavalieri an imitator , ,

of M arc A ntonio and Sal v ator Rosa Villamene of A ssisi born , ,

1 5 6 6 s u ppo sed to be a fellow —

,
student with A gostino Caracci ,

under Cort his style is bold and open .

N o 1 6 7 is a D eposition from the Cross engraved by him

.
,

after Baroccio .
 02 UFFIZI GA L LER Y .

No . Christ S hown to th e People

29 1, .

N o 2 9 5 the A nnouncement to the Shepherds

.
,
.

N O 2 9 7 Christ Preachi ng to the M u ltitude

.
,
.

N o 3 0 0 the D eposition from the Cross

.
,
and
N o 3 0 5 a splendid landscape called T h e T hree T rees
.
, , .

A fter R embrandt follows a series o f engravings by D utch ,

and F lemish masters N o 2 1 1 the Broken D yke by Peter . .

, ,

N olpe is very striking

, N o l pe was born in the H agu e 1 6 0 1.
, .

H is plates are usually exec u ted with the point and fi nished
wi th the graver ; his landscapes are engraved in a bold free ,

masterly s tyle ?
No 3 5
.2 a Calva ry after A lbert
, D u rer is by Jacob , ,

M a th a m ,
Of H a e rl e m, 1 57 1 .

R ubens and his followers begin a new school of art brilliant ,

in light and fu ll of life and movement

, .

N o 3 8 2 a H oly F amily after R ubens is engraved by

.
, , ,

Sch el tiu s B o l sw e rt of F riesland who st u died with his more

, ,

celebrated brother A dam B o l swe rt abo u t the end of the six ,

te e n th cent u ry .

N o 3 38
. the D eposition from the Cross by Ru ben s
, , ,

engraved by Lucas V o rste rma n who was born at A ntwerp 1 5 7 8 , ,

and having st u died under R ubens rendered the compositions ,

of the master with more spirit than any other engraver .

N O 3 6 0 Christ Crowned with T horns after Vandyke is

.
, , ,

engraved by Sch el tiu s B o l sw ert .

T h e F leming Gerard Ede l inck is incl u ded among F rench

engravers tho u gh born in A ntwerp 1 6 4 0 bu t he was invited
,

to Paris by Colbert in 1 6 6 5 and was taken into the service of ,

L o u is X I V .

N O 3 6 7 is an engraving of Edelin c k after a picture by

.
, ,

Charles Le Brun N ext it N O 3 6 8 is Callot s famo u s engraving

.
,
.
,
’

O f the F air of the I mpruneta Jac q u es Callot was born at N ancy .

,

in Lorraine 1 5 9 2 he led a singu larly adventuro u s life and

, ,

worked for a considerable time i n Italy he was a favourite of

S e e B ry a n s D iction a f y of P a in ters a n d E ngr a v ers
1 ’
.
 E N GRA VI N G S . 1 03

the Grand D u ke Cosimo I I at F lorence and only ret u rned to .

,

Lorrai ne on the death of his patron thence he proceeded to

Paris where he was employed by Lo u is X I I I to engrave some
,
.

of the pri ncipal sieges and battles of the F rench .

N o 3 7 0 a H oly F amily after R affaelle is by Edel in ck as

.
, , , ,

well as N o 3 7 3 the portrait of Charles d H oyser and the

.
,
’
,

still finer portrait N O 3 7 4 of the celebrated painter Philippe .

, ,

de Champagne .

N O 3 8 8 a Piet a after A nnibale Caracci

.
,
Th e pict u re ,
.

was formerly in the O rleans collection b u t now belongs to the ,

Earl of Carlisle the engraving is by J ean Lo u is R o ullet ,

born 1 6 4 5 at A rles i n Provence this is one of his most ,

esteemed works .

N o 3 8 9 a portrait of Boss u et by Pierre D rev e t the Yo u nger

.
, , ,

of Paris born i n 1 6 9 7 H e is renowned for fi nish and clear

,
.

ness of to u ch T his portrait is one of the finest examples of

.

his method of engravi ng N ext it is a portrait of Lo u is X I V by . .

the father Pierre D re v e t the Elder who was inferior to his son
, , .

N o 3 9 4 a T empest after Joseph Vernet by Jean Jac q ues

.
, , ,

B al e c h o u born 1 7 1 0 at A rles a well known engraver remark

,
-

able f o r clearness and brilliancy his plates after Vernet are

among his finest prod u ctions .

N O 4 0 0 Paternal A dmonitions after T erb u rg and other

.
, , ,

engra v ings in N O 4 0 2 are by H ans Georg Wille of KOn igsb erg

.
,

born i n 1 7 1 5 .

Th e best English engravers begi n with R obert Strange born ,

in the O rkney Isles 1 7 2 1 and who died after receiving knight , ,

hood in 1 7 9 2
,
H is engravings are chie fl y after the works o f
.

the most eminent Italian artists b u t the principal here are N o .

4 0 7 Charles I of England after Vandyke

,
. N o 4 0 9 Charles , .
,

I his e q u erry holding his horse also after Vandyke and N O

.
, .

4 1 4 Ven u s blinding C u pid after T itian

, , .

William Wo o l l e tt of M aidstone Kent ( 1 7 3 5 chiefly

, ,

engraved landscape N o 4 1 1 a M orning Scene is by S wane . .

, ,

veldt .
1 04 UFFIZI GA LLER Y .

Of the modern German engravers the D eposit i on from the ,

Cross after F ra Bartolommeo by M orit z Ste inl a and N o 4 2 9 , ,

.
,

the Ma donna di Sa n S isto by F riedrich M uller are among the ,

most interesting .

R eturning to Italian and F rench engravers of this and th e

latter part of the preceding century we have N o s 4 3 5 and 4 2 6 ,
.
,

portraits of Lord M ansfield and th e Chancellor T h u rlow by

F rancesco Bartolo zz i and N o 4 3 9 the I ncendio del Borgo and .
,

the Parnass u s O f Ra ff aelle engraved by Volpato ,

.

N o 4 4 3 a very fine engraving of the R epose i n Egypt a fter

.
,

N icolas Poussin is by R affaelle M o rgh e n

,
.

N o 4 44 i s an e q u ally fi ne engraving by the sam e artist

.
,

after Guido Reni .

B esides these there are engravings by M o rgh e n N O 44 6 of

, ,
.
,

the M adonna della Seggiola N O 4 40 the T ransfig u ration ; .

,

N o 4 5 0 the M adonna del S acco of A ndrea del S arto ; N o

.
,
.

45 1 ,
the L ast S u pper of L eonardo da Vi nci ; and N O 4 5 2 the .
,

M adonna del Cardellino of R affaelle N o 4 5 4 is an engraving . .

by Gi u seppe Longhi of the Sposali z io of R affae l le at M ilan

also N O 4 5 5 a H oly F amily of Ra ff aelle N O 4 6 8 the I nfant
.
,
. .
,

J es u s of Carlo M aratti is engraved by Giovita Garavaglia who ,

has also engraved N o 4 6 7 the M adonna della Seggiola .

,
.

N O 4 7 0 is a M adonna and Child by R affaelle engraved by

.
,

Sam u ele T esi .

T h e rest of this passage leading to the Pitti is lined w ith

s u pposed and some real portraits O f royal and disting u ished
, ,

personages the only pict u res of m erit are by Sir Peter Lely
v iz
. the portraits of N ell Gwyn n e Lady M iddleton the , ,

D u chess of Cleveland and the D u chess of R ochester ,

T here .

are also some curio u s views of T u scan cities .

 a ge 1 0 5 .

Pa g e 1 25 .

8 1 1 5 .

S ea l of th e R ep u bl ic — Gol d f l orin — Gem

of S a v on a rol a .

P a ge 1 05 .
 C H A P T ER XI .

GA LLE R Y IN -
TA GLI AND

HE cabinet of gems which contains the collections of I n

tagli a n d C a m e i is entered from the Sala dell Erm a f ro ’

d ito
. A t the end of th e room u nder glass is a colo u re d t erra
, ,

cotta b u st of D ante taken from the mask after death it was

,

be q u eathed to the Gallery in 1 8 6 5 by the M archese Carlo

T orrigiani O n either side of the b u st are cases with Etr u scan gol d
.

ornaments be q u eathed by M r C u rry a n d two cases containing

.
,

specimens of ancient glass belonging to early Christian A rt as ,

well as the original wax model by M ichael A ngelo for his , ,

stat u e O f Gi u lian o de M e dici i n the sacristy of S a n Loren z o

’
.

T here is likewise in the same case a large cameo portrait c u t

i n agate of Charles V ( P) receiving the O rder of the Golden
.

F leece from the hand of a chil d w h o is presented to him by ,

a female in rich attire and j ewels male fig u res behind F am e

a bove blows a tr u mpet .A nother large cameo appears to be
R oman w ork .

\Vith in the case contain i ng Etr u scan remai ns is the o l d seal

of the F lorentine R ep u blic H erc ules engraved on a green
,

j a de T his gem was at one time s u pposed to be a gen u ine

.

anti q u e b u t the defecti v e drawing of the arms and vario u s

,

i ne q u alities in the workmanship not to be fo u nd i n fi ne ,

Greek or Roman intagli have decided connoisse u rs to assign

,

this stone to an artist of the m edi aeval period H e was how .

,

ever probably a gem —c u tter of some rep u tation and perhaps

, ,
1 06 UFFIZI GA L LER Y .

the artist patronised by Cosimo th e Pater Patri ae who has h is ,

nameless tomb i n Santa M aria N ovella?

A fi ne R oman m osaic framed and hung on the wall near ,

the window represents the lit tle owl of the co u ntry the same
, ,

as the A thenian owl of M inerva but used i n Italy to attract ,

small birds T h e owl is trained to j u mp from on e piece of

.

stick to another in a ma nner which appears so strange to the

,

feathered tribe that little birds gather ro u nd hi m screaming

, ,

and as they alight on the nearest branches which are already ,

prep ared with bird lime they are easily caught T h e sam e
-

, .

subj ect has been painted by Al bano in a small pict u re ,

formerly i n the possession o f the poet th e late M r Sam u el , .

R ogers . Beyond this m osaic are copies of variou s pict u res i n

enamel an d above i s a series of small pictures by Bron z ino
, , ,

intended to represent the M edici family probably taken from ,

old portraits which were painted for the Grand D uke Cosimo
,

I and placed in the private apartment of his palace O pposite

. .

are portraits in pastel o f Lo u is X IV M arshal T urenne and .

, ,

other distinguished persons by R obert N anteuil R osalba , ,

Carriera of Venice &c ,

.

T h e collectio n of c a m e i and intagli begu n by Loren z o de ,

M edici besides being the oldest of the ki nd i n Eu rope

, ,

consisted of at least three thousand pieces before the ,

recent addition of M r C u rry s gems T h e period d u ring which

.
’
.

the art of engraving precio u s stones was bro u ght to greatest

perfection by the Greeks and R omans extends from B C 3 0 0 to . .

A D 2 00
. . . T h e best gems belong to the reigns of Alexander of
M acedon , 3 0 0 ; of M ithridates in Pont u s R C 1 2 0 ; of ,
.

A u g u stus C aesar 63 and O f H adrian A D 1 1 7 T h e art

, ,
. . .

was revived i n Italy i n the sixteenth cent u ry and attained high ,

excellence among Italian English and Ger m an arti sts in the , ,

eighteenth We can form no m ore perfect idea of Greek art

.

than that presented i n these engraved gems which from their ,

min u te si z e the d u rability of the material and fre q u ently from

, ,

1
Th i s se a l h a s b ee n re ce ntly re m o v e d to th e M u se u m o f th e B a rge ll o .
1 08 UFFIZI GA LLER Y .

stolen by U lysses and D iomedes to enable them to gain posses

sion of T roy the two heroes are represented on the pedestal of
,

thi s gem committing the theft Pallas A then ae carries her spear
i n her left hand the shield in her right — a proof that th e gem
,

was i ntended for a seal as the reverse would appear on the ,

wax impression .

No
. 1 2 a paste or glass gem of an amethyst colo u r
, ,

A ph ro drite or Venus seated po u ring water over h er feet

. this
,

paste is so transparent that Gori mistook it for a real amethyst .

N o 2 0 a fi ne carnelian : C u pid seated with his hands

.
,

tied behind his back while N emesi s the avenging goddess , , ,

stands before him N emesis rai ses the lower part of her a rm
.
,

ex hibiting it to hi m from the elbow to the wrist — the c u bit

meas u re — which the Egyptians considered the symbol of
j u stice : th u s signifying that the measu re of his ini q u ities to
wards Psyche was full .

N O 2 8 a very fine dark onyx : A pollo playing the lyre ;

.
,

his feet hardly to u ching the gro u nd to denote extreme lightness , ,

as the repose of his limbs and his u ndist u rbed drapery prove
that he is not i n motion T h e artist has combi ned p u rity of .

o u tline with rot u ndity I t i s i n very flat reli ef and is am ong

.
,

the fine st Greek works i n exi stence .

N O 2 9 a carnelian : A pollo as a shepherd with the N ym ph

.

, ,

o f a fo u ntai n Th e same s u bj ect is represented i n a sta t u e

.

of the Villa Lu do v isi in R ome and has been described by ,

Win c ke l ma n the shepherd s crook may signi fy that the god i s ’

leading the fl ocks of A dmet u s to past u re he leans his arm on

the basin of the fo u ntain i n an attitude of repose .

N o 3 5 a paste the colo u r of the yellow chrysolite : a

.
, ,

N ymph is playing on a lyre T here are three gems with this .

s u bj ect each of which has i nscribed on it the name of a

,

different well known engraver — C h ro n iu s A llion and O n e sia s

-

, ,
.

T his paste bears that of O n e sia s T hey are all three probably .

copies of some celebrated statue which has been lost A gostini .

,

a writer on gems states that Pa u sanias mentions Sparta fig u red

,
 INTA GL1 AND CA M E ] . 1 09

as a woman playing on a lyre and that the s u bj ect th u s re pre ,

sented was to be seen in his days T h e style of w ork on this .

paste is excellent tho u gh probably only an ancient copy of a

,

gem by O ne sia s .

N o 4 1 a red jasper : M erc u ry has his foot resting on a

.
,

wine skin and two ears of corn spring u p beside him ; th e

-

wine and bread were at all times symbolical of immortality and ,

were t hus appropriately placed near the go d who was s u ppose d

to cond u ct h u man so u ls to their la st abode H is chlamys or .
,

cloak is twisted ro u nd h is arm ; the cad u ce u s is in his han d

, ,

and the petas u s — winged cap — o n his head as i f preparatory ,

to his j ourney .

N o 4 7 a carnelian H erc u les with the B u ll O f Crete T his

.
,
.

work is exec u ted with a few touches b u t is wonderfu lly ,

effective ; the style is grand O n a fine ancient altar in the .

C apitoline M u se u m of R ome H erc u les is th u s represented , ,

though beardless here the demigod wears his beard .

N o 5 1 a chalcedony : H ercules fo u nd by C u pid who is

.
, ,

seated on his sho u lder .

N O 5 2 a carnelian : H ercules shooting the Stymph a l ic

.
,

birds a work of great antiq u ity and in the gran d style , .

N O 5 4 an amethyst : H erc u les on O lymp u s with H ebe ;

.
,

the work of a celebrate d Greek gem c u tter T e u c ro n -

,
.

N O 6 8 a carnelian
. a seated Bacchante giving drink to a
, ,

panther .

N o 69 . a very fi ne carnelian : a Bacchante in a wild

,

dance this gem resembles a figu re on a coin of Syracuse a n d ,

is i n very excellent style .

N o 7 0 a red jasper : Bacch u s and A riadne seated on a

.
,

panther a work O f few to u ches inscribed with the artist s

, ,
’

name — Carp u s .

N o 7 4 an amethyst : C u pid on a lion with a h u man face as

.
, ,

seen on medals of S icily a n d Campania and which according , ,

to the German critic Eckh el represented Bacchus Th e , .

allegorical meaning is love subduing the strongest , .

1 10 UFFIZI GA L L E R Y .

N o 7 6,. an amethyst : a family of T ritons fi ne Greek work .

C a se X N O 9 3 a carnelian : A chilles fighting with th e

. .
,

A ma z ons also fin e Greek work .

N o 1 0 3 a chalcedony
.
,
a kneeling soldier .

N o 1 0 9 a carnelian : a tragic poet ; an old man seated

.
, ,

with a mask behind him .

N o 1 1 4 a sardonyx : a soldier on horseback ; the name

.
,

A u l u s inscribed on it the shield is R oman and is cut on the ,

bl u e lay er of the stone this gem is supposed to all u de to the

games of the circ u s fi ne R oman work .

N o 1 1 6 a carnelian : a Greek warrior descending from his

.
,

horse the shield i s i n too high relief for the best work but it ,

i s a graceful composition .

N O 1 1 7 a sardonyx : an Etruscan gem o f great i nterest ?

.
,

T w o m en bear the sacred shields or a n t il ia ,

A ccording to .

tradition a shield was found in the Palace o f N u ma which

, ,

was supposed to have been sent down from H eaven and the ,

H aruspices declared that th e R oman State would end u re so

long as this shield remained i n R ome N uma accordingly .
, ,

ordered eleven similar shields to be made and h e appointed ,

twelve S alii ( as those priests were called who solemnised the ,

worship of the gods by armed dances and song ) to keep guard

over them O nce a year on the Calends o f M arch they were
.
, ,

taken from the T emple of M ars on the Palatine M ount ,

where they were kept and borne i n procession through the

,

city ; the S ali i striking them with rods sang the praises of ,

M ars N uma and of M amurius V e ttu rius the armourer who cast
, , ,

the eleven shields I n this gem two of the Salii carry six a n t il ia
.

attached to a pole resting on their shoulders I n a work on .

B ritish anti q uities by Joh n Kemble will be found an engraving

, ,

and description of a shield now in the British M u se u m which ,

was found in the R iver T hames and closely resembles the ,

a n cil e O f this gem A ccording to the a u thor of the description

.
,

the ornaments are attached i n a manner peculiar to Etr u ria .

1
T h i s m ost v a l u a bl e gem is n e a rly h i dden in th e co rn er o f th e case .
 1 2f
o
UFFIZI GA LL E R Y .

simple and grand and probably belonge d to the period of ,

Phidias T h e garland of wheat ears and the hair are worked

.
-

with the most ex q u isite finish I v y leaves adorn the border of .

th e dress the eyes are wide open and the pupil indicated .

N o 1 9 7 a carnelian : a splendid portrait ; supposed to

.
,

represent S ext u s P o m peiu s M agn u s the son of Pompey th e ,

Great H e accompanied his father into Egy pt and was

.
,

present when he was m u rdered H e fled into S pain and was , ,

fi nally pu t to death by order of T itus .

N o 2 0 4 a chalcedony : Portrait of A u gu stus C aesar

.
, an
exq u isite gem and a very pure stone .

N O 2 0 8 a carnelian
. B u sts of N ero and Luci u s sons o f
,

and on the reverse F a u stulus discovering R o m

,

A grippina ul u s
and R em u s with the wolf under a tree , ,
.

N o 2 1 7 a carnelian B ust of A ntonia wi fe of D r u sus and

.
, , ,

daughter of M arcu s A ntonin u s .

Case XI I N O 2 4 8 an amethyst the portrait of M assinissa

.
,
.
, ,

Prince of Cyrene i n A frica whence val u able marbles have ,

been brought to the British M u se u m M assinissa wa s ed u cated .

in Carthage and fo u ght i n Spain where he was defeated

, ,

by S cipio H e m ade terms with the R omans and promised

.

them his services i n A frica T his gem i s half Greek half .

,

A frican the helmet bears the fig u re of Victory finely engraved , .

N o 2 5 2 a carnelian
. M odesty a beautifu l head
, , .

N O 2 6 0 a carnelian : the head o f an O l d man

.
,
th e work
of a celebrated gem c u tter H yll u s -

,
.

N O 2 7 6 a carnelian
. the b u st of Apollo of D elos a fine
,

work perhaps by D ioscori des or S olon

,
.

N O 2 8 4 a j acynth : the portrait of a Comic A ct or i n a M ask

.
, .

N o 3 1 3 a sardonyx the Chim aera mortally wo u nded

. .

A fter this gem follow several representations of animals ,

cows oxen horses lions cranes & c with sphinges griffi ns

, , , , ,
.
, , ,

and other fab u lo u s creatures among which the most interesti n g ,

is a winged sphinx the signet of A u g u st u s C msa r discovered , ,

in his tomb and presented to the Gallery in 1 8 2 9

, .
 INTA GL I AN D CA IWEI . 1 13

A mong the best of the antique ca me i, or the onyx cut i n

r elief are
,

Case I near the door N o I Venus caressing Ganymede

.
, ,
. .
,

o n M o u nt O lympus and looking back at J u piter , .

N o 2 a fragment : M inerva with the infant H ercules

.
,

s trangling the serpents

.
.

N o 3 A ntonius Pi u s sacrifici ng to H ope ; more remark

.
,

a ble for the si z e and bea u ty of the stone than for the work .

T h e little winged fig u re near the altar represents the geni u s of

.the emperor .

N o 4 Venus Victrix or the Con q u eror ; J u li u s C aesar

.
, , ,

who pretended to trace his descent from Venus first ca u sed ,

the goddess to be represented arme d T h e arrangement of ,

th e hair and the ignoble feat u res have s uggested that this may
have been a portrait .

N o 6 Ven u s attired by the Graces a cameo of good

.
, ,

style .

N o 7 C u pid mo u nted on a lion an d playing a lyre thi s

.
,

gem is quoted i n man y works on antiq u ities Th e inscription .

,

P rota rel z ns f a eieba t is i n relief ; it is most delicate i n exec u tion

,

and a very fine stone .

N o 8 four A morini trying to raise th e club of H erc u les

.
, ,

whilst one b u ries his head in the hero s cup ’

.

N O 9 Cupid dragging Psyche along by her hair

.
,
very
ex q uisite workmanship .

N o 1 3 A pollo in gold on a gro u nd of sardonyx is one of the

.
,

most val u able ornaments of this collection It belonge d to the .

Piccolomini family and from them came into the posession of

,

the Electress A nna M aria the dau ghter of Gaston the last , ,

M edici Grand D u ke .

N o 1 4 M ars Victor ( M ars the Conq u eror )

.
,
a work
among the best of the first cent u ry of the R oman Empire .

N O 1 7 H ercules bi nding Cerberus ; a favourite s u bj ect ;

.
,

of which the fi nest example is the engraved gem by D ioscorides ,

in the Berlin collection .

VO L . 11 .
1 14 UFFIZI GA LL E R Y

No . B acchus and O mphale ; excellent style executed

2 4, ,
’
.

on a fi n e stone .

Case N o 3 3 a female figu re seated near a temple with

.
, ,

an image on her left arm and surrounded by three other ,

fi gures T h e work is fi ne but the subj ect di ffi cult to explain

. , .

I t may possibly refer to the sto ry o f I phigenia i n T aurus whe n ,

she recogn ises her brothers .

N o 3 4 a male figure suspending a sword on a column

.
,

in excellent style and fi nely executed .

No 40
. a fragment restored in gold by B envenut o
,
~

Cellini .

N o 6 6 the bust of O m phale ; her head covered with th e

.
,

lion s skin of H ercules

’
.

T here are several heads o f M edu sa and portraits , .

Case I I I N o 8 5 M ithridates V I King o f Pontu s

.
,
.
,
.
,

several likenesses of A ugust u s C aesar .

N o s 9 5 and 9 6 portraits of A grippa

.
, .

N O 9 8 T iberius with his mother

.
,
.

N o 1 2 4 Livia
.
,
.

N o 1 0 5 Caligula
.
,
.

N o 1 0 6 N ero
.
,
.

N o 1 0 7 T h e younger Britannicus
.
,
.

N o 1 0 8 Galba
.
,
.

N o 1 0 9 Vespasian
.
, .

S om e oth er portraits and a few representations o f animals ; ,

complete the collection o f ancient cameos .

T h e most important modern i ntagli are on the opposit e

side .

N o 3 4 5 the copy of the celebrated gem by P a mph il us

.
, ,.

now i n Paris representing A chilles seated on a rock by th e

,

sea

No . the copy of th e D ioscorides gem belonging to

3 4 6, ,

the D uke of D evonshire D iomedes with the Palladium .

N o 3 5 4 a chalcedony : an allegorical representation of a

.
,

m arriage before a tem ple by Valerio Vicentino , .

1 16 UFFIZI GA LLER Y .

a superior idea o f her beauty to any portrait by B ron z ino it i s

supposed to be the work of B ernardo di Castel B olognese for ,

Cardinal F arnese there is also the likeness o f M argaret o f

A ustria Governess of the N etherlands and aunt of Charles
, ,

V B ernardo di ed in 1 5 5 5
. .

A splendi d collection of c a m e i and intagli form erly belong ,

i ng to M r William Curry of East H orsley Su rrey who resided

.
, , ,

many years in Italy and died at N ice i n 1 8 6 3 w ere b e q u ea th e d

, ,

by him to the T uscan capital T here I S as yet no published .

catalogue ; and the gems are placed i n cases so far removed

from th e wi ndow that it is impossible to form any O pinion o f
their excellence ?
A mong the valuable cameos Case XV I I I N o 3 re pre ,
. .
,

senting Luna i n a B iga is an excellent work ,

.

N o 6 a woman filling a vase at a fountain is also a very

.
, ,

beautiful gem .

N o 1 0 a Bacchante a fi ne antiqu e fragment and supposed

.
, , ,

to be the copy of a work by Scopas .

N o 1 8 a very fi ne antiqu e cameo of a youthful H ercules

.
, ,

set i n diamonds the ears are cru shed like those of the B oxers
in th e Circus and the demigod thus represented was called
,

H erakles Pa nc ra tiaste s or H ercules the B oxer ,

.

N O 3 1 a female mask on a turquoise

.
,
.

N o 3 4 a fragment restored in gold

.
,
a very fi ne work and
admirably fi nished of a N ereid o n a Sea h orse ,
-
.

N O 4 2 the bust of a female probably a portrait

.
, , .

A mong the intagli of the Curry collection are many

Etruscan scarabei or gems cut i n the form of a beetle
, .

N O 2 0 8 a carnelian mask of very fine work

.
,
.

N o 2 3 3 a pale ruby with the head of a beardless warrior

.
, ,

simple i n form b u t fi ne in character , .

N o 3 3 7 an amethyst A tropos a Greek work

.
, ,
.

1
T h e C a va li e re M igli a ri n i h a d fi n i sh ed th e t l g
ca a o u e in M S . j ust
b ef o re his death in 1 865 .
 R OCK CR YS TA L A N D PIE TRA D URA . 1 7

N o 47,
a beautifu l carnelian ; the head of a barbarian ;
.

very fi ne work .

N o 2 4 9 a sardonyx
. a yo u thfu l H ercules
, .

N O 2 5 4 an amethyst
. a bearded Indian Bacchus
, .

N O 2 5 5 a sardonyx
. a female bust su pposed to represent
,

Io the most important and valuable gem i n the collection it

,

i s very beautiful with a melancholy expression ; her luxuriant

,

hair waves over her shoulders ; on the edge of the ston e is

i nscribed the nam e D ioscorides in Greek letters D ioscorides , .

was the favourite gem c u tter of Au gustus C ae sar and was -

alone permitted to take the portrait o f the emperor ; h e was

born i n A sia M inor and was thus Greek by birth and educa
,

tion S everal of his gems are scattered throughout the c ol l ec

.

tions o f Europe ; they are marked by a star to express his

name ? T h e gem o f I o has been copied by the best modern
engravers but it is here concealed i n a case behind the door
, .

R ook C rysta l a nd P ietra D a ra .

small room at the end of the first and second corridors

A
contains various articles of v irtii in pietra dura rock crystal , ,

and precious stones M any of these were intended to decorate

.

the altar of the M edicean M ausole u m i n Sa n Loren z o ; others

once held relics and were then placed in a re l iq u a rium con
,

structed by M ichael A ngelo over the principal entrance of the

sam e church T h e Ciborium for the host or consecrated wa fer
.

was designed by B u o ntal e nti in 1 6 0 1 but never finished and ,

the several parts of w hich it was to have been composed were .

,

deposite d here vi z eight col u mns o f Siennese agate lapis

,
.
.
,

laz uli and Bohemian verde and eight channelled columns of

, ,

rock crystal set i n garnets tur q uoises oriental chalcedony

, , , ,

top az pearls amethysts rubies and diamonds the work o f two

, , , , ,

M ilanese artists named G a ff u ri T h e seven stat u ettes of the

,
.

apos tles and the angel were designed by Giovanni Bil iv ert the ,

T h e D i oscori des, C a st or a nd P o ll ux ll usi on t ll a ti on

’
1
,
in a to th e co ns e

of th e T w n s i —G em i n i .
1 1 8 UFFIZI GA LLER Y .

pupil o f Cigoli and were modelled by O ra z io and F rancesco

,

M ochi father and son T h e y a re composed of jaspers from.

, ’

Volterra Caselli and S icily ; o f lapis la z uli chalcedony oriental

, , , ,

alabaster am ethysts agates and silver gilt

, , , .

I n the centre of the room i s a table of pietra dura executed ,

i n 1 6 0 0 for the altar of th e M edicean M ausoleu m to replace ,

the table o f an earlier date and inferior workmanship now i n ,

the Sala di Baroccio I n the centre is a representation of the .

port at Leghorn as itf a ppe a re d after the construction o f the

,

fortifications T h e Grand l D uke Cosimo I was extremely

. .

desirous to prom ote the commerce of Leghorn but his favou rite ,

scheme of building an e ff icient harbour was only fulfilled by

his sons F ra ncis I and F erdinand I When other states were
,
. .

i nvolved i n wars T uscany was happily exempt and thus the

,

new port was filled with ships from all nations Vessels of .

every shape and si z e are here represented floating on a sea o f ,

Persian lapis la z uli and among them a squadron o f six galleys

,

o f St Stephen which drag two T urkish ships captive T h e

.
,
.

O rder o f St S tephen was instituted by Cosim o I i n imitation

. .
,

o f that of M alta to protect the coast from the i nfidel and to

, ,

secure the permanent service o f a fleet without the expense of ,

its maintenance .

T h e urns and vases wh ich once contained relics taken from ,

San Loren z o were manufactured by order of Pope Clement

,

V I I the nephew of Loren z o the M agn ificent about 1 5 3 3

.
, , .

T hey were removed to this Gallery by the A ustrian Grand

D uke Pie tro Leopoldo i n 1 7 8 1 S everal of them were m anu .

f ac tured by the most celebrated gem cutters o f the tim e and -

fi rst among these was Valerio Vicentino who executed for Pope ,

Clement a oa ssetta or casket to contain the pisside pyx or box

, , , ,

in which the consecrated wafer was placed on T hursday of

H oly Week T h e pyx itsel f was a work of great delicacy
. It .

was o f fi ne enamel set with rubies bu t was unfortunately stolen

, ,

i n 1 8 6 0 Clement bestowed two thousand golden crown s on

.

Valerio Vicentino for th e casket which was presented to F rancis ,

1 20 UFFIZI GA LLER Y .

R i n the centre was not unintentional and is supposed to hav e ,

i mplied the word R ex and this conj ecture is confirmed by the

small crown on the covers of th e 7neseiroba or mixing cups , ,

Case VI i n one of which is a vase o f oriental sardonyx T h e

.
, .

M edici ball rests on a royal crown O f the eighteen Laurentian .

vases five are of ori ental sardonyx four of red S icilian j asper
, , ,

one o f yellow Sicilian j asper one of carnelian two amethysts

, , ,

one red j a sper one i n flowered j asper o f Sicily one i n green

, ,

j asper and the last i n fossil wood T hey were all made i n
,
-
.

the gardens o f th e Cas ino di Sa n M arco where Loren z o ,

maintai ned a school for artists .

I n Case V is a small column of rock crystal which wa s

.
,

executed for the Grand D uke Cosimo I to celebrate his .

,

destr u ction o f the S ien nese R epublic I t rests on lions in agate .

and has a hexagonal golden stand T hough not a good s tyle .

of work it i s remarkable for the multitude of fig u res introd u ced

,

withi n so small a space and has an historical i nterest O n th e

, .

pedestal an al legory sets forth the greatness o f F lorence u nder

the M edici rule a male figure seated beneath a porch of the ,

T uscan order i n architecture has the attributes of commerce

,

by sea and land a philosopher and a warrior dispute n e ar the

walls o f a city g u arded by the Lion of F lorence ; Peace i s
symbolised by an olive and a female with wheat in one han d
,

and fr u it in the other a husbandman drives oxen in a plough ,

a n d a shepherd guards his flocks to represent agric u ltural and ,

pastoral life ; a battle is taking place between cavalry and

i nfantry probably that of M ontemurlo gained by the Grand
, ,

D uke Cosimo i n 1 5 3 7 when h e captured his greatest enemy

,

and former friend F ili ppo Stro zz i Victory waves her palm
, .

branch and F ame holds a royal crown over a city typical o f

'

, ,

F lorence w hilst she blows her tr u mpet and a horseman gallops

, ,
.

towards the gate I n the upper part of this column are six
.

medallions with portraits i n ancient costume above i s seated

a sovereign surro u nded by a numerous Court he is in the act .

of bestowing the b é ton of comman d on one o f his courtiers ,

 R O CK CR YS TA L AN D PIE TRA D URA . 121

p robably General M arignano to whom Cosimo confided th e,

cond u ct of the S iennese campaign T h e Pope is also repre .

sented surro u nded by his cardinals and blessing a bishop a nd ,

a lay personage supposed to be Cosimo s ambassador to R ome

,
’
,
’
who obtained Pope J u liu s I I I s sanction for his master s .
’

sei z ure of S ienna still higher u p on the column is the siege

and lastly a warrior closing the temple of Jan u s T h e Vic
, ,
.

to riou s soldiers ascend spirally followed by prisoners ; they ,

bear the enemy s banners reversed and other trophies two of

’
,

the leaders —M arignano and D o n F rancesco di T oledo ( P)

make a tri u mphal e ntry in to F lorence D o n F rancesco was the .

ambassador of the Emperor Charles V who was received by .

,

Cosimo and his son F rancis after the con q uest of S ienna O n , .

the top is a globe with a second figure of F ame i n gold , ,

bl o w mg her tr u mpet .

Behind this col u mn is a small View O f th e Pia zz a della Sig

noria i n pietra d u ra and gold th e w ork of M aestro Giorgio
, ,

G a ff u ri the M ilanese before mentioned it was intended for one

,

of the ornaments of the trib u ne of the M a u sole u m de M edici i n ’

S a n Loren z o as were also four small lunettes in gold now als o

, ,

i n this collection T h e View was taken from that end of the

.

pia zz a once called the Canto della F arina Giovanni da Bologna s .

’

e q uestrian stat u e of the Grand D u ke Cosimo I is the most pro .

m inent obj ect and w ith the M ar z occo the stat u es of D avid and
, , ,
’ i

of H ercules by M ichael A ngelo and Baccio B a n din el l i is o f

, ,

gold ; the architrave of the palace is in rock crystal j oined with

silver or copper gilt ; a porter carrying a l o a d i s iss u ing fro m .

the door of the old C u stom H ouse the sky is in lapis la z u l i

and agate heliotrope and j asper are u sed for the houses and
, ,

pavement T h e lunettes i n gold are distrib u ted i n the O pposite

.
, ,

cases T hey represent events in the reign of the G rand D uke

. .

F rancis I O n on e l u nette two engineers present the G rand

.
,
.

D uke F rancis the plan for the fortifications o f Porto F erraio ,

which i s seen bathed by the T yrrh ene a n and M editerranean .

S eas personified i n the foreground there are two other person s

,
1 22 UFFIZI GA LL E R Y .

in attendance o ne of whom i s seated leaning on a sta ff behind

,

th e Prince I n another lunette F rancis is represented receiving

.

t h e plan for the decoration of his villa o f P ra to l in o I n a third .

F rancis is approving the plan for draining the M a rshes a f av ourite ,

s cheme never fulfilled O f the T uscan sovereigns

,
I n a fou rth
, .
,

F rancis is giving orders for the embellishment of a fortress in

a fi fth
. F rancis desires that the Port o f Leghorn should be
,

fortified and lastly F ranci s i s represented occupied with a ffairs

,

o f state .

A bove the casket of Valerio Vicentino i n Case is a fi ne ,

s pecimen O f pietra dura though a proo f of the barbarou s taste ,

for mere display o f riches i n the decline o f A rt T h e person .

represented i s Cosimo I I the fourth M edicean Grand D uke .

,

and the labour and co st for this portrait has hardly been as suc ’

c e ssf u l as the result o f a colo u red print T h e ground of the .

p icture represents a room magnificently fu rnished from whose ,

windows there i s a View of the cupola and bell tower o f th e -

C athedral T h e head of the prince the hands legs and lining

.
, , ,

o f the mantle and erm ine are in Volterra jasper the hair i n ,

Egyptian flints th e rest o f th e dress i n oriental chalcedony red

, ,

j asper from S icily gold and enamel ; and the whole sprinkled
,

with diamonds o f which there are upwards o f three hu ndre d

,

I n Case IV there is a statuette of Venu s and Cupid i n por

.

ph yry the work of Pier M aria da Pescia the great merit o f

, ,

which consists i n the di ff i culties overcome from the hard material

th e artist had to deal with Pier M ari a da Pescia is most cele .

b ra te d for an engraved gem which i s known as the S eal o f ,

M ichael A ngelo preserved i n the Paris collection ,

.

I n Case V are two little vases of aqua marina and one of a

.
-

s ingle emerald ; another i s formed from the agate called the

’
c at s eye of extraordinary si z e su rmou nted by a pearl
,
a tur ,

q u o ise mask also remarkable for its si z e has diamond eyes a

.

, ,

very fi ne vase of j asper with the h ead of the hydra and a small ,

golden figure o f H ercules on the cover is th e work of Giovan n i ,

d a Bologna .
 C H A P T ER X I I .

UFFIZI GA LLER Y— COIN S A N D M ED A LS .

V ALU AB LE collectio n of coins and medals i s likewis e

kept i n a room within the o ffices of the D irector o f the
M useum .

T h e early Etruscan coin an d weights were represented by

the sam e pieces o f bron z e called sgra vi ; and these were divide d
,

according to their value i nto q ua dra ntes nneia l es & c a wheel , , .

,

such as may have been observed frequ ently occurring on Etru s

can monuments i s found upon these coins T h e sgra vi a re
, .

ru dely m anufactured and i n strange contrast with the delicate

workmanshi p bestowed o n Etruscan ornaments T hey prob .

ably date from a very early period as the gold and silver coin
,

of Etruria in the Etruscan M useum are equal to Gre ek .

T w o of the largest sgra vi are round the other oblong they ,

appear to have belonged to a seaport town as besides th e , ,

wheel one has an anchor and another the trident of N eptune

, , ,

as well as the caduceus of M ercury T h e head of Janus with

.

the prow of a ship is common and is appropriate for a com

,

m erc ia l people M inerva i s occasionally s u bstituted for Janu s

.

M erc u ry and the th u nderbolt o f J ove composed of th e thre e

, ,

metals and first devised i n F iesole are likewise foun d o n

, ,

these coins : a vase a horse a m an on horseback a cockle

, , ,

shell and an ear o f wheat are very usual symbols O n a later

,
.

Etruscan coin and from another part of Italy th e elephant is

, ,

admirably represented with a M oor s head on th e reverse

,
’
 COINS AN D ME DALS . 1 25

T he first gold fl orin was coined A D 1 2 5 2 It continued in . . .

c irculation and maintained its credit in Eu rope u ntil the fall of

the R epublic O n one side is the lily on the other S t John

.
,
.

the Baptist Its nominal val u e at that tim e was e q u al to five

.

.francs of the present day but five francs were then worth twelve
,

francs of our money S O high was the rep u tation of the F loren
.

tine gold florin that various sovereig ns forged and circulated

,

counterfeits among these were the popes when at A vignon ,

the princes of D auphin e and the kings of H ungary T h e , .

F lorentine Government appointed six persons at a time to

s u perintend th e coinage at the Z ecca or M int changing them , ,

e very six months A certain amount of bullion was confided

.

to them for which they were responsible I n 1 3 5 2 the presi

,
.

dents O f these Z ecch ieri or o f ficers o f the M int were granted

, ,

the privilege of adding the marks or badges of their families to

fl
the coin and these were placed to the left of the head of S t

fl
.
,

J ohn the B aptist T h e pear of th e Per u zz i the sail of the

.
,

R u c ell a i & c may be seen on the old o rin s of the R ep u blic

,
.
, .

B efore the iss u e of the gold o rin silver alone had been used ,

a s a medi u m T h e earliest silver coi n bears the head of Charle

.

magne the next has a half length figure of S t J ohn the Bap -
.

tist
. I n 1 3 1 6 the F lorentines elected one Lando da G u bbio
with the title of Bargello to whom they confided the govern ,

ment Lando soon proved himself u nworthy and was dis

.
,

missed in 1 3 1 7 b u t d u ring his administration he had c ircu

lated an adulterated coin which he placed at the nominal ,

val ue of five denari and which were popularly known as Bar

,
’

g e l l in i
. A fter L ando s fall these were called i n and a new coin ,

s truck valued a t thirty denari and called a Guelfo after the

, , ,

party which then r u led the S tate In 1 4 0 0 small copper coins .

were i n circulation called p ieoiol i ,

.

T h e first head represented on a coi n since the days of

Charlemagn e was that of D uke A lexander de M edici when ’

th e flori n was called testone I t was designed by Benven u to

.

C ellini and has on the reverse the fi gu res of St Cosimo and

,
.
 fl
1 26 UFFIZI GA LL E R Y .

S t D am ian ,
. the patro n saints o f the M edici i n plac e o f S t , .

J ohn the Baptist A four orin piece of the year 1 5 3 1 re

.
-

presents the Baptism o f Christ and the same device was adopted
,

for the silver coin .

T h e first gold coin o f th e reign of the Grand D uke Cosimo

I has his head and on the reverse the Last J udgment I t
.
, , , .

was called a lira and was struck i n 1 5 5 9 T h e nam e lira

—
.
,

l iOra was derived from the R oman weight and had be fore ,

this been applied to an imagi nary coi n of the sam e valu e but
it now for the first time was used for a gold piece I n 1 5 5 0 .

th e device was changed to St Cosimo and St J oh n the Bap . .

O n some of Cosimo s coins the Wolf of S ienna i s repre

’
tist .

sented marking th e perio d o f his conque st o f the city which

,

is supposed to have been founded by th e sons of R emu s a fte r

their father had been slai n by R omulus I n 1 5 8 5 during the .
,

reign o f the Grand D uke F rancis I and perhaps i n compliment .

,

to that sovereign St F rancis takes th e place of St Cosimo and

,
. .

St John the Baptist

. .

A mong the silver coins i n this collection two o f those which ,

bear the head o f the Grand D uke F erdinand I have been .

recently discovered to be h ollow an d to open as boxes In ,

'
.

one of these wa s foun d the m iniature of a gentl ema n in th e

dress of a courtier o f Louis X IV of F rance pai nted on .
,

—
copper in oil the usual F lorentine practice and resem
bling an i ndiff erent copy o f a portrait of Prince Ch arles the
Great of Lo rraine i n this Gallery though the larger picture
, ,
:

represents a man at a more advanced peri od o f life Th e .

inference is that this miniature was the likeness of the

,

sam e prince i n his youth taken i n F lorence , T h e Grand .

D uch ess M argaret of O rleans the wife of the bigoted ,

Cosim o I I I was attached be fore her marriage to Prince

.
,

Charles H e followed her to the T uscan Court where they

.
,

continued secret lovers and after he left F lorence the con , ,

duct of the Grand D uchess became so eccentric that her hus

band sent her back to F rance where she ended her days Sh e ,
.
 1 28 UFFIZI GA LL E R Y
'

m edal re presents Cosim o attired as a R oman con

A nother
u e ro r in a quadriga before S i enna Victory is crowning him
q , , .

This m edal was designed by D omenico R omano .

A large gilt m edal with ships belongs to Li guria or Genoa ,

and is of the time Of D uke Cosimo I .

A silver medal bears the portrait O f Eleanora o f T oledo the ,

wife of Cosimo and has a peacock on the reverse on another

,

silver m edal Cosimo i s represented i n armour receiving his ,

generals ; there is a still more interesti ng medal of Cosim o

w hen young by Benvenuto Cellini
,
.

Leone Leoni o f A re zz o designed the medal which bears

, ,

the likeness o f the unfortunate D o n Carlos the son of Philip I I , .

o f S pain
.
h e is represented as a boy o f twelve years of age .

A nother medal has the portrait of Camilla Peretti the sister of ,

Pope S ixtus V and is by D omenico Poggi called by

.
,

Vasari Poggino and mentioned in his Li fe of Valerio Vic en

, ,

tino as being also a sculptor i n marble A glass medal has .

upon it i n silver the heads of the Grand D uke F rancis I and

, , .
,

o f his first wi fe Joan na of A ustria

,
.

A very interesting set o f dies and punches by B envenuto ,

C ellini and other celebrated artists completes this collection , .

 C H A P T ER XIII .

UFFIZI GA LLER Y—B R O N ZE S AND SC ULP TURE .

WO rooms decorated with inlaid marbles the third , O ff

corridor are assigned to a small b u t interesting c o l l ec

,

tion of anti q u e bron z es presented to the M use u m by the Grand

,

D u ke Pietro L eopoldo T h e magnificent horse s head of

’
.

bron z e with gilt ornaments was discovered in 1 5 8 5 at Civit a

Vecchia and was sent to F lorence I t was first u sed to adorn
,
.

a fo u ntain of the Pala zz o R iccardi b u t in the beginning O f this

,

cent u ry it was bro u ght to the Gallery T h e grande u r as well .

as animation of this head is not exceede d by the horses of

Phi dias from the Parthenon A torso or fragment of a stat u e
.
,

in the Greek style was fo u nd in the sea near Leghorn as well

, ,

as the tripod with veiled heads at the corners ; the stat u e is

s u ppose d to have represented a priestess of A pollo ; besi d es
these several fine b u sts and a val u able inscription on a bron z e
, ,

tablet constit u te the treasures of the o u ter room

,
.

I n the room beyond is a stat u e of a youth holding out his

,

hand as if to receive o ff erings I t is called M erc u ry and was

.
,

at o n e time tho u ght to represent Bacch u s bu t is more po pu ,

l a rl y known as the I dol ino Little Idol ,

T his most bea u ti .

f ul stat u e resembles the same s u bj ect rather diff erently treated

, ,

and called the Praying Boy now in Berlin It was fo u nd at

, .

Pesaro in 1 5 3 0 the pedestal on which the stat u e is placed is a

bron z e of the fi fteenth cent u ry and is adorned with delicate
,

foliage and other compositions in relie f A ro u nd this room .

are cabinets containing small bron z es In the first are v otive .

VO L . 11 . K
 3 0 UFFIZI GALLER Y .

o ff erings arms legs & c also a splendid head o f an eagle

, , ,
.
,

and another of a horse .

T h e next cabi net contains images of Sat u rn and J upiter one

of these last with the arm extended is peculiarly fi n e S everal of .

the fig u res hold the sacrificial c u p with the hollo w in the centre
for the fi nger there is a bea u tifu l little stat u ette of M erc u ry in
th e act of running ; another of the sam e subj ect shades his , ,

eyes with his cad u ce u s I n the third cabinet are also vario u s
.

small images of Ven u s and Cupid a warrior bearing the pec u liar ,

shield usually belonging to the A ma z ons and an Etruscan fig u re ,

of M ars which was found at Volterra

,
.

I n the fo u rth cabinet is a very beautiful image of an A ma z on ,

as well as several fig u res o f H erc u les ; Bacch u s seated with ,

grapes in his hand and another of the same god crowned with
,

grapes of wh ich he holds bunches in both hands

,
.

I n th e cabi net at the end o f the room is a curio u s life like

'

fi gure of an actor in a mask h e raises his hand to his forehead as , ,

if gesticulating ; likewise several small portrait b u sts and images

of animals — serpents fi sh leopards lions & c two lamps are
, , , , .

remarkable on e resti ng on the back of a flying eagle the other

, ,

on a lion T h e remainder of the ca b ine ts c o nta in sacrifi cial in

.

strum e n ts and vases T here are several bron z es of the period of

.

D ecadence in Art and others which belong to the Christian

,

era .

R et u rning to the corridor near the entrance to the room s ,

of original drawings and the window over the roof of the

Loggia de Lan z i is a fi ne copy of the Laocoon of the Vatican
’
, ,

b y Baccio Bandinelli
'

A child with w ings re po sing on a tomb

.

an d holdi ng poppies is an image of Sleep , .

N ear it i s a bea u tifu l little altar hollow at the top to receive ,

the sacrifice and dedicated to the Lares or household gods of

,

A u gustus I n the centre of th e principal relief stands an

.

a u gu r holding the L itu us or crooked sta ff of divination ; a

,

partridge is at his feet on one side a priest on the other a ,

priestess has the c u p for libations below is an inscription on

,
1 32 UFFIZI GA LL E R Y .

opposite is also partly antique but the head a rms and shoulders , , ,

were restored by A ndrea V e ro cc h io A crouch ing Venus is a .

repetition of a statu e in R ome the head arms and left leg , ,

are mode rn M inerva or Pallas A thene a Greek statue

.
, ,

nearly opposite is believed to be a copy of the T rojan Palladi u m ;

,

the head though antique does not belong to the body the
, , ,

right arm and part of the neck are modern .

A l ittl e altar with three female figu res in flat relief is i n

, ,

very e l egant sculpture and below is a pedestal or candelabra ,

dedicated to M ars .

T h e yo u th drawing a thorn from his foot is a good repeti

t ion of the celebrated bron z e of the Capitol at R om e near it
is a bea u tifu l small bu st o f A n n iu s Verus when a boy and
beyond is a large sarcophag u s with the F all of Phaeton
,

i n high re lie f Phaeton is represented falling into the river

.

E ridanus — the modern P o — and his sisters the H eliades are , ,

metamorphosed i nto poplars .

N ear the door of the T ri b une is a fi ne statue o f H ercules ,

though in short proportions thick an d m u sc u lar it is a repetition , ,

of one in R ome there is also a good bust of the Emperor T raj an .

A sarcophagus farther down this corridor has a relief representing ,

the history of M eleager a favo u rite subject on early Etruscan ,

tombs M eleager is represented killing the Calydonian boar which ,

had been wounded by A talanta to whom he resigned the ski n ,

when he married her T h e hero having slain his mother s .

’

brothers she i n revenge caused his death A gracefu l stat u e

, , ,
.

follo ws of a V estal Virgi n h er figure is half concealed by a

veil and the stat u e except the left hand and the fi ngers of the
, ,

right which are restorations is in a perfect state O pposite is

, ,
.

Ganymede the cup bearer of J u piter with the eagle a good

,
-

stat u e but u nfort u nately the marble has stains T h e b u st of the

,
.

Emperor T it u s son of Vespasian is a rare portrait

,
N ear this ,
.

is the M use U rania ; the drapery of this stat u e is remarkably well

treated J u lia the dau ghter of T it u s is a w ell preserved and
.
, ,
-

exc ellently wrought bust T h e bust O f the R oman Emperor

-
.
 S C UL P T URE . 1 33

O tho was considered by Win ckel m a n one of the best in exist

ence and th e bust near it represents N ero when a c h ild ; beyond
, ,

this is the portrait of Popp aea Sabina the wife of N ero cele
, ,

b ra ted for her bea u ty and who instigated him to m u rder his
,

mother and his first wife A very good b u st follows of Caligula

.

yo u ng ; the expression is characteristic of the man T here are .

several good stat u es of athlete s and a Wingless Victory .

A t the farthest end of this corridor is an interesting sarco

h
p g a u s with a high relief ,
representing the life of a hero th e
sacrifice in the centre was probably st u died by R a ff aelle for his ,

cartoon of Paul and B ar n abas at Lystra u nless both this,

R oman work and th e design of R a ff aelle were derived from a

still nobler fragment of the sam e s u bj ect i n R om e .

Th e vestib u le at the h ead of th e stairs leading to the Gal

lery contains several antique stat u es of merit —the celebrated
B oar which was copied i n bron z e by the F lorentine Pietro
,

T acca for the fou ntain of the M ercato N u ovo a H orse R ear
ing s u pposed to have belonged to the N iobe gro u p and two
,

splendid dogs .

O u tside this vestib u le are b u sts of the M edici family from

Cosimo Pater Patri ae to Gian Gastone
, , S everal statues of
.

inferior merit are on the staircase .

 C H A P T ER XIV .

TH E A C A D E M I .

HE en trance to the A cademy once a hospital for the ,

sick is by a long vestibule with a waggon roof which

, ,

adds to its u nusual height A t the farther end i s the stat u e o f

.

D avid by M ichael A ngelo

, .

T hough it is to be regretted that this statue has been

rem oved from the Pala zz o Vecchio where it was placed ,

by the artist himself and where it has stood sentinel thro u gh

,

the wi nt er s cold and s u mmer s heat for more than three

’ ’

hundred years its present place withi n the walls of a museum

, , ,

enables the p u blic better to j udge of its merits .

T h e light from above shows the statue to the best a dv a n ~

tage T h e stern resol u te yo u ng face u nder the shadow o f

.
,

thick curling locks ; the slender fig u re bea u ti fully modelled ; ,

the fi rm dignified yet easy attit u de resting on one leg and

, , ,

leaning slightly backwards that he may ga z e o n the fallen gia nt ,

tell the story well T h e head i s large b u t M ichael A ngelo had

.
,

probably calc u lated that the statue wo u ld be placed at s u ch a

height as to give it its du e proportion ; the hands also are coarse
and O f great si z e b u t so grand a work mu st be measured by
a different standard from that of the perfect works of Greek
sculptors Th e genius which has gi ven s u ch life to m arble
.

converts criticism into wonder and admiration O ur distin .

g u ish e d sculptor the late J

,
ohn Gibson w hose i ntense reverence ,

for the highest Greek art i s proved by his own works exclaimed , ,

when beholding this fig u re What a fi ne statue is the D avid !

,
‘
1 3 6 TH E A CA DEM Y
B eside this altar piece there is a much damaged picture by F ra
-

—
A ngelico ( 1 3 8 7 1 4 5 of the Virgin and Child enthroned with
Saints trees are in the background .

R et u rning to the entrance on the wall to the left is a l arge ,

altar piece attrib u ted to Pietro Cavallini a R oman artist th e

-

, , ,

contemporary of Giotto who painted the supposed miraculous ,

picture in the S S A nnun z iata and died abo u t 1 3 6 4 I n the

.
,
.

centre is an A nn u nciation ; saints on either side Incidents .

i n the life of our Savio u r are i ntroduced in th e frame in the

predella is an Entombment F arther on this wall is Sa n .

Bernardino of Sienna who fo u nded the R eformed O rder o f

,

F ranciscans and died in th e A bru zz i

,
H e was canonised by .

Pope N icholas V 1 4 5 0 When preaching he always held a

.
,
.

tablet before him withi n which was the name of J es u s e n

,

circled by golden rays .

T h e H oly T rinity St A ndrew and St A nthony i s a t

,
.
,
.

tribu ted to N ic o l O G ori ni of the school of T addeo Gaddi ,

.

I n the predella are represented scenes from the life of St .

A nthony .

N ext to this pict u re is an altar piece o f the Virgin a n d -

Child with a Goldfi nch St Lo u is of F rance the Baptist and ,

.
, ,

two other Saints by S pinello A retino who died i n 1 4 1 0 A , .

large damaged picture of Christ on the Cross s u pported by ,

the Eternal and surrounded by A ngels i s by A lessio B aldo ,

Vinetti
( 1 42 7

A door to the right opens on a suite of four small rooms ,

containing som e of the greatest treas u res of the Gallery N ear .

the entrance is the predella to an altar piece by Lu ca Sig ~

n o rel l i 1 4 4 1 —1 2
( 5 T h e s u bj ects are : the Last Supper the ,

Garden of Gethsemane and th e F lagellation I t is a late ,

.

work of the master b u t the subj ects are treated with great
,

freedom and power .

A bove the Luca Signorelli is a large picture of the Virgin

and Child by F ra A ngelico ( 1 3 8 7
, to the right are
St M atthew St F rancis and St Lawrence whose garment
.
, .
, .
,
 TH E 2 M MD E M Y m7
i s adorned with peacock s feathers emblematical of im m o r ’
,

tality to the left St D ominic with St Cosimo and St D a

,
. . .

mian .

T h e most interesting pictures here are those by F ra

A ngelico facing the window ; and divided by the proj ection
, ,

of the chimney are small panel pict u res which once adorned
,

the doors of the c u pboards containing the sacred plate in the

monastery of the SS A nn u n z iata T h e s u bj ects are all taken
. .

from the life of the Savio u r except one mystical representation ,

of the Wheel in the visio n of the prophet Ez ekiel T hey were .

exec u ted by order of Piero de M edici the son of Cosimo ’

, ,

Pater Patri ae abo u t 1 4 3 3 T h e animation and dramatic power

,
.
,

as well as traditional type Of these compositions recall the , ,

Giottes q u e school whilst there is a superior refinement bea u ty

, , ,

and tenderness with greater vigour than u sually characterises

,

F ra A n gelico .

A mong those to the right of the chimney are the A dora

tion of the Child the Visit of the M agi the Presentation i n
the T emple ; the F light into Egypt ; and the Last Su pper ;
this last tho u gh not s u pposed to be by the hand of A ngelico
, ,

is represented in an original and beautifu l manner T h e Virgin .

i n the Visit to the M agi is one of the most lovely conceptions

of the M other of o u r Lord A bove these works of F ra A ngelico
.

are two pict u res of A ngels attrib u ted to F rancesco G ra n a cc i

,

—
4 7 7 1 5 43 )
( 1

O n the proj ecting

wall is a predella also by Angelico with , ,

six scenes from the lives of St Cosimo and St D amian ; the . .

’
s u bj ect was selected in compliment to the artist s patrons the ,

M edici painted for the S S A nnun z iata

,
. .

O n the highest line is a M adon n a with the Child standing

on her kriee by A ngelico ,
.

O n the second line are two splendid heads of V a ll o mb ro sia n

monks seen in profile T hey are attributed to Per u gino but
.
,

are m ore probably by R aff aelle T hat to the right is a portrait .

of D o n Blasio Ge ner al of the O rder the other is D o n Bal

,
1 38 TH E A CA DE M Y .

thasar, Abbot of Vallombrosa R a ff aelle may have painted .

these pict u res when visiting Vallombrosa on his way from

U rbino to F lorence T h e heads are sharply defi ned on a
.

d a rk backgro u nd and modelled with the u tmost care i n good

,

relie f ; every feature including the ears is drawn with i ndivi d

, ,

u a l ity and yet this close attention to exact for m is kept d u ly

subordinate or made to assist the higher ai m of the artist i n
,

tr u th o f expression Light shade and colo u r have here each

.
, ,

their relative importance T h e lovely M adonna del Cardellino .

,

now i n th e T ribune of the U ffiz i Galle ry is said to have been ,

painted for this A bbot of Vallombrosa

B eyond these at the side of the proj ecting wall i s Christ
, ,

R ising from the T omb the A doration o f the M agi and two , ,

exq u isitely pai nted circular pictures O f the Coronation of the

Vi rgi n and the Crucifixion by F ra A ngelico , .

F acing the w indow are the remaining pictures of the series

for the SS A nnu n z iata already described by F ra A ngelico
.
, , .

Th e R aising o f La z arus and Christ Bearing H is Cross to ,

Calvary are the fi nest in this last the M other of o u r Lord is

,

p u shed back by the R oman soldiers who have the Gentile ,

sign of the scorpion on their mantles .

A bove these small pict u res is a fi n e l y coloured D eposition -

from the Cross N ear the door are two oth er miniatu res by
.

A ngelico the M iracle of St Cosimo and St D amian healing . .

the man s Le g also fi ve martyrs beheaded

’
,
.

B eside these is a powerfu l head of Girolamo Savonarola ,

represented as Piero M artire by his disciple F ra Bartolommeo , .

T ho u gh th e feat u res are plain the sweet patient and devout , , ,

expression of the ey e an d mo u th is sing u larly beautifu l .

T o the left of the door are two very lovely female and two
male Saints by F ra F ilippo Lippi ( 1 4 0 6
,
O ver the
door i n a l u nette are th e A nn u nciation and the A scension
, ,

of the S avio u r i n small fig u res attrib u ted to Giotto

, ,
.

A damaged altar piece of a Virgin enthroned with tw o-

A ngels and Sai nts by F ra A ngelico ha ngs high on the wall

, ,
1 4 0 TH E A CA D E Il I Y .

possible at such a moment S ome look u p with gratefu l love.

to the Saviour ; others em brace one another or are embraced ,

by their g u ardian angels one overcome with j oy and wonder ,

at the glorious vision opening before him can advance n o ,

farther b u t kneels with eyes entranced fixed on the gates of

, , ,

Paradise to which the celestial being at his side points the way
,
.

A ngels crowned with roses and with glittering wings m ove ,

i n a mystic dance amidst flowers whilst others float onwards ,

i n a stream of golden light and enter th e heavenly J er u salem

,
.

I n one of the windows are pictures by F rancesco G ra na cc i ,

the p u pil of D omenico Ghirlandaio and the friend and admirer ,

o f M ichael A ngelo and Ra ffaelle T hey represent the life and .

martyrdom O f St A pollonia T h e fig u res are too tal l and

. .

slender b u t neverthele ss they have grace m ovement and

, , ,

dramatic appropriateness the saint herself i s very lovely .

T h e adj oining room contains a collection o f drawings and

cartoons by some of the best masters F acing the e ntrance .

are three by R a ff aelle ; the cartoon for the famo u s pict u re of

the Pearl which i s at M adrid omitting the figure of J oseph
, ,

a chalk drawing o f the M adonna with the S leeping Child '

she rai ses a veil and shows him to the little S t J ohn ; the .

original pict u re is lost and according t o Passavant all so

fl
, , ,

considered are copies and di f fer i n the background from this

,

cartoon a picture i n the Corsi ni Gallery is a copy by M ariotto ,

A l b e rtin ell i of the lost picture of R a a e l l e

,
A third drawing is .

a M adonna the Child standi ng on H is m other s knee his foot

,
’

resting on her hand .

F acing the window are three large cartoons o f apostles by ,

F ra Bartolommeo ( 1 4 7 5 A bove them a colossal head

of the Virgi n by Correggio and the cartoons for the H oly
, ,

F amily of A ndrea del Sarto in the Pitti as well as another

H oly F amily by F ra Bartolommeo .

T o the left of the wi n dow are two female and one m ale
saint also by F ra Bartolommeo and a very lovely M adonna
, ,

and Child by Loren z o Credi ( 1 4 5 9

,
 TH E A CADEM Y . 1 41

Enteri n g the third room opposite the spe ctator is an alle , ,

’
gory of S pring one o f Sa n dro Botticelli s most celebrated "

fl
,

works ( 1 4 4 7 It was painted for Cosimo de M edici s ’ ’

Villa O f Castello near F lorence at the same time with the

, ,

Venus now in the Sala di Loren z o M onaco in the U i z i Gallery

,
.

B oth the s u bj ects and their treatment are in accordance with

the taste of the period when Greek classics were in fashion, ,

altho u gh Greek art was imperfectly u nderstood T h e in fl u ence .

of F ra F ilippo Lippi may be traced in Botticelli s fig u res ’

,

and the in fl u ence of the Pollaioli in his love of ornament

in the midst of a grove Spring is seen attired in a white ,

garment sprinkled over with b u nches of fl owers Sh e gathers

,
.

u p h e r dress to receive the fl owers po u red into it from the lips

of a n ymph who flies from a geni u s of the wood I n the

, .

m idst of the grove Ven u s is standing clothed in white with a

,

red mantle lined with bl ue and gold B otticelli has been more .

s u ccessfu l in pr od u cing his idea of bea u ty in the Goddess than

i n the fig u re of Spring H e r attitude i s gracefu l her h ead
.
,

slightly bent ; C u pid hovers above and aims his arrow ,

at th e Graces who dance i n a circle their hands entwined

, , ,

whilst M erc u ry with his cad u ce u s shakes down roses Th e .

Graces are draped in white and their movements appear slow ,

and la ngu id T h e colo u r of this pict u re has been m u ch

.

inj ured .

T obias led by the angel Gabriel is an interesti ng tho ugh

, ,

damaged pict u re also by Sandro Botticelli t h o u gh the form s

,

are ang ular the movements are free a nd the composition has
, ,

m u ch grande u r Beyond there are two saints by Pollaiolo

.
, , ,

and a Visitation O f M ary to Eli z abeth by Giacomo P a c h ia ro tti O f ,

S ienn a born in 1 4 7 4 H e was according to Vasari much esteemed

,
.
, ,

in his native city tho u gh almost all the n u mero u s pict u res
,

he exec u ted have long since disappeared H e j oined in re v o l u .

tio n a ry dist u rbances within S ienna and was conse q u ently ,

banished T his pict u re is one of three which are all that

.
,

remain to show his powers as an artist T ho u gh light and .

‘
1 42 TH E A CA D E /II Y .

’
feeble i n colour and som ewhat insipid there is a pleasing
, ,

simplicity in the composition : a tri umphal arch and long paved ,

way form the backgro u nd and the H oly S pirit as a clove is ,

hovering in the clear blue sky above the pri ncipal group .

A t the farther end of this room is a Crucifixion by Lu ca ,

Signorelli o f Cortona T h e attitude of the M agdalene is fin e

.

tho u gh somewh at theatrical T h e picture is painted in dis .

temper .

O ver the door is a very interesting Pieta also in distemper ,

on a tile attributed though without any certai n ty to A ndrea

, , ,

Castagno T h e artist has made a pentimento or a change in

.
,
’
his original intention in the attitu de of the Saviour s arms
, .

F acing th e window is a very fi ne picture by F rancia o f

B ologna the M adonna and Child St F rancis with a Crucifix ,
.
,

and St A nthony bearing the lily

. .

A M adonna and Child enthroned with Saints by D omenico

“

Ghirlandaio ( 1 44 9 is powerfu l i n dra w ing and expression ,

and is painted in full bright colours T h e head of the Virgin

is very lovely T h e four splendid figures of saints are —St
.

. .

T homas A q uinas ; St D enis the A reopagite S t Clem ent wh o

. .
,

was the third Bishop of R ome and therefore represented as ,

Pope ; and S t D ominic St T homas one o f the greatest

. . .
,

theologians of the R oman Catholic Ch u rch has a countenance ,

expressive of conscious power ; acute yet dignifi ed : h e was ,

descended from the sister of F rederick B arbarossa who married ,

a Cou nt of A qu ino : their grandson was educated i n the

school O f th e B enedictine friars of M onte Cassi no but he took ,

the D ominican habit in N aples H e was remarkable for self .

com mand for h is calm deportment and for his hum ility as
, ,

well as learning ; he refused all Church preferment and died ,

i n 1 2 7 4 in a Cistercian abbey at F ossa N ova near R ome

, , ,

on his way to Lyons to complai n aga i nst Charles of ,

A nj ou ? St D enis is here represented on the other side of

.

the Virgin with a red collar ro u n d his neck to signi fy his

, ,

Se e Mrs J a m eson s IV
I ona stic Orders
’
1
.
1 44 TH E A CA D E M Y .

Of th e Convent o f St Sixtus i n R ome when news was brought

.
, ,
’
that the Cardinal s nephew had been th rown from hi s horse and
killed T h e body was carried into the Chapter house where
.
-

the prayers O f St D om inic restored the youth to life T h e

. .

last scene in the predella represents the execution of St D enis .

,

who is walki ng o ff with hi s own head in his hand .

AH oly F amily by Loren z o Credi ( 1 4,5 9

—1
5 was executed
for the Church of the SS A nnu n z iata ; it is painted in the .

clear hard colour pec u liar to the artist T h e child is pu ffy and .

heavy as are also the forms of that still more original a rt ist
, ,

F ra F ilippo Lippi to whom is attri buted the other H oly F amily

, ,

next that o f Loren z o Credi ; this defect does not however , ,

exist in the picture beyon d also by F ili ppo Lippi ( 1 4 0 6 —1 4 6 9 ) i n

,

his early style H e was at that tim e u nder the infl u ence o f
.

F ra A ngelico T h e Virgin kneels in adoration o f the I n fa nt

.

Saviour ; the H oly S pirit descends and two hands above are ,

typical of the Creator from whom the D ove has flown S t , . .

John the Baptist as a boy is seen to th e right pointi ng to the

, , ,

Christ and looking back as if calli ng others to follow below i s

,

a Camaldolese monk T h e wilderness represented by rocks .

, ,

trees and rivers cover the whole backgro u nd leavi ng no space

, , ,

for the sky T h e M adonna has the high forehead the pale
.
, ,

delicate complexion and serious yet girlish expression u sual

,

with these early F lorentine representations of the mother of the

S aviour ; two angels kneel i n the upper part of the pict u re .

B eyond this are four small B otticellis A c u rious painting by .

an u nknown artist represents the marriage of Boccaccio A dimari

and Lisa R icasoli i n 1 4 2 0 T h e family o f the A dimari whose
,
.
,

palaces occ u pie d a considerable part of the present Via

Cal z aioli towards the Pia zz a del Battisterio were then at the
, ,

height of their power and one A lemanno probably the uncle , ,

of the bridegroom was Cardinal and A rchbishop of Pisa he

,

died i n 1 4 2 2 T h e lady was of no less ill u strio u s parentage ;

.

her family settled in F lorence about 1 3 0 6 several of them had

served under the Emperors F rederick Barbarossa H enry VI , .
,
 TH E A CA DEM Y . 1 45

a nd O tho IV T h e costumes of th e peri o d are here exh ibited

.

the procession is movi ng from the Loggia degli A dimari towards

th e Cathedral which is represented as a red brick building
, ,

with a bel fry seen above the awning Santa M aria del F iore .

was not fi nished earlier than 1 4 1 9 and we may there fore ,

suppose it possible that this marriage may have ta ken place a

f e w years sooner than th e date assigned for the artist appears ,

to have given a faithful representation o f the su rrounding

buildings —viz the Baptistery before which ladies are seated
, ,

to witness the show and a gate beyond probably the poste m

, ,

of the S padai or sword makers A c a rpet is spread over the

,
-
.

old pavement of F lorence ; beneath the Loggi a servants are ,

carrying golden dishes for the banquet and musicians are seated ,

near ; one plays the trombone the res t are the trumpeters o f ,

th e R epublic and have banners with the red lily of F lorence

,

attached to their trumpets .

I n a dark corner near the window is another small picture ,

by Botticelli of a saint kneeling before a cross to which he is

,

to be nailed .

R eturning to the Vestibule th e v isitor passes between the ,

two fi ne casts of M ichael A ngelo s monuments to the M edici in ’

Sa n Loren z o Within the wings of the building on either side

.

o f the statue of D avid are other fi ne casts from his works

, ,

and on the walls excellent photographs by Braun the F rench ,

photographer from A lsace who has selected from the drawings

,

of the great master in Paris Weimar &c , , .

T o the left of D avid are those taken from M ichael A ngelo s

’

paintings in the S istine Chapel at R om e .

T h e room parallel to the fi rst Vestibule was at one time the

female ward of the hospital and is now the principal picture ,

gallery Be ginning at the farther end where are the earliest

.
,

paintings to the right is a curious example of very early Italian

,

art the life of M ary M agdalene ; it retai ns the conventional

,

type of By zantium the ancient Constantinople whose school

, ,

of art was imported into Italy through Venice N ear this , .

VO L . 11 . L
 1 46 TH E A CA DEM Y .

picture is S anta U milta by an unknown author possibly B u ffal

, ,

macco who was living in 1 3 5 1 Santa U milt a was the foundress

,
.

o f a convent which stood on the site since occupied by the ,

F orte zz a del Basso ; the picture i ncludes various i ncidents in

the life of the sai nt an d tells the story well
, .

A bove these painti ngs is the M adonna ent hroned by Gio

vanni Cimabu e ( 4 c 1 2 0 — . I n many respects this picture
resembles his more celebrated and better preserved painting o f
the same subj ect in the Ru cel la i Chapel of Santa M aria N ovella .

T here is little variety of expression or action ; th e heads lea n

towards the right or left shoulder bu t there is a certain maj esty
,

i n the tranquil form of the Virgin here represented as the,

Queen of H eaven and Ci mabue has given her more animatio n

,

than i n pictures of the B y z antine school i n the heads of the

prophets below the spectator is reminded that Cimabue was
,

the master o f Giotto T h e una ff ected earnestness with which

.

the sacred subj ect is treated gives this work a higher i nterest
than it deserves for mere techni cal skill C a val ca sell e observes
'
,

‘
that it may rank high er than that of the R uc e lla i as regards
composition and the study o f n ature ; b u t the old types are
more obstinately maintai ned and above all the colou r has
, ,

been so altered by time and restoring that the excellent qualities

of Cimabu e in this respect can hardly be traced any longer .

Cimabue here gave the Virgin a more natural attitude and a

less rotund head but a weightie r frame stronger outlines and
, , ,

1 ’
a less care ful execution than be fore . T h e prophet s below are
pai nted with energy of expression .

T o the left o f the door is another large altar piece painted by -

Cimabue s pupil Giotto ( 1 2 6 6 —1 3

’
,
T hough not a favourable
specimen of this great F lorentine artist i t exhibits the progress ,

made i n a few years there is a nearer approach to nature and ,

less of the old conventional type T h e drawing is carefu lly

.

studied a feeling for beauty i s shown i n th e head of the Vi r

gin as well as in some of the surrounding angels and the Child
, ,

is fuller and rounder i n form but the type throughout has less
1
S e e C ro w e a nd C a va l ca se ll e vo l 1 p 2 06
, . . . .
1 48 TH E A CA DE M Y

A bove these the Virgi n appeari ng to S t B ernard by a n

, .
,
.

e arly unknown artist is clear i n colou r and sweet and tru e in

, ,

expression T h e two heads behi nd St Be rnard looking ove r

. .
,

him are full o f character and in excellent contrast

,
.

T h e predella has four subj ects : a K night with a White ,

:

H orse kn e eling in prayer before the cross handle o f his sword

,
-

which is placed on a rock ; the Beheadal o f a Saint whos e ,

s oul as a dove flies out of his mouth S t Be rnard preaching

, ,
.
,

and St Bernard with his D isciples

. .

A damaged picture i n the corne r o f the adj oining wall o f a

dead Ch rist i n the arm s o f the Virgin and M agdalene is by ,
'

Giovanni da M ilano ; i n t his may be obse rved a closer attention .

to natural form s and expression with further abando nment o f

,

conventional types .

B elow is th e Life o f our S aviour another series of pane l ,

‘

pictures belonging to the sacri sty o f Santa Croce and likewis e ,

attributed to Giotto m ore probably the work of T addeo Gaddi :

,

these are in some respects in feri or to the Li fe o f St F rancis .

they are harder in outline and less beauti ful i f we except th e ,

A doration o f the K ings and the Presen tation i n the T emple ,

which i n treatment resembles the sam e subj ect by A ndrea .

Pisano o n the bron z e gates of the Baptiste ry T h e Presentation .

i n th e T emp l e is by A mbrogio Loren z etti of S ienna above this

i s a feeble picture much repainte d but the archi tectural draw
ing and the perspective of the T emple are executed with grea t .

care and fi nish restorations and varnish have however nearl y , ,

’
obliterated all traces of the master s hand .

T o the left is an A nnunciation by Loren z o M onaco ( c 1 3 7 0

, .

T h e Virgin timidly shrinks back at the approach o f the

angel Vasari describes this new and original treatment of th e
.

subj ect by Giotto in the Badi a T h e picture he alludes to .

,
’
however h a s long disappeared with all Giotto s paintings i n
, ,

that church b u t this A nnunciation which was removed from ,

the Badia in 1 8 1 2 so exactly corresponds with Vasari s descrip

,
’
~

t ion that it is probably the same altho u gh he has mistaken th e

, , .
 TH E A CADEM Y . 1 49

uthor T h e attitude of the Virgi n is repeated i n the picture

a .

b y Lippo M e m m i of Sienna in the corridor of the Uffiz i Gal

.
,

l ery O n each side of the A nn u nciation are St Catharine and

. .

S t A nthony S t P ro cu l u s and St F rancis

.
, . T h e angel of . .

t h e A nn u nciation with his wings of many colours his hands ,

. f olded on his breast and a fl ame on his head is very graceful, ,

.

A bove this pict u re is a D eposition a large composition of ,

“

many fig u res attributed to T addeo Gaddi but it is more prob

,

. ably the work of N ico l b di Pietro G erin i one of his scholars , ,

who occasionally painted with T addeo but was greatly his ,

inferior as the date of this picture is 1 4 0 1 after the death o f

, ,

T addeo Gaddi .

A n interesting picture o f the A doration of the Kin gs i s by

G entile da F a b ria n o ( 1 3 7 0 1 4 0 P an U mbrian painter who
5 )
-

, ,

exercised considerable influence on the school of early Venetian

A rt H is works have been compared with those of F ra
.

A ngelico but Gentile used gold only to add ornament to his

,

pictures and not as F ra A ngelico to suggest an idea of

, , ,

heavenly glory ; he imitated embroidery and rich stu f fs thus ,

d estroying the poetry or illusion of his picture Gentile was .

first employed in Bergamo and Venice from whence he came ,

to F lorence in 1 4 2 2 T his picture was painted in 1 4 2 3 Th e

. .

attempts at foreshortening and the po rtra itdike character of the

heads as well as the m u ltitude of figu res men horses dogs
, , , , ,

birds and apes recall Paolo U ccello and the P e sel lini whilst
, ,

the U mbrian tenderness of treatment and Venetian rich colour

ing and love of ornament i ndicate the vari ous schools i n which
the artist had studied T h e H oly F am ily is insipid but the .
,

t hree kings are in natural attitudes and have much beauty of ,

e xpression .

I n the predella are two lovely miniatures of the Virgin Wor

s hipping the Child and the F light into Egypt .

Th e M adonna and Child above surrounded by angels and ,

saints in adoration is by A gnolo Gaddi ( 1 3 3 0 ,

the son of
T addeo and the pupil of Giovanni da M ilano from whom he
, ,
1 50 TH E A CA D E III Y .

derived a certain realistic tendency or the endeavour to imitat e ,

nature closely w itho u t selection he sometimes even descended

,

to caricature in his attempt to pourtray violent emotion ; a s

A gnolo advanced in the knowledge and practice of his art h e ,
:

ceased to follow his m aster in this respect and even developed ,

greater powers in composition than his father T addeo T his .

picture was pai nted for the Chu rch of Sa n Pancraz io in ,

F lorence .

A D eposition by F ra A ngelico is executed with the u tm ost

, ,

care and fi nish T h e brilliancy of the colour without shade o r

.
,
'

chiaroscuro becomes flat and gaudy i n a picture of thes e

,

dimensions and is not as well adapted for the representatio n

,

of an earthly scene as when meant to symbolise celestial purity .

T h e w orshipping angels i n the sky are here n ot devoi d of

gri mace T h e body of the S aviour is covered with dark l ines
.
,

to denote the strokes of th e rod w ith which H e had been

scourged and is feeble i n drawing and colour ; the grou p o f
,

females on the left is the most i nteresting part of this picture ,

especially the woman withou t a glo ry dressed i n black and Wit in ,

a white veil who holds one end of the sh eet in which the body
,

o f the Saviou r i s to li e T h e best male heads are a man i n a

.
,

black cap in the centre evidently a portrait N ic o de m u s

, ,

standing below and the two who are detaching the body from
,

the cross St J ohn is a very graceful fi gure and is full of feel

. .
,

i ng T h e hands are all delicately execute d T h e miniat u re s

.

of saints set i n the fram e of this picture are admirable both in

, ,

expression and colour T hose above are by Loren z o M onaco

.
,

but not equal to the rest by F ra A ngelico I t i s with som e .

hesitation we venture to di ffer i n our estimation of this pictur e

fl
from so high an authority as C a va l ca sel l e who writes ,

‘
N othing can be better than the nude in its fleshy flexible ,

forms which show the scars of the previou s a gel l atio n noth ing
, ,

truer than the movement T h e grou p to the right is remark

.

able the heads revealing a point of contact between A ngelico

and the w orks of M asolino di Castiglione as regard s characte r ,
 1 5 2 TH E A CA DEM Y .

i n which are assembled angelic beings who witness the corona

tion of the Virgin represented as a you ng and modest girl not
, ,

daring to raise her eyes to the Eternal who is crownin g her , ,

but looking towards one of th e slender angels who support the

band or scroll that descends from the Saviour Grou ps of .

angels crowned with roses among whom are several aged ,

saints sing hymns on either side of the throne below them

, ,

and nearer the spectator are groups of lovely women and ,

small children T h e type is the same throughout ; heavy

.

featured round faces with light hair b u t th ey have the charm

, , ,

of a sweet simplicity united with grave earnestn ess o f de

m ea n o u r and their attitudes are graceful
,
T h e draperies are .

drawn and composed with care and j udgment A n aged monk .

i n white in the foreground to the left of St A nthony has a fin e

,
.
,

portrait like head -

T h e picture has been much dam age d
.
,

and has been repaired i n most parts T h e predella below .

belonged to th e B a rb a do ri altar piece which was exec u ted -

for the Church of Santo Spirito and is now i n the Louvre ,

at Pari s the colour of this predella has bee n i nj ured

by tim e but it has far greater claim to admiration than the
,

altar piece above I t was also pai nted by F ra F ilippo when

-
.

he was only twenty six years of age ; and as the B a rb a do ri

-

picture is said to be on e of the greatest e f fort s of his genius so ,

this predella has a refi nement of feeling and grandeur O f com

position which we miss i n the large picture Th e A nnunciation .

is treated in a novel manner T h e angel kneels gracefu lly .

,

the curve o f his wings follows the i nclination of his body and ,

forms an arch over his head : he prese nts a lighted candle

to the Virgin whose dignified and noble presence is u nlike the
,

simple peasant girl the pai nter u sually represen ts her .

T o the le ft is the B aptism of Christ by A ndrea V ero c c h io

.
,

( 14
3 5 T h e a erial distance the sky and landscape are , , ,

very beautiful T h e outline o f the figures is extremely fi ne

.
,

though hard and the anatomy in that of the Baptist is too

,

much defined this probably i s occasioned by the unfinished

, ,
 TH E A CADEM Y . 1 53

s
. tate i n which V ero c c h io l ef t th e pict u re T h e feat u res of the
.
.

B aptist as well as of the Savio u r are rather coarse and v u lgar

, , ,

b u t the expression noble ; the soft and delicate beauty of the

kneeling angels is du e to Leonardo da Vinci the pupil of ,

V e ro c c h io and the master was so disgusted at his own in

,

f e rio rity to his scholar that he is said from that time forth to
have reno u nced painting .

St J erome Kneeling i n Prayer is attrib u ted to F ra F ilippo

.
,

b u t is more probably by his son F ilippino Lippi i n his decline , .

A Virgin and Child enthroned with Saints is a very fine , ,

picture by Sandro Botticelli painted at the period when his

, ,

works display the in fl u ence of the Po ll aj o li T h e hands of the .

Virgin especially the left are executed with tr u th and fi nish

, ,

t h e Child i s most lovely and gracefu l tho u gh both M other ,

a n d Child have the angu larity characteristic of Botticelli St . .

Cosimo and S t D amian kneel in the foregro u nd ; the first

.

t u rns to the spectator the last looks u p at the Virgin ; both

,

a re noble heads St F rancis who is behind St Catharine is

. .
, .
,

extremely fine ; the other saints are more remarkable for the
.beauty of their draperies than their persons T h e colo u r is .

f u ll and powerfu l ; the predella below is by the yo u nger

P esel lino and represents the Birth of the S avio u r the M artyr
, ,

dom O f St Cosimo and St D amian and St A nthony of Padua

. .
,
.

discovering the heart of a dead u s u rer in hi s money chest ;

this last is the fi nest of the three compartments A ccording .

:to C a v a l ca sell e — a gentle and natural animation pervades all

‘

t h e figures T h e females i n the foreground are in good pro

.

p ortions and ,
the whole is drawn and exec u ted with neatness ,

p recision and freshness and without vulgarity

’
.
, ,

A large pict u re above is the Coronation of the Virgin one ,

of Botticelli s fi nest works A ngels hand in hand dance in a

’
.
, ,

circle ro u nd the glory which s u rrounds her they are light and
gracefu l with floating hair and draperies which quiver in many
, ,

folds in the bree z y air ; other angels scatter roses F lame .

c oloured and blue cherubim form an arch under which are

1 54 TH E A CA DEM Y .

seated the Eternal and the Virgin O f the four saints below .
,

St J ohn the Evangelist holding his Gospel in o ne hand an d

.
,

raising th e other i n ecstas y is i n an awkward attit u de ; St ,

.

A ugustine who writes i n a book is very grand

, the two others ,

are S t J erome and St Eloy or St LO T h e extremities a re

. . . .

admirably drawn Th e predella to this picture on the lowest

.

line is also by S andro Botticelli B eginn ing at the left hand .

,

St J ohn the Evangelist is seated on the island o f Patmos

. St .

A ugustine in hi s study the A n nunciation S t J erome at hi s .

devotions i n the Wilderness and last an d fi nest St LO as a , ,

.

blacksmith shoeing the leg he has cut off from a white horse
,

beside him whilst Satan disgu ised as a lovely female stands

, , ,

by watching the O peration

,
.

T h e Visit of the S hepherds and the adoration o f the M agi ,

by D omenico Ghirlandaio is a highly fi nished picture T h e ,

.

Virgin is especially beauti ful she kneels with a sweet sm ile

her hands j oined as i n prayer and her whole soul absorbe d ,

i n th e contemplation of her Child who lies on the hem of H is ,

M other s garment with H is fi nger to H is lips ; the traditional gold

’
,

fi nch the scarlet o f whose head is the symbol of sacrifice stands

, ,

perched on a stone near A group of peasants the shepherd s .

,

of sacred story one o f whom carri es a lamb converse together

, ,

J oseph shades his eyes from the light above the shed ; an
angel is descendi ng with the good tidi ngs to an o ther grou p o f
shepherds who are seen on a distant hill tending their flocks
, .

A gay processio n of riders every horseman attended by h is ,

f a n te or footman winds along the road below and pass through

, , ,

a triumphal arch dedicated to Pompey the Great ; these a re

the M agi or Kings from the East N ear th e H oly F amily th e
,
.
,

ox and ass drink from a sarcophagus on which is an inscrip ,

tion to another Pompey an augur T h e landscape is very , .

beautifu l ; the background is composed of a river town an d , ,

church with a spire ; and the pale quiet colour throughou t ,

resembles that i n G h irl a n da io s equally fi ne picture o f the same ’

s u bj ect i n the Church of the I nnocenti .

 1 5 6 TH E A CA DE M Y .

h eads , and their hands are i n natural and easy gestures Th e .

p icture is painted i n simple full colou r .

A n A ssumption of the Virgi n is by Perugino : a choir o f

a ngels play on di ff erent music al instru ments B elow are th e .

Cardinal B ernardo degli U b erti Sa n Giovann i Gualberto S t , ,

.

B enedict and the archangel M ichael

,
T h e artist has in .

s cribed his nam e below with the date A D M C C C C C ,

T he ,
. . .

gorgeous and spotty colouring is disagreeable at first sight but ,

the picture grows on the spectator as the wonderful beauty and

life in the countenances reveal themselves especially those o f S t , .

B enedict and Sa n Giovanni Gualberto the hands are executed

with the utmost fi nish and the landscape i s very lovely fading
, ,

away i n the light hori z on . T h e Virgi n gaz ing upwards is on e , ,

’
o f Peru gino s fi nest conceptions of the subject T h e picture .

was painted for the monks of Val lombrosa when Perugino ,

e xecuted th e frescoes i n the Sala del Cambio at Perugia and ,

a few years later than the picture of Christ in th e Garden of

G ethsemane .

T h e Crucifixion with the Virgin and St J erome on either

, .

s ide of the cross i s likewise by Perugino ,

T h e su n has set .
,

a nd to e nhance the solemn ity of the hour a low tone o f colour

pervades the picture T h e figures are execute d somewhat care

.

l essly T h e M adonna is the sam e which Perugino painted i n

.

his masterpiece the Crucifixion of Santa M addalena de Pazz i

,
’
,

?
only inferior i n expression
B eneath is an entombment by Peru gino S t J ohn M ary , .
,

M agdalene and the S aviour are the most beautiful parts of the
, ,

picture which was executed for the Gesuati beyon d th e Po rt a

, ,

Pi nti and tra n sferred to the convent of the Cal z a duri ng the
,

s iege o f F lorence .

1
P a ssa v a ntb se rv e s o n th i s pi cture Th ey a re o n th e wh o l e b ea ut i f ul
o ,

figu res w h i ch in m a n y resp ec t s reca ll th o se in th e Sa l a de l C a m bi o ( o f

,

P eru gi a ) ; b u t w e di sco v er th e fi rst tra ce o f t h a t hasty trea tme nt w h i ch

u n f o rtu n a te ly a l w a y s a c t s di sa dv a n t a g e o u sly o n h is l a t e r w o rk s
’
See .

P a ssa v a nt Raf a el v on Urbin o v o l i p 4 9 6

, , . .
, . .
 TH E A CADE M Y . 1 57

A D escent from the Cross by Per u gino and F ilippin o Lippi

, ,

was painted for the SS A nnun z iata F ilippino had only finished
. .

the u pper h alf of the picture when he died in 1 5 0 4 and ,

Perugino was requested to finish it T h e earnest upward ga z e .

of the kneeling M agdalene is very beautiful as well as F ilip ,

pino s work the head of Christ and the N icodemus above

’

, , ,

disengaging the body from the cross .

Below are four saints life si z e St M ichael ; Sa n Giovanni

,
-
.

Gualberto the founder of the V a l l o mbro sia n M onaste ry St

, .

John the Baptist and Cardinal B ernardo degli U b erti thi s

,

picture formed part o f an altar piece on panel painted by -

A ndrea del Sarto for the Church of the H ermitage at Va ll o m ,

brosa in 1 5 2 8 T h e head and attitude of St John with his

,
. .
,

arm raised in the act of preaching is very grand the lines o f ,

composition are severe and there is great breadth of chiar

,

oscuro and a deep rich colour low i n tone and in harmony

, , ,

with the solemn and maj estic figures of the picture .

T h e predella belonging to this altar piece is to the left on -

the lowest line T h e subj ects are St M ichael weighing souls

. .
,

whilst an e xpectant demon is endeavouring to wrest his sword

from his side Sa n Giovanni Gualberto passing unscathed ,

through the fire a mirac u lo u s event which is said to have taken

,

place i n front of the Badia at S ettimo two miles from F lorence ,

the D ecapitation of John the Baptist —both ve ry fine composi

tions and Cardinal Bernardo degli U b e rti sei z ed When at th e
altar
.

A bove this predella are two charming little boy angels fu ll

of vivacity also by A ndrea del Sarto which once formed part
, ,

of the picture o f the four saints above mentioned to which thi s

predella belonged F our circular panels with heads painted in
.
,

tempera by F ra Bartolommeo are fi nely sketched

, , .

A bove is a grand fresco by A ndrea del S arto Christ seated ,

on H is tomb life si z e a noble figure fine in drawing and i n

, ,

position the relaxation of all the limbs and the prostration o f ,

extreme debility is given the colour is soft and transparent .

1 58 TH E A CA DEM Y .

large picture to the left the Virgi n enthroned is attributed

A , ,

1 —
t o F ra Bartolomm eo ( 4 7 5 1 5 T h e I nfant Christ exchanges
his heart with that of S t Catharine ; H e stands beside H is .

m other and is singularly graceful and beautiful i n form and

,

action T his is however the repetition of a picture sent to

.
, ,

F rance and is probably th e work o f B a rto l o m meo s pupil F ra

’

, ,

Paolino .

T h e Virgin and C hild appearing to St Bernard below i s .

also by F ra Bartolommeo St Bernard on his knees is fi nely . .

, ,

c omposed and executed ; the head is full of deep feeli ng the ,

dra pery falling i n maj estic folds and drawn with care and ,

precision T h e rest of the picture is soft and feeble from the

.
,

a bsence o f the last gla z es or transparent colours but its merits ,

,

i n com position grace and elegance are worthy of high estima

, ,

tion .

T h e R esurrection i s by Ra ff aellino del Garbo the pupil of ,

F ilippino Lippi who as described by C a va l c a sell e has a ff ec

, , ,
’
ta tio n in forms mannerism in drawing and flatness but who
, , ,

has also the merit especially i n some of hi s M adonnas and ,

S ai nts o f grace correctness and clear brilliant colour

, , T hi s , , .

picture is not a good specimen of the master either i n composi ,

tion or colou r Behind it is a small fresco i n term verde

.
,

by A ndrea del Sarto pai nted when this room was a hospital ,

for women .

A n altar piece painted by M ariotto Al b ertin el l i ( 1 4 7 4—1 5

-

for the M onastery of St J ulian represents the M adonna e n .

,

throned with St D ominic St N icholas, St J u lian and St

.
,
. .
, .

J erome .

B etween these two pict u res i s an Entombment designed by ,

F ra B artolommeo and coloured by F ra Paolino ,

the body of
the Savio u r is supported on the knees of his mother ; M ary
M agdalene St John St D ominic and another friar are
,
.
, .
,

beside her .

T o the left is a feeble representation of the T rinity by ,

M ariotto Al b ertin ell i T h e Outline and e ffect of the fig u res .

1 60 TH E S CA L Z O .

both employed by this con fraternity to adorn the walls with

frescoes in chiaroscuro Th e subj ect chosen was the Li fe o f
.

S t John the Baptist to which saint the S cal z i were dedicated

.
,

T h e only j oint work of the artists was the B aptism o f Christ

-

which though full of feeling and a wonderful pro ductio n f o r

, ,

two young men i s the least well executed of the series T h e

,
-
.

rest of the frescoes were painted with a certai n rival ry whi ch ,

gave a stimulus to the work A ndrea was often called away by .

other engagements and therefore these paintings are spread

,

over a space o f eleven years .

I n 1 5 1 7 h e executed the borders round the fresco o f the

B aptism of Christ but all the rest o f the frie z es were the work
,

of F ra nc ia b igio who also painted S t J oh n taking leave o f h is

, .

father Z acharias when departing for the D esert and the M eet ,

ing o f the Saviour and St J ohn I n 1 5 1 7 A ndrea fi nished th e

. .

compartment of S t J ohn Baptising i n the D esert I n 1 5 2 0

. .

he painted the figures of F aith and Charity and soon a fter

wards H erodias D anci ng before H erod the M artyrdom o f S t , .

J ohn the Baptist and Salom e presenting his head to h e r

,

mother H erodias the A ngel appeari ng to Z acharias and th e

figure o f H ope H e fi nished the fresco of Z acharias i n 1 5 2 3
.
,

when h e was painting the panel picture of the H istory of J oseph

for the B o rgh erin i now i n the Pitti I n 1 5 2 4 A ndrea resumed
,
.

hi s work at the S cal z o and painted the Visit o f M ary to,

Eli z abeth ; and in 1 5 2 6 he executed his latest fresco the B i rth of ,

S t John
. .

’
We have here an opportunity o f tracing A ndrea del Sa rto s
progress i n his art during the eleven years that he painted in
thi s cloister I n the Preaching of S t J ohn we see the influence
. .

of Ghirlandaio ; in the Baptism of St J ohn and St Joh n .

,
.

before H erod that o f Albert D iirer T h e A ngel appearing to

,
.

Z acharias was pai nted j ust before the M adonna del S acco i n ,

the SS A nnun z iata and the two latest and largest frescoe s
.
.

preceded A ndrea s Last S upper i n the M onas tery of the

’
,

S alvi .
 TH E S CALZ O . 16 1

T hese frescoes were all m u ch inj u red by damp and ex

po su re to weather before the cloister was protected by glass
, .

In 1 7 3 5 the confraternity of the S cal z i was s u ppressed by the

Gran d D u ke Pietro Leopoldo who sold all the b u ilding except
,

the cloister which from that time was attached to the Academy
, , ,

of F ine Arts .
 CH A P T ER X V .

TH E PI TTI GA LLER Y .

LARG E R OO M S .

HE
collection o f pictures in the Pitti was made wholly by
the M edici who about the year 1 6 4 0 after they had
, , ,

become sovereign princes brought them to this palace which , ,

was then converted i nto a royal residence Pietro da Co rtona .

,

and another artist Cyrus F erri were employed to decorate the

, ,

magni ficent s u ite of rooms which were destined to contain the

‘
z e s d a nv res of the greatest masters in pai nting l these
’
c/ A l
y
-
.

pictures belong to the best period of T uscan art and to the ,

s econd R evival ; but i n the smaller rooms parallel with the ,

s u ite towards the Pia zz a are excellent specimens of works by

,

earlier artists .

T h e numbers begin with the pict u res of the latest school

an d i n the fu rthest room which is called the Sala di Venus
, ,

Pietro da Cortona wishing to flatter the reigning M edici

, ,

painted on the ceiling allegorical scenes and personages sym

b o lic a l of the virtues of their ancestor the Grand D u ke Cosimo ,

I who appears as a yo u th protected and specially favoured by

.
, ,

the gods .

—
T w o splendid sea pieces by Salvator R osa ( 1 6 1 5 1 6 7 3 ) are
-

placed opposite one another T h e sea and sky have the glow .

and melting softness of Claude Lorraine b u t the fig u res are ,

more carefu lly drawn and are grouped nat u rally i n easy atti
t u des those especially of the pict u re to the right are admirably
placed the drawing is spirited and the colo u r forcible , .

D uplicity composed of two figures is by the same master

, , .
1 64 PIT T] GA LL ER Y .

On the same wall is a gr a cefu l T uscan picture by F rancesco

C u rra di ( 1 5 7 0—1 66 1
) N arcissus represented j
as a peasant l a d a t

the F ountain B etween the windows i s a picture by Cigoli

.

— 1 6 1 3 ) of the S aviour appearing to St Peter Walking on

( 559
1 .

the Water T hough hung in an obscure place this is one of

.
,

the best pictures o f the master and is a work O f considerable,

power with more nat u re and expression than is usual with the
,

school whose principal m erit is correct drawing and stri ct

,

obedience to rule .

T h e ceiling o f the next room the Sala di A pollo w as chiefly , ,

painted by Cyrus F erri N ear the windo w is the portrait o f

.

the Archbishop B artolini Sa l imb e n i by Girolamo da Carpi o f , ,

th e F e rrarese school ( 1 5 0 1 1 5 — T h e archbishop was of th e

F lorentine family whose palace now form ing part of the H Ote l ,

de l Eu ro pe i n the Via Po rta R ossa is still di stingu ish ed by

’
, ,

th e Sal imb e n i poppy H e was appointed administrator o f th e

.

Pisan Church by Pope Leo X and Archbishop of M alaga by .

,

Charles V and he was bu ried in th e Campo Santo of Pisa

.
,
.

O ver th e door is a picture by J acopo Palma il Vecchio of ,

Venice ( 1 4 8 0 of the S upper at Emmau s i t is an excel

lent example o f the master very rich i n colour and with a
, ,

lovely lan dscape backgrou nd A H oly F am ily i s by Agnolo .

Bron z in o ( 1 5 0 2 and near it below i s the portrait of , ,

Pope Leo X by R a ff aell e ( 1 4 8 3

. to th e right of th e
Pope is his cousi n Cardinal Giulio de M edici afterwards
,
’
,

Clement VI I to h is left Cardinal Luigi de R ossi the Pope s

.
’
,
’

secretary Le o has been described as having a large head

.

with coarse features and complexion and with prominent short ,

sighted eyes b u t the painter has in this picture also conveye d

the idea of the man of cultivated tastes and luxurious habits for
which he was celebrated H e is seated at a table with an
.

ill u minated m issal before him an d a silver bell his attitude i s

dignified and his hands of which he was extremely vain are
, , ,

beautifu l T h e picture was painted about 1 5 1 8 there is a copy

.

by A ndrea del Sarto at N aples so exact that it deceived ,

 SALA DI A P OLL O .
1 65

R a ff a ell e
’
scholar Gi u lio Romano who supposed it was the
s , ,

original wh i ch O ttaviano de M edici by order of Pope Clement ’

,

VI I had promised to bestow on the D uke of M ant u a

.
,
.

T h e H ospitality of S t J u lian is by Cristofano Al lori ( 1 5 7 7

.

T h e legend of S t J u lian is as follows —A s an act of

.

penance the saint became a ferryman and one night he ,

bro u ght a youth across the river whom he discovered to be a

leper T h e wife of St J ulian however received the sick man
. .
, ,

i nto their house and they laid him on th eir bed T h e next
,
.

morning the leper was tra n sfi gu re d be fore them and appeared ,

as an angel bringing pardon for past sins ? T his pict u re is

,

considered as the c/zef d cenvre of A llori T h e original drawing

-
’
.

for the man with the oar in his hand is i n the Gallery of the ,

U ffiz i .

Beneath this is a H ead of M ary M agdalene by Pietro ,

Perugi no ( 1 44 6 ve ry sweet in expression drawn and ,

painted with great softness altho u gh rather the portrait of a ,

lovely woman than the ide al representation of a penitent sinner ;

and a portrait by F ra n c ia b igio ( 1 4 8 2 the friend an d
brother artist of A ndrea del Sarto : the black under tint has
- -

come to the s u rface and inj u red the picture which is finely
, ,

exec u ted and has an agreeable landscape background

, .

S t F rancis in Prayer by Lu dovico Cardi or Cigoli ( 1 5 5 9

.
,

1 61 3
) is fu ll of deep feeling the rocky scenery of L a Vernia
forms the backgro u n d T his is one O f the most to u ching and
.

bea u tifu l pict u res by the artist A bove it is a H oly F amily by .

Vent u ra Sa l imb e ni of S ienna ( 1 5 5 7 O n the second wall

the I nfant Prince Leopold de M edici after wards Cardinal is ’
, ,

by T iberio T iti ( 1 5 7 8 the son O f Santo di T iti T his .

Prince was the son of the Grand D u ke Cosimo I I by the .

Grand D uchess M aria M addalena of A ustria H e became a .

Cardinal and devoted his life to the study of literature and art
, .

H e made the collection of portraits in the U ffiz i Galle ry and ,

died in 1 6 7 5 .

S e e Mrs J a meso n s Legen da ry A rt

’
1
. .
1 66 PITTI GA LLER Y .

F acingthe wi ndow i s a large pict u re of the D eposition b y

Cigoli it is carefu lly drawn and composed and the fig u re of ,

the Virgin very beautifu l .

A fine portrai t of the poet Pietro A retino the illegitim ate ,

son of a gentleman of A re zz o ( born in is by T itian H e .

wrote a treatise against the system of Papal I nd u lgences which ,

ca u sed hi s banishment from his native city but Pope Clem ent ,

VI I allowed him to reside in R ome where his tal ents ens u red
.
,

hi m a favourable reception T hough hi s satirical writings were

.

directed against those i n power and obtained for him the name ,
’
of th e S courge of Princes he contrived to secure the favo u r
‘
,

and patronage of the greatest monarch s O f the age F ranci s I .

la v ished gifts on him and Charles V presented him with a

, .

valuabl egold chain H e composed a paraphrase of th e Seven

.

Psalm s and several religious works S ome of his p u bli cations

,
.

had however an immoral tendency and caused so much scan

, , ,

dal that th e Pop e was at length obliged to banish him from

R om e H e was intim ate with the Grand D uke Cosimo I to
. .
,

w hom he sent this pict u re in which the gift of the Emperor i s

,

represented H e writes to Cosi m o S u rely I breathe here ;

.
,
‘

the blood circulates and I see my living self in a painting ;

,

had I given the artist a few more crowns h e wo u ld have b e

stowed more pains on the material of the dress the silk th e , ,

velvet and brocade I say nothing of the chain for it is indeed

, ,

painted sic tra n sit gl oria mnn di .

’

I n the same letter A retino all u des to th e pict u re by ,

T itian now i n the room of Venetian masters in the U ffi z i

,

Gallery of Giovanni delle Bande N ere the father of Cosimo

, , ,

u nder whom A retin o had se rved and who had m ade his peace ,

with the Pope T h e two portraits appear to have been painted

.

about the same time but A retino declares the arti st had left
that of Giovann i u nfi nished beca u se he was tempted to R om e ,

by the offer of greater rem u neration from Pau l I I I ( A lexander .

F arnese ) .

Beneath this i s a portrait by F ederigo Baroccio ( 1 5 2 8 ,

 1 68 PI TTI GA LLER Y
‘

cou nt enances o f D oni and his wife are serious ; M addalena s ’

is expressive of goodness whilst there is more force and talent ,

i n the face of A ngelo I n both there is a defect i n the p e rspe c

.

t ive the farther eye being placed too high T hey were painted
,
.

during Ra ff a e ll e s second visit to F lorence wh en he was still

’
,

very young and had not yet attempted portraits

,
.

B etween these p ictures is a splendid portrait o f a young

man i n armour by R embrandt said to be of himself
, ,
.

H igh on the wall to the left i s a H oly F amily pai nted by ,

A ndrea in 1 5 2 1 for Z anobi B racci a t the time when the artist

, , ,

was employed by O ttaviano de M edici in the decorations of the ’

Palace o f Poggio a Caiano for Le o X T h e children especially .

,

S t John are easy and graceful

.
,
T h e Vi rgin ga z es at her So n .

with a sweet and happy countenance ; the colour is rich and

warm and the group natural without any attempt at scientific
, ,

display .

B eneath th i s 1 s a M adonna and Child by M urillo T h e ,

.

Child stands on H is M other s knee and rests H is right arm on ’

her bosom Sh e has th e refi nement and modest girl like sim
.
-

l ic it with which this S panish artist usually represents her

p y ,
.

A Piet a over the door is by F ra Bartolommeo ( 1 4 7 5 ,

T h e expression O f the dead Christ is touchingly beauti fu l mild , ,

dignified and sad T h e gentle resignati on of the sorrowing

,
.

Virgin and the passionate grief o f the M agdalene who clasps

, ,

H is feet are given with the simple truth of nature

,
Th e colour .

is p u re and correct .

N ear the window is a portrait o f A ndrea del Sarto by him ,

self and beneath it a M agdalene by T itian T his pict u re h as

, , ,
.

obtained a great rep u tation though it has suffered severely from ,

the hand o f the cleaner A still more beautifu l representation.

of the same s u bj ect by this great artist is in the D ura zz o ,

Gallery at Genoa and there was a third in Venice which has

,

been sold i nto Prussia I n both these last pictures the M agda
.

1ene has less reg u larity of features b u t greater nature and ,

beauty of expression than the M agdalene of the Pitti A large .

 SA L A DI MAR TE . 69

alt a r piece between the windows represents Sa n F ilip po N eri

-

kneeling before the alt ar where the Virgin and Child appear ,

to him surro u nded by angels and with the A postles Peter ,

and Pau l accompanied by M ary M agdalene this fine pict u re

,

is by Carlo M aratta ( 1 6 2 5 who belonged to the R oman

sc h o o h

ceiling of the adj oining room the Sala di M arte was

Th e , ,

painted by Pietro da Cortona ( 1 5 9 6 d u ring the reign of

the M e dicean Grand D uke F erdinand I I T h e arms of the .

M edici are in the centre and M ars accompanied by H erc u les , ,

Victory & c symbolise the warlike achievements of the Grand

,
.
,

D ucal family .

I n a dark corner near the entrance i s the portrait of J ohn

, ,

Ch u rchill D u ke of M arlboro u gh by A drian van der Werff

, ,

1 6 —
( 5 9 1 7 2 2)
T h e portrait of Pope J u li u s I I by Ra ff aelle is a repetition .
, ,

of the fine portrait in the T rib u ne of the U ffiz i Gallery .

H igh on the w all is the portrai t of a B elgian anatomist ,

A ndrea Vesale by T itian Vesale was acc u sed of homicide

,
.
,

and condemned to death for having opened the body of a ,

Spanish gentleman ; Philip I I comm u ted his sentence into .

banishment ?
B eneath this pict u re is a most lovely H oly F amily by ,

A ndrea del Sarto the Virgin i s simple and dignified tho u gh ,

witho u t classical bea u ty ; and the children are animated and

drawn with grace and power T h e Christ sits astride on H is .

M oth e r s knee and looks back to listen to the eager words of

’
,

St John who leans over the lap of Eli z abeth

.
,
T h e colo u rs .

are agreeable and melt into one another the outline is almost
,

lost there is great breadth as well as softness i n the chiar

O SC UI O
‘

1
In 1 876 a p o rtra i t in th e Lo u v re w a s di sco v e re d to b e Ve sa l e at th e
a ge o f t w e n ty six I t is by -
. C a l c a r, w h o de sig ne d his a n a to m i ca l
p l a te s .

V e sa l e is a l so i n tro du c ed in th e f a mou s S ch o o l of A n a to my
‘ ’
at

A mste rda m .
 79 PIT TI GA L LER Y
’
portrait of Cardinal Gu ido B entivoglio next A ndrea s
The ,

H oly F amily is by Vandyke ( 1 5 9 9 ,

and may be com
pared with the port raits o f T itian not only i n the quiet dignity , ,

character and elegance of c om position for which Vandyke was

, ,

himself remarkable b u t i n t ruth o f flesh tints and warmth o f

, ,

colour Cardi nal B entivoglio wa s born at F errara o f an ancient

.

Bolognese family i n 1 6 1 9 When only ninetee n years o f age .

he was appoi nted secre tary to Pope Clement VI I and was sen t .
,

later by Pope Pa u l V as Papal N uncio to F landers T hough . .

one of the j udges o f Galileo at Rome he had not the power ,

to prevent h is condemnation H e wrote the H istory of the .

’
War in the N etherlands and h is own mem oirs , and died i n ,

1 6 44 .

B eneath this i s Lu igi Cornaro the splendid portrait o f a ,

Venetian nobleman by T itian Cornaro died at the age o f ,

.

ninety six H is youth was spent i n dissipation but he early

-
.
,

reformed his li fe and i n 1 5 5 8 h e wrote a treatise on sobriety

, .

H e was greatly and universally respected and was held i n high ,

hon our by his fellow — citi z ens T h e large penetrati ng dark .

, ,

eyes and the fi nel y cut moveable nostrils bespeak a qu ick and
,
-

fi ery nature whilst the high forehe a d thoughtful brow the

, , ,

firm lips and dignified deportment to which may be added

, ,

the well ordered dress are signifi cant of a wise and resol u te
-

character as well as of that taste and refinement which belong

,

to a tr u e gentleman T h e picture is full of life and it is im

.
,

possible to say what is most worthy of admiration — the correct

drawing the reality of the flesh tints or the great painter s
, ,
’

power in expressing the mind of the sitter .

F aci ng th e window is a H oly F amily by Palma Vecchio , .

T h e Child holds a globe which he is presenting to an u nknown ,

personage possibly som e Venetian navigator who kneels

, ,

before him T o th e right is St Eli z abeth S t John the Baptist

. . .

with clasped hands contemplates the I nfant Christ .

T h e fi ne picture below by R ubens ( 1 5 7 7 has ,

portraits of himself an d his brother an d o f the philosophers ,

1 72 P I T T] GA LLE R Y

ing breadth of light an d shade i n deep fu ll colour and warm ,

shadow intended to give full valu e to the dazz li ng brilliancy

,

of his lights on the fair skin s of women and children T here .

is nothing to interest or please i n th is picture and i ts sole ,

attracti on is the example it presents of the qu alities peculiar to

R ubens .T h e original sketch is i n the N ational Gallery o f
London bequeathed by the poet S amuel R ogers
, .

T w o oblong paintings containing many figures and both ,

charming in colour are by A ndrea del Sarto } they represent

,

the H istory of J oseph and may be considered as one picture

, .

I n the first is J acob and R achel with J oseph who is relating ,

his dreams to his parents J ac ob and R achel send J oseph to

his brethren the brethren put J oseph i nto the well they sell
him to the merchants and one of them i n the foreground is show
,

ing his blood stained garment to their father I n the second

-
.

painting Pharaoh i s seen asleep ; the curtains o f his bed are

sustained by two boy genii behind are seen the fat and lean
-

kine and i n front the ears of corn at the top o f the staircase
,
’
leading to Pharaoh s palace J oseph is led to prison and , ,

again below he is brought before Pharaoh Pharaoh listens to

J oseph s interpreta tion of his dreams ; Pharaoh names hi m
’

governor and bestows on him a gold chain two children are

,

playing with a dog in the foregro u nd and there i s a lovely ,

landscape background with architecture figures & c Both , , , .

these pictures as well as similar pictures i n the U ffi z i Gallery

, ,

by Jacopo Pontormo were painted for F rancesco B o rgh erini

,

upon his marriage .

A Repose in Egypt by Paris Bordone ( 1 5 1 3 , is a

good Venetian pict u re .

T h e last work of importance on this wall is the Ecce H omo

o f C igoli in which the noble dignity of the Saviour and his
,

pati ent endurance o f s u f fering is i n to u ching contrast with the

v u lgar c o u ntenances of his persec u tors ; the traces o f the
sco u rging are given with painfu l reality ; the picture is fi nely
drawn an d coloured , and is an excellent example of the master .
 S A LA D ] M A R TE . 1 73

Th e fi ne portrait by T itian of a gentleman on the third ,

wall is one of the most interesting pict u res i n this collection

,

the finely c u t features o v al contour of the face firm set mo u th

, , ,

and the stern expression in his clear bl u e eyes with his dignified ,

demeanour give the impression of a man acc u stomed to com

,

mand and o f a cold tho u gh refine d nat u re

, , ,
.

S t F rancis in Prayer by R u bens is above the T itian ; it is

.
, ,

a good study of a peasant and inferior in poetic sentiment to ,

the same s u bj ect already mentioned by Cigoli

, , .

T h e H oly F amily known as the M adonna dell Impannata

’
, ,

from the white cloth — pa n n o— used i n stead of glass for the

window in th e background is by R a ff aelle ; the composition .

is wholly his as well as the painting of the head of the

,

Child whom Eli z abeth is restoring to the Virgin ; the rest

,

of the picture was probably painted by one of R a ff a ell e s ’

scholars the expression of Eli z abeth is fi ne and fu ll of feeling ; ,

the other female heads as well as that of St J ohn are feeble

,
.
,

1
and cold .

T h e S acrifice of A braham is a good picture by Cristofano

llori — in colo r resembling th e painting by M at eo
A ( 57
1 7 1 6 2 u t

R oss elli ; and J u dith with the H ead of H olofernes is also by

A llori J u dith is s u pposed to be a portrait of Bron z ino s mis ’
.

tress and the old woman to be her mother T h e arms of

,
.

J u dith extended and foreshortened are finely drawn and her

, , ,

head a n d fig u re are grand and powerfu l Th e golden silk of .

which her dress is composed is painted with marvello u s clear

ness an d vigo u r and the whole colo u r i s rich and harmonio u s
, .

T h e H ead of H olofernes is said to be a portrait of A llori him

self;
A n A nn u nciation by A ndrea del Sarto is good in colo u r
, , ,

b u t feeble i n composition ; Joseph stands beside the Virgin ,

who starts back as two angels approach one of whom bears ,

the lily T his pict u re has been m u ch repainted

. .

A good portrait of Galileo is by S uste rm a n s ( 1 5 2 4— 1

59 )
1

S ee P a ssa v a nt s Raf a el v an Urbin o v o l i p 1 8 6 ; v o l ii p 3 9 4

’
. . .
, , . . . .
1 74 P I T T] GA L LE R Y .

his telescope is seen below near the frame : this likeness o f th e

,

philosopher appears to have been take n later than the portrait

by the same master i n the U ffiz i Galle ry .

T h e ceiling of the S ala di Gio ve was also painted by Pietro

da Cortona H ercules and F ortu ne present the yo u thful Prince
Cosimo the son o f F erdinand I I to J ove as a future hero ;
,
.
, ,

he inscribes th e M edicean initial o n a shield and th e gods ,

m inister to h im .

A stat u e of Victory by the modern scul ptor C o nsa n i is in

, ,

the centre of the room T h e goddess i s seated on a rock and

.
,

is inscribing u pon her shi eld the words M ontebello Palestro , ,

’
C u rta to n e where the T uscan youth fell in the struggle for
,

Italian independence .

I n the corner between the entrance and th e wi ndow is the

portrait o f a lady i n a crimson sati n dress by Paris Bordo ne
( 51 1 3 said to be that o f a nurse of the M edici children ;
beneath it is a sketch by T itian for part o f the picture of Bac
chus and A riadne i n the N ational Galle ry of London .

O ver the door is a pict u re by S alvator R osa ( 1 6 1

5
—1 6 7 3)

of the Conspiracy of Catiline .

T o the right o f the entrance is the most celebrated picture

in this room ; the T hree F ates by M ichael A ngelo ( 1 4 7 5 ,

T hey are all taken from one old woman represented in dif ,

f e re nt attit u des Clotho holds the S pi ndle o ff which she spin s ,

the thread of life Lachesi s twists th e yarn i n her fi ngers and ,

A tropos prepares to cut it with her scissors A romantic tale is .

told relating to this p icture D u ring the siege of F lorence i n

.
,

1
5 29 ,
when M ichael A n gelo was cond u cting the defensive

operations an old woman is s u pposed to have presented her

,

self before the municipality and o ffered her son to fight for his
,

native city ; the great artist it i s fu rther said was so struck

, ,

wi th her cou ntenance that he has recorded it i n this pict u re .

T h e story is however probably a fiction and it is even u n c e r

, , ,

tain whether the picture itself is by the han d of M ichael A ngelo .

’
‘
Severe keen and characteristic
, ,
as K ugler describes it he
, ,
1 76 P I T TI GA LLE R Y .

’
are unconstrained and free as in D e l Sa rto s o wn creation th e , ,

N ativity at the S ervi

,
T h e Virgin is m ost dignifi ed in air and
.

pose D ecorum an d grave beauty are almost as combi ned as

.

i n D ella Po rta without th e emptin ess which grew to a defect

,
’
with A ndrea s late r y ears the colour i s rich and in goo d ,
’
keeping with a landscape full o f atmosphere .

St M ark a colossal fi gu re by F ra Bartolommeo is a gigantic

.
, ,

and powe rful figure gra nd in drawing and com position H e is

, .

seated i n a niche holding his gospel and pe n with both hands

, ,

whilst looking back lost in contem plati on Th e picture was

,
.

placed over the entrance to the choir of S t M ark but a fter the .
,

demolition o f the choir which was i n the centre o f the church , ,

it was bought by Prince F erdinand de M edici and in 1 7 9 9 ’

,

was taken to Paris where it was trans ferred from wood to

,

canvas .

A man s po rtrait by Philippe de Cham pagne ( 1 6 0 2

’
,

and ano ther portrait by M orone a re both excellent pictures , .

A small but interesti ng picture below o f the Woman taken

M
i n A dulte ry i s by a zz olino da errara ( 4 1 1 5
,
F 1 8 —
I n the centre o f the thi rd wall i s a large battle piece by -

S alvator R osa and below it a smaller picture of the sam e

, ,

subj ect s u perior to the larger both are fu ll o f life and spirit
, ,

and are among the best works o f the master .

O ver th e door i s a M eet o f H untsmen by Giovanni di Sa n ,

Giovanni ( 1 5 9 0 a F lorenti ne painter o f the second

revival th e heads are ve ry S pirited .

Between the door and windows is the portrait of G u idobaldo

D uke of U rbino the grandfather of Vittoria della R overe
, ,

by F ederigo Z uccaro a pai nter of the R oman school ( 1 5 3 9 ,

B eside it is a H oly F amily by Rubens the colouring ,

of the children is very lovely .

Q

B elow is the portrait of a lady by Leonardo da Vinci ( 1 4 5 2 ,

A m ost exquisitely fi nished painting ; the drawing i s

careful though hard in outline caused by cleaning ; the lips
, ,

are j ust closed the eyes calm the nostril delicate her grave
, ,
 S A LA D ] SA T URN O . 17 7

and gentle deportment th e head gracefu lly bent and the per , ,

fe e t simplicity and dignified compos u re mark a woman of noble ,

mind and training Sh e bears a missal in her left hand which

.

as well as the right is bea u tifully painted ,

I n the land .

scape seen between two open arches is a walled town and

, ,

distant hills
Between the windows is a picture by G iov a n Battista ,

F ranco ( 1 4 9 8 of the Battle of M ontem u rlo by which ,

the Grand D u ke Cosimo I destroyed his enemies and sec u red .

,

his seat on the throne of T u scany .

T h e S ala di S at u rno the ceiling of which is also painted by

,

Pietro da Cortona and represents Sat u rn with M ars and an ,

allegorical figure of Prudence has to the right of the door on ,

entering the celebrated pict u re of the M adonna della S eggiola

, ,

by Ra ff aelle painted entirely by his own hand probably i n the

, ,

year 1 5 1 0 when he was engaged with the fresco of th e School

,

of A thens in the Vatican T h e Virgi n is not divine b u t she is .

,

the perfection of womanly bea u ty and modesty as well as o f ,

maternal tenderness T h e Chil d is grand in form and expres

.

sion although the ro u nded limbs and features and the clinging
, ,

action are wholly infantine the earnest yet childlike worshi p

, ,

of the little S t John is no less appropriate and excellent T h e

. .

composition i s simple the colo u r rich a nd the heads of the

, ,

Virgin and Child are highly finished whilst the rest of the ,

picture is painted with great freedom yet softness produced ,

l
witho u t scumbling and leaving the o u tlines disti nct
, .

A bove thi s pict u re is a fi ne portrait of Cardi nal I ppolito de

’

M edici by Jacopo Pontormo ( 1 4 9 4

,
H is hand rests
on the head of a dog which is painted with m u ch life and ,

power I ppolito was the nat u ral so n of Gi u lio de M edici D u ke

.
’

of N emo u rs whose monument by M ichael A ngelo i s i n

,

the Sacristy o f Sa n Loren z o he was ed u cated by his uncle

Le o X and altho u gh his tastes led him to prefer a secular to
.

an ecclesiastical career he was forced to enter the Ch u rch and

,

S ee P as sa v ant s Raf ael v an Uréi no v o l i p 2 9 4 ; v o l ii p 2 94

’
. . .
, , . . . .

VO L . 11 .
1 78 TH E P I T T] GA LLE R Y .

accept a cardinal s hat H e died— it is supposed by poison ’

.

in 1 5 35 .

N ear it are very bea u tifu l portraits of Charles I of England .

,

and H enrietta M aria by Vandyke ,

.

T h e D eath o f A bel is a large and very powerfully painted

picture by A ndrea Schiavone ( 1 5 2 2
,
B eneath it is one
o f the most lovely com positions of Carlo D olce ( 1 6 1 6
John the Baptist when a child asleep watch ed over by ,

Eli z abeth T h e tranquil sleep of i nfancy is beautifully given

.
,

and th e colouring an d chiaroscuro have the fu lness and

power of Ludovico Caracci Santa R osa by the sam e .
,

artist has his usual q u alities of sweetness and fi nish with

, ,

i nsipidity .

B eyond the picture of Schiavone near the corner is the , ,

portrait of Cardinal B ernardo D o v iz i of Bibbiena by Ra ff aelle , .

I t i s a most wonderfu lly life like pict u re of an astute polished -

ecclesiastic m ild b u t determ in ed his hands are very elegantly

,

formed and rich with j ewels T h e picture is only in part by

,
.

R a ff aelle who executed another some years later which i s now

, ,

i n the M u se u m at M adrid T h e cardinal was the son of poor .

parents i n the Casenti no a valley behind the mou ntains of ,

Vallombrosa and he took the name of B ibbiena from his native

,

city H e began life as t u tor to the sons of Loren z o de M edici

.
’
,

who had already secured the services of his brother as secretary .

When Bibbiena s pupil became Pope Le o X ’

he was .

created a cardinal H e died suddenly at Rom e i n 1 5 2 0 . .

Paolo G io v io the historian whose mon u ment is i n the Cloister

, ,

of Sa n Loren z o attributes the death of the cardinal to poiso n

,

i n a dish of new —laid eggs .

A bove thi s picture i s the T hree A ges of M a n by Loren z o ,

L otto the Venetian

, ( 5 1 4 8 0 —1
5 .

O n the second wall is a picture by F ra Bartolommeo

fl
, ,

Christ R ising from the T omb with the Evangelists on either side ,
.

T h e two prop h ets J ob and Isaiah now in the T ribune of the , ,

U iz i Gallery were paint ed as appendages to thi s altar pi ece

,
-

,
1 80 TH E P I T T] GA L LE R Y .

F lorentines ,such as had never before been seen in F lorence .

Vasari speaks of the brilliancy of the general tones and of the

backgrounds which are still preserved i n all the charm of f resh
,

ness in spite of time and repairs

,
T h e U mbrian S chool .

directed their attention especially to landscape and Per u gino ,

made the best of hi s opportunities in stud ying earlier and

contemporary masters i n th e same line T h e co u ntenance of .

the women varying in i ntensity of grief from that of the Virgin

, ,

to the other M aries is full of touching truth to nat ure withou t

, ,

exaggeration .

B eyond this is the M adonna del Baldacchi no by R affaelle , ,

executed on his ret u rn from R ome after he had painted his ,

first large composition of the Entombment of Christ H e had .

studied the grand treatment of drapery with F ra Bartolommeo ,

and i n return he had imparted to Bartolommeo the knowledge of

perspective which he had acq u ired in the school of Perugino in
,

this picture which R aff aelle painted for the F lorentine family of
,

D e i to be placed i n Santo Spirito he endeavo u red to imitate

, ,

F ra Bartolommeo ; and it may be compared with the M adonna

by that great artist in the Academy T h e Virgin seated on a .
,

throne holds the Child on her knee who looks back na ively at
, ,

the A postle Peter standing beside S t B runo ; St James the

,
. .

Less and St A ug u stus are on the oppos ite side

. T w o angels .

support the canopy above the Virgin and Child and two other ,

m ost lovely infants s tand below one having his arm ro u nd the

fl
,

other s neck and sing praises T h e pict u re was left u nfi nished

’
,
.
,

which is evident from the weak face and fig u re of St J ames .

,

and was sold by R a a el l e s scholars Gi u lio R omano and G io v a n

’
'

F rancesco Penni to B aldassare T u rini who conveyed it to his

, ,

city o f Pescia from whence it was afterwards brought to the

,

Pitti T h e head and fig u re of the Virgin is extremely lovely

.

and graceful and quite i n Ra ff a el l e s own style and it is only in

,
’
,

the composition and draperies t h at we discover the infl u ence of

F ra B a rto l o m me o .
l

S ee P a ssa v an t Raf a el w n Urbin o, v ol . i p l p

’
s . . 1 25 vo . . 89 .
 S A LA D ] S A T UR N O . 181

A pollo and the M u ses dancing in a circle on the top o f

M o u nt Parnass u s a golden s u nlight in the backgro u nd is by
, ,

Gi u lio R omano ( 1 4 9 2 this tru ly m a gical gro u p seems to

fl oat in the gracefu l movement of the dance In the portrait of .

T o mm a so de Ph aedra Inghirami R a ff a el l e s faithfu l adherence to

’
,

nat u re i s shown in the s q u int and the coarse feat u res as much ,

as i n the large fat yet delicately white hands of Inghirami all

, , ,

paint ed with the highest finish T h e clever expression of the .

face compe n sates for want of beauty ; the drawing is carefu l ,

and the composition and colo u r simple T h e dress is that .

worn by Inghirami when he acted as secretary to the conclave

of car dinals which electe d Giovanni de M edici Pope as Leo ’

X Inghirami belonged to an ancient family of Volterra and

.
,

when only an infant he lost his father and was bro u ght to ,

F lorence where he was placed u nder M edicean protection

, At .

thirteen he was sent to R ome where hi s remarkable powers ,

were developed and he was celebrated for his great learning O n

,
.

one occasion he performed in Seneca s tragedy of H ippolyt u s ’ ‘

,
’

before the Cardinal di S a n Giorgio the part assigned to I nghi

rami w a s Ph aedra ; the piece ha v ing been interru pted by an
accident to the ma chinery he came forward and am u sed the ,

company by improvising Latin verses he was appla u ded and

called for in his character of Ph aedra and th e n a me was ever ,

afterwards attache d to his own Passavant remarks the fu ll.

daylight effect of this pict u re and the fine modelling with the , ,

tenderest fu sion which strikingly recall H ans H olbei n s

,
’

method altho u gh R a ff aelle co u ld not have seen any work of

,

the German master since H olbein was at that time only

,

fifteen years of age T h e fl at treatment of the accessories leads

.

to the concl u sion that this part of the picture is by the hand
1
o f a scholar .

I n the centre of this wall is the D ispute of the H oly

’
T rinity o n e of A ndrea del Sa rto s most celebrated pictures
, ,

e q u ally fi ne i n composition drawing colour and expression , , , .

S e e P a ssa va nt s R af el z on Urbin o ol i p 212 vol ii p 1 6 4

’
' v
a ,
. .
, . . . . .
 82 TH E P I T TI GA LL E R Y .

The head and action of the youth ful St Lawrence who stan ds .
,

i n the centre and carries h is gridiron i s extremely beautifu l ,

and dignifi e d St A u gustine and S a n Piero M artire pursu e

.

the discussion with animation ; St F rancis listens meekly ; .

he has one hand on his breast i n the other he carries his ,

Institutes S t Sebastian half clothed the back fi nely painted

.
, , ,

kneels at th e feet o f S t A ugustine M ary M agdalene a.

,

lovely portrait of A ndrea s wife holds her vase of oin tment ’

, ,

and with lips apart in the act of listening kneels beside

, , ,

S t F rancis ; the emblem o f the T ri nity descends upon th e

.

group .

T h e Vision o f Ez ekiel i s one o f Ra ff a e l l e s noblest com posi

’

tions though painted on so small a scale I t is not only ex

,
.

q u isite l y fi nished in all the details but composed drawn and , , ,

colou r ed with a grandeur which the artist has not surpassed i n

any o f his larger pai ntings T h e countenance and attitu de of .

J ehovah are truly m aj e stic and th e lion the ox and the eagle , , , ,

th e symbols of St M ark St Luke and St J ohn partake o f th e

.
,
.
, .
,

solemn grandeur which pe rvades the picture ; the yo u thful

angel i n adoration typical of S t M atthew is a noble as well
,
.
,

as lovely form and no less fi ne are the in fant angels who sup
, ,

port the arms o f the Eternal ; a glory composed o f fai ntly

traced angels heads descends i n rays from above ; and far
’

beneath th e world where Ez ekiel i s walki ng is seen at early

, , ,

dawn in a mysteriou s and beautiful twilight T h e pict u re was .

painted for Cou nt Vinc e nz io Ercolani of Bologna .

N ear the door is Cleopatra by G u ido R eni ( 1 5 7 5 —1 6 4 2 ) ,

a painting possessing wonderful breadth and delicacy i n the

shadows and half tints -
.

T h e ceiling of the Sala dell Iliade is painted by Luigi

’

Sabatelli an artist who died in the middle of this century

,
In .

the centre of the room is a very lovely statue of Charity by ,

the T uscan scu pto r Bartolini it is gracefully composed and

, ,

the flesh tenderly m odelled ; the drapery falls in large and

well arranged folds but the hair is sti f f and inferior in e xec u
-

,
 1 84 TH E P I T T] GA LL ER Y .

from the heavens points upwards and tells the A postles that the
Virgin has risen T h e early morning is dawning in a p ale grey
.

sky St J ohn and two other A postles have heard th e news

.

thei r attitude expresses earnest devotion an d wonder Th e .

others who are looking into the tomb are less well pai nted ;
, ,

among them the arti st has i ntroduced his own po rtrait T h e cher .

nb s near the Virgin are very grace ful and lovely T h e i n feri .

o rity of the companion picture can easily be traced to the artis t

having exhausted his poetic i ns piration on this fi rst and the ,

second bei ng a laboured production not th e original design

,
.

N ear the window of this room is another po rtrait of

A ndrea by himself and below it is the only positively genuine
pictu re by Giorgione ( 1 4 7 8 1 5 1 1 ) i n this gallery and one of
-

the few i n exi stence it represents a group of musicians T he .

centre fi gure plays on a spinet or piano whilst looki ng back ,

at a man behi nd his fi ngers are pressed firmly on the keys ,

as i f pausing whilst listening to the friend who is laying on e ,

hand on his shoulder to arrest his attention though i n shade ,

’
the mild expression o f this man s cou ntenance is not lost Al l .

the force and brilliancy of the picture is however concentrated , ,

on the head of the central musician though th e light is carried on

to a third person standing on his right T here is great breadth .

of ch iaroscuro and no sudden transitions but a u n iform

, ,

golden or rich sunset glow thro u gho u t the composition .

O ver the nearest door is a very beautifu l Baptism of the

S aviou r by Paolo Veronese ( 1 5 2 8
,
T h e expression o f
J ohn the Baptist i s earnest and reverential the angel between
the two principal personages looking u p with his hands crossed ,

on his breast is very lovely

, .

H igh on the wall to the right is Eleanora daughter of th e ,

Grand D uke F ranci s I and of J oanna o f A ustria and married

.
,

to Vi ncen z o Gon z aga I D uke of M antua this portrait is by

.
,

S cipio Gaetano a painter of the R oman school ( 1 5 5 2 —

,
1
59
B eneath is Salvator R osa when young by himself ; and
, ,

below this is the portrait o f a son o f F rederick I I I of D enmark .

,
 S A LA D E LL
’
1 L]A D E . 85
'

by J ust u s Suste rma n s he is dressed in armo u r and wears a ,

white and blue scarf T his picture is an excellent example of

- -
.

the master .

F arthest from the window beyond A ndrea del S a rto s large

’
,

pict u re on the fi rst wall is a H oly F amily by F rancesco , ,

G ra na cc i sweet i n expression especially the I nfant Christ

, ,
.

T here are several fi ne portraits by T itian in this room On .

the second wall high u p is Philip I I of S pain a pict u re pre

, ,
.
,

sente d by that monarch to the Grand D u ke Cosimo I with a .

,

portrait of Philip s father the Emperor Charles V also by

’
, .
,

T itian which is in another room of the Pitti

,
H is mean and .

v u lgar features and countenance have received a certain air of

dignity from T itian s pencil
’
.

A splendid portrait of I ppolito de M edici i s also by T itian

’

the young Cardinal is here represented as a H u ngarian mag

nate in the cost u me he wore when sent as papal legate to the
,

Emperor Charles V T h e face is pec u liarly Italian as well as

.
,

indicative of the passions fostered by the unhappy circum

stances of his life ; a yo u ng and chivalro u s spirit forced to
bend to the yoke of the priesthood : the q uick penetrating ,

eye beneath the raised eyebrow and the dilated nostril express , ,

ing a high temper whilst the fine and delicate smile on the
,

lips tells less of pleas u re than repressed feeling ,

.

O n the other side of the door leading to the back of the

palace is the M adonna enthroned with saints by Era Barto ,

l o mm eo T h e two angels at the foot of the throne with a violi n

.

and g u itar are most lo vely and fu ll of religio u s feeling N 0

,
.

thing can exceed the sweet infantine grace of the Child who ,

places a ring on the fi nger of S t Catharine T h e attit u de of . .

the Virgin is somewhat strained and aff ected she holds the
I nfant by the arm tenderly whilst turning her head towards ,

S anta R eparat a a modest yo u ng maiden clothed in red an d

,

green the colo u rs of Charity and H ope who kneels at her

, ,

feet T he saints on the right of the Christ are very fine

.
,

especially St George St Bartholomew to th e left carries a

. .
, ,
1 86 TH E P I T T] GA L LE R Y .

knife the instrument of his martyrdom and a book the three

, ,

A u g u stinian monks behi nd are probably portraits T h e fl ying .

angels who s u ppo rt the c a nopy are painted with great bea u ty ,

and the light falling on one of them is very e ff ective T h e .

spectators who converse together are i n nat u ral easy attitudes ,

the colour of the picture is dark and heavy C a v a l c a sel l e .

considers this the fi nest o f F ra B a rtol o m meo s creations during ’

the period that he was assisted by M ariotto A l be rtinel li It .

was painted in the year 1 5 1 2 .

T h e A ngel refu sing the Gifts of T obias by B iliv e rt ( 1 5 7 6 ,

i s one of the artist s best works good i n drawing though

’
, ,

too florid i n colour .

A fin e portrait by T itian represents D aniel Barbaro a ,

Venetian ambassador to England : the hands are splendidly

painted the attit u de easy ; the f u r of the dress is treated with
,

great breadth dashed in without attention to detail but all the

, ,

more e ff ective from the contrast with the high finish of the head
and hands .

A bove it i s a portrait of an u nknown gentleman by T itian ,

the dress consisting of a black velvet coat and short mantle

,

the wh ite at the throat and wrists is kept low in tone A lthough .

the architect u ral background is carefully defined it is subd u ed ,

i n colo u r and gives relief to the fig u re which stands easily ; the

, ,

hands are beauti fu lly composed easy gracefu l and drawn an d

, , ,

colo u red with tr u th the head i s fine but the picture is placed ,

too high to j udge of all its m erits .

O n the third wall i s a Warrior by S alvator R osa painted

, ,

with breadth and vigo u r A bove it is another picture by T itian

.
, ,

of Constance B entivoglio the daughter of H ercules B entivoglio

, ,

a captai n of F ree Companies who fo ught for F lorence T h e

,
.

lady was first married to Loren z o Stro zz i of F errara i n 1 5 1 4 , ,

and afterwards to F ilippo T o rric e ll o of N ovara ,

.

Below the Warrior is the Virgin adoring the I nfant Jesus ,

by Per u gino and Jesus adored by Saints by A nnibale Caracci ,

—
( 1
5 6 0 1 6 0 9)
1 88 TH E P I T TI GA L L E R Y .

R ich
tables of F lorentine mosaic and valuable vases of ,

black marble and gold adorn every room of this suite

, .

A sq u are room to the back of the palace is called the S tufa ,

or Stove Pietro da Cortona painted the walls in fresco with

.
,

allegories representing the A ges o f M a n from sketches by the ,

yo u nger M ichael A ngelo B uonarroti the nephew o f the great ,

sc u lptor M atteo R osselli added the Vi rt u es on th eceiling i n

.

1 62 2 .T w o celebrated bron z e stat u es of Cain an d A bel by ,

the late sc u lptor D u pr e are the treasures of this room

, .

T hey are fi nely composed and modelled and are no less re ,

markable as an example of modern F lorentine bron z e casting .

Cai n is placed in the centre of the room the body of A bel lies
prostrate as if from the violence of the fa l l I t is to be re
, .

re tte d that the two statues are not placed near o ne another
g ,

so as to form one group .

Th e adj oining room contai ns one of the most celebrated

pictures of the collection the M adon na del Gran D u ca by
, ,

R a ff aelle — so called beca u se it was alwa y s kept i n the private

apartments of the Grand D u ke and it is even said that the last
Grand D u chess directed h er prayers to this picture when she
desired the birth of a so n T h e Virgin i s singularly modest
.

and sweet ; the conto u r of her face and the delicate form of
the mo u th as well as the soft downcast eyes are pre eminently
, , ,
-

bea u tiful even among R a ff a el l e s M adonnas although this

,
’
,

picture belongs to the artist s F lorentine period and is neither

’

so classical as the M adonna della Seggiola nor so sublime as ,

hi s greatest creation the M adonna di Sa n S isto but for simple

,

dignity loveliness and p u rity this representation of the Virgi n

, ,

is unrivalled ; the light on her face seem s to pass into her

soft fair hair a nd in the bl u e grey of her mantle until -
,

lost i n the dark background ; her hands are rather large ;

she holds the Child tenderly who is less lovely than H is ,

M other but H is flesh and limbs are beautifully painted and

,

modelled T owards the end of the last cent u ry this valuable

.

work was in the possession of a poor widow who sold i t to a ,

 S TA N Z A D E LL
’
E D UCA Z I O N E D ] GI O VE .

picture dealer for twelve crowns from thence it fo u nd its way

-

to the Gallery of the Grand D u ke F erdinand I I I who carried .

,

it with him wherever h e went When bo u ght from th e widow .

it was i n a perfect state bu t it has since that time twice u nder

,

gone the process o f cleaning T his was the fi rst pict u re Ra f .

f a e l l e painted when he visited F lorence after leaving the ,

l
school of P e ru gin o .

Beside th is pict u re but high on the wall is Jo h n the

, ,

Baptist as a yo u th by A ndrea del Sarto Unfort u nately this

,
.
,

painting w a s s u bj ected to a new process of cleani ng fatal to ,

the gla z es and delicate colo u rs on the s u rface so that it is now ,

little better than a colo u red print and only makes a good ,

photograph .

O n the opposite wall is the portrait of a lady attrib u ted to ,

R affaelle Passavant believes her to have been the model from

.

whom he painted or rather idealised the M adonna di Sa n

, ,

S isto
. T h e fine R oman head and b u st as well as the sleeve ,

of the dress he supposed to ha v e been exec u ted by Raffaelle

, ,

b u t the rest of the pict u re to have been finished by an i n ferior

hand T his portrait was i n the Palace of the Poggio Imperiale
.

u ntil 1 8 2 4 when it was bro u ght to the Pitti

, .

A bove is the portrait of a yo u ng m a n by F ran z F orbus ,

( 57
1 0 an excellen t F lemish painter of the school 01
F loris the hands are finely drawn .

A small b u t fine portrait of King Philip IV of S pain on

, .

horseback by Velas q ue z ( 1 5 9 4
,

F acing the window is the splen d id portrait of a gentleman ,

by Van der H e l st ( 1 6 1 3 H e is in black with a white

collar and c u ff s w ith lace T h e head and the left hand are
.

bea u tifully painted T h e head is very animated fu ll of life and

.
,

movement H e has a glove on his right hand a n d holds

.
,

his hat .

O ver the door is a H oly F amily by F ra Bartolommeo the ,

composition is very Leonardesqu e the infant St John crouches .

See P a ssa va nt s Raf a el

’
w n Urbin o .
1 9 0 TH E P I T T] GA LL E R Y .

at the feet of Eli z abeth who smiles as if amused the Virgin ,

is not elevated in feeling b u t the colo u r of this picture is ,

agreeable though it has s u ffered from cleaning and restorations

,
.

A fine portrait of a gentleman on the other side of the door is

by the Venetian T iberio T inelli ( 1 5 8 6 ,
a scholar o f
T itian and Bassano T i nelli enj oyed a high reputation and
.
,

was patronised by Louis XI I I of F rance . .

Passing through a short passage with a l ittl e o rn a m e nte d ‘

boudoir to th e left containing stat u es the Sala di U lisse has

, , ,

another large picture by A ndrea del Sarto facing th e window , ,

of the M adonna and Child with Saints i n the foreground are

S t J ohn the Baptist and M ary M agdalene
. T h e Infa nt Christ .

is full of dignity ; the M adonna is su pported by heads of

Cher u bim i n clo u ds .

T o the left of this picture is a n i nteresting portrait by

T itian o f the Emperor Charles V painted at the same time .
,

with h is son Philip I I for the Grand D u ke Cosimo I T h e . .

Emperor is advanced in years and has a worn and unhappy ,

countenance .

T w o good landscapes by Sal v ator R osa are beneath , ,

.

O ver the entrance is a very fi ne portrait of Pope Pa u l I I I .

,

by the Venetian Paris B ordone H is long thin fig u re ga u nt

,
.
, ,

feat u res and his sharp querulous countenance tho u gh full of

, , ,

intelligence are indicative of an unhappy restless old age

, , .

Pa u l I I I ( Alexander F arnese ) was chosen Pope in 1 5 5 4 a t

.

sixty eight years of age T h e chief aim of h is reign was to

-
.

check the progress of Lu theranism and his name is associated ,

with the Co u ncil of T rent H e had been marri ed before he took .

sacred orders and he asked and obtained the hand of M a rgaret

,

of A u stria th e illegitimate da u ghter of th e Emperor Charles

,

V for his gran dson O ctavi u s F arnese

.
,
T h e benefits which
,
.

he bestowed on his relations were only repaid by ingratit u de ,

which embittered the latter y ears of his life ; he died at

the advanced a ge of eighty fo u r T hough a correspondent o f -
.

Erasmus he established the Inquisition at N aples confi rmed

, ,
1 92 TH E P I T T] GA L LE R Y .

O ver the fireplace is a M adonna and Child St James and ,

.

St Catharine a good pict u re by Gi ovanni B ellini (e 1 4 2 8

.
, ,
.

1 5 1 6
) of the early Venetian school .

T h e Grand D u ke Cosimo I I I wh en a child is a charming .

, ,

portrait by Su ste rm a n s and below is a H oly F am ily by Baldas

,

sare Per u zz i of S ienna ( 1 4 8 1 S till lower the M agdalene ,

born e to H eaven by A ngels is by T addeo Z u ccaro ( 1 5 2 9

,

1
5 )
6 6 the gro u ps of cherubi m and angels are extremely
lovely .

A bove one of the doors is the picture of a H oly F amily and

A ngels attributed to F ilippo Lippo
,
T h e Virgi n i s kneeling.

before the Child i n a garden of roses she is very tender and

graceful the Child is in a playfu l attitude one of the angels
throws fl owers .

F acing the window is a H oly F am ily by Sandro B otticelli

e Virgin holds the Child l o v m l
( 1 44 7 T h gy ; S t J ohn .

the Baptist is beside them with the archangels M ichael and

,

Gabriel .

N ear this is another H oly F amily attrib u ted to Loren z o ,

Credi ( 1 4 5 9 T h e M adonna worshipping th e Child ,

who is laid on the gro u nd H is head resting on a b u ndle of

,

faggots I n th e distance is a bright sunny landscape the ox

.

and ass are in one corner J oseph i s looki ng on T his picture .

is probably of the school of Credi .

B eneath this a pict u re by Luc a S ignorelli ( 1 44 1

,

represents the Virgin and Child appearing to a young girl wh o

i s writing i n a book St J oseph is behind
. .

I n the centre below i s the portrait of S imonetta a lady cele ,

b ra ted for her bea u ty which is certainly not remarkable in this

,

pict u re Sh e has regu lar feat u res b u t her long neck and awk
.
,

ward figure are not improved by a cap and gown as ugly as they
are simple La bella Simonetta was beloved by Gi u lio de
.
’

M edici .

O ver the door to the adj oining rooms is a picture by B otticelli

of the Virgin holding the I nfant Jesus down to receive the
 .
S A LA D ] P R O M E TE O . 1 93

embrace of the little St John whose child like te n derness and .

,
-

gracefu l figure constitute the principal charm of this picture .

T here are rose b u shes i n the backgro u nd

-
.

T o the left of this is the Visit of the M agi by D omenico ,

G hirlandaio also a H oly F amily by D omenico B ecc a f u m i of

S ienna ( 1 4 8 6—1 5 and another H oly F amily by an artist of
the school of F rancia of Bologna which was long attrib u ted to ,

the master himself ; b u t the name B o a ta si was lately discovered

on the pict u re .

A very lovely Virgin and Child i s by Garofolo and another ,

pict u re where the Virgin kneels before the Child who receives
, ,

the nails the instru ments of the Passion and the Cross from
, ,

an angel is by M ariotto Al b ertin ell i

,
.

N ear the next door is an Ecce H omo by F ra Bartolommeo , .

Th e head ( in fresco ) resembles that of the half length fig u re i n -

the Academy ; the expression is sad tho u gh sweet and there i s ,

a pec u liar tenderness abo u t the mo u th .

A bove it is the same subj ect by A ntonio da P o l l aj o l o

,

—
( 1 4 2 9 1 49 8)
. by P oll aj o l o is on the fo u rth wall as well as
St S ebastian , , ,

the D eath of Lu cretia by F ra F ilippo Lippi a classical s u bject

, , ,

un u s u al with this artist .

A long narrow corridor connects these ro oms with a s u ite

farther to the back of the Palace T his corridor is called .

‘
of the Col u mns from two val u able little pillars of O riental
,
’

alabaster placed here Six pict u res in pietra d u ra represent .

Painting Sc u lpt u re A rchitecture and M usic the Pantheon of

, , , ,

R ome and the T omb of Cecilia M etella

,
T h e collection of .

miniatures in water colo u r and oil was made by Cardinal Le o

-

pold de M edici in the co u rse of his travels thro u gh Eu rope

’

b u t u nfort u nately there is no catalog u e nor m eans to learn

, , ,

whom they represent T h e first room following the corri dor is

.

called the Sala della Gi u sti z ia Th e rich Stipo or Ebony .

,

Cabinet inlaid with precio u s marbles in the centre was formerl y

, ,

u sed by Car dinal Leopold de M edici when officiating at mass

’

, .

VO L 1 1 . . o
1 94 TH E P I T T] GA LL E R Y .

of the m ost i nteresting pict u res here is a portrait of

O ne
O liver Cromwell by Sir Peter Lely ( 1 6 1 7 ,
T h e story con
n e c te d with this pict u re adds to its interest When the perse c u .

tion of the Waldensian Protestants whose su ff eri ngs M ilton has ,

immortalised in hi s beautifu l O de had reached its height the , ,

Lord Protector of England determined to arrest i ts course H e .

accordingly sent a message to the Pope A lexander V I I that , .

,

if these barbarities did not cease he wo u ld send the English ,

fleet up the T iber T h e result was an order to the D uke of .

Savoy to stay his hand T h e Grand D uke of T u scany F e r .

,

din a n d I I was so struck by the cou rage and character of

.
,

C romwell that he req u ested him to sit for this pict u re which
, ,

Lely then a young man painted

,
When Cromwell sat to Lely ,
.

i t is related that he said Paint m e as I am if you leave o u t ‘

the scars and wrinkles I will not pay you a shilling .

’

A fi ne portrait of the Canon Pandolfo R icasoli by S uster ,

mans H e belonged to the O rder of J es u its but was acc u sed

.
,

of im moral practices and was condem ned by th e I nq u isition ,

to be walled u p alive T h e devil at his ear and the inscription .

behind are late additions to the portrait .

T o the left lower down is a portrait of the Grand D uke

, ,

Cosimo I by A gnolo Bron z i no ( 1 5 0 2

.
,
as well as th e
portrait of the Grand D uchess Vittoria della R overe by Carlo ,

D olce .

I n the c entre of the Sala di F lora is Canova s celebrated ’

stat u e of Venus which was made to replace the Venus de

,
’

M edici when this antique stat u e was carried to Paris

,
N ear .

one of th e doors is a portrait of the Grand D u ke F erdinand I L ,

by Su ste rma n s .
.

S t A nna T eaching the Virgin to R ead on the wal l facing

.
,

the window is a richly coloured and portrait like picture by

,
- -

Cigoli T here i s likewise a good landscape by A gostino T assi

.
,

the master of Claude Lorraine .

I n the Sala dei P u tti Peace burning the Weapons of War , ,

by Salvator R osa is a very fine landscape which might have

, ,
 TA B E R N A CLE S ; CE N A C OLO O F RA F F A EL LE , A N D
TA P E S TRI E S .

H E only remaining specimens o f pictorial art to be noticed

are the T abernacles at the corners of the old streets and
alleys which once formed a conspicuous feature in F lorence
, ,

a fresco by Ra ffaelle in the Via F aen z a and the collection of

,

tapestries .

M any of these tabernacles were painted by the best masters ,

and enclosed i n frames o f marble carved with m u ch elegance .

Th e be st have been rem oved to the g al leries and though a ,

few good pictures are still left in their original positions they ,

are hardly to be distingu ished behind the glass thickly engrained ,

fl
with dust .

S om e of th e most important are as follows

Th e Ci n q u e La mpade in the Via degli A l f a n i already m en ,

fi oned
Charitable Persons bestowing Alms on Prisoners by F abri z i o ,

B oschi ( 1 5 7 0 in the Via Ghibellina form erly Via del ,

Palagio at the corner of the Bargello

,
.

T h e Virgi n and J oseph adori n g the Child by Bernardo ,

P o cce tti ( 1 5 4 8 opposite the Church of Sa n Procolo .

Christ bestowing A lm s on Prisoners by Giovanni di Sa n,

Giovanni ( 1 5 9 0—1 6 i n the Via Ghibellina formerly the Via,

del Palagio where was once the prison of the Stin ch e

, .

’
In the Via de T intori at the corner of the wall opposite
,

the Ch u rch of Sa n Giu seppe is a T abernacle by J acopo da

, ,

S e e v o l i p 39 5
. . . .
 TA B E RN A CL E S . 1 97

Casentino who lived in the fo u rteenth century which has how

, , ,

ever been much repainted

,
.

Beyond the Porta S anta Croce i n the Via N az io na l e ,

A retina is a M adonna by D omenico Vene z iano ( d

, ,
.

T h e M adonna and Child appearing to a Cardinal and chil

dren by Alessandro Gherardini 6 5 5 1 7 2 1 — is i n the Via de ’

M alcontenti near the Pia Casa di Lavoro di M o nte do mini

, .

Between the Via Sa n Piero M aggiore and the Via dell ’

Agnolo near the market of Sa n Piero M aggiore is an A mnun

, ,

c ia tio n by Giovanni Bald u cci ( d

,
.

I n the Pia zz a di Sa n M artino near the I nstitution for the ,

Poveri Vergognosi a fresco represents the good B ishop ,

A ntonino distributing alms by Cosimo Ul ive l li ( 1 6 2 5 ,

A tabernacle at the corner of the Via Larga ( now Via Cavour )

and the Pia zz a di Sa n M arco a good deal repainted is by Gher , ,

ardo a celebrated m iniat u re painter of the sixteenth cent u ry

,
-
.

I n the Via Chiara bet w een the Via N a z i onale and the Via
,

S ant A nto mno are two ta b e rn ac l es o n e by G ia no z z o M anetti

’
w

, ,

of a H oly F amily and the other a Crucifixion with the Virgin

, ,

and S t John the M agdalene kneeli ng in the background by

.
, ,

B ernardo P o c c etti .

I n the Via della Ru ota between the Via Sa n Gallo and the ,

Via C a ta rma 1s the M arriage of St Catharine by D omenico

,
.
,

F uligo ( 1 4 9 2 th e Virgin is standing with her S o n in

her arms who is giving the ring to St Catharine and Sa n Piero
, .
,

M artire is beside them .

T h e M artyrdom of S t Catharine near Sa n Boni fa z io is by .

, ,

Andrea F errucci ( 1 4 6 5
I n the Via N a z ionale is the Luca della R obbia already de
1
scribed .

’
O n the house i n the Via de C inori which once belonged ,

to T addeo T addei the friend of R a ff aelle was a tabernacle by

, ,

Giovanni S ogl ia n i ( 1 4 9 2 now transferred to the corner

of the Via del Bisogno it represents the Cr u ci fixion with the ,

Virgin and S t J ohn belo w and weeping angels above

.
, .

See vo l i p 43 2 . . . .
1 98 TA B E RN A CLE S .

To the le ft of the Ch u rch of S anta M aria N uova Christ is ,

represented with a mother and three children by Giovanni di ,

—
Sa n Giovanni ( 1 5 9 0 1 6 3 6 ) and at the entrance to the cortil e
there is another tabern acle — Christ with the Woman of Samari a ,

by A lessandro A llori .

A t the Canto de C a rn ese c c h i at the angle of th e Via

’
,

’
P a n z a n i and the Via de Banchi which lead to the old and new ,

pia zz as of Santa M aria N ovella is a fresco of the Virgin and ,

Saints by D omenico Vene z i ano ( d 1 4 6 1 ) this painting was so

, ,
.

much admired that it excited the envy of A ndrea del Castagno ,

and is said though without foundation to have led to hi s

, ,

a ssassination o f D omenico .

Behind the H ospital of Sa n Paolo near the Pia zz a di Santa ,

M aria N ovella i s a Virgin and Child enthroned with S t Peter

, , .

and St Paul on either side and angels above by A nton

.
,

D omenico B a mb erin i .

Th e tabernacle at the corner of S anta M aria N ovella at the ,

head of the Via della Scala is by F rancesco F io re ntin o a pu pil , ,

of D o n Loren z o M onaco which tho ugh inj u red exhibits , , ,

1
delicacy in the execution and is pleasing in colour ,
.

I n the Via Pala zz uolo near the Via del Prato a fresco , ,

representing Christ when a child walking between H is parents , ,

i s by Giovanni di Sa n Giovanni .

A Virgi n and Child by Carlo Portelli is i n the Via delle , ,

T erme .

S o u th of the A rno in the Via M a ffi a leading from the Via

, ,

M ic h el o z z i to the Via F ondaccio S anto Spirito i s a Virgin ,

and Child appeari ng to a B ishop with two angels seated in ,

front by Cipriano Sensi

,
.

I n the Via della Chiesa a B ishop kneeling with a M other ,

and Children is by Cosimo Ul ivelli

,
.

A H oly F amily with S t R och and other saints and with a

,
.
,

cardinal on h is knees by F ilippino Lippi ( 1 4 5 7

,
is in the
Via de Preti in the neighbourhood of Santo Spirito
’
,
.

S e e Va sa ri v o l ii p 2 1 4 N o t e 3 , . .
, .
,
.
2 00 CE N A C O L O OF R A F F A E L LE .

confi rm ed by the refined beauty of the heads and the carefu l

drawing of the hands feet and drapery to which may be added
, , ,

the period to which the pai nting certa inly belongs and the ,

inscription of Ra ff a e ll e s name now indistinctly seen on the

’
,
’
border of St T homas s dress T h e following description o f
. .

the fresco about the time of its discovery was written by an

, ,

1
eminent connoisseur i n A rt Th e heads generally are pretty
‘

well varied but m uch on a level i n the sti f f h ard style of

, , ,

the early m asters ; the countenances wanting i n expression ,

except that o f Christ and that of J u das T h e S aviour is not .

but a man acquainted with sorro w— mild benignant , ,

and m elancholy H is countenance is very sweet

. T h e head .

of J udas is fu ll of spirit but has rather the air of a fierce

,

captain of banditti than of a sco u ndrel betraying his M aster ,

and selling his faith Th e draperies are i n general pretty

.

broad but the remarkably fine master work i s i n the painting

,
-

of the hands and feet ; thes e are adm irable and the positio n ,

of the former s u rprisingly varied O n the hem o f the garmen t .

o f one o f the disciples are to be fo u n d these characters or ,

something near it —R A F V R B x M D ! V N o man except . .

R affaelle was ever admitted within these walls

’
.

D o u bts have since arisen as to the authorship o f this fresco

fl
,

and C a va l c a sell e attributes it to other pupils of Per u gino stating ,

that it had been painted over and that the colo u r is that of ,
‘

a practised coarse hand which is neither Ra a e ll e s nor

’
’

,
’ ’
Peru gino s It is not however impossible that whe n the
.
, ,

fresco if o rign a l l y by R a ff aelle was restored by an inferior

, ,

hand the inscription may have been inj ured in the process
, ,

which would account for its present indistinctness T h e obsc u re .

position o f this inscription which can only be discovered afte r

,

a close inspection would not have been selected by an

,

i mpostor ; and the character of the heads may be compared

with other works of R a ff aelle at this period — his M adonna del
Gran D u ca and the M adonna del B aldacch in o both i n the ,

1
T h e l a te Li e u t e na nt G e n e ra l S ir H e n ry B u nb ury B a rt K C B
-
, . . . .
 TA P E S TRI E S . 01

Gallery of the Pitti ; as well as with th e portraits of A ngelo

D oni and his wife M addalena Stro zz i &c & c T h e head and ,
.
,
.

fig u re of St James with his hands beau tifu lly placed in repose

.
, ,

of S t T homas and of S t J ohn are very R a ff a e ll esq u e Aro u nd

.
,
.
,
.

the room — besides original drawings and st u dies for thi s fresco ,

—
which are likewise attrib u ted to R af aelle are other drawings
f ,

photographs and engravings showing the varied yet analogous

, ,

treatment of the subject by artists of diff erent schools an d

co u ntries .

T h e A rch aeological m u se u ms which were f o rm el y contained

i n this b u ilding are now transferred to the Pala zz o della Cro
cetta Via della Colonna not far from the Church of the SS
, ,
.

A nnun z iat a which d u ring the later period of the Grand D u cal
,

G overnment was used to lodge the guests at Court when th e ,

Pitti Palace was too full to receive them .

T h e s u ite of rooms on the u pper story of this building to ,

which access is obtained from a door in the Via Lau ra contain ,

an exceedingly val u able collection of T apestries specimens of ,

’
velvet and silk st u ffs as well as some priests vestments em
, ,

broidered altar cloths and a few costumes of the Italian

-

aristocracy i n the seventeenth and eighteenth cent u ries .

F ive small rooms on entering the gallery are s u rro u nded b y

cases of gla z ed frames which contain small specimens of velvet
,

and silken st u ff s T h e designs and rich colo u ring of some

.

of these are very bea u tifu l O n e small room contains a .

or large altar cloth of the richest hand embroidery

- -

dating from 1 4 0 0 and representing a number of episodes in

,

the life of the Virgin I n a case in the centre of this room

.

are priests vestments also embroidered by the hand and of

’
, ,

the same period T his was bro u ght from the convent of Santa
.

M aria N ovell a and represents a n u mber of incidents in the

,

legendary history of the D ominican brethren ex q uisitely em ,

1
broidered i n silk and gold .

O ne of th e g rea te st t rea su res o f e mb ro i dered ne e dl ew o rk in Fl o rence

is p re serv ed in th e B a p t i ste ry I t f o rme rly b e l o n g e d to a p ri e st s v estme n t
’
.
,
2 02 TA P E S TRI E S .

A small room 1 5 h u ng with cu ri ous borders o f Fl emish

tapestry representing the history o f D avid and B ath sheba
,
.

T h e tapestries that follo w are i n rather m ore spaciou s rooms .

T h e art o f weaving tapest ry was introduced from the Eas t ,

and spread through Europe at th e time o f the Cru sa des ;

shortly afterwards the F lemings establ i shed factories i n several
o f their cities and i n the fi fteenth cent u ry brought the art to
, ,

great perfection Th e Italian s deri ve the nam e a ra z z i from

.

A rras i n Picardy the site o f one o f the principal tapes try

, ,

manufactories Wool and hemp were employed but wool was

.
,

preferred because the dyes i n this material were considered

,

more pe rm anent Th e tapestries i n which gold thread and

.

silk were used were principally thos e of Venice and F lorence

, ,

wh ich flou ri shed at a later period F rancis I of F rance esta . .

bl ish e d a tapestry manu factu re at F ontainebleau where gold ,

and silver thread were i ntroduced and pieces o f larger dime n ,

sion s were woven instead o f sewing together small pieces H e .

also i nvited F rancis Primaticcio o f Bologna to F rance to ,

make the designs T h e Gobeli n tapestry was not established

.

b e fore the reign of Lou is X IV T h e word Gobelin was taken .

from the nam e o f a dyer who owned the land where the ,

factory was established .

We trace the com mencement of tapestries in I taly to th e

fi fteenth centu ry when a number of weavers fro m F landers
,

crossed the Alps either driven from th ei r country on accou nt

,

of their religious or political scruples or attracted by th e sum s ,

o ff ered by som e of the cities and princes of Italy Establish .

ments for weaving tapestry were planted at F errara Venice , ,

M antua Sienna and Bologn a and towards the end of the

, , ,

fi fteenth century a certai n Giovanni di Giovanni a F lem ing , ,

made som e tapestry for the cathedral of F lor e nce When .

Cosimo I becam e Grand D uke of T u scany he bestowed much

.

pains in prom oting the arts an d manufactures o f his country ,

it
a n d c o ns s s o f t w ent y sev e n m i n i a tu res o f sce nes f ro m th e li f e o f S t J oh n
-
.

th e
‘
B a p t ist , af te r designs by An t o n i o Po l l aj o l o ( S ee A pp endi x )
. .
2 04 TA P E S TRI E S .

devi ces are remarkable for variety of design and great b eauty
,

and harmony of colo u r T hree consecutive rooms are hung

.

with tapestries o f F lem ish work dating from the sixteenth ,

century and representing scenes from th e feast s which were

,

held on occasion o f the marriage of H enry I I of F rance with .

Catharine de M edici T h e colours are i n excellent preserva

’
.

tion ; they are besides i nteresting historically as well as for ,

the costu mes o f th e perio d but the author o f the designs is

'

u nknown .

Six Gobelin tapestries the H istory of Esther and M ordecai, ,

were executed by the celebrated J ean A udran ( 1 6 6 7

after cartoons of J ean F ra n go is de T roye ( 1 6 7 9 In
the c ompartment where Esther i s crowned by A has u eru s sh e
is represented standing bending i n front o f the monarch , ,

and extremely graceful .

T h e Young Gardeners a series o f five tapestries are also

‘ ’
, ,

of Gobeli n manu facture and were exec u ted early in the eigh t
,

ee nth centu ry ; they are exceedingly bright and adapted to ,

decorate the walls of a vill a .

T h e episodes from the life o f C ae sar are F lemish tapestries

w ith the mark of the manu factory at B russels S tarting for .

the Chase is also F lemish and was woven in the sixteenth

, ,

cent u ry .

T h e T apestries from painti ngs by M ichael A ngelo and

R affaelle i n a small room are of F lorentine man u facture A .

Vase of F lowers in thi s room is of Gobelin tapestry and very ,

lovely .

T here are a great many other T apestries o f S cript u ral a n d

other s u bj ects which it is impossible to specify M ost of these
,
.

have their date and the names of the a rtifi c e r and designer of
,

the cartoon are inscribed below O ne series of F lorentine tapes .

tries woven in the seventeenth century represents the story

, ,

I t is to b e t o ne o f th i s seri es is no t h ere b ut h u n g in
g
re re tte d th a ,

o n e o f th e Ro o m s o f th e M u se u m o f t h e B a rg e ll o R e pli cas o f t h e se .

ta p estri es a re a t Wi n dso r C a s tl e in P a ri s a n d in R o me
, ,
.
 TA P E S TRJE S . 2 05

o f D avid and Bathsheba anot h er D avid an d Abigail all of

, ,

which are fi ne specimens of the art .

T h e walls of a narrow galle ry are hung with some of the

largest pieces of tape stry w hich it is to be regretted cannot
'

be viewed from a s u f ficien t distance Several fine Gobelin.

tapestries are on these walls with designs taken from Pagan

,

subj ects F our S criptural s u bj ects representing the Creation

.
,

of Ev e A dam and Ev e driven from Paradise & c are by a

, , .
,

F leming and date from early i n th e sixteenth cent u ry

, .

O n e of the last rooms i n the collection is devote d to tap es

tries for Porti eres or door curtains having the arms of the
, ,

M edici at di ff erent periods 1

.

"F o r mu ch o f t h i s i nf o rma ti o n w e a re i ndeb t ed to th e ca tal og u e o f

S ign or Rig oni .
 C H A P T ER XVI I .

TH E A R C H/ E O L O G/ CA L Al US E U/ll E G YE T/A N
‘
-

A N T/Q UI TI ES .

N the first floor of the Palace o f the Crocetta are the

Egyptian and Etr u scan collections T he ve ry complete .

chronological order o f this small but i nteresting M u seum ,

beginning with th e earliest Egyptian and ending with th e latest

Etruscan works is due to the learning of Signor Schiaparelli
,

and S ignor M ilani two you ng professors w h o have already

, ,

earned for themselves high distinction as arch aeologists T hey .

have so arranged the collection as to a fford every facility to the

student as well as amuseme nt to the casual visitor We are
,
.

chiefly indebted for this description to the assistance aff orded

us by the admirable catalogue of S ignor Schiaparelli ( which it
would be well for eve ry stranger reading I talian to p u rchase )
and information derived directly from himself and from S ignor ,

M ilani who is now preparing an elaborate work on Etru scan

,

anti q uities We have also consulted the well known works of

.
-

Sir Gardner Wilkinson and D ennis on Egypt and Etruria .

T h e first obj ect which attracts the visitor is a peculiar taber

n a c l e o f granite placed on the landing of the stairca se T his .

was the cage which contained the hawk sacred to H orus the , ,

son of O siris and I sis and was brought from the T emple o f
,

Phil ae in Egypt A n enormous sarcophagus also o f granite

,
.
, ,

is in the hall below .

N ear the entrance to the first room in a corner to the right

, ,
2 08 A R CH E O L O GI CA L M US E UAI
. .

betokeni ng silence or the com mon action o f a child I n N o

, . .

2 5 he is seated on a lotus flower which rise s from the waters ,

o f the N ile th e flower is inlaid with bits o f glass the lotu s ,

when expanding i ts petals to the light was supposed to repre ,

sent the rising sun .

A t the back o f this shel f are paintings on wood one o f ,

which has the bull A pis ca rrying a corpse to burial .

Cabi net I I contains more images of O si ris and I sis besides

.
,

those o f som e other su perior deities Phtah the creative .

,

power chiefly worshipped at M emphis i s sometimes re pre

, ,

sented as a dwarf pigmy or child to sign ify the beginning ;

, , ,

the beetle or Sc a ra b e u s as an emblem of creation belongs

, , ,

specially to him T h e fi gu re of Phtah was often carved on the

.

prows o f Phoenician vessels and was painted on th e chest sup ,

posed to contain the mo rtal remains o f the god O siris he also

appears u nder the name o f Phtah Sokari with the hawk s head ,
’
,

which was one o f hi s emblem s H is consort Se xet has the head

fl
.

’
o f a lioness symbolical of the sun s heat and of vengeance
, .

Some of her images here are i n blu e porcelai n .

B ast with a cat s h ead is di i c u l t to distinguish from th e

,
’
,

lioness o f Sexe t but she sign ifies the b e ne fi c e nt warmth of the

,

sun and H armony .

Th e fragm ent o f a hideou s statue on a pedestal near th e ,

door to the adj oin ing room represents Bes the god of D eath , , ,

o r the M iseries o f War and of M u sic probably by music

, ,

m eaning the noise o f m artial instruments Signor Schiaparelli .

believes this god to have been a foreign importation though ,

worshipped from a very early period by the Egyptians who also ,

identified him with T yphon the Evil Principle H is ug l y , .

figure is more A siatic than Egyptian Images of B es were .

i ntroduced into Etruria O n the other side o f this door i s th e

.

m ummy o f an A pe or Cy nocephalus sacred to the god T hoth , .

I n Cabinet I I I are divinities o f T he bes H eliopolis and

.
'

, ,

other cities N os 4 2 and 4 3 represent Amun the god o f

. .
,

T hebes and one o f the earliest divinities worshipped i n Egypt

, ,
 E G YP TJA N A N TI Q UI TI E S . 00 9

therefore entitled King of the gods H e advances one leg and .

arm as if walking I n the smaller images he has the head of

,
.

a ram symbolical of divine strengt h and power F rom him i s

, .

derive d the Egypto Roman god J u piter A mmon Kh o u so or

-

,
.
,

Chous the son of A m u n by his consort M au t ( th e mother god

,

dess ) has like H orus one lock of hair to denote childhood

, , ,

he wears the l u nar disc and carri es the sceptre of T hebes ,

.

N o s 5 1 and 5 3 represent R a the su n the supreme god of

.
, ,

Egypt he also appears in movement and has a human body ,

with a hawk s head ; he is crowned with the solar disc and

’

asp his chief temple was at H eliopolis the city of the su n , .

N o s 6 1 and 6 2 are images of M a the goddess of J u stice

.
, ,

she is the daughter of Ra and wears an ostrich feather sh e ,

holds a lotus flower with a hawk resting u pon it Within the .

cases i n the windows are amulets taken from variou s mon u

ments T hose representing eyes are charms symbolical of th e
.
,

sun.

In Cabinet VI between the windows are images of the

.
, ,

gods of evil amongst whom appears B es as a dw a rfi sh mon

, ,

ster carved in wood O n the lowest shelf to the right i s .

, ,

a mythological representation of the tri u mph of good over

evil
.

I n Cabinet VI I are sacred animals the asp holding the

.
,

sun s disc the jackal sacred to the god A n u bis who super
’
, ,

intended the passage of souls from this world to the next ;

some very fine images of the B u ll A pis sacred to O siris the
Cow of I sis A thor the Ra m of A m u n the Vu lt u re of his
consort M aut the Cat of Bast and the A pe or Cynocephal u s ,

symbolical of the st u dy of letters and sacred to T hoth T hi s , .

god played a most important part in Egyptian mythology as ,

the interpreter of the gods the scribe of the Lower R egions , ,

noting do wn the deeds of men and the teacher of ari thmeti c , ,

geom etry and the game of chess

,
.

Cabinet VI I I has mummies of the Ibis also sacred to

.
,

T hoth and of other animals

,
A mong the curiosities here .

VO L . 11 . P
210 A R CH / E O L O GI CA L M US E UM
. .

exh ibited is a c l oth containing a number o f small serpents

, ,

possibly the Cerastes or venomous horned snake of Egypt

, .

I n the centre of the room is part of a group representing ,

the Cow of I sis A th or giving nourishment to one of th e

Pharaohs who has assum ed th e form of the god H orus T his
, .

gro u p was i n a pal ace at T hebes but was carried to the tem pl e ,

o f I sis i n R ome the remai ns of which were discovered be

,

hind the church o f Santa M aria della M inerva .

A collection of Scarabei and o f m inute images o f the gods

are exhibited on tables under glass Between the ca binets are .

rel igious symbols hawks fi shes & c perched on poles as

, , ,
.
, ,

they were often placed on sarcophagi .

T h e second Egyptian room has at one end a chariot fo u nd

i n a tomb at T hebes I t is s u pposed to have been a trophy
.

brought from some conquered nation north of Egypt Part of .

it is made o f fossilised bone ; the yoke was covered with

l eath er i t is probably as old as B C 1 4 0 0 Various sepulchral . . .

slabs with inscriptions are here let into the walls N o 8 com . .

m e m o ra te s a war carried on against a city of Ethiopia I n the .

relief the king is acco m panied by the prince who has assumed ,

the form o f the god Ra and they receive the prisoners from
M ent u the R oman M ars
,
Eyes symbolical of the sun may.
, ,

be frequently observed on these m on u m ents N o 1 2 is the . .

i nterior o f a sepulchre N o 1 3 belongs to an epoch as far

. .

back as B C 3 0 0 0 N o s 1 4 and 1 5 near the columns which

. . . .
,

support the ceiling are two small figu res o f women prepari ng
,

bread I n th e glass cases n ear the wi ndows are some of the

.

materials used in Egyptian b u ildings .

O n the other side of the columns N o 3 4 is the statue o f ,

.
,

a H igh Priest of M emphis where the god Phtah the creative , ,

power was worshipped T his H igh Priest lived a bout B C 1 5 0 0

,
. . . .

T h e stone of which his statu e is made is the hardest then used

, , .

A sarcop h ag u s in the centre of the room has at the bottom

o f the interior as well as under the lid paintings representi ng
, ,

the goddess N u t who like H era or J uno in Grecian myth o

, ,
212 A R CH / E O L O GI CA L fi / US E U/l l .

important o f the realm and h e presided over thirty i nferior ,

j udges H e wears a gold chain to wh ich was attached th e

.
,

emblem of the goddess M a Ju stice th e da u ghter of S unl ight , , ,

sometimes called the goddess Th e mis l

When sentence was .

pronounced and th e accused person acquitted the j udge

, ,

touched him with this image .

N o s 7 8 and 7 9 are bricks such as were made by the J ews

.
,

when in Egypt .

N o 8 0 is the statue o f a Priest belongi ng to the temple o f

.

the god A mu n at T hebes .

N ear the window at the farther end of th e room N o 9 4 ,

.

is part of th e statue of a Governor of th e S outhern as well as

N orthern Provi nces of Egypt and H igh Priest to N eith the , ,

Egyptian M inerva the goddess of Wisdom and War who was

, ,

worshipped at Sai s in Lower Egypt where this statu e was made ,

B C 6 00
. . It was brought to Rom e and placed i n the T em ple
.
,

of I sis .

N o 9 5 i s a monum ent to a Priestess o f A mun

. I n the .

u pper part the priest worships O siris wh o is accompani ed by

, ,

I sis and her sister N e ph ys who is represented standing at the ,

f eet o f the deceased ; on the lower half of this monum ent is the
goddess A thor ( in this i nstance a separate person from Isis )
’
she wears a cow s head and pours the waters of life into the ,

hands of the deceased person from which a bird symbolical , ,

of the soul drinks ,

.

N o 9 9 a fi ne head from the statu e o f one o f the kings is

.
, ,

probably a late work and the portrait o f a Greek Ptolemy B C

, , . .

2 00 .I n the window are m oulds for casts amulets &c , , .

T h e third room contain s various mummies In the cabinet .

N o 1 are vases which were placed u n der th e fu neral couch

.
, ,

and contained that part of the body which was removed in the
process of embalming .

N o 7 is the s a rcophagu s o f an attendant i n the T emple o f

.

See M a n n er
s a n d Customs f
o tlze A n cien t Egyptia ns, by Sir G a rdner
Wilkinson .
 E G YP TI A N A N TI Q UI TI E S . 2 13

the god Kh o u so the son of A mun and M a u t Within th e

,
.

sarcophag u s is a pict u re of the goddess N u t .

N o 2 2 a very interesting papyr u s taken from a mummy

.
,
a
so u l is here represented awaiting its sentence after havi ng ,

passed thro u gh the severe trials from which it has escaped by ,

virt u e of the book it holds in its hands O siris presides as .

S u preme J u dge ; forty two A ssessors or A ccusers-— e q ual i n

n u mber to the cardinal sins to which man is liable — are
present as well as other divinities among whom T hoth is
, ,

conspic u o u s wearing the head of an I bis ; he is here as S cribe

, ,

to note down the proceedings of the trial ; the heart of the

deceased is weighed on scales beside which a monstrous beast ,

is seate d to whom it is to be thrown if proved defective

, , .

I n the glass Cases I and I I are small fu neral images called

. .

Shabti which were placed in m u mmy cases and supposed to

, ,

assist the dead i n the agricult u ral labours of the other world
they have a hoe and a bag of seed T h e n u mber of these .

images fo u nd i n a m u mmy depended on the wealth of the

deceased ; some are of wood some of stone and some o f , ,

porcelain .

I n Cabinet I I is a wo o de n image of O siris i n a small casket

.

containing wheat In Cabinet I I I are Canopi or vases used as

. .
, ,

those before mentioned to contain that part of the body which

,

was removed when embalming T hey are r u de imitations of .

the h u man fig u re and h ave heads and sometimes arms T hey , .

were probably made at Canopus a city on the coast near the , ,

mouths of the N ile .

T h e fo u rth room is assigned for implements and fu rniture

for domestic use N o 1 is a head l ooking u pwards and
. .
,

wearing the ornaments and sacred As p of an Egyptian king a

tru thfu l and vigoro u s work of art N o 2 is a female bust well . .

exec u ted and perhaps a portrait B C 1 4 00

, ,
. . .

I n Cabinet V are weights composed of rings of gold and

.

silver u sed in place of money a custom followed by the

, ,

Etruscans T hey sometimes have the name of a king engraved

.
2 14 A R CH / E O L O GI CA L M US E UM .

on them N o 2 0 is the cubit measure about fif ty two centi

. .
,
-

m etres or the length from th e wrist to the elbow

,
.

I n Cabinet VI I I are necklaces earrings bracelets and rings

.
, , ,

of precious stones and of glass also sandals made from the

,

palm .

Cabinet I X contains articles for the toilet among which

.
,

are little vases of the black liq u id used for staining the eyelids .

T h e vases in the fifth room are all taken from Egyptian

tombs and were most of them filled with wheat oil or wine
, , ,

the oldest are brought from M em phis and T hebes .

I n Cabinet I I are vases used for libations to the gods on

.

some o f these are painted or m o u lded heads of the goddess

A thor .

Cabinet V has a rich collection of alabaster cups and other

.

vases dating as far back as B c 3 00 0

,
. . .

Cabi net V I contains vases of a later period and o f Cyprian

.
,

manufacture probably after the Persian conqu est and the

, ,

occupation o f Egypt by Cambyses as they differ essentially ,

from vases of the N ational or Pharaonic period .

I n Cabinet I I of the last Egyptian room and facing the

.
,

window is the po rtrait of a lady with no small pretension to

,

beauty th e picture is i n encaustic and probably by a Greek ,

painter I t was fou nd on the face of an Egyptian mummy ;

.

the features are reg u lar the m outh small and the large dark , ,

eyes are soft in expression ; the ring round the eyes and th e
black eyebrows are probably arti ficial ; she wears a p u rple
dress and gold earrings T h e Sarcophagi N o s 1 2 and 9 . .
, ,

have paintings i n the interior and beneath the l id representing ,

the goddess N u t ; that in N o 1 resembles the By z antin e .

paintings and mosaics of the sixth century after Christ .

I n Cabinet I I I are images of the Egyptian gods of the

.

Alexandrian period and there are also some small Christian ,

vases for balsams which were found in Alexandria ,

.

Cabinets IV V and V I are filled with vases and other o b

.
,
.
,
.

j e c ts o f Cypri an manufacture which partake of the c h aracter o,

f
 C H A P T ER XVI I I .

A R CH fi OL O GI CA L AI US E UM —E TR US C A N A N TI QUI TI E S .

OM
th e Cyprian collecti on the visitor enters the suite o f
rooms assigned to Etruscan remains .

T h e Etru scan settlements extended over the greater part o f

I taly from the plains of Lombardy to the T iber and their
, ,

commercial relations with Egy pt Greece and A sia i ntroduced , ,

various manufactures which render it di fficult to distin guish

,

between native and foreign A lth o u gh it is evident that the

.

u pper class had obtained a luxury which implies high material

civilisation the absence of literary remai ns and the little that

, ,

can be deciphered on monumental i nscriptions make it impo s ,

sible to obtai n any certainty relating to the history o f this

singular people the progenitors of the modern T uscans
, .

T h e latest conject u re arrived at by arch aeologists is that th e ,

—
Etruscans were a Pelasgic race who in a pre Celtic period , , ,

were spread over Europe and settling in I taly m ixed with the
, , ,

O scan and U mbrian i nhabitants u ntil in their turn they were

, , ,

conquered as i s supposed by th e R a se n ae another N orthern

, , ,

race who formed the dominant class or aristocracy ; which

,

position they m aintained until the R omans subd u ed the whole

co u ntry T heir chief gods were T ina the R oman Jupiter ; Cu
.
,

pra J uno and M e nerf a M inerva O ther gods were worshipped

, ,

i n particular places T ina was assisted by a co u ncil of twelve

.

divinities the D ii Consentes who presided over the powers o f

, ,
 E TR US CA N A N TI Q UTTTE E 21 7

nature and were perishable with th e material creation N in e

,
.

gods were allowed to wield the th u nderbolt .

O n the w al ls of tombs and on vases and mirrors are frequently

— —
to be found representations of Ven u s T u ran M erc ry T u rms ;
u

u — —
V lcan Seth l a n s ; and of Pl u to M ant u s who with his consort , ,

Proserpine M ania w as the chief of the infernal deities Genii

-

,
.

or attendant spiri ts are a pec u liar feat u re of Etruscan mythology ,

and the images of Lares or ho u sehold divinities were common

in every family T h e Lara or Lasa is often represented as a
.
, ,

winged female Th e mythology of Greece is also fo u nd

.

mingled with that of Etruria Greek vases in Etruria record .

the stories belonging to Greek religion and th u s their traditions ,

were copied and assimilated by the Etru scans .

T h e first room of this collection contains vases o f black and

grey clay belonging to the earliest period called Bucchero I n
, ,
.

Cabinet I are specimens of the most ancient pottery which

.
,

was hand made and baked in the su n I n Cabinet I I most of

-
. .

the vases are U mbrian some for household and others f o r ,

cinerary purposes and all are of the black clay worked by the
, ,

hand .

Case I I I contains primitive Etru scan vases also hand made ;

.
,
-

one of these N o 1 6 is of red clay and ve ry elegant in form

,
.
,
.

N o 1 3 a large Crater or Kelebe of black ware is from O rvieto

.
, ,
.

Th e Kelebe is the oldest or most archaic form of vase and was ,

u sed for mixing water with the wine a c u stom prevalent ,

with the ancients it has pillared or crowned handles N o 1 4 . .

is a gourd shaped vessel with one handle low down and a

-

, ,

cove n
T h e vases of black ware in Cabinet IV are some of them .

hand made b u t others have been t u rned by the potter s wheel

-
,
’
.

N o 1 9 is a sing u lar vase from Chi u si with the heads of cocks

.
,

placed at the alternate mo u ths ro u nd the body of the vase it

was intended for fu neral rites as the cock had reference to ,

death and immortality N o 2 6 is also a remarkable cinerary . .

urn important from the reliefs on it o f the Sphinx and F ish

, .
2 18 A R CH E O L O GI CA L l l I US E UM .

No . 28is a child s toy of a car w ith horses found at O rvieto

’
, .

N o 1 8 and N o 2 1 are again gourd shaped vessels

. .
-
.

Case V contains im itations o f Greek work from South ern

.

Etr u ria one of them N o 3 1 has a dove o n th e top

,
A j ug
,
.
,
.

or O inochoe of ve ry elegant form N o 3 3 o n the lowest shel f ,

.
, ,

has been turned by th e whe el T h e term O inochoe i s applied .

to a j ug with a trefoil spout from which water was po u red o n ,

the hands o f gu ests at a banquet T hes e vases were found at .

T a rq u in ii C ae re Veii and other Etruscan citi es near R ome

, , ,

they belong to B C 7 00 and B C 6 0 0 N o 3 5 is a do u ble vase

. . . . . .

with holes pierced on the inner vessel ; on a sh elf above N o 2 9 ,

.
,

is an O inochoe with the image o f a hors e on the top ; the ho rs e

’
was sym bolical of a j ourney to another world and a horse s ,

head there fore sometimes appears in the corner o f a monument ,

representing th e farewell of th e dying T hough intended for .

funeral purposes the vase i s an imitation o f those i n use for the

,

h ousehold N o 3 4 is an O i nochoe with relie fs of animals o n a

. .

n arrow border rou nd the n eck and also round the body ,
.

Cases V to V I I contai n vases from M aritime Etruria most

. .
,

of which belong to the peri od from B C 6 0 0 to B C 5 00 an d . . . .

,

some o f them are imitations of the Greek T h e j ugs i n .

Case VI I have m ouths like the beaks of birds N o 3 6 is a

. . .

small vessel of four cups for flowers or condiments .

I n Case VI I I are vases o f the sam e period which have be en

.
,

evidently cast i n moulds N o s 3 7 3 8 and 3 9 with doves o n .

, , ,

the top rest on stands or on an apparat u s for heating incense

, ,
.

O n the handle o f N o 4 1 are two figures of extremely Egyptian .

chara cter .

Case IX contains vases with decorations stamped by a

.

cylinder the sam e subj ect being repeated at equal intervals

,

some of these are i n black ware O n N o 4 3 the horse is agai n . .

represented N o 4 5 is a red vase from Cortona

. . .

T w o large vases in the w indows are —a D ole or open mouthed ,

-

j ar and a Pithos a j ar with a neck both are fluted and have

, , ,

reliefs rou nd their edges stamped by the cylinder T h e Pithos .

2 20 A R CH / E O L O GI CA L M US E UM

with trays probably taken from the tombs of women since th e

, ,

obj ects within them are all for dom estic use they are provided
with tablets on which wax was rubbed to write on with the
stylus .

O n the third shel f are vases resting on stands and on ,

the highest s h elf several of a peculiar form which may have

, ,

been used as rests for the arms some are basket shaped -

vases &c , .

O n the top and with in the glass cases A and B in the centre
of the room are fu neral vases w ith figu res i n relief ; human
h eads as represented on Greek gems to represent the ma n es
,

or departed spirit ; the sphinx geese stags horses carrying the , , ,

dead with cocks an d doves are on the tops Within Case B

, ,
.

is a tray containing household utensils .

Case VI I has vases remarkable for beauty of form as well

.
,

as several trays A n O inochoe N o 5 8 has a fi n e lustre

.
, .
,
.

’
I n Case VI I I N o 5 9 has a lid i n the form o f a Bull s
.
, .

head and below is a relief of the Greek legend of T heseus

,

with the M arathonian B ull ; he sei z es it by the horns with

one hand whilst with the other he grasps one of th e animal s
,
’

forelegs N o 6 4 is a singular vase with a dove on the top an d

. .
,

the relief o f an Egyptian head characterised by the high set ,

ears and with eyes descending towards the nose peculiar to

, ,

Egyptian art .
.

Crossing the gallery o f painted vases the two rooms beyond , ,

'

called the S a l e degl i A rnest are filled with a most i nteresting ,

collection of bron z es U nder a large glass case i n the centre of

.

’
the first room are various articles of a lady s toilet fou nd in a tomb
at Chi u si and belonging to on e of the best periods of art abo u t
, ,

B C 5 00
. . A cup or vase for incense is supported by the figure
.

of an athlete two smaller vases were for perfu mes on e of

glass is a Ph oenician importation two beau tiful alabastrons of
alabaster are from the East and two others i n painted pottery
are from A ttica T h e alabastron was probably intended for
.

paint ; i t has no foot and is sometimes in the shape o f an ,

 E TR US CA N A N TI Q UI TI E S
’

. 22 1

animal the material of which they are made is either like the ,

first of these oriental alabaster or else terra cotta with black

, ,
-

designs on a cream coloured grou nd -

.

I n this case are also a mirror and a most gracefu l article ,

for the toilet in the form of a N ereid holding the shell of Ven u s
,
.

A fi ne bron z e vase at the top of the case i s surmounted by a

'

dancing nymph Below is a B ra ez ere or pan for charcoal

.
, ,

with an inst ru ment ending in a hand to stir the fuel ro u nd the

edge are bearded satyrs .

Cases I and I I contain candelabra some of them i n

. .
,

ex q uisite form s ; one is supported by three panthers T h e .

candelabra N o 8 was bro u ght from T elamon ; below Venus

.
,

looks at herself in a mirror the u pper part is s u pported by a

N ereid ; frogs are in the corners ; several lamps and fi n el y
'

wro u ght handles o f ezstaz or caskets are of great bea u ty O ne

, ,
.

i s composed of two warriors another of winged genii s u pport ,

ing a dying soldier on the upper shelf besides a casket there , ,

are two feet of a tripod one of which represents Perseus with

,

the dying M ed u sa the other Peleus and T hetis N o 1 1 is an

, . .

emblem in the form of a star fi sh with a head in the centre -

, ,

and an inscription to the eff ect that this was a sacred gift from
one A u lus V el tu riu s son of F eni z ia , .

Case I I I has only military weapons Case IV has a com

. . .

p l e te s u it of armo u r which has been gilt ; it is from a tomb

,

near O rvieto the helmet and shield with the breastplate and ,

grieves are bea u tifully mo u lded to the form

, .

Case V contains vario u s weapons and bron z e helmets of a

.
,

very early or archaic period a bron z e hatchet with a long ivory

h andle st u dded with amber probably for sacrificial p u rposes, ,

was found at Chi u si T h e q u antity of amber in Etru scan orna

.

ments may be considered a proof in support of the theory that

the race in early times was Spread over Eu rope as far as the
Baltic ; tho u gh it might also have been imported since the ,

Etruscans appear to have carried their commerce into all parts

of the known world N o 1 7 is a bron z e I talian helmet or Pileus
. .
,
 A R CH AE O L O GI CA L M US E UM
'

i n the form of a Skull cap of felt as seen i n representations o f-

U lysses it has horses engraven on it I n Cas e VI are other . .

m ilitary weapons : N o 1 8 is a Greek helmet whi ch may be .

,

compared with N o 1 9 an Etru scan helmet .

, .

Case VI I has several obj ects o f g eat interest discovered

. r

near the T ower o f T elamon N o 2 7 is a little model of a . .

plo u gh .

Case VI I I contains implements for domestic use found i n

.

the N ecropolis of T elamon N o 3 1 is a Patera or sacrificial . .

,

c u p of bron z e with reliefs i n which Professor M ilani recognises

, ,

U lysses with D iomedes visiting Philoctetes Philoctetes one

fl
.
, , ,

o f the heroes of the T rojan war had received the bow and ,

arrows o f H ercules witho u t which T roy could not be taken ; h e

,

was detained in the i sland of Lemnos by either a self in ic te d -

wound or a serpent s sting i n his foot and U lysses and D io

,
’

medes followed him thither to entreat him to return and hasten ,

the capture of T roy T h e s u bj ect i s fou nd on Greek and Etru s

.

can vases and Scarabe i O n an u pper S helf i s a ba l sam vase ; .

N o 3 3 is a vase in the form of a head of Venus ; near i t is a

.

bea u tiful j u g ; and N o 3 5 is a fi n ely shaped Sit u la or pail N o

.
-
.

34 is a lovely Patera the handle of which has a ,

winged figure
of Lasa the female genius attached to the worship of Venus
,
.

Case I X con tains vessels supposed to be as old as B C 7 0 0

. . .

to B C 5 0 0 N o 4 2 is a little silver Sit u la fo u nd at Chiu si

. . . .
,

uni q u e of its kind ; on it are engraven warriors on horseback

and women carry ing b u ndles on their heads the style of art i s
very Ph oenician : and N o 4 1 is one of the most ancient fu neral .

vases in existence .

Case X : N o 5 1 is a bron z e mask from Chiusi N o 5 2 a

. . .
,

bird cage ; N o 4 9 an ornam ent or handle in extremely fine

.
,

workmanship a yo u th bends backwards and is s u pported by ,

two bearded m e n who carry him on their Sho u lders

,
.

Case XI contains fragments of vases chiefly belongi ng to

. ,

the fo u rth and third cent u ries before Christ .

Cases XI I to XV have utensils for domestic u se handles

. .
, ,
2 04 A R CH /E O L O GJCA L M US E UM .

placed in a room of the Palaz z o Vecchio inhabited by th e ,

Grand D uke Cosimo I I t is alluded to in a postscript to a .

letter written by A nnibale Caro to Cardinal F arnese the year of

its discovery T h e accompanying drawing is of a bron z e
‘

statue fo u nd when excavating certain ditches i f I remember ,

well in A re zz o or i n Volterra which is not exhibited because

, , ,
c
th e superstitio u s consider it po rte n to u s of something relating
to the Grand D uke and to signify the M ar z occo of F lorence ,

with the Capricorn which last belongs to ( or was the crest o f)

,

the D uke and both bei ng wounded a u gu r some evil about to

, , ,

’
befall him B ut w e have something more to do than attend to
.

1
these idle tales .

T h e O rator a stat u e above li fe si z e i s in one corner o f th e

,
-

room H is right arm is raised and his body is Slightly i ncli ned
.
,

forward as if addressing an audience ; the fingers o f the le ft

,

hand one of which has a ring are bent but i n movement th e

, , ,

whole figu re is fu ll of life and expresses the orator by which , ,

name this statue i s kno w n H e is attired i n a tu nic with short .

sleeves and a mantle which hangs in large and S imple folds

, ,

an inscription is on the border of the tunic to thi s e f fect

AU LES I T LLI —
V EST A L— KLEN S I
ME E S VE
—
KEN F LER S
E — T EK E— —
SA N S L T EN I N E
T UT H I N ES C H I S ( E) LI KS ,

which translated is
, ,

‘
T o A ulus M e tel l is V e Ve sia h his son presents this gi ft u n ,

worthy he deposited as his o ff ering this e ffigy

,
.
’

T h e buskins or shoes are fastened by thongs twisted

, ,

rou nd the leg the head is noble and animated with the eager ,

expression plain features and square intellectual brow com

, ,

m o nl y seen in T uscany among the m iddle and lower orders

the hair is short and beard shaven as was u sual with the
,

Etr u scans ; the exaggerated length of the right arm is owing

S ee Va sari , Vite dei P ittori, vo l . i p

. . 1 9 9.
 E TR US CA N A N TTQ UI TI E S . 22 5

to imperfect repai rs T his stat u e was discovered near th e .

Lake of T h ra sym e ne and is another proof to what perfection ,

the art of bron z e casting as well as modelling was bro u ght by , ,

the Etru scans .

T o the right o f the entrance to this roo m is a bron z e stat u e ,

M inerva with th e z Egis discovered near A re zz o in 1 5 4 1

’
, ,

and worthy of all praise for elegance of proportions and finis h

of detail T h e repairs have been ba dly made M inerva is
. .

witho u t her spear one hand is concealed in the folds of her

,

dress the other is extended perhaps to receive o ff erings and

, ,

th u s represented she is symbolical of Peace T h e Chiton or

, .
,

t u nic falls to her feet i n close folds whilst the H ima tion or
, , ,

s q uare mantle is drawn tightly round her person a serpent is

,

on her helmet the pose is full of dignity .

Within the glass case at the farther wi ndow is a choice

collection of works or art N o 1 is an Etru scan portrait . .

head ; N o 2 Bacchus and his attendant geni u s a purely

.
, ,

Etr u scan work B C 3 0 0 ; N o 3 a Greco R oman stat u ette of

,
. . .
,
-

Jove is placed here to stand a comparison with the other bron z es

,

in this case which are all Etruscan it is very grand in form and
,

maj estic in attit u de ; N o 4 Castor reining back his horse is .

, ,

fu ll of spirit and was possibly s u ggested by a work of Lysip

, .

p u s ; N o 6 is an archaic U mbrian stat u ette of M inerva A bove

. .

these bron z es N o 1 0 represents a dying H erc u les striving to

, .

tear off the poisoned garment ; N o 1 1 H erc u les killing the .

,

H ydra formed part of a gro u p exec u ted about B C 4 0 0 N o

, . . .

9,
Perse us N o 1 3 Pegas u s and N o 1
. 2 a Chim aera , .
, .

Below are very bea u tifu l bron z e casts of hands one has a
ring on the forefinger A lso the stat u ette of a warrior . .

A t the end of the room facing the entrance are three , ,

glass cases I n the central is a col l ection of mirrors a nd of

.
,

the sheaths or cases of mirrors some of which have on ,

the backs very beau tifu l reliefs ; one represents O restes fol
lowed by the F u ries another Bacch u s preceded by a ,
.

M u se . T h e finest is in the centre and is s u pposed to re p re ,

VO L . 11 .
Q
 26 A R CH / E O L O GI CA L M US E UIII .

sent H ermes ( M ercury ) bringing the i nfant B acchu s to I n o th e

, ,

da u gh er of Cadmus Vario u s representations o f animals and

.

of long archaic h u man figures with bron z es o f a late period , ,

are rang ed along the top or placed within the two oth er cases .

O n e of th e most beautifu l obj ects in this room i s a small

bron z e S itula six inc h e s h igh and originally gilt which is sus
, , ,

pended in a glass ca Se facing th e window to the left of the

entrance It was fo u nd near V o l siniu m and is decorated with
.
,

a relief o f the most delicate workmanship T h e subj ect i s .

D ionysus ( Bacchus ) and Ariadne conducting H ephaistos

( Vulc a n ) back to O lympu s ; they are attended by S aty rs and

M aenads H ephaistos i s riding on an ass on which is inscribe d
.
,

the w o rd Su th ina in Etru scan letters which denotes the vase to

b
~
,

have b een a votive o ff ering T h e period is probably between .

B C 3 5 0 and B C 3 0 0 and the work Etru scan u nder H ellenic

. . . .
,

influence Cases I I I and I I I near the walls contain a

. .
,
.
, .
, ,

number of small fi gu res connected with the mythology of Etruria .

R eturning to the gallery o f painted vases the compartment ,

at th e end is filled by a large case i n which is a collection of ,

obj ects discovered in 1 8 8 0 in a tomb at Chiusi and belong ,

i ng to an early period probably about B C 7 0 0 , A bron z e . . .

chair the seat originally o f wood was covered with an imi

, ,

ta tio n of leather in bron z e ; on this is placed a large bron z e

vase which is classed with the Canopi since vases of thi s
, ,

S hape have the human head often added S everal ho u sehold .

utensils a re also here and a red vase of the same elegant form
,

as the early vase i n the first room of this collection Case .

near the window c ontains dice and eyes which were perhaps
, ,

i ntended as a charm to protect the wearer against the evil eye ,

a superstition still prevalent i n T uscany and possibly derived ,

from the same charm worn by the Egyptians as typical of the

S u n a divi nity and protecting power
,
H ere are also vases .

belonging to the Pelasgic or earliest Etruscan era made by ,

the potter s wheel and pai nted with rude images of animals
’
,
.

T h e most archaic pott ery which had any pretension to

2 28 A R CH / E O L O GI CA L M US E UM .

I n Cases I I I and IV are vases with th e rose o f Corinth

. .
,

and i n Case IV a v a se probably m ade at Athens with on on e

.
, , ,

S ide ,
the departure o f a hero on the other T roil u s who is , ,

flying on horseback from th e pursuit of A ch illes on foot .

I n the right co rner entering the longest compartment is an

, ,

amphora o f light coloured clay with a painting repres enting

-

three dancing nym phs .

T h e amphora is a two han dled vessel generally tal l and -

, ,

o ften as i n the instance j ust m entioned pointed at th e b as e

, , ,

for insertion in the groun d

T h e cases facing the windows contain vase s supposed to be
o f Greek manufacture either im ported or manufac tured under , ,

th e direc tio n of Greek artists in Etru ri a T h e opposite cases .

contain v ases o f nati ve work which were generally im itations

‘

o f the Greek T h e Etruscans appear to have been endowed

.

with a highly im itative faculty and not to have produced much ,

that was original .

C as e V to the right has vases with black or polychrome

.

figures on a red ground an d are chie fl y o f A ttic manufacture , ,

about B C 6 00 A H y dria or water j ar which has always three

. . .
, ,

handles for the convenience of li fting it on the head is orna

, ,

me n te d with th e story of the marriage o f Peleus I n the .

upper part are H ercules and I c h naea or T hemis the perso n ifi ,

cation o f La w O rder and Eq uity and often represented in a

, , ,

fig ure resembling A then ae ( M inerva ) O n a vase above Poseidon .

,

( N eptune ) is seen disputing with A then ae for the possession o f

the A cropolis of A thens .

T h e subj ects o f the second peri od of Greek art are chiefly

taken from the exploits of H erc u les .

A n early polychrome vase i n Case VI represents H erc u les .

and M inerva fighting with the T itans ; and above this is a

vase in the succeeding grand style i n which H erc u les is agai n ,

the subj ect ; on th e warrior s Shield in this composition is a ’

Gorgon s head and two panthers in white

’
,
.

I n Cases V I I VI I I and IX are vases with black figures

.
,
.
,
.
 E TR US CA N A N TI QUI TI E S . 2 29

on a light ground belonging to the decadence of the second

,

period of art .

T h e third and best period of ceramic art consists of red

figu res on a black ground T h e designs do not at first di ff er .

widely from those of the second period and the style ma y be ,

div ide d into early and late T h e early style is sti ff and archaic
.
,

b u t vigorous the late in which the art of drawing has attained

,

greater elegance as well as freedom may be assigned to three

, ,

h u n dred years before our era or from the end of the Pe l o po n ,

n esia n war to A lexander the Great T h e early or strong style .

belongs to the age of Phidias ; the most gracefu l is contem

o ra ry with P a rrh a siu s and A pelles when inscriptions grad u ally
p ,

disappear and scenes of domestic life or the gentler tales of

, ,

heroic legend are substituted for the labours of H ercules and

,

the feats of Achilles .

N ear the door leading to the room of sarcophagi i n Case X , .

,

is a very fine Kelebe a ve ssel already described among the

,

black vases as belonging to an early period and generally found

in Sicily or M agna Gra cia O n this is represented the combat
.

of the Centa urs and La pith a in red fig u res on a black ground ,

th e figures are fu ll of vigorous movement life and strength and , , ,

the composition very grand N ear this K e lebe are two fine .

S tamni high sho u ldered short necked vases with two small
,
-

,
-

handles they were for oil and fruit and are still i n use u nder
, ,

the same name in Greece ; on one of these are represented

nymphs and the a rtific er H erma nax has inscribed his name
, , ,

u pon it ; on the other T heseus is seen slaying the Centaur

,

Pho l o s
. O n an u pper shelf is a Pelike or pear Shaped vase ,
-

having on it the legend of T hese u s killing the M inota u r .

T h e Cases XI to XV between the door leading to the

. .

rooms of Sarcophagi and U rns and that leading to the room

of Gold O rnaments and Glass are principally filled with Kyl ic e , ,

the most elegant of ancient goblets i n va ri ous forms having , ,

red figures on a black ground T hey range from an early to a .

late period of art and some of them are exceedingly beau tiful
, .
2 30 A R CH E O L O GTCA L M US E UM .

T he deep two handled cup or K antharos o f wh ich there are

-

, ,

examples i n Case X I was especially dedicated to Bacchus ; the

.
,

one handled K yathos was u sed to dip into the m i xi ng j ar o r

-

K rater in which the wine and water were prepared

,
.

T h e K ylix i n its latest fo rm was a flat shaped saucer with -

two handles and is generally most remarkable for beauty in the

,

design and was ornamented withi n and witho u t T he m irror

,
.

o n which some of the best are placed on the lowest S hel f enables ,

the visitor to j u dge o f the excellence of the designs beneath

these vases S everal have large eyes painted on them either as
.
,

charms or as some su ppose because they belonged to ships a

, ,

not i mprobable supposition since the ship when represented on , ,

engraved gems or vases follo ws the idea of a D olphin ; and even

,

o n Greek or D almatian vessels to this day the eye is painted o n ,

the prow round the hole where the rope passes O n a vase i n .

the B ritish M u seum Ulysses is seen tied to the mast whilst ,

passing the Syrens and here the eye is distinctly marked on the
,

prow of the vessel .

A fi ne T a zz a or K ylix i n Case X I I I has T heseus and the

, ,
.
,

M inotaur inside and underneath are represented other enter

,

prises o f the A thenian hero O n another K ylix is a banqu et .

two youths prepare for the games one of whom holds the ,

strigil a bron z e instrument used to scrape o ff the oil with

,

which they anointed their bodies a fillet is bound round their

heads above the pri ncipal fi g ures who recline on couches are , ,

the utensils for the feast .

S ome of the finest vases in the collection are contai ne d

in Case XVI N ext the door leading to the room of Gold
.

O rnaments is an O inochoe from N ola on which are represented ,

D ionysus ( Bacchus ) holding a K antharos and standi ng between ,

two M a na ds ; there is also an amphora on which H erc u les ,

is seen with a tripod and on the other side H elios ( A pollo )

, .

A bove these is a smaller vase but very important from th e ,

beauty of the design with which it is ornamented Selene or .

Luna the goddess of the M oon is seated gracefully on a horse

, ,
2 32 A R CH / E O L O GI CA L M US E UM
.

S tamnos in Case X IX has a warrior on a white horse attacking

.

another on foot the horse and the rider are fu ll of spirit .

In the last cases i n this compartm ent XX and XX L are ,

.
,

vases from Apulia an d S o u thern Italy of a late peri od and ,

black vases with white foliage and figures from Brindisi A .

large vase i n the corner of thi s ro om decorated in polychrome , ,

has on the centre m edallion three figures supposed by som e to ,

represent U lysses and D iomedes with Philoctetes at Lemnos ,

b u t great u ncertainty remains as to the m eaning of this com

position .

I n th e farthest compartment of this long gallery Cases ,

XXI I to XXIV contain black vases which were fo u nd i n

. .

the Etruscan Campagna b u t i n good Greek forms and b e , ,

longing to a period from B C 3 0 0 to B C 2 0 0 S ever a l of . . . . .

them have fi ne reliefs especially a Sit u la in one of the central

,

cases XXV on which is represented A c ta o n or Endymion

,
.
,

with a dog S everal fi ne Kraters in Case XXIV with small

.
,
.
,

handles near the base and ornamented with foliage are i n , ,

very elegant form s I n Case XXVI I near the end are vases
. .
, ,

from O rvieto ; which have been gilt .

I n Case XXV I I I are fi ne red vases from A re zz o a ware

.
,

which was highl y este e m e d by the R omans I n the cases

‘
.

opposite are placed provisionally vario u s terra cottas of frie z e s -

and some votive o ff erings R eturning by the S ide near the .

window the cases contain Etr u scan imitations of minor

,

importance Th e vases first arrived at were taken from th e

.

tomb at O rvieto discovered a few years ago they have a d u ll

s u rface and yellow figures on a dark gro u n d
, .

I n th e centre of this Gallery is placed the famo u s F ra n go is

vase which was discovered by Signor A lessandro F ra ngo is i n
,

1 84
5 at F onte R otella near Chiu si I t is a large wide mouthed -
.
,

Krater o f th e second period and is mi nutely descri bed by ,

D ennis — o u the neck of the vase are two bands of fig u res ;

on one S ide i s th e H u nt of the B oar of Calydon the heroes
an d dogs have their names inscribed and among the former ,
 E TR US CA N A N TI Q UTTTE S . 233

—
are Kastor and P o l u de u ke S Poll u x each end is a Sphinx . At .

O n the other S ide i s the R et u rn of T hese u s from the S la u ghter

of the M inota u r T h e ship approaches the land and one of
.
,

the companions of T heseu s leaps ashore another casts himsel f

into the sea to swim to the land where thirteen yo u ths and ,

maidens are dancing in ho n o u r of T hese u s who plays the lyre , ,

and has A riadne by his side .

O n the second band of the vase is represented th e Battle

of the Centa u rs and La pith a with all their names attached
, .

T hese u s is prominent in the fight O n the other side are .

F u neral Games i n hono u r of Patrocl u s a race of five chariots

with fo u r horses and A chilles stan ding at the goal with a tripod
,

for the winner tripods and vases are beneath the chariots .

T h e third and principal band has the M arriage of Pele u s

and T hetis the goddess is i n a D ori c temple with an altar on ,

which is a Kantharos and her mortal spo u se Peleus before her ;

,

his hand is held by the Centa u r Cheiron who is followed by ,

Iris with the Cad u ce u s by the nymphs H estia C h a rikl o and

, , ,

one other lastly D ionys u s carrying an A mphora A long

, .

procession follows of deities i n chariots beginning with Z e u s ,

and H era A res a n d A phrodite occ u py the fo u rth car ; H ermes

and hi s mother M aia the sixth ; H ephaistos on his donkey
,

comes last .

I n the fo u rth band A chilles on foot is purs u ing T roilus

, , ,

who is in a chariot A fter A chilles is his mother T hetis ;

.
,

A then a ,
H ermes and R hodia are near the fo u ntain where
, ,

T roil u s was said to have been s u rprised U nder the steeds of .

h is chariot i s a H ydria which a terrifie d female has let fall Th e

, .

walls of T roy are painted white and are of reg u lar Greek ,

masonry T h e gate is not arched b u t a fl at lintel H ector

.
, .

and P o lite s hasten o u t of it to the rescue of their brother

T roil u s
. O u tside the gate is seated Priam on his throne talk
ing with his son A ntenor T w o T rojans are at the fo u ntain
.

one of them is filling a vase the water fl ows from spo u ts made
like the heads of panthers O n the other side of the fountain
.
2 34 A R CH E OL O GI CA L Ill US E UM .

i s the R eturn of H e phaistos to O lympus Z eus and H era are .

on a throne at the end an d behind them are A then a A res and

, ,

A rtemis ( M inerva M ars and D iana ) D ionys u s and A phrodite

, , ,

( Bacch u s and Venus

) they are pleading for H ephaistos who ,

follows on his ass attended by S ilen u s and nymphs Th e fi fth

, .

band contains beasts of various descriptions griffi ns sphinges , , ,

lions panthers boars b u lls & c

, , , ,
.

T h e sixth band is on the foot of the vase and has a re pre ,

se nta tio n of pygmies mou nted on goats and fighting with the

cranes T h e painter s and potter s names are on the principal

.
’ ’

C l itia s drew me : Ergo tim u s made m e

’
band O n one handle .

i s an image of D iana grasping h er panthers by the necks o n .

the other Sh e is holding a panther and stag B eneath are groups .

of Aj ax bearing the body of A chilles Within each handle i s .

a F u ry ru nning the same fig u re which is often seen on Etrus

can vases .

B elow the F ra n go is vase is a Skyphos or Goblet with high

i nc u rved handles i n imitation of metal ; on it are figures o f
,

Ke ph a l o s carried o ff by Eo s the D awn O n a Stam nos H e r

, .

cules is represented playing the double fi fe to Pan who carries ,

his club whilst a F aun starts backwards in astonishment

, .

A Stamnos has D ionysus receiving a Libation from A riadne ,

who holds the jug whilst he has the Kantharos behind D io n y

,

sus a nymph carries a torch T here is also i n the same case .

a splendid fragm ent of an A thenian vase with the Combat o f ,

the Centa u rs and La pith a i n th e grand or severe style A .

round Pyksis Pyx or casket of terra cott a was i ntended for a

, , ,

lady s toilet
’
.

I n another glass case i n the centre of this Gallery is a Cori n

thian Krater with a combat of warriors T his Krater is a
,
.

double vase the inner for wine th e outer to contain snow to ,

cool the wine below this is a fine vase of O rvieto of the tim e
of the decadence A room o ff this Gallery is assigned for gold
.

Etr u scan mon u ments glass bowls & c T h e ornaments are

, ,
.

extremely rich and delicate i n design and workmanship ; the

2 36 A R CH / E O L O GI CA L M US E UJJ .

been the pediment to a monument sacred to Silvanu s th e ,

wood god It i s divided i nto three little temples containing

-
.

small figures I n the centre i s the god S ilvanu s with a sickle

.

and corn u copia and with a dog by hi s S ide ; to the left is a

,

peasant with a wineski n and the ped u m or shepherd s crook ’

to the right a satyr wi th corn and a corn u copia .

N ear the door leading to the last room of this collection

are two seated statues witho u t hands or feet and the heads ,

made separate from the body T hey have been su pposed to .

represent Proserpin e .

B eyond this door i s another sarcoph a g u s with th e figu re o f

a man life si z e reclining upon it he holds a Patera or sacri
,
-

, ,

fi c ia l saucer in hi s hand O n the shelf above are urns re pre

,
.

senti ng scenes of friends part ing emblematical of D eath N ear , .

an entrance to the room of black vases is a statu e o f a female

divinity holding a Pome granate the head is wanting o n th e
other side of the door is a slab with a figure of Egyptian type ,

which has been described by D ennis i n th e collection of B u o na r

roti T h e wall farther on has slabs with reliefs of symbolical
.

animals .

I n th e centre of the last room or second Sala delle U rne , ,

i s the most remarkable m on u ment here a sarcopha gu s which

was discovered by the A vocato Gi u seppe Braschi in 1 8 6 9 ,
.

T h e cover is of Italian marble i n the form of a roof with ,

’
females heads at the angles and at either end a relief of a , ,

yo u th and dog probably A c ta o n O n one fa cade i s a long

,
.

i nscription i n Etruscan letters T h e sarcophagu s itself is .

of a di f ferent marble from the cover i n text u re approaching ,

alabaster and is s u pposed to have been brought from the

,

neighbo u rhood of Volterra O n both S ides are magnificent .

pai ntings i n distemper which tho u gh partly inj ured retain , , ,

enough to give som e idea of Greek pictorial art as it evidently ,

belongs to the m ost cultivated period of Etruscan history ,

probably between B C 3 5 0 an d B C 3 0 0 Th e painting is

. . . . .

not exec u ted on a prepared ground but applied by some ,

 E TR US CA I V A N TI Q UI TI E S
'
. 237

gl u tino u s material s u ch as fig j u ice to th e marble itself I t

, ,
.

has stood the test of time and of the deleterio u s e ff ect of the
,

e a rth under which it has laid b u ried abo u t years with mar ,

v el l o usl
y little inj u ry T h e colo
. u r resembles that on A thenian
vases which were painted on a white gro u nd T h e s u bj ect
,
.

is taken from the combat s of the A ma z ons with the Greeks .

Beginning with the S ide on which the inscription on the cover

i s repeate d with slight alterations o n the sarcophag u s itself an ,

A ma z on is seen mo u nted on a splendid white charger defending ,

herself from the attacks of two warriors she raises her swor d
to strike the bearded warrior on her left ; he is clothed i n
armour and with his spear in one hand and protecting him self
, ,

with his Shield from the blow aimed at h im advances to th e ,

attack ; a sing u larly beautiful yo u th follows and beyond him ,

are two more gro u ps in one of which a Greek warrior on foot

,

is slaying an Ama z on who has fallen to the gro u nd whilst in

the last an A maz on mo u nted on a grey horse is fighting with
another Greek T o the right of the central A ma z on a youthfu l
.

warrior attacks her with his sword ; behind him another yo u ng

H oplite is preparing to slay a fallen A ma z on and his hesitation ,

and even sorrow at his own act with her sad and supplicating
,

look are given with great tr u th and bea u ty N o t less marvel

, .

lo u s for correct drawi ng and perspective is the foreshortened

, ,

white horse on which is an A maz on arm ed with two spears and ,

fighting with a bearded warrior Sh e wears a lion s skin and .

’
,

her horse is richly ornamented with gold chains .

O n th e opposite side of the sarcophagus are represented

two qu adriga or chariots draw n by fo u r horses which advance
, ,

from either end the centre of the pict u re where is the thick ,

of the fight is occupied by Greek soldiers

,
Beginning at .

the left end a Greek has fallen beneath the horse s feet and
,
’

raises himself on his left arm a b ea rdl e ss yo u th tries to protect

him with his Shield T h e fo u r horses charge magnificently
. .

O ne A maz on acts as charioteer and protects herself with her

,

shield whilst holding the reins ; the other dressed in white , ,

2 38 A R CH / E O L O GI CA L M US E UM
. .

supports hersel f by the parapet o f the chariot wh ilst throwing ,

her lance B oth wear gold earrings and other ornam ents A t
. .

th e farther extremity a yo u th has fallen beneath the horses of

,

the q u adriga advancing from the right a warri or who hasten s ,

to his aid has plunged his spear i nto the neck of one of the
,

horses which nevertheless gallops forward gallantly with the

,

rest O ne of th e A ma z ons a m ost beautiful woman lean s

.
, ,

forward eagerly and draws her bow ; the other who acts as
, ,

charioteer wears the red Phrygian cap B oth have earrings

,
. .

At one end o f the sarcophag u s is a most spirited representation

of a wounded soldier attacked by the Ama z ons at the farther
,

end which is the most inj ured part and less d i stinct an
, , ,

A ma z on appears to have fallen to the grou nd whilst another ,

de f ends her from the enemy D escription cannot convey .

the charm o f these paintings in which there is infi nite vari ety ,

as well as beau ty o f expression both i n the countenances and ,

actions the life and movement of the figures the careful ,

drawing of the extremities the attention to details which are , , ,

h owever kept in due subordination even the iron points of

,
—
the handles of th e spears for fixing them in the grou nd are not
omitted — the costumes the armour the delicate gold orna, ,

m ents the floating draperi es indicating rapid m ovem ent the

, ,

spirit thrown into the horses and the soft agreeable colou r all , , ,

give a high idea o f the Skill and knowledge to which the Greek
pai nter had attained Beyond this is the poet ry of thought which
.

pe rvades the composition ; the chivalry and tenderness of feeling

which reconciles the spectator to that which might otherwise a p
1
pear unmanly in the male warrior or u nwomanl y in the female .

A ro u nd thi s room are m any very interesting urns with reliefs

of variou s legends beginning from top to bottom and agai n
, ,

from the bottom upwards — a peculiar arra ngement in accord ,

ance with Greek tradition as the ox draws the plough which , ,

has here been adopted by Pro fessor M ilani T h e small statu es .

U n f o rt un a t e ly in S pi te o f e v e ry p re ca ut i o n th e c o l o u r o n th e sa rco
, ,

ph a gus is gra dua lly f a di ng .

2 40 A R C H / E O L O GI CA L rl I US E Uzl l .

perish by the hand of his child ; which oracle was fu lfilled

when ( E dipu s slew hi m in a fray without being aware who
he was When ( Edipus beca me king o f T hebes a series o f
.

calamities followed which ended by his putti ng out his own ,

eyes and being ex pelled from the city

,
.

F rom N o 4 8 to N o 6 7 the s u bj ects are taken again from

. .

T hebes T he war i n which the two sons of ( Edipus Eteocles

.
,

and Polynices quarrelled for their father s kingdom is here

,
’

represented Polynices was sup ported by A drastus king of

.
,

A rgos who was j oined by five other heroes forming the con
, ,

federacy known as the S even against T hebes O ne o f the .

most beauti fu l relie fs i n this room is N o 6 4 i n which Eteocles .

,

and Polynices have killed one another ; both si nk to the

grou nd and the avenging N emesis is seen above
, .

F rom N o 6 8 to N o 7 0 are incidents taken from the li fe

. .

o f Paris of T roy N o 7 1 has the Rape o f H elen and N o 7 2 . .

to N o 7 5 the story o f T eleph u s the son of H ercules who

.
, , ,

when wou nded by A chilles was cured by the rust from hi s ,

antagonist s spear F rom N o 7 6 to N o 7 8 is the story of the

’
. . .

S acrifice o f I phigenia and from N o 7 8 to N o 9 7 are othe r . .

subj ects relating to the S iege of T roy such as A chilles pur ,

suing T roilus and the story o f Patrocl us ,

on the relief ,

N o 8 6 he is carried to b u rial
.
,
N o 8 2 to N o 8 6 Philoctetes . .
,

is visited by U lysses and D iomedes ; N o 8 7 and N o 8 8 . .

represent the wooden horse by which T roy was taken .

N o 8 9 has the story of O restes N o 9 0 to N o 9 7 has scene s

. . .

from the O dyssey N o 9 7 O restes and I ph igenia in A ulis is .

, ,

one of the fi nest o f the series F rom N o 9 8 to N o 1 0 6 are all . . .

subj ects o f which the meaning has not yet been ascertained .

T h e most peculiar is where the O reo or H obgoblin i n the , ,

shape of a B ear is rising from a well ,

.

T hose curious in Etruscan remains may be interested to

know that there is i n F lorence a most rich and valuable private
collection o f gold ornaments belonging to an English gentle
man M r T S Baxter Large garlands o f leaves and fl owers
,
. . . .
 E TR US CA N A N TI Q UI TI E S . 24 1

for the dead are in this museum as well as many most ex ,

q u isite l y wrought
-
fib u l a earrings rings
,
& c besides engraved
, ,
.
,

gems in a plain setting as they were found chiefl y in the

, ,

neighbourhood of Chi u si S mall gems of gold and stars per

.
,

f o ra te d to be attached to dresses for ornament are also among ,

them T here are besides some very interesting ornaments of

.

early Lombard work discovere d in a sarcophag u s at Chiusi and ,

part of a gold fibula which belonged to the Emperor M axi

mian u s A D 2 3 5 the colleag u e o f D iocletian who had
, . .
, ,

assumed the name of H erc u les w hich i s engraved on this ,

brooch ; this is the only ornament that has ever been discovered
belonging to a Roman emperor I n addition to Etru scan and
.

Lombard j ewellery thi s collection has a q u antity of amber of a

,

rich deep colour found in the Etruscan tombs ; some of the

,

pieces are o f con siderable si z e .

VO L . II .
 C H A P T ER X IX .

M US E UAI O F TH E B A R GEL LO .

P P O SI T E the Badia rises the solid pile of the Bargello ,

formerly known as the Pala zz o del Podest a and now ,

u se d for a M useu m of Italian A rt and M anufacture T h e .

chief interest of this palace consists in the building itself a ,

record in stone of the darkest incidents in F lorentine histo ry ,

preserved i n the midst of mod ern civilisation and happily ,

aff ording a contrast to the habits as well as manners of the

present cent u ry .

T h e o ffi ce of Podest a was first created in 1 1 5 8 by F rederick

B arbarossa who placed a foreign magistrate i n M ilan to a d
,

minister j u stice H e abolished the con s u ls there and estab

.
,

lish e d the Podest a in their place never a native o f the city

, ,

and fre q u ently not even an I talian 1

T h e o ffice was intro
.

du c e d into F lorence in 1 2 0 7 following the exam ple of the

,

Lombard cities at a time when it was s u pposed that a foreigner

,

—which term included all who were not F lorentines — wo u ld

govern the city more impartially T h e condition s imposed
.

by the decree were that the Podest a Sho u ld be a noble a ,

Catholic and a G u elph H e presided over a court consist

,
.

’
ing of two j udges who bore the title of Collaterali or assist
, ,

ants an d four notaries his escort was composed of eight

,

s q u ires or attendants wearing the family livery of the Podesta

, ,

two trumpeters four arm ed horsemen a constable and twenty

, , ,

five police and h e was preceded by a boy wearing a particular

See H a ll a m s M a a le Ages v o l i p 2 4 9
'
1 ’ ’’
. . . .
,
2 44
1
TH E B A R GE LL O .

Porta Roman a T o enlarge the site part of the B adia was ,

demolished and the monks were obliged to resign the lands

,

immediately round their convent to make room for the ne w

palace .

I n A D 1 2 6 0 Guido N ovello the Viceroy of King Robert

. .
,

of N aples to whom the F l o re n tine s had confided the pro tec

,

tion of their city was chose n Podesta and for the fi rst time
, , , ,

thi s magistrate took u p his abode in the Pala zz o del Comune ,

from which the Capitano del Popolo shortly afterwards w ith

drew .

I n 1 3 1 3 a Bargello or head of the police was created

, ,

whose duty was to execute any order of the S ignory without

fu rther form of law F ive hundred foot soldiers and fi fty
.

horsemen were placed at his dispos al Th e first Bargello .

,

for the preservation of order was a ppoi nted by K ing R obert ,

’

of N aples his name was Lando da G u bbio from a city near ,

U rbino he was a cruel bloodthirsty man who according to , , ,

the historian Villani was contin u ally seen at the foot of the
,

stairs of the Pala zz o Vecchio with five attendants bearing ,

’
headsman s axes Th e daughter of A lbert of Germany pass
.
,

i ng through F lorence on her way to marry Charles D uke of ,

Calabria the son of K ing R obert took compas sion on the

, ,

F lorentines and used all the influ ence she possessed to obtain
,

the dismissal of the Bargello Lando da G u bbio was only .

four months in o ffi ce but he had had time to issu e an ad u lter

,

1 ’
ated coin called after him B a rgellini
,
.

I n 1 3 2 6 the D uke of Calabria arrived i n F lorence as

,

Governor ; he brought with him a s u ite o f eleven h u ndred

persons and took up his abode in the Pala zz o del Podest a
, ,

whilst his lieutenant Walter de B rienne D u ke of A thens , , ,

resided i n the houses of the M acci in the Via Cal z aioli T h e .

D u ke of Calabria only remained in F lorence u ntil D ecember ,

1 3 2 7 ; and in 1 0 a rising took place among the citi z ens

33 ,

S p e c i men s of th i s co i n a re sh o w n in th e co ll ect i o n of i
co n s in th e
U ff i z i G a ll ery .
 TH E B A R GE L L O . 2 45

which ended with the destru ction of a great part of the Pala zz o
de l Podest a by fi re A bo u t fifty years previo u s A D 1 2 6 7 a
.
,
. .
,

magistracy had been create d co mposed of from three to ,

nine persons who were called the Captains of the G u elphic

,
.

party T heir fu nction was th e administration of the c o n fi s

.

c a te d property of exiled Ghibellines for the advantage of the

G u elphs a n d u n der this pretext the Captai ns sei z ed 0 11 several

, ,

strongholds a n d commence d a reign of terror in the city

, ,

which lasted a consi derable time I n 1 3 5 8 they obtained a .

decree that any F lorentine holding o ff i ce if bro u ght before ,

their trib u nal u nder an acc u sation of Ghibellinism attested by

six witnesses sho u ld be obliged to resign and to pay a fine or
, , ,

even to be sentenced to death at the pleas u re of the G u elphic

party the person th u s condemned was said to be a dmonished ,

and was incapable as a Ghibelline of holding any o ff i ce F orty

, ,
.

days after this decree eighteen persons were con demned to

,

p u nishment . Altho u gh it w a s originally intended that the

Captains of the G u elphic party sho u ld be freely chosen from
the pe ople the election was i n a short time u surped by a few
,

powerfu l fami lies of whom the A l b iz z i was the chief T h e

,
.

A l b iz z i maintained their despotic power by means too f re

q u ently made u se of by tyrants taking advantage of a gro u n d ,

less panic to attack the s u pposed enemies of the common

wealth T h e name of Ghibelline had become synonymous with
.

dist u rber of the p u bli c peace and when we t u rn to the his

tory of Eu rope at this period and read of fe u dal barons waging
,

war on commerce and defenceless cities and establishing their ,

claim to s u periority by v iolence and cru elty we can appreciate ,

the dread of Ghibelline power in F lorence and assent to the ,

tr u th of D ean M ilman s wor ds T h e ca u se of the G u elphs

’

was more than that of the Ch u rch it was the cau se of free
1 ’
dom and h u manity .

O ther officers were appointed to s u pport the Captains of the

G u elphic party in the ca u se of or der Seven Bargelli —Captains .

H isto y of La tin Clz ristia n ity v o l v p 1 8 1

r ,
. . . .
 40 TH E B A R GE L L o .

—
of the guard or police w ere added in 1 3 3 4 whose duty was
, ,

to arrest the brawls betwee n citi z en and citi z en in the streets

b u t in 1 3 3 5 the S ignory dismissed these o fficers and transferred ,

their power to a S ingle head and a foreigner who bore the , ,

same title of Bargello T h e first Bargello having exercised his

.

o f fice with much seve rity the o f fice was altogether abolished
, ,

and the peace of the city w a s confided to the F lorenti ne

Capitano di Pia zz a w ith the identical title of Bargello who
, ,

resided in the Pala zz o Vecchio near the c u stom house ,

-
.

’
But a champion of the people s rights an enemy to all ,

tyrants and pec u liarly hostile to the A l biz z i now appeared in

, ,

S ilvestro de M edici whose family was rising rapidly i nto power

’

H e was chosen Gonfalonier in 1 3 7 8 but fi nding that he met with

no support i n his O pposition to th e Captains o f the Guelphic
party and to the syste m of admonitions he resigned alleging
, , ,

as a reason his inability to defend th e people from their tyrants

, .

T h e popular rising which almost immediately after w ards took

place was chiefly composed of artisans whence the name of the ,

riot the C iompi —wooden S hoes I t was on this occasion that

,
.

the Pala zz o A lessandri a t that time A l biz z i— wa s nearly co n

—
sumed by fire and the Pala zz o del Podest a was attacked by the
,

m ob S ome cross bowmen who mounted the bell tower o f the

.
-

,
-

Badia endeavoured to sling stones down u pon the palace but

,

as th ey did not succeed the people below made signs to them

,

to desist and sent a summons to the Podesta to surrender H e

,
.

consented on condition that the people should not enter the ’

chamber where the M u nicipal Council held their sittings .

H aving obtained a promise to this eff ect the Podest a an d ,

his family descended i n fear and trembling but they were ,

allowed to depart without molestation T h e insurgents rushed .

i n and mounting the tower tore down the city banner hoisting
, , ,

i n its stead the T ongs th e emblem of the Guild of Blacksmiths

, ,

and then proceeded to hang out the emblems of the other

guilds from the windows of the rooms lately occ u pied by the
Podest a A l l the furni ture was thrown into the street and
.
,
2 48 TH E B A R GE LL O .

th e palace h a d its d ngeons and to rture chamber and exec u

u -

tions took place i n the cort il e as well as outside before th e ,

doo n
T he oldest part o f the palace including the T ower o f the ,

B oscoli is that nearest the Badia as well as facing th e Piaz z a

, ,

di Sa n F ire nz e f o nn erl y di Sa n A pollinare when there was a

, ,

church of that nam e on the other side of the Vigna Vecchia .

A rnol fo di Cambio added the eastern S ide o f the palace a fter ,

wards called the Via de Vergognosi T h e building was enlarged

’
.

as well as repaired after the fire of 1 33 0 by Agnolo Gaddi

, ,

( d. who raised the height O f the outer walls to adm it the

S plendid hall on the u pper story an d added the ma c h ic ol a ,

tions T h e windows u nder the double arch divided by a

.
,

colum n and containi ng the arms o f the Rep u blic are likewise
, ,

by him .

T h e T ower o n th e side facing the Via del Pal agio now

, ,

Via Ghibellina u ntil lately bore traces o f fresco paintings

, ,

representing the D uke o f A thens and others who were thus , ,

held u p to public O pprobrium and also a portrait in relie f o f ,

Corso D onati but all have perished by time weather or , ,

m odern repairs T here are still however indica tions o f the

.
, ,

1
door which led to the dungeons in the various stories within .

Th e bell within the tower was called the M ontanara be ca use ,

brought from a ca ste/l o or fortified town o f that nam e which

, ,

had been sei z ed by the F lorentines i n 1 3 0 2 Its slow and .

solemn so u nd was the signal every evening for th e citi z ens to

lay aside their weapons and retire to th eir homes for which
, ,

reason it l ikew ise O btained the name O f La Ca mpa na a ell e A r mi ’

.

T h e Grand D uke Cosim o I made it an instrument o f his .

tyran ny by a decree ordering that any servant fou nd idling i n

,

the streets of F lorence or hanging about for want of employ

,

1
Th e Fl orent i n e du nge o n s a pp e a r to igina lly si tua t ed in
h a ve b e en or

th e T o w ers e g th e T o w e r o f th e P a gl ia z z a
-
. . th e T o w e r o f th e P a l a z z o
,

Ve cc h i o a s w e ll a s th e T o w e r o f th e P a l a zz o de l P o de st a
, .
 TH E B A R GE LL 0 . 2 49

m ent after the M ontanara had so u nded was to have his right ,

han d amp u tated T h e bell of the Bargello was always tolled

.

when a p u blic execution took place .

A t the corn er of the Via de Vergognosi and the Via della

’

Vigna Vecchia was once a fo u ntain the basin of which had i n ,

earlier times been the sarcophagus of the T e m pe ra ni family i n

the Ch u rch of Sa n Pancra z io and is now in this M u se u m and
,

at the corner of the Bargello and the Via Ghibellina is a painting ,

by F abri z io Boschi ( 1 5 7 0 of a saint giving food and alms

to prisoners at a window T h e oldest entrance to the palace was
.

facing the Badia it had a proj ecting roof w ith lions on either
S ide
. Th e high pointed arch withi n is composed of alternate
black and white marble T his large hall with a va u lted roof
.
,

resting on sq u are pilasters of solid masonry was for a time u sed ,

as the tort u r e chamber when the pia zz a ceased to be the place

,

of exec u tion T h e door to th e street w a s then walled u p to

.

prevent the cries of the victims being heard I n an engraving .

by the F rench engraver Callot representing the Bargello and

,

the a dj oining pia zz a during an exec u tion another door is seen ,

on the first fl oor comm u nicating with the J u dgment Chamber

,

by a stairc a se from the street When the Grand D u ke Pietro

.

Leopoldo ordered the instr u ments of tort u re to be carried into

the cortile O f the palace and b u rnt the hall on the gro u nd fl oor
,

where the Gi u dici alla R u ota had once held their S ittings which ,

was afterwards the tort u re chamber was u sed to contain docu ,

m ents relating to crim inal causes N ear the central pilaster su p

.
,

porting the roof a n d the entrance is a s q u are stone closing the

,

mo u th of a pit o u t of which within the last few years have

, , ,

been taken several basketfu ls of bones which were all h u man , ,

with the exception of a few bones of animals on whom the ex ,

p e rim e n t of this ou bl iette may first have been tried T his hall .

contains examples of O l d armour in a case at th e farther end

is a splendid helmet and shield wro u ght for F rancis I of, .
,

F rance by a sch olar of Benvenuto Cellini

,
T h e armour of the .
2 50 TH E B A R GE LL O .

Bande N ere and of the K nights of M alta with the Cross engraven ,

1
among other designs are hung on the wall and there is some , ,

very fi ne embossed armour by Giovan ni da Bologna ( 1 5 2 4 1 ,

O n e of the cases con tains a curious old bron z e lantern to conceal ,

and protect the watch at night T h e same case contains a num .

ber of singular old locks and keys A huge cannon called Sa n .

,

Paolo w as cast in 1 6 3 5 by Cosimo Cenni a F lorentine for F erdi

, , ,

nand I I o f M edici one of twelve gu ns each O f them named a fter

.
, ,

an Apostle T h e head of S t Paul is at o ne end and above is

. .
,

inscribed the weight o f the metal lbs ( F rench ) and the , .

,

number 4 0 7 which indicat es how many guns had been cast

,

by the same Cenni Th is gu n was brought from T uni s i n

.

1 8 66 .

A small chamber o n the opposite side o f the Court contains

, ,

many i nteresting specimens o f early F lorentine sculpture .

S ome of them are placed here temporarily be fore being arranged ,

i n the rooms above T h e large stone frame work of a door i n

.
-

beauti ful proport i ons facing the entrance is by D onatello , ,

( 1 38 6 I t bears the arms of the Pa zz i family a dolphin ,

and fi ve daggers and it once adorned the entrance to their

,

palace i n the Via del O rivo l o whe nce i ssued th e c o nspi ,

ra to rs intent on th e murder of the M edici brothers Loren z o ,

and Giuliano d u ring mass at the Cathedral on East e r morning

, ,

1 478 .T his door frame was brought to the B argello when the ,

Palace was converted into the Banca del Popolo i n 1 8 7 0 I n , .

the centre of the chamber is the grand old stone M ar z occo o f

D onatello which was removed from the front of the Pala zz o
,

V e c c h io and a bron z e copy by Papi substituted

,
.

A grey stone niche for a l a va oo or lavatory to the right , ,

was bro u ght hither from the A c c iaj o l i Palace in the Borgo S S .

A postoli and bears the arms of the family a lion rampant ;

, ,

and on the same S ide of the chamber is a very beautiful frie z e

with the arms O f the P a n do l fin i bro u ght from the Badia , .

1
B a nde N ere
Th e w ere th e t ro o p s o f G i o va n n i de
’
M edi c i , th e f a ther
of D uk e C osi m o I .
2 52 TH E B A R GE L L O .

story is a later addition and inj ures the proportions o f the

,

b u ilding B eneath the roof of the arcade at the entrance are

.
, ,

shields bearing the arm s of the D uke of A thens the lion ram ,

pant united with th e lilies o f F rance F o u r smaller S hields in .

the centre have the arm s of F lorence the red and white shield ,

the red c ross on a w hite fi e l d the red lily on a white fi eld an d

‘

, ,

the eagle with a dragon i n its claws a de v ice adopted by the ,

G u elphs a fter th e defeat of M anfred at the ba ttle of Benevento , ,

1 2 6 6 —only six years afte r the Podest a G u ido N ovello cam e

to this pal ace and fi rst made it the residence of those holding
,

O f fice .

Withi n the first arch of the arca de are the remains of the
frescoes with which the whole was once adorned S tone tablets .

have been recentl y inserted in the walls bearing the arms o f ,

the ancient divisio ns of the city — Qu artieri and S estieri T h e .

D ove of the H oly S pirit for Sa nto S pirito the Cross for Santa
C roce the S u n for Santa Ma ria N ovella and the Baptistery
gilt with the double keys above for Sa n Gi ovanni ; these
, ,

form ed the q uarters of F lorence T h e S estieri or six parts.

,

i nto wh ich the city wa s afterwards divided have the follo wing ,

emblems the Sesto del D uom o has th e Baptistery re pre

-

sented after the sarcophagi had been removed but when the ,

steps still remained on which some of them were placed proving ,

that the building was even then raised above the level of the
pavement of the piazz a the S est o di Sa n Piero M aggi ore has
the keys of St Peter ; the S esto di Sa n Piero S c h e ra ggio the
.
,

wheel of th e F ie so l a n C a ro cc io ; the Sesto di B orgo a black ,

goat Sa n Pancra z io a dragon s claw ; and the S esto of O ltr

,
’ ’

A rno a bridge with three arches

,
.

I n the centre of the cou rt is a well near which were b e ,

headed many w hose names are famo u s i n history and among ,

them i s said to have been executed the hero of M assimo

d A z eglio s romance N icol o de Lapi who is described as a
’ ’

,
’
,

type of the F lorentine i n the days of the republic Of a ‘

pop ol a no or plebeian family one of the captains of the Guild

,
 TH E P A P GE LL o . 2 53

of Silk who co u ld boast of having maintained his integrity

,

d u ring eighty — nine years always faithfu l to his co u ntry and to

,

the pop u lar government in whose ca u se he h a d fre qu ently

,

exposed hi s person and his possessions one to whom it never

occurred to boast of cond u ct which alone appeared possible to
’
a man o f his nat u re .

N ic o l b de Lapi was one of many victims sacrificed after the

’

siege of F lorence i n 1 5 3 0 when the degenerate descen dants

, ,

of S ilvestro de M e dici corr u pted by the long possession of

’
,

power and assisted by the Imperialists destroyed the rep u bli

, ,

can freedom O f their native city which their great ancestor had
,

helped to establish .

T h e bea u tifu l staircase leading to the Loggia above was

b u ilt by A gnolo Gaddi who selected as an example another
, , ,

staircase in the m u nicipal palace at Poppi in the Casentino ,

a lion is seated on the col um n at th e foot and two other ,

lions are above the iron gates T h e Loggia is attrib u ted to.

A ndrea O rc a gna ( 1 3 0 8 P I t was divided by the M edici

of the sixteenth century into three chambers that at the farther
end was the condemned cell in the centre a passage led across
the street of the Vigna Vecchia like the Bridge of S ighs at ,

Venice to the opposite houses which were converted into a

, ,

prison f o r women T hese ho u ses were on the site of the o l d

.

’
ch u rch of S ant A pollinare ; a few sep u lchral tablets i n the
walls still to be seen from the windows of the B argello are all
, ,

that remai n of the former cloister .

A t the end of the Loggia over a small door is an exq u isitely

, ,

carved and perforated marble decoration lately repaire d by ,

u niting the S ixty fragm ents into which it had been broken In .

the centre of the Loggia is a bell of a very elegant form which ,

was taken from a small ch u rch near Pisa the work of one ,

Bartolommeo who has inscribed his own name u pon it an d

, ,

who accompanied the Emperor F rederick I I to Germany .

,

where he was employed to b u ild ch u rches .

O n the right of the Loggia is the entrance to a magnificent

2 54 TH E B A R GE LL o .

hall in beautifu l proportions the work of A gn olo Gaddi

. , .

D uring the reign s o f the last Grand D ukes F erdinan d I I I , .

and Leopold I I this hall di v ided into four floors containing

.
, ,

thirty fo u r cells was gen erally filled with prisoners of state

-

, ,

some of whom were of no mean condition T h e ceiling is .

vaulted an d th e original distemper painting in vario u s colours

,

has been restored in excellent taste ; it i s low in tone and ,

harmonises with the solemn effect produced by th e vast space ,

the massive proportions of the pilasters and the enormo u s ,

thickness of the walls T h e windows with old circ u lar panes

.

are deepest with steps ascending to them T h e upper range

,
.

— —
of windows for there are two have the arms of F lorence
pai nted on the glass T w o small doorways at the farther end
.

o f this room lead to another chamber Between these doors .

are three stat u es ; the centre is the celebrated fi gure of th e

dying A donis by M ichael A ngelo ( 1 4 7 5,
which was
originally in the Palace of the Poggio Imperiale whence it was ,

bro u ght to the U ffiz i and lately rem oved to this M u seum
, .

T h e wounded hu ntsman has fallen across the boar the parted

lips and drooping eyelids Show the languor of approaching
death his head i s supported by one arm whilst his grasp of ,

the horn which is still between his fingers is relaxing T h e

, , .

form i s youthfu l yet grand in outline and m ore highly finished

, ,

than i s usual with M ichael A ngelo above is a bu st of D uke ,

Cosimo A noble allegorical gro u p the Victory by M ichael

.
, ,

A ngelo is on the right of the A donis ; on the left Virtue

, ,

s u bd u ing Vice by Giovanni da B ologna A t the opposite end

,
.

of the hall near the entrance is a statu e of the Grand D uke

, ,

C osimo I i n the garb of a R oman soldier by V in c e nz io D anti ;

.
, ,

and stat u es of A dam and Ev e by Baccio Bandinelli ( 1 4 8 8 ,

S ix cl u msy groups are ranged around the walls ; they are th e

work of Baccio Bandinelli Vin c e n z io D anti and V in c enz io , ,

R ossi and represent the Labours of H erc u les

,
.

T hese stat u es will probably ere long be all transferred to

the Cinqu e Cento H all of the Pala zz o Vecchio .
2 50 TH E B A R G EL L O .

and these boy angels are full of animation and life though less
-

refined and treated in a ho l de r and more sketchy manner than

, ,

the fig u res by Luca della Robbia .

A very finely sc u lpt u red chimney piece by Benedetto da -

—
R o v e z z a no ( 1 4 7 4 1 5 formerly in the Pala zz o del T u rco i n
the Via SS A postoli i s to be placed in this hall
.
,
.

T h e chamber adj oi ning this grand hall was the ante room -

to the audience chamber of the Podest a T h e ceili ng with .

beams and walls are painted in a low tone of colour A ca se .

containing fi ne Venetian glass of the sixteenth century is

exhibited i n this room as well as some chests of i nlaid wood to
,

contain the linen of a bride is also S ixteenth cent u ry work -

.

T h e a u dience chamber of the Podest a which follows w as , ,

occ u pied by Walter de Brienne D uke of A thens d u ring his , ,

short reign ; his coat o f arms w hich he had caused to be

- -

pai nted on the walls was effaced after his exp u lsion from
, ,

F lorence b u t it has been recently restored

,
. A c u rious old .

fi re place with dogs and fi re irons is left in the same condition

-

,
-

as in the time of the tyrant T w o cent u ries later this room .

was converted into dungeons A t the end nearest the chapel .

was a narrow cell raised a few steps from the floor and left
completely dark where F ra Paolo a notorious ora To was for
, , ,

thirty years chained to the wall with an iron collar round his
neck and his hands and feet loaded with fetters H is clothes
,
.

dropped in rags from his body before he ended h is m iserable

existence at the age of eighty one F ra Paolo was in his yo u th -
.
, ,

a F ranciscan friar b u t left the monastery to follow a lawless

,

life and became a robber and assassin

,
Th e Grand D u ke .

F erdinand though a patron of science and art like his ,

brother C a rdin a l d Leopold de M edici hired this wretch to ri d ’

,

him of obnoxio u s persons in F lorence and the neighbo u rhood .

When the work was accomplished F ra Paolo was allowed to ,

fall into th e hands of j u stice whilst his employer contin u ed i n

,

u ndisturbed possession of his throne .

A portion of this chamber was used as a kitchen to prepare

food for the prisoners and other i nhabitants of the palace O n
, .
 TH E B A R GE LL O . 2 57

a shelf close to the entrance is a case containing a small group

i n wax exec u ted with marvello u s delicacy and finish of detail
, ,

t h e work of Gaetano Z umbo a Sicilian who lived in the reign

, ,

of the Grand D uke Cosimo I I I T h e dead body of the Saviour .

i n this Pieta is represented with painfu l reality the relaxation

o f the limbs immediately after death and the expression O f

suffering are only too faithfu lly rendered .

T hree more cases in this room contain waxen gro u ps by ,

the same artist of the effects of the Plagu e a most unpleasant

, ,

representation .

T here is also a collection of splendid M aj olica and U rbino

ware i n cases in the centre brought to F lorence by Vittoria
,

della Rovere a Princess of the H ouse of U rbino and wife of

, ,

the Grand D u ke F erdinan d I I I t is here only on loan . .

A huge vase of A retine red clay is on the side next the fi re

place .

When the audience chamber o f the Podesta was converted

into a kitchen the chapel beyond was used as a larder and to
, ,

economise space it wa s divided by a fl oor i nto two stories the ,

u pper part forming other cells in which debtors were confined ,

I t was only in 1 8 4 1 that these partitions w ere p u lled down and ,

the whitewash removed which had covered the frescoes on the

walls for centuries T h e chapel consists of a single nave with
.
,

a S imple waggon roof M r Kirku p an English artist and

. .
,

antiquary long resident in F lorence was the fi rst to suggest that ,

a lost portrait O f the poet D ante by Giotto m u st exist on these , ,

w alls. A ssisted by S ignor Be zz i a Piedmontese and M r , ,

.

Wilde an A merican M r Kirku p at length obtained leave to

, ,
.

m ake an examination a n d they employed for this purpose

S ignor A ntonio M arini the expense being defrayed by the

,

Cavaliere M ontalvo and the M arc h ese Ballati N e rl i T h e first .

fresco uncovered brought to light the heads of angels belo w

them appeared the portraits O f D ante and his master Br u netto ,

Latini with other persons w alking in procession

,
T h e leaders .

are a crowned person and a cardinal s u pposed by some to

, ,

VO L . 11 . s
2 58 TH E B A R GEL L O .

represent K ing R obe rt o f N aples who came to F lorence in ,

1 3 1 0 and Cardinal Bertrando del Poggetto

,
who visited th e ,

city ten years later : others consider the crowned head to be

Charles o f Valois sent by Pope Boni face VI I I in 1 3 0 1 and
, .
, ,

his compan ion Cardinal M atteo d A cquasparta wh o abou t

,
’
,

the same period endeavoured to restore peace to F lorence b u t

all this i s merely conj ectural A prisoner i n one of the destroye d .

cells is supposed to have knocked a nail into the w all or a s , ,

the discoverers believe the painter Marini clumsily fastene d ,

his sca ff olding j ust where was the eye of D ante which h a d ,

therefore to be repainted D uring the process o f resto ration .

,.

the fresco w as enclosed in a shed and placed u nder lock a nd

key an d whilst thus concealed the authorities ordered th e
, , ,

’
poet s dress to be changed from green white and red as Giott o , , ,

left it to dull purple and brown T h e obnoxiou s colours were

,
.

not alone those in which D ante descri bes Beatrice i n paradise ,

and emblematical from a very early period o f F aith H ope a nd , ,

Charity but as such had been adopted by the F reemasons at

, , ,

th e fou ndation o f their confraternity and are still the badge o f ,

the democratic party .

’
I n the J ahrbuch der D e u tschen D ante Gesellschaft -

published 1 8 6 9 th e author O f an article on the poet s portrait

,
’

D r T heodor Paur gives a full description of its discovery and

.
, ,

the theories started regarding its auth enticity ( pp 2 9 7 .

Villani the historian of the fourteenth century and Vasari who

, , ,

wrote in the sixteenth record the existence of a portrait of ,

D ante by Giotto in the chapel of the Palace of the Podest a

, ,
.

I n 1 8 3 2 D ante s biographer M M issirini e ndeavoured to ca ll

,
’
,
.
,

public attention to the s u bj ect and in 1 8 4 0 the discovery was

made beneath the whitewash by S ignor Be zz i M r Wilde and , ,
.
,

M r Kirku p
. T h e conduct of th e artist employed S ignor
.
,

M arini i n altering th e colours and retouching the fresco by

,

command of the Grand D u cal Government is severely though ,

j u stly censured F rom page 3 0 8, the q uestion whether Giotto

.

really was the painter is closely examined T h e first doubts ,

.
2 60 TH E B A R GE L LO .

hitherto been advanced against the authorship so long will th e ,

portrait of D ante in the Bargello — not as M ari ni has disguise d

i t but as it was fi rst found — b e esteemed by m e a work o f
,
’
G iotto .

T h e subj ects of the paintings facing the window are taken

from the history and legends O f M ary M agdalene and of St .

M ary i n Egypt ; though much i nj ured they retai n great beau ty ,

i n parts such as where S t M ary i n Egy pt is receiving the

,
.

blessing of Bishop Z osimus ; though most of the fresco is e ff aced ,

h e r head i s very lovely agai n the earnest expression of M a ry ,

M agdalene in the N oli me tangere is bea uti fully given

’
On , .

e ither side o f the window i s th e legend of St N ichol a s of Bari .

,

and th e D aughter of H erodias D ancing A t the farther end .

,

n ext the door is a representation of the Condemned at the Las t

,

J udgment as the opposite painting o f D ante and his com

,

p anions is supposed to represent the Blessed T h e pictures .

below this fresco are of a much later date one i s S t J erom e .

,

t h e other a M adon na both especially the picture O f S t , .

J erome possess
,
much m erit though the artist s name , i s ’

u ncertain I n a ca binet below i s a collection o f church plate

.

c onsisting o f the bust of a bishop i n silver and gold with crosses ,

a nd sacramental cups brought from the Palaz z o Vecchio

, .

A silver tablet i n another case on which is engraved the

, ,

C oronation o f the Virgin is well worthy of observatio n

, it i s
what is called N iello work and is attributed to M aso F migu erra
,

( 1 42 6 a F lorentine 1 T h e Crucifixion also .i n N iello ,

w ork is supposed to be by M atteo D e i

,
A colo u red enamel .
,

representing the D eposition from the Cross is by one of the ,

P o l l aj o l i .

T hereading desk and seats o f th e choir which belonged ,

to the chapel of the M onastery of M onte Uliveto are i nlaid ,

C o m menda to re G a e ta no M il a n e si h as di sc o v ere d do c um e nt re l a t i n g

fl
1
a

to th i s cel eb ra te d N i e ll o by w h i ch h e b e li ev es th a t th i s is no t the o rigi na l

, ,

a s th e w e igh t doe s n o t c o rre sp o n d F o r a n o t i ce o n N i e ll o w o rk se e

.
,

c h a p te r o n th e En gra vi n g s in th e U i i G a ll e ry z .
 TH E B A R GE L L O . 26 1

with fi ne in ta rsia tu ra work T hat at the back of the principal

.

or central chair represents the cripple at the Pool of Bethesda .

R eturning to the audience chamber the hall to the left wa s ,

formerly the guard room and the hooks still remai n in the wall s
-

to which the soldiers o f the Podest a hung their halberds T his .

room was i n later times divided into four prisons It now con .

tains cabinets with specimens of fi nely carved amber and ivory ;

,

o n some of which are the M edicean balls A w o n de rf u l piece of .

wood carving on the wall is by o u r co u ntryman Grinling Gib

-
,

bons A s there is no catalog u e and many of the articles i n

.
,

this M u seum are loans liable to be withdrawn and therefore

, ,

only i n part ticketed the visitor m ust rely on his own know
,

ledge and discernment to discover those of greate st value .

Both the apartments which follow were inhabited by the

Podest a and his family before they were converted into prisons .

T h e colo u r of the ceiling is new b u t in harmony wit h the style ,

of wall painting used at the period when the Bargello was th e

-

municipal palace T h e supports for the beams or brackets

.
, ,

were wanting but casts were taken from those in the old
,

m u nicipal palace of Poppi in the Casentino the same building

, ,

which furnished A gnolo Gaddi with a model for the staircase ,

and the present brackets were carved from these casts and fixed ,

i n their places under the ceiling T h e arms of the Po dest as .

are painted below but they belong to a later period than the
,

reign of the D u ke of A thens .

T h ese two apartments contain some of the most interesting

and val u able treasures of the M use u m which have lately been ,

removed here from the Gallery of the U ffiz i N earest the door .
,

turning to the left are two small anatomical figures in wax and
,

bron z e the w ork of the painter Cigoli ( 1 5 5 9

,
I n th e
centre of the room is the bron z e stat u e of D avi d by D onatello , ,

one O f the master s n oblest productions ’

a broa d brimmed -

S hepherd s hat with a garland of leaves covers the head of the

’

y outh and,
casts a shadow over the upper part of his face ;
from beneath it his flowing locks reach to h is shoulders ; he
,
262 TH E B A R GE L L O .

g rasps a sword i n his right hand his left rests on his hip h is
,

feet and legs are cased i n greaves and one foot is placed o n ,

the head o f Goliath T h e fi gu re is dignified and graceful and

.
,

a smile o f tri umph plays upon his lips .

O n a bracket near the wall is placed a S pl endid head of a n

O l d woman with a cloth or veil rou nd it which was apparentl y
, ,

taken from a cast after death attributed to I I Vecchietta ,

( 1 41 2 P who was a celebrated goldsm ith architect , ,

1
sculptor and painter
,
A peacock by Giovanni da Bologna
.
, ,

i s one o f a series of birds executed for th e Grand D uk e

F rancis I for his country palace O f P ratolino ; the eagle
.
,

i n the next room and several other birds are su perior t o

, ,

the peacock I n a cabi net u nder glas s are copies of ancient

.

bron z es and som e original works by arti sts of the sixteenth

,

c entury .

T o the right o f the entrance wi thi n the larger room is a , ,

bust of M ichael A ngelo in the centre O f the w all facing the ,

wi n dow i s a bust of th e Grand D u ke Cosimo when young by

, ,

B envenuto Cellini ( 1 5 00 1 5 7 1 ) —
— the artist s fi rst attempt at ’

bron z e casting on so large a scale as he was constantly with

-

Cosimo he must have been w ell acquainted with his face and
, ,

the Sinister ill tempered expression of the bu st corresponds

-

with the acts and character of the man .

A t the end of the room is the monument o f M arino So c in o

by 1 1 Vecchietta ( 1 4 1 2 P M r Perkins describes this .

bron z e as an excellent specime n of the hard dry style of

‘

the master 2
It was originally in Sa n D om enico of S ie n na
.
’
.

M ari no S o c in o was a learned j urist and belonged to the ,

family o f th e two more celebrated S ocini or Soci n u s uncle ,

an d nephew who were obliged to fl y their co u ntry and t o

,

undergo a life long persecu ti on for denying the doctrine of the

-

T rinity .

O n the wall near this monument are the reliefs in bron z e

, ,

1
A p a i n t i ng by th i s a rt i st is in th e c o rri do r o f th e U ffi z i G a ll ery .

2
S ee Tu sca n S cu lptors by C h a rl es P e rki ns ,
.
2 64 TH E B A R GE LL O .

relief of the Crucifi xion by A ntonio Po ll aj o l o ( 1 4 2 9

,

and below it a relief of Children by D onatello S till higher

, , ,
.
,

u pon brackets are two litt le m odels by Giovanni da Bologn a

,

for his celebrated statue of M ercu ry in the centre of this room ,

.

T h e comparison between the m odels and the fi n ished statue ,

thus brought i nto j uxta position is very i nteresti ng ; and the ,

models in w hich the hand of the artist obeyed the fi rst impulse
,

of his m i nd are certa inly in this instance as i n many su pe rio r

, ,

to the larger work T h e co rrections suggested by criticism o r

.
,
’
by the art ist s own sense of accuracy o f proportion anatomy , ,

o r propriety appear to interfere with the thought or motive

,

which his subj ect is m eant to represent ; and it requ ires a

higher order of genius than that o f Giovanni da Bologna to
produce per fection o f parts and accuracy of details with free ,

dom and spiri tual beauty —making the material the tru e ex
pression of a poetical idea T he statue o f M ercu ry is sti ff er
.
,

more angular and the attitude m ore forced than either of th e

,

models ; and with all its m erits has n either their grace nor
, ,

elegance o f outli ne O ne o f these is pre eminently excellent

.
-

in the expressi on of movement ; the god does not bend to

make hi s spri ng as in th e statu e bu t darts upwards withou t , ,

apparent e ff ort lightly and swiftly as the arro w from the ho w

, , .

T h e same superiority may he remarked in Gi ovanni da

‘

Bologna s model for the R ape of the Sabines near one of the
’
,

windows ; and here even i n definition of form i n care ful

, ,

attention to detail an d in beauty of o u tline the model su r

, ,

passes the fi nished group u nder the Loggia de Lan z i N ear ’

.

the bu st O f the Grand D uke Cosimo I is a wax model and a .

,

repetition i n bron z e by Benven u to Cellini for his statue o f ,

Perseus with the M edusa s head ’

.

T h e original mo u lds for the series of small gold reliefs in

the Gem R oom of the Uffi z i Gallery representing incidents ,

i n the life of the Grand D uke F ranci s I are worthy of notice .

, .

T h e D avid of A ndrea V e ro cc h io ( 1 4 3 5 the m aster

of Leonardo da Vi nci is near the M ercu ry of Giovanni da
,
 TH E B A R GE L L O . 26 5

B ologna . T h e head of Goliath is behind D avid who i s ,

clothed i n armour ; the S lender figure and thin arms of the

growing boy are in contrast with the gigantic head at hi s
feet ; his feeble hand holds rather than grasps the sword ,

whilst the eff ort with which it h as been w ielded may be trace d
i n the swollen veins of the arm .

T h e apartments on the upper storey of the Bargello have n o

tradition attached to them and are supposed to have contained
,

the library of the palace before they also w ere converted int o
,

dungeons ; they now form part of the M useum T o the left .

of the door as well as on the wall facing the entrance a re

, ,

tempera paintings on a gigantic scale by A ndrea del Castagn o

( 1 390 w hich were brought here from a hall i n the
Villa Pa n do l fi n i at Legnaia beyond the Porta Sa n F rediano of
,

F lorence . T h e painter was a contemporary of Paolo U ccello ,

and was b orn in 1 3 0 0 in a village a few miles out of F lorence

,

he received his education as an artist through the generous .

patronage of one of the M edici T h e subj ects he h as chosen here

.

are s u pposed po rtraits of D ante Petrarch Bocaccio F arinata , , ,

de gli Ube rti and the Ghibelline h ero Pippo S pano who w a s
, ,
.

a wealthy merchant the patron of the painter M asolino a nd

, ,

a valiant con q ueror of the T urks ; also N icol o A cc iaj uo l i ,

another rich F lorentine who when created S eneschal to

, ,

R obert K i ng of N aples revisited his native city and b u ilt the

, ,

Certosa or Carthusian monastery beyond the Porta R omana

B esides these A ndrea Castagno has painted ideal portraits
,
.

of Queen Esther T o m iris and the C u m a an S ibyls T hese

, , .

paintings are thus described by S ignor C a va l ca se l l e : T o ‘

»

gain a correct impression of them indeed these figures , ,

should be seen in their original places where their supernatural ,

S i z e the bold grandeur of their attitudes and something of

, ,

the classica l i n their appearance would give them still greater ,

v a lue Pippo S pano in a defiant attitude bending the steel of

.
,

his rapier in his two hands and with legs apart challenges the ,

world and seems capable of victory

,
T here is dignity in the .
2 66 TH E B A R GE L L O .

p arts slender,
wiry activity in the S ibyls with that peculiarity ,

o f l en gth in neck and limb an d exaggerated si z e in the e xtre

.
,

mities which ch aracterises th e later Pollaioli and B otticelli

, .

S tudy of the antique i s cl e ar i n th e half fi gu re of Esther yet -

th e c oa rse vigou r o f A ndrea i s visible in a large an d common

. .

hand Castagno i n fact shows an impetuou s spirit i n bold

.
,

free dom o f action and outline i n the da sh with which the

fl
,

col o urs a re used a knowledge of anti q ue examples i n clas sic ,

costume s and head dress H is tones are O f the hue of brick

-
.

i n the e sh tints of m ales of a more delica te yellowish tinge

-

i n t h e S ibyls broadly modelled with a br u sh full of liqu id

,

1 ’
m edium A fresco of a Piet a to the right of the entrance
.
, ,

i s sai d to be by D omenico Ghirlandaio but tho u gh possess

ing g reat m eri ts is hardly equal to the m aster and is more
, ,

probably by his brother Benedetto ( 1 4 5 8 A nother

fresco of the U rbino school a M adonna and Child i s grace , ,

f ul and tender T h e pai ntings at the end o f the room to

.
,

the le ft o f the entrance are by u nknown hands : that in ,

the centre was fo u nd i n the Bargello the other two were

taken from Santa M aria N ovella and are attributed to
. ,

G io ttin o .

I n an apartment beyond is a fi ne collection of D ella R obbia

ware and sculpture A t the end is a noble m arble statue of S t
. .

M atthew by Ghiberti ( 1 3 7 8 ,
which formerly stood in a
niche of 01 Sa n M ichele but was removed to make room for ,

th e statue O f the same saint still occ u pying that place T his .

statue i s so fi ne that w e may wonder at the exchange T h e .

expressi on of the head is very beautifu l and the drapery is ,

arranged with antiq u e simplicity and grandeur T h e cornice .

,

or fram e o f the niche in which the statue is placed is the deli

fl
,

cate workmanship of M i no da F ieso l e ( 1 4 3 1 and wa s

made for the tabernacle in the Uffiz i Gallery painted by F ra ,

A ngelico for the A rte dei Linaj o li— a x merchants whose —

S e e H istory of P a in ting in I ta ly by C ro w e a n d C a v a l ca sel l e v o l
1
, , .

11 p 30 5
. . .
26 8 TH E B A R GE L L O .

with th e donator and a monk kneeling below from Va m om

brosa A coloured lu nette above represents a P iet a an d a s

.
, ,

well as the lunette o f the A nnu nciation over the d o or of th e

room was brought from the SS A nnun z iata T h e most beauti
,
. .
~

ful D ella R obbia w are here is th e M adonna and Child i n the ,

centre o f the wall to the left of the entran ce ; below it is a fin e ,

stone carving by D onatello N ear this is a painted win dow o f

.

the school o f Ra ff aelle pale in colour in which yellow an d

, ,

brown predominate T h e A scension o f Ch ri st o n the opposite

.

w all was taken from M onte Uliveto A large Pieta at th e .

,

farther end of the room is from the church O f Sa n M art ino i n

, ,

the Via della S cala i n the predella below are represented th e

swaddled infants of the I n nocenti .

A statuette of S t D ominic also o f R obbia w are with a

.
, ,

vase o f lilies and wh ite roses and a garland o f fruit u pheld by ,

two cherubs over the niche i n which th e sai nt stands was onc e ,

withi n the precincts of the M onastery of S anta Croce the pre

della beneath this statu e has a representation of Christ pouring
H is blood over the wafer i n the c u p .

T erra cotta b u sts are ranged rou nd the room

-
S ome o f .

them are attributed to one of the P o ll aj o li and are very good ,

examples of this style O f art T h e bust o f N iccol o d U zz an o

.
’

is believed to be by D onatello ( 1 3 8 6 I t was presented

to this M useu m by the M archese Carlo Capponi belonging to ,

the younger branch of that fam ily a lineal descendant from ,

U z z a no h w hose daughter Ginevra married a Capponi The .

Capponi Palace i n th e Via dei Bardi is th a t which was b u ilt

, ,

by N iccol o d U zz ano for himsel f

’
H e was an honest de .

fender of the liberty o f his country and living i n turbulen t ,

times when the A l b iz z i and the M edici were struggling

,

for power it w a s not until after his death i n 1 4 3 3 that

, , ,

Cosimo de M edici was able to sei z e the Government o f

’

F lorence . T his b u st i s full of life and truth and is fi nished ,

with marvellou s care and attention to detail even to every ,

wrinkle in the fac e the peculiar form of the ears and a mol e
, ,
 TH E b A R G E L LO 269
’
.

o n the u pper lip T h e drapery is simple and arranged i n

.
,

h uge folds .

T here is also a c u rious bust misnamed O liver Cromwell with ,

g lass eyes,
which give a certa in appearance of life to the face .

T h e small model for Winter a statue at Castello one of the

, ,

c ountry se ats of the Grand D u kes near F lorence is by Giovanni ,

d a Bologna or by his pupil C io l i

,
.

A case in the centre O f this room contains the steel dies for
the coins and medals of T u scany A mong them is one by .

B envenuto Cellini for a medal of Clement VI I A smaller .

c ase contains specimens of F lorentine coins d u ring the R e

public as well as when it became a D uchy

,
.

T he next chamber is i rregular i n shape owing to one end ,

being filled by the walls of the tower which contained the

d ungeons entered by low doors now built up S om e curious
, .

o l d F lorentine furniture is here exhibited .

R eturning to the room containing the pai ntings by A ndrea

d el Castagno a door leads to a suite of three rooms beyond
, .

T h e room to the right is hung with some fi ne Gobelin tapestry ,

d ating between 1 7 4 2 and 1 7 4 5 by J ean A udran ( 1 6 6 7 ,

a fter designs of Jean Baptiste O udry ( 1 6 8 6 —1 7 5 T hey

represent Louis XIV and his Court hu nting i n the F orest
.
,

o f F ontainebleau O n e of the series of Esther and M ordecai

.
,

a lso by A udran after the design of J ean F ran ois de T roye

, c
1 6 7 9—
( 1 7 is at one end of this room T h e six others o f .

the series are hung in the Gallery of T apestries i n the Via

L aura and there are replicas of the whole series at Wi ndsor
,

C astle T his room also contains a collection of medals and seals

. .

T h e adj oining room has some very interesting marble bas

reliefs O n the wall to the right is the portrait of a lady i n a
.

singu lar head dress Elisabetta Gon z aga D u chess of U rbino

-

, , ,

the wife of Guidobaldo I and the daughter in law of F e de rigo

.
- -

di M ontefel tro Elisabetta was one of the most distinguished

.

women Italy ever prod u ced she was not so much celebrated
for her learning as for her virtu e and for her patronage o f ,
270 TH E B A R GE L L O .

literary men and artists among whom was the youth ful Ra ff a
,

elle T h e Cou rt o f U rbino at that tim e m ay be compared to

.

the Court of W eimar i n the days of Goethe and Schiller thoug h ,

purer in tone and manners owing to Elisabetta s noble character ’

which exercised a beneficial influence on all who approache d

her Sh e was devoted to her husband Guidobaldo who was a
. ,

m artyr to gout and to whom she was married i n 1 4 8 6

,
Whe n .

Pope Alexander VI depri ved the D uke of Urbino of his S tates

.
,

to bestow them on h is nephew Cesare Borgia D uke of Valen ,

t ino Guidobaldo and Eli zabetta took refu ge i n her paternal!

,

hom e at M antua but th eir persecution did not ceas e with th e

abandonment of their dominions for Cesare Borgia wished to ,

m arry Elisabetta and proposed that Guidobaldo sho u ld divorc e

,

his wi fe and receive in reward a Cardinal s hat H is infamou s

,
’
.

suit was supported by Lo u is X I I of F rance who wished to .

,

promote the views of B orgia but the courage and fi rmness o f ,

Elisabetta preserved her and after the deaths of Alexander and

,

Cesare G u idobaldo w a s restored to U rbino H e was however

,
.
, ,

f orced a second time to resign his duchy by Pope Le o X

Elisabetta died i n M antua in 1 5 2 6 having survived her h u sband ,

eighteen years Co u nt Baldassare Castiglione i n his work

.
,

’
‘
T h e Cortigiano thus describes the Cou rt of the D u chess o f
,

U rbino H ere were found u nited the utmost decorum wit h

th e greatest freedom and i n her presence the games and laughter
, ,

and even th e most witty sallies w ere tempered by t hat modest y ,

and digni ty which governed all the words and actions O f th e

D u chess ; for i n her very j ests and m erriment she co u ld b e
‘

known to be a lady o f high breeding even by those who ha d ,

n ever before seen her and her influence on all surro u nding h e r
,

w a s such that all seemed moulded to her q u ality and way s an d

, ,

each strove to imitate her beari ng or follow her example in tha t

refi nement O f manners which they acq u ired from the presenc e
1
T h e peculiar ornaments on th e
’
of so accomplished a lady .

bo rders of her dress in this relief were probably emblem s

I I Cortigia n o by C o u nt B a l da ssa re C astigli o ne
1
,
.
27 2 TH E B A R GE L L O .

ence he was denounced by Gualberto Pietro i n revenge sent

,
.

a band of soldiers who burnt and pillaged the M onastery of

’
Sa n Salvi and murdered several of the m onks A nother relief .

represents S t Peter I gn eu s a Va llo mb ro sia n monk who after

.
, , ,

receiving the blessing of G u alberto s u bmitted to th e ordeal of ,

fire i n front o f the Badia at S ettimo near F lorence to disprove ,

the accusations raised against hi s master by the A rchbishop o f

F lorence Pietro O f Pavia who was in conseq u ence deposed
, , .

F ourthly Sa n Giovanni G u alberto exorcising a dem on which

, ,

had tormented one of his monks upon his sick bed and fi nally ,

the death of the saint T his last relief has however been
.
, ,

attributed to a scholar of R o v ez z a n o T h e elegant frie z es with .

arabesqu es i n this room are likewise by R o v ez z a n o and were ,

i ntended to adorn the chapel w hich contained th e reliefs .

O n the left wall a relief of th e youthful head of St J ohn .

the Baptist with lips apart and wide open eyes is by D onatello ;
, , ,

two small reliefs are by Pierino da Vi nci ( I 5 2 0 P—1 5 5 4 and

by M ino da F i esole ( 1 4 3 1 A t either corner are busts
o n e represents Pietro M e ll in i at whose expense Benedetto da ,

M ajano carved the pulpit o f Santa Croce the other M atteo ,

Palmieri an historian better known by the D ecamerone of

, ,
‘ ’

B occaccio as the tales are supposed to have been related in

,

the garden of his villa near F lorence Between the wi ndows .

i s th e statue of an angel playing the violin attributed to N iccol a ,

Pisano ( 1 2 0 5 refined in form and graceful in action , ,

a n d well worthy of attention .

’
I n the centre O f the room is D o na te ll o s statue of S t Joh n .

th e Baptist T h e stat u e has a painfu lly famished appearance

.
,

whilst displaying wonderful skill and knowledge o f anatomy as ,

well as power o f expression T h e lines of composition are .

agreeable on whichever s ide the statue is seen and the rough , ,

’
bold touches whi ch give s u rface to the camel s hair garment
, ,

aid by their contrast the effect prod u ced by the high fi nish and
, ,

polished s u rface of the head body and limbs the large eyes , , ,

p inched nose and contracted brow

,
the body inclined back ,
 TH E B A R GE L L O . 27 3

wards to balance the tottering limbs remind the spectator of

, ,

the s u ff erings caused by the long fasts of the ascetic and these ,

details a re given with tru ly F lorentine dramatic power though ,

defective in that poetic feeling which should have represented

the grandeur o f the prophet rather than the infirmity o f the ,

man .

I n one corner of this apartment is the bust of Ri naldo della

Luna by M ino da F iesol e
,
T h e Luna family had an a po th e
.

cary s shop and adopted this name from the Sign of their
’
,

pharmacy .

I n the centre of the last room are fo u r statues three of ,

w h ich are O f great interest St John the Baptist by Benedetto . .

,

da M aiano ( 1 4 4 2 though attenuated has much elegance , ,

and a sweet yo u thful expression the hands are graceful it i s

simple in attitude and has a look of inspiration the sandals
, ,

the hair and the garm ent of camel s hair have been gilt T hi s
,
’
.

sta t ue is not as correct but more agreeable than that o f D ona

, ,

tello i n the second room T h e Sketch by M ichael A ngelo .

,

called here A pollo but more probably intended for St S ebas

, .

tian is a marvellou s proof of the power of the artist who in an

, ,

unfinished work could convey an i dea of so m u ch life and eve n

bea u ty A young Bacch u s by S ansovino though graceful is
.
, ,

rather aff ected he is crowned with vine leaves and is lookin g ,

at the c u p he holds in his hand .

T o the left O f the entrance to this room is a bust called ,

M acchiavelli but the portrait is not authenticated ; anothe r

,

bust that O f Pier il Gottoso —the Go u ty— the son of Cosim o

,

Pater Patri a and father o f Loren z o the M agnificent is th e

, ,

work of M ino da F iesole .

I n the centre of this wall is a m arble relief of a M adonna

and Child also by M ino da F iesol e
,
.

F acing the windows is a ve ry beau tifu l marble relief of th e

H oly F amily by A ntonio R ossellino ( 4 7 1 4 7 9
,
1 2 — Th e
Virgin is adoring the Child S t Joseph beside them and i n .
,

the distance the angel is a n no u ncing the good tidings to the

,

V O L. 11 . T
2 74 TH E B A R GE LL O .

s hepherds ten hea ds of lovely seraphim surround the whole .

B elow is a frie z e Children sustaining a Garland by J acopo

, ,

d ella Quercia whi ch once formed part o f th e monumen t to

,

Ilaria G uin igi at Lucca so much praised by Ruski n i n hi s ,

M odern Painters
’
.

T o the left is a relief representing F aith by M atteo C ivital i

—
,

Of L u cca ( 55
1 4 1 C ivita l i was one of the best sculpto rs
o f his age rich as it was in artists o f genius his most importa nt
,

works are i n his native ci ty ; but this refi ned and grace ful
figure simple and filled with religiou s fervou r may give som e
, , ,

idea o f the master O n the other side i s a M adonna and .

Child by A ndrea Ve ro c ch io
,
.

N ear this is a ve ry good statue o f a youth ful S t John by .

,

Ro ssellino .

O n the wall facing the entrance is a fi ne m arble sketch i n

relie f by M ichael A ngelo o f the M ad o nna an d Child grand i n
, , ,

outline yet possessing a grace and tenderness which has only

,

its equal i n the group of the sam e artist i n S a n Lo ren z o ; a

winged cherub forms the diadem of the Virgi n O n either .

s ide O f this composition are busts by D onatello T h e mask of .

the S atyr was chiselled by M ichael A ngel o when a boy of

fi fteen and Vasari relates of him th e following anecdo te
,

M ichael A ngelo when studying i n the gardens of Loren z o de

,
’

M edici near the present Pi az z a di Sa n M arco undertook to

, ,

c opy th e mask o f a F aun from the antique H e had j us t left .

th e school of Ghirl andaio and had hardly yet learnt the use of ,

the chisel H is work was however so excellent as to attract

.
, ,

the notice of Loren z o who observed the boy had not made a ,

s ervile copy from th e original but had opened the mouth and ,

s hown the tongue and som e of the teeth Loren z o however .

, ,
'

remarked that old people usually lost thei r teeth and n o

s ooner had he left the garden than M ichael A ngelo broke O ff

o ne tooth and worked at the socket until he had given it the

,

exact appearance o f the gum where th e tooth had dropped out .

A sarcophagus belonging to early Christian art on which, ,

 76 CH R ON O L O G Y
.

A. D .

B e nedett o da M aj a no a . 1 442 ; d . 1 49 7

da Rov ez z a no b 1 4 74 ; d
. . 1 5 52
B ene vento b att l e o f ,
1 2 66

B o l o gna G i o v a nn i da
,
o . 1 5 24 ; a
’
. 1 608

B o sch i F a b riz io
, a
. 1 570 d . 1 6 42

B ri enn e Wa l te r de D uk e o f A th ens
, ,
d . 1 35 8
t yra nt in Fl o rence 34 2 1

B ru nell esch i M i ch a el A nge lo , a . 1 47 0 ; d 1 5 64.

C a l a b ri a C h arl es D uk e o f in Fl o re nce
, , , 1 32 6

C a ll o t J a c que s
, a . 1 59 2 ; (l . 1 63 5
C a p t a i ns o f G u elp h i c p a rty crea ted 1 26 7

C a sta gn o A ndrea di
’
, 1
« I 3 90 ; 0 1 45 7

C e lli ni B e n v enu to
’
, 1 5 00 ; a. 1 57 1
C igo li Lu do vic o C a rdi 161
’
, a . 1 559 ; a. 3
C i o m pi i nsurrect i o n o f
, 1 37 8

C iv ita l i M a tt eo
, . 6.
507
1 455 ; d . 1

C osi mo L M e di c i re ig n d , , e I SS7 — 4 574

C o si m o I I I M e di ci re igned .
, , 1 6 7 0 —1 7 2 3

D a nt e A ligh i eri a 1 2 6 5 ; d 1 32 1
. .

D an t i Vin ce nz io
'
, b 1 5 30 ; a 1 5 7 6
. .

D o n a t e ll o a 3 86 ; 466
’
. 1 a. 1

D o n a t i C o rso kill e d
, , 1 308

F e rdi na nd I L M e di c i re i gne d , , 1 62 1 — 1 6 7 0
I I I A ust ri a n reigne d .
, , 1 7 90 —1 8 24
F in igue rra , M a so 1 4 2 6 ; a . 1 46 4
’
6 .

F rede ri c k B arb a ro ssa , Emp . 1 1 22 — 1 1 90

F re deri c k I L , Emp . 1 2 50

G a ddi , A g no l o 3 96
’
a. 1

G h ib ert i , Lo re n z o a 1 37 8 ; d
. . 1 45 5

G h i rl an daj o , B en ede tto b 1 45 8 ; d

. . 1 49 7

D o m en i co I) . 1 44 9 ; d . 1 49 4

G ibb o ns, G ri n li ng
’
a. 1 721
G i o tto b . 1 26 6 ; cl . 1 36 6
G i u di c i ll a Ru o ta crea te d
a 1 502
G u i do N o v e ll o P o de st a ,
1 2 60

La pi N i co l o ex ecu t ed
, ,
1 5 30
Le o p o l d I L A u st ri a G D , , . . 1 82 5 -
1 859

M a cch i a v e lli N i co l o ,
a . 1 46 9 ; a.
'
1 52 7
M edi ci C o si m o P a t er P a t ri a
, ,
a 389 ; d
. 1 . 1 46 4

G i o v a nn i de ll e B a nde N e re a 1 49 8 ; d
. . 1 526
L o re n z o th e M a gn ifi cen t o 1 44 8 ; a
’
. . 1 49 2

S ilv e stro de i G o nf a l o n i e re in , 1 378

 CH R O N O LO G Y . 27 7

A.D .

M i no da Fi eso l e b 1 43 1 ;
.
'
a . 1 48 4

P i eri n o da V i n c i 1 52 0 d 5 5 4 ( P)
. 1

Pi sa n o N ico l O b 1 2 05 ; a 1 2 7 8
.
’

Pi etro Leo p o l do A ustri an G D

.
,

, , . . 1 7 6 5 — 1 7 90

Pl a gu e i n Fl o rence n4 1 6

P o desta fi rst c rea t ed 58 1 1

P o l l aj o l o A nto ni o 1 49 8
’
, 1 429 ; a .

Qu erci a J a co p o de ll a
, o 1 3 7 1 ; d 1 4 38
. .

R o bbi a Lu ca de ll a
, a 1 400 ; a 1 4 8 2
.
’
.

Ro b ert d A nj o u Ki ng o f N a pl e s igned
’
, , re I 3O 9
Ro sse lli no A nto n i o, a . 1 42 7 ; a
'
. 1 47 9

B e rn a rdo o . 1 4 09 ; a
’
. 1 464

Rossi Vince n io
,
z b. 1 5 5
2 ; d . 1 5 87
S a n so vi no A n drea C ontucci
'
, a. 1 46 0 ; a . 1 529
Ve cch i etta I l , o. d 1 48 0
.

Z umb o G a e ta n o G i ul i o
, b . 1 65 6 ; d . 1 701
 C H A P T ER XX .

TH E UN I VE RSI T Y OF F L O REN CE .

M US EU M S O F N AT U RAL S C I EN C E — HE T T RI B U N E O F G AL I LEO .

o f F lorence according to M atteo Villani

U niversity , ,

tes from the fourteenth century when it was decreed ,

by the Republic that Chairs o f Philosophy R hetoric and othe r , ,

branches of knowledge should be fou nded i n the hope thereby ,

to restore som e prosperity to the city and induce those who ,

had abandoned F lorence after the frightful visitation of the

,

Plagu e i n 1 3 4 8 to return and inhabit th e town T h e studies

, .

of civil an d canon law as well as o f theology were to be

, ,

specially encouraged A revenu e was assigned from the public

.

funds i n order to O btain the services o f the most distinguished

,

professors from all parts and the first lecture was delivered on
,

N ovember 6 1 3 4 8 ,
B occaccio o n this occasion was des
.
, ,

patched to Padua with a letter to Petrarch from the Prior of

the A rts and the Gonfalonier of F lorence cancelling the act o f
, ,

banishment which had been unj ustly i mposed on hi m and ,

requesting him to return and assum e the direction of th e,

infant university Petrarch thought fi t to decline this o ff er

.
,

but expressed his gratification at the flattering terms i n which

1
th e letter had been written .

I n order to protect the interests of the i nstitution i t w a s ,

decreed at this early period that any F lorentine studying at a

foreign university should b e liable to a penalty ; and about thi s

S ee M emoires iii p
'
1
1 21 5 52 02 S a de, v ol .
’ ’ 1
ae P etra rgn e, p ar .
, . 1 29 .
 80 UN I VE RS I T Y O F F L O RE N CE .

seriously detrimental to the interests o f the university which ,

continued to languish duri ng the di visions of the ci ty follo wing ,

the preaching of Savonarola although Cosimo Pater Patri a ,

and his successors were fi rm and ardent patrons of the in stitu

tion which thus kept its grou nd centu ry after centu ry through
,

various vicissitudes A mong the distingu ished pro fessors of

.

the F lorentine University we may nam e F ilippo Villani who ,

lec tured on D ante Carlo M a rsupini on Literature ; Cristofano ,

Landino on Classic Literature ; M arsilio F icino on Greek ;

, ,

N aldo N aldi on Literature , Pier Vettori Professor of Greek ,

and La tin B enedetto Varchi Poet and H istorian Evangelista ,

T orricelli the celebrated geometrician and i nventor of the

,

barometer ; Vincenz io Viviani also a celebrated geometrician , ,

and the pupil o f Galileo ; F rancesco R edi a physician and ,

writer o n N atural H istory perhaps best known by his comic ,

epic B acco i n T oscana

,
‘
Pier A nton M icheli the distin’
,

g u ish e d bot a nist ; A ntonio Cocchi botanist and phys ician ; ,

a n d G iov a nni T argio ni T o zz etti ( 1 7 1 2 also physician

and botanist the first o f a family which has furnished several
,

e minent m en of science to T uscany .

I n 1 8 0 7 the Queen o f Etruria Elisa B uonaparte B acc io c ch i

'

, ,

added a S chool of Public I nstruction and founded Chairs of ,

A s tronomy Physics A natomy Z oology M i neralogy B otany

, , , , ,

and Chem istry which o n th e restoration o f the Grand D uke

, ,

F erdi nand I I I i n 1 8 1 4 were temporarily suppressed I n

.
, , .

1 833 however after the accession of the last Grand D uke

, , ,

Leopold I L they were re established with the exception of

,
-

that o f Botany which wa s only renewed i n 1 8 4 2 when the

, ,

distinguished botanist Professor F ilippo Parlatore a Sicilian by

, ,

birth was appoi nted to fill this chair A fter the accession o f
,
.

Victor Emanuel in 1 8 5 9 the institution for more advanced st u dies

—
,

S tudii sup eriori — was founded with Chairs o f Geology M etal , ,

lurgy and M ining F o r many years the courses of Literatur e

, .
,

H istory Philosophy and Languages were under a separate

, ,

direction from those on N atural Science and the lectures were ,

 P A L/ E O N TO L O GI CA L M US E UM 281

d el ive red in di fferent buildings T h e institution at Sa n M arco

.

now ( 1 8 8 4 ) in process of organisation i s i ntended to combine

,

all th e branches of Study under one roof S ome time how .

,

ever must elapse before the botanical and z oological colle e

,

t ions can be moved from the instit u tion in the Via R omana ,

where lect u res on these s u bj ects continue to be delivered .

T h e ethnographic al collection contains a vast number o f

c rania sk u lls ) which have been arranged under the d i
( ,
re c

t ion of Professor M a ntega z z a ; the collection is at present

in a s u ite of rooms in the Via Gino Capponi formerly Via ,

S a n S ebastiano near the SS A nnun z iata

,
. T h e buildings
.

a t Sa n M arco were for many years used as Gran d D ucal

s tables and more recently for cavalry barracks
,
but they have
been entirely remodelled and renewed for the reception o f
t h e p al a o n tol o gic a l and mineralogical collections which a re ,

placed on the grou nd floor o f the establishment where there ,

i s abundance of light and where they are admirably arranged

,

for the u se of students .

T h e P a l a o nto l o gic al Collection from Central I taly i s ex

tremel y valuable It was first formed by order of the Govern
.

ment from materials alre ady existing in the M useum and in ,

t h e third S cientific Congress held i n F lorence a resolution was ,

pas sed to add minerals and geological specimens from all parts
o f Italy to be arranged geographically according to the ge o l o
, ,

ica l divisions of the Penins u la — the fossils following the rock

g
s pecimen of each formation and the minerals i n like manner
,

illustrating the formation and distrib u ted according to a con

,

se c u tiv e system T hat part which exhibits the minerals of all

.

c ountries is very rich tho u gh less remarkable for n u mber o r

,

v ariety than for the beauty of the specimens T hose from the
.

I sland of Elba are among th e most valuable of the whole

c ollection .T h e M useum is also enriched by gi fts from Princ e
D emido ff
T h e Geological Collection 1 8 in two divisions —the general
.

c ollection and that i ntended to exhibit th e rock formations o f

,
 82 P A LE O N T O L O GI CA L M US E UM .

Italy T h e most important specimens belongi ng to the first

.

of these divisions are from H u ngary— Ka iserstiihl — and from

Egypt . A s an appendix to these is a c Ol l e c tio n of geological
S pecimens applied to the usefu l arts the most important o f ,

which are the I talian marbles cut and polished which received , ,

th e Premium at the London Exhibition o f 1 8 6 1 .

Th e P a l a o nto l o gic al M useum o f Central I taly consist s

chiefly o f fossil m amm alia but it is also well supplied with othe r
,

fossil s from the T erti ary deposit Pro fessor Cesare d A ncon a .
’

1
is no w engaged i n writing on the Pleiocene formation of I taly .

T h e fossil mam malia belong chi efly to the Pleiocen e and

P o st Pleiocene deposits of th e A rno valley and most of them
-

are derived from the lake which formerly existed between

I ncisa and M ontevarchi T h e m ost important are those o f
.

elephants hippopotamuses rhinoceroses wh ich a bounded i n

, , ,

I taly during the Pleiocene period and some very valuabl e ,

specimens of fo ssil monkeys which deserve special attention

.
,
.

T h e celebrated fossil human skull from the neighbourhood

of A re zz o is also here .

T h e collection has som e fi ne specimens of the great bird

o f N ew Z ealand the D inornis and several allied genera D
, , . .

gg i a n teu s from
,
the Post Pleiocene -
deposits o f Canterbury ,

N e w Z ealand is a wonderfully perfect specimen

,
Except o ne .

example i n th e M useum o f M ilan it i s unique i n Italy , .

A n important feature i n the collection remarkable for th e ,

beauty and n u mber of the specimens a re the fossils from th e ,

Pietra forte belonging to the U pper Cretaceous formation

-
,
.

S om e fossils from the S econdary formation of T uscany almos t ,

u ni que o f th eir kind were collected by the exertions of th e

,

former Profe sor Cocchi s

,
.

T his collectio n has been noticed by some of the mos t

em inent European naturalists especially by the late D r H ugh ,
.

F alconer who published numero u s observations on the fossil s

,

o f the F lorentine M use u m .

M a l a col ogia pl iocen ica I ta l ia n a by C e sare d An cona

1 ’
.
,
2 84 B O TA N I CA L M US E UM .

was welcom ed b y the great philosopher to F lorence where after , ,

his death T orri celli was appointed Court M athematician but

, ,

he died young .

On the first floor are the Lecture rooms H erbarium s -

, ,

B otanical Library and a very i nteresting collection o f N atura l

,

Products o f Plants used for medicin e and art .

T hough not equal i n si z e to the similar collection i n K ew ,

foun ded by the distinguished botanist the late S ir William ,

H ooker this is very complete

,
Professor F ilippo Parlatore .

began this collection as well as the H erbarium of Central Italy , ,

i n 1 8 4 2 and O btained S pecimens of flowers fruit and seeds

, , ,

from th e botan ical gardens attached to the M useum as well as ,

from I talian and foreign botanists When the Professor was .

one o f the j urors at the great Exhibitions o f Pari s and Londo n

o f 1 8 5 5 1 8 6 2 and 1 8 6 7 and at the I talian Exhibition o f 1 8 6 1
, , , ,

he O btained great additions to the collectio n ; when chose n

D irector o f th e M useum he sent a circular to the I talian Consuls ,

in all parts o f the world to req u est their assistance in c o n trib u ,

tions o f natural products from every place in which they were

stationed By the se means the collection o f vegetable products
.

h as become singularly ri ch and important including specimens ,

pr eserved i n spirits of wine woods starches sugars oils g u ms , , , , ,

resins balsams textile fibres & c , wi t h manu factures o f all

, , ,
.

kinds such as ropes cloths hats fans carpets boxes and

, , , , , , ,

articles of dress as well as everything applicable to medici ne or

,

the industrial arts T here are besides drawings and photo .

, ,

graphs o f various useful important or singular plants ; the , ,

dragon tree O f T eneriffe the M exican cypress the R aphia , ,

palm of M adagas car and the palm which produces the v ege
—
,

table ivory the K auri pi ne of ,

N e w Z ealand & c a section of , .

the trunk o f thi s pine i s exhibited which is nearly eight feet i n ,

diameter .

B esides these there i s a very rich collection o f cereals and

,

g rasses such , as serve for brooms matting & c the I talian , ,

.

'
reed A ru na o D ona x so famili ar to every traveller crossing the
, ,
 B O TA N I CA L M US E UM . 28 5

A lps into Italy ; the sheaths of the Indian corn which from
their elasticity are used for u nder mattresses —S a cconi ; the
, ,

Coix L a e/z ry ma Job s tears the seeds of which are used for
’
, ,

—
rosari es ; the papyri of Syria and Syracus e Cyperus sy ria cu s
— o n which Professor Parlatore published a pamphlet to prove

this papyru s to be a different species from that of A byssinia and

N ubia also the tubers of the Cyp eru s esea l entns eatenin S icily ,

and from which a refreshing drink can be O btained .

A mong the specimens of the bulrush tribe are T ypha found

in marshes all over Eu rope and used i n T uscany to protect th e ,

O il and wine flasks and for ropes ; also specimens O f e p/za ,

a n a stzf ol za L which the S icilian peasants u se for candles ;

g ,
.
,

and the product of the Palmi di S a n Pier M artire Cb a ma rops

l z umz l is L from Algeria and S icily
'

. .
, ,

T h e O ricello o r O rchil is a lichen most worthy o f notice

’

, , ,

beca use of the beautifu l amaranth colour obtained from it and ,

fro m which the family O f Ru c el l a i or O ric ell a i who first intro , ,

du ce d the dye into F lorence took their name T here are good , .

specimens of lichens which grow on the lavas of Etna and

Ves u vius collected by Professor Parlatore and a fi ne specimen
,

of the P ietra N ap ol ita n a of the A pennines or F ungus S tone , ,

which when soaked in water for a certain time prod u ces good
, ,

edible fu ngi and whose nature has occasioned much discussion

,

among nat uralists .

Al l these prod u cts are arranged in the nat u ral order b e ,

’

ginning with the C ryptogams proceeding to the M ono c o tyl e ,

dons and ending with the D icotyledons T h e families to which

, .

the plants belong are marked on the cases and each specimen ,

has the common as well as scientific name attached with its ,

locality the name of the donor and the date

, , .

T h e botanical preparations in wax are especially i nteresting

the natural proportions are greatly enlarged i n one case is a
magnificent representation of the anatomical stru cture of th e
T r u ffl e also of the F ungus O ia iu m Ta rkert which causes the
’
, ,

v ine disease m ade u nder the direction of Professor Amici

,
as
w ell as that of the minute fu ngi which attack bo th the vine and
 86 B O TA N I CA L M US E UM

the rose : some of the most beautiful of th ese wax specimens

represent the fecu nda ti on o f the Go u rd and O rchids .

A nother case contains very interesting coloured plas te r casts

o f fungi .

T his collection is very rich i n specimens o f the Coni fera an d

Gnetace a illustrated by Professor Parla tore in his monograph
,

o f these families o f plants which forms part o f the great work ,

—th e P roa’romus—o f D e Candolle T here are also vari ou s .

s pecimens o f cottons with coloured illustrations an

,d woods an d
f ruit s o f B orn eo contributed by S ignor O doardo B ec ca ri
, .

China Japan and A ustralia are a l l here represented with rare

, , ,

specimens from Central A frica A ngola and B enguela added , , ,

by the German naturalist M r Welwitsch ,

. .

B eyond the rooms containing the collection o f plants and

vege table products is the valuable Central H erbarium which
,
1
,

o wes its existence to Professor Parlatore who on his first arrival ,

i n F lorence found only a few packets o f plants collected by the

traveller Giuseppe Raddi but generously bestowed his private ,

H erbari um already very rich in specimens on the M useum

, , ,

a nd to th e end o f his li fe devoted all his e f forts to add to the

collection T his H erbarium continues to increase th e number

.

o f its specimens u nder the present Professor of B otany Pro ,

f esso r T Caru el I t is arranged now according to the Sy nony mia

. .

bota niea o f P fei ff er T h e M useum also contains the valuable

.

H erbarium o f M r Philip Barker Webb which according to his

.
, ,

d esire when h e le ft it to the institution is kept separate from ,

the Central H erbarium and is arranged according to the system ,

o f D e Candolle T hi s H erbarium has been enriched by con

.

t ribu tio ns from K ew chiefly I ndian specimens also by 5 4 8

,

s peci es from Bra z il th e gi ft o f Pro fes sor Wittrock of S tockholm

, , .

M r Webb travelled o ver a large portion of Europe an d A sia

.

M inor accompan ied by M onsieur B erthollet they published

,

a valuable work on the Canary Islands which they also visited , .

1
Th et erm central h a s no a ppli ca ti on to C ent ra l I ta ly b ut w as given ,

by P ro f esso r Parl a to re to de no te th at i t was th e c h i ef h erb a ri um .

 2 88 B O TA IVI CA L M US E UM
. .

o f manuscripts and drawings were purchased by th e late Pro

f esso r T a rgio ni T o zz etti among these last are a vast numbe r ,

o f coloured drawings of fungi M icheli was th e first to discove r .

that fungi were edible and he has been called the precursor ,

of Linna u s H is H erbarium was bought by the Grand D uke

.

i n 1 8 4 5 from the family o f T a rgio ni T o zz etti to increas e th e

, ,

collections i n the M useu m .

A small volume is preserved here containing a f e w plants , ,

with th eir names i n autograph by Linna u s T hunberg S wart z , , , ,

1
and A ch a riu s .

H ere are also the H erbariums of Pavon Lab il l a rdiere , ,

D e sf o n ta ine s and M ercier ,

Pavon made his collection i n Peru
.

and Chili La b il la rdiere accompanied La Pero u se on his

.

expedition to N ew H ollan d H e was taken prisoner by th e .

D utch and his collections were brought to England ; but

, ,

through the generous intervention O f S ir J oseph Banks they ,

were restored to Labil l ardiere without being opened ; lest a s ,

S ir Joseph wrote to Ju ssie u a single botanical thought S hould ,

be taken from him who had gained them at the risk o f his o wn
,

life La b il l a rdiere died in 1 8 3 4 and his H erbarium was

’
.
,

bought by M r Webb I t i s especially val u able because con

. .
,

tai ning the description o f each plant i n La b ill a rdiere s o wn ’

handwriting afterwards p u blished in hi s works

,
.

R en é D esf o nta in es was the master of D e Candolle ; h e

collected species i n T unis and Al geria and discovered ,

3 0 0 new ones M r Webb purchased

. his H erb
. arium for
francs Philippe M ercier was a Genevese
. .

T h e ri ch collection of fossil plants some of which are ,

wanting in the botanical cabinets o f th e capital citi es of Eu rope

“
,

was begu n by Professor Parlatore and possesses already m or e ,

than 4 0 0 0 valuable specimens A mong these the most note .

,

1
Cha rl es de Li nn é ( Li nnaeu s) , b orn a t Ro e sh ul t, S w e de n , 1 7 0 7 ,
di e d in 1 7 7 8 C h a rl e s P e te r T h u n b erg,
.
S w e di sh b o t a n i st, p u pil o f
Linn a u s, P ro f esso r a t U p sa l a ; di e d 1 7 9 8 O l a us S w a rtz , b o rn 1 7 6 0 ; .

d i ed 1 8 1 7 Eri c A ch a ri a s, b o rn in S w e den 1 7 5 7 , o n e o f Linn a u s s b e st

’
.

p u pil s d i ed at U p sa l a in 1 819 .
 M US E UM OF F O S S I L B O TA N Y 2 89

wo rthy are the fossils of the Carboniferous formation from the

mines of M ercurio di Iano near Volterra and the fossil plants , ,

f rom the vicinity of Sin iga glia ; besides those o f th e T ravertine

deposits and of the M iocene formation of T uscany and from ,

many formations i n other parts of Italy i ncluding the Permian ,

formation of the Brescian territory T h e S plendid collection

.

of large palms from the country around Verona and Vicen z a

formerly belonged to the naturalists M a ssal o ngo an d Visiani
the impressions of plants from the lava of the Island of Lipari
those from the supposed Carboniferous strata of the T a ra nta ise
which shine like silver because covered by a strata of talc a re
, ,

all important as well as the great collection from the M iocen e

of Swit z erland illustrated by the late Professor H eer with
, ,

many fossil impressions from the Carboniferous strata of F rance ,

B elgium England and Germany ; those from the T ertiary of

, ,

N e w Z ealand and the models in pl a stero f many fruits and uniqu e

,

specimens with ste mso f trees from all parts of the world
, .

O n this same floor Professor H enry G iglio l i has arranged

,
1

a most valuable collection of the vertebrated F auna of Italy ,

ranging from the A lps to the lower regions and islands o f ,

S outh Italy includin g S ardinia

,
T his collection is as nearly
.

complete as is possible in specimens of known S pecies since ,

only twenty seven species o f birds and fishes are still ( 1 8 8 3 )

-

wanting ; and these specimens are very rare and only occur
accidentally within the bo u ndaries of the Italian kingdom .

T hose exhibited embrace a remarkable combination of A rcti c

2
and A frican types .

1
Pro fe sso r o f N a tu ra l H i sto ry — D ep a rtme nt of th e Ve rt eb ra ta .

O n D ece mb e r 3 1 1 8 8 2 th e o ff i c i a l Re p o rt o f th e sp ec i mens co n ta i n ed
, ,

in th i s b ra nch o f th e M u seu m w a s as f o ll o w s —2 0 3 6 2 sp ec i m ens re re

, p ,

se n ti ng sp ec i es th u s di strib u t e d

M A M M A LS sp eci m e n s rep rese n ti n g

, , 9 5 sp e c i es
B I RD S , 414
R EPT I LES , 41
A M PH I B I A , 21

F I S H ES , 517
VO L . I I.
 2 90

o f Sardini a chamois wolf fox badger

,
N A T URA L H I S T O R Y M US E UM

are good specimens o f th e wild boar ibex mo u l o n

T here
hares and ermi nes in, , ,
,
.

, fl
their winter and summer skins seal o tter marmot porcupines , , , , ,

hedgehogs mice & c T here are also many bats ; one sm al l

, ,
.

v ari ety o f A frican type with a savage bull dog cou ntenance
-

, ,

inhabits the church o f Sa n Loren z o in Fl orence T w o others , .

make their hom e in th e cathedral T h e bi rds are well repre .

s ented eagles owls ( includi ng the little Chi lt owl whose

,
‘ ’
,

c ry is so familiar to the traveller i n Italy ) falcons crows many , , ,

s inging and m arsh birds and a beauti ful specim e n o f the ,

flamingo from Sardinia S erpents tortoises toads and li zards .

, , ,

are also here ; some very large specim ens o f the old Greek
type o f dolphin the M editerranean shark and the ray fi sh
, ,
-
.

T orpedo or electric fi sh the sturgeon tunny fi sh also the , , ,

Lupizotis eepea zan us a ve ry S ingular fi sh of whic h this is th e

’
, ,

o nly specimen hitherto fou nd in the M editerranean .

T h e celebrated wax anatomical preparations on the second

floor of this M useum are especially i nteresting T his art was .

fi rst brought to per fection by a S icilian noble Gaetano G iulio ,

Z umbo born i n Syracuse 1 6 5 6 T h e report of his wonderf ul

, ,
.

s kill i n wax modelling having reached the ears of the Grand

-

D uke Cosimo I I I Z u mbo was invited to F lorence some time

.
,

la ter he left T uscany for M ars eilles where he lived u nder the ,

patronage o f Louis XIV and di ed i n T h e anatomical .

,

reparations of the structure o f the torpedo illustrate the ex

p
e rim e n ts made by T ain and M atteucci on animal electrici ty
p .

T h e representations in wax o f the magnified anatomy o f the

lobster cuttle fi sh earth worm and the tongu es of molluscs
,
-

,
-

, ,

a re well deserving o f attention there is likewise the egg i n the

’
s everal stages o f th e ch icken s development ; the anatomy of

v arious types o f vertebrated animals the cat goat rabbit cod , , , ,

fi sh & C I n adj oining rooms are exhibited specimens o f

,
.

human anatomy a mo ng which are wax models o f the muscles

f

, '
,

1
S e ve ra l sma ll wa xen figures o f Z umb o h a v e a l rea dy b een me nti o ne d
in th e descrip t i o n of th e B a rg e ll o .
 92 B O TA N I C GA RD E N .

B ern i and afterwards o f th e gardeners Giuseppe an d A n toni o

,

Piccioli the gardens were entirely re formed and nearly doubled

,
-

in extent when in 1 8 4 2 Professor Parlatore was called to th e

Chair o f B otany they again u nderwent improvements to adapt
,

them better for scientific study .

T here is a collection o f Palms C yc a de a Coni fers T ree , , ,

ferns A ro idea O rchids D ra c a n a 81 C A mong the rare plants

, , , ,
.

are the Pa c h ira A nda H ura Psidium Pandanus Cycas A rau

, , , , , , ,

caria and various species o f Cinnamon Quassia C inchona

, , , ,

I pecacuanha Coca N u x vomica N epenthes B ursera gum

, .
, , ,

mif era A nacardium M ango

, ,
.

Tb e Tribu ne o f G a l il eo a nd M useu m of P /zy siea l I nstru men ts .

Withi n the Palace assigned to the M u seum of N atura l

H istory in the Via R omana is a small T emple on th e first
floor which was dedicated by the last Grand D uke o f T uscany
, ,

Leopol d I L to the memo ry of the celebrated Galileo Galilei

, ,

one of the greatest o f experi mental philosophers who was born ,

at Pisa i n 1 5 6 4 and died in F lorence i n 1 6 4 2

,
v
.

I n the vestibule o f the T ribune are marble busts of the

M edicean Grand D uke F erdinan d I L o f his brother Cardinal ,

Leopold de M edici o f th e A u strian Grand D uke Pietro

’
,

Leopoldo and of th e last Grand D uke Leopold I L all of

, ,

whom were patrons of physical science .

.

I n th e centre of the T ribune is the statu e of Galileo by ,

A ri stodemo C o sto l i a modern F lorentine sculptor,

.

O n either side o f th e statue o f Galileo are busts of his ,

principal disciples B enedetto Castelli B uonaventura Cavalieri

, , ,

vangelista T orricelli an d V i z io Viviani

E n c e n ,
.

T h e walls of the T ribune are decorated with medallions ,

containing bas relie fs of others o f his disciples and pai nted with
-
,

frescoes representing incidents in the life of the philosopher .

’
S ome of Galileo s most valuable instruments are exhibited
i n cases or niches A mong the most interesting are th e first
.
 TH E TRI B UN E OF GA LI LE O . 29 3

two telescopes constru cted by himself i n 1 6 0 9 when he held ,

the Chair of M athematics i n Padua Th e Venetian Senate as .

,

a reward f o r th is i nvention confirmed him i n his professorship

,

for life It was by means of one of these telescopes that he

.

discovered the satellites of J u piter T h e Grand D uke F erdi .

'

nan d I of T uscany desired to possess this instrument but i t

.
,

was only after the death of Galileo that it became the property
of his son Cosimo I I I .

H ere is also the first microscope invented by Galileo th e ,

same year as his telescope 1 6 0 9 and presented by his disciple , ,

V in c e n z io Viviani ; and the loadstone magnet which the great ,

philosopher u sed in his experiments and beside it one of his , , ,

fingers which was removed from his hand by the antiquary

,

Gori when the body of Galileo was borne to its last resting place
,
-

i n S anta Croce I n cabinets round the T ribune are astrolabes

.
,
’
quadrants Galileo s first thermometer glass vases and tubes
, , , ,

which were formerly used for experiments in the scien tific

A ccademia del Cimento .

T h e powerful crystal lens made by B rez a n s O f D resden i s , , ,

placed on a wooden pedestal T hirteen years after the extinction .

of the A ccademia del Cimento it was used by Av era ni and

T a rgio n i the pupils of Vivi ani and R edi i n their experiments
, ,

on the combustibili ty of the diamond and of other precio u s ,

stones and in our days was also employed by the celebrated

,

S ir H umphrey D avy i n his researches into the chemical com

,

n n ts of the diamond
p o e .

O n e cabinet contains a series of telescopes which belonged

to T orricelli Viviani Campani and other physicists
, , In , .

another cabinet are several physical instr u ments invented i n ,

1
59 6 by R obert D udley ( the son of the Earl of Leicest er and ,

A my R obsart ) who resided many years i n T uscany

, .

I n several rooms adjoining the T ribune o f Galileo are many

physi cal instruments of great historic al value Conspic u ous .

among these is a large orrery arranged according to the P tol e ,

maic system which has been cleaned and repaired by Cavaliere

,
2 94 M US E UM OF P H YS I CA L I I VS TR UM E I VTS .

M eucci , the head this department o f the M useum I t wa s

Of .

formerly supposed to have been the work of Igna z io D an ti ,

but Cavaliere M eucci discovered the maker of it to have bee n

A ntonio S antucci the cosmographer of the Gran d D uk e F erdi
,

nand L and its date to have been betw een the years 1 5 8 8 and
,

1 5 93 .T his singu lar instrument was found covered with dirt ,

and entirely forgotten i n the Pala zz o Pitti where the A ccademia ,

del Cimento once held its m eetings T h e central globe is .

peculiarly interesting owing to the fact that the great fresh water
,

l akes Al bert a nd Victoria N yan za in A frica near the White , ,

N ile are m arked u pon it which for a considerable period after

, ,

this globe was made were entirely forgotten and only brought , ,

into notice i n our own time by the explorations of Captai n

'

S peke i n 1 8 5 8 and of Sir S amuel B aker in 1 8 6 4

,
.

T his M useu m contains some very i nteresting specimens of

watches one dated 1 5 7 0 before Galileo had begu n his expe
, ,

ri m ents on the pendulum A small bra z en A rabic celestial .

glob e bears date 1 0 8 1 and is believed to be one of th e ,

'

o l de st in e xistence it has inscriptions in A rabic on its sur face .

H ere also is preserved th e fi rst barometer of Evangelista T orri

celli a chromatic scale invented by N obili the fi rst galvano
meter also constructed by N obili and his first thermo electric
, ,
-

pile ; and a m edallion drawn and coloured by m eans o f electro

chemistry .

T here are besi des a case containing every instrument re

q u is ite for experiments o n attraction by electric currents and ,

th e l o desto ries ; and a large lodestone with wires to obtain t h e

'

electric spark produced by magnetic action on the stand

, ,

o f which is inscribed — S otto gl i a usp iei di Leopoldo I L diede ‘

,

la rima sein til l a il 3 0 G en n 83 2 A L N obili V

p . 1 . . . e .

A n tinori various m echanical contrivances i n this

. . The
M u seum present a very interesting ex empl ifi c a tio n o f the his
tory of Physics from its first developm ent to the present time .

A mong the collection o f modern instruments is a galvano

m eter by which the late distingu ished Professor M atteucci fi rst
290 1
CH R O N O L O G Y
.

A .D.

N a l do N al di d . 1 470

Pa rl a t o re, Filipp o Pro f B o tan y 1 84 2 -

1 877
—2
.
,

Pe t ra rch F ra ncesco 1 304 37 4 1

Pi etro Le o po l do Au st ri a n G D
.
,

, , . . 1 7 90-

Ra ddi G i u se pp e
, 1 7 70 ; d 1 82 9
.

Re di F ra n ce sco 1 62 6 ; a
’

, . 1 6 94
S wa rtz O l a us
, 1 7 60 ; d . 1 817
T o zz e tt i G i o v a nn 1 T a rgio ni
'
,
1 712 ; a. 1 783
T h unb e rg P e te r , d . 1 7 98
T o rri c e lli Eva ng e li st a
,
a 1 608 ; d . 1 6 47

i nve nt ed ba ro met er
Un iv e rsi ty fi rst f ou nde d
I n st i t ut e ( S tudii S upemori )
U zz an o N i colo d
’
,

Varch i B e nede tt o
,

Ve tto ri P i er
,

Vi cto r Emanu el re igned ,

Vill a n i Filippo
,
d . 1 40 5

Vivia ni V incenz io
,
I) . 1 62 2 ; d . 1 7 03
Z u mbo G a et an o G i u l i o
,
1) 1 6 56 ; d . 1 7 01
 C H A P T ER XX I .

TH E EN VI R O N S O F F L O RE N C E— TH E C O N VE N T OF S A A/
D O M E N I C O , B A D I A OF F I E S OL E .

O R SYT H ,
writing at the commencement of th is century ,

has given the following description of the country round

F lorence
T h e environs of F lorence owe their beauty to a race o f
‘

farmers who are far more industri ous intelligent and libera l , ,

than their neighbours born to the same sun an d soil ,

.

1
Leopoldo toiled to make his peasants all comfortable and ,

the steward takes care that none shall be rich Every

fi eld i n the environs of F lorence is ditched round lined with ,

poplars and intersected by rows of vines or olive trees T hose

,
-
.

rows are so close as to impede the plough which is considered ,

here as less calc u lated for prod u ce than the triangular spade
with which the tenant i s bo u nd by his landlord to dig or rather ,

to shovel one third of his farm T h e rich plai n of the Val

,
-
.

’
d A rno yields usually two harvests a year the first of wheat the , ,

second of some green crop which last is sometimes ploughed ,

up and left to rot on the field as man u re for the next T his .

course is interrupted every third or fourth year by a crop o f

T u rkey wheat ( G ra n Tu rco or I ndian corn ) sometimes of
-

, ,

beans or rye and more rarely of oats ; barley was unknown

, ,

here u ntil the breweries lately ( 1 8 0 9 ) established at F lorence

,

and Pisa called it into cultivation A s you approach the skirts .

of this narrow plain you perceive a change i n agriculture Th e .

1
Pi etro Leo p o l do , G ra nd D uk e of T usca ny , th e or igi nat or of ma n y
go od w o rk s un t il 1 7 90 , w h en h e l ef t Fl orence to a sc en d th e th ro n e Of

A ustri a .
2 98 E N VI R O N S OF F L O RE N CE .

vine and the olive gradual ly prevail over corn — one hal f o f -

T uscany i s mou ntain s which produce nothing but timber one , ,

S ixth part consists O f hills whi ch are covered with Vineyard s ,

or olive gardens T h e whole is distributed i nto

-
.
f oria s
a tt ,

or stewardships Each f a ttoria includes on the average seve n

.

farm s .
’

T h e above descri ption although written som e seventy year s ,

ago may still in some m easure apply to the country surrounding

, ,

F lorence at th e present day O ne great peculiarity to ou r .

English i deas i s that the ca ttle on the farms belong solely t o

th e proprietor with whom however the peasant tenant S hare s
, , ,

the produce of the animals their milk & c O n the othe r , , .

hand the peasant claims th e right of keeping poultry and

,

pigeons which are allowed free range and pick up what is to

, ,

be foun d on the farm an d the proprietor fre q uently makes an ,

agreement with his tenant that h e shall supply him with a ,

certain number o f fowls and eggs annually .

T here is still b u t little enterprise and notwithstanding th e

.
, ,

e ff orts o f th e late Baron B ettino R icasoli and o f Cavaliere ,

C attani Cavalcanti the latest improvements i n agricultural

,

i mplements have been very rarely adopted .

T h e climate as our poet Goldsmith so happily describes in

,
’
his T raveller lends almost too much aid to the natura l
,

fertility of the soil to tempt the peasant with his simple needs
, , ,

to make any very great exertion .

C o u l d N a t u re bo un ty sa t i sf y th e b rea st
’
s ,

T h e so n s o f I t a ly w e re su re ly bl est
W h a t e v e r f ru i ts in di ff e rent c li m es a re f ound
T h a t p ro u dly ri se o r h u m bly cou rt th e g ro u nd
,

Wh a te v e r bl o o m s in to rri d tra cts a pp ea r ,

Wh o se b righ t su ccessi o n deck s th e v a ri e d y ea r ,

Wh a te v er sw ee ts sa l u t e th e n o rth e rn sky
W i th v ern a l liv es th a t bl osso m b ut to die
,

T h ese h e re d i sp o rt i n g o w n th e ki n dre d so il
, ,

N o r a sk l u xu ri a n ce f ro m th e pl a nt er s t o il ’

Wh il e sea b o rn g a l es th e i r ge li d w i ngs e xpan d

-

T o w i nn o w f ra gra n c e ro u n d th e sm ili n g l a nd .
’
3 00 E N VI R O N S OF F L O RE N CE .

resided until the monks had become so numerous that it was

deemed expedient for him and several of his brethren to
remove to the D ominican Convent of Sa n M arco within th e ,

gates of F lorence B ut the saintly artist left some very beauti

.
«

f u l works behi nd him one O f which an altar piece still remains

, ,
-

i n the apse o f the church Its subj ect is an Enthronement of .

the Virgin the Child i s seated on her knee sh e is surrou nded

by worshipping angels two of whom kneel i n front and St , , .

T homas A quinas St Peter St D ominic ,

. and S a n B ona ,
.
,

ventura stand on either side T hese figures display greater force .

than i s usual i n F ra A ngel ic o s male saints T h e predella i s ’

.

only a copy of the original painting which was sold by th e ,

monks about sixty years ago to the Prussian Consul a S ignor ,

Val entini at R ome from whose nephew it was purchased i n

, ,

1 8 6 0 for the N ational Gallery i n London where it may now be ,

seen I t i s i n three compartments ; the central division re pre

.

sents the R esurrection of our Lord with angels playing variou s ,

musical i ns truments and blowing trumpets Th e two side .

divisions contai n M ale an d F emale Saints and M artyrs in

A doration and at the extrem e ends the Blessed or B ea ti of the
, , ,

O rder o f the D omini cans i n their black robes T h e frame o f .

this picture contains paintings o f prophets and saints by Loren z o ,

Credi ( 1 4 5 9 —1 5 3 7 )
F aci ng this picture to the back of the high altar is another
, ,

,
1 6 —
painting attributed to Perugi no ( 44 1 5 2 3 ) th e Virgin with
a D ove who carries a small cross T h e stalls of the monks on
,
.

either side of the choir are decorated with fi ne reliefs and

in ta rsia work T h e architectural proportions of the church
.

are ve ry agreeable and the decoration round the arches in dicate

,

the school of B runelleschi T h e nave is several steps lower .

than the choir and has S ide chapels i n one of which is a

, ,

Crucifi x by a pupil o f D onatello and i n another an

, , ,

A doration of the M agi by Perugi no though it has been

, ,

retouched by So gl ia ni ( 1 4 9 2 as well as by S anto di T iti

( 53
1 6 Th e landscape i n the background is very pleas
 B A D IA OF F I E S O LE .
30 1

ing the colouring fu ll and clear with the exception o f the ,

flesh tints which want clearness

,
A Baptism of Christ by .
,

L oren z o Credi i n another chapel is feeble but the angels

, , ,

have great sweetness of expression T h e Chapter H ouse of .

th e Convent formerly contained a life si z e Cr u ci fixion by F ra -

A ngelico which has been removed and the Chapter H ouse

,

itself has been converted into a greenhouse .

At the foot of a steep descent from the Pia zz a Sa n D omenico

is the Badia or A bbey of F iesole it is b u ilt on the slope of a
,

hill close to the M ugnone which at certain seasons of the

, ,

year becomes a torrent and is crossed near this spot by a

,

stone bridge .

T h e abbey is believed to have been originally the Cathedral

of F iesole It was first dedicated to S a n Piero and Sa n
.

R omolo becau se the remains of the last named saint were

,
-

interred in a round chapel now no longer existing whose site

, ,

is recorded by an inscription on the wall outside the present

church I n 1 0 2 8 Jacopo B avaro then B ishop o f F iesole and
.
, ,

the fo u nder of the existing cathedral at F iesole transferred th e ,

b ody of S an R omolo to the cathedral on the hill above and ,

the Em peror Conrad I I converted the ch u rch below into a

.
‘

B adia or abbey .

Shortly afterwards the resident bishops and canons aban

do n e d the building and were s u cceeded by B enedictin e monks
, .

T h e Bishops of F iesole retained their patronage over the A bbey

u ntil the year 1 440 when some Lateran canons from a monas
,

tery near Lucca were invited to take possession of the building ,

and Cosimo Pater Patri a entertaining a warm friendship for ,

one of these canons D o n T imoteo M a ff ei of Verona a man

, , ,

of virt u ous habits and in good rep u te for his eloquence i n the
,

pulpit resolved to reb u ild the A bbey on a larger scale and to

, ,

reserve rooms for himself where he might visit his friend T h e .

work was entrusted to Brunelleschi and th e plan was on a ,

magnificent scale Everything was to be provided that might

.

conduce to the comfort of the canons an infirma ry a library , ,

3 02 E N VI R O N S OF F L O RE N CE .

a S pacio u s Loggia refectory and o f fices beneath for cellars

, , ,

bakehouses kitchens and washhouses

, ,
T h e buildi ng was .

begun i n 1 4 6 2 but Cosimo died two years later and Loren z o

, ,

the M agnificent was so absorbed in other m atters connected

with his personal aggrandisement that it never was completed , .

T h e half fi n ish ed fa cade of the church is composed o f black

-

and white marble i n the style of that of Sa n M iniato a l M onte

, .

T h e decorations rou nd the three arches are very elegant and ,

the windows above are ornamented with doves a nd other de

vices T h e i nterior o f the church consists O f a nave two short
.
,

transepts and the choir which is elevated fi ve steps above the

, ,

nave T h e framework of the two doors i n the transepts o n

.

either side of the choir both above and o n either side are , ,

o f grey stone pietra serena brought from the q uarri es above

, ,

S ettignano on the eastern Slope of the hill of F ieso l e

,
T hey .

are decorated with delicate scrolls and designs i n relie f .

T h e side arches and proport ions o f the church are beautiful

examples of B ru nel l e sc h i s style o f architecture T h e high altar
’
.

was only placed i n 1 6 1 2 I t i s composed of inlaid white and.

coloured marbles executed at the F lorentine manufactory of

,

pietra dura T h e chapels on either side o f the nave are rais ed

.

by steps also a favourite plan of Brunellesch i

,
A small .

vestibule between the church and the cloister was formerly the
s acristy ,
and contains a lovely marble lavatory designed by
B runelleschi : children ride on the backs o f dolphins and on ,
’
e ither S ide of a large scallop shell are relie fs of angels heads ,

fruit and corn i n relie f are on the arch above T h e cloister .

i s several steps higher t han the church and extremely beautifu l ,

o n e side of it opens on a garden and a double Loggia on this ,

s ide of the building commands a view over F lorence Th e .

r efectory contains a p p
u l it o f the grey
~

p ietra seren a stone

, so ,

pro fusely u sed here for ornamental architecture another work ,

o f B runelleschi O n e end o f the refectory has a fresco by

.
,

Giovanni di Sa n Giovanni ( 1 5 9 0 It was painted in

1 6 20 . T h e subj ect is A ngels M inistering to our Lord a fter H is
3 04 CH R O N O L O G Y
.

G i o v a nn i di S a n G i o v a nn i
M edi ci C osi mo Pa t e r Pa tri a
, ,

G i o v a nn i ( Le o X .
)
G i u li a n o , D u ca di N e mo urs
P e ru gi n o , P i e t ro
P i etro Le o p o l do , A u st ri a n , G D . .

S anto di T i t i
Sca l a ,
B arto l o mm e o de ll a
S ogl ian i G i o v a nn i Ant o n i o
,
 C H A P T ER XXI I .

F I E S O LE .

HE carriage road from Sa n D omenico to F iesole was

constr u cted d u ring the reign of the last Grand D uke
of T u scany Leopold I I It rises by gentle windings to th e
,
.

Pia zz a of the old Etruscan city D uring the whole ascent th e.

V iews over the Valley of the A rno are extremely lovely no ,

interr u ptions occ u rring from the usual high wal ls Villa Gher .

a rdesca or Villa Landor as it is still called is situated imme

, ,

dia tel y beneath the road on its so u thern side T h e house is

fl
.
,

said to have been built after a design o f M ichael A ngelo an d ,

'

’
the gro u nds were the scene of some of Boccaccio s tales T h e .

two small streams the A ff ric o and the M ensol a which o w

, ,

through the adj oining V ine and olive gardens were also intro ,

du c e d into Boccaccio s poem Il N infale F ieso l a n o and th e

’
,

Lago delle B elle D onne mentioned i n the S ixth day of h is

,

‘
D ecamerone is within th e grounds
,
’
H ere for many years .
, ,

resided Walter Savage Landor the well known writer a n d ,

-
’

sta u nch adherent to R ep u blican O pinions the fri end of Samue l ,

Parr R obert Southey and later of R obert Browning Lando r

, , , .

owned a small property in Warwickshire b u t circumstances , ,

connected with his irascible and restless temperament induced ,

him to live on the Continent when he purchased this villa in

, ,

which he resided fourteen years D omestic troubles cause d .

him to leave Italy for a time and to live i n Bath but h e , ,

yearned to revisit Italy and returned to F lorence where h e

, ,

died i n 1 8 6 4 having nearly attained his eightieth year

,
.

VO L . 11 .
 3 06 E N VI R O N S OF F L O RE N CE .

N otmany steps from the summit of the h ill of F iesol e th e

road passes the gate of Villa Spence also known as Vill a ,

M o zz i T h e house I S S i tuated on the old road which leads i n

.
,

a more direct line from S a n D omenico to F ie so l e but visitors

who arrive by the easier road are admitted by another gate ,

a n d drive through terraced gardens to the Villa .

T h e house was b u ilt i n 1 4 7 8 for the son o f Cosimo Pater

Patri a Giovanni de M edici who died while still young I t
,
’
, .

was designed by M ichelo zz o M ic h e l o z z i the a rch itec t o f ,

C areggi an d several other M edicean villas i n the neighbou r

h ood o f F lorence and it was supplied with eve ryth ing that
,

c ould tend to the comfort and pleasure o f its inhabitants It .

was in this vill a in 1 4 7 8 that the Pa zz i intended to have

, ,

accomplished their scheme o f destroying their rivals th e

M edici Cardinal R affaello Ria rio nephew o f Count Girolam o
.
,

R ia rio and great nephew of the reigning Pope S ixtus I V

,
-

stu dent at that period i n th e U niversity of Pisa was on a visit ,

to J acopo Pa zz i at the neighbouring Villa o f Lavaggi i n

, ,

M o n tu ghi A ccording to Politian the form er tutor o f Loren z o

.
,

a n d Giuliano de M edici after attending M ass at th e B adia of

’
,

Sa n D omenico the Pa zz i with the young Cardinal R ia rio and

, ,

other friends ascended the hill to the Villa where Loren z o and
,

Giuliano little suspecting treason received their guests with

, ,

due honou r and respect displayed all their treasures i n art and ,

furniture for their gratification and i nvited the Cardinal and ,

his suite to dinner T h e invitation was accepted and the feast

.
,

’
given but Giuliano Politian contin u es excused hi mself from
, , ,

being present pleading an i nflammation in h is eyes and in

, ,

consequence the conspiracy for murdering the two brothers

was postponed T h e ban q ueting room where the guests as
.
’
-

s embled is still S hown and the T erra zz a where Loren z o as the

, , ,

s tory goes was pacing backwards and forwards with F rancesco

,

dei Pa zz i when the latter lovingly passed his arm round his
,

waist to ascertain whether Loren z o wore a coat of mail beneath

his dress H ere as well as at Careggi the P l atonists Pic o
.
, ,
 8 E N VI R O N S OF F L O RE IVCE .

study augury at F iesole O n momentous occasion s sooth .

sayers from F ie so l e were conducted to R ome and Pliny ,

m entions a F ie so l a n who had seventy four sons and grandson s -

arriving at th e Capitol in order to perfo rm the solemn sacri fices .

T h e art o f divination does not appear to have been wholly lost

by their descendants as we read o f F lorentines who were in
,

the habit of consulting astrologers before commencing a wa r

or any grea t enterprise .

F ieso l e crowns an advanced spur or buttress of the A pen

nines and ri ses
,
feet above the valley of the Arn o I t .

i s perhaps due to its distance from R om e that it i s not men

tio n e d i n R oman history before B C 2 2 5 D uri ng the Gaulish . . .

war whe n the R omans marched from Clusium they met their
, ,

enemies near F iesole Again during the second Puni c war

.
, ,

H annibal encamped here short ly be fore the battle of T h rasy

mene F iesole in thos e days is believed to have been bor
.

dered by a marsh which probably ext ended across the valley

,

of the A rno below F lorence D uri ng the S ocial war B C 9 0 .

,
. .

8 9 the to wn o f F iesole was ravaged by fi re and sword and a

, ,

few days later it was selected by Sulla as the seat of a large

military colony T h e colonists however were not satisfied
.
, ,

with the mann er i n which S ulla distributed the land to h is

soldiers and sided with Catiline who when driven from R om e
, , ,

by Cicero took refuge near F iesole H ere Catiline organised

,
.

a force o f two legions and lingered among the neighbouring

,

heights u ntil compelled to fight the armies of M etellus an d

,

A ntony near Pistoia .

T h e F ieso l a ns are reported to have been a fi erce and deter

m ined race an d their connection with R om e was maintaine d
,

more by intermarriage than by bondage or s u bmission .

I n A D 4 0 5 Stilicho General of the Emperor H onorius

. .
, , ,

then master of Italy O pposed the Goths who under their king
, , ,

R a da ga siu s had cro ssed the A lps and were encamped on the
,

rough chain O f the A pennines near F iesole D reading a pro .

tracted siege from the barbarians the F ieso la ns in concer t , ,

 F I E S OLE .
3 09

with the F l ore ntine s sided with Stilicho and issu ing from their
, , ,

walls attacked and totally destroyed the Goths

, .

I n A D 4 9 0 T heodoric king of the O stro Goths as a reward

. .
, ,
-

to the inhabitants of F ie so l e for having given him an honour

,

a ble reception cau sed a Christian Basilica to be constructed on

,

the Arx or citadel dedicated to Sa n Piero i n Gerusalemme

, ,
.

T his Basilica is one O f the O ldest in T u scany and still exists ,

’
u nder the name O f S ant A lessandro .

T h e citadel of F iesole offered a sta u nch resistance to

B elisari u s the General of J ustinian i n A D 5 3 8 but the ci ty
, ,
. .
,

was now on its decline while the neighbouring F lorentia was

,

i ncreasing in importance ; and the historians M al e spini Villani , ,

M acchiavelli and others assert that i n 1 0 1 0 F iesole was taken

,

a n d destroyed by the F lorentines tho u gh this fact is perhaps ,

more legendary than authentic .

T h e R oeea or citadel of F ieso l e was still standing in 1 1 2 5

, , ,

a stronghold for the Ca tta n i bandit chie fs who harassed the , ,

neighbo u rhood by levying contributions on travellers and

merchants .

F ie so l e was originally protected by three lines of walls above

two miles in circumference a fo u rth wall embraced all the
circumj acent territory descendi ng to the banks o f the A rno
, ,

wh ere the F iesol a n distri ct was entered by three gates at

intervals of a mile between each S ome remains of these .

ancient walls still exist T hey are best seen to the north of the
.

c ity on the slope facing M onte S enario Th e blocks of stone . .

q u arried out of the adjacent hill are polygonal in form and

closely j oined one to the other though no cement has been ,

employed T h e separate blocks are not q u ite so large as those

.

of the walls of Corton a another of the Etruscan cities but are

, ,

extremely interesting as a type of the Etruscan style of building .

T here were formerly some traces of a gate in this direction but ,

n othing is visible except the remains of a kind of bastion .

S ome traces of the triple concentric wall exist on the A rx or ,

citadel which is now crowned by a F ranciscan convent

, On .
310 E N VI R O N S OF F L O RE N CE .

this l pe stood form erly th e Villa O f S cipione A mm irato th e ,

F lorentine historian .

T h e remains o f the R oman theatre which was situate d

within the ancient city walls are a little lower than the Cathe
dral I t was discovered in 1 8 0 9 by a German Baron S chellers
.
,

heim A piece o f wall exposed to View on descending to th e

.
,
’
theatre has been named the Palace though apparently with
,
‘
,

out any reason to j ustify the name I t may possibly indicate .

the Etruscan temple which is said to have stood very near thi s
,

spot . N ieb u h r regarded this R oman the a tre as Etru scan ,

bu t more recent anti q uarians have decided that it belonged to

the R oman period when it was usual to im ita te Greek theatres
, ,

which were always built agai nst the side of a hill and were ,

semicircular i n form as th e theatre o f T usculum near R ome

, , .

T h e T heatre o f F iesole is i n better preservation than most

that have been excavated ; a small gate composed of solid
blocks o f stone and a descent O f a few steps leads to the upper
, ,

tier o f seats faci ng the stage T here are twenty tiers o f seats .
,

quarried out o f the solid rock and five flights o f steps which , ,

divide the tiers o f seats into six cu nei or wedges A trench in , .

front O f the prosceniu m or stage according to D en nis w as l n

, ,

tended to hold the curtain sipa riu m T h e wall facing the

, .

spectators which was called scena ( whence our modern term )

, ,

has two square bases in front O f it probably once the suppo rt ,

of colu mns I t was the custom i n ancie nt times to paint thi s

.

scena varying the design according as th e drama was to be

, ,

tragedy comedy or satire T h e p rosceniu m or stage was never

, ,
.
, ,

concealed from the spectators as i t was usual to roll up th e ,

sipa riu m or curtai n beneath th e stage

, ,
before the commence ,

1
ment of th e play .

T o 111 6 1 15111 1 o f the stage are fragments o f two erect fluted

columns which appear to have been an entrance to several
,

small chambers possibly the green room of the actors O n

,
-
.

either side o f the space which was occupied by the orchestra

S ee S mi th s D iction a ry qf A ntiq u ities a rt i c l e Th ea t re
1 ’ ’
, .
 E N VJR O N S OF F L O RE N CE
‘

312 .

I n another room are two stone Etruscan wells Withi n cases .

against the walls are vases o f black and red Chiusi and A re zz o
ware and Etruscan art icles such as beads brooches lachrymals
, , , , ,

bron z e chains a flesh hook and gridiron found near the spot
,
-

where the wol f was excavated with other sacrificial instruments , .

T h e museum contai ns as be fore m entioned a variety of small

, ,

specimens o f polished marbles collected in fragments from the ,

R oman theatre besides terra cottas h a s reliefs of stone with v ery

,
-

,
-

grace ful designs of flowers leaves birds m en horses chari ots

, , , , , .

A figure of Bacchus holding the thyrsus accompanied by a smal l ,

B acchanal and leopard a very graceful winged female fi gure

, ,

capitals o f columns and fragments of fluted pillars resembling

those still standing were all taken from the same spot A mong
, .

the smaller articles the ivory ticket of admission to the theatre

, ,

with the name o f the ticket holder i s curious -

,
.

B eyond the Pia zz a of F ieso l e and the Pia zz a M i no the road

leads eastwards across the F ie so l a n quarter of Borgo U nto near ,

where a singular cistern or reservoir for water was discovered

called La F on te S otterra A flight of steps downwards an d
.
,

a long shapeless gallery at a lower level than the su rfac e

o f the grou nd leads to this fou ntain T h e water which it
,
.

used to yi eld was perfectly pu re but the source was closed i n ,

1 872 . A nother cistern near this spot had be en discovered i n

1 8 2
3 ,
which i s considered of far older date j udgi ng by th e ,

huge blocks of ston e withou t cement of which the walls were

, ,

c omposed and the roof of hori z ontal slabs closed by o ne

, ,

large stone in the centre T h e discovery of some Etruscan

.

amphora and water j ars very near has caused som e arch a
-

ologists to assign the cistern to the Etruscan period D ennis 1

.

suggests that when this fountain was closed possibly from an ,

i nsu ffi cient supply of water that of the F on te So tterra was,

constructed to supply its place .

S ome traces of an aqueduct have been discovered i n this

neighbourhood which i s beli eved to have brought water to
,

S ee Etru sca n C em e te ri e s
1 ’
.
 CA TH E D RA L OF F I E S O LE .
3 1 3

Fi eso le from M o n tereggi an eminence about three miles east

,

o f F iesole and that i t was probably destroyed when B elis arius

,

b esieged the city .

A dj oining the M u se u m of F iesole in the Pia zz a is th e

c h u rch of Santa M aria P rim eria n a dating from the tenth ,

cent u ry T h e Podest a and Gonfalo n ier of F iesole were

.

i nstalled into O ffice beneath the portico of this little church ,

where they recited an oration in praise of the city I t is still .

the custom to transport the B ishops of F iesol e hither on the

d a y of the ceremonial I t contains two reliefs by Luca
.

della R obbia O ne represents the Cruci fixion the Virgin

.

M ary the M agdalene and S t John are very good

, ,
T h e other
. .

relief represents St M ichael the A rchangel and is inferior

.
,
.

T h e ch u rch also contains a very ol d wooden image o f the

Virgin belonging to the thirteenth century : it was originally
c al led Santa M aria Intemerata the church having been fi rst dedi ,

c a te d to the Virgi n and on grave occasions such as sieges or ,

s ome public calamity or pestilence the I mage was taken to ,

F lorence .

Th e D uomo or Cathedral of F iesole was fo u nded by Bishop

, ,

Jacopo Bavaro abo u t 1 0 2 8 and dedicated to S a n R omolo or , ,

R om u l u s when his relics were bro u ght hither from the Badia at
,

S a n D omenico S t R omul u s accordi ng to the legend was a

. .
, ,

R oman of noble birth who had been converted by S t Peter

, .
,

a n d sent by that apostle to preach Christianity to the heathen

c ity of F iesole A cc u sed of being a Christian he was brought

.
,

before the authorities and thrown into a dungeon from whence , ,

a fter submitting to many tortures he was brought out and

p t
u ,

to the sword with other believers on the rock beneath the

, ,

c itadel T his happened in the reign of the Emperor N ero

. .

T h e D uomo latterly has undergone thoro u gh repair T he .

o u tside O f the building is perfectly simple and the proportions ,

o f the interior are extremely beautifu l T h e nave and aisles are .

s eparated by a seri e s of sixteen col u mns composed of circular ,

b locks laid one above the other of sandstone extracted from th e

, ,
3 14 E N VI R O N S OF ,
F L O RE N CE .

neighbourhood o f F ie so l e T wo o f these colum ns have m arbl e

.

bases T h e capitals are irregular and di ff eren t S everal belong

. .

to the Composite order they seem very much disproportioned

to the S hafts and probably were taken from some R oman
,

temple T h e narrow windows of the central nave denote th e

.

Lombard style O f architecture T h e di ff erence i n the span o f

.

some o f the arches suggests that there were interruption s

during the erection of the building O ver the central western .

entrance is a l a rge R obbia ware statu e of Sa n R omolo whi ch

-

was executed in 1 5 2 1 by order of B ishop F o l c h i F o r a long .

ti me i t stood in the episcopal palace but was brought i nsid e ,

the cathedral i n 1 7 8 1 .

Th e crypt several steps lower than the nave i s supported

, ,

by small columns whose capitals belong to the early Christia n

,

period bearing figures of the D ove and other animals sculptured

,

o n them T h e walls of the crypt were once adorned with

.

frescoes representing scenes i n the life of Sa n Romolo whi ch ,

are m uch eff aced though some q u aint views of F iesole can be
,

discerned i n several of the comp a rtments T h e body o f th e .

saint i s i n a sarcophagu s i n the centre of th e crypt Th e .

baptismal font to the right is composed of a huge block o f

s erpentine and is of v ery a n c ie n t date by som e a rc h a o l o gists
,
~

supposed to have been once a Pagan altar to Bacch u s which

’
stood originally in the B asilica of S ant A lessandro within th e
citadel .

T w o flight s of marble steps lead upwards on either si de o f

the high altar from th e nave to the presbyteri u m o f the cathedral ,

which is large and l Of ty T h e va u lting above the apse h as

.

f resso paintings by B ernardo P o cc e tti ( 1 5 4 8 also re pre

senting scenes from the life of Sa n R omolo T o the left O f th e .

altar i s the tomb of Bishop Jacopo B avaro an d on the sam e ,

S ide a beautiful marble D ossale or A n cona executed by A ndre a ,

F e ru c c i of F iesole ( 1 4 6 5
,
A Ciborium in the centr e
represents the Virgin and the A ngel o f the A nnunciati on ,

also statuettes of S a n R omolo a nd Sa n M atteo T h e Gradin o .

3 10 E N VI R O N S OF F L O R E N CE .

of D esiderio da S ettignano T h e fo u r Evangelists are painted .

i n fresco on the vaulting of the chapel but the colouring i s ,

much inj ured .

T h e episcopal palace and canons residence are opposite

’

t h e entrance to the cathedral T h e conspicuous large building.

to the left of the road on arriving from F lorence i s the epi

, ,

s copal S eminary built in 1 6 7 Th e oratory contains a L u ca

,3 .

dell aR obbia .

T h e ancient A rx or citadel o f F iesole i s c onsiderably

, ,

h igher than the Pia zz a — a steep paved road leads up to it .

T h e summit is crowned by a Convent O f F ranciscan F riars In .

the twelfth centu ry the convent was occupied by some Au gu s

t inian nuns called the R omite or H ermits of S anta M aria del
, ,

F iore but i n 1 4 0 7 these gave place to the F ranciscans

, H ere .

B ernardino of S ienna the founder of the order of O sservanti

—Reformed F ranciscans— is said to have spent some time
,

T h e little church contain s a painting by Cigoli ( 1 5 5 9

a n d a Coronation of the Virgin with S ai nts by Piero di Cosi mo ,

( 1 4 6 2 T h e F riars occasionally fin d Etruscan remains

in the convent garden .

Immediately below th e F ranciscan convent at the foot o f ,

’
a steep descent is the Basilica o f S ant A lessandro
,
T hi s saint .

was a B ishop of F iesole and is interred beneath the high altar

, .

I t i s believed that this B asilica was at one time a R oman

temple which was b u ilt according to Inghirami o n the site
, , ,

of a sacred enclosure of the Etruscans S om e discoveries .

o f remains i n 1 8 1 4 while repairing the pavement i n front

,

o f the Basilica makes this surmise probable S everal small

,
.

c isterns
( F avissa ) were excavated which however were , , ,

a fterwards re covered with

-
earth S uch cisterns are often .

found near ancient Pagan temples and seem to have been ,

used for receivi ng those portions o f the sacrificial victims which

were considered u nfi t for the ceremonies O ther cisterns re
,
.

’
s embling those discovered i n front o f S ant A lessandro were ,

e xcavated near the T emple of Jupiter on the R oman capitol , ,

 CI TA D E L O F F I E S O LE .
3 1 7

w hose foundations are attri buted to the Etruscans T h e .

Roman T emple built on this Etruscan site wo u ld seem to

, ,

have been H yp a th ral resembling that dedicated to Isis at

, ,

Pompeii _open to the sky in the centre with a covered colon

, ,

nade around T h e T emple at F i esole is believed to have been

.

dedicated to Bacchus on account of the altar to that god no w

,

used as a Baptismal F ont in the Cathedral of F iesole as well a s ,

from the marble altar in the M use u m b u t which was on

.
,

this spot T h e columns are composed of rich O riental C ip o l

.

lino sometimes called Eu b oeic marble because still q uarried

, ,

at Euboea or as it is now called N egropont T hey rest o n

, , , .

plinths of similar marble which i s seldom the case when ,

columns have been moved from their original position T h e .

bases below the p l inths are of Parian maible T h e capitals O f .

the col u mns belong to the R oman Ionic order T heodoric .

,

King of the O strogoths as already mentioned converted thi s, ,

R oman T emple into a Christian Basilica and dedicated it to ,

Sa n Piero in Gerusalemme preserving the col u mns with thei r ,

bases bu t adding Lombard arches in place of flat architraves

, ,

and roofing in the central court T h e name of Sa n Piero wa s .

changed to S ant A lessandro who was a B ishop of F iesole

’
, ,

when the body of this last named saint was laid here I n 1 7 8 4-
.

the roof was destroyed the pavement broken up and the ground
, ,

converted into a cemetery but in 1 8 1 4 B ishop T ommasi o f , ,

F iesole restored the Basilica and once more converted it into ,

a place of worship .

T h e earliest and most direct road from F iesole to Sa n

D omenico is very precipitous I t is still used by mule drivers . -

or for light carts and it is worth descending by this way to enj oy

,

the exquisite views over th e valley of the A rno seen between ,

the tall cypresses which border the road O pposite this S ide .

of Villa Spence a steep path to the left leads up to a small

,

convent which was built in 1 3 6 0 for some hermits o f S t , .

J erome T he present church and adjoining buildings are of a

.
.

m u ch later date and were designed by M ichelo zz o M ic h el oz z i

,
-
3 18 E N VJR O N S OF F L O R E N CE .

at the begi nning of the fi fteenth centu ry in the tim e O f Cosimo

Vecchio de M edici T h e G ero l a mite s were suppressed i n
’
.

1 6 6 8 by Clement IX when the convent was converted into

.
,

a villa and i n 1 7 9 8 it cam e into the possession o f th e Barons

,

Ricasoli I t is now occ u pied by the J esuits with their h ead

.
,

a very aged man F ather B e ckx T h e church formerly contained

,
.

several good works o f art but nearly every obj ect o f merit has ,

bee n removed except a large fresco O f S t J erom e by the

, .

modern pai nter Sabatelli T h e view fro m the portico of the .

church bu ilt i n 1 6 3 4 is truly splendid

, , .

A few paces distant from the entrance to the grounds of th e

J esuit F athers an inscription on a large block of stone records
,

that Sa n R omolo and his companions su ff ered m artyrdom on

the rock above
S opra oi
’

gu esto sa sso
P er ma n del l e crudel F esu l e gen ti,
i morte,
’
Sp etta col o tristo,
’
a orrena o e

Qu a i U itti me in n ocen ti
Ca dero esa ngu i i gr a n ca mp ion di C risto .
’

Ab o ve th i s ro c k
By th e h a nds of th e c ru e l F ieso l a n p eo pl e ,

Sad a nd p ecta c l e o f dea th

f e a rf u l s ,

H o w m a n y i n n oce nt vi c ti ms
F e ll li f e l ess as ch a mpi o n s f o r C h ri st .
’

I mmediately beneath the terraced gardens of Villa Spence

’
i s the chapel or oratory of Sant A nsano I n 1 7 9 5 this chapel .

fell i nto th e possession of a Canon Bandini of the Cathedral ,

O f F lorence who placed in i t a variety of paintings

,
sacred an d ,

profane some O f u ndoubted merit bu t many utterly worthless

, ,
.

T here are several bas relie fs by Luca della R obbia or his ~

scholars and a bron z e relie f o f an A doration O f the M agi

,

attributed to Loren z o Ghiberti T wo paintings near the .

,

entrance of the T ri u mph of Petrarch are by S andro Botticelli

, , .

T hey are much inj ured but are interesting because some , ,

very val u able engravings were taken from them .

3 2 0 E N VI R O N S OF F L O RE N CE .

need not fear you w h o are a coward and not even worthy to
, ,

H e looked at me with a subd u ed air a n d

”
receive my blows .
,

made no reply R ecovering m y better feelings I thanked God

.
,

that by H is help I had not committed a deed of violence He .

’

( B envenuto ) then relates how he took courage and prayed t o ,

H eaven that he m ight be permitted to fi nish his work ( th e

statue O f Perseus ) with such perfection that he might destroy all
his enemies and thereby gain a greater and more glorio u s v ic
,

tory than by only overcoming a single foe H aving form ed thi s .

1
resol u ti on he ret u rned home i n a happier frame of mind
,
.

T h e S ite of the hostelry O f the T re Pul z elle where th e

‘ ’
,

A bate Lam i the writer on T uscan antiq u ities was accustomed

,
’
to res t on his walks is n ear Bandinelli s farm ,
.

T h e M edicean coat of arms at the angle o f th e two roads , ,

was placed here on the 1 1 th of J une 1 5 1 6 when Le o X passed , , .

on his way to F ies ole .

N ear this is th e Villa o f the painter Pietro Benvenuto o f

A re zz o whose frescoes are i n the M ausoleum Chapel of Sa n
,

Loren z o .

C H RO N O LO G Y .

A D

A mmi ra t o , S c ipi o n e 6 . 1 53 1 ; d . 1 60 1

B a ndi n e lli B a cc i o
,
a . 1 48 8 ; d . 1 5 60
B en v enu t i Pi et ro ,
a . 1 7 69 ;
C e lli n i B en v e nu t o
,
a . 1 5 00 ; d . 1 57 1
C ig o li Lu do vi co C a rdi
,
b . 1 5 59 ; d . 1 613
C l e m en t I X Po p e re igne d , 1 667 -
1 669

C on v ent o f G ero l a mites f o u nded 1 3 60

su pp resse d 1 668

F erru cci A n dre a o f Fi eso l e

, ,
b . 1 46 5 ; d . 1 5 26
Fi ci n o M a rsili o
,
b . 1 4 33 ; d . 1 49 9

Fi eso l e fi rst menti o ned in Ro m an h i story B AL 2 2

5
S A l essa n dro f o u n ded
. A¢D . 49 0 ,

b esi e ged by B e li sari u s 538

C a th edra l o f f ou nde d ,
1 02 8

1
S e e Vita di B en v en u to Cel l in i ,
 CH R O N OL O G Y.
32 1

Fi eso l e , c i ta de l ,
st ill i g
sta n d n 1 1 25

T h ea tre , Ro m a n , u n co v ered 1 8 09
F ra n c i s I L ,
A u stri a n G . D I 7 37 — 1 7 65

La n do r, Wa l te r Sa va g e 1 7 8 5 — 1 8 64

L e o p o l do I I A u st ri a n G . D . 1 8 2 5 —1 8 5 9

L a m i , A b a te G i o v a n n i d . 1 770
M ich e l o z z i M i ch e l o zzo
,
1 39 6 ; d . 1 47 2
M i no da Fi eso l e 1 43 1 a
’
. 1 484
P a zz i co n spi ra c y
Pic o de ll a M i ra ndo l a 1 46 3 ; d . 1 49 4

Pi ero di C o sim o 1 46 2 ; d . 1 52 1
P o c ce tti B ern a rdo
, 1 548 ; d . 1 612
P o li z i a n o A n g e l o
’
, 1 4 54 ; a . 1 49 4

Ro bbia Lu ca de ll a
,
1 400 ; al 1 482

S i xtu s I V P o p e re ign e d
.
,
1 47 1 — 1 484
S o c i a l Wa r B x; 90
-
89 4

S tili ch o a t Fi eso l e IL I L 40 5 .

S a b a te lli Lu igi,
b
. 1 7 72 ; d . 1 8 50
T h e o do ri c K i ng o f O stro g o th s
,
A; D. 455
-

5 2 6 a

T h ra sym en e b a t tl e o f ,
EAL 2 1 7

VO L . II .
 C H A P T ER XXI I I .

TH E VI LLA P A L MI E RI —TH E
. OL D B OL O GN E S E R OA D
P R A TOLI N 0—111 O N TE S EN A R I O .

EYO N D the arch erected i n hono u r of the Gran d D uke

F rancis I I and M aria T heresa at the Porta Sa n Gallo is a
.
, ,

p ubli c garden or B oschetto — Parterre — as it i s u sually called .

H ere once stood a H ospital for F o u n dl ings and for th e recep ,

t ion o f pilgrims ; and later a nA u gustiii ia n conv ent and church

‘

, , ,

dedicated to Sa n Gallo by Loren z o de M edici F rom thence ’

.

i s derived the nam e of this gate as well as that o f the architect

, ,

G iuliano G ia mb e rti Sa n Gallo who was born i n the vicinity o f th e

,

convent T h e church was demolished by order of the F loren

.

tine R epublic in 1 5 2 9 to prevent its occupation by the troops

,

o f the Prince o f O range during the siege b u t the conven t was

o nly suppressed u nder the A ustrian Grand D u ke Pietro
L eopoldo ( 7 5 1
1 6 — when he introduced variou s re form s i n
the S tate and among them the diminution of idle friars
, ,

throughout T uscany T h e place where the monastery of Sa n

.
,

Gallo had stood was converted into the present public garden
, .

Passing th e barrier of the Ponte R osso called so from a ,

bridge which was demolished here i n 1 8 6 8 the Via F aenti na

, ,

to the right leads to Sa n M arco Vecchio which in early days ,

belonged to the canons o f S a n Loren z o Everything of interest .

i n this little church has been removed and it is therefore only , , ,

worthy of notice as one of the oldest i n the neighbo u rhood .

S till fu rther on this road above th e stream o f the M ugnone is

, ,

the Villa Palmieri which has the disputed honour o f being

,
324 E N VI R O N S OF F L O RE N CE .

where was a little lake in the forest which may have been that ,

i n the vici nity o f the villa where afterwards resided the poet
Walter S avage Landor T h e two m ills are also refe rred to as
.
,

belonging to a neighbouring villa du e mil a p a ssi two thousand

, ,

steps from that which B occaccio makes the scene of his tales .

T h e Villa Palmieri is now the property of the D owager

Cou ntess of C rawford and B alcarres and the grou nds combine ,

the beauty o f an I talian garden with th e care and order of an

English hom e .

R eturning to the barrier O f the Ponte R osso th e Bolognese ,

road rises directly by a steep ascent between houses T o the .

le ft is the hortic u ltura l garden of F lorence and the cou ntry

h ouse o f the late B aron B ettino R icasoli a statesman whose ,

nam e will ever be remembered among those who founded the

Kingdom of Italy T o the right is the Pellegrino at one tim e
.
,

a hospital for pilgrims which gave its name to the whole

,

district but which has entirely disappeared and a large and

, ,

ugly block of bu ildings u sed as a school for boys has t aken its
place T h e church of the old monastery is still standing j ust
.
,

be fore arriving at th e little borough of Pi etra .

T h e first villa to th e left a fter passing through Pietra i s

, ,

Lavaggi I t is in the district o f M o n tu ghi which extends from

.
,

the Via B ologn ese to the Via Vittorio Emanuele T h e Villa .

Lavaggi was at one time the resi dence of B ru netto Lati ni the ,

master o f D ant e who is buried i n the cloisters of Santa M aria

,

M aggiore in F lorence ; Villa Lavaggi afterwards becam e th e

property of the Pa zz i family I t was h ere that Jacopo Pa zz i
.

received Cardinal R a ff aello Ria rio a youth of nineteen when , ,

his v isit was made a pretext for festivities during which the ,

famous Pa zz i conspiracy against Loren z o and Giuliano de ’

M edici was hatched T h e villa was confiscated after th e mur

.

der of Giuliano and the defeat and destru ction of the conspira
tors T h e accomplished R en é of Anj ou on his way to and from
. ,

N aples where he went to claim the kingdom left him by Queen

,

J oanna I L lodged at this villa R en e returned to his native

,
.
 TH E VTLL /z S AL VI A T] .
32 5

S tate of Provence and died there in 1 4 8 0 T h e villa after

,
.

wards became the property of the M assa family from whom it ,

passed to the P a n c ia tic h i H ere the celebrated songstress

.
,

M adame Catalani spent her last days and after her death it
,
-

, ,

was sold to the M archese Lavaggi of R ome ,

.

A narrow lane beyond the villa but wide enough for ,

carriages to pass connects the Bolognese R oad with the Via

,

Vittorio Ema nri el e I n this lane is the Convent of Santa M aria

.
,

once rich i n pictures but which have all been removed to the
,

galleries of F lorence T h e road lies across the lovely undu

.

lating land of M o ntu ghi and j oins the Via Vittorio Emanuele
,

by a steep descent from the Capuchin M onastery .

T h e village of La Lastra farther on the B olognese R oad

, ,

consists of a gro u p of houses on a rocky bank to the right

there the exiled B ianch i assembled A D 1 3 0 0 they were ,
. .

sixteen hundred horsemen and some thousand foot all resolved ,

on reinstating themselves i n F lorence who succeeded in ,

reaching the Pia zz a di Sa n Giovanni but from want o f organisa ,

tion were overcome and forced to retreat and disband

, .

T h e Villa Salviati beyond n o w called H agerman is the

, ,

property of a Swedish gentleman O n this site was the Castle

.

of the M o ntego z z i who were succeeded by the Al dobran di

, ,

f ro m w h o m it passed to the Salviati

4 Looking down the steep .

road leading to the principal entrance to the gro u nds a bridge ,

may be observed over the M ugnone called the Ponte alla ,

Badia beca u se connecting the Bolognese road with the cele

,

b ra te d abbey or Badia of F iesol e which is on the opposite high

,

bank of the stream T his bridge was constructed by the

.

Consuls of the Guild of Wool and is supposed to be the scene

,

of the battle where R a da gasiu s the Goth was defeated by

S tilicho on the day of Santa R eparata
,
.

I n a little oratory near the bridge dedicated to Santa ,

M addalena are remains of frescoes by F ra Bartolommeo but

, ,

the best among them have been removed to F lorence and on

a conical hill stands the Castle of Basciano which belonged to ,
3 26 E N VI R O N S OF F L O RE N CE .

the family of the S colari t h e friends and allies of the B u o nde l

,

monti who held it till the R epublic ordered the demolitio n

,

of all fortified buildings within reach of the city on the high

altar of the church is a M adonna enthroned by N eri de B icci ,
’
.

T h e Villa Salviati is one of the largest near F lorence and ,

the grounds are extremely beautifu l H ere Veronica C yb o .

took the head of the u nhappy Catarina C a n a c ci whom she had ,

caused to be murdered and concealing it in a j ar of flowers

, , ,
’
presented it to her husband Jacopo Salviati Catarina s rep u ted
, ,

lover T h e most popular singers of this century M ario D u ke

.
, ,

o f Candia and his wife the beautiful Giulia Grisi inhabited

, , ,

this villa for several years previous to her death .

Continuing along the Bologn ese R oad th e next place o n ,

th e left hand is T respiano formerly part o f the land belongin g

,

to the Lords o f Cercina and Castiglione but for many past ,

years the cemetery for the poor of F lorence A mile from

,
.

T respiano on an eminence beneath M onte M orello may be

, ,

seen the old castle o f the Castiglione family where until , ,

recently was preserved the sword of D ant e da Castigli one wh o

, ,

fought the famous duel during the siege o f 1 5 2 9 Th e sword .

has however been removed to the Bargello T h e Castiglion e

, ,
.

were originally Castellani and claimed a descent from th e

,

R oman conspirator Catiline T hey were among the a n ost

.

ancient families of T uscany o ne of their number fought on the

Ghibelline side i n the battle of A rbia after whi ch i n 1 2 6 8 th e , , ,

whole clan was for a tim e banished from F lorence I n 1 4 6 2 .

a Castiglione was first chosen Prior O f the R epublic and the ,

las t Prior of this family was Guido da D ante the father o f ,

D ante da Castiglione who was born i n 1 5 0 3

, A t the foot o f .

'

the emi nence on which the castle is perch ed is the village o f

C ercina part of the lordship and from the green sward i n
,

front of th e little church there is a lovely distant Vie w o f

F lorence T h e best an d safest way to reach Cercina i s by
.

Careggi returning to F lorence by T respiano and the B olognese

'

R oad .
3 28 E N VI R O N S OF F L O RE N CE .

symbolise the Apennines Giovanni di Sa n Giovanni and

.

other artists decorated the interior of th e palace .

Pratoli no has long ceased to be a favourite residence an d ,

si nce the days when it was i nhabite d by F rancis I a nd B ianca .

Cappello it has been allowed grad u ally to fall i nto ru ins whils t
, ,

the villa itsel f was demolished by later T uscan sovereigns .

F erdinand I I I built a modern palace i n the grou nds and th e

.
,

presen t owner Prince D emido f f is making various improve

, ,

men ts an d has stocked the place with game

, .

F rom Pratolino the road passes over bree z y m ou ntai ns and

c ommon till it arrives at the foot o f the s teep ascen t to M on te
,

S enari o which can only be accomplished i n a cart or sleigh

,

drawn by oxen or on foot Withi n a short distance of the .

monas tery is L A c q u iric o where there is a fou ntain and a

’
,

cross . T his was another resting place for the fou nders o f -

M on te Senario and a miracle is said to have been here per

,

form ed upon a boy who had been drowned and was res tored
, ,

t o li fe .

T h e his tory o f M onte S enario i s closely connected wi t h th e

e arly history o f F lorence O n the site o f the beautiful Cam
.

p a n il e o f Giotto close to the F lorentine

,
Cathedral once stoo d ,

an O rato ry belonging to a confraternity who dedicated them

s elves to the service o f the Virgin and to sing praises i n her ,

honour Eve n after th e construction o f the Campanile they

.
,

c ontinu ed to meet there and entered the Cathedral by a

,

bridge connecting it with the B ell T ower A n inscription on .

a marble tablet facing the Campanile records the fact and ,

above it may still be seen the e ffigy o f the Virgi n and A ngel o f
the A nnunciation T h e Laudesi or singers of praise were a
.
, ,

band o f seven gentlemen belonging to good famili es in

F lorence who called themselves the S ervi or S ervants di
, , ,

M aria . T heir names were B o n fi gl io M onaldi Giovann i ,

M ane tti B enedetto dell A ntella

,
’
Bartolommeo A midei , ,

R icovero Lippi Uguccione Gerardo Sos tegno and A lessi o , ,

F alconieri .
 M O N TE S E N A RI O .
3 29

A ccording to the old legend they were assembled at prayer

i n their O ratory on A u g u st 1 5 the day of the A ss u mption o f ,

the M adonna in the year 1 2 3 3 when they saw a visio n O f a

, ,

l umino u s globe with seven rays which rested o n their heads

, , ,

and immediately afterwards the Virgin in the midst o f a choir ,

of angels appeared exhorting her worshippers to abandon

, ,

their families and friends to give all their goods to the poor
, ,

a n d to dedicate themselves to a monastic life T h e eldest of .

the confraternity B o n fi gl io M onaldi placing h imself at thei r

, ,

head led them to a meadow out of F lorence called C a ma riz ia

, , ,

or Campo di M arte where are now the Pia zz a and Church O f

,

S a nta Croce I n the centre of what is now the cloister O f

.

S anta Cro c e the S ervi di M aria erected a li ttle hut or orat o ry

, ,

where they offered up their prayers F rom thence M onaldi .

,

and his brethren walked in procession to the palace o f th e

F lorentine B ishop A rdingo T hey were all attired i n long
.

grey habits and the people followed them i n crowds whilst as

, , ,

the legend re l ates the very infants at the breast cried out
, ,

Behold the servants of the Blessed Virgin M ary A mong

these mirac u lously endowed children was F ilippo B e niz z i after ,

wards the great saint o f the O rder ; who although only fi ve ,

months old exhorted his mother to give alms to these holy

,

men T h e fame of their sanctity at length attracted such a

.

m u ltitude of spectators to ga z e at them when at their prayers

i n their humble oratory that they determined to seek a more
,

solita ry place where they co u ld dwell apart from all human

,

beings T heir prayer for gu idance was answered by another

.

vision of the M adonna who pointed o u t to them M onte S enario

,
-

then a desert covered with forest and i nfested by bears ,

wolves and other wild animals T h e nam e has been variously .

derived from M onte A sina rio the A ss s M ount M onte S anario ,

’
,

the M ount o f H ealth M onte S enario the M o u nt where the ,

wind moans am o ng the trees and M onte S enario the highest ,

of six hills .

B ishop A rdingo confirmed the choice o f the M adonna ,

 E N VI R O N S OF F L O RE N CE .

and bestowed the land on the S ervi di M aria T hey arrive d .

’
at the place with no garm ents but the monks habits they wore ,

and no food bu t a little bread O n th e day of our Lord s .

’

A scension they set U p an altar on the top o f the hill an d ,

commenced bu ilding an oratory Each brother sought a .

s eparate cave i n wh ich to dwell as hermits i n imitation o f th e

, ,

T hebai d i n Egy pt and the place was soon known as th e H oly

,

H ermitage of M onte S enario .

T o provide a hospitiu m or lodging for the brethren whe n

they descended from their hill to beg alms i n the city in 1 2 5 6 ,

they built another oratory at C a f a ggio j ust outside th e gates o f ,

F lorence o n the site now occu pied by the Church o f th e

,

S S A nnun z iata which they call ed Santa M aria i n C a f a ggio

.
, .

B ut i n their retirement at M onte S enari o they were still no t

secure from the i ntrusion o f strangers who cam e from a ll ,

parts to behold these saintly men When Cardinal Castiglion e .

came to F lorence as Legate from Pope Grego ry IX he w a s .

,

taken by B ishop Ardingo to M onte S enario I n 1 2 4 4 Pier o .

M artire Grand I nquisitor of Italy under Pope I nnocent I V ;

, .

and persecutor of all heresies was sent to investigate and rende r

,

an accoun t to the H oly F ather o f these penitents and above ,

al l to ascertain that they had n o taint o f heretical doctri nes .

Whilst at h is prayers Piero M artire beheld a vision O f th e

,

Virgin attired i n a black mantle and seven pure white lilie s ,

were thrown to him by angels who t old him they had gathered
,

them on the m ountain T h e I nqu isitor hastened at once to

.

the H ermitage and after h e had satisfied himself regardin g

,

the innoce nce o f their lives and the orthodoxy of their doc
trine he never ceased extolling their Virtues i n his serm ons ;
,

T h e Pope confirmed th e O rder and granted them certai n ,

'

privileges and further made u se o f them to gain fresh adhe

, , ,

rents to his cause by proclaiming that all who would abandon

,

h is enemy the Emperor F rederick I I ( the persecutor of th e .

‘

and j oi n the S ervi di M aria sho u ld receive full ,

absol u tion for their s ins .

3 32 E N VI R O N S OF F L O RE N CE .

o n his bed I n his dreams he beheld th e Virgi n seated i n a

.

chariot she called hi m to draw near and to j oi n her servants , .

H e obeyed the vision and retired to M onte S enario where

, ,

such was his modesty an d humili ty that the brethren did not
for a long time discover his ta lents F ilippo j oined the O rder
’
.

fi fteen years after its foundation i n 1 2 4 7 th e variou s m iracles

attributed to hi m are recorded by A ndrea del Sarto i n his
frescoes i n th e SS A nnun z iata . .

I n th e year 1 4 1 2 one O f the family D ella Stu fa dying with

, ,

out children bequeathed a su m of m oney for the enlargement

,

o f the monastery and for the repair O f the church A century .

and a hal f later i n 1 5 9 6 the Grand D uke F erdinand L

, , ,

brother of F rancis L and the instigator o f the murders of

,

his si ster I sabella O rsini and of his s ister — in law Eleanora

,
-

an d the supposed murderer o f F ranci s hi mself and his D uchess ,

B ianca Cappello exhibited h is piety by giving money to rebu ild

,

the m onastery H e was hunting i n the neighbourhood o f

.

Pratolino and unexpectedl y cam e u pon the H erm itage the

, ,

residence O f the founders and was so delighted with the friars

, ,

that when the new monastery was nearly fi nished F erdinand ,

brought his young wi fe Christina of Lorraine to visit i t .

Pi etro Leopoldo I s u ppressed the m onastery i n 1 7 7 7 , b u t

.

it revived u nder later and less enlightened sovereigns .

N ear the entrance to th e H erm itage as it is still ca lled , ,

are two m odern statues representing th e B eato B o nfi gl io

M o naldi the first General of the O rder and Sa n F ilippo
, ,

B e niz z i
. T hey stand on a green sward outside the conve nt ,

th e doors of whi ch are still closed to all females though the ,

brethren kindly admit both sexes to visit the lovely woods

around A bell and clock tower are at the entrance o f the
.

building ; on the tower is a representation of the Virgi n o f

S orrows and for a motto the prayer of her servants
, ,
D olore ,
‘

’
quos ge nu isti s al va filio s .

A round the little court o f entrance are other reliefs desc rip ,

tive of the seven sorrows of th e M ot h er of our Lord Th e .

 VI LL A OF CA F A G GI O L O .
3 33

grotto in which one of the founders the Beato M anetto dell ,

’

A ntella died in 1 2 6 8 is still shown and is reached thro u gh

, , ,

the woods Several other grottoes which were formerly in

.
,

habited by the H ermits are also preserved for the visits of ,

’
pious pilgrims who are promised a h u ndred days indulgence
,

for their sins in reward for prayers offered up at these shrines

, .

T h e View into the Valley of the M ugello the country of ,

Giotto from M onte Senario is extremely bea u tifu l A t no

, , .

great distance i s the A bbey of B u o nsol l a z z o ( good comfort ) on ,

whose site H u gh of Brandenb u rg Viceroy of T u scany for the ,

Emperor O tho I I I beheld a vision so terrible that he resolved

.
, ,

to expiate his sins by fo u nding this abbey and S hortly after , ,

wards he built the A bbey O r Ba di a o f F lorence

, , , .

T h e battle of R a da ga sius which as before mentioned i s , , ,

supposed by some to have taken place in the hollow near th e

Salviati Vill a is by others said to have been fought i n the
,

Valle l e Croci seen from M onte Senario and the nam e Croci
,

to have been given from the su ff erings of the combatants I n .

the Valley of the M ugello is also sit u ated the Villa of C a f a g

u ilt by Cosimo de M edici Pater Pat ri a
’

g io l
,
o b here he also ,

fo u nded a Convent of M inorites or Lesser F ranciscans , .

’
C a f a ggiol o and Careggi were Cosimo s favourite residences ,

and his son Piero placed his children Loren z o and Giuliano , ,

in the former villa d u ring their boyhood Loren z o selected .

the same villa in which to educate his young sons Piero and
Giovanni afterwards Pope Le o X
,
T hey were living at .

C a f a ggiol o with their mother Clarice O rsini at the time of , ,

the Pa zz i conspiracy ; f o r Loren z o considered it pru dent to

’

ke ep h is wife and children far removed from the dangers

which menaced the family in F lorence .

Catharine th e daughter of Loren z o de M edici D uke O f

,
’
,

U rbino afterwards the wife of H enry I I O f F rance and the

,
.
,

instigator of the massacre of S t Bartholomew was sent to .

,

C a f a ggiol o when a girl attended by twelve n oble F lorentine

'

maidens to receive M argaret the natural daughter of the

,
3 34 E N VJR O N S OF F L O RE N CE .

Emperor Charles V
who at the age of n ine arrived i n T uscany
.
,

on A pril 1 8 1 5 3 3 to be a ffia n c e d t o D u ke A lexander de M edici

, ,
’
.

H is murder by his cousin Loren z ino released M argaret from s o

i nfamous a m arriage and when Loren z i no fled th e day after h e
,

h a d comm itted the deed h e so u ght refuge at C a f a ggio l o , .

F orty years later the V illa was the scene of one o f tho se dread
,

ful tragedies which stai n the memory of the M edicean Grand

D ukes .

Eleanora the daughter of D o n Gar z ia di T ole do and ni e c e

, ,

of the Grand D uchess Eleanora the wife of C osimo L was , ,

m arri ed to their son her cou sin D o n Piero de M edici A f ter

, ,
’
.

the death o f Cosimo and th e succession o f his eldest son ,

F rancis to th e Grand D ucal throne Eleanora was su spected of ,

i nfidelity to her husband T h e Cardi nal de M edici afterwards .

’
,

F erdinan d L listened to stories of her miscond u ct as well as o f

, ,

that of his sister I sabella who was married to an O rsini , ,

and was scandalised by what he considered detrimental to

the honour of his house H e therefore sent information to .

his brother F rancis and at the same time suggeste d that th e

,

culprits Should be put to death T hough F rancis himself was .

living i n open scandal with B ianca Cappello —his wife J oanna of ,

A ustria being
,
still alive — h e shared the i ndignation of the
Cardinal H e sent for Eleanora and after orderi ng the
.
,

i mmediate execution of her suppose d lover he dismissed her ,

t o her husband at C a f aggio l o Eleanora at once su rm ised what .

w a s to be her own fate and after bidding a tearful fare ,

w ell to her infant son she obeyed S h e reached the villa that
,
.

e vening and had no sooner passed the threshold than she was
, ,

assau lted by Piero himself who i n hi s fu ry stabbed h er re ,

p e a te dl y u ntil she
,
lay dead at his feet T hen kneeling down .
,

h e asked pardon of H eaven whilst making a vow never to marry ,

again T h e body was placed in a co f fin which m u st have been

.
,

i n readiness and the next hour her remains were sent to

,

F lorence where they were interred i n Sa n Loren z o

,
I sabella .

met a similar fate from her husband .

 C H A P T ER XXIV .

VI LLA S TI B B E R T —M E D I CEA N VI LLA OF CA RE G GI .

E road to the le ft beyond th e Ponte R osso i s th e Via

Vittorio Emanuele an d the first villa o f importance i n ,

this d i rection is that of the F a b bric o tti O nce a country residence ,

of the P r inces Stro zz i I t stands conspicuously on an eminenc e

.

surrounded by an I talian garden laid out in terraces an d ,

adorned with busts A few steps farther on the opposite side

.

’
of the road is a small t abernacle containing the bus t of Sant
A ntonino th e good B ishop o f F lorence i n the fifteenth centu ry
,

four tall cypresses rise behind it and commemorate the site o f ,

the episcopal palace in which thesaint spent many years of

,

his li fe an d where he died D uring the siege of F lorence o f

,
.

2 —
1 5 9 3 0 the bu ilding was ra z ed to the ground .

A lane to the right winding u p a short but steep ascent

, ,

leads to the Villa Stibb ert Al l the undulating land between .

the Via V ittorio Em anuele and the Vi a B olognese bears th e

nam e o f M ont U ghi from a certain Captai n Ugo who le ft
’
, ,

R ome some time in th e twelfth century i n quest of adventures ,

or to make his fortune A rriving with his band o f arme d

.

follo w ers i n th e vicinity of F lorence he wasted the whol e ,

country and fi nally established himself on this height where

, , , ,

h e bu ilt his castle and where i n m odern days an English

, , ,

gentleman M r Stibb ert has converted two farmho u ses i nto a

,
.
,

beauti fu l villa T h e story of Ugo i s preserved i n a fresco

.

beneath aLoggia adj oining th e house painted by the F loren ,

tine artist Bianchi F rom this Loggia a beautiful Vi ew m ay be

.
 VI L LA S TI B B E R T .
3 37

O btained of hill and valley richly cultivated which once was ,

d evastated by the robber chieftain T h e little chapel beside .

t h e Loggia i s supposed to occupy the S ite of U go s Castle and

’
,

w ithin its walls lie b u ried the remains of the celebrated engrave r
R aff aelle M o rgh en who died in 1 8 3 3 ,
H is grandfather a .
,

G erman was invited to T uscany by the M archese G e rin i to

,

engrave the works of the F lorentine artists i n the Pitti Gallery .

R a ff aelle M o rgh e n was born in F lorence in 1 7 5 8 an d earned ,

for himself a name as the first engraver of his time

, .

T h e grounds round the Villa S tib b ert combine Englis h

taste for order with the usual elegan ce of the Italian garden ,

c onsisting o f terraces decorated with lovely busts amidst the

l u xuriant growth of a southern vegetation Within the villa .

t here is a most rare and remarkable collection of armo u r which ,

M r Stib b ert allows to be seen on certai n days to those who can

.

o btain a card of admission thro u gh his personal friends .

D escending a few steps from the entrance hall into a vast

saloon with a vaulted ceiling th e visitor finds himself surrounded
,

by figu res of men in various postures and of horses with their ,

riders in full armour T hey represent di f ferent periods o f

.

I talian and German history N umerous swords and other

.

’
weapons horses bits of sing u lar constr u ction banners & c
, , ,
.
,

d ecorate the walls which are painted with coats of arms and
,

other devices in a low tone of colour Some precious relics .

are u nder glass on tables in the middle of the room I n .

the centre is a horse and man fu lly e q u ipped for the tourna
ment to the right a red bearded figure wears the armour of the
-

Emperor M aximilian the l etz te R itter of the Germans he has

,

o n a kilt of crimson and green velvet striped with black and

gold the A ustrian colours and broad ribbons of crimson and
,

green are crossed over his breast .

O n e very rich coat of mail inlaid with gold belonged to a

Visconti of M ilan I n a recess to the left a rider comes forth
.
,

clad i n the armour o f one of the G u adagni family S ix cavaliers .

,

three on each side guard the farther entrance to this saloon

, .

VO L . 11 . z
 338 E N VI R O N S OF F L O REN CE .

T hree are S aracens iii fi ne chain armour carrying round shields , ,

and with the horsetail for a banner the other three cavaliers
are European .

Th e room beyond contains many val u able and curiou s

examples of Japanese and O riental arm our an d has likewis e ,

two figures on horseback the horses bei ng decorated with gilt

,

horns .

A second magnificent hall lighted from above contain s , ,

the Picture Gallery and a richly decorated bou doir is painted

,
-
.

and adorned with flowers i n relie f after the taste of the Loui s ,

Quin z e period .

A fter leavi ng the Villa Stib bert and returning to the high
road a steep and narrow lane to the right leads to the M onastery
,

and Church o f the Capuchins once celebrated for its art ,

treasures T hese are hard times for the monks an d thei r

.
,

pictures are sold and dispersed or have been removed to enrich ,

the museums of the city T his lane com municates with th e .

O l d B olognese R oad passing the Convent of S anta M a rta

, .

T h e tabern acle at the entrance below the Capuchin M onastery , ,

was painted by the S iennese F rancesco Vanni ( 1 5 6 3

A row of fi ne old cypresses within high walls encloses th e
garden beyond whose precincts the botanist or lover o f wil d
,

flowers may fi nd attractive walks amidst the hills and woods .

F arther on the Via Vittorio Emanuele is the Villa A mb ro n , ,

and still farther that O f the M archese Stufa which havi ng been
, , ,

partly destroyed by fire is better known as the Pala zz o

,

B ru c c ia to H ere three roads meet

. T h e centre leads to th e .

R oyal Villas of Petraia and Castello ; the narrow lane to th e

left to the Villa Lemmi which u ntil recently contained very
, , , ,

interesting frescoes by B otticelli n o w sold to Paris T h e road, .

to th e right leads to Careggi or Cam pus R egi s a name given ,

to the whole district o f well cultivated land lying between th e

-

stream of T erz ol l e o n th e west the heights of M ont Ughi to ,

’

the east and the southern Spur o f M onte M orello to th e

,

north .
3 40 E N VI R O N S OF F L O RE N CE .

d ied i n 1 4 9 9 H is pupil and patron Loren z o had died there

.

s even years before i n 1 4 9 2 at the age o f forty three I t i s

, ,
-
.

s aid that he sent for S avonarol a when o n his deathbed and , ,

that after the friar had vainly exhorted him to restore liberty to
F lorence he left him without granting absolution
, , A nother .

story o f still more doubtfu l authenticity is also related A s .

’
Loren z o s physician was descending the stairs from the chamber
o f the dying m an the se rvants sei z ed him under the impres
, ,

s ion that he had poisoned their master and thrust him down ,

th e well i n th e cou rt B oth tales are recorded i n painti ngs

.

m ade by order of M r Sloane th e first is a picture hung i n th e

.

room where Loren z o died the last is a fresco by the English

a rt ist Watts o n the wall of a conservatory attached to the
,

h ouse .

I n 1 5 2 9 a band O f hot h eaded youths from F lorence l e d

,
-

by D ante da Castiglione the hero of the d u el during the siege ,

O f 1 5 2 9— 3 0 set fire to
, Careggi on pretence that they were ,

a cting as the champions of liberty by destroying the property

o f tyrants B efore the flames could be extinguished the

.
,

g reater part of the b u ilding was consu med S hortly a fterward s .

,

A lexander de M edici the first D uke of F lorence ordered it

’
, ,

t o be rebuilt and adorned with paintings by Pontormo and

, ,

B ron z ino I t continued to be the property o f the reigning

.

house o f T uscany until 1 7 8 0 when it was sold to the O rsi ,

family from whom it was p u rchased by M r Sloane A beauti

,
. .

ful saloon ornamented with fresco paintings of landscapes

,

u nder pointed arches as well as the Cortile and Well belongs , ,

to th e O l d Villa O n the fi rst story a Loggia or covered

.
, ,

balcony supported by columns painted i n A rabesques is of the

, ,

s eventeenth century O n the same floor is a room with a

.

fi ne ancient stone chimney piece which M r Sloane brough t -

, .

h ither from another Villa ; opposite which is a large picture

b y th e m odern painter P u ccinelli of Bologna representing the , ,

fi rst members o f the Platonic A cademy with F ra A ngelico and ,

o ther artists o f the period T hree rooms beyond are shown .

 CA R E G GI .
341

as the private apartment of Loren z o I n these are other .

paintings by modern artists that of the deathbed of Loren z o ,

already mentioned and Politian reciting in the presence of the

,

Platonists the third pict u re has a similar subj ect Loren z o s .

’

bed is preserved in a room to the left of the entrance to

this apartment .

A narrow st a ircase leads up to an open gallery under the

proj ecting eaves of the villa it is carried along the four sides ,

so that a good look out co u ld be maintained over the sur

-

rounding country .

I n the beautiful gardens surrounding the villa are fine

exotic as well as native plants
,
T w o statues of deformed .

beings are po rtraits of the favourite dwarfs o f the Grand D uke

Cosimo I one little creature is seated on a snail the other
.
,

on an owl A quaint mosaic pavement representing animals

.
, ,

is in front O f the house .

Beyond the villa is the F attoria or farm with an ancient , ,

’
tower and machicolated walls probably the remains of Cosimo s ,

fortified castle which may have been used as a watch tower

, ,

when the hills were covered with forest and game pre ,

served for the amusement of the M edici A winding road .

leads to the small cottage villa of M arsilio F icino near which ,

another battlemented edifice probably served also for a watch

tower. Between these two b u ildings is a large villa which ,

the Grand D u ke Cosimo I I bestowed on one of his retainers

. .

’
T e n min u tes walk farther on is the lovely Villa of the Conce ,

z ione with a splendid ilex tree i n front which was purchased

, ,

by a F rench gentleman M onsie u r Sabatier from the C erini

, ,

family the road descends thence to the Via Bolo gnese .

T h e S it u ation of both these last mentioned villas o n the -

slope of a high range of hills affords a most beautifu l vie w ,

over the valley of the A rno and of the mo u ntains toward s

R ome . Villas and farm ho u ses are scattered in every direction
-

amidst fields and orchards with the silvery olives and dark
,

cypress giving colour and character to the scene Among the

,
.
3 42 E N VI R O N S OF F L O RE N CE .

villas may be distinguished that o f the D ella R ipa once i nhabited ,

by Bianca Cappello on whom the Grand D uke F rancis I

, .

bestowed various residences H er toilet table was lately dis

.

co vered by mere accident i n a light closet which had been ,

walled up and forgotten it was covered with crimson velvet

and white satin and had on it a valuable service o f Venetian
,

glass .

C H RO N O L O G Y.

A nt o n i no ,Bi sh o p
C a re ggi b u rn t
D a nte da C ast igli o ne du e l,

Epi sc op al Pa l a ce de st ro y ed
Fi elmo M arsili o
,

M a xi mili a n Emp ero r

,

M edi ci C o si mo P a t er Pa t ri a
, ,

Lo re n z o
M o rgh en Ra ff a e ll e
,

Va nn i F ra ncesco
,
 E N VI R O N S OF F L O RE N CE

fl
44 .

accumulated and covered four out of seven steps which led to

the high altar A a t wall original ly terminated the church at
.

the east end and the present apse was a late addition T h e
, .

only artistic obj ect o f interest remaining here is a very fi ne

tabernacle by one of the R obbia family In the centre is a
, .

vase o f flowers with garlands of fruit s u spended on either side

of a small nich e containing the picture o f the M adonna ; to th e
,

right and left are nearly li fe si z e statues of St Philip and St -

. .

James ; and around are cher u bim and supporting angels o f

great loveliness T h e a rc h itra ve is sustained by pilasters o n
.
,

which are delicate arabes q ues An illuminated choral book i s .

-

’
behind the altar and i n the priest s house are kept screens o r
,

banners u sed in processions and made of white satin with

fl owers embroidered in gold —a F lorentine art of the seventeenth
,

century T wo medallions i n silver are introduced into the work

.
,

and represent i n relief the Stoning O f St Stephen . .

A fter passing through the village o f Quarto ( the fou rth

from F lorence ) the villa of Petraia which is the property o f
, ,

the K ing of I taly is discovered on an eminence 8 00 fee t

, ,

above the sea level surrounded by a garden the ground rise s

-

i n terraces and is divided by trim hedges of ilex and cypress

, .

T O the right o f the palace is a fountain with a statu e of Venu s

wringing her hai r by Giovanni da Bologna ,
T hough the .

work of a great artist it hardly deserves its reputation T h e, .

fi sh p o nds are supplied with fi ne carp and the garden is well ,

filled with flowers interspersed with shrubs and trees of wh ich ,

the principal are the ilex and cypress but even the palm
fl ourishes here A l l is kept in the order to be expected from
.

a royal residence .

U ntil the sixteenth century Petraia belonged to the Brunel

l esch i a wealthy family to whom the celebrated architect wa s
, ,

only distantly related I n 1 3 6 4 the Pisans aided by F ree .

,

Companies o f English and Germans under the command o f ,

Sir John H awkwood besieged this villa th en a fortified castle ;

, ,

b u t the B r unelleschi made so stout a resistance that they

 VILLA OF CA S TE LL O .

forced the besiegers to retire T h e tower of the presen t vill a is .

s u pposed to be the same which was so gallantly defended durin g ,

this attack A cent u ry later Petraia becam e the pro perty of

.
,

the Stro zz i from whom it was confiscated or sei z ed by Cardinal

,

de M edici afterwards F erdinand I he rebuilt the villa as it

’
,
.
.

now stands and here by his command Scipione A mm irat o

, , ,

1
wrote his F lorentine history .

T h e central co u rt was painted by Giovanni di Sa n Giovann i

of A re zz o 1 5 9 0 1 6 3 6 and some years later 1 1 V ol terra n o
,
-
,

added other frescoes B oth were followers of the school o f

.

M atteo R osselli T h e s u bj ects of these paintings are : th e

.

triumphal entrance of the Grand D u ke Cosimo I into S iena .

the i naugu ration of the statue of the Grand D u ke F erdi nand I .

at Leghorn ; an allegory relating to the institution of th e

T uscan O rder of St S tephen ; and the Coronation of th e .

Emperor Charles V by the M edicean Pope Clement VI I

.
,
.

A short distance from Petraia is the Villa della T o paj a ,

which Cosimo I bestowed on B enedetto Varchi who there

.
,

composed his history A dj oining the gro u nds of Petraia are.

those of the other ro yal villa of Castello which is situated a t ,

the foot of the hill A small church between the two villas
.
,

though an ancient fo u ndation was wholly reb u ilt by th e ,

M edici in 1 6 1 7 I t contains a wooden cr u cifix by Giovann i

.

da Bologna as well as a pict u re of the A doration of the M agi

, ,

by Cigoli the ceiling was painted by I ] Vo l terra no Lower .

on the hill is the Villa Corsini belonging to Prince Corsini of ,

F lorence and noted for the bea u ty of its gardens

, .

T h e V iew of the plain from the terrace above the garden o f

Castello is very lovely within a thick wood behind is a statu e ,

of Winter by Bartolommeo A mmanati after a design by 1 1

, ,

T ribolo . I t represents an old man shivering with cold .

A mmanati born in F lorence i n 1 5 1 1 was the p u pil of Bacci o

, ,

Bandinelli and of the Venetian S ansovino he died i n 1 5 8 9

, , .

Il T rib o l o a favourite artist of the Grand D uke Cosimo I wa s

, .
,

Con f orm a z F iren z e da G u i do C a roc c i p 6 2

' ’
’
, , . .
3 46 E N VI R O N S OF F L O RE N C E .

e mployed to decorate Castello and from his acknowledged ,

s kill i n laying ou t gardens to design those o f the villa whilst , ,

the i nterior was adorned with frescoes by Pontormo B ron z i no , ,

a n d Pier di C osimo T hese frescoes have long si nce di s

.

appeared an d the only part of the villa deservi ng notice is

,

th e garden I t consists of a large quadrangular Sloping ground

.
,

d ivided i nto formal walks and plats filled with orange trees and , ,

e nte red by a flight o f steps which descends from the terrace .

A singular grotto composed o f rock work with wild anim als

,

c arved i n stone is at one end S everal good groups of statu

,
.

ary adorn the ga rde n, a nd the oc t a gonal fo u ntain by I ] ,

T ribolo himself is considered one of the finest o f the kind

,

i n Italy T h e best grou p is that of H ercules wrestling with

.

A nt aeus by B artolommeo A mmanati ; water formerly gushed

,

from the mouth o f A nt aeus as he struggles in the grasp o f ,

H ercules .

T h e nam e Castello is derived from Ca stel l u m a conduit , ,

o f which there was one formerly on the hill above T h e Grand .

D uke Cosimo I placed his m other M aria S alviati the widow

.
, ,

o f the hero Giovanni delle Bande N ere in this villa and here , ,

sh e ended her days i n 1 5 4 3 Cosimo lost his fa ther whilst

,
.

’
still a child and his mother s devotion to him was returned
,

with so lit tle aff ection that he co u ld hardly be persuaded to

reli nquish the pleasures of the chase for a single day to visit ,

her on her deathbed T hough as bad a husband as son .

,

Cosimo fou nd a successor to the Grand D uchess Eleanora

d i T oledo at whose death he immediately married Cami lla
,

M artelli an d retired w ith her to Castello resigning the govern

, ,

m ent o f T u sca ny to his son F rancis T h e A ustrian Pri ncess .

,

J oanna wife o f F rancis I could not accept th e daughter o f

,
.
,

a F lorentine citi z en as a mother in law and appealed to her - -

brother the Emperor M axim ilian

,
who wrote a remon
s trance to Cosimo which only drew upon Joanna an indignant
,

rebuke .

T h e M uscadel grapes of the vineyards o f Castello are still

, ,
 48 E N VI R O N S OF F L O RE N CE .

i nvited professors o f chemistry and painting to give in stru cti on

o n these subj ects . H is son the M archese Loren z o C inori
, ,

carried th e benevolent schem es of his father to still higher

perfection ; and his successor the M archese Leopoldo i ntro
, ,

du c e d S avings Banks an d S ocieties o f M utual A id with other ,

b en e fi c e nt i nstitutions
.

T his was the pe ri od when the philanthropic aims o f the

Emperor J oseph the son o f M aria T heresa had becom e a ,

fashion and contemporaneous with the F rench writers an d

,

philosophers o f re form who preceded the R evolution o f 1 7 8 6

, ,

h e initiated th e ideas of liberty and progress which could only ,

produce fru i t i n succeeding generations T h e G ino ri family were

.

among the benefactors of the age as they sowed the seed o f

,

future good but their excellent i nsti tutions do not appear to

have at the time spread i deas o f culture beyo nd the village
o f D occi a ; and T uscany with the rest o f I taly a hu ndred
, ,

years after the foundation of the G in o ri porcelai n works had ,

not made any advance in civilisation compared with othe r ,

European states . Th e M archese Carlo Leopoldo travelled i n

F rance Germany and England to obtain informatio n about
, ,

t h e latest improvements in porcelain and he spared no expense

,

i n collecting new designs and models A fter his death i n 1 8 3 7

.

the manu facture was conducted by the M archese Pier F rancesc o

R inu c c ini whom h e had appointed guardian u ntil h is daughter
, , ,

t he M archesa M arianna G in ori reached an age to superintend

,

and m anage the establishment for hersel f an d her children .

G in o ri ch ina still maintains a high reputation tho u gh th e ,

later works cannot compete with the old T h e present M arches e .

G in o ri has given a fresh imp u lse to the man u facture b u t ,

owing to the vast strides made during th e last f e w years i n

o u r own and neighbo u ring cou ntries in knowledge an d i n th e
,

application of a high art standard to manufactures G in o ri chin a ,

cannot yet be compared i n variety and beauty of form with th e

productions of England F rance D enmark or Germany
, , , .
 C H RO N O L O G Y
.

A m ma n a ti B a rto l ommeo
,

C h a rl e s V Em p e ro r
.
,

C h i na m a nu fa cto ry ( C i no ri )
C ig o li Lu do vi co C a rd i
,

C l e me nt V I I P o p e re igned
.
, ,

C o si mo I G ra n d D u k e reign ed
.
, ,

Fe rdina nd I G ra nd D uk e reign ed
.
, ,

G i o va nn i da B o l o g n a
G i o v a n n i di Sa n G i o va n n i
o se p h Empe ro r re igned
J ,

P e tra i a b es i eged by Sir J oh n Ha w k w ood

T rib o l o Il ,

Va rch i B e ne dett o
,

V o l t e rra no , I l
 C H A P T ER XXVI .

SA N SA L Vl —TH E CA S TL E OF VI N CI GL IA TA R O VE Z
Z A N O —S E T TI GN A N O .

B O U T a mile outside the Gate of Santa Croce stand s

the convent and ch u rch dedicated to Sa n Salvi a ,

B ishop of A m ien s who lived in the eleventh century T h e .

convent was originally composed o f B enedictin e m onks o f the

Va l l o m bro sia n O rder who remained there till the m iddle of th e
,

sixteenth century when they were replaced by nu ns of the sam e

,

O rder whose convent near the Porta a l Prato had been de

,

mo l ish e d to give place to the F orte zz a del Basso Th e monas .

te ry of Sa n S alvi h as been more than once destroyed i t wa s

burnt down in 1 0 6 2 wh en Sa n Giova nni Gualberto the
, ,

founder o f the V a l l o m bro sia n O rder preached a crusad e ,

against the simoniacal B ishop of F lorence Pietro M e zz o ,

B arba of Pavia and again in 1 3 1 2 it was sacked by th e troops

, ,

of the Em peror H enry VI I when he was besieging F lorence

.
, .

S hortly before this in 1 3 0 8 the monks received into thei r

, ,

sanctuary the body of Corso D onati which they found bleed ,

i ng on the road near their convent Corso D onati th e .

,

Guelphic leader and hero o f the N eri faction in F lorence w a s ,

accused by the opposite party of ambition and a desire to

mak e himself tyrant of the city H e refused to obey th e.

s u mmons of the a u thorities and he was consequently con

,

dem n e d to lose his life H e was at that tim e confined to be d

.

by a severe fit o f the gout but with the aid of his friends

,

bravely resisted the attacks of the Signory on his fortress home

3 52 E N VI R O N S OF F L ORE N CE .

I n the sixteenth century during a season of plague Sa n , ,

S alvi was used as a La z aretto I n 1 5 2 9 the F lorentine citi z ens

.
,

caused a great portion of the convent to be destroyed that ,

it m ight not shelter the army o f the Prince of O range and ,

the work would have been completed had it not been from ,

respect for the wonderful representation of the Last S upper ,

which had been recently painted on the w al ls of the R efectory

by A ndrea del Sarto ( 1 4 8 8 It is one o f his latest
works as well as one of the best Vasari states that h e had
,
.

painted the arch with the fo u r sai nts upon it some years previ
o u sl y and had received the commission to p a int the Cenacolo
’
, ,

’
or Last S upper ; but owing to the behaviour o f the abbot
‘

and monks who were i n the habit of holding their disorderly

,

m eeti ngs i n thi s hall m uch delay was occasioned so that

, ,

A ndrea did not execute the fresco till the years 1 5 2 6 and
1
5 7
2 .

T h e Last S u pper
is painted on the wall at the end of a
spaciou s chamber facing the entrance T h e reality of the
, .

s cene represented within the arch is most striki ng T h e figu res .

a re ranged on three sides of a long table Th e countenance .

o f the S aviour as H e appears looking towards J ohn is calm and

, ,

b eau tifu l ; H is left hand rests tenderly on that o f the you ng

A postle as H e seems to check the eager I s it I ? in H is ‘ ’
, ,

beloved disciple our Lord holds th e bread which H e extends ,

t owards J udas who is seated o n H is right

,
T h e traitor starts .

b ack l aying his hand on his breast as if discovered in hi s

, ,

g uilty thought while he at the,

same time denies it and i n vol u n ,

t aril y stretches forward to take the bread presented to h im .

Peter beyond J udas with a serious and almost indignant look

, , ,

q uietly contemplates the scen e ; he makes no m ovement and ,

s eem s to have no fear or doubt o f his own fidelity T h e

‘

S aviour is clothed i n red ; H e has a pale blue mantle across

H is knees and J ohn and Peter the two most faithful and
, ,

devoted disciples are in garments of the same colour T h e

,
.

head of J ohn i s singularly beautifu l ; it forms a contrast with

 M Aj A N O .
3 53

th e dark but grand head of Judas over which a shadow is ,

passing T h e yo u ng disciple behind has started eagerly to hi s

.

f eet with parted lips i n horror at the idea suggested by o u r

, ,

S aviour s words O n the opposite side another standing fi gure

’
.
,

stretches o u t his arm to aro u se th e attention of the disciple

beside him by touching hi s sho u lder T h e grad u al increase
,
.

of interest from either end of the table where the words have
only been repeated to those nearer the centre who have heard
,

the Saviour speak is very striking T here is a hushed s u spense

,
.
,

a whispered q uestion and reply among those further removed .

N othing is more wonderfu l than the drawing and action of th e

hands and feet in this fresco Each corresponds to the age .
,

and the expression of the individ u al to whom they belong .

T h e utmost care has been bestowed yet there is no u nn e ce s ,

sary dwelling on details T h e green earthenware dishes on th e

.

table are the same as those still i n ordinary u se in F lorence .

A bove the S aviour and the apostles is a w in do w with a balcony , ,

or terra zz o on which stand a man and woman as spectators

, .

Th e man leans on the bal u strade he has been looking down ,

but turns to relate what has happened to the woman who is ,

going away but looks back A round the arch above th e

,
.

fresco are fu ll length figures of bi shops and saints already

-

m entioned as having been execu ted som e time previously to

the Cenacolo below We can well u nderstand the astonish
.

ment a nd veneration of the rude F lorentine citi z ens who paused ,

i n their work of destruction when in front of this painting .

Th e road outsi de the Barrier della R occa M aj ano a shor t ,

’

distance east of th e Salvi leads most directly to the Castle o f,

th e Vin c igliata Passing the small churches of Santa M ari a

.

C o v erc ia n o on the left hand and of Sa n M artino in M ensola ,

on the right neither of which contains obj ects of interest a

, ,

bridge crosses the stream of the A ff ric o very n ear its j u nctio n
with th e M ensola T hese streams which in spring a n d
.
,

autumn are sometimes torrents formed the subj ect of B oc ,

Il N infale F ieso l a n o
’
c a c c io s poem of T hey descend fro m
’ ‘
.

VO L . 11 . A A
 fl
3 54 E N VI R O N S OF F L O RE i VCE ’
.

beyond M aj ano the M ensola from M onte Ceceri passing M r

, ,

T emple Leader s villa the A ric o from the west below the Villa
’
’

, ,

T egl ia c c i formerly Salviati which is now the property of Coun t

, ,

R esse . A story has been handed down from the peri od whe n
t h e S alviati lived i n this villa o f a dog of great si z e an d ,

s trength n am ed N eptu ne which was i n the habit o f ca rry ing ,

despatches from a Cardinal S alviati in R ome to the family who

lived i n th eir villa near F lorence O n one occasi on however .
, ,

the practice having been discovered by an enemy of the house ,

N eptun e was ove rtaken and wou nded T h e fai thful animal .

c ontrived to reach his destination w ith the letters beneath his

c o l lar
,
when his strength being exhausted h e sank to the
, ,

grou nd and expire d Th e discove ry recentl y of th e portrait o f

.

a big dog i n a corner of the old villa kitch en an d o f a s mall ,

slab of stone near the outside wall with the name N eptun e ,

i nscribed upon it seem to confi rm the tale

, .

J ust below Villa T egl iacc i a wi nding lane to the le ft follow , ,

i ng the course of the A ff ric o — here a very small stream —lea ds “

’
to another old vill a the Palmerino an d higher u p on the road
,
‘
, ,

between hedges is a T uscan farmhouse bo rh o f which belong

, ,

t o Count Resse T his l ast was form erly the residence o f Sir
.

R obert D udley D uke o f N o rth u mb e rl a n d sometimes cal led by

, ,

the I talians the Earl o f Warw ick ; he was the son of R obert
D udley Earl o f Le icester and of the u nhappy A my Ro b sa rt
, ,
l
.

T h e peasants who now inhabit the house are direct descend

a nts o f those who cultivated the land du ring th e li fetime

o f the D u ke of N orthumberland but the carefu l fi nish o f the ,

s tonework and th e remains o f frescoes attest its su perior ele

g ance in former days .

T h e sm al l vil l age o f M aj ano has no especial obj ect of

in teres t attached to it except as the birthplace of the celebrated
,

s culptor Benedetto da M aj ano who Was on e of three sons o f a ,

s tonecutter born i n this village in 1 44 2 H is brothers followed

,
.

the sam e calling and the elder brother Giuliano acqu ired
, , ,

S e e v o l i ch a p t er xxx i p 4 3 7 . . . . .
3 56 E N VI R O N S OF F L O RE N CE .

worked b u t may sti ll b e visited

,
M r T em ple Leader has . .

employed the ston e of these q u arries for the restoration o f th e

.

Castle of V in c igl ia ta T his old fastness dates from very early

.

ti mes and has been mentioned by several of the F lorentin e

,

historians I t i s doubtful whether it was originally a baronial

.

residence or u nder episcopal j urisdiction I t is first mentioned

,
.

i n a parchm ent of the F lorentine Badia i n 1 0 3 1 when a por ,

tion of its lands was sold to the little church o f Sa n M artino

i n F lorence I n 1 0 6 9 another document proves that it belonged
.
,

at that period to the family o f the Visdomini I t passed through .

the han ds of several F lorentine families be fore th e year 1 3 4 5 ,

wh en it was sold to one N iccol o degli Al biz z i who had two sons , ,

A lessandro and Bartolommeo ,

I n 1 3 7 2 the latter i n order to
.
,

evade th e dangers incu rr ed in F lorence by those who belonged

to the nobili ty separated from his family and taking the sur
, ,

nam e o f A lessandri assumed the arms o f a lamb with tw o

,

heads T h e grandsons of this Bartolommeo restored the little

.

church of Santa M aria and Sa n Loren z o situated a little above ,

the castle F rom this tim e V in c igliata continued i n the fam ily
.

o f the A lessandri till 1 8 2 7 when it was purch ased by Signor ,

Galli of Ro ve z z a n o who sold it to M r J ohn T emple Leader

,
.
,

already i n possession of much land in this neighbourhood B y .

hi m it was restored from a state of complete ruin to its present

condition M r Leader has endeavoured to restore the fas t
. .

ness to what it was in the thirteenth and fou rteenth centuries

adapted to resist th e attacks of freebooters and m arauders ,

dimly lighted by narrow windows and deprived o f al l th e ,

luxuri es o f m odern li fe M uch care has been bestowed on the.

fu rniture i n th e interi or of the castle kitchen utensils &c , , .

,

which th e few habitable rooms contain and which are curi ous ,

an d i nteresting to the modern traveller T h e outskirts o f the .

castle within the outer m assive wall form a vineyard and rough
, ,

garden I n a recess of the wall is a fresco of St Christopher

. .
,

executed by the living painter Gaetano B ianchi I t re fers to ,

.

the popular belief that any one looking on the image of this
 TH E VI N CI GLI A TA .
3 57

s aint is for the whole of that day preserved from the danger
of sudden death and in this position anyone entering or
,

leaving the castle cannot fail to see it .

S ome of the lower rooms of the castle open on a small

cloister which contains an interesting sarcophagus with early
,

Christian bas reliefs bro u ght hither from Pisa by M r Leader A

-

, . .

—
l u nette over one of the doors Christ rising from the tomb the ,

Virgin and M agdalene kneeling on either side — is a pleasing

R obbia bas relie f Th e walls o f the cloister are decorated
-
.

with frescoes in i mitation of the old style also by Gaetano ,

B ianchi and represent subj ects connected with the history o f

,

the castle s u ch as Sir J ohn H a wkw o o d s raid from Pisa when ’

,

the castle was battered by his English company also incidents ,

in the history of the A lessandri family the marriage of one ,

of the A lessandri to a Ricasoli & c A scending a narrow stone , .

sta ircase to the first fl oor the refectory contai ns a canvas

,

picture representing a Last Su pper by Santo di T iti ( 1 5 3 6—1 60

S anto di T iti was a painter who according to Lan z i though

, , ,

not one o f the best ac q u ired a great reputation in his day

,
.

T h e kitchen and the adjoining rooms are furnished with large

c u pboards and with brass u rns pans lanterns 81 0 S om e
, , , ,
.

steps higher is the co u rt yard of the castle which on one side

-

has a covered Loggia beneath which M r Leader has recorded

, .
,

on marble tablets inserted into the wall the various visits h e ,

has received from distingu ished personages T here are al so .

shields with coats of arms and a variety of obj ects i n alto

,

rilievo R obbia ware and marble Th e well at one angle of

, , .

the Cortile is very handsome It is said to supply good water .

from a depth of eighty metres ( 2 4 0 feet ) T h e A rmo u ry O pens .

into this Cortile to the left of which is a small chapel contain

,

ing an A nnunciation i n R obbia ware over the altar brought ,

hither from the former convent of the M o n te do mini i n

F lorence T o the right of the A rmoury is the co u ncil chamber
.
,

on the walls of which are som e frescoes with the date 1 4 9 8 .

T hese formerly decorated the chapel of the hospital of S anta

.
3 58 E N VI R O N S OF F L O RE N CE .

M ari a della S cala , now the convent of Sa n M arti no . T hey

represent miracles an d incidents i n the li fe of Sa n B ernardo
degli Ub erti who was successively A bbot of Sa n Salvi an d
,

A bbot o f Vallombrosa and a fterwards Cardinal and B ishop o f

,

Parma An i nscription sta tes that they were brought to this

.

T uscan b a ronial castle i n or der to preserve the memory o f on e

who held posts of authority i n the courts of Popes U rban I I .
,

Pasqu al I I and o f the Countess M athilda

.
, O u t of thi s .

chamber i s another containing some handsome m arriage ches ts

, ,

and still furth er is a bedroom .

A fl ight of steps leads from the Cortile to a terra zz o above ,

as well as to the tower which rises to a height o f 8 7 3 feet above

,

the level o f the sea

T h e li ttle church o f S anta M ari a and Sa n Loren z o belong ,

ing to th e castle is situated rather higher on the hill I t is still

, .

u nder the patronage o f the Alessandri family and formerly ,

contained a good altar piece by F ra F ilippo Lippi of Sa n-

Loren z o an d other sai nts with the donor one o f the A les sandri
, , ,

family and his two sons kneeli ng below

,
T his has been
, .

rem oved to th e Pal a zz o Alessandri i n th e B orgo degli A l biz z i ,

and two Giottos which form erly also existed here have been
, ,

removed to a villa belongi ng to that family near Empoli a s ,

attempts have twice been made to steal them I n a still more .

elevated position are th e ruins of another castle called Castel del ,

Poggi o T his castle appears to have belonged originally to a

.

fi erce and turbulent fam ily of M a nz e na who dom ineered , ,

over all the country round imposing tribute on wayfarers and ,

travellers T h e castle was therefore almost entirely destroye d

.
, ,

by the F lorentin e Commonwealth towards the en d of th e

fourteenth centu ry when it passed into the hands of th e A les
,

sandri T h e ruin n o w b el o ngs to the F o rtegu e rri o f Pistoia

.
'
,
.

S om e of the surrounding walls and the central tower still

remain but the ancient chapel with its frescoes has been used
,

for secular obj ects an d is a complete ruin

,
.

O ne of th e roads from the castle of Vin c iglia ta to return

3 60 E N VI R O N S OF F LO RE N CE .

' '

father of R af faelle style s [1 bra vo D eszo er sz a ol ee e e l o who

,
’ ’

was born here in 1 4 2 8 H e was the son of a stonemas on

. .

T h e sculptures he has left behi nd him are n ot very numerous ,

but are chiefly to be seen i n F lorence T hey are characterised .

by singular deli cacy and refi nement of feeling and great ,

technical skill i n th e fi nish giving tenderness or reality to the

,

flesh as it is expressed i n Italian O n e of his .

most beautiful works is the monument to Carlo M a rsuppini i n ,

the church of Santa Croce in F lorence I t was in S ettignano .

also that M ichael A ngelo passed his childhood and the house ,

where he was p u t out to nurse is still shown with the charcoal ,

drawing o f a Satyr on the wall o f the kitchen by the hand o f the ,

young sculptor .

T h e church of S ettignano is very old and contai ns a lunette ,

in R obbia ware a M adonna and Child which i s somewhat

, ,

inj ure d T h e chapel of S anta Lucia founded by the company ,

o f this nam e i n 1 4 7 5 and restored i n 1 5 9 3 con tai ns a pai nting

fl
, ,

o f four sai nts attributed to Cigoli

,
T hey are called th e fou r .

s tonemasons who were martyred —M a rtz rz S ea rp el l z i

' ' '

, Santa .

Lucia is the patron saint of the labouring poor and Settignano ,

is noted for t he n u mber of ind u strious stonemasons several of ,

whom have left a name T h e i nhabitants continu e to the

.

present day to follo w the same calling M a rru c c e ll i from ,

S ettignano is master m ason of the new fa ca de of the Cathedral

,

o f F lorence .

T h e circular p u lpit against a pi l lar hewn out of a single

,

block o f granite is by Bernardo B u o n ta l en ti ( 1 5 3 6

,

T here is a small chapel for the M isericordia ( Brothers of ‘ ’

M ercy ) in the Pia zz a beside the church which contains a basso ,

rilievo of the M adonna and Child I t is extremely delicate .

and beautiful and is by D esiderio da S ettignano A t one corner

,
.

o f the Piaz z a i s the colossal T orso o f a R oman Emperor said ,

t o be that of Se ptimiu s S everus who according to tradition , , ,

laid the fou ndations of this village .

T h e blind Venetian patriot and poet N iccol o T ommaseo , ,

 CH R O N OL O G Y . 61

e nded his days here in 1 8 6 9 and in grateful acknowledgment

,

o f his services to his country his statu e has been placed in th e

,

Pia zz a di S ettignano .

C H RO N O L O G Y
.

A. D .

A n drea del S a rto ’

b . 1 48 7 ; a . 1 53 1
B o cca cci o , G i o v a nn i o 313 ;
. 1 a.
’
1 37 5

B u o nta l e nti, B ern a rdo o 1 5 36 ;

. a.
'
1 6 08

D o na ti , C o rso
'
a. 1 3 08

D u dl e y , S ir Ro b ert 5 I S7 3 ;
F ra ncia b igio o . 1 482 ; d . 1 525
G u a lb e rt o , G i o vann i ’
a. 10 73
H e nry V I I .
, Emp e ro r 1 30 8
—1 3 1 3
M aj a no B en edett o da
, . o . 1 44 2 ; a
’
. 1 49 7
Ro vez z a no B e ne detto da
, o . 1 474 ; a . 1
’
5 52
vi si ted Engl a nd 1 524

ch u rch , S a n M i ch e l e 1 3th c en u r t y
S a nto di T i ti 6 5 38 ;
. 1 a.
’
1 6 03

S e ttigna no , D e si de ri o da o 1 42 8 ;
. a.
’
1 46 4
T o mm a seo , N i cco l o 1 86 9
V in cigl ia ta C a st l e , fi rst ment i o ned 1 03 1
 C H A P T ER XXVI I .

A N TE L LA .

F IN E autum nal day or aftern oo n i n th e e arly sprin g

should be selected for the drive f ro m the Porta Sa n
'

N icol o by R ipoli to A ntella as a long s tretch o f road is e u

,

tirel y exposed to the sun Leaving F lorence by th e B arrier o f

.

Sa n N icol o on the southern si de o f th e A rno the road to th e ,

l e ft o f the S trada dei Colli divides into two that o n the righ t
‘

leading to th e Villas M edici and R usciano T h e Villa M edici .

was restored and enlarged to its present si z e by M r T homa s .

A dolphu s T rollope wh o built a b eau tif ul l ib rary an d adde d

,
~

other rooms i n th e style o f th e fi fteenth centu ry the villa wa s

sold by him to the late General M edici a g allant soldier th e , ,

comrade of Garibaldi an d equally faith ful to th e cause o f h is

,

country and to th e K ing o f I taly H e died here i n 1 8 8 2

. .

T h e villa o f R usciano which is perched on an em inence

,

higher up th e road was mentioned in a tale of the novelist

,

S acchetti and originally belonged to the Salviati family B ru nel

, .

l e sc h i built the present villa for Luca Pitti i n the middle of th e

fifteenth century an d to please Luca whose ambition lay i n a,

display of his wealth by the si z e o f his dwellings B ru nell esch i s ,

’

design i f carried out would have covered even more grou n d

, ,

than it now does though it is one of the largest villas in th e

,

neighbourhood of F lorence it has spacious reception rooms ,

a terrace overlooking the distant country and is surrou nde d ,

by lovely gardens with old cypresses and other fine and rare
,

trees I n 1 4 7 2 it was purchased by the F lorentine M unici

.
~
3 64 E N VI R O N S OF F L O RE N CE .

conspicuous i n the grounds of the villa which is o f th e four ,

teenth century and may possibly have been th e M u nicipal

,

Palace of Ripoli O n th e walls o f the old hall are the remains

.

of frescoes representing various coats of arms whilst th e ,

framework o f a portcullis may be seen above the gateway an

i nternal gallery with openings at i ntervals for the sentry to keep
,

watch over the neighbourhood seems to betoken a forti fied ,

mansion which is con firm ed by the Guelphic battlements o n

,

the walls Close to the Villa B ec ca ri i s one o f the oldest

.

T —
churches in uscany Sa n Piero in Palco pa l eo signifyi ng a
, ,

s tage or sca ffold which nam e was given to this church because
, ,

built at a su f ficient elevation to escape the inun dations from

the A rno A few yards beyond the Ba dia on the high road i s
.

the Pari sh Church of R ipoli with nothing to attest its age

,

except the Campanile and an arched portico resting o n octa

,

gonal columns O n the little space i n front o f the church the

.
,

banners of the F lorentine R epublic were u nfurled i n the

mon th o f M ay 1 2 8 8 to annou nce the departure of the troops
,

for th e war against A re zz o which ended i n the famous battl e

,

o f C a mpal dino at which D ante was present

, .

T h e road now approaches a range o f low hills covered with ,

wood and studded with farms and villas T h e little village

,
.

called the Bagni di R ipoli derives its nam e from a R oman

bath o f the tim e o f A u gustus which was discovered here i n,

1 688 . O n the hill to the left o f the long ascent which follows ,

was once a villa of the Baroncelli family .

F rom the village of R ubella came the old family o f th e

B ardi H ere both the Peru zz i and S alviati have proper ty and
.
,

at a little distance was once an hospital for pilgrims belonging

to the B igal l o .

T urning to the right in order to reach A ntella a most ,

beautiful view o f F lorence and the distant hills is obtained .

A large old battlemented block of buildings is the farm or ,

F attoria of S a n Giovann i di D io an institution and hospital

, ,

i n the B org O gni Santi at F lorence ; a little farther on i n

’
,
 A N TE LL A .
36 5

the midst of gardens and woods lies the Villa Peru zz i of ,

A ntella an old irregular house w ith a tower which has

, ,

belonged to the family since 1 2 2 0 it is now the residence

o f the former Syndic of F lorence Signor U baldino Peru zz i , .

A little below the Villa Peru zz i nestling amidst trees is the , ,

Villa B o na ini once the home of the accomplished head of the

,

arch ives i n F lorence th e late Cavaliere B o naini and higher

, , , ,

on the side of the hill are the old church o f M o nteso ne

,

and the villa of the philosopher M agal o tti M a gal otti was born .

i n Rome 1 6 3 7 an d having been created a Privy Councillor by

,

the Grand D uke o f T uscany F erdinand I L and elected Secre

, ,

tary to the Society of the Cimento he died in F lorence in 1 7 1 2 , .

In this villa h e was frequently visited by the poet Redi who ,

celebrated the excellence of the wines with which M a gal o tti

regaled his guests in the following lines
S empre m a z t orn z n o
’ ’

Di n u ozz o a bevere
’
L a l tera p p or ora

Ch e in M on terappol i
' '

Da n e rz grappol z

E l a ma rz tz n o
' '

Col a ol ee
’
M a mmol o
col a z mbotta si
'

C/z e

l l
Trot/a l
A nz z
M aga l otti in mez z o a l

a
’
a u tu

gu el
m z o,
sa sso
a
sol l eon e

gue l la sierra f o te,

on a e l a n tz co E son e
’ ’ '
fl
D ie n ome f ma mon te
'

e a a ! sol ita rz o .
‘

Ev e r re tu rn
T o dri nk ga i n a

O f th e ri ch p u rpl e
Wh i ch in M o n te ra pp o li
Fro m th e bl a ck c l u st ers
S o w e ll is p resse d

pp
'

Se e B a eeo in Tosca n a , dz F ra n cesco Rea z ,

''
.
3 7 , 38 .
3 66 E N VI R O N S OF F L O RE N C E .

A nd i t e to t h i s
un

T he sw e e t M a m m o l o 1

F o u nd in th e ca sk s
W h e re ru st i c a tes
M aga l o tti, w h o in l i
sec u s o n

M ee ts a utu m n at th e f o u n ta i n ,

A nd on th e roc k w h e n ce old Eso ne

G a ve na me a n d f a me to th e l o ne h il l .

F romthe Villa Peru zz i passing another ol d villa belongi ng

,

t o the same family the road descends to the picturesque village

,

o f A ntella ; a fter which it winds among low h ills u ntil it reaches ,

the Ponte a Ema at the bridge crossing th e river Ema which

, ,

g ives its name to a populous village O n the summit o f a .

hill to th e le ft are the remains o f a castle which was com ,

m e nc e d by the Vecch ietti whose palace is sti l l left standing i n

,

the M ercato Vecchio of F lorence the fi rst M edici j ealous o f ,

rival families ordered its demolition with that of other fast

, ,

n esses i n the neighbourhood of the city T h e Vecchietti .

a ccordingly left their castle as it remains to the present day ,

a n d built th eir villa at the foot of the hill B etween this and .

R usciano was once th e Paradiso th e only convent i n ,

T uscany of B rigittine nu ns and friars T h e fou ndress of .

th e order St Bridget o f S weden

,
. was o f royal blood and , ,

m arried to a pri nce of S weden by whom she was the mothe r ,

o f eigh t children A fter the death of her husban d she built

.

a monastery i n S weden for sixty nu ns an d twen ty four friars -

a n d prescribed for them th e rules of S t A ugu stine Th e . .

peculiarity of h er O rder was that it admitted free convers e

between monks and nuns Sh e cam e to Italy i n 1 3 6 9 to
.

obtain its confirmatio n by Pope U rban V and while in .

,

F lorence she made m an y converts When there she became .

acquainted with Petrarch and formed an i ntimacy with M onna

,

La pa the sister of N iccol o A cc iaj ol i and wife of M orente

, ,

B u o ndel mo n ti Sh e died i n 1 3 7 5 and was canonised i n

.
,

1 39 1 .

A f a mou s re d gra p e gro wing in th e ne igh bourh ood o f Fl o re nce .

36 8 C H R O N OL O G Y .

Sanese near th e D u e Strade T h e drive occupies about thre e

.

hours through a ri ch and lovely country .

C H RO N O L O G Y
.

F ede rigo , D u k e o f Urbi no

G re g o ry X P o pe .

C a mp a l din o , b a tt l e o f
M aga l o tti , C o u n t Lo re nz o
Redi , F ra ncesc o
B ri dge t S t
, .

B en e di ct X I I I Po p e
A l e xa nde r VI Po p e .

Pi us VI .
 C H A P T ER XXVI I I .

M I N IA T O M ON TE
'
S AN AL .

easy and beautifu l carriage road leads from the Po rta

Sa n N icol o to the ch u rch and cemetery of Sa n M iniato .

I t may also be reached from the Porta R omana but the stee p ,

path the Via Crucis from the Porta Sa n M iniato bordered

,
‘
,
’
,

by cypress trees and having at intervals the emblem of the

,

Cross is the most pictures q u e F o r many years this was th e

,
.

only way leading to the sacred spot above to which D ant e ,

all u des as follows

Come a ma n destra , per sa l ire a l mon te
'

z z esa e/z e sogg oga i

'

D ov e s z ede l a e/

L a Oen gu ida ta sop ra R u ba con te,

S i rompe del mon ta r l a rdz l a f oga
’
'

'

ero a d eta de
P er l e sea l ee e/
ze s z
f
’
l gu a dern o e [a doga
’
Ch era s ieu ro .

P u rga torio, x ii . l oo .

As on i t h a nd to a scend th e mou nt
th e r gh ,

Wh ere sea t e d in th e ch u rch th a t l ordeth i t

,

O e r th e w e ll gu i de d a b o v e Ru b a c o n te
’
-

T h e b o l d a b ru p tn ess o f th e a scen t is b ro k en
By sta i rw ays th a t w ere m a de th ere in th e age
Wh en st ill w e re sa f e th e l e dge r a nd th e sta v e .
’

S ee Longf el l ow ’
s Tra nsl a tion .

carriage road has also been constru cted skirting the stee p
A
path by sharp windings and beside this is a tabernacle con
, ,

B en gu z da ta sign ifi es Fl o ren ce in i ro n i ca l Ru éaeon te is th e

'

an se n se

o ld n a me o f the Po n t e a l l a G ra z i e .

VO L . II .
3 70 E N VI R O N S OF F L O R E N CE .

t aining a painting exec u ted i n 1 6 6 0 by Cosimo U liv el l i of no

, ,

great artisti c merit but it records an event which is sai d to have

,

h appened o n this spot i n the eleventh century .

Giovanni Gualberto belonged to a noble F lore ntine

f amily Wh ile yet a youth his only brother Ugo to whom
.
, , ,

he was fon dly attached was murdered in a brawl and Giovanni

, ,

mad e a solem n vow that he would avenge his death O ne .

G ood F riday as Giovanni was returning to his father s dwell

’
,

i ng outside the walls o f F lorence by the solita ry path b e ,

t ween the City Gate and the Church of S a n M iniato he ,

found himsel f face to face with his brothe r s murderer H is ’

.

first imp ulse was to despatch hi m with his sword on the spot
b u t the wretched man falling at his feet and extendi ng his
,

a rms i n the form of the cross entreated Gualberto to spare his ,

l i fe Remembering how Christ on the cross had prayed for H is

.

m urderers he stayed his upli fted sword and raising the suppliant
, ,

from the ground he embraced hi m in token of forgiveness ;

,

then turning u p the path to pay h is devotions at the shrine o f

,

S a n M iniato he fell on his knees before the crucifi x when the

, ,

I mage of our Saviour bowed H is head i n approval o f the m ercy

h e had shown his enemy F rom that moment Gualbe rto .

resolved to quit the world and to enter the Benedictine Con

,

vent already established at Sa n M iniato which he a fterwards ,

q uit ted for the sake of greater solitude and retired to V a l l o m ,

b rosa among the fastnesses o f the A pennines

,
H e was followed .

b y several o f the brethren and founded the V a ll o mbro sia n branch

,

o f the B enedictine order Imm ediately at the head of this

.

s teep path a flight of steps leads from the modern and beau ti

ful Viale dei Colli to th e Church of Sa n Salvador al M onte ,

which is attached to a Convent of F ranciscan F riars T his .

church was built towards the end o f the fifteenth cent u ry out ,

o f a sum of money bequeathed for the purpose to the Guild of

F oreign Wool M erchants by Castello Q ua ra tesi a wealthy , ,

F lorentine citi z en H e had been desirous to contribute to

.

wards th e erection of a fa cade to Santa Croce but had altere d ,

 72 E N VI R O N S OF F L O RE N CE .

enabling them to comman d the town D uring the siege o f .

1 5 2 9 and 1 5 3 0 cannon was planted on a platform on th e

,

southern s ide of the height n o w lai d out as a cem etery , ,

which f aces the opposite hill of G ira mo nte where the Pri nce o f ,

O range was encamped M ichael A ngelo was Com missary

.

General for the Fl orentines and i n c o operation with F rancesc o

,
-

di Sa n Gal lo planned and partially constructed bastions and

c urtains some of which extended from this hill to the two gate s
,

o f Sa n N icol o and Sa n M iniato H e would have done more .

f or this important post had not the traitor M alatesta s in te n

’

tio nal neglect o f his advice supported by the Council o f

,

T e n wh o refused to believe i n treache ry driven this great

, ,

man to resign his appointment M ost of what remains of the .

fortifications were those erected at a later period by the Grand

D uke Cosimo I namely two faces o f bas tions and two flank s
.
,

connected by a curtain T here was probably once a ditch

.
,

cou nters c arp and demi lune to cover the c u rtain but all this
,
-

, ,

h a s disappeared Cosimo I proposed to make Sa n M i niato a

. .

permanent fortress to be filled with Spanish soldiers i n orde r ’

to control the ci ty of F lorence and b e employed em inent ,

milit ary engi neers for the work T h e bastions so closely .

resemble th ose at the F orte zza del B a sso near the Porta Prato
i n F l orence which were constructed by A ntonio di Sa n Gallo
, ,

tha t they are attributed to th e same engineer Th e f o rtifi ca .

tions on Sa n M iniato were much admired by the celebrated

F rench engineer Vauban who is said to have copied them i n
, ,

s ome of his m ilitary works T h e northern entrance

. to the fort ,

called the M edici Gate is decorated with th e arm s of th e

,

Medicean family executed by T ribolo in the tim e of Cosim o I

, .

A kind o f b a rn on the left hand is now u sed for farm p u rposes ,

but was formerly assign ed to the Confraternity of th e Virgin

M ary T here are the rem ains of a wall painting with the date
.

1
57 6 . T w o angels rais e a canopy beneath which no do u bt , , ,

o nce existed the image of some sa i nt .

A second gate a few st eps beyond admits to th e terrace i n

, ,
 SAN MI N I A TO
. .
3

front of the Basilica I n an o u t ho u se to the left of the entran ce

.
-

a re some remains of fresco painting tho u gh so m u ch faded ,

as to be i n parts hardly recognisable O n e of the s u bj ects is .

that of the Eternal holding the B ook of Life on which are ,

written Alpha a n d O mega A nother subj ect is the A scension .

o f our Lord T his last is in better preservation and its com

.
,

position is believed to have suggested to Ra ff aelle the celebrated

pict u re of the T ransfiguration at R ome .

T h e broad terrace i n front of the B asilica commands a

splen did view over the ci ty of F lorence and the whole valley of
the A rno T his b il l was covered in ancient times with f th e
.

forest of El isb o ti or the Val di Botte and a ff orded a sh elt er

, , ,

for some of the fi rst followers of Christianity who secretly built ,

.

'

a small oratory on this spot which they dedicated to S t Peter , . .

A mong these early Christians was an A rmenian prince named ,

M iniato who served in the army of the R oman Emperor

,

D eci u s towards the middle of the third century

,
but having
been accused of belonging to the new faith he was thrown to ,

the beasts in the amphitheatre outside the walls of F lorence ,

where the Emperor had his camp A ccording to the legend .

,

the fervency of M inia to s prayers on that occasion preserved ’

him from death bu t he was afterwards put to the torture and

, ,

fi nally A D 2 5 4 beheaded with s everal of his companions at

,
. .
, , ,

the weir of the Arno not far from the Porta S anta Croce Sa n
, .

M iniato is said to have forded the river and to have ascended ,

the hill of Sa n M iniato holding his head i n his hand and was , ,
‘

i nterred on the site of the present ch u rch T h e orato ry over .

the relics of the saint was enlarged by Bishop Z e no b iu s abo u t

the fifth century and so greatly was he venerated that in the
, ,

course of time thirty six churches were b u ilt and dedicated to

-

his memo ry in T u scany and his name associated with that of ,

S t J ohn the Baptist as patron saint of F lorence

‘
. .

A monastery b e n e fi c e d by D esideri u s the last king of the

, ,

Lombards A. D 7 5 7 was attached to the orato y ; it was after

,
.
r,

wards endowed wi th more land by Charlemagne as he stated , ,

37 4 E N VI R O JVS OF F L O RE N CE .

‘
for the sake o f God o f Sa n M iniato and for the repose of th e
, ,

soul o f H ildegard hi s wife a noble lady of a Suab ian house ,

’
,

whom he had marri e d after divorcing H e rminga rd the daughter

, ,

o f D esiderius T h e authentic history of Sa n M i niato begi n s

.

A D . 1 01 3
. when Bishop H ildebrand of F lorence perceiving
, , ,

the neglect and decayinto which the orato ry had fallen ordered ,

the erection o f the Basilica and that i t should be const ru cted ,

wi th all possible S plendour for the preservation of the relics o f

the martyred saint i n accordance with a decree o f th e Em peror
,

H en ry I I and of his Empress C u nigu n da who had perm itted

.
, ,

the B ishop to em ploy some of the ruins of ancient F iesole for

this obj ect .

T h e first monks who inhabited the convent belonged to

the Black B enedictines who were succeeded by the Cluny,

branch of the O rder Grego ry X I placed them under the

. .

episcop al j urisdiction of F lorence I n 1 3 7 3 these monk s .

were succeeded by the O livetani who rem ained here till 1 5 5 3 , ,

when they were expelled by the Grand D uke Cosimo I to .

,

make room for his S panish soldiers Th e bishops o f F lorence .

for many y ears held the privilege of appoi nting the abbots and ,

i n 1 2 0 0 when the monks usu rped this right they were e xc o m

, ,

mu nica te d by B ishop Pietro .

T h e attractive situation of Sa n M iniato i nduced B ishop

A ndrea de M o zz i i n the year 1 2 9 4 to build at h is own ex
’
, ,

pense the palace with its m achicolated walls beside the church
he intended it for an agreeable country residence for himself
and future F lorentine bishops whenever they desired to retire ,

from the city B u t this bishop bore so infamous a character

.
,

that at the request of his own brother who was ashamed of hi s ,

mi sdeeds Pope N icholas I I I transferred him to the bishopric

,
.

of Vicen z a a year after he had finished his palace on the hill of

,

S a n M iniato D ante who was his contemporary alludes to

.
, ,

h im in the following lines

m
'
’
D al serv o de ser

F n trasmu ta to d A rno
'

B aee/z zgl z on e ;
’
’
zn

I nf ern o, xv . 1 1 0.
37 6 E N VI R O N S OF F L O RE N CE .

v ari ous devices i n inlaid green and white marble over the whol e
fa cade griffons wheels triangles candelabra &c and the
, , , ,
.
,

roof is supported at either extre mity by smal l quaint fi gure s ,

whose arm s are raised to their heads A n inlaid green marble .

c ross with three ca ndelabra on e ither side are wi thi n th e

, ,

a pex o f the roo f and above all is a bron z e eagle clutching th e

,

bale o f wool the badge o f the Guild of F oreign Woo l or

, ,

C al imal a by whom this f a ga de was erected in 1 4 5 1

,
.

T he i nterior Of the church is a very perfect ty pe o f th e

ancien t Lati n B as ilica I t i s divided into three parts which
.
,

may be des ignated as the middle the upper a nd the lower , ,

c hurch .

T h e m iddle church corresponds to what was cal led th e

auditori um o f the primitive Chri stian church ; it occupies
two th irds o f the entire len gth and comprehends the na ve
-
,

and side aisles T h e other divisions the presbyt erium with the
.
,

tribune and th e crypt below occupy the remai nder o f the

, , ,

S pace .

T hree lo fty arches i ncluding that at the further extrem ity

,

above the tribu ne are thrown over the nave and choi r T hey
, .

S pri ng from com pound piers of grey Prato marble T h e other .

c olumns o f the Basilica with the exception o f the small ones,

i n the cryp t are o f stone covered with coloured stucco i n

, ,

imitation of yellow O riental marble N ine arches are on eithe r .

side , dividing the aisles from the central n ave and tribun e .

T h e capitals o f the colum ns are of stone and va ry because , ,

t aken from buildings o f di ff erent periods N arrow small

’

windows above the nave i n the so called clerestory of Go thic ,

-

c hurches were formerly closed by opaque slabs of marble but

, ,

h ave been latterly filled i n with glass and the walls above th e ,

arches of the nave were originally encrusted with green and

white marble .

T h e in terior construction o f the roof i s very old dating ,

from 1 3 3 2 and consists of coloured wooden beams which

, ,

have been recently re n ewed .

 SAN M I N I A TO .
37 7

T he pavement of the nave is formed of the kind of mos a i c

called Op us l essel a z u m and is divided into eight compartments
‘

, ,

with a variety of designs ; some are lions rampant others ,

d oves and all are emblematical

,
O n e sq u are has the signs o f .

the Z odiac resembling part of the pavement in the Baptistery o f

,

1
F lorence .

A Latin insc ription not far from the entrance states that
t his pavement was placed by a certai n abbot of the name of
J osephus i n 1 2 0 7 .

T h e aisles were formerly covered with fre scoes of which a

‘

f e w fragments remain A portion of those to the right of th e

.

e ntrance are in tolerable preservation especially a M adonna ,

a n d I nfant Christ with saints on either side ; St J ohn the

, .

Baptist St M ark a nd S t F rancis on her right St J ohn the

,
.
,
. .

Evangelist St James and St A nthony on her left

,
.
,
The . .

Baptist rests his head on the arm of the M adonna s throne ’

,

a n d the I nfant Christ leans forw ard with o u tstretched arm s to

greet him T h e date of the fresco 1 4 9 6 and the name of th e

.
, ,

painter Paolo di Stefano are inscribed below B eyond this

, , .

f resco are several figures of male and female saints possibly ,

by the same painter S t A nthony on a larger scale than the

. .
,

o ther saints is standing with his book and staff

, O n one side .

is a young saint probably S t James wh o holds a sword and a

, .
,

book on the other side is a B ishop S t N icholas one hand ,

.
,

h olding the balls ; a small kneeling figure the D onator of ,

th e fresco is in a F lorentine costume of the fifteenth

,

century O n a pilaster near is a M agdalene with the dat e

.
, ,

1 40 7
. Beyond are three more saints and a figu re of Christ ,

s tanding beside the cross with the i n struments of the Passion ,

o n the wall behind T h e left aisle contains two frescoes which

.
,

have been transported hither from the adj oining convent .

O n e is a Crucifixion attrib u ted to O rc a gna the other in the

, ,

form o f a lunette contains half length fig u res of the Virgin

,
-

a n d Child i n a M andorla with S t A nthony and S t Lawrence , . .

Se e v o l i c h a p te r o n B a p t i stery . .
, .
 78 E N VI R O N S OF F L O RE N CE .

on her right hand the M agd al ene and another saint o n h e r

left T his fresco is attrib u ted to B u ff a l ma cco T here is also a
. .

fragment of a fresco on the wall of Santa Catari na with h er ,

wheel and the B aptist

, .

B etween the two flights of m a rble steps leading up to the

choir and trib u ne is the altar and chapel of the H oly Crucifix ,

which was built at the expense of Pi ero de M edici il Gottoso ’

, ,

the son of Cosimo Pater Patri ae and the father of the cele
, ,

b ra te d Loren z o the M agn ificent .

It was constructed after a design of M ichelo zz o M ic h el o z z i

to receive the miraculous crucifix whose image bowed its head
,

to Giovanni Gualberto i n approval of his generosity when h e

spared his brother s m urderer T his image stood in the crypt
’
.

o f the church until the year 1 4 8 8 when it was placed here but
,

i n 1 6 7 8 it was transferred to a chapel i n the church of S T rinit a .

o f F lorence where it was claimed by the monks of the V a l l o m

,

b rosia n O rder who o f ficiated in that church and another cru ci fix ,

was then substituted i n this chapel T h e altar is protected .

by an iron grating of much elegance It has a canopy of m arbl e .

with c a sse to n es and the badge of the C a l im al a is i ntroduce d

,

i nto the decorations as well as the arms of Piero dei M edici

,
.

T h e altar i s composed of white marble with a slab o f jasper ,

beneath which is a gradino with miniature paintings of th e

Virgi n and Child and the T welve A postles T h e picture abov e .

the table is painted by one o f the school of Giotto T her e .

are about eight small compartments each o f which cont a ins a ,

di ff ere nt episode i n the life of o u r Saviour T h e A nnuncia .

tion the A scension the Scourging the R esurrection o f O u r

, , ,

L or d the Buffeting the B etrayal by J udas the Last S upper

, , , ,

and the Washing of the F eet T h e two standing figures on

.

either side are Sa n Giovann i G u alberto in his black B ene

dic tin e habit and S a n M iniato
,
Leo X bestowed liberal
. .

donations on this chapel .

T h e marble steps on either side lead to the choir which is ,

s eparated from the tribune by a low screen of inlaid marble s

3 8 0 E N VI R ON S OF F L O RE N CE .

i e the black habit of the B enedictines and the omiss i on of

s nc ,

the white habit worn by the Cl u ny branch of the O rder which ,

was i ntroduced i n A D 9 1 0 as well as the omission of Sa n Gio

. .
,

v anni Gualbert o who in later works is always associated with Sa n

,

M iniato indicate that the mosaic was probably executed be

,

fore the year 1 0 0 0 and may be the work of M i no A pollonio

, , ,

or T a fi It is at all events a singularly fi ne an d imposing

.

example o f this branch o f art and harmonises with the archi

,

t ecture of the church

. .

Th e altar to the right o f the apse contains a painti ng o f S an

Giovanni Gualberto i n a Benedictine habi t and is possi bly th e ,

work of Giovanni da M ilano ( c 1 3 00—1 the pupi l bf T addeo

.

Gaddi as it is stated in a document that this painter was em

,

ployed in the church o f Sa n M i niato T h e altar to the left o f.

t h e apse has a later and very poor painting but to the right ,

o f this picture is a small but beauti ful fragm ent o f a fresco

with a figure o f our Saviour full of feeling and expression .

I t probably belonged to a group which h as been d estroye d .

N o t far from this is a fresco whic h like those in the a isle below
, ,

h as bee ntransported here from the convent I t represen ts our .

Lord leaning against H is M other with H is arm arou nd h er neck ,

as if H e were sinking from exhaustion I t is most tenderly .

and beauti fully re ndered and is probably of later date than the
,

other frescoes here N ear the door o f the sacristy is a p ai nting

.

or panel o f Sa n M iniato attributed to A gnolo Gaddi T h e .

small paintings round the central figure represent episodes i n

the life of the saint A gnolo Gaddi i s stated to have execut ed
.

a picture for this church between 1 3 9 4 and 1 3 9 5 and there i s ,

remarkable similari ty i n the composition with another by the

same master i n the A cademy of F ine A rts in F lorence where ,

a figure of Sa n M arco is almost identical with that o f Sa n

.

M iniato h ere .

Th e sacristy o f Sa n M iniato is a square vaulted chamber ,

.whose walls are covered with frescoes by Spinello Aretino

( 1 33
3 P Benedetto di N ero z z o degli A lberti a pruden t ,
 SAN M I N I A TO 38 1

and wealthy merchant of the fourteenth cent u ry had been ,

.

exiled from F lorence at the instigation of his envio u s fellow

citi z ens he died at R hodes about 1 3 8 7 but retained so warm ,

an attachment to his nati ve city that when he made his testa

,

ment in Genoa ten years before his death he charged his heirs ,

to adorn the sacristy of Sa n M iniato with paintings and to ,

defray the expense from his patrimony T h e Abbot of the .

Convent happened at that period to be a certain F ra Jacopo ,

a native of A re zz o and he therefore selected his fellow

co u ntryman Spinello to execute the work S pinello A retino .
,

was in fact the son of a F lorentine Ghibelline born i n A re zz o ,

during his father s exile from F lorence H e was devoted to

’
.

painting from his childhood and had derived much benefit

,

from meeting with Jacopo da Casentino i n Are zz o and before ,

he had reached his twentieth year he had excelled his master .

O n e of the A c c iaj o l i family had engaged him to paint som e

frescoes for a church of Sa n N iccol o in F lorence most of which ,

were unhappily destroyed by fi re but those that remained were ,

at a later period incorporated with the F armacia of Santa

M aria N ovella where they may still be seen
, .

T h e frescoes of the sacristy of Sa n M iniato which were ,

painted only a f e w years later are still in wonderful preserv a

,

tion T hey represent scenes in the life of St Benedict and are

. .
,

very quaint and admirable H is fig u res are so correct that

.

contemporary painters used them as a standard of proportion .

S pinello 1 8 also remarkable for the grace and finish of his work .

T h e four Evangel ists on the va u lted ceiling with their

symbols on a blue ground which are however retouche d
, , , ,

have been attributed to N iccol o di Piero G erini as

well as Spinello T h e F etters of the D onator S er Benedett o

.
,

di N e ro z z o degli A lberti as well as the Eagle the badge o f the

, ,

Guild of F orei gn Wool are introduced as decorations into the

,

woodwork round the chamber .

T h e B enedictines in the frescoes are represented i n th e

white h abit of thei r O r der which was introd u ced by the reformed
,
 F L O RE A C E
'

382 E rV VI R O N S OF .

monks of Cluny under Sa n B ru no A D 9 1 0 and was late r ,

. .
,

1
adopted in I taly .

St B enedict was the son o f rich parents who lived at

.
,

N orcia in the Papal D o minions east of S poleto

,
T hey took
,
.

him to Rome while still a boy for his educa tion S outh wall .
,

facing the ent rance —Perceiving the vices of the world he qui ts ,

h is father s home and starts with his nu rse for a desert regi on
’
, , ’
.

S pending a night at the hou se of a fri end h e m ira c u l o u sl y ,

repairs a wooden trencher which hi s nu rse had borrowed ,

an d which had been accidentally broken West wall — A rrived .

at Subiaco about thirty m iles east of Rome he adopts the

, ,

monastic habit and notwithsta nding many obsta cles o ffered b y

,

the devil he retires to a cave and is fed by a m onk named

, , ,

R omanus O n Easter D a y h e receives food from a presbyter

.
,

who had prepared a m eal for his own consumption but had ,

been apprised by a vision that St B enedict was starvi ng am idst .

th e mountains N orth wall —

. T h e de v il appears to S t .

B enedict i n the form of a raven but by making the sign o f ,

the cross h e exorcises the demon and a fter wards mo rt ifie s h is ,

body by rolling himsel f on a bed of thorns T h e m onks o f a .

n eighbouring convent requ ested S t B enedict to becom e their .

abbot but when they fou nd the rule s he im posed upon them
,

too severe they presented him with a cu p o f poison but S t

,
.

B enedict m aking the sign of the cross as he stretches out his

hand to receive it the cup breaks i n pieces ,
East wall .

S t Benedict departs from the convent and M auru s and

. ,

P l a c idu s the sons of a R oman nobleman become his dis

, ,

c ipl e s N orth
. wall z— While dwelling amidst the mou n tains
S t B enedict marks with three stones the spots where there
.

would be su f ficient water for the supply of three convents A .

labo u rer having allowed the iro n o f his bill hook to fall into a -

l ake St B enedict by his supernatu ral power brings the iron

,
.
, ,

t o the surface I n this fre sco S pinello is said to have painted

.

F o r a co nsecut ive a cc o unt o f th e li f e o f S t B ene di ct see M rs .

, .

Ja m eso n
’
s M on a stic O rders .
3 84 E N VI R O N S OF F L O RE N CE .

have stood near the remains of the saint until 1 5 5 3 when th e ,

precious relics were temporarily removed to the Church of Sa n

M ichele B e rtal di now S a n Gaetano because Cosimo I h a d
, , .

filled Sa n M iniato with his soldiers .

T h e crypt or con fessional of Sa n M iniato is severa l steps

, ,
.

lower than the nave T hi rty eight slender columns of diff erent
.
-

styles some fluted and some perfectly smooth suppor t th e

, ,

vaulted roof and the lower port ions of several of the grand
,

circular columns also a ppear which descend from the choir ,

and tribune above T h e high altar covering th e relics of Sa n

.

M in iato and of his companions is enclosed by an iron railing

of elegant workmanship said to have been made by a Siennese ,

a rtific e r P e truc c io B etti : this is probably correct since th e

, ,

ironwork of Sienna was famous in its day F e w traces remai n .

o f the Evangelists Sai nts and F athers of the ch u rch on the

, ,

vaulting above the altar which are attributed to T addeo G a ddi

, ,

and are said to have been exec u ted in 1 3 4 1 when Gaddi pai nted ,

a n d gilded the capitals o f the columns some of which a re ,

R oman and others of di ff eren t periods and styles

,
.

T h e pavement of the crypt is composed of monumental

slabs c o nta 1 n 1 ng 1 nscr1pt1 0ns recordi ng the names o f thos e
,

interred beneath some of which are o f recent date

,
.

O nce more returning to the body of the church the chape l ,

o f the Cardinal of Portugal is on the left side of the nave A .

cardinal s hat and his shield are scu lptured above the entrance
’
.

T his prelate was related to the R oyal H ouse of Portugal and a s , ,

A rchbishop o f Lisbon he was created Cardinal by Pope Calixtu s

,

I I I i n 1 4 5 6 with the name of Sa n Eustachio when h e was

.
, ,

only twenty six years of age In 1 4 5 9 h e visited F lorence o n

-
.

a diplomatic m ission when he fell ill and died and was buried
, ,

i n th is Basilica B ishop A lon z o of F lor e nce raised this beau

.

tifu l chapel to his memory a fi tting tribute i f his character , ,

c orresp onded to the description of it by a F lorentine writer ,

V e spaéia nu s B isticci who writes as foll ows ,

Cardinal J acopo
wa s o f a most amiable nature a patte rn o f humility and an
‘
, ,
 SA N M IN I A TO .
38 5

fl
abundant fountain of good through God to the poor discreet i n ,

providing for his servants modest in ordering his ho u sehold an , ,

e nemy of pomp and su p er u it keeping that middle way i n

y ,

e verything which is the way of the blessed H e lived i n the .

fl esh as if he were free from i t rather the life o f an angel than ,

1
a man and his death was holy as his life
, .

T h e small square chapel has a vaulted roof with fluted ,

pilasters of the Corinthian order in the angles T h e four .

lunettes beneath the vaulting divided by narrow windows have , ,

e ach paintings of two seated prophets but they are much ,

damaged T h e roof is decorated with circular medallions

.
,

c ontaining R obbia ware figures of angels T h e pavement is

-
.

c omposed of inlaid mosaic of porphyry serpentine and , ,

o riental granite T h e monument to the cardinal to the right

.

o f the entrance is by A ntonio di M atteo Gamberelli called I ] ,

R ossellino ( 1 4 2 7 1 4 7 9 P) T h e dead man lies as if asleep on

-
.

his bier with a sweet and placid countenance T wo seated

,
.

c hildren s u pport the bier at either end A n angel above holds .

a crown of glory Still higher are other angels and a circular

.
,

a lto rilievo of the M adonna and Child

-
S hields with coats of .

a rms are on a cornice above I t is on e of Rossell ino s best .

’

works O pposite this monument is a marble episcopal throne

.
,

with an inscription on the wall recording a Papal Indulgence , ,

g ranted by Paul I I to pilgrims visiting this shrine. A bove the .

throne is a very sweet fresco of an A nn u nciation attributed ,

to Piero del P oll aj ol o ( 1 44 3 T h e chapel is altogether

most complete in the richness a nd variety of its decorations .

T o the right of the principal entrance of Sa n M iniato ,

before issuing from the central door is the monument of the ,

T uscan poet Gi u seppe Giusti who died in 1 8 5 0 at the early

, ,

a ge of thirty nine It is by the sculptor R eginaldo Bilancini

-
. .

G iu sti s poetical and prose works are remarkable for elegance

’

and for delicate satire which he directed against the inertness ,

S ee Vite gl i Uom in i I l l ustri c i te d by C P e rki ns in his Tu sca n , .

S cu lptors v o l i p 2 05
, . . . .

VO L . II .
3 86 E N VI R O N S OF F L O RE N CE .

of th e Government at the period i n which he lived H e was a .

go od patriot and much beloved by the excellent and revered

,

M archese Gino Capponi beneath whose hospitable r oo f h e

,

spent the l a st month s of his li fe and breathed his last H is , .

corres po ndence i n singularly pure Ital ian has been published

, ,

1
since his death .

T h e monument to th e right o f Giusti is that of the pai nter , ,

Giuseppe B ez z ol i whose works were much esteemed by h is

,

fellow town smen .

Th e ru gged walls of the Campanile or B ell tower o f Sa n -

M iniato rises conspicuously above the church and is seen from ,

a l l parts o f F lorence I t was erected in 1 5 1 8 by B ag lione o r

.

Baccio d Agnolo ( 1 4 6 2
’
who also const ru cted the
beauti ful Campanile of Santo S pirito T h e original B ell towe r .
-

o f Sa n M iniato fell down in 1 4 9 9 and a smal ler tower near th e

,

t ribun e o f the church having also gone to ruin this was rai sed ,

chiefly at the expense of the monks but the fortification s

having absorbed whatever sums could be raised the C ampanile ,

was never completely finished I t is renowned for the eleganc e

.

and beau ty of its proporti ons T h e broken and de fective portion

.

at the top was occasioned by the cannon balls of the troops of th e

Pri nce of O range stationed on the heights o f G ira mo nte duri ng
,

the siege o f 1 5 2 9 and 1 5 3 0 F ortunately the ingenui ty o f

.

M ichael A ngelo B uonarroti while Commissary G eneral of th e

,
-

R epublic who added a great bank o f earth between the roo f

,

of the Basilica and the Campanile to the mattresses al ready

placed agai nst the tower by the engi neer Giovanni A ntoni o
del Lupo preserved it from destruction while sustai ning
, ,

repeated shocks for ten successive days until a great gu n

placed on the top o f the tower compelled the enemy to direct
his aim in another direction .

S ee Giu seppe Giu st i a nd It is Times, by S H o m er

. .
 C H AP T ER XXIX .

TH E P OR TA R OM A N A —TH E CE R T O S A .

H EN
Castruccio Castracani Lord of Lucca in th e , .
,

year 1 3 2 8 bu rn t and ravaged the cou ntry round

F lorence and h is army approached within three miles o f the
,

c ity in the direction o f the river Greve orders were issued by the ,

S ignory to strengthen the old w al ls of A rnolfo di Cambio towards

l
t h e so u th and to reconstru ct the gate in that quarter
,
T he .

s ite for the new gate was o n or near the land belonging to

t h e Convent o f M onticelli which stood on a rising ground and , ,

th e design was Co n fi de d to Jacopo O rca gna the brother o f ,

2
A ndrea T h e gate was named Sa n Piero Gattolino from a
.
,

n eighbouring church o f great s iz e and impo rtance which was ,

d estroyed two centuri es later by the Grand D uke Cosimo I .

,

when he added bas tions to th e walls o f Fl orence

'

T h e lo fty tower of this gate now known as th e Porta ,

R omana which was the sa m e a s that still remaining over th e

, ,

Porta Sa n N icol o has been long demolished as well as the

, ,

a nte port
-
which was added by the tyrant Gualterio D uke of
, ,
.

A thens i n 1 34 2
,
A sh ield with a c oat o f arms worn and
.

almost defaced supposed to h av e bee n those o f the D uke may

, ,

s till be traced on the outside of the gate B esides this shield are .

—
two inscriptions one recording the entrance of Pope Leo X into .

F lorence i n 1 5 1 5 ; and the other that of the Emperor Charles V ,

.

S ee Amm i rat o S tor F ior lib v u p 34 7 ; an d G io Vill an i lib

, . .
, . . . .
, .

x . ca p . 58 .

3
S e e Vasa ri , vol . 11 . p . 1 35 .
 P O G GI O I M P E RI A L E .
389

i n 1 5 3 6 T his last was placed here by the Grand D uke Cosimo I

. .

in 1 5 6 9 A bove the noble arch is the F lorentine lily and the

.
,

white a nd red shield which denoted the union of F lorence and

,

F ieso l e
. Within the lunette of the interior are the remains of
a fresco representing the Virgin and Child S t John the
, , .

Baptist S t Z e n o biu s and St N icholas of T olentino attributed

, .
,
.
,

to F ra n cia b igio .

It was out of the gate of Sa n Piero Gattolino or the Porta ,

R omana that during the siege of 1 5 2 9 S tefano Colonna and

,

his soldiers made a famo u s sally to attack the troops of the

Prince of O range each soldier weari ng his shirt over his corslet
,

to distinguish him from the enemy ; this feat of arms was

therefore known as the T h e Prince of O range
was taken by s u rprise and had not the traitor M alatesta to
, ,

whom the command of the city was confided by the F lorentines ,

sounded a has ty retreat F lorence might have been saved from

,

an ignominio u s s u rrender some months later T h e open space .

or Pia zz a o u tside the gate is called the Pia zz a R omana or the

C inqu e Vie from five roads which branch from thence i e
, ,
. .

the R oman or S ienese road in th e centre ; to the right the ,

Viale Petrarca and the Via di M arign ol l e to the left the ,

’
Vi al e de Colli and the Poggio Imperiale .

J u st beyond the Porta are the king s stables where onc e ’

,

stood a group of houses under the shadow of the city wall ,

called the Pace from a little O ratory amidst the plane trees
, ,

containing a miraculous image of the Virgin T h e M adonn a .

della Pace received so many off erings from devout worshippers ,

that out of the proceeds a church was built in 1 6 1 6 to which ,

a monastery was added with a communication to the Boboli ,

Gardens .

A t the commencement of the avenue are fo u nt a ins with ,

water troughs for cattle the interior carved with reliefs of fish
, ,

and above them old stone figures of a lion and she wol f A -
.

little way farther u p the ascent are the mutilated remains o f

statues representing H omer Virgil D ante and Petrarch , , , ,
39 0 E N VI R O N S OF F L O RE N CE .

wh ich once adorned the front of the F lorenti ne Cathedral bu t ,

were removed early in the fou rteenth centu ry when it was pro ,

posed to com mi ssion Giotto to make a new f a ea de A long .

avenue o f cy press ilex a nd olive leads u p the gentle slope to

, ,

the Palace of the Poggio Imperial e or Imperial M ount O n ,

.

its site was i n early days a fortified castle belongi ng to th e ,

B a roncelli family who m ai ntained their possession until the

, ,

c ommencement o f the sixteenth centu ry when for a short time ,

i t was held by the Salviati N ear the castle of the B aroncelli.

or Salviati was fought the famous du el duri ng the siege of 1 5 2 9

,

1 5 3 0 when Lodovico M a rtelli and the stout champion D ante da

,

Castiglione left F lorence by the Po rta San F re diano and i n ,

gorgeous array with pages and other followers rode round the
, ,

walls to the Porta R omana they swept u p the Via Romana to

the fountains o f Sant Il a ri o an d reached the Capponi Villas the, ,

boundary of the enca mpment o f the Prince o f O ran ge thence

t urn ing to the opposite hills on their left they reached the Cas tle ,

o f the Baroncelli where lists were prepared and Giovann i

, ,

B andini and Bertino Al do bra ndini F lorenti nes like themselves , ,

though in the hostile camp met them i n single fight ,

M ar .

t elli fell by the hand o f Bandi ni and the young Al do bra ndin i , ,

a mere boy was slain by D an te da Castiglione and thus both

, ,

‘
p arties s u ff ered and were vi ctorious .

A fter the siege the B aroncell i Cas tle fell to the share o f the
M edici I n 1 5 6 5 Cosimo I bestowed it i n usufruct o n hi s
. .

d aughter I sabella who was a fterwards murdered i n a villa near

,

S igna by her husband Paolo Giordano O rsini D uke of Brac

, ,
’
c iano i n a fit of j ealousy instigated to the deed by Isabella s
, ,
’
brothers the Grand D uke F rancis an d Cardinal F erdinand de
,

M edic i F rancis I i mproved the property when he acted as

. .

guardian to his nephew D o n Virginio O rsini I n 1 6 2 2 M aria .

M addalena wife o f the Grand D uke Cosimo I I purchased the

,
.
,

villa from another O rsini D uke of B racciano : she was sister

,

o f the A ustrian Emperor F erdinand I I , and intended to con .

S ee N a pi e r s F l oren tin e Hi story v o l iv p 34

’
. . . .
,
39 2 E N VI R O N S OF F L O RE N CE .

government wh ere young ladies o f the first families in Ital y

,

receive the ir edu cation H ere according to old I tal ian custom
.
, ,

the girls are kept secluded for s even ye a rs at the end o f which ,

tim e husbands bein g generally provided they are t a ken into a

, ,

world of which they have been kept i n total ignorance .

Convents seem to have abounded in this neighbourhood ;

that of M onticelli on a rising ground between the avenue of
,

the Poggi o Imperiale and the Via R omana o f which no vestige ,

now remains has obta ined a world wide celebrity from having
,
-

sheltered Piccarda D onati the sister o f F orese and Cors o ,

D onati and of Gemm a the wife o f D a nte ; she took the ve il as

, ,

a S ister of S anta Chiara ( St Clara ) i n 1 2 5 3 but was soon .

,

a fterwards torn from her convent by her brother Corso who ,

scaled the windows to carry her o ff and who compelled her to ,

marry in order that he might gain the adherence o f another

,

powerful family to his faction F o r having however inv o l u n .

,

ta ril y broken her convent vow Piccarda is allowed by D ante

, ,

no higher place in Paradise than the M oon H e r perfect bliss .

,

u nsullied by envy and arising from a spirit in harmony with

,

the D ivine will i s thus beautifully described i n her answer

,
’
to the poet s i nqui ry if she did not desire a higher sta te o f
,

felicity
F ra te, l a nost ra v ol on ta qu ieta

Virtz} di ca rita, clze

fa v ol erne

mo,
’
S ol qu el c/i a ve ed a l tro n on ci a sseta .

S e disias simo esser p iic su perne,

F ora n discordi gl i nostri dis iri
D al v ol er di col u ic e on ?

E la su a v ol on ta de e nostra pa ce
E l l a e gz cel ma re a l gica l t u tto si mu ov e
C ir) clz E l l a cria e che N a tn ra f a ce
’
.

P a ra diso, iii l
. .
7 0, 7 1 .

B ro th e r ,
o ur w ill is q u i e t ed
by virt ue
O f ch a ri ty th a t m a k e s u s wish a l o ne
,

F o r wh a t w e h a v e n o r gives u s th irst f o r mo re
, .
 C O N VE N T O F M O N TI CE LLL 393

I f to b e m o re exa l ted w e aspi re d ,

D i sco rda n t w o u l d o u r a sp ira t i o n s b e

U nt o th e w ill o f H im w h o h e re se c l u des us .

A n d H is w ill is o ur p ea ce T h i s is th e se a
.

T o w h i ch is m o vi n g f o rw a rds w h a t so e v e r
I t do th c re a t e a n d a ll th a t N a t u re m a k e s
’
.
,
’
L ongf el l ow s Tra n sl a tion .

T he Convent of M onticelli was utterly destroyed by the troop s

of the Prince o f O range i n 1 5 2 9 and the n u ns sought refu ge
,

during the siege within the walls of the city in another convent ,

to which they likewise gave the name of M onticelli the religious

establishment was suppressed by the F rench in the early part
o f this century and the b u ilding u nited with the Convent o f
,

M onte D omini became the Pia Casa di Lavoro or Workhouse ,

o f F lorence .

O n the site o f the first Convent of M onticelli are now

houses forming a suburb of the city in which is the manu
, ,

f acture of majolic a ware of S ignor C a nta ga l l i T h e first .

maj olica was brought from the Island of M aj orca but was soon ,

celebrated as a form of pottery peculiar to Ital y where the best ,

artists fu rnished the designs S ignor C a ntagal l i has revived

.

an art which was practised i n his family from the time o f his
great grandfather ; and in the warehouse on the Via Romana or
-

Via Senese —as the highway is now called— are to be found

excellent imitations of various ancient Italian pottery but ,

bearing the arm s of the C a ntagal l i a cock crowing O n the ,

.

other side of the road is a fountain at which women are gene ,

ral ly employed washing their linen ; it is a very ancient con

struction and the springs by which it i s supplied have given
,

their name to a little ch u rch on the slope of the hill above ,

Sant Ilario alle F onte ; this ch u rch is also called the Colom
’

baia or D ovecote after a villa near it the birthp l ace i n

, , , ,

1 8 2 1 , of F lorence N ightingale the lady who by her philan

, ,

th rO pic exertions has effected so great a change 1 n the system

,

o f the hospita ls for o u r soldiers and who gave the impulse to

,
3 94 E N VI R O N S OF F L O RE N CE .

’
woman s work du ri ng the war of the C rimea San t Ilario .
’
,

d uring the R epublic was the starting point for the horse rac e s
,
-

o n the day o f S anta R eparata which was celebrated in remem ,

brance o f the battle in which Ra da gasiu s and his hordes were

d efea ted A D 4 0 5 . . .

B eyond the Colombai a to the right o f the Vi a S enese is the

M onastery of the Campora A scending the road to a height .

which commands a splendid view o f F lorence and the sur

roun di ng cou ntry the Convent o f Sa n Gaggi o is to the left
, .

Wi thi n its high w al ls there was at one time a tower i n which ,

th e noble o wn er gave shelter to the remnant o f the Paterini or ,

Protestants of F lorence who were flying from the m assacres ,

wh ic h took place i n the Pi azza Santa F elicit a T h e convent .

which succeeded was founded i n 1 3 4 5 for A u gusti nian nuns by

,

o n e M adonna N era M anieri assisted by the Caval i ere T ommaso ,

C ors ini and his son th e Cardinal B ishop o f F lorence I t w as

, ,
.

dedicated to Santa Catarina and was especially destined for ,

’
th e daughters of the Cavalieri Gaudenti properly Cavalieri de ,

F rati di Santa M ari a an O rder o f S ecular F riars who bound

, ,

themselves by their vow to de fend wido ws an d orphans an d to ,

act as peacemakers in all qu arrels T heir l u xuriou s lives how .

,

ever exposed them to the ridicul e o f the common people who

, ,

gave them the epithet G a u de n ti ( pleasure lovers ) T h e name o f

l
.

the conven t was changed to Sa n Gaggio or Sa n Caj o when , ,

some nuns from another convent dedicated to that saint j oined ,

those o f S anta Catarina T h e building su f fered from th e soldiers

.

of the Prince of O range when the nuns sought re fuge i n the,

Corsini houses within the city .

A t the foot of the descent from Sa n Gaggio at the D u e ,

S trade the road branches to the le ft towards the great ston e

,

quarry of M onte R ipal di whilst the right leads to the Certosa , ,

or Carthusian M onastery O n a height to the left i s the Con .

vent of S anta M aria della D isciplina or delle P o rtich e founded , ,

1
S ee S toria del l a Repu blil ica di F iren z e, G . C a pp o n i , vol. i lib ro
. i
.

c ap. vii p . .
51 .
l
3 96 E N VI R O N S OF F L O RE N CE .

T his M onastery of the Certosa founded by a w a rrior h a s , ,

more the aspect of a fortress than of the peaceful reside nce of

herm it monks N icol o A cc iaj o l i who built the Ce rtos a was
.
, ,

descended from a Guelphic family of B ergamo who sought ,

re fuge i n F lorence from the barbarities o f F rederick Ba rbaro ssa

in 1 1 0 3 T heir nam e is supposed to have been derived from
.

j
a ccia o steel and they are beli eved to have be en originally
, ,

w orkers i n that metal T hey were apparently o pulent as th e

.
,

first A c c iaj o l i who a rrived in F lorence built the pal ace i n

’
the Borgo Sant A postoli on the A rno near th e Ponte Vecchio , , ,

which still bears their name and they purchased land i n th e ,

Val di Pesa A c c iaj o l o A c c iaj ol i the father of N icol o wa s

.
, ,

twice Prior of the R epublic and when Robe rt o f A nj ou K ing , ,

o f N aples held possession of Prato he appointed Ac c iaj o l o his

, ,

vicegerent i n that city T h e m other of N icol o was Guglielm ina

.

Pa zz i A t the age of eighteen N icol o was marri ed to M argherita

.

S pini a young lady belonging to one of the most illustriou s

,

families of F lorence I n 1 3 3 1 when he was twenty one years

.
,
-

o f age h e went to N aples intending to settle there as a mer

, ,

chant Th e connection already be gun between his father an d

.

K ing R obert opened the way for N ic o l b s reception at Court

,
’
.

A mbitious and remarkable for the beauty of his person

, ,

hi s graceful manners and his talents he soon attracte d , ,

the notice o f Catharine titular Empress of Constantinople and , ,

widow o f R obert s younger brother the Prince of T aranto

’
,
.

S h e persuaded the king to appoint N icol o t u tor to his nephews

a n d in 1 3 3 8 he accompanied one of his pupils Prince Louis , ,

to Greece where A c c iaj o li had an opportunity of displaying hi s

,

m ilitary capacity in a war of three years against the T urks .

R obert the accomplished friend and patron of m en of letters

,

—
fi rst among whom was Petrarch died i n 1 3 4 3 be q u eathing ,

his kingdom to his granddaughter J oanna then only nineteen ,

years of age and married to A ndrew brother of the King of

, ,

H ungary T h e u nhappy career of this princess was not unlike

.

that of M ary Queen of S cots A ndrew was murdered i n 1 3 4 5 .

 TH E CE R T O SA .
39 7

w ith the knowledge if not connivance of Joan na and N icol o

, ,

is accused of having participated in the crime to smooth the

way for the marriage of his pupil Lo u is with the young queen .

H e was created Grand S eneschal of the kingdom and from ,

t hat hour he played a prominent part in the history of those

t imes . T h e intimate friend of Petrarch and Boccaccio the ,

former in his Letters pays him a trib u te of admiration better

, ,

deserved by his talents than his virtues T h e Grand S eneschal .

died at N aples in 1 3 6 6 at the age of fi f ty six A s the ru lers

, ,
-
.

of F lorence had passed a decree that no F lorentine serving a

foreign sovereign co u ld hold o ffi ce i n their state they h onoured ,

N icol oinstead by an exemption from taxation I n his wanderin gs

,
.

abroad he had remained faith fu l in his a ff ections to his native

city and always hoped to end his days on F lorentine territory
,

therefore in 1 3 4 1 four years before the murder of A ndrew he

, , ,

lai d the foundation of the Certosa which he intended as a ,

splendid monument to his own fame and he employed A ndrea ,

O rc agna the first architect of the day to make the design for
, ,

the building .

T h e Carthusian O rder dating from 1 0 8 4 for which N icol o, ,

always showed a predilection is a branch of the Benedictines , ,

instituted by St Br u no who was born at Cologne in 1 0 3 0 T h e

.
, .

first monastery was that of the Grande Chartreuse near Grenoble ,

i n F rance T h e habit is white as a type of the p u rity of those who

.
,

stand before the throne in the celestial Jerusalem ; the monks have
their heads closely shaven leaving only one almost invisible lock ,

to represent a thorn in o u r S aviour s crown ; the scapula behind ’

and before symbolises the cross ; and the sco u rge and the
,

rosary the combat with the Evil O n e T h e O rder is devoted

, .

to a life of contemplation silence and solitude the brothers , ,

never leave their cells where they are occ u pied i n study except
, ,

fo r the performance of some re l 1gio u s duty or when com ,

m an de d by their S u perior or for the cultivation of their ,

gardens I f allowed to take a walk for the benefit of thei r

.

health it must be i n the company o f another monk and in

, ,
39 8 E N VI R O N S OF F L O RE N CE .

som e solitary desert place Such were the rul es obse rved by .

the first m embers of a community hardly to be recogn is ed in th e ,

comfortable good humoured but ign orant friars who n ow escort

,
-

, ,

the stranger over the monaste ry .

T h e Certosa of F lorence commenced in 1 3 4 1 was rea dy f o r , ,

the reception o f the monks withi n the same year and its fi rst ,

i nhabitan ts were Carthusians from M a ggia n o near Sienna T h e , .

building was not fi nishe d u ntil many years later T h e arm s o f .

th e A c c iaj o l i a lion ram pan t holding a banner was inserted in

, , ,

v ari ous parts o f the edifi ce va ried wherever th ere is a monu , ,

ment to an ecclesiastic by the lion holding a sword with the

'
'

point downwards N icol o dedicated the m onastery to S t

. .

La wr ence endowing it liberally with money besides bestowin g

, ,

on it pictu res marbles an d valuable relics H e had procure d

, ,
.

m ost of these from Greece where King R obert had given h im ,

the c ity o f Corinth but all the works o f art have grad u all y
di sappe a red leaving only the sai ntly relics
,
.

T h e entrance was formerly by a steep road w hich le d ,

directly up to the monastery outside the walls A pa ved .

te rrace with the hospitium or gu est chambe r on one side an d

,
-

th e chapel o f St Lawrence o n th e other was the limit to whi c h

fl
.
,

women were admitted S ince the Italian Governm ent has

.

taken possession o f the place and only a few fria rs wi th thei r ,

supe ri or remain there on su era nc e it has been thrown open to ,

visitors of bo th sexes B eyond the Cl a u su ra or sacred enclosure

.
, ,

was another road leading from the Paradisino or small chape l ,

with a sacred group o f figures by Lu ca della R obbia to a , ,

Calvary am idst the woods .

T h e present entrance is by the iron gate at the Pont e

Certosa on the Ema from whence a road winds up the hi ll
,

through the grounds once belonging to the monks a ri ch fi eld ,

for th e botan ist but now let out by the Government for cultiva
,

ti 0n O n one side of the ascent are olives and corn on th e

.
,

other a pleasant view of hills and village ch u rches with the

Greve winding its way below A l arge h al f fi nish ed buildin g .
-
400 E N VI R O N S OF F L O RE N CE .

a S iennese painter and pupil of F rancesco Vanni ; though

,

correct i n drawi ng and vigorous in composition the blackness ,

and want of transparency in his shadows diminish th e brilliancy

of his lights and u nless the day should happen to be u nus ually
,

sun ny leaves the s pectator pu zz led as to the meaning o f th e

,

subj ect treated T hose most worthy o f notice are a Prior of

.

the Carthusians beholding when at his dinner a vision of the

, ,

In fant J esus ; and O pposite the picture of the Beato D ionysius

, ,

physician o f the monastery exorcising the devi l who appears , ,

to him when engrossed with his studies A n inscription over .

the door leading to the church records its consecration A D . .

1 3 94
,
twenty eight years after the death of the founder by
-
,

Visdomini B ishop of F lorence

,
.

B e fore entering the church the visitor is usually conducted

by a side door from the C O 1 0 dei Conversi to a chapel wi th a
fi ne vaulted roof T h is chapel was dedica ted to St Bruno an d
. .
,

the seats around were intended for the novices who were here ,

initiated into the rules o f the O rder and received biblical

‘

i nstruction T h e small chapel on one side was erected i n

.

1 39 1,
i n honour o f Giuliano B u o ndel mo n ti B aron of Basciano , ,

b u t was afte rwards dedicated to the Beato N icol o Al b ergh a ti ,

a Carthusian friar from Bologn a and a ca rdinal A corridor ,

.
,

parallel with the church h as several small side chapels ; i n

,

t h e first is a picture by R utilio M anetti o f the M artyrdom o f

S t M argaret an inferior work of the master the second con
.
,

tains a spirited representation o f St N icolas o f Bari saving .

a yo u th from execution by F abri z io Boschi ( 1 5 7 0 1 6 4 2 ) the

,
-

third has a feeble picture by a modern artist and at the end

of the corridor is an early painting by B envenuto the most ,

celebrated arti st of the beginning of the century representing ,

J ohn th e B aptist preaching .

F acing th e M artyrdom of St M a rgaret is the entrance to .

the spaciou s chapel o f Santa M aria with its fine vaulted roof , ,

c orresponding with that of the e a rlier church and chapel o f

S t Bruno i n I talian G othic

.
,
T his chapel was built A D 1 40 8
. . .
,
 TH E CE R T O S A .
40 1

and restored by Vinc enz io A cciaj ol i in 1 6 6 1 T h e works o f .

art with which it was decorated as well as those wh ich were i n ,

the chapels of St Bruno and of N icol o Al b ergh a ti have all

.
,

been removed O ne beautifu l wi ndow of coloured glas s

.

remains of six and belongs to the same period as those in th e

,

F lorentine Cathedral Th e stalls for the monks are in fi ne l v

.

carved wood O ver the high altar is the copy of a picture by

.

Al lori in which i s a portrait o f the Grand D u ke F rancis I

,
A .

painting attrib u ted to Cigoli but much damaged of St F ranci s , , .

receiving the Stigmata at La Vernia is i n one of the transepts , .

F rom this a flight of steps leads down to the earlier church

or crypt O n the walls of this staircase are two mediocr e
.

frescoes by an artist of the name of Ulisse Cocchi representing ,

A dam and Eve and the R esurrection .

T h e crypt was once adorned with marble stat u es and bas

reliefs som e by the hand of O rca gna himself and by late r
, ,

frescoes of P o c c e tti but nothing is left saving the bare wall s

,

with the low vau lted roof and the monuments to the ,

dead . O pposite the staircase is the chapel dedicated to S t .

T obias which the Grand S eneschal i ntended for the bu ri al

,

place of the A cc iaj ol i but the slabs on the pavement in front ,

of the chapel record only the names of various members of

the R icasoli fam ily B efore the altar are th e monuments o f
.

N ic ol b s son Loren z o of his father A c ciaj o l o A c c iaj o l i and

’
, ,

of his sister La pa O n the wall to the left is the beautiful

fl
. :

monument by O rcagna to the Grand S eneschal himsel f B e .

neath a Gothic shrine of carved and coloured marble h is ,

e i gy in fu ll armour re p oses on his sarcophagus his handsom e

f eatures as i n sleep turned towards the spectator and his
, , ,

hands crossed before him A bove is a lion s head and deli .

’
,

ca tel y carved pinnacles below are brackets of acanthus leaves ,

which s u pport the sarcophagu s skulls are in the intervenin g

spaces and an inscription records the life and virtues of th e
,

f ounder of the Certosa .

J ust below this monument is the image of N ic ol b s belove d ’

VO L . 11 . D D
402 E N VI R ON S OF F L O RE N CE .

son Loren z o who had alrea dy distingu ished himself by h is

,

valour and had been appointed Lieutenant o f Calab ria an d

,

C hatelain o f N aples by Qu een J oanna and her husban d

Louis . H is father was i n Gaeta when news reached him ,

o f the death o f his son at N aples i n 1 3 5 3 H e bore h is ,

.

loss wi th fortitu de and gave orde rs for the bo dy being con

,

v eye d with all honours to th e Ce rtosa o f F lorence I t was .

escorted by torch be arers and esquires on h orses ca parisoned

-

i n black velvet embroidered with gold and deco rated with ,

s o m any coats of arms as to excite th e indigna ti on o f th e

,

F lorentines who had never be fore wi tn essed such homage pai d

,

to a simple citi z en .

B eside the marble e f figy o f Lorenz o wh o is represented ,

clad i n rich arm our is that o f N icol e s father A cc iaj o l o Accia

,
’

j oli wh o fi rst won the favou r o f K ing R obert ; and beyon d

,

h im N icol b s sister La pa who althou gh m arried to a B uo ndel

,
’
, ,

monti conti nu ed to be ar her family name She was ve ry

,
.

i n timate with St B ridget or B ri gida who was lodging i n the

.
,

house o f Lapa at N aples when i n 1 3 66 she foretold the speedy ,

death o f the Grand S eneschal Lapa ha stened to the Palace .

of Queen J oanna to i nqu ire for her bro ther but found him i n ,

his u sual health ; some days later he was a tta cked with an
‘
ab scess in the b rai n which in a f e w hours ended fatally
, .

B e fore the high altar of the cryp t is another remarkable

m onument which was formerly also i n the chapel o f St
, .

T obias but was removed hither i n 1 5 5 0

,
It is over the remai n s .

o f A ngelo Acciaj ol i a distant cou sin o f the Grand S enes ch al

, ,

who was born i n 1 2 9 8 A t an early age he entered th e .

D omi nican Convent of S anta M aria N ovella wh ere he re ,

Li tt a in his F a migl ie I l l u stri d I ta l ia re l a t es h o w La p a w as th e

’
, ,

f ri end o f S t B ri dg e t a S w e di sh l a dy w h o f ou nde d th e O rder o f th e

.
, ,

B rigi tt ines a n d di ed in 1 3 7 3 A s h e r O rde r was c onfi rm ed by Po pe

,
.

U rb a n V a f t e r h is ret u rn f ro m A vign o n to Rome in 1 3 6 3 sh e h a d pro

. ,

b a bly co me to N a pl es in 1 3 6 6 w h en th e A bb é de Sa de in h is M emoir of
, ,

P etra rch st a tes sh e w as livi n g in th e h o us e o f N ico l b s si st e r wh o m h e

’
, ,

c a ll s Ja q u etta .
 04 E N VI R O N S OF F L O RE N CE .

strongly m arked character of the man A fter the removal of

-
.

the monument to its present position i n 1 5 5 0 the exquisite , ,

marble frame of fruit and flowers was added with the two small ,

female fi gu res emblematica l of Charity and Justice the work ,

o f Giuliano di Sa n Gallo who died i n 1 5 1 6 , .

R eturning to the u pper cha pe l o f Santa M ari a and to th e ,

corridor beyond the visitor ente rs the C hurch o f the Certo sa

,

by a side door near the high altar T his church including th e .

,

C O 1 0 dei Conversi which forms the vestibule i s dedicated to

, ,

San B runo but as it w as only consecrated in 1 3 9 4 and th e

, ,

arch itect O rca gna died i n 1 3 6 8 it m ust have been fi nished by ,

his scho l ars Th e proportions of the space within the walls

.
,

and the beau tifu lly vaulted ceil ing i n the same style as the

fl
Loggia de Lan z i in F lorence leave no doubt that the design
’
,

was O rc agna s whom A cc iaj o l i employed to build the whol e

’
,
'

monastery T h e wide di e re nc e
. between N orthern and
S outhern Go thic suggests a di ff erence i n th e c o mpre h e n
sio n o f the same idea by races disti nct i n character as well
as born i n another climate and surrounded by a di ff erent ,

natural scenery I n the darker regi ons o f the N orth where

.
,

Gothic archit ect ure had its origi n and attai ned its highest per
f e c tio n the religiou s sentiment leads upwards through cloud s
,

and mists to seek th e Etern al dwelling i n light ; whilst a

S outhern pe ople inhabiting a cl ear atmosphere through which
, ,

the most dista nt obj ects can be di scern ed associate sublimity ,

with si z e harmony of proportion mate rial excellence and

, , ,

perfection o f form I n Italy the height o f a Gothic building com

.

pared with its width is as one and a half to one in F rance , ,

the mother o f true Gothic it is two and even three to one T h e

, , ,
.

nearer approximation of height to width in the I talian Gothic ,

as well as the greater distance between the supporting columns ,

enables all to be seen in the vast space within the building ;

and though less spirit u al in its suggestions than the Gothic o f
,

the N orth there is a maj esty and solemn grandeur in its simple
,

outlines to which colour and gilding generally add great rich

 TH E CE R T O S A .
40 5

ness well adapted to the more sensuous worship of a Southern

,

race .

T h e pavement of this church was inl aid with variegated

marbles by the brothers Basso of S ettignano assisted by a , ,

Venetian marble cutter T h e marbles used are white red

.
, ,

green and black from the q u arries near Prato the last of
, , ,

which is now exhausted T h e stalls of the same date are .

ornamented with carvings and intarsiatura or wooden mosaic , .

Winged cher u bim form the s u pport for the arm s o f the monks ,

when standing at their nightly vigils Pictures of inferior merit .

have been s u bstit u ted for the frescoes once coveri ng the walls ,

a n d the only paintings of importance left are those behind an d

on either side of the high alta r T hese are th e works of .

B ernardino B a rb a tell i better known as 1 1 Po cc e tti ( 1 5 4 8

,

T h e cen tre represents the death and apotheosis of S t Bruno . .

H is devoted disciples are gathered round his body ; to th e

right of the altar St Br u no stands beside the deathbed of his
, .

master R aymond a learned doctor of Pari s and resolves to

, ,

a bandon the world he is also represented in Grenoble asking ,

leave of Bishop H ugh to retire into a desert place with his

companions ; to the left of the altar St Bruno appears in a .

dream to R uggiero Co u nt of Calabria warning him of a plot

, ,

a gainst him ; and again S t Bruno is seen at R ome entreatin g

, .

Pope U rban I I formerly one of his own disciples to permit

.
, ,

him to leave the Papal court and return to a l ife of solitude , .

T h e altar and cibori um are rich with lapis la z uli and other
precious marbles ; small marble statues have replaced others
o f a bron z e which were executed for this altar by Giovanni da
,

B ologna T h e beauti fu l marble c a ndel abrae were the gift of a

.

Cardinal and the marble female figures forming the lectern

,

are of F lemish workmanship .

T h e wardrobes for the priest s garments in the vestry are fi ne

’

specimens of olive and waln u t wood and a sm al l chapel to the ,

left of the al tar contains sacred relics some of which no doubt ,

were bestowed by the founder o f the Certosa A mong .

 06 E N VI R O N S OF F L O RE N CE .

’
bones and skulls is a thorn from the S aviour s crown I n th e .

centre o f the ceiling C hrist is represented crowned with thorns ,

and this with all th e frescoes on the walls o f this chapel are by
P o cc etti they are in full rich colour and in be tter pres ervation
th a n those i n th e church T h e wainsco ting below is painted
.

in c h iaroscuro and represents the cru el persecutions o f th e

,

monks of the Charterhouse in London by order o f H enry

V II I .T h e Charterhouse was founded by Sir Walter M anny in
1 37 2. When suppressed by H enry the Prior and eleven of the ,

Carthusian fri ars w ere hanged drawn and quartered and one , , ,

of the quarters o f Prior H aughton s body was set u p over the gat e ’

o f his own monastery T en other monks were sent to priso n

.
,

where all but one died from ill usage and he was fi nally hanged ,
.

A l l th e remaining frescoes i n this chapel are by a n artist o f

the name of M assari .

Leaving the church by another side door to the left o f th e

altar the visitor enters a s mall oblong
,
c h amber with seats
facing the windows T his chamber is cal led th e C o l lo q u l o
.
,

because here the monks received communications from thei r

Superior O ver the door at the farther end is i nscribed Peten
.

tib us ; this door was only O pened to receive the P ostul a nti
’
,

or those desirous of j oi ning the O rder H ere they prostrated .

themselves at the feet o f th e Pri or i n the presence of the whole

commu nity and prayed to be admitted as N ovices At th e
,
.

opposite end o f this chamber is a representa tion o f Chri st

b ea ring H is cross in a frame o f grapes an d vi ne leaves by on e
, ,

o f the scholars of Luca della R obbia .

A series o f most beautifully painted windows i n medallions

o f brown and yellow are by Giovanni da U dine ( 1 4 8 7
the friend and scholar of R aff aelle and are still i n good pre ,

servation T h e first m edallion represents St Lawrence ; the

. .

second St M ark ; the third the learned Raymond of Paris

, .
, ,

dead and bo rne to his burial on the way thither he raised

himself exclaiming By the j ustice of God I am accused the
, ,
‘

fourth medallion represents a second attempt at his burial ,

408 E N VI R ON S OF F L O RE N CE .

and dignity which redeems the plai nness of his features

, .

T h e head i s inclined slightly to one side givi ng the a p ,

e a ra n c e of sleep rather t h an death ; the hands are crossed

p ,

and there are ri ngs on the forefinger and thumb ; th e feet

are clothed in stockings and the dress the mitre and em , , ,

broidered cushion on whic h the hea d rests are all exquisitely

, ,

fi nishe d .

T h e pictures which once adorned th e walls o f the Chapter

H ouse have all been removed except a Crucifixio nby M ariotto ,

Al bertinell i over the altar not his best work ; the Virgin
, , ,

ho wever is full of expression and very beauti ful ; her head

, ,

leans on one hand whilst the other is extended towards th e

,

S avi our .

Leaving the Chapter H ouse the visitor enters the large ,

cloister surrou nded on al l sides by a colonnade above th e

, ,

arches of which were once heads by Luca della Robbia which ,

have been removed Th e ground enclosed is a quadrilateral

.

o f eighty by s ixty one metres M ost o f the cells opened into

-
.

this cloister T h e first quarter of the grou nd thus enclosed i s

.

'

the cemetery its boundary marked by a cross and two k neel

ing angels B eyond i s a deep well bored i n the rock and
.
, ,

considered by the m onks typical of the Living Waters o f

S cripture T h e designs on the basin and arch above are by
.

M ichael Angelo Th e remainder of the gro u nd is laid out i n

.

vegetable gardens with a few rose bushes and is cultivated by ,

the monks themselves the Carthusians being noted from early

,

t imes for their skill in horticulture .

T h e cell usually shown to visitors is tha t which N icol o

A c c iaj ol i reserved for himsel f and his servants when he visi ted
th e Certosa and where he intended to have passed his las t
,

days Each cell consists of a sitting room with a table attached

.
-

t o the wall for meals a bedroom with a bed straw sacking , , ,

and a mattress ; shelves i n the o u ter pass a ge comm u ni cating

w ith the o u tside on which food could be adm itted f rom the
,

kitchen a reading closet a paved terrace with a window at ,

 TH E CE R TO S A .
409

th e end ; and a small garden F rom the windows of the .

terrace belonging to the cell of the Grand S eneschal there is ,

a n extensive V iew of F lorence and the distant hills towards

Vallombrosa .

R et u rning to the cloister to the right and at the end farthest ,

’
from this cell is an entrance to the Prior s apartment ; over
,

t h e door is a l u nette containing a representatio n of the Good

,

S hepherd En te rmg a passage leading to the R efecto ry is a

.

’
small ante room which connects the Pri or s apartment with
-

the former library O ver the door of the library are inscribed
.

t h e following words A d S c ie nda m S a pie n tia m e t D isci

-
‘

i m
’
p l n a . T h e libraries of the Carth u sians were always well
s u pplied with books S t Br u no who had been an eminent
. .
,

s cholar was carefu l to provide books at a considerable expense

,

f o r the Grande Chartreuse and these were transcribed and ,

multiplied by the monks N icol o A c c iaj o l i sent a great number

.

o f manuscripts to the Certosa and intended had he lived , ,

longer to place his whole library here B ut all the books and
, .

m an u scripts once in this monastery have disappeared and the ,

room which contained them is now us ed to store fl our and

o ther comestibles .

T h e R efectory which is opposite the kitchen is a plai n

, ,

long roo m with a p u lpit or reading desk of grey stone at one

, , ,

corner from which portions of the Scriptures or the lives o f

, ,

the saints were read to the monks when at dinner T his

, .

reading desk has been attrib u ted to M ino da F iesole but as it ,

is even inferior to the lavatory in the little cloister it ca n only ,

be by the hand of a p u pil .

T h e second small cloister beyond the passage to the ,

R efectory is ca lled the Cloister of the B rothers and was for

, ,

the use of the N ovices whose cells were aro u nd It has a , .

do u ble row of col u mns of great elegance Re entering the .

-

oblong court before the ch u rch beneath the portico is a suit e

, ,

of rooms to the right once occ u pied by Pope Pi u s VI Excep t

, .

a fine view from a balcony from which is seen the j u nction of ,

41 0 E N VI R O N S OF F L OREN CE .

the Greve and Ema and the di stant mountai ns with the wood , ,

o f the Certosa beneath there i s no thing here worthy of notice , .

T h e chapel belonging to this ap a rtment is near the entr a nce b u t ,

i s not usual ly shown to strangers Th e simple bed in which the .

Pope slept a port rait o f Pius V I with small portraits of Piu s

, .
,

I X and Leo XI I I busts o f Pius VI an d Pius VI I who l ike

. .
, . .
,

wi se passed a night at the Certo sa a bust o f th e Grand D uk e ,

F erdinand I I I and another of the A bate La nz i the wri ter o n

fl
.
, ,

A rt are th e contents of this apartm ent

, .

R eturn ing to the Cloister o f the Brothers or N o v ices a , ,

ba ck stairca se leads down to the o ic es and pharmacy where ,

the vi sitor may taste and purchas e th e famous liqueur distilled

by the C arthusians and much esteemed by the people rou nd ,

as a stomachic .

C H RO N O LO G Y .

A. O

—1 3 5 7
.

A cc iaj o li, Ang e l o 1 2 98

N ico l o 1 300 1 3 66
Al b e rt ine l l i, Ma ri o tto 1 47 4 —1 5 1 5
B osch i F a bri z i o
, 1 5 7 0—1 6 42

B ridget S t , . a.
'
1 37 3

B run o S t , . o . 1 03 0 0) d . 1 1 01

B uona f ede Bi sh o p Leo nardo, d o 1 54 3

B u onarrot i M i cha e l Angel o

, o. 1 47 5 5 64 ; d . 1

C a mbi o A rno l f o di
, o 1 308 ; d 1 3 6 8
. .

C ast ra cani C astru cc i o , d 1 3 28 .

C e rt osa c o mm en ce d 1 34 1

Ch u rch co nsecra t ed I 394 »

C h a rl es V Emp e ro r .
, I 5 1 9—4 5 55

C h a rter H o use, Lo ndo n, f o u nde d 1 37 2

C h i ment i , J a co p o o. 1 55 4 ; d . 1 640
C o rso , D o na to d . 1 308
C o si mo I .
( Medi c i ) G D , . . I S3 7 —1 5 7 4
D o na t e ll o o. 1 38 6 ; d. 1 466

F erdin an d I I ( M edi c i ) G .
, . D . 1 624 —1 6 7 0
I I I ( A ust ri a n ) .
, G . D . 1 79 0 — 1 824
F l o renc e si e ge o f
,
1 529 —1 5 30
F ran ci s I ( M e di c i ) G D
.
, . I —
S7 4 4 58 7
F ra nc ia b igio o . 1 48 2 ; d . 1 525
 C H A P T ER XXX .

TH E LMP R UN E TA —S A N F E L I CE I N EM A S A N TA M A R
GH ERI TA I N RI P O Ll —TORRE D EL GA LLO —CH UR CH
O F SA N LE ON A RD O .

H E I mp runeta, f amous for its black M adonna, i s seven

mil es from th e Porta R omana O ne road branches
.

o ff from the Via Sanese at the foot of the descent from th e

Convent o f th e Gaggio ; an other and better road i s from

Gallu zz o at the foot o f the Certosa
,
B e fore entering the
.

vi llage o f Ponte Certo sa a lane to the right was the old

,

Etruscan road connecting the two im po rtant cities of F i esole

and Volterra A beau tiful d rive in this direction lies p a st a
.

large villa belongi ng to the Capponi and leads to the villa ge o f

,

Giogoli .

B eyond the Certosa is the hill o f M o nteb uo ni where ,

the B uo ndel mo nti had the ir ca stle a nd from whence they

,

pou nced down o n the unsuspecting traveller and comm i tt ed ,

robbery and violence on the whole neighbourhood until the ir ,

stronghold was destroyed by the F l o re ntine s in the twelfth

centu ry S om e remai ns o f the ruin is still sho wn in the little
.

village which is worth a visit for the view obtained from tha t
,

height T h e lordship o f the B u o ndel mo n ti extended as far as

.

th e I mpru net a
T h e road now wi nds along th e side of the hills for th ree
or four miles o f continuous as cent presenting lovely views at
,

every turn I n spring the song of the nightingale i s he ard amidst

.

the trees and the banks are fragrant with sweet smelli ng plants
,
-
 TH E VI LLA M A CCH I A VE L LI .
41 3

and rich with wild flowers T h e small township of Bagnolo .

,

which is fi rst reached is the ancient lordship of the Gherardini

, ,

who had extensive possessions in the Val di Pesa and the Val
di Greve ; their castle was at M ontacuto the site of th e Certosa , .

Bagnolo was the birthplace of A ccu rsiu s a celebrated j urisc o n ,

sult ( 1 1 5 1 who was Professor of Rhetori c at Bologna,

which chair he resigned to write a voluminous treatise on La w .

O ne of his daughters gave lectures on R oman J urispr u dence

in the U niversity of Bologna .

O n a range of hills i n th e distance to the right may be seen

’
the village of San Casciano and below it Sant A ndrea a villa
, , ,

belonging to the F en z i family N ear it is another old villa .

,

where M acchiavelli was residing when he wrote his celebrated

’
treatise the
,
P ri ncipe A drive to Sa n Casciano to visit the
.
,

Villa M acchiavelli is among the pleasant excu rs ions round

,

F lorence T h e name of M acchiavelli is associated in the mind

.

of English readers w ith the doctri ne of expediency or self ,

interest seeking its end by unscru pulous fraud or falsehood

but Professor Villari in his memoir lately published no less
, ,

remarkable for its eloquence and clear style of writing than for ,

research and exactitude presents a picture of the peri od which

, ,

proves the cunning and baseness of which Macchiavelli is

accused rather to have belonged to the age i n which he lived
, ,

and that he even strove to awaken his countrymen to a higher

standard of right by exposing their vices As a wri ter m essor .
,

Villari observes M acchiavelli fi rst departed from the mere

,

chronicler to the historian using narrative to prove that all

,

events are evolutions connected with the development of some

great and uniform idea to which the history of mankind is
,

always tendi ng in ev e ry age and nation I n Vill a ri s own .

’

words he illuminated the darkness by the electric light of his

,

p ower f ul intell igence and carried the

, most admirable order
’
into the chaos that chroniclers had left .

I n a hollow some distance from Bagnolo is the village of

, ,

the Impruneta well known to all lovers of art by the admirable

,
4 14 EN VI R O N S OF F L O RE N CE .

e ngra v mg o f J acqu es C allot in which h e h as gi ven wonderful

,

life and di stinctness to the figu res en gaged in variou s diversions

during th e annual fair which continu es to this da y
«

, Th e .

pla ce h as no t al tered since the time of Callot ( 1 5 9 2

T h e Chu rch o f the M isericordia i s st ill there on a h il l b e hind ,

the vi ll age wi th shrines at in terval s along the path for pilgri ms

, ,

t o o ff er u p their devoti ons .

T h e Church o f th e I m prun e ta its el f h as a l ow portico sup ,

ported by columns Th e inte n o r 18 o f v ast si z e and the

.
,

d ecoration s and pictu res show tha t i t is no common vi llage

church As the sanctu a ry for the mi raculous bla ck M adonna
.
,

famous i n F lorentine h isto ry it i s looked on as pecu liarly

,

sacred T h i s im age was este emed so pr ecious that it wa s

.

brought i nto F lorence in times o f war and there placed u nder

the charge o f the m onks o f the SS T ri nita It made its. .

ent ry i nto the city by the Porta R oma na u nder an e sc ort ,

of m ounted guards and was m et by the archb ishop clergy

, , ,

and chie f magistrates D uring the siege o f 1 5 2 9 the b la ck

.
,

M adonn a was conveyed i nto the ca the dral les t it should f all ,

i nto th e han ds o f the enemy It w as ap pe aled to du rin g th e

.

plagu e o f 1 4 1 7 and was agai n sup po sed to have stayed th e

,

disease i n 1 6 8 3 .

O n e ither side of the high altar are sh ri nes rest in g on -

fluted column s T hat to the right has a sm al l cabinet wi th

.

gilt doors i ntended to contain a cru cifix

,
N early li fe siz e .
-

statues o f St J ohn the Baptist and St Romolo are i n Luca

. .

della Robbia w are and there is an exquisite fri ez e i n the same

,

material below as well as a be auti ful group o f th e Virgin and

,

S t J ohn stan ding behind the crucified Saviour

. .

T h e shrine to the le ft o f the high altar is said to con tai n -

the image o f the miraculous M adonna B e fore her altar is a .

silver screen with representations o f incidents from the legends

,

o f the Virgin , and in th e centre is a portrait o f one o f the

M edic i princes probably the donor

, .

T h e sacristy contai ns a large and interesting al tar pie c e -

,
41 6 E N VI R O N S OF F L O RE N CE .

their neighbours o f Are zz o th e bell o f Santa M argherita was set

,

going and tolled u nceas ingly for a m onth to warn all person s
, ,

to make ready for the impendin gfight .

Within half an hour s walk from the Port a R omana is th e

’

m ode rn observatory built under th e direction of Professo r

,

D onati who has been succeeded as astronomer by a Germ an

,

Pro fessor Sign or Giovanni T empel O n a correspondin g

,
.

height at a sho rt distance stands the old T orre del Gallo which ,

th e celebrated Galileo made his observatory T h e whole rang e .

o f b il l s i n this direction is known as A rcetri an d i n the s tree t ,

j ust below the T orre del Gal lo is the Villa G ioel l o the country ,

h ouse of G al ileo Galilei H ere he received visits from man y

.

distingu ished friends among others J ohn M ilton who i n 1 6 3 8

, , , ,

at the age of thi rty vi sited I taly Galileo was then a blind old
,
.

m an o f seventy fou r M ilton alludes to his host in Paradis e

-
.

Los t when describing the shield of Satan

’
,

h is po nde ro us sh i e l d
Eth e real t e mp er m assy l a rge a nd ro und
, ,

B eh i n d h im c ast th e b ro a d c i rcumf ere nce

H un g o n h is sh o u l de r lik e th e m oo n w h ose o rb ,

Th ro ugh o p t i c gl ass th e T u scan a rti st vi e w s

A t e v e n i n g f ro m th e to p o f Fi eso l e ,

O r in Va l da rn o to de sc ry n ew l a nds ,

Riv ers o r mo unt ains in h e r sp o tty gl o b e .

Galileo at one time made his observations from F iesole ,

but what M ilto n here alludes to are his di scoveries o n th e

moon s sur face by mean s o f a telescope constructed b y
’
, ,

himsel f in 1 6 0 9 T h e m oon until then had been considered a

.

per fectly round self lum inou s body and it was Galileo who
-

first perceived m ou ntains and valleys with other irregularities

also that she always turned the same face to the earth and that ,

her vibrations or vibratory motion bring the more distant parts

of her hemi sphere o ccasionally in view T h e idea next sug .
.

gested that the moon might be inhabited which the discoveries

, ,

of N asmyt h i n this century seem to have proved impossible ,

al armed the so called religious world of those days

-
.

Galileo Gal ilei was born in Pisa i n 1 5 6 4 th e son of a ,

 GA LI LE O GA LI L EI .
41 7

F lorentine noble V inc enz io Galilei whose treatises on music

, ,

a re well known Th e observations of the young Galileo on the

.

vibrations of a lamp in the Pisan Cathedral led to the discovery

a n d u se of the pendulum H e was presented to the Grand D uke
.

F erdinand I by his mas ter in philosophy Guido U ba l di and

.
, ,

in 1 5 8 9 was o ff ered the chair of mathematical lecturer at Pisa .

H e then began to e xamine the accepted systems of astronomy ,

a n d finding them impossible to prove correct he adopted ,

that of the D anish philosopher Copernicus H is views were ,

.

a t once denounced as heretical as opposed to the B ible an d ,

to the teachings of the F athers of the Church H e accordingly .

,

i n 1 5 9 2 resigned his chair at Pisa and a cc epted a professorship

, ,

a t Padua H e invented the telescope in 1 6 0 9 and presented

.
,

o n e to the D oge of Venice It was at this time that he made

.

his first observations on the moon his next great discovery

was the satellites of J u piter which i n compliment to his first
, ,

patrons he named the M edicean stars

, .

Galileo having j oined a party in the university who were

resolved on the expulsion of the Jesuits he was denounced by ,

t h e F athers to the inquisitors at R ome as dangerous to religion .

H e however presented himself i n pe rson to answer for his

, ,

d octri nes Paul V granted him an audience and the result

. .
,

was so satisfactory that the Pope promised him his protection ,

w ith the condition that he should cease to teach the Copernica n

theory of the earth s motion ’
.

Galileo ret u rned to F lorence and resided a short time at ,

the Villa O mbrellino at Bellosguardo where he occupied ,

himself with his garden but afterwards removed to the Vil l a

,

G io el l o at A rcetri where he made use o f the T orre di Sa n

, ,

Gallo for his observations and probably passed some of his

,

time at F iesole H e had two nat u ral daughters who entered a

.
,

convent which may still be seen from the windows of the Villa
,

G io el l o
. T hey were devotedly attached to their father for ,

whom they prepared cakes and made and starched the broad ,

white collars i n which Susterma ns has pai n ted him .

VO L 1 1 .
41 8 E N VI R O N S OF F L O REN CE .

A bou t theyear 1 6 1 7 Galileo agai n visited Rome and was well ,

received by Pope U rban VI I I but when in 1 6 3 0 h e published .

,

his celebrated treatise D ialogues on th e Ptolemaic and Coper

,
’
nican Systems the Pope thought h e recogn ised himself i n an
,

abs u rd simpleton who defended the Ptolemaic system R i dicule .

was an o ff ence not to be pardone d and the inquisitors under , ,

the pretext that Galileo had broken his promise not to teach
the Copernican doctrines summoned him to R ome where h e , ,

arrived an old man o f seventy and broken in health T hat h e

, ,
.

was put to the torture seems doubtful and equally doubtful ,

that h e utt ered the celebrated speech after a forced recantation ,

‘
E pur si muove alluding to the e a rth s motion H e was
,
’ ’
.

ordered into close confinement i n the palace of the A rchbishop

o f Sienna wh ere the greatest philosopher of the age was treated
,

wi th contumely and even forbidden to speak on science In a

, .

century when the nobles and clergy of F lorence were going

forth in state to do h omage to the black im age o f the Virgin
of the I mpru neta th e lea ders o f the people were not capable
,

o f appreciating discoveri es of philosophical tru th .

T h e eldest daughter of G alileo Polyxena or S ister M aria , ,

Celeste was in constant correspondence with her father during

,

his imprisonment at Sienn a and upwards of a hu ndred o f her ,

letters are preserved i n the N ati onal Libra ry of F lorence T h e .

answers were probably destroyed by the abbess of her convent .

T h e serious illness of this daughter induced Galileo to petition

for a m itigation of his sentence and he was at length allowed ,

to leave S ienna for A rcetri where she died in his arms F rom, .

that time he was permitted to live in his town house on the Costa
at F lorence though under strict surveillance and he was able
, ,

to consult physicians for his health H e pai d occasional visits .

to the Grand D uke at his Villa o f Petraia but was al ways ,

con v eyed thither i n a close carriage going early in the morning ,

and returning after dark .

It was after his ret u rn to Arcetri and when he had becom e ,

totally b lin d f ro m rhe u matic go u t in the eyes that he finished ,

another work hi s D ial ogu es on M otion but such was the

.

,
‘ ’
4 20 E N VI R ON S OF F L O RE N CE .

Leonardo , whose date is lost i n obscurity thou gh it i s men ,

:

t io ne d i n documents o f 1 2 8 6 Within is a pulpit remarkable .

,

for its high reliefs representing the life o f the Saviour and
, ,

resting on an c i e nt R oman columns with a vari ety o f singula r ,

c apitals T his pulpit is said to have been brou ght from F iesole
.

t o Sa n Pier Sch era ggio o f F lorence A fter the destructio n ,

.

o f that church it was carefully preserved and i n 1 7 8 2 was pre ,

s ented by the Grand D uke Pietro Leopoldo to Sa n Leonardo .

T h e cupola over the high altar is decora ted with frescoes by '

Cosimo Ulivell i ( 1 6 2 5 and on the right of the entrance

’
is a picture of the Virgi n with angels by N eri de B icci I n .

’
th e sacristy is another work of N eri s with the date 1 4 6 7 and , ,

s everal pictures o f the fou rteenth and fi fteenth centuries .

At the further end of the Via Sa n Leonardo F lorenc e is ,

re entered by the Por ta Sa n Giorgio built i n 1 3 6 4 and called

-

, ,

a fter a church o f that name on the Costa a steep street in , ,

w hich is a house with the inscription recording tha t here was

th e town residence o f G al ileo Galile i .

C H RO N O LO G Y .

A. D .

A ccursiu s 5 . 1 1 51 d . 1 229

Bi cci N eri de
,
’
5 . 141 9 ; d . 1 49 1
B o l ogna G i o v anni da
, a; r6o 8

C all o t J acqu es
, 5 . 1 592 : d . 1 6 35

D o na t i 87 3
’
a. 1

F e rdinand I ( M e di c i ) G D
.
, . . 1 5 88 —1 609
G a ddi T a ddeo
'
, 1 300 ( P) ; a. 1 366
G a lil e i G a lil eo
, 1 642

G i orgi o Po rt a S a n b u il t
, , 3 64 1

G i o v ann i da M il a no I 3OO ( P) ; d 1 3 79 .

Ma cch i a velli N i co l o , 5 1 46 9 ; d 1 5 2 7
. .

P arl at ore F il ipp o d 1 87 7

P i etro Le o p o l do ( Austri a n) G D
.
,

, . . 1 7 65 —1 7 90
P l a gu e m F l o ren ce 1 4 1 7 a nd 1 6 8 3

R o bbi a Lu ca de ll a
,
d1 1 48 2

U l iv e ll i C o si mo
,
5 . 1 62 5 ; d . 1 7 04

U rb an VI I I P o p e .
,
1 62 3 -
1 644
 C H A P T ER XXXI .

B EL L O S G (I A RD O
’
—M A RI GN OLLE —P OR TA SA N
F R ED I A N O .

’
B O U T a quarter of an hour s di stance from the Porta
Romana is the height of B ellosguardo well deserving ,

its name from the variety of lovely views on all sides T h e .

road thither skirts the last remai ns of the old wall , which has
been preserved from demolition because the strip of ground
,

outside was at one time the J ewish Cemetery and still being ,

the property of the H ebrews they will not allow its desecration :
,

H ere and there a grey stone amidst the grass marks the graves .

F rom the Porta R omana to the P o rta S a n F rediano the wall

retains traces of postern gates and watch towers and i s still ,

i n some parts crowned with Guelphic battlements .

S oon after leaving the Porta R omana the ascent to Bello ,

sguardo begins A bout one third of the way is the church and
.
-

Pia zz etta of Sa n F rancesco da Paula T h e church formerly .

belonged to a convent of M inims a branch of the F ranciscans

, ,

and bore the pleasant name of B el Riposo Sa n F rancesco .

’
,

from Paula in Calabria at fifteen years of age dedicated

, ,

hims elf to a religious life and in 1 4 3 6 founded his O rder of

,

M inims or the least of the F ranciscans

,
A lexander Stro zz i .
,

wh o possessed a villa on Bellosguardo endowed the church i n ,

1 5 8 9 on condition of masses being recited for his soul and

, ,

that the friars should always choose the possessor of the Vill a
S tro zz i for their patron Within the church is a fine monu
.
~

ment by Luca della Robbia executed i n 1 4 5 6 to the memory

, , ,
422 E N VI R O N S OF F L O RE /VCE .

of M onsignor B eno zz o F e derigh i, Bishop o f F iesole I n th e .

Pia zz etta is a statu e of the eighteenth centu ry an imaginary ,

likeness of Sa n F rancesco da Paula by Pia m o ntini , .

I n the year 1 3 6 3 all the v illas and hou ses on the hill o f
B ellosguardo were sacked and burned by the Pi sa ns aided by ,

the F ree Companies under the command o f Sir J ohn H awk

,

w ood whose valuable services a fterwards to the F lorentines

,

were rewarded by a gi ft of land and a monument i n the

C athedral T he vi l la s scattered over the hill are there fore o f
.

c omparatively modern date A t the top o f the first steep

.

a scent is the gate of the Villa N icc ol in i situated on a height to ,

th e right and belongi ng to the F lorentine family o f that nam e

,
.

T he road makes two more steep turns before arriving at a ,

meadow called the Prato dello Stro zz ino from the Stro zz i Villa , ,

now N uti which is at the farther end An O rien tal plane o f

, .
,

which nothing remains but the hollow tru nk and a few

branches is supposed to be the oldest tree o f this ki nd in
,

T uscany and to have been brought hither by one of the

,

S tro zz i family from the East who imported several plants until
,

then unknown i n Italy and among them a species o f fi g

,

F ico D otato — and the a rtichoke .

T h e Villa N uti formerly Lo S tro zz ino i s one of the m ost

, ,

a ncient at B ellosguardo It belonged to th e younger branch o f

.

the Stro zz i family who possessed most of the land between Bel
,

l osgu a rdo and the old Pisan road T h e styl e o f architecture

.

o f this villa is that o f II Cronaca ( 1 4 5 7 A few steps b e

yond the meadow to the right by a lane passing the garden ,

o f the villa is the little church o f S S Vito e M odesto whence

,
.
,

t here is an extensive vi ew over the dista nt plain to the west .

T his church was founded as early as 1 0 1 9 when it was dedi ,

c ate d to the H oly S epulchre It was a fterwards placed under

.

t he patronage o f the Pitti and M a n cell i families u ntil it b e ,

came attached to the brotherhood of th e B uonuomi ni o f Sa n

M artino .

F rom the Prat o dello Stro zz ino a fourth sharp ascen t leads
42 4 E N VI RO N S OF F L O RE N CE .

gentle and modest o f men he gave his tim e to the poo r an d , ,

was so b eloved by the m that a man was onc e he ard to say ,

‘
T here are three men who can be compa red to J esus Christ
Gari baldi Gino Capponi and Zannetti It was i n this vill a
, , .
’

that Za nnetti received Ga rib al di i n 1 86 6 and it was Za nn e tti ,

who extra cted the ba ll from the f oo t o f th e hero a fter th e

battle o f Aspromonte .

T h e old to we r beyond the Pi az z a o f Bello sguardo ca l led ,

da M ontauto dates as far back as th e ye a r 1 3 00 when it

, ,

belonged to the Corsi family .

Lea ving the Piaz za an iron ga t e to the right enclos es th e

,

grounds o f the Villa S egni better kn own as L O mbrellino ,

’
,

from the u mbrella shape o f a summ e r house i n the g arden

- -
.

T h e villa once belonged to the histo ria n B ern ardo S egn i .

G a lileo inhabited i t for a time after his condemnation by th e

R om a n I nquisition when since h e was forbidden to s peak o f
, ,

science he devoted himself to th e cultivation of his garden

, .

Ugo F oscolo the author of the Sepolcri passed severa l m onth s

, ,

here and when i n 1 8 7 0 his rem ai ns were taken from Englan d

, , ,

to Venice a meeting was held in this villa to place a bust here

,

to h is memory .

A dj oining the O mbrellino i s the Villa M ic h el o z z i one o f ,

the fi n est examples o f F lorentine architecture I t was built i n .

the fi fteenth century by the celebrated M ichelo zz o M ic hel o z z i

.

who was so o ften employed by C osimo Pater Patriae th e villa ,

still belongs to the M ic h el o z z i fa mily I ts square tower is a .

conspicuous obj ect seen from all parts of F lorence

, .

Continuing along the road to M arign oll e the Vil la C epp i , ,

to the le ft was formerly the property o f the M arch ese M acchia

,

vel l i a branch of th e family which produced the celebrate d

,

historian and politici an whose direct descendan ts becam e

,

extinct in 1 5 9 7 T h e last M archese M acchia v elli di ed

.

i n 1 8 4 3 when his name title an d lands were made over to

, , ,

G iovanni G eppi of Prato who had marri ed his daughter

,
Th e .

long range o f hills here is ca lled the Campora and th e road ,

 M A RI GN OLL E .
42 5

lies between a succession o f vill as and gardens un til it j oins that

o f M arign ol l e at the head o f one of the five ways—Cinqu e
Vi e —from the Porta R omana T h e whole district beyond h as
,

been known from early days as the Scopeto a name probably ,

derived from the groves o f birch trees which once grew here;
A large monastery Sa n D onato a Sco peto stood in this vicinity
, , ,

a n d was rich in works o f art th e friars were called Sc opeta n i ,

and a tabernacle attached to a farm with part of the old walls

, ,

still remains of the b u ilding .

A fter passing another defaced ta bern acle the fi rst villa ,

arrived at is M arignol l e be longing to the Capponi family T h e

,
.

family o f M a rigno ll e to whom th e l a nd fi rst belonged wa s

'

among those whose dwellings were within the fi rst circuit of

walls i n F loren c e and their towers within the city when th e
, ,

M a rigno ll e were members of the Council date as far back as ,

1 1 99
. T hey were so notori ous as parti sa ns of th e Guelphic
facti on that when the Ghibellines entered F lorence after th e
,

battle of M ontaperti the Canons of San Lorenz o disinterred

,

and co ncealed the body of one R usti co M arigno l le who had ,

perished i n a fray lest his remai ns should be exposed to ins u lt

,

from his enemies and afterwards conveyed them to the clois ters
,

o f Sa n Loren z o where his monu m ent is sti l l to be seen T h e

, .

M arigno l l e gave five Gonfaloniers and twen ty three Priors t o -

the R epublic be tween 1 2 8 5 and 1 5 1 2 T hey al so assisted the

.

M edici to rebuild the Church of Sa n Lore nz o .

T his villa which afterwards became the property of the

,

Capponi was built by the Grand D uke F rancis I for D o n

, .

A ntonio the adopted son o f his wife B ianca Cappello for whom
, ,

F rancis procured a Pri ncipality at N aples and to whom h e ,

assigned a revenue of d u cats T h e amiable characte r

.

of D o n Antonio made him beloved by all the M edi ci family ,

f o r whom he performed some important services H e died in .

1 62 1
. Th e architect of the villa was Bernardo T alenti it
c ommands one of the finest views i n the neighbourhood and
,

some magnificent cypresses in the grounds are among th e

42 6 E N VI R O N S OF F L O RE A CE ’
.

o ldest in T uscany T h e Cap po ni purchas ed th e v illa from D o n

.

A ntonio i n the year 1 6 0 0 T h e last m al e d es cen dant o f the .

e lder and most distingu ished branch o f the fam ily th e M archese ,

Gino Cap poni was buried here i n 1 8 7 5 T hough blind for

, .

many y ears he lived to fi nish his history o f the F loren tine

,

R epublic i n which no name dese rves to be remembered as

,

worth ily as his own T hat name remained unsullied during

.

a ges o f crime from the fi rst Gino C a pponi o f the fou rteen th
,

c entu ry to the last Gino on whom the titl e o f M arche se an d

,

o f S enator o f the I talian kingdom could con fer little additio nal

h o no un
A story or l egend is c onnected with the fields of M arign oll e
‘

whi c h has given rise to a custom still mai ntai ned i n F lorence .

D uri ng the i ntest ine wars o f the city a youth an d m aiden ,

belonging to families o f O pposite factions fell in love with ,

on e another T hey fou nd oppo rtunities o f meeting during

.

c arnival but when near i ts end they drea ded a fi nal separation
, .

O n the last day o f th e holidays the F lorenti nes were in the

h abit o f making a pilgrimage to a chapel o f the M adonna a t
M a rign o ll e T h e lovers met once m ore i n an adj oi ning m eado w
.
,

wh ere the youth persuaded the m a iden to die with him rather
than part H e first plunged a dagger into her hea rt and then
.
,

s tabbed himsel f T heir bodies were found lying side by side

.
,

and the peasants covered them with branches and leaves f rom
the box tree T heir story became symbolica l of constancy i n
.

l ove and fri endship and every year at ca rnival time the you ng
,

people still exchange spri gs o f box which they requ ire one ,

another to produce whenever they meet ; and should ei th er

,

n o t have it when called on th e de faulter pays a forfeit in some ,

gift asked for by the other .

T h e F attoria or H ome F arm attached to the Capponi Vill a

, ,

w a s once the Villa o f the S acchetti a family supposed to have ,

b een of R oman origi n and to have settled in F lorence afte r

,

the destruction of F iesole T heir houses in the city were i n .

’
th e quarter o f Sant A pollinare and the Via Condott a T hey .
4 28 E N VI R O N S OF F L O RE N CE .

ex claiming they were betrayed A watch they had placed o n .

the tower o f the villa pe rceived by the light o f the m oo n a

,

strange glitter i n the trees the next instant a number of armed

m en presented the mselves before the door o f the Villa T hey .

were the tra ined bands or m ilitia of F lorence led by th e ,

Capitano del Popolo who insisti ng on admittance put all

, , ,

found i n the house u nder arrest T h e friends o f Sacchetti .

e ff ected their esca pe by a small postern whilst their host h is , ,

brother an d B enedetto Peru zz i were sei z ed an d conveyed to

, ,
'

the Palazz o del Podest a Pe ru z z i s punishment was comm uted

.
’

i n to an enormous fi ne and fi n es were levied on all the other

,

conspira tors with the exception o f Sacchetti who after havin g

, , ,

been repea tedly put to the tortu re was be heade d ,

An o ther Capponi Villa at M a rign o ll e belonged formerly to

the G ia nfi gl iaz z i wh ose ho u ses i n F lorence including th e
, ,

Palaz z o M ase tti on the Lung A rno Corsini were i n the neigh ’

bo u rh o o d o f the church o f the S T rinit a T h e G ia nfi gl iaz z i . .

gave the land adj oining their villa for a monastery and built ,

another large villa where Pope Le o X lodged in 1 5 1 5 T his

, . .

honour is recorded on two marble tablets one over the doo r o f ,

the house and th e other i n the room where he slept Le o X

, . .

cam e to T usc a ny o n his way to meet F rancis 1 at B ologn a an d .

,

whilst preparati ons were making for a grand reception of a

M edici Pope in F lorence he passed the night at the Villa ,

G ia n fi gl iaz z i
. T h e little ch urch o f S an ta M a ria a M a rigno l l e ,

which was founded by D o n A ntonio de M edici was rebuilt by ’

,

a Capponi in 1 7 1 8 when the ir fam ily arm s were added to tho se

,

o f the M edici T h e church o f S S Quirino e Giuletta a little

. .
,

lower down on the hill is as old as the beginning o f th e

,

thirteenth century T h e road now makes a steep descent to

.

the river Greve where there is a charming drive alo ng th e

,

banks leading back to F lorence in the direction of the Porta

,

Sa n F rediano .

N ear the village of S candicci another road leads to a mos t ,

beautiful country i n the vicinity o f the village of M oscian o ,

 VI L L A S TR O Z Z I .
42 9

w hich stands on a height It is reached by an easy drive from

.

"

F lorence and i s interesting from its geological formation of

,

t ertiary deposits where n u mm ilites are found ; some siliceou s

,

f ragm entary portions which take a high polish are used i n the
, ,

m anufacture of pietra dura .

Purs u ing the road to F lorence th e Villa called T orre ,

G alli or N erl a ia was once th e property o f the N e rl i family .

A nother e di fice with high machicolated walls was the Villa of

, ,

C ount Galli T assi whose statue as the benefactor to the

, ,

H ospital may be seen i n the little cloister of Santa M aria

,

N uova ; the villa now belongs to the M archese F a rino l a th e ,

grandson by his mother of the M archese Gino Capponi

, , .

T his b u ilding once a ff orded a refuge to the heretical Paterin i ,

to which sect the N erl i themselves belonged N othing now .

remains of the old castle but the solid structure of the external
walls I t is at this present time inhabited by the well known
.
-

authoress M ademoiselle de Ram é who publishes under the

, ,

a ssumed name of O u ida .

A fter passing through the long village of Legnaia whose

fl
,

fi elds supply F lorence with the best vegetables a villa belong ,

ing to the R inucc ini family is seen to the right i n a district ,

c alled S o ffi a n o I n the church above of U pper So ia no were

.
, ,

recently discovered some Giottesque frescoes b u ried under ,

w hitewash T h e high tower beside it was that of the Carducci

.
,

the pa trons of the church who had their villa in the vicinity , .

I n the p l ain below a small villa by the roadside is that o f

,

the Artimini who i n the commencement of the fo u rteenth

, ,

c entury, possessed a lordly villa between Signa and the M e

d ic ea n Palace of Poggio a Caiano near which is still the ,

f amily burying ground though since the loss of their villa the
-

Artimini have been obliged to lay their dead i n Santo Spirito .

T h e two brothers who now re present the family are professors of

chemistry in the F lorentine U niversity and at Pisa the elder ,

has devoted m u ch of his time to agriculture and philanthropi c ,

endeavours for the improvement of the condition of the poor .

 fl
43 0 E N VI R O N S OF F L O RE N CE .

T h e A rno formerly took its course in this direction an ,

when it o v er o we d its banks it occasionally form ed a lak

here ; the nam e Guarda Via given to the Artimini Vill a ,

records the time when tolls were le v ied on goods brought u

the river T h e Well o f St F rancis in the adj oining fields i
. .
, ,

supposed to have a peculiarly heal ing pro pe rty be cause St ,

F rancis himself once visited this spot i n 1 2 5 3 .

B ey ond this is the Vill a Stro zz i the pro pe rty o f Prine ,

S tro zz i I t stands on a wooded height at the j unction o f th

.
,

old highway to Pisa and form s the las t o f the low range 0
,

hills commencing with Bellosgu ardo T h e S tro z z i are th

,
.

line al descendan ts of F ilip po Stro zz i the F lorentine merchan t ,

who i n the latter part of the fi fteenth centu ry had his sh O p i

, ,

Via P orta R ossa and who built th e splendid Palace i n F lorence

,

H is son was fi rst the favourite and afterw ards the victim o ,
'

the infamo u s Grand D uke Cosimo I T he family had f o .

generations possessed land i n this pa rt as far as the Villa 0 ,

the Stro zz ino at B ellos guardo T his vil la is in the midst o .

delightfu l gardens a nd pleasure grounds -

.

F rom the Villa S tro zz i to the Porta Sa n F rediano the Pi sa n ,

road lies through a suburb o f the city called Pignone or M o n ,

tice lli—Pignone signifying a dyke to protect th e land from ,

the inundati ons of the river and M onticell i the mounts or low
, , ,

hills which bo rder the road to the right T h e popula tion here .

chiefly consists of bargemen fishermen and coste rmongers, , ,

besides th e workmen i n th e iron foundry o f the Cavaliere

Pietro B enini T h e well clothed heal thy appearance o f the
.
-

handsom e men women and children o f this dis trict are proofs
, , ,

o f greater prosperity than is enj oyed by th e population withi n

th e city B efore there existed as m any facili ties for la nd
.

tra f fic the little Port o f Pign one received large barges fro m
,
’
Leghorn Pisa and the Lower Val d Arno
, ,
.

T o the right of th e road i s M onte U liveto or th e M ou nt ,

of O lives where i n the tenth century a little O ratory called S

, , .

M aria del Castagno was inhabited by a hermit and where the

, ,
 E N VI R O N S OF F L O RE N CE
‘

4 3 2 .

a nd here Charles VI I I o f F rance made his triumphal entrance .

i n 1 4 9 4 ; from this gate also F erruccio one o f the last of ,

F lorentine patriots issued duri ng the siege o f 1 —

5 9 5 3 when
2 1 0 , ,

h e attempted a diversion by attacking Empoli and Volterra an , ,

e xpedition which ended as fatal ly for himself as for F lorence ,

when h e was slain amidst th e mountains above Pistoia .

T races still remai n of the ante port o f this gate which like all -

, ,

t hose form erly attached to the other gates o f F lorence h a s ,

been long since destroyed .

T h e road from th e Porta Sa n F rediano to the Porta

R omana passes beside th e cemetery of the J ews benea th the ,

o ld walls o f the city .

C H RO N O LO G Y .

A nt on i o , D o n
B ell o sgu a rdo sa ck e d
B eno zzo F ederighi Bi sh o p his monu ment , ,

C a pp o n i M a rch ese G i no
, d . 1 87 5

C h a rl es VI I I o f F ra n ce re igne d
.
, 1 48 3 —1 498
C ro na ca I l S i m on e Po l l aj o l o
, , 5 .
508
1 45 7 ; d . 1

F erru cc i o F ra ncesco k ill ed

, , 1 529

Fo sco l o Ugo ,
5 1 7 7 8 ( P) ; d 1 8 2 7
. .

F ra nci s Sa i nt
,
5 . 1 1 82 ; d . 1 226

F ra nc i s I ( Me di c i ) G D
.
, . . 1 —
574 1 587
F rancesco da Pa u l a J . 1 5 07
f ou n ded O rder o f M i n im s 1 43 6

Le o X ( M e di c i ) Po p e
.
,
1 513 —
1 52 1

M ich el o z z i M i ch el o zz o
, 5 . 13 9 6 ( P) ; d . 1 47 2

P i sa no A n drea
, 5 1 2 70 ; d
.
34 8
. 1

Ro bbi a Luca dell a

, . 5 . 1 400 ; d 1 48 2
.

S e gni B erna rdo

, d 1 5 58
.

U rba n V I Po p e 1 37 8 -
1 389
Z a nnetti D r F erdi nan do
'
, . a. 1 882
 C H A P T ER XXXI I .

VI L LA D E M I D OF F —P O G GI O '
A

C O U P LE of hours beyond the Porta Prato th e road ,

which follows the course of the A rno for a considerable

part of the way and passes through the long straggling villages o f
,

Peretola Qua rra chi Petri olo B ro zz i Campi and Sa n D onnino

, , , , , ,

leads to the M edicean Villa of Poggio a Caiano .

Passing the Ponte alle M osse which crosses the little stream,

of the T e rz oll e —already mentioned near the village of th e ,

R if re di— the first place of importance is Sa n D onato the villa ,

of Prince D emido ff A ccording to the old legend it was here

.
,

amidst a thick forest growing near a marsh that a certain ,

Pagan lady who had been converted to Christianity built a

, ,

church and a tower i n which she ended her days O n h er

, .

death bed she bequeathed all she possessed to found a

-

monastery which was standing i n the eleventh century a nd

, ,

then belonged to the R eg u lar Canons of St A ugustine who h a d .

,

an hospiti u m here for pilgrims on their way to Rome or the

H oly Land I n the year 1 1 4 7 the F lorentine crusaders
.

assembled i n this monastery when Gherardo A rchbishop o f

, ,
’

R avenna and Papal N uncio consecrated the new church ,

dedicated to San D onato and gave his solemn benediction to

,

the tw o thousand cavaliers who u nder the leadership of Pazz o

, ,

de Pa zz i set forth for the H oly Land T here they j oine d

’
,
.

the Emperor Conrad and Louis VI I of F rance in the ir disas .

,

trous expedition soon after which Saladin regained possession o f

,

VO L . 11 . F F
4 34 E N VI R O N S OF F L O RE N CE .

J eru salem and th e Chri stian ki ngdom o f A ntioch was con

,

quered It was then that the Pazz i after planting the Chri st ian
.
,

s tandard o n the walls of D amietta rode back to F lorence with , ,

a light kindled at the sacred sepulchre o f J eru salem .

A bout the year 1 2 3 5 the Padri U mil ia ti succeeded th e

l

C anons o f St A u gustine i n possession o f the lands o f Sa n

.

D onato an d they establi shed an extensive wool manufac to ry

,

here said to have been antecedent to the period when the

,

wool trade becam e th e staple commodity of F lorence When .

the Padri U miliati le ft their monaste ry of S anta Lucia del Prato

for that of O gn i Santi withi n the walls o f the ci ty they reli u ,

u ish e d S a n D onato to th e A u gu stinian nuns o f S anta M ari a

q
D ecimo I n 1 3 2 1 the soldiers of Castrucci o Castracani Lord
.
,

o f Lucca ravaged the whole cou ntry and the nu ns sought

, ,

re fuge i n the convent of Santa M addalena de Pazz i in F lorence ’

.

S om e years later the building was granted by th e F lorentine

M unicipality to S ir J ohn H awkwood or A cuto i n recompense , ,

for the aid h e had a ff orded i n the de fence of their territory .

H e died in 1 3 9 4 Th e nuns subsequ ently returned to Sa n

fl
.

D onato and were n ot again di sturbed until 1 8 0 9 when the

, ,

conven t was suppressed by the F rench .

Count N icholas D em ido a wealthy R ussian noble pur

'

, ,

chased the building and land in 1 8 1 4 and converted the ru ins ,

i nto a splendid villa and the fi eld into a garden which was
,

reno w ned for its hothouses with rare plants and he also added ,

a park or pleasure ground T h e Grand D uke F erdinand I I I . .

conferred the title of Prince on Count D emido ff and his son ,

A natolio married the Pri ncess M atilda B uonaparte daughter ,

o f Jerome B uonaparte and of the Pri ncess Cathari ne o f

Wurtemb erg T h e rich collection of works of art which the
.

villa once contained have been sold or removed and the

-

, , ,

present Prince D emido ff is occupied with the embellishment

o f his new purchase the Villa of Pratolino ,
.

Th e road is now separated by hedges from the fields o f

S e e Vo l I cha p xxx iv p 4 8 2
. .
, . . . .
436 E N VI R ON S OF F L ORE N CE .

slender columns are frescoes apparently o f the fourteent h

, ,

c entury . O ve r the door i s a M adonna and Child with a ,

bishop on one side holding his pastoral staff and on the other , ,

the M agdalene T o the left are three life si z e adm irabl e

.
-

fi gures o f St N ichol a s with his golden balls St Bartholomew

.
, .

with his knife and S t J ohn the Baptist i n a pu rple garm ent
, .

and bare feet and legs ; but this figu re is much inj ured T o .

the right of the door is a D eposition from the Cross ; the

painting is almost destroyed but apparently one o f th e M arys
,

receives th e body ; M ary M agdalene stretches out her arm s

towards th e Christ and the Virgin sinks fainting am idst other
,

women . O n one side of the cross is a grou p of m en : a

kneeling figure in front holds the nails another behind with a ,

very fi ne h ea d looks back ; he has a casket resembling that

,

i ntroduced amo ng th e o ff erings o f the Wise M e n whom thi s ,

grou p probably represents m ourning angels fl oat above o n e

o f them resting his cheek on his clasped hands is singu larl y
, ,

beauti ful T h e i nteri or of this church is spacious and the

.
,

nave is divided from th e aisle by three wide arches .

B e fore reaching B ro zz i another lane to th e right leads to

, , ,

S anta Lucia alla S al a which dates from 1 0 5 8

, I n the littl e .

church are two ve ry exquisite m arble cibori ums beautiful in

proporti on and delicately carved
,
.

B ro zz i i s the chi e f place in the commune which comprise s ,

several boroughs all built on marshy land and subj ect to

, ,

frequent inundations from the A rno dykes have been there

fore thro wn up between th e houses and the river form ing a ,

grassy embankm ent to the left of the road T h e church of .

Sa n M artino i n Bro zz i contains an hexagonal baptismal font

o f coloured marble with carved heads of cherubim and with ,

delicate pilasters ; likewise two beautiful little cibori u ms re ,

se m bling those in S anta Lucia but di ff ering in the decorations

, ,

which h ere consist chiefly of the heads of cheru bs A t the .

farther extremity of the village on the outskirts of Sa n D onnino

, ,

i s th e ancient church of S ant A ndrea of which the Campanile ,

 P O GGI O A CA IA N O .
43 7

alone possesses any claim to architectural beau ty T h e frescoes .

beneath the portico are indi ff erent compositions of a late period ,

but within the church are some paintings of good fifteenth

century work T o the right of the entrance is an altar with a
.

very lovely Virgin and Child in the manner of F ilippino Lippi,

on either side are St A nthony and St James St Paul and

,
. . . .

S t S ebastian who holds the arrows of his martyrdom

.
,
above is
the Eternal O pposite is another altar with the Virgin and
.

Child St S ebastian is again represented with his arrows and

.
,

S t Paul with the sword

. A bove is a l arge fresco of the ,

B aptism of the Saviour ; the Baptist is finely rendered and ,

there i s much beauty in the angels Behind the choir is a .

p 1 c tu re
,
apparently o f the school of Ghirlandaio All these .

paintings are in a very dilapidated condition T h e villages .

along this road from Peretola to Sa n D onnino have been long

, ,

renowned for the ir stra w manufact u res and the marshy land ,

between them and the A rno known as O sma nno ra is noted , , ,

ever since the days of the R epublic for the richness of th e soil ,

a n d its agricult u ral products Th e wine of this part of the

.

cou n try however has not as good a reputation and according

, , , ,

to R edi
E pe r p e na semp re i ng o zz i
V i n o di B ro zz i
D i Qu a rra cch i e di P e ret o l a .
‘

Sa n D onnino and Sa n R omolo are best known under the

name of Villamagna I n Sa n D onnino is one of the oldest
.

c h u rches of the district withi n which are also as in S ant ’

, ,

2
A ndrea some good works of art i n an inj ured condition
, .

O n a spur of M onte Ginestre is situated the Palace of

Poggio a Caiano T h e long street of the little town is on
.

a steep ascent beside the walls of the palace grounds T h e .

first well authenticated record of Poggio a Caiano ( which in

-

s till earlier times is supposed to have been a c astle of the Can

S e e B acco in Tosca n a , p .
44 .

3
See I Con torn i di F iren z e, G u i do C a rocci, p . 1 5 4.
438 E N VI R O N S OF F L O REN CE .

cel l ieri o f Pistoia ) sta tes that it belonged to Palla S tro zz i a ,

contemporary of Cosimo de M edi ci Pater Patri ae S tro zz i

’

, .

died i n exile at Padua and the villa with the adj acent grounds
,

were purchase d by Lo ren z o de M edici T h e beau ty o f th e ’

.

situation i nduce d him to visit th e place frequently and to ,

lavish large sums on its improvement ; he form ed a good

library here and invited his literary fri ends to vi sit him Angelo
, .

Poli z iano sang th e prai ses o f Poggi o a Cai an o in a Latin poem

’
composed in 1 4 8 5 and entitled the A m bra which he recited
,
‘
,

be fore a F lorentine audien c e an d a fterwards made use of as a ,

pre face to his Lectu res on H omer T h e name was derived from .

a li ttle island i n the river O mb ro ne which flows through the ,

g roun ds o f the vil l a L oren z o had ador n ed this

. island with
gardens and works o f art but it was destroyed by an inunda ,

tion Poli z ian o who endea voure d i n his poem to imita te part s
.
,

o f th e M eta morphoses of O vid represented the Ambra as a

‘ ’
,

nymph th e daughter of the O mbro ne

,
.

Lo ren z o introduced game into the grounds and am ong them ,

were several rare species sent to him as presents from foreign

potentates H erebuilt th e v i lla converting it into a splendi d
.
,

palace employing the architect Giulio di Sa n Gallo who co n

, ,

structed ceilings with carved decorations in imitation o f those ,

in R ome Sa n Gallo w as the pupil o f F rancion e architect an d

.
,

wood carver who competed with him for the design of this villa
-

,
.

A fter the murder o f Giuliano de M edici in th e Cathedral o f

’

F lorence Loren z o sent his bro th er s ille gitimate child Giuli o

’
,

— af terwards Pope Clement V I I 1 — to Poggio a Caiano where .

,

h e placed him u nder the care of A ntonio di Sa n Gall o the ,

brother o f the more celebrated architect Loren z o died before .

th e b u il ding was finished and the work was suspended until

‘

—
, ,

under the P o ntifi c ate o f his younger brother Giovanni Pope

C l emen t V I I p ecu li a r i nt ere st f o r th e English as his o pp o si
. h as a ,

t i on to th e div o rce b et w een H en ry V I I I a n d C a th a ri n e o f A rra go n th e . ,

a u nt o f h is a lly a n d p a t ro n th e Em p e ro r C h a rl e s V
,
l ed e v ent ual ly to
th e est a bli sh ment o f th e Re f o rm t i o n in Engla n d a .
4 40 E N VI R ON S OF F L O RE N CE .

H esperides guarded by nymphs from H ercules , and a figu re of

F ortune u nder the cornice of the room A bove the two re .

maining windo ws he painted F ame Glory and H onour over

, , ,

o n e door F ortitude Prudence and Vigilance over the other

, ,

M agnanimi ty S plendour and Generosity Lastly opposite the

, ,
.
,

fresco by A ndrea del S arto Alessandro painted the suppe r ,

given by Syphax K ing o f N umi dia to Scipio after th e defeat

, , ,

o f H asdrubal in Spain by which he intended to show forth

the glorious j ourney of Loren z o the M agn ificent tothe K ing o f
N aples by whom he was received with honours as i s well
, ,

kno wn to everybody F ra n c ia bigio also pai nted T itu s

.

Quintus F laminiu s speaking i n the council o f the A ch aeans

against the O rator o f the I Eto l ia ns and K i ng A ntiochus and
d eprecating the lea gue which was proposed by the A ch aean s
themselves T h e painter meant by this conceit to symbolise
.

the D iet o f Cremona in which Loren z o the M agnificent

‘

frustrated the designs of the Venetians who aimed at the ,

’
p ossession of Italy .

O n M ay 4 1 5 3 6 the Emperor Charles V visited Poggi o a

, ,
.

Caiano from F lorence H e was on his way north from N aples

.
,

a n d he remained six day s to arrange the marriage of h is

natural daughter M argaret with D uke Alexander de M edici ’
.

Whilst at Poggio a Caiano the Emperor observing the massive , ,

c onstruction of the palace remarked the place was too strongly ,

f ortified to be the residence o f a simple citi z en .

I n 1 5 3 0 Eleanora of T oledo da u ghter o f the S panish ,

Vi ceroy of N aples was brought here to meet her bridegroom

,
‘

th e Grand D uke Cosimo I the successor of D uke Al exander . .

C osimo was accompanied by the Archbishop o f Pisa and here ,

began the miserable ma rried life of the first Grand D uchess who ,

was destined to witness the m urder o f her own children by their

father H er daughter in law Joanna of A ustria wi fe of F rancis
.
- -
, , ,

t he hei r to the throne spent the first years of her unhappy

,

marriage at Poggio a Caiano her rival Bianca Cappello whe n , ,

sh e was fi rst placed here by the Grand D uke F rancis during the ,
 P O G GI O A CA I A N O .
44 1

lifetime of Joanna converted th e place i nto a scene of amuse

,

ment T h e fair Venetian passed her days i n every variety o f

.

diversion and shared the pleas u res of the chase with F rancis
,
.

T h e most interesting because the oldest part of the palace are

, ,

the rooms said to have been assigned to Bianca T hey appar .

ently formed part of the origi nal villa as they are of very old ,

constr u ction and have neither paintings nor the rich decora
,

tions of the M edicean apartments T h e sitting room s are o n .

-

t h e ground floor with a c u rio u s internal staircase leading to

,

t h e bedchamber above T h e windows are in deep r

. ecesses ,

and there is an anci ent stone chimney piece i n the first room -

b eyond which is a long low dining room -

.

Poggio a Caiano was the scene of the tragical end of F rancis

a nd Bianca T h e assassination of Bianca s first hu sband and
’
.

the dea th of Joanna had enabled F ranci s to marry h er an d ,

she had been many years Grand D uchess when i n 1 5 8 7 they ,

i nvited Cardinal F erdinand de M edici brother and heir of ’

,

F rancis to visit them at this palace

, T h e brothers had bee n .

for a long time at variance and in spite of B ianca s sincere ,

’

desire t o conciliate his goodwill the Cardinal displayed an ,

i nveterate hatred towards her H e had alrea dy intrigued to cause

.

the violent deaths of his own sister Isabella and of his sister
in law Eleanora because their cond u ct reflected on the honou r
-

Of his family and the marriage Of his brother F rancis with hi s

f ormer mistress even tho u gh she had been adopted a da u ghte r
,

of the Venetian R epublic was not to be forgiven , Th e .

Cardinal however accepted the invitation to Poggio a Caian o

, , ,

and arrive d accompanied by the A rchbishop of F lorence wh o ,

i ntended to act as mediator between the broth ers H e was .

supposed to have s u cceeded when one afternoon after F ranci s, ,

had returned from h u nting in the gro u nds of the palace the ,

Grand D uke and Bianca were both suddenly taken ill at dinner .

T hey were said to have inj u red their constitutions by habitual

i ntemperance in eating but whatever the cause their cas e
, , ,

rapidly became serious Bianca who w as warmly attached to

.
,
4 42 E N VI R O N S OF F L O RE N CE .

her husban d was f requently h eard to exclai m that between his

,

death and hers o nly an hour co uld i nterven e When she dis .

covered by the countenances of her attendants that F rancis

’
was dead she cri ed out I too must di e wi th my lord an d ‘
, , ,

she expired eleven hours a fter him I t has been supposed that .

B ianca had prepared a poison for the Cardi nal which F ranc is ,

partook o f by mistake and that rat her than survive hi m sh e

, , ,

fi ni shed it ; but with all her faults Bi anca was never befor e , .

accu sed o f cri mes o f this nat ure whilst the ch a racter an d ,

mo tiv e s o f F erdinand m a ke i t easy to believe him capable o f

'

thu s ri dding himsel f of a woman he hated and o f a brother wh o ,

s tood be tween him and a throne F erdi nand certai nly did no t .

accu s e Bianca o f this intenti on to use poison but ordered both ,

bodi es to be opened to acquit himsel f of the charge ; th e

physicians he employed could hardly i n those days have acted
o therwise than declare their dea ths natural an d exonerate th e ,

new sovereign from foul play F rancis was buried in state in .

th e M edicean M ausoleum o f Sa n Lo ren z o but when F erdinan d ,

’
was asked where B ianca s body was to be lai d he repli ed , ,

H er
’
Wh ere you please we will not have her am ongst us .

remains there fore are supposed to have been thrown i nto th e

, ,

common charnel house but som e beli eve she was burie d ,

privately i n Sa n Loren z o .

Th e C ardinal now G rand D uke F erdi nan d I

,
revisited .
,

Poggio a Caiano when at the age o f forty he went to meet h is

, , ,

bride Christina o f Lorraine a girl of sixteen Sh e was

, , .

assigned to him by his cousin Catharine de M edici wife o f ’

,

H enry I I o f F rance in order to strengthen the al lianc e

fl
.
,

between F rance and T uscany I t was i n this palace also .

, ,

F erdi nand conferred with Cardinal Gondi A rchbishop o f ,

'

F lorence how to e e c t the conversion to Catholicism of th e

,

Protestant H enry of N avarre afterwards H en ry IV of F rance , . .

T h e Grand D uchess Christina o f Lorraine died in 1 6 3 6 afte r ,

having acted as R egent during the mi nori ty of her grandso n

F erdinand I I and a few years later another ma trimonial sacri
.
,
444 E N VJR O N S OF F L O R EN CE .

in 1 6 7 1 a fter the death of his grandfather F erdinand ; Cosimo

, ,

now Grand Du ke wearied by his wi fe s ca prices banished her

,
’
,

a second time to Poggio a Caiano from whence at length a fter , ,

ten years of a miserable married li fe M argaret obtai ned leave ,

to quit T uscany and retire into a convent at M ontmartre near ,

Paris A n incom e of
. francs was assi gned her and her ,

cousi n Louis XIV al lowed her to enter i nto the amusements

.

o f the Court where he diverted himself with her witty sa llies

,

and abuse of her hu sband H e r charm s of pe rson and.

manners and the gaiety and generosity o f h er nature had e n

, ,

deared M argaret to the T uscan people who hated Cosim o and , ,

they lam ented her loss and reproached him for his treatm ent
,

o f her Cosimo vainly complained to Louis of the ridicule

.

thro wn on him by the Grand D uchess until her conduct ,

became so ex travagant that the king was persuaded to send

her from M ontmartre to a stricter convent where she passed ,

the remainde r o f her li fe .

M argaret s eldest son F erdinand res embled his mother i n

’
, ,

his tastes H e took up his residence i n Poggio a Caiano to

.

e scape from his wi fe Violante a Bavarian Princess more , ,

vi rtuous than beautiful and here he passed his time i n amuse

ments and in the company of actors
, F erdinand died .

before his father Cosimo and his younger brother Gian Gas
, ,

tone becam e the last M edicean Grand D uke o f T uscany .

T h e gardens o f Poggio a Caiano are well worth a vi sit .

T hey are beauti fully laid out the grou nds are undulating an d , ,

the river O m bro n e flowing through them adds to the charm

of the scene M any splendid trees exotic as well as native
.
, , ,

grow here amidst grass and flowers and pleasant vistas present ,

themselves at every turn of the w inding walks .

T h e broad terrace o f the palace a ff ords a splendid view o f

all th e surrou nding cou n try .
 C H RO N O LO G Y .

A l exa nder, D uk e ( M edi c i ) 5 37 d . 1

A ll o ri , A l essa ndro 5 1 5 3 5 ; d 1 60 7
. .

A l to p asc i o ,b a ttl e o f 1 325

A n dre a de l S a rto 5 . 1 48 8 ; d 5 30. 1

C a pp e ll o Bi an ca
,
d 1 58 7.

C ast ra c a ni C astr ucci o

,
d . 1 328

C h a rl es V Em p e ro r
.
,
5 . 1 5 00 ; d . 1 5 5 8
C l e ment V I I ( M e di c i ) Po p e .
, 1 5 23 -
1 5 34

C o n ra d I I I Em pe ro r .
, 1 1 38
—1 1 5 2
C o si mo I ( Medi c i ) re ig n ed
. I S3 7 -
4 574
I I ( M e di c i ) G D
. . . 1 67 1 —1 7 2 3
D esi de ri o da S et tign an o 5 . 1 4 28 ; d . 1 464

F e rdi na n d I ( M edi c i ) G D .
, . . 1 5 88 — 1 609
I I ( M e di ci ) G D .
, . . 1 62 1 —1 6 7 0
I I I ( Au stri a n ) G .
, . D . 1 7 90 —1 8 2 4
F ra nci a b i gi o 5 . 1 48 2 ; d . 1 526
G i a n G a sto n e ( M e di c i ) , G . D . I 7 24 -
1 7 37
G io vio , P a o l o 5 . 1 48 3 ; d . 1 55 2
H a w k w o od, S ir J o h n a . 1 394

H e nry I V o f F ra nce 5 1 55 3 ; d 1 61 0
—
. . .

Lo u i s V I I . of F rance re igned . 1 1 37 1 18 0

M a rg are t of O rl ea n s ma rri e d to P rince of T uscan y

( C o si mo I I I ) . 1 66 7 ; d . 1 72 1
M e di c i , Lo renz o il Magnifico 5 . 1 44 8 ; d . 1 49 2
P o li z i a no Ang el o
, 5 . 1 4 54

P o nto rmo J a co p o , 5 . 1 49 4 d . 1 557

Qu a ra cch i vil l ag e da te s f rom
, 8 66
Ro bbi a Lu ca de ll a
, 5 . 1 400 ; d . 1 48 2
S an D o na t o ch u rch co nse cra t ed, 1 1 86

co n v e n t o cc u pi e d by Pa dri U mili at i 1 235

co n v e n t su pp re ssed 1 8 09
vill a pu rch ased by C ount N i ch o l as D emido ff 18 14

S an G a ll o Anto ni o di
, d
5 34 . 1

G i u li a no di 5 . 1 44 5 ; d 1 5 1 6 .

S a nta Luc i a a ll a Sa l a dat es f ro m 1 1 58

 C H A P T ER XXXI I I .

S I GN A —
LA VE RN I A — C A M A LD OL I VA L L O M B R OS A .

B O UT two h ours drive from F lorence on the way to

’
,

Pi sa is Sign a situated where the hills almost meet on

, , ,

either side o f the A rno and near where the river was at one
,

time choked by an enormous mass of rock call ed the G o lf o lina , ,

which occasioned i nun dations of the A rn o O mbro ne and , ,

B isen z io over the whole count ry T h e legend accounts for its

,
.

disappearance by a t h i rteenth labour of H ercules but Villani ,

i n his history relates that in early days ordinary mortals were

, , ,

employed to break it up .

Leaving F lorence by the Pi san highway from the Po rta

Sa n F rediano the first village is Legnaia with its old hexagon al
, ,

church o f Sa n Quirico T h e tall Italian reed grows plenti fully

.

behind th e walls which line the road and the villages are as , ,

u sual i n long streets or rows of houses on either side T h e

, , .

Ponte a Greve —a picturesqu e bridge constructed in early

times by Pi san prisoners —crosses the River Greve on it is a
large tabernacle contai ning a fresco of much bea u ty an d
, ,

apparently belonging to the fourteenth centu ry T h e M a .

donn a in a crimson dress with a dark mantle has the Child

, ,

on her knee who is clothed in red and white with a green

, ,

sash—the colours Of F aith H ope and Charity ; he raises , ,

his hand to bless ; St Lawrence a beautiful youth and S t

.
, ,
.

J ohn the Baptist who turns towards him are on one side ;
, ,

on the other St Peter with his keys and another saint

,
.
,
.

O n the slope of the hi l ls to the left is S candicci i n Al to ,

w here is the Villa o f the Al toviti Sa ngal etti now belonging to ,

 4 48 E N VI R O N S OF F L O R E N CE .

th e gi ft of their brethren B ehind it are five arches o f gre y .

pietra serena set i n the flat wal l with an archit ave of cherubs ,
r ’

heads and the lamb of R obbia ware T here are a few goo d
, .

pictures still remaining al though the only one o f importance ,

,

the Worship o f th e M agi by F ilippino Li ppi h as been re , ,

m ove d and replaced b y a copy T h e rest are Christ rising

, .
,

from the T omb s u pported by J oseph o f A rimathea the Virgi n

, ,

and St J ohn on either side and S t J erom e and St D am ian

.
, . .

kneeling in front a ttrib u ted to A ndrea del Cast agno ( 1 3 9 0 P

1 45 A D eposition and several other pictures are supposed
, ,

to be by Giovanni di Sa n Giovanni ( 1 5 9 0 —1 6 T h e cibori u m

for the sacred oil i n delicately carved m arbl e was executed by
, ,

M —
B enedetto da ajano ( 4 4 1 4 9 7 ) on i t are represented th e
1 2

angels at the door of the sep u lchre from whence th e Saviou r ,

is hal f risen T h e frescoes i n this church represent the M a r

.

tyrdo m of S t Quintin and Christ s Charge to Peter

’
.
A bove
, .
,

i s th e Eternal surrounded by A ngels .

T o the right of the chu rch is a very spaci ous an d beautifu l

cloister with a colonnade u nder which is the entrance to a n ,

other church fou nded fou r hu ndred years before that of th e

,

abbey A vaulted roof of brickwork rests on columns wit h

.

rude capitals which have their shafts hal f buried by the accu
,

mul a tio n o f the soil owing to i nundations from the A rno

, A .

kneeling figure of a B ishop i s preserved in a corner of th e

building which once stood i n the m iddle of the cloiste r
,

garden A t a sho rt distance from the church and cloister is a

.

large square tower which probably formed the gateway o f

,

the mon astic ground on which is a singular colossal grou p

,

i n terra cotta with traces o f colour representing the Savi ou r ,

between two Saints ; below the group are the arm s o f F lorence ,

and an inscription stating that it was made in 1 2 3 6

, .

R eturning to the Pisan road another lane o n the left lead s ,

to th e Villa Castagnolo formerly a wool manufactory belonging ,

to the Arte della Lana b u t which was purchased i n 1 2 2 0 by

,

the D ella Stufa family whose property it still remains I n th e

, .
 S I GN A 449

same century a D ella Stufa was sent ambassador to F rance and ,

was allowed to add the F rench lily to his arms T h e villa stands .

on an elevation above the plain it is surrounded by gardens ,

and at the foot are the fields of the Podere or F arm , .

T h e Commune or D istrict of Sign a is i n the Campi Bisen z io

,

or fields bordering on the river Bisen z io whilst the A rno and ,

O mbro ne are to the south and west T here are seve n small .

townships which collectively bear the nam e of Signa and are

,
,

within the j u risdiction of the F lorentine dio c e se f Poplar trees

and corn grow in the plain and on the hill the vine and olive ,

and ami dst patches of brushwood is found the grass called

P agl ia etiol a ( stra w exposed to the sun the T riticm n cestiv nnz
) ,

of Linn aeus also called M ar z uolo becau se sown i n M arch

, , .

When gathered it is pulled up by the roots and then bleached

, ,

i n the sun I t was introduced into T uscany in the seven

.

tee nth century for the manufacture of hats by one D omenico

M ichelacci of Bologna ,
T here are besides stone quarries
.
,

on the adjacent hill of G o nf o rib a .

T here is little of interest in th e history of S igna except tha t ,

from its strong position it was exposed to attacks by the enemies

of F lorence I n 1 3 2 6 it was destroyed by Castruccio Castracani
.
,

of Lucca aided by the Ghibelline inhabitants of the town itself ;

,

b u t it was rebuilt the following year and it s defences strength

ened by the F lorentines then under the command of the D uke
,

of Calabria I n 1 3 9 7 Co u nt A lberico di Barbiano the Captain

.
,

of F ree Companies i n the pay of Gian Galea zz o Visconti Lord ,

of M ilan attacked S igna but after taking and sacking the

, ,

place he was forced to retire leaving many of his men dead

, ,

and wo u nded .

Lastra S igna has still the remains of its strong walls and is
-

entered and qu itted by two sing u lar tall gates I n the centre of ,
.

the town is a beautiful loggia or portico in front of what was ,

formerly a hospit al T h e roof is supported by picturesqu e old

.

col u mns and within it is divided by cross vaulting with colo u r

, , ,

i n the arches It has the arms of the Guild of Silk and over
.
,

VO L . 11 . G 1;
4 56 E N VI R O N S OF F L O RE N CE .

one o f the doors beneath the loggia is a M adonna and Child ,

with worshipping angels full of grace though so m uch de faced

, ,

that they are di fficult to distinguish .

A n old stone bridge over the A rno connects Signa on the left
bank with Signa on the right and not far from this the monks,

o f S ettimo had prese rves for their fish Signa B ea ta on the right .
-

—
bank i s so called from th e relics o f a sai nt a peasant girl of
peculiar sanctity— which are exhibited i n a church in the town .

Signa on the left bank i s chiefly remarkable for its straw

manu factu res O pen squares within the town are filled with
.

s traw hats drying i n the sun and with festoons or little pyram ids
,

o f straw dyed i n various colours

,
.

T h e pri ncipal villas in the neighbourhood are those of the

A lberti B ruti and the Pitti Lepa rell i A t the Villa of Castelletti
, ,
.

was u ntil 1 8 8 3 the A grarian I nstitution o f the late Com

, ,

m e n da to re Leopoldo Cattani Cavalca nte B orn i n 1 8 1 4 the .

,

younger son o f the representative o f the old family o f Caval

cante celebrated by D ante h e succeeded his elder brother , ,

who was killed i n a duel and married an English lady who

, ,

s hared in hi s philanthropic labours i n 1 8 44 when inundations ,

from the A rno devastated the country he risked his life i n

fl
,

the endeavour to save that of others and established bake ,

ho u ses to relieve the starving peasantry whom he received ,

i n his Villa o f Castelletti H is e o rts as well as those o f his

.
,

wife were from that time directed to th e impro v ement of the con
,

dition of their people but like many schemes of reform those

, ,

benefited refused at fi rst to accept them and even the lives of ,

their benefactors were attempte d I n 1 8 5 5 during the visita ,

tion o f the cholera his wi fe was one of its victims but Caval
, ,

cante after this blow was only roused to m ore active exertions ,

and as a B rother of the M isericordia attended the sick and

dying It was then that he first turned his tho u ghts to the
.

e ducation of the poorer classes and instituted an agricultural ,

school for boys at Castelletti A few years later he built a .

second college on a larger scale to give a thoroughly sound

 5 2 E N VI R O N S OF F L O RE N C E .

’ l
mentioned at Sof fia no west o f B ellosgu ardo once possessed
, ,

thi s villa and their old burying ground may still be seen near
,
-

it T h e property had been i n the family for more than two

fl
.

hu ndred y ears when the Grand D uke F rancis I was desirous

,
.

o f purchasing it to bestow on B ianca Cappello T h e Artim in i

,
.

'

declined the o er when F rancis sent the money by a troop o f

,

armed m en who enforced compliance with his demand

,
.

T his story has a greater semblance of truth since in the last ,

generation a request was made to examine the documents i n

the A rchives relating to the history o f the Villa A rtim ini ,

whi ch was granted by the Grand D uke Leopold I I but after .

,

wards refused by his Cou ncil who it would appear were ,

alarmed lest even after this lapse of years som e inconvenient

, ,

claim might be brought forwar d T wo of the A rtim in i family

sat in the Cou ncil of T w o H undred i n F lorence and they thu s ,

acquired the right as noble citi z ens to occupy the highest

o f fices i n the State .

I n the account we have gi ven o f the neighbourhood o f

F lorence th e limits of ou r space have obliged u s to om it many
,

places of i nterest withi n an easy distance by walks drives or , ,

railway excursions Vinci the birthplace o f Leonardo da

.
,

Vinci the Carrara M ountains Se rra vez z a Lucc a Pescia

, , , , ,

M onsummano Pistoia and Prato to the west ; to the east

, , ,

Vallombrosa and the district of the Casentino beyond

,

Vallombrosa in wh ich is the fi eld o f C ampa l din o where D ante

, ,

fought H ere also is the little town o f Poppi whose Pala zz o

.
,

Pubblico contains the stai rcase said to have been copied by

A gnolo Gaddi for the Bargello and the celebrated monasteri es ,

of Camaldoli and La Vern ia T h e F ranciscan M onastery of .

La Vernia i n the m idst o f widespreading beeches is u n

, ,

changed since the days when St F rancis preached to the birds .

near the little chapel half way up the ascent and slept on the -

iron co u ch still preserved among th e rocks Camaldoli is

, .

inhabited by Carthusians and surrounded by pine forests , ,

See ch a p ter xxx i . on B e ll osgu ardo p , .

42 9 .
 VA LL O M B R O S A .
453

f rom the heights above which on a clear day may be seen , ,

the M editerranean and A driatic .

Vallombrosa is reached in four hours from F lorence and ,

o ffers peculiar attractions from the bea u ty of the situation th e ,

s hady walks in the forests of pine and beech as well as from ,

the ab u ndance o f wild flowers Since the suppression o f the .

monastery the bu ilding has been converted into a college

belonging to the Woods and F orests and the old guest ,

c hamber or hospitium into an hotel T h e place has been fully .

d escribed i n a charming little book by the A merican sculptor ,

M r S tory of R ome
.
,
.

Before the existence o f the monastery the wooded hill ,

o f Vallombrosa was the resort of Guido of A re zz o who i n ,

the tenth century invented the system of musical notation

s till in use Th e H erm itage was fo u nded by Sa n Giovann i
.

Gualberto about 1 0 1 5 and was inhabited by a branch of the

,

B enedictine O rder it was visited by the celebrated Countess

M atild a and at various times by Emperors Em presses a n d
, , ,

o ther a u g u st personages T h e monk H ildebrand afterwards .

,

Pope Gregory VI I is said to have taken th e vow of celibacy

.
,

i n this monastery and five V all o m b ro sia n monks at different

,

periods filled the chair of St Peter . .

Below Vallombrosa is Paterno where the Emperor ,

O tho I I I ended his days at the early age of twenty two in the
.
-
,

year 9 9 9 poisoned as was supposed by S tephania the widow

, , , ,

of the R oman Consul C resc e ntiu s whom the Emperor had ,

cruelly beheaded for having dared to maintain R ome inde

pendent of the Empire Paterno afterwards became the winter .

residence of the mo nks who left the snows of their monastery

'

to seek a milder climate .

Vallombrosa is best known wherever the English language ,

is spoken by the lines of our poet M ilton

,
.

H is l egio ns a nge l f o rms w ho l ay entra nce d

, ,

T h i ck a s a ut umna l l e a v e s th a t stre w th e b roo k s

I n Va ll o mb ro sa w h e re th e Et ru ri a n sh a de s
,

H igh o v e ra rch d e mb o w er ’
’
P a radise Lost . .
 C H RO N O LO G Y
.

A . D.

A l igh i eri , D ante . 5 . 1 26 5 ; d.

32 1 1

B e nedetto da M aj ano 5 . 1 44 2 ; d 1 49 7
.

C a mpal dino, ba tt l e of 1 2 89

C as ta gno , A ndrea de l 5 1 3 90 d . 1 45 7

C a sta gno l o , Vi l l a S tuf a da tes fro m 1 2 20

C a v a l cant e Leo po ldo C a ttani

, . 5 . 1814 ; d. 1 88 3

C rescentius th e C onsul , d 99 8 .

F l oo ds o f A rno 1 84 4

F ra nci s S t , . 5 . 1 1 82 ; d . 1 226

F ra nci s I ( Med i ci ) G D
. , . . 5 . 1 5 44 ; d .
5 87 1

G a dd i Agno l o
, 1 3 9 6 0)

G i o v a nn i di S a n G i o v a nni 5 1 590 ; d 1 6 36
—1 086
. .

G rego ry V I I P o p e .
, 1 07 3

G ua lbe rt o G i o v a nn i
,
d. 1 07 3

G ui do o f A rezz o 99 5
Lippi Lo renz o
,
5 1 606 ; d
. . 1 66 4

M a lma nt il e vil l a g e be si e ged 529 1

M ath il da C o unt e ss
, d 1 1 15
.

O th o I I I Emp ero r .
, 8 —
9 5 999
P ont e a G re v e b u il t by Pi sa n p ri so ne rs 1 4 th ce n u r t y
S igna destro y ed by C ast rucci o C astra ca ni 1 326
sa ck ed I 3 97
S et ti mo re li ef o n to w e r
, 1 2 36

V i nc i Le ona rdo da 5 ’
,
. 1 452 ; a . 1 519
4 56 CH R ON O L O G Y O F A R TI S TS .

m an
B accio d Agn ol o
’
1 46 2 1 5 43
B al dini 1 436 1 480

da M ontel u po , see M o nt e l u po
B a c h ia c ca, F ranc e sco U b e rt ini
B agnaca v allo, Bart ol .

B a l de si Lo re n z e tti Am b ro gi o
,

B a l do v ine tti A l e ssio ,

B al ducci G i o v anni
,

B a l e c h ou J e an J ac q u e s
,

B an din e lli Baccio ,

B a rb a re ll i G ior gio see Giorgi o ne

, ,

B a rb a te l l i, see Pocc e tti

B ar b i e ri , A lessa n dro
F rancesco , see G u e rcin o
B arocci , F e de ri go
Bart oli Pietro S anti
,

T a dde o
B art o lommeo D o n della G atta , ,

di D a v i d di S ienna
F ra
Bartolozz i F ranc e sco ,

B assano da Ponte F ranc e sc o ,

F rancesco th e y o un g e r ,

J acopo
Le an dro
Battista di F errara
B a tto n i Pom p eo
,

B e a triz e t N ic o l o
,

B e cc a f u m i, D o m .

B e han , H ans S e b al d
B ellini , G entil e
G io v a n
J ac o p o
B e n c i d i C ione
B en e de tt o da M aj an o
da Ro v e z z a n o
B e n o zzo G o z z o l i
B e n v e n u ti , Pi etro
 CH R O N O L O G Y O F A R TI S TS .
4 57

B O RN
B e rna S i e nnes e
,

B e rn ardo di C ast e l B o l o g n e s e
B e rn ardi F rance sc o ,

B e rt o l do
B icc i Loren z o di
,

N eri de
’

B i go r di see G hirla ndai o

,

B il iv e rt J ean ,

B o cca c c in o
B o c ca rdini
B o l drin i, N i c o l o
B o l o g n a , G i o v a n ni cl a
B o l sw e rt, A da m
S ch e lte
B o n a sone , G i uli o
B o r do ne Paris ,

B o rgo gn one Il J a c o p o C o rte se , ,

B o sc h i F a b ri z i o
,

B o tti c e lli S a ndr o ,

B o ttic ini Ra ff ae ll o
,

B ramant e D o nat o La zzari ,

B ra u w er A dri a n ,

B re u g h e l P e t e r ,

th e y o un g er
J ohn
B ril Pa u l
,

B ro n z i n o s ee A ll o ri,

B r u n e ll e schi F ili p po ,

B u ff a l ma cco
B u ggia rdin o
B u gi an o A n dre a ,

B u o n arro ti M i c ha e l , An ge l o
B uo n ta l en ti, B e rn .

C a g liari , C a rl o tto
Pa ol o see Ve ro n e se ,

C a l a v rese M arc o ,

C all o t J ac que s
,
4 58 CH R ON O L O G Y O F A R TI S TS .

B O RN D I ED

C amain o , T in o 1 4th . c e n tury

C a m a sse i, An drea 1 60 1 1 6 48

C a m b ia s i, F rancesc o I 339
Lu ca 1 52 7 1 58 5

C am b io , A rn o lfo da 1 2 32 1 3 1 0

C an o v a, A nt o ni o 1 7 47 1 822
C aracci , A g o stino 1 5 58 1 60 1

An ni b al e 1 5 60 1 6 09
A n t o nio 1 583 1618

Lu do vico 1 555 I619

C ara g li o , G iacomo 1 5 00 1 5 7 8
C ara v a g gi o , P u l ido ro 1 49 5 I S4S
C ardi , s ee C i g o li
C ar p acci o , Vittore p aint e d
C ar p i G ir o lam o da
, 1 50 1 I 55 6
C aru cci see P o nto r mo
,

C a so l a n i A l e ssan dro
,

C asta g n o A n drea ,

C a v allini Pietro , .

C ecca
C e cco de l T a dda
C e llini B e n v e n ut o
,

C e si o o r C esena Pere g rin o da

, ,

C ham p a gne Phili p p e de ,

C himenti C a m ise i ,

J ac opo da Empoli
C ign a n i C arl o ,

C i g o li Lu do v ico C ardi
,

C ima b u e G io v a n ,

C i o n e M aestr o
,

C irc ign a n i, see P o me ra n c ia

C iu ff a gn i, Pi e tro 5 th1 . c e n tu ry

C iv ita l i o f Lu cca 1 45 5 I SO 7
C lau de Lo rraine ,
1 600 1 68 2
C l e e f H e nr y v a n
,
1 510 li v i n g 1 5 4 6
J o as v a n 1 5 00 1 536
C l o v is G i u li o
,
1 49 8 1 57 8

C o n tu cc i see S ans o v in o,

C o rr e gg i o A ll e gri ,

C o rt e se see 1 1 B o rgo g none

,
4 60 CH R O N O L O G Y O F A R TI S TS .

B O RN 13 1 131)

Emp o li , see C h i m e nti

Erc o l e F e rra re se
Eu stachi o , F ra

F a b r e , S av erio 1 7 66 1 83 7
F ab rian o G entile I 37 O I 4 SO
F c l trin i, An drea di C o simo 1 5 48
‘

1 47 7

F c l tro , M ort o da 1 47 4 1 5 2 2 O
F err ucci , An drea , da F iesole 1 46 5 1 5 26
F rancesco T a dde o C e cc a de l 1 43 8 li v in g 1 555
F in igu e rra , M aso 1 42 6 1 46 4

F lan drin , J ean H i p pol y te 1 80 9 1 86 4

F o n ta n a , A nni b ale 1 5 87
D om . 1 5 9°
G io v B at
. . 1 5 4
2

La v inia 1 5 52
Pros p ero 1 5 1 2

F rancesca Piero de lla

, 1 48 2
F ranceschini see V o l te rra n o
,

F ranc e sco di A nt o nio

Gi o r gio
F ranci a F rancesco
,

F ra n c a b igio
i
F ran co , G io v an B a t .

F erri , C y ru s

G a ddi , A g n o l o 1 3 30 396
1

G a ddo 1 2 59 1 3 33 ( P)
T a dde o c. 1 3 00

G a ff u ri, B e rn ar din o r6 th c e ntu ry

G alass o G alassi 1 42 3 1 47 7
G am b ar e lli , s ee R o ssellin o
G am b assi in F l o re nc e 1 43 3

G ara v a g lia , G i o v ita 1 7 90 1 835

G ar o fal o , G iro lam o 1 48 1 1 5 59
G e m i gn an o , G iacint o 161 1 1 6 80
 CH R O N O L O G Y O F A R TI S TS .

G e n ga, B art o l omme o

G iro lam o
G e rar d D o w , see Dow
C e ri n i , N ic o l o di Pi e tr o
G h e rar din i A l e ssan dro ,

G h e rar do C r i st o fan o di B o r g o S a n S e p o l c r o
,

D a vi d
da M o nt e
de ll a N o tt e s ee H o n th o rst
,

G h ib e rt i Lo r e n z o
,
1 37 8 1 45 5
G hirlan dai o B e n e dett o B i g o r di
,
1 458 I 49 7

D o m B ig o r di . I 449 I 49 4
R i do lfo B ig o r di 1 48 3 1 5 60

G hisi D i ana
,
1 53 0 1 588
G i o rg i o 1 5 20 1 58 2
R i do lfo 1 48 5 1 560

G i o c o n do F ra ,
I 43 3 1 51 5
G i o r dan o Lu c a ,
1 632 1 7 05
G i o r gi o n e di C a st e l F ranc o
,
1 47 8 1 5 1 1

G i o tt o 1 2 66 1 3 36
G io ttin o li v in g 1 304
G i o v ann i de ll e C o rn i o l e latt e r p a rt of 1 5 th ce nt u ry

da B o l o gn a, s ee B o l o g na
da C ast e l
B ol ogn es e
F 1 a 1 1 F att o re ,

da M o n t e
da M ilan o
da l P o n t e
di S a n G i o v an n i
da U d i n e
G i u lian o d A rr ig o see P e se l l o
’
,

da M aj a n o
G i u l i o R o m an o
G o z z ol i see B e n o zz o
,

G ra n a cc i F ra n c esc o
,

G razia D e i M ar i an o da ,

G rimani A l e x i s,

G u e rc in o G i o v F ra nc e sc o B ar b i e ra
,
.

G u g li elm o da M arcilla
G u i do Re ni
4 62 CH R O N O L O G Y OF A R TI S TS .

B O RN
H amilt o n , G a vin
H arl o w , G eo r g e
H e l st, Van de r
H e ml i n g , H a n s , o r M emlin g
H o b b e ma , H ans
H o l b ein , H ans
H o n th o rs t, Gerard, G herar o de lla N o tte d
H u go , Van de r Goes , see Van de r G oe s

Jac o po de l C asentino th c e nt ury

14

de tto
l In daco ’
1 47 6 1 5 4
2

della Qu ercia 137 1 1 43 8

In g res J e an A u gu ste
,
1781 1 87 0 ( )
P

J orda ens H ans ,

16 16

Kau fman A n g e lica ,

Knell e r S ir G o dfre y
,

Kranach Lu cas ,
.

the y o un ger

La ppo l i, G i o v A n t . .

La rgil l ié re , N icolas
La u ra ti, Pi e tro o r Lorenzetti ,

Lazzari see B ramante

,

Le B ru n M a dame ,

Le l y S ir P e ter
,

Lib e rale o f Verona

Ligo z z i J ac o p o
,

Li o ne Le o ne
,

Li pp i F ra F ili p po
,

F il ippin o
Li ppo M emm i
Longhi , G i u s e p p e
46 4 CH R O N O L O G Y O F A R TI S TS .

D I ED

M o c e tto o f V e r o na
M o n ac o , Lo re nz o , see Lo re n zo
M o nt e , see G h e rardo
G i o v an n i
S ans o v in o
M o nt e l u po , A n dr e a
R a ff aell o
M o n to rso l i, F ra G io v a n A gn o l o
M o re , S ir A n th o n y
M o re tt o o f B r e sc i a
M o rgh e n , Ra ff aelle
M o r o ne , G ian B a t .

M o rt o da F eltro , see F eltr o

M o sca , S im o ne
M uller, F ri e drich
M u rill o
M u rra y , T h o mas
M u s i , A g o st i n o , see Ven e ziano

N anni di B anc o . 1 42 1

N ant e u i l , R o b ert 1 67 8
N ar di A n g e l o
, 1 660

N atter La u rens
, 1 7 63
N ic o la Pisano
,
1 27 8

N ic o l o di La m b erti di A rezz o liv in g 1 444

di Pi e r C erini latt e r part o f 1 4th cent u ry
N o l p e Peter
,
1 60 1 li v in g 1 6 7 0

N o rthc o t e J am e s
,
1 7 46 1 83 1

O rc a gn a , A n dr e a
Le o nar do , or N ardo
G iov .

O rl e y , B ern ar do van

O s ta de , A drian van

O udr y , J e an B a p tist e
 CH R O N O L O G Y O F A R TI S TS .

B O RN D I ED

P a cch ia ro tti, J a c o p o o f S ienna ,

1 47 4 li v in g 1 52 5
P a do v a n in o F ran c e sc o ,
I 5 52 1617

O tta vi o 1 582 1 6 34

A l e ssan dro s ee V a ro ta ri ,

Palm a J a c o po il G i o v a ne
, ,
1 5 44 1 628

Vec c hi o 1 48 0
()
P 1 52 8
Pa o l o R o m an o s cu l p t ,
. fro m 1 41 0

Par igi G i u li o
,
fl o u rish e d 1 6 10
Parm igi an o M azzu o li ,
1 5 4
0 1 54 1
Parr i S p i n e ll o see S p i n ell o
, ,

Pas si gn an o D o m C re sti ,
.

P e ll e g r i n o da M o de n a .

P e r e g r i n o da C e se n a
P e r i n o de l Va g a
P e ru gi n o P i e tro ,

P e ru zz i B al das sare
,

P e sc ia G io va n M aria da
,

P e se ll in o , Il
P e se ll o , G i u li a n o d A rri g o
’
.

P i e ri n o
Pi e ri n o da V i n ci
P i er o da C o si m o
de lla F ra nc e sca see F ranc e sca ,

Pi e tr o da C o rt o n a
P i p pi see G i u l i o R o m an o
,

P i san e ll o V i tt o re ,

Pisan o A n dre a ,

G i o v an n i
N i c ol o
P o cce tti B e rn ar do B a rb a tel l i
,

P o gg i n o D o m en ico ,

P oll aj o l o A n t o n i o ,

P i e ro
S i m o n e il C r o n aca see C r onaca
, ,

P o m e ra ncia A n t o n i o C ircigna n i
,
1 560 1 620

P on t e see B assano
,

P o n te ll i B ac c i o
,

VO L I I .
4 66 CH R O N O L O G Y O F A R T I S TS .

P o nt o rm o J aco p o ,

P o rb u s F ran z
,

P o rde n o ne G io v a n ,

P o u ssi n G as p ar
,

N ic o las
Primaticci o F ranz ,

Pr o caccini A n dre a ,

C amill o
Pr o p e rzi o
F uli g o D omenic o
,

R a ib o l in i, s ee F rancia
R a ff a e ll e , see M o nt e l u p o
S anzi o di U r b in o
R a ff a elli n o de l G ar b o
R azzi o f S i e n n a , il S o do m a
R em b ra n dt van Rh y n
R e n i , G u i do , see G u i do
R e y n o l ds , S ir J o sh u a
R i b e ra , G i u se p p e , l o S pa gn o l e tto
R icciar ell i , D a n iele di Vo lt e rra , see
R i c o , A n drea , da C a n dia li v i n g I 1 05

R i g a u d, H y aci n th I 6 S9 1 7 43
R o b b ia , A n dre a de lla 1 45 5 1 5 3
2

Lu ca de lla 1 400 1 48 2

R o b e tta c . 1 460
R o sa , S al v at o r 1 61 5 1 67 3
R o sab e lla C arriera 1 67 5 7 571

Ro s e ll i , N ic o l o o f F errara fl o u rishe d 1 5 6 8
R o ss e ll i , C o sim o 1 43 9 I S 7
O

J ac o p o 1 42 5 I 47 4

R o s e lli di J ac o p o 1 43 9 I 51 5
M atte o 1 57 8 1 6 50

R o ss e llin o A nt o n ,
1 42 7

B e rnardo 1 409 1 46 4

R o ssi V in c e n z io da F ie sol e
, ,
1 52 5 1 8
5 7
46 8 CH R O N O L O G Y O F A R TI S TS .

S ta rn in a , G h e rardo
’

S t e fan o , F i o r e ntino
S to l di, Lo renz o
S tra dan , J e an
S tran g e , S ir Ro b ert
S tr o z zi , B e rnar do
Z en o b io
S u ste rma n s, J u st u s
S w a ne v el dt

T acca , Pi e tro earl y in the 17 th c ent u ry

T a dda C ecca de l see F e rrucc i
, ,

T a fi A n drea
,

T assi A g o stino
,

T e ni e rs D a v i d ,

T i b e ri o T iti
T inelli T i b erio,

T int o r e tt o
T itia n V e ce ll i da C a do re
,

T i v o li R o sas di o r Philip Ro o s
, ,

T ommaso di S tefan o see G io ttin o ,

T orr i g iano
T re p o l i G i o v B a t ,
. .

T re v i g i G ir o lam o
,

T ri b o li N icc o l o,

T r o y e J ean F ran co i s
, ,

U b ertini , F ranc e sco , see 1 1 B a ch ia cca

U cc e ll o , P ao lo
U go da C ar p i
U g o li n o o f S ienna
U l ive ll i, C o s imo
 CH R ON O LO G Y OF A R TI S TS .
46 9

B O RN D I ED

V ac ca, F l amin i u s
Val e r i o Vic e nti no
,

V a n der G o e s H u g o ,

Va n dyk e A nt o n i o ,

Ph i l ipp e
Van n i F ra nc e sc o
,

R a ff a e ll e
Van n i n i O tta v 10
V a n n u cch i see A n drea d
,

el S arto
,

Van Rh y n see Rem b ran dt ,

V a ro ta ri see P a do v a nino A l e ssan dr o

, ,

Va sari G i o r g i o
,

Lazzaro
Ve c chi e tti Lo re nz o ,

Ve las qu e z D i e g o ,

Ve ll i n o o f Pa du a
Ve n e zian o A g o stin o M u si see A
,
g o stin o ,

Ve rn e t J o se p h
, 1 712 1 7 86
H o rac e 1 7 58 1 836

V e ro n e s e Pa ol o C a g liari, 1 52 8 1 5 88
V e ro cc h io A n dr e a , 1 43 5 1 48 8

V ice n z io da G e mi gn an o 1 4 9 2 l iv in g 1 52 9
V i c o I En e a s o f Parma
, , 1 5 1 9 1 57 0

V mc i Le o n ar do da
, 1 45 2 1 519

Pi e rin o 1 5 0
2 1 5 54

V i tt o re P isan ell o see P isan ell o ,

Vol p at o G i o v anni
,

V ol te rra n o l l F ra nc e schi n i ,

V oste rm a n Lu cas th e e l de r , ,

W e rf A drian v a n de r
,

We st B e nj amin
,

W il l e H ans G e or g
,

W oo ll ett William ,
47 6 CH R O N O L O G Y O F A R TI S TS .

Z am pi e r i , see D o menichi n o
Z o an , An dre a
Z uccar o , F e der i go
T a dde o
Z u c c h i, J ac o p o
Z um b o , G aetan o
 C O RN MERC HA N T S P U B L IC F UN DS

CAP O F GUELP HIC FAC TIO N WA R

'
’
T HE EIG HT O F

CAPTS O F O R S AN MIC HELE CATHEDRAL BOARD OF WORKS

B IG ALL O MIS ERIC O RD IA

BA RBA DO R I B A RB ERIN O
'

BA R D I B U O N D ELM O N TB

C A N I G IA N I C AP P O N I

C ER C HI
C A S T IG LI O N E C O C C HI
'

CO RS I C O RS IN I

DO N A T I P ERU C CI

F RES C O BA LD I
 A PP E N D I X .

T/ze P itti G a ll ery —chap . xv p . . 1 73 .

The p o rtra i t o f a Ven et i an g entl e m an b y T i tian h a s b e e n , ,

lat el y s u pp o se d to b e that o f a H o w ard D u k e o f N o rfo l k A s , .

th e o p i n i o n o f a G e r m an c o nn o iss e u r o f h ig h a uth o rit y r e c e ntl y ,

d e ce as e d h a s b ee n qu o t e d in s u pp o rt o f th i s i de a w e a p p l i e d to
, ,

h im s e v e ral m o n ths a go a n d re c e iv e d a di rect c o ntra di cti o n o f

,

t h e stat e m en t a s e m anat i n g fr o m h im .

T h e p e ri o d o f T i tian s l i fe w o ul d n o t ma k e t h e s u pp o siti o n im
’

p o ss ib l e a s h,
e w a s b o rn in 1 4 7 7 a n d die d in 1 5 7 6
z b u t th e car e e rs

o f th e D u k e s o f N o rfo l k du ri n g th e se n i n e t y n ine y e ars r e n der it -

m o re than im p ro b a b l e that T i tian c o ul d ha v e pa i nt ed e i th e r o f

th e m a nd th e p o rtrait o f th e last D uk e b yl S ir A nth o n y M o re en , ,

g rav e d b y H o u b ra ke n c o n v e y s n o t e v e n a famil y r e s e m b lanc e

,

t o th e r e fi n e d a n d s u b tle fe at u r e s a n d e x p r e ssi o n o f th e Ve n e tian

g entl e m an .

S a n S a l vi—chap . xxvi p . .
353 .

N e ar th e S al vi ,
a b o u t a q u art e r o f a mil e fro m the P o rta S ta
a nd .

C r oce o n th e Via A r e t i n a is th e V i lla F o ri n i a lar g e mansi o n w ith

, , ,

a t o w e r which at o n e ti me w a s k n o w n a s th e V i lla del G iar di n o

, ,

fro m th e ext e ns iv e g arde ns b y w h i ch i t w a s s u rro un de d T h e fi rst .

p ro p ri e t o rs w e re th e S o de rini a n d h e re a s r ec o rde d o n a ta b l e t
, , ,

dw e lt G io v a n Ve tto rio S o de rin i th e g ran d n e p h e w o f Pi e r S o de rin i

,
-

th e last G o n fal o ni e r o f th e R e p u b l i c G iov a n V e tto rio de v o t e d

.

h i m s e lf to i m p r o v e m ents in agr i c u lt u r e b u t i n 1 5 8 8 du r i n g th e , ,

r e i gn of th e G ran d D u k e F e rdi n an d I —C ar di n al de M e di c i —h e .
’

g a v e di re o ff en c e to th e a uth o riti e s b y c e rta i n o b s e rv ati on s o f w hi c h ,

t h e fo ll o w i n g e xa m p l e s w i ll sh o w h o w e ntire l y th e M e dici P ri nc e s
h a d cr u sh e d l ib e rt y in F l o re n ce .

O n o n e o cca s i o n w h e n th e ma gi strat e s w al k e d in p r o c e ssi on in

,

th e c it y du r i n g th e a b s e nc e o f th e G ran d D u k e at h is V i lla o f
,

P rat o li n o S o de rin i re mark e d : H e re is th e c o rp s e o f th e F l o re nti n e

,

Re p u b lic th e s o u l is at P rat o lin o A s h is p ala ce la y b e t w ee n th e

’
.

S tinch e o r p ris o ns o f F l o r e nc e a n d th e B ar g e ll o S o de rin i o h

, ,

s e r v e d th at h is re si de nc e w a s th e w o rst sit u at e d in th e cit y sinc e

‘
, ,

VO L . II. I I
47 4 A P P EN DI X .

th e fri en dsh i p o r n eig h b ou rh o o d o f B irri ( polic e ) b ro u ght n o o th e r

a dv anta g e than a m o r e s p e e dy arrest F o r these a n d si mi lar .
’

o ff e nc e s w hich stan d o n rec o rd a g ainst h im S o de rin i w a s c o n

, ,

de mn e d to p e rp et u al i m p ris o nment in the l o aths om e dun g eo ns b e

n e ath the fo rtr e ss o f Vo lt e rra Af t e r fo u r y e ars h is s ent e nce w a s
.
,

c om m ut e d int o c o n fi n e m e nt in the Villa a C e dri o f th e Alam an ni ,

n e ar V o lt e rra w h e r e h e w r o te h is c e l e b rat e d tr e atis e o n a gric u lt u r e

, ,

g i v in g th e r e s ults o f ex p e rim e nts ma de at th e Villa de l G iardin o .

H e di e d at th e C e dr i i n 1 5 96 a n d w a s b u rie d in the C arm ine at

‘

F l o rence H is so n Pi e r T o mmaso S o de rin i l e ft th e Villa de l

.
, , .

G iar di n o to h is c o u s i n J ac o p o di Lo do v ic o A lamanni b y wh o m it ,

w a s s o l d in 1 6 1 5 t o the M arch e se M o nti S a nta M aria w h o se famil y ,

w e re r e mar k a b le f o r m i l i tar y p r o w e ss a n d a dv e nt u r e .

T h e m o st c o ns p ic u o u s w a s C aptain C am i ll o M o nti w h o b esi des , ,

b e in g e n g a g e d in w ars near e r h o m e w a s at th e si e g e o f B re da in
, ,

F lan de rs a n d s e r v e d u n de r T ill y a n d W all e nst e in in G e rm an y

, On .

h is r e t u rn to th e Villa de l G iardin o he e m p l o y e d o n e B acc i o de l

B ianc o w h o h a d b e e n w ith him in th e G erm an w ars t o paint a
, ,

seri e s o f fre sco e s in th e r o o ms o f the v illa r e c o r din g the sc e n e s in ,

which h e a n d h is anc e st o rs h a d b een en g a g e d .

T h e v illa a n d g ar de n h a d fall e n int o a r u in o u s c o n diti o n du rin g

th e min o rit y o f th e last o f th e famil y a n d w ere s o l d t o S i gn o r ,

F o rin i w h o h a s r e st o r e d th e b u il din g a s n e arl y a s p o ss ib l e t o its

,

f o rmer stat e Little r e mains o f th e ext e ns iv e g ar de ns o f the S o de

.

ri n i a n d th e railr o a d to A r e z z o a n d Ro m e is w i th i n a f ew fee t o f the

,

h o us e B ut th e s p aci o u s r o o ms w ith th e ir fre sc o e s a n d th e t o w e r

.
, , ,

f r o m w h e nc e a l o v e l y v i e w is s e e n o v e r the c o u nt ry st i ll recall th e ,

tra diti o ns o f pa st da y s .

In 1 8 64 th e v illa w a s ta k e n b y M r G e o r g e P e r k ins M arsh f o r .

,

man y y e ars U nit e d S tat e s M i nist e r in T u r k e y a n d s u b s e qu entl y in ,

Ital y w h o r e si de d h e re f o r e i g ht e e n y e ars H e w a s o n e o f th e
,
.

a b l e st sch o lars pro duce d b y A m e rica a n d th e a u th o r o f M a n a n d

,

N at u re Le ct u r e s o n the En g lish Lan gu a g e a n d Lit e rat u re &c

’ ‘ ’
.
, ,

H e di e d at Vall o m b r o sa 2 4th J u l y 1 88 2 H is lar g e a n d v al u a b l e

,
.

li b rary h a s b e en s e nt to an instit u ti o n in th e U n i t e d S tat e s a n d h e ,

h a s b ee n s ucc e e de d in th e Villa F o rini b y an o th e r Am e r i can

g entl e man wh o s e fi,
n e li b rar y incl u de s a m o st rar e c o ll e cti o n o f

P e trar ch s w o r k s with a l l r e latin g to the g reat Italian P o et fro m a n

’
,

e arl y p e ri o d t o th e p r e se nt da y .
 A n nunz i a ta, 378 ; S . A n co n a , P ro f e sso re C e sa re , 1 1 2 8 2 .

M a rco , 4 2 5 ; S A p o l A ndre a C a sta gn o ( se e C a sta gn o )

l o n i a , 4 30 °
P a l a zz o A n dre a da Fi e so l e : S M N o v ell a , . .

S tro zz i , 4 3 5 P a l a zz o i 4 7 2 O gn i S a nt i , 48 7
.

C o rsi n i , 44 5 S M a ri a A ndrea de l S a rt o O r S a n M i ch e l e ,
N o v e ll a , 46 8—
.

4 7 7 ; Pa i 1 8 3 ; Pa l a z z o A l essa ndri ,
.

l azz o T o rrigi a ni , 5 03 ; 2 64, 265 P a l azz o P a nc i a

fl
S ta F e li c i ta, 5 1 0 ;
. t i c h i , 3 6 1 ; S S A nnunz i a ta , .

U ffiz i, ii 1 3 , 34 , 7 5 ; .
3 7 1 , 3 7 9 ; H o spi ta l S t M a t .

A ca de my , 1 5 9 ; Pi tti , th e w , 3 96 ; P a l a zz o S t ro zz i ,
1 64 , 1 9 4 ; T a p e stri e s, 4 3 5 ; U i z i. ii 1 2 . 39, 43.
.

2 03 C a st e ll o , 346 48 , 7 1 D ra w i n gs , 8 4 , 8 5
A ll o ri , A l e ssa ndro : S S A n n u nz i . 8 6 ; A c a dem y , 1 40, 1 57
a ta , i 3 7 8 ; P a l azz o S c a l z o , 1 5 9 ; Pi tt i , 1 6 7 , 1 6 8 ,

fl
.

S tro zz i , 8 M . .

fl
N o v e ll a , 4 7 3 ; Pa l a zz o 1 83, 1 90 ; S a n S a lvi ,
89, 1
T o rrigi a n i , 5 02 ; S .
352 P o ggi o a C a i a no , 4 39
S pi ri to , 5 3 2 ; U i z i, i i . A ndrea Ve ro c c h io ( see Ve roc c hio )
35 3, 9 , 4 0 7 5 ; A c a '
A ndre a n i , A ndre a : U i z i, ii 9 3 .

d e my , 1 5 9 T a b e rnac l e , A ng e li c o , F ra S a n M a rc o , i 409 .

1 9 8 ; T a p e st ri e s, 2 03 4 1 5 , 4 1 8 4 20 ; Uffiz i, 1 1 1 6 ,
° -

fl
.

Po ggi o a C a i a no , 4 39 3 8 , 3 9 , 6 7 ; D ra w i ngs , 8 1 ,
C ri sto f a no : S C ro c e , i . . 8 2 , A ca de m y ,
°

3 2 1 P a l a zz
°
o F ra n so n i, S D o m e n i c o , 2 9 8 , 2 99
.

4 8 3 ; U i z i, ii 3 6 , 39 A ng e l o , F ra : N a t Lib ra ry , 1 2 1 5
.

. . .

D ra w i n gs, 8 9 A ngh i a ri , B a ldacc io d , i 2 44

’
1, 7 1 .

Pi tti , 1 6 5 , 1 7 3 A nn a l e n a , C o n v e nt o f , i 5 5 0 .

A l ta f ro nte , C a st l e o f , i 2 7 6 ; 1 1 . . A nno na , M a gi st ra c y o f , i 1 7 3 , 1 8 4 .

2 47 A nt e ll a , B e a to M a ne tt o , ii 3 2 8 , .

Al toviti, O ddo : SS Aposto Ii, i 1 5 9 . .

333
A lvi a no , B art o l o mme o , ii 5 7 , 60, D o n a to de ll , i 3 7 6
’
. .

11 5 A nth o l o gia , Li t e ra ry J ou rnal , i .

Amb ro gi o di B a l dese : B iga ll o , i . 1 63

92 A nt o ni no , Bi sh o p , i 6 5 , 1 8 8 , 2 5 2
.

A mb ro se , S t , i 1 1 1 S a n M a rc o , 4 1 0, 4 2 4 , 4 5 8

fl
. .

A me righi, M i ch A ng ( see C ara . . ii 33 6

.

v a gsio ) A nt o ni o di F ra nc esc o : S M i n i a t o , .

A mieri, G i ne v ra dei, i 1 00 . ii 3 8 3
.

A mm a na t i , B a rt o l o mm e o B a p ti s A nt o n i o da T re n to : U iz i w oo d
tery, i 34 ; C a th e dra l , 6 5
. c u ts, ii .
94
P i a zz a de ll a S ig no ra , 1 9 8 A nt o n i o di Ug o li no : C a th e dra l , i .

Pa l a zz o M o n ta lv o , 2 6 1 79
A mma n a ti , B a rto l o mm eo : P a l a zz o A p o ll o n i o : B a p ti st e ry , i 36 .

F i re nz uo l a , i 3 6 0 ; P a l a zz o . A rc e tri , di st ri c t o f , ii 4 1 6 .

d e ll a P o rta , 3 9 4 ; S a n G io A rc h bi sh o p , Pa l a c e o f , i 1 06 .

v a nn i , 40 3 ; P o nte S T ri n i ta, . A rch iv es, th e , i z o 7 .

4 90 P a l azzo Pi tti 5 5 5 ;
°
, A rdi ng o , Bi sh o p , 1 i 3 30 .

C a ste ll o ii 34 5 3 46
, .
, A ri o sto , Lu do vi c o , i 4 9 1 .

A m m i ra to S c ipi o n e i 3 5 0 ; ii
, , . . A rl o t ti , Pi o v a no , 1 4 2 9 .

310 A rno l di , A lbe rto : Biga l l o , i 8 8 .

A m p h i th ea tre of F l o re nc e , i . 2 80 A rno l f o di C a mbi o ( see C a mbi o )

 fl
I N D EX .
47 7

A tta v a nti, Va n te degli : C a th e dra l , A nnu nz i a ta , 3 7 6 , 3 7 9 ; B o bo li ,

i 79 U i z i, ii ; B a rg e ll o ,
5 5 4 ; 1 3 0 .

La u re n ti a n Lib ra ry , 1 3 8 2 54 ; Fi eso l e , 319

N a ti o n a l Lib ra ry , 2 1 3 , B a p ti stery th e , ( se e C h u rch es : S .

214 G i o v a nn i )
A th ens , D u k e o f ( see B ri en n e ) B a rba ro D a n i e l e : Pi tti
, , 11. 1 86
A u dra n , J e a n T a p estri es, ii 2 04 . B a rb a tel l i ( P
se eocc e tti)
B a rgell o , 2 6 9 B a rb erell i ( see G i o rgi o n e )
B a rbi a no ,
A lb eri c o di, ii 449 .

Ba rbi eri F ra ncesco ( se e G u e rc i no )

,

B a rdi D i a no ra de i 4 94 49 6
,
’
, .
,

B a c ch ia cc a , F ra n c esc o , I l : U ffiz i, B a rdu cc i B a rduin o S F e l ic ita

, , .
,

ii 6 9 ; T a p estri e s, 2 03
.
510
B a cc i o d A gno l o : C a th edra l , i
’
. B a rgell o , th e M u seum o f , 1 1 . 2 42

P l a zz o de l T u rc o , 27 5
5 1 , 7 9 ; a

1 5 9 ; P a l Ve c ch i o , 2 4 7 ; S S . . Cha pel o f, 2 57
A nn u nz i a ta , 7 7 P a l a zz o M a gistra te 2 44
3 ,

T o rrigi a n i , 4 9 9 ; S M a ri a . B a rge l l in i c o i n ii 1 2 5 , .

N o v ell a , 4 7 2 ; S C ro ce , 2 8 3 . B a ro cc i o F e de rigo P a l a zz o M a r
,

S a n M i ni a to , ii 3 86 . te lli i 404 Uffi i ii 49

, . z ,
.
,

B a cc i o da M o nte l u p o ( se e M o nte 7 2 74 76
, D ra w i ngs 8 1
, ,

lu po ) Pi tti ,

B a di a , th e , i . 2 66 B a rto li Pi etro S a nti Uffi z i en

,

Fi eso l e ii 30 1
of , . gra vi n gs ii 1 0 1 , .

o f Rip o li ii 3 6 3 , . B a rto li ni Lo re nz o P a l a zz o A l es
,

o f S e tti mo ii 2 7 2 44 7 sa n dri i 2 6 5 S C ro c e 2 8 6

fl
. . .
, , , , ,

B a gn o l o C o mmu ne o f ii 4 1 3
, , .
3 00 3 2 6
, SS A nnu nz i a ta .
,

B a l dese A m b ro gi o di B iga l l o i 38 1 L n g A rn o S erristo ri

’
, ,
. u , ,

9 2 9 4 ; A c a dem y ii 1 48
, , .
5 04 ; Pi tti ii 1 8 2 , .

B a l di ni B a cc i o U iz i engra vi ngs
, , B a rto l o G i o v : C a th edra l i 5 7
.
, .

11. 95 B a rto l o mm eo B a rgell o ii 2 5 3 , .

B a l do v in e tti, A l essi o C a th e dra l , i . B a rto l o mm eo F ra : P a l a zz o del

,

7 7 ; S S A nnu nz i a ta , 3 7 1 . T u rc o i 1 60 , .

ii 1 1 ; A c a dem y, 1 36
. S M a ri a N uo v a ; .

B a l du cc i , G i o v a nn i : C a th e dra l , i .
3 5 1 ; S a n M a rco ,

7 3 ; S M a ri a N o v e ll a , 4 7 8
.
41 5 Pa l a zz o
T a b e rn a c l e , ii 1 9 7 . C o rsi ni 444 ,

fl
B a l ech o n , J J : Uffiz i e n gra vi ngs,
. . P a l a zzo T o rrig i

11. 1 03 a n i 5 00 P o rta ,

B a mb e rini, D o m en i co : T a b er Ro m a n a , 5 4 9
na el e , 1 1 1 9 8 . U iz i, ii 3 0, 4 1 ; .

B a n c a N a z i o n a l e , i 3 46 .
4 5 , 5 2 ; D ra w
B a nco , A nto n i o di : C a th edra l , i . i n gs, 8 2 , 8 3 , 8 6 ,
49 8 7 . 8 8 . 8 9 . 9 0.
N a n n i di C a th edra l , i 5 0 , .
91 A c a de my ,
7 3 ; O r S a n M i ch e l e , 1 7 7 , 1 3 8 , 1 40 , 1 58,
1 5 9 ; Pi tti , 1 6 8 ,
B a ndi ne lli B a c c i o : S Lo re nz o 1
, .
,
-

. 1 7 6, 1 7 8, 1 85 ,
1 1 0 ; Pi a zz a de ll a S ign o ri a , 1 8 9 , 1 9 3 ; O ra
2 3 5 ; P a l a zz o Vecc h i o 2 49 ; , t o ry S ta M a dda .
~

S . C ro c e , 3 07 , 323 ; SS . l e na , 325
478 I N D EX .

B arto l ommeo de l F rosino S . M aj an o , 3 54 ; S e tt i

M a rc o
42 2 ,
i . m o , 44 8
da S i enn a : B iga l l o , B enedett o d a Ro v e z z a n o SS .

1° 93 A p o st ol i , i 1 59 ;

fl
.

B a rto l o zz i Fra ncesco : Uffiz i en

,
B a di a , 2 68 , 2 6 9
gra vi ngs ii 1 04 , . O gn i S a nt i , 4 8 6 ; S .

B asc i an o C astl e o f ii 3 2 5
, , . T ri n i ta, 440 ; C a r
Bassa no F ra nc e sc o th e y o u nger
, ,
m i ne , 5 44 U iz i
P i tti ii 1 6 3 ,
. dra w i ng s , ii 9 2 ; B a r .

J ac o p o Uff r i ii 7 2 z , . ge ll o , 2 5 1 , 2 5 6 , 2 7 1 ;
Le a ndro : Uffi z i ii 5 8 , .
,
V ill ag e Ro v ez z ano ,
72 3 59
B astinia ni, G i ro l a mo : S a n M a rco , B e nedict , St .
,ii 3 8 2
.

i 34 7 , 4 1 6 B e niz z i, S a n Filipp o i , .
37 2, 5 1 2 ;
B a tto ni, P o m p e o : Pa l a zz o Pa nc i a ii 3 2 9
.
, 33 1
ti ch i , i 3 6 2 . B ent iv o gli o , C a rdi na l G u i do , 11.

B a v a ro , Bi sh o p J ac o p o , ii 30 1 , 1 70

fl
.

31 3 1 314 C o n st a nc e , 1 1 1 8 6 .

B ea t ri c e C ou nt ess
,
of T usc a ny , B en v enut i , Pi e tro : S Lo re nz o , i . .

i 1 12
. 1 1 4 , 1 3 1 ; P a l a zz o A l e ssa n

B ea tric e tto N i c o l o U i z i e ngrav d ri, 2 6 5 P a l a zz o C o rsi n i ,

fl
,

i ngs ii 9 9, .
44 5 ; Fi eso l e , ii 3 2 0 ; C e r .

B ec ca fu mi, D o me ni co : P a l az z o to sa , 400
T o rrigi a n i , 5 0 1 Uffi z i dra w B erna rdo di C a st e l B o l o gnese

fl
i n gs, ii 88 ; Pi tt i , 1 9 3 . U i z i I nt agli , ii 1 1 6 .

B ecca ri, O do a rdo , ii 2 8 6 , 3 6 3 . B e rn a rdo di F ra nc esc o : C a th edral ,

B ec ch e ri a o f Pa vi a , i 2 7 4 . i 6 1 , 67
.

B eh am , H an s S e ba l d : U iz i en B erna rdo , N ic o l o, i 2 2 5 .

gra vi n gs ii 1 0 1 , . B erro vi e ri , A nge l o : C a th edral , i .

B e lisa ri us ii 309 , . 68
B ell J oh n i 1 2 8 1 8 7
, , .
, , 1 93 , 1 96 , B e rto l do : S a n Lo renz o , i 1 1 8 .

2 2 3 1 2 59 B ert ra nd de l Po ggetto , C ardi na l ,

B el l incio n e , B e rn a rdo N a ti o na l it 2 5 8
Lib ra ry , 2 1 7 B ett i , Pa dre Biagi o Pa l azz o F ra n
B ell i n i , G i o v a nn i : P a l azz o Fran so n i , i 48 3.

so n i , i 4 8 5 ; U ffiz i, ii 5 8 ;
. . di F ra nc e sc o : O p e ra del
D ra w i ngs , 8 4 , 8 5 ; Pi tt i , 1 9 2 D uo m o , i 1 04 .

B ell osgu a rdo , h ill o f , ii 4 2 1 . P e tru c c io : S a n M i n i a t o , 1 1 .

Henc i di C i o n e : C a th edra l , i 45 ; .
3 84
Lo ggi a de La nz i , 1 9 2 B e z z uo l i, G i use pp e : P a l a zz o C a p
’

B enedetto da M aj a no :C a th edra l , i . p o n i , i 366 S a n M i nia to ,

.

7 2 , 7 4 , 7 8 ; M i seri ii 3 8 6
c o rdi a , 9 5 ; O p e ra Bi anch i , G a e ta n o : Vincigl ia ta , 11 .

del D uo mo , 1 03 356
P a l azz o V ecch i o ; F a ct i o n o f th e , i 34 7 .

2 6 9 ; S C ro ce , 2 9 0 . Bi cci , Lo renz o di : C a th edra l , i .

S S Annu nz i a ta , 3 7 8 . 6 9 ; O p e ra de l D u o m o ,
Pa l a zz o S tro zz i , 4 34 , Lo ggi a de La n z i ,
’
1 03
S M a ri a N o v e ll a ,
. 1 9 3 ; S C ro c e , 3 1 0 ; S
. .

4 6 2 ; B a rg e ll o , ii . M a ri a N u o v a , 3 4 9 ; C a r
2 7 2, 27 3 V ill a ge o f m i ne , 5 43 ; Uffi z i, ii 7 .
480 I N D EX .

B ril P a u l : P a l a zz o
,
T o rrigi a n i , i . S e tti gna no , 3 60 ; S a n Mi
5 03 i
n a to , 37 1 C e rto sa , 4 08
B ro zz i , C o mmu ne , 1 1 4 36 . B uo nde l m o n ti, I pp o li to , i 4 9 4 .

B ro w n i ng , Eli z a be th B a rrett , i . B u o n so l l az z o , A bbe y o f , ii 3 3 3 .

5 24 B uo n ta l e n ti, B e rn a rdo : G h e tto , i .

B run , Eli z a be th l e z Uffiz i, 11. 72 1 42 ; P a l a zz o N o n fi nito ,

B ru ne ll e sch i Filipp o : B a p ti ste ry
, ,
2 59 ; S M a ri a N uo v a , 349 ;
.

i 2 7 ; C a th edra l 5 2 6 4 7 1
.
, , ,
V ia R i c aso li , 39 5 ; S .

C a th e dra l B o a rd o f \Vo rks ,

T ri n i ta, 44 0 ; V ia B a rdi ,
1 03 ; S a n Lo re n z o 1 1 3 1 2 3 , , , 4 9 8 ; S G i o rgi o , 5 06 ; V ia
.

1 34 ; S Bi a gi o 1 5 5 ; S S
.
, . M a ggi o 5 2 3 ; B o bo li , 5 5 2 ,
,

A p ost o li 1 58 ; S C roc e
, .
, 5 5 4 ; U ffi z i, ii 1 1 7 ; P ra to .

3 0 7 ; P a l a zz o C o n ti B a rdi , li no , 3 2 7 Se ttign a no , 360

34 1 S S A nnu n z i a ta 3 8 4 .
, B uo nu o mi ni di S M a rti no , i 2 5 2
. .

8 M a ri a N o v e ll a 4 6 8 4 7 2
.
, ,

S S pi ri to 5 2 8 ; g F e li c i ta
.
, .
,

5 10 , 5 1 1 P a l a zz o Pi tti °
,

5 55 ; B a rge ll o ii 2 6 3 , .

B a di a o f F ieso l e 30 1 Ru s ,

c i a no 362 ,
C a c c i n i , G i o v a n n i : S T rim ta , i . .

B run i Le o n a rdo A re ti no i 2 9 8 4 40 ; S S pi ri to , 5 3 4
.

fl
, , .

B ru no S t ii 40 5 409
, .
, .
,
C a f a ggio , O ra t o ry o f , ii 3 30 .

B u cki n gh a m G e o rge Vil li e rs , ,

C a f a gio l o , i 3 9 3
.

D uk e o f 1 1 1 9 1 , . C a gli a ri , C a rl o : P a l a zz o T o r
B u ff a l m a c c o i San M i rigia n i, i U iz i, ii 6 0
, .
50 1. .

n i ato i i 3 7 8 , . C a gli a ri ( se e P a o l o Ve ro n ese )

B u ggi a n o : C a th e dra l i 6 5 7 4 , .
,
C a l a b ri a , C h a rl e s , D uk e o f , 1 1 .

B ug ia rdini A g o st i no : S F e li c i ta 2 44
g

fl
.
, ,

i 5 1 0 ; S M a ri a N o v ell a
. .
,
C a l e nda r a l t e re d, i 1 9 7 .

4 6 1 ; S t
C roc e , 3 2 9. C a l ima l a ( see G u il d o f F o re ign
B uo na f ede , Bi sh o p Le o n a rdo \Vo o l )
C e rto sa , 1 i 40 7 . C a ll o t , J a q u es U i z i, 1 1 7 2 ; .

B u ona p a rte , Que e n Eli sa B a c D ra w i ng s , 90 ; En gra vi n gs,

c i o c ch i , 1 i 2 8 0 . 1 02 ; B a rg e ll o , 2 49 ; I mp ru ~

B uona rro ti , M i ch a e l A nge l o ne a ,t 414

C a th e dra l , i 7 1 , 7 9 ; San . C a mbia si, Lu c a : U ffiz i, 1 1 7 2 , 7 4 .

Lo re nz o , 1 2 3, 1 33 , 1 35, C a m bi o , A rno l f o di : \Va ll s, i .

Pi a zz a de ll a S ign o ri a , 2 33 1 5 ; B a p ti st e ry , 2 4 ; C a th e ~

S . C ro ce , 295 ; P a l a zz o d ra l , 4 3 , 5 0, 6 9 , 7 8 ; A rc h
V e cch i o , 2 4 8 ; P a l a zz o A l e s ~
bi sh o p s P a l a c e , 1 08 O r S a n
’

sa n dri , 2 6 5 V ia G h ibe lli n a , M i c h e l e , 1 7 0 ; P a l a zz o Vec

3 4 1 ; M a ru ce l l ia na L ib ra ry , ch i o , 2 2 1 B a di a , 2 6 8 ; P o n te
P a l a zz o Ri cc a rdi , 40 1 a ll e G ra z i e , 277 ; S C ro c e ,
° °
399 .

S A p o ll o n i a , 4 3 0 ; P a l a zz o
. 2 85, 288, 31 8 ; S M a ri a .

fl
C o rsi n i , 44 5
°
S M a ri a . M a ggi o re , 4 3 3 ; B a rg ell o , ii .

N o v e ll a , 4 7 2 ; S a n N i co l o , 2 4 3 , 2 48 wa ll s o f Fl o re n c e ,
5 0 5 ; Pi tti P a l a ce , 5 5 5 ; 3 88
U i z i, ii 5 3 , 1 0 5 D ra wi n gs,
. C a m e ra ta , di stri c t o f , 1 1 2 9 9 .

8 3 , 8 5 , 8 9 ; A c a de my , 1 3 4 ; C a m a i n o , T i n o di : C a th e dra l , i .

Pi tti ,
1 74 ; B a rge ll o ,
2 54 6 7 ; S M a ri a N o v e ll a , 4 5 8
.

2 55, 262, 2 7 3. 2 7 4. 275 C a mp a nil e , th e , o f G i o tto , i 5 4 5 8 .

-
 I N D EX .
48 1

C a mpi , Bi senz i o 1 1 44 9 C a ra c ci, Lu do v ico : U ffiz i, 1 1 7 2

‘

. .
,

F ra G i o v a n n i d i : S . M . C a ra v a ggi o , M i ch A nge l o : P a
N o v e ll a i 4 7 1 ,
. l a zz o S tro zz i , 1 4 36 P a l a zz o .

C a mp o dei C o rb e ll in i ( see Pi azz a C o rsi n i , 44 5 ; Uifi z i, ii 7 5 ; .

M a do nna ) D ra w i n gs, 9 2
C a na cc i, C a ta ri na , ii 3 2 6 . C a rdi ( see C igo li )
C a no v a , A n to n i o : P a l a zz o A l e s C a rli , Ra ff a e ll o : P a l a o C o rsi n i , zz
s a n dri , i 2 6 5 S C roc e, . . i 44 s
.

2 95 ; U ffiz i, ii 7 3 ; Pi tti , . C a rl o s, D o n , 1 1 1 2 8 .

941 1 9 5
I C a rn e se cch i, i 2 1 1 , 2 40
.

C antaga l l i, M aj o li c a F a c to ry, 1 1 . C a roc c io , th e , i 1 5 3 , 1 5 4 , 1 9 4

.

39 3 C a ro ta , A n to n i o : B iga l l o , i 9 4 .

’
C a nto de C a rn esecch i, 1 1 9 7 . C a rp a cc i o , V i tto re : U ffiz i, ii 5 8 .

a ll a C a te n a , 1 39 5 . D ra w i n gs, 8 4 , 8 5
de ll e C o l o n n i n e , 1 2 7 9 . C a rpi , G i ro l a m o d a : Pi tti , 1 1 1 6 4 . .

a ll a C u c u li a , i 5 36 . U go da , Uff i i , ii 9 4 z .

a ll a P a gli a , i 1 08 . C a rra cc io l i, A l a m a nn i de i S .

de i S o l da n i , i 2 7 9 . C ro ce , i 30 1 .

C a nto n a ta de i P a zz i , i 2 6 0 . C a rri e ra , Ro sa lb a : Uffiz i, 1 1 1 06 .

2

C a p a n n a , P ucc i o : S M N o v ell a , . . C a ru e l , P ro f T , 1 1 2 8 6
. . .

1. 455 C a ru cc i , J a c o p o ( se e P o nt o rmo )
C a pi Fa nti i 2 2 6
ta n o de i , . C asc i n e , th e , i 4 8 3 .

Po po l o i 1 5 6
de l , . C a se n ti n o ( se e J a c o p o C a se nt i no )
C a p a rra N i c o l o S M a ri a degli
, , . C a so l a ni, A l e ssa n dro Uff i z i , ii 9 3 .

Ugh i i 1 6 4 ; P a l a zz o Qua ra
, . C a sta gn o , A ndrea de l C a th e dra l ,
t esi 2 60 C a n to dell e C o l o n
, i 6 3 , 6 8 P a l a zz o de l T u rco ,
.

n i ne 2 7 9 P a l a zz o Ri cca rdi 1 60 S C ro c e , 2 90 , 2 9 8 ;

fl
.
, ,

40 1 P a l a zz o S tro zz i 4 34 ,
Via de i F ib b a i, 3 8 7 ; S M a ri a .

C a p e ll o Bi a nc a i 2 0 7 3 9 6 4 8 2
, , .
, , , de gli A n g e li , 3 9 4 ; S a n ta
521 ; 11 3 4 1 3 9 1 3 4 2 1 4401 A p o ll o ni a , 4 30 O g n i S a n ti ,
44 1 4 86 U iz i dra w i ngs, ii 8 1 .

C a pp o n i , G i no , i 5 3 1 . A ca de m y , 1 4 2 , 1 5 1 B a rg e ll o ,
M a rch e se G i no, i 36 5 . 2 6 5 , 2 6 9 ; S e tti m o , 44 8
ii 4 2 6 . C a st e ll a cc i o , th e , i 3 9 1 .

N i co l o, i 2 2 4 , 2 30 . C a st igli on e , D a n te da , i 1 49 ; 1 1 . .

Pi ero , i 2 5 3 , 5 1 6 .

M a rch ese Vinc enz io , i . C a st igli o ne , C ou n t B a l da ssa re ,

402 B a rge ll o ii 2 7 0
, .

C a pp u cc i n i C o nv e n t a n d C h u rch , C ast l e o f B a ro n c e lli 1 1 390 , .

ii 3 38. del P o ggi o ii 3 5 8 , .

C a p ta i n s o f G ue lph i c P a rty , ii of th e Vin c igl ia ta , 11 .

35 5

fl
.

245 C a st ra ca ni , C a str ucc i o , ii .

34 3 ,
C a ra cc i , th e : P a l a zz o F ra nso ni, i .

48 5 C a ta l a m , M a da m e , 1 1 3 2 5 .

C a ra c c i , A g o sti no : U i z i, 1 1 7 2 ; . C a th a ri ne , S t , o f S i e n na , i 5 1 7
. .

Pi tti 1 9 1 , C a tili n e , i 3 ; ii 308

. .

A n n ib a l e : U ffi i ii 5 3 z , .
, C a v a l c a nte , B en e de tto : S C roce , .

7 2 D ra w i n gs 8 7 8 8 , , i 298 .

8 9 ; Pi tti 1 8 6 , G u i do , i 2 3 , 1 6 9 .

A n to n i o il G o bb o : Uf fiz i Leo p o l do C a tta ni , 1 1
’
, ,

ii 7 2 .
4 82 I N D EX .

C a va li eri : U ffiz i Eng ra vi ng s, ii . c ia tichi, 362 S S A mnu n .

1 00 z i a ta , 3 7 4 , 3 7 5 S a n M a rc o ,
C va lli ni Pi e tro : SS An n unz i a ta
a , .
, 4 2 5 ; U ffiz i, ii 1 3 , 3 6 ; C e r .

i 3 7 9 ; H o spi ta l I nnoc enti

.
, to sa , 3 9 9
385 S M a rc o
°
S .
, . C h ri sti n a o f Lo rra i ne , i 44 3 .

Luc i a de l P ra t o A ca , C h o ra l B o o k s : C a th e dra l , i 7 9 .

d e my ii 1 3 6 , . La u re n ti a n Lib rary , 1 38
C a v o l aj a th e i 40 1 46
'
, ,
.
, S a n M a rc o , 4 2 2
C e c co d A sc o li i 3 1 0 C h u rc h e s
’
.
,

C e ce ri M o n te ii 3 55 S a n t A m b ro i o , i 3 5 2
’
, , .

g .

C e lli n i B e n v e nuto : Lo ggi a de ’

S t An drea , i 1 4 8
—
. .
,

La n z i i 1 9 4 ; U ffi i,
20 5 ; . z , S S A n nu nz i a ta , 1 3 6 9 3 8 1
. .

N a t i o n a l Lib ra ry 2 1 1 V ia S a nt A p o lli na re , i 2 7 4
’
, .

de ll a P e rg o l a 3 6 4 ; P a l a zz o , S a n ta A po ll o n i a ,
P i tt i 5 5 6 5 5 7 ; U ff i z i d ra w
, , S S A p o st o li , 1 1 5 8
. .

i ngs ii 9 1 Uffi z i 1 1 9 1 2 3
,
.
, , , B a di a , i 2 6 8 .

1 2 5, B a p t iste ry ( see S G i o va nni ) .

2 69 ; Fi eso l e , 319 S a n B a rna b a , i 4 3 1 .

C e me t e ry J ew s i 346 ii S a n B a rto l o mm eo , i 1 6 7
0

of
°
. .
42 1 , .

432 S a n Bi a gi o , i 1 5 4 , 2 60 .

P ro tes ta nt i 3 56 ; ii 3 9 5 , . . La C a l z a ,
C e na c o l o Las t S u pp e r by A n S a n C a rl o , i 1 7 0
’
, , .

d re a de l S a rto ii , . C a rm i ne , 1 5 38 .

3 52 S a n ta C ec ili a , i 1 9 8 .

by D o m G h i rl a ndaj o . S C ro c e , i
. 28 5 , f a ca de ,
.

O g n i S a n t i i 48 7 ,
. 2 86 i nte ri o r, 2 8 8 p u lpi t ,
S a n M a rc o 4 1 2 ,
2 9 0 ; m o n u m e nt s , 2 9 3 c l o i s

by Ra ff a e ll e 1 i 1 99 , . te r, 3 06 ; P a zz i C h a p e l , 30 7 ;
C e nni C o si mo B a rg e ll o ii 2 5 0
, , . re f ec to ry , 3 08 ; f resc o es,
C e n nini B e rna rdo : B a c ca no i
, ,
.
3 1 4 c h a p e l s , 3 1 8 sa cristy ,
1 5 1 ; N a t i o n a l Lib ra ry 2 1 6 ; , 3 29
O gn i S a nt i 4 8 6 , S ta Eli sa b e t ta , i 5 4 7
. .

C e rto si n o th e Lega te i 1 06 S a n F e li c e , i 5 2 4

fl
. .
, ,

C e sa l pin o A n dre a ii 2 8 7 , , . S ta F e li c i t a, i 5 09
. .

C e sa re A n to n i o : S F e li c i t a i
, .
, . S a n Fi ren z e , 1 2 7 5 .

51 1 S a n F re di a n o , i 5 4 7 .

C h a m p a g ne , P h ilipp e de :U iz i 1 1 , . S a n G a e ta n o , i 4 33 .

5 5 ; Pi tti 1 7 6 , S a n G i o v a n n i : B a p t i st ery ,
C h a rl es V I I I o f F ra nc e i 40 1 .
, . i 2 0 ; do ssa l e , 1 03 ga tes ,
.

5 4 5 ; ii 4 3 2 . m o sa i cs, 3 5 3 7 ; -

C h a rl es I H e nri e tta M a ri a po r
.
,
ii . 297

tra i ts Pi tti ii 1 7 8 , . S a n G i o v a nn i no : i
403 .

C h a rl e s o f Lo rra i ne 1 i 1 2 6 , . dei C a v a
C h a rl e s o f V a l o i s 1 4 1 ; B a rg e ll o , .
,
li et i ,
i .

ii 2 5 8.
429
C h a rl em a g ne 1 1 3 7 3 , . S a n G i o v a nn i di D io , i 4 8 8 .

C h a rte rh ouse Lo n do n , , S a n G i ro l a m o , i 5 0 7 .

C h e lli n i Pi e tro : B iga ll o 1 8 8 S a n J a c o p o so p t A rn0 , 1 5 1 4

’
. .
, ,

C h eru bi n i Lu igi i 3 00 S a n J a co p o tra F o ssi , i 2 7 9

’
. .
, ,

C h i m en ti J a co p o P a l a zz o A l e s
, ,
S a n Le o na rdo in A rce tri , i .

sa n dri P a l azz o Pa n
,
1 92
°
ii .
4 20
48 4

C hu rch es in En vi ro ns
S a n M i c h e l e , ii 3 5 9
S a n M i n i a to a l M o n te , f o rt ifi
.
I N D EX .

C l aude Lo rra i ne : U i z i, 1 1 5 5
C l ee f , J o a s : P a l a zz o P a nc ia tichi,
i 36 1
.
fl .

c a t o ns, i ii .
37 1 ; B as ilic a , C oc c h i , A n to n i o , i 30 1 11 282 . .

37 5 U li sse : C ert o sa , ii 40 1 .

G e ru sa l e mme C o ll e gi o Eu ge nia no , i 1 0 1
0

S a n P 1 e r0 1n .

Fi eso l e 3 1 7 , C o l o nn a , V i tto ri a , ii 8 5 .

S a n Pi e ro in P a l co ii 3 6 4 , . C o l u m n o f A b u n da n c e , i 1 4 6 .

S a n Qu i ri c o ii 44 6 , . S ta F e li c i ta, i 5 09
. .

S S Qu irin0 e G i u l e t ta ii 4 2 8
.
, . M a rs i 3 4 , .

S a n S a lv a do r a l M o n te ii 3 7 0 , . C o m p a gn i D i no i 4 1 , , .

S a n S te f a no in P a n e ii 34 3 , . C o mp a n y o f B uo nu o m i n i i 1 88 , .

S S V i t o e M o desto ii 4 2 2
.
, . La u de si i 3 3 4 , .

C i c e ro n i B e rn a rdi no : A rchbish
, S a n Lu c a i 380 , .

p s Pa lace i 1 07 0 1 S a n M i ch e l e i
’
o , .
, .

C ign a n i C a rl o : Ufii z i 1 1 5 4
, , . 1 72
C ig o li Lu do vi co C a rdi : M i se ri
, C o nf ra t e rni t y o f S c a l z i , i 3 9 7 .

c o rdi a i 9 5 Pa l a zz o N o n
, . C o nsa ni : Pi tti , ii 1 7 4 .

fi nito 2 59 ; P a l azz o A l e s
,
~
C o nse rv a to ri o in R ip o li , i 4 80 .

s a ndri 264 P a l a zz o M a r
, C o ntuc c i ( see S a n so vi no A ndrea )
t e lli 4 04 ,
P a l azz o C e nto C o n v e ne v o l e , p o e m o f N a ti o na l
Fi nest re 4 33 Pa l a zz o C o r , Lib ra ry , i 2 1 7 .

si n i 444 446 , P a l a zzo T o r , C o n v e n ts

rigia n i 500 ; P a l a zz o G u ic
, S t A mb ro gi o , i 3 5 1
. .

c ia rdini 5 1 2 P a l az z o Rinuc
, A nna l e n a , i 5 5 0 .

c in i 5 2 1 U,ffi i ii 1 3 3 5 z , .
, , S S A nnu nz i a ta , i 3 6 9
. .

3 9 7 2 ; d ra w i n g s 8 7
,
A ca , La C a lz a , i 5 4 8 .

d e m y 1 5 9 ; Pi tti 1 6 4 1 6 5
, , , , C a ma l do li : En vi ro ns, 1 1 4 5 2 .

1 66 , 1 72, 191 , 1 94 ; B ar C a rm i ne , i 53 7 .

g e ll o C a s te ll o 3 4 5 ;
,
26 1 , S ta C a t a ri n a , i 3 9 7
. .

S e ttign a n o 3 6 0 ; C e rto sa 40 1 , , C e rto sa : Envi ro ns , 1 1 3 96 .

C io l i : B a rg e ll o ii 2 6 9 , .
404
C i ma bu e G i o v a n n i ,S C ro ce i .
, . S S C l e m e n te e A g a t a , i 4 2 9
. .

3 2 9 ; S M a ri a N o v e ll a 3 39 .
, S C roc e , i 2 8 5 3 1 3
. .
-

4 59 U ffi i ii 2 A c a de m y z , .
, S D o na to a S c o p e to : Env i
.

146 ro n s, ii 4 2 5
.

C i nq u e La m p a de , l e , ii 1 9 6 . San G a ggi o : Envi ro ns, 1 1.

C i occh i , U li sse S a ri a N o v e ll a , . M 3 94
i S M a dda l e r1 a de P a zz i , L3 S7
’
.
45 3 .

C i o mpi , Re v o l t o f , 1 1 2 46 . S a n M a rco , i 4 08 c l o i ste r, .

C i o n e , M a estro : C a th e dra l B o a rd 409 re f ec to ry , 41 1

o f W o rk s , i c h a p te r h o u se , 4 1 1 ; c e ll s
'
1 04 . ,

C i o ne di La p o : H o spi ta l o f La 4 1 2 ; lib ra ry , 4 2 0 ; c h o ra l
Sc a l a , i 4 8 0 . bo oks 4 2 2 ,

C ip o ll a , P ro f e sso re : B a nca N a z i S ta M a ri a degli

. A n g e li , i .

fl
o na l e , i 346 .
39 3
C i rco l o Fil o l o gi co , S o c i e ty o f , i . S ta M a ri a de C a nde li i 360
.
’
, .

1 60 S . M a ri a N o v e ll a i 4 5 2 , .

C iu a gn i, Pi e tro : C a th e dra l , i 7 3 S p a n i sh C h ape l

'

.
47 3 ,

C iv ita l i, M a tte o : B a rg e ll o , ii 2 5 1 , . re f ec to ry 4 7 7 ; F a rma c i a

, ,

274 478
 IN D E X .

C o nv en ts 24, 4 1 , 43, 66 ; D ra w i n gs ,
M o n ti c elli i 3 3 7 ; 1 1 39 2
,
. . 8 2, 9 0 ; A ca de m y , 1 40 , 1 44 ,
M o n tedo min i, i 33 8 . 1 55 ; Pi tti ,
1 9 2 ; S D o me n i co , .

M ura te , i 2 7 8 , 3 39
.
3 00 , 3 O I
O gn i S a n ti , i 4 8 7 ; re f e c . C re sti, D o m e n i co ( see P a ssig na n o )
to ry , 4 8 7 C riv e lli : P a l azz o Pa nc ia tic hi, i .

P a ra diso Envi ro n s, 1 1 3 6 7 .
36 2
S a n G a ll o En vi ro n s, 11 3 2 2 . C ro ce a l T re bbi o , i 44 9 .

S a n Ro cco , i 4 2 9 . C ro m w e ll , O liv e r, ii 1 9 4 , 2 6 9 .

S a n S a lvi : En vi ro n s, ii 3 5 0 . C ro n a c a , I l P a l az z o Vecch i o , i .

S to S pi ri to , i 5 2 8
. . 2 37 , 247 ; SS A nn u n z i a ta .

V a nc h e to n e , i 4 4 7 .
3 7 9 ; P a l a zz o S tro zz i , 4 34
S a n D o m e n i co : En vi ro ns, ii . P a l a zz o G u a da gn i , 5 2 6 ; S .

29 9 S pi ri to , 5 2 9 ; S a n S a lv a do r,
U liv e to , M o n te Envi ro n s, ii . ii 3 7 0 ; B e ll o sg ua rdo , 4 2 2
.

2 6 0.
4 30 , 4 3 I C u rra di, F ra n c e sc o S a n M a rco ,
La Ve rn i a , ii 4 5 2 . i 4 2 5 ; Pi tti , ii 1 64
. .

C orb el l ini, C a m p o de i ( se e Pi a zz a C u rry , W R , ii 1 0 5 , 1 1 6

. . .

M
a do nn a ) C yb o , Ve ro n i c a , 1 1 3 2 6 .

C o rill a , M a ri a
’
M adda l ena
M o re lli i 405 , .

C o rna ro C a te ri na 1 1 6 2
, , .

Lu igi Pi tti 1 7 0 ,

C o rreggi o : P a l a zz o A l essa ndri i , . D a C ese na M a ruc e ll ia na Lib ra ry ,

2 64 ; P a l a zz o Pa ncia tich i i 39 8

fl
.
,

3 6 2 ; U ffiz i, 1 1 49 , 52 D a ddi , B e rn a rdo S C ro c e , i

fl
. . .

A c a de my , 1 40 3 3 2 ; P o rta S G i o rgi o , 5 0 7 .

C o rsi ni , A ndrea , i 5 4 5 . O r S a n M i ch e l e , 1 8 6
Bi sh o p Pi e tro , i 7 5 . D a do , Il M a estro de l U iz i e n
C o rt , C o rn e li u s U i z i e n gra vi ng s, g ra vi ngs ii 9 9 , .

11. 1 00 D a n di n i Pi e ro : S S A nnu n z i a ta
, .
,

C o rt esi , J a c o p o ( se e B o rgo gn o n e ) i 3 7 6 ; T a be rnac l e ii 1 99

.
, .

C o rto na , Pi e tro da : Pi tti , ii 1 6 2 , . D a n i e l e da Vo l te rra U fii i dra w ‘

z

1 69, I 74, I 7 7 , 1 88 i ngs ii 8 3 8 9, .

,

C o sta , th e h ill o f th e , ii 4 1 8 . D a nte A ligh i e ri i 2 40 2 5 4 ; 1 1

, , .
, .

C o rsi n i S ilvi o S M a ri a N o v e ll a ,
. 2 57 , 277, 1 0 5 ; c ited , i.

i 47 2
. 6 , 8 , 1 2 , I 4, 2 2 . 37 , 4 1 .
C o sta n ti n o de S e rvi , i 3 88 2 6 7 , 2 24 , 2 7 7 , 39 2 , 4 2 4
’
.
,

C o sto l i, A ri sto de m o C a th e dra l , i .

496 ; n 3 5 1 , 3 7 4, 39 2 , o

7 8 ; S C ro c e , 2 88 ; S M a ri a
. .
3 9 5 , 42 7
N uo va , 34 8 T rib un e o f Fra I gn a z i o : P a l az z o Ve c
G a lil e o , 1 1 2 9 2 . ch i o 1 2 40 ; 8 , M a ri a . .

C o sw a y, M a ri a : U fii z i, ii 1 2 3 . N o v e ll a 4 5 4 ,

R i ch a rd U ffiz i, 1 1 7 8 . Vinc en io : B a p ti ste ry i z

, .

C o u nc il o f G re ek a nd La ti n 3 2 ; U ffiz i, 203 ; Bar

C h u rc h e s, i 7 5 , 1 40 . ge ll o ii 2 54 , .

C redi , Lo re n z o C a th edra l , i 7 0 ; . D a v a nz a ti B e rn a rdo i 1 6 4

, , .

P a l azz o del T u rc o , 1 60 ; Pa D a vi d th e o f M i c h a e l A ng e l o
, , ,
1 1.

l a zz o S tro zz i , 4 3 5 P a l a zz o I34
F ra n so ni, 4 8 3 ; P a l a zz o T o rri D a vy , S ir H u mp h re y , 1 1 2 9 3 .

l a n i, 5 0 1 Uffi z i, ii 1 5 , 2 3, D e i, M a tte o B a rg e ll o , ii 2 60
g . .
 486 IN DE

D el F ran c i o n e : P a l azz o Vecch i o ,

i 241
.

D e ll o D e lli : S M a ri a N u o v a i .
, .

3 4 9 S M a ri a N o v e ll a 4 7 3
.
,

D em i do ff C o u n t N i ch o l a s ii 4 34
, , .

P ri nc e P a o l o i 5 04 ; ,
.

ii 3 2 3 .

D esf o n ta in es, Re né , 1 1 2 8 8 .

D esi de ri o da S e tti gna n o : S a n Lo r

e nz o , i 1 1 5 ; P a l a zz o A l es
.

s a n dri , 2 6 5 ; S C ro c e , 3 0 1 ; .

S M a ri a N o v e ll a , 46 1 , ii
. .

359
D esi de ri u s, K i ng of Lo mb a rds, 1 1.

37 3
D i a v o l o , I l , da G io v a nm da B 0
’

l o gn a i , . 1 47
D i o sc o ri de s , th e : Uffiz i i nta gli , 1 1.

1 1 7
D o l ce , P a l azz o M a rte lli i
C a rl o : , .

4 04 ; P a l a zz o S t ro zz i 4 3 5 ; ,

P a l azz o C o rsi ni 44 3 444 , ,

4 4 5 , 44 6 Va nc h eto ne , 44 7
P a l a zz o Pi t ti , 5 5 7 U fiiz i, ii .

43, 7 2, 7 5» 76, 78 Pi tt i ,
D o l fi , G i use pp e , i 1 09

fl
.

D o me n i c h i n o P a l a zz o M a rte lli , i .

4 04 ; P a l a zz o T o rrigi a n i , 5 00
U ffi z i, ii 7 2 D ra w i ng s, 9 1
.

D o m e n i co di P0 10 U iz i m e da l s,
‘

ii . 1 27
D o n a te ll o : B a p ti ste ry , i 2 7 , 3 4, .

3 8 ; C a th e dra l , 4 8 , 5 6 , 5 7 ,
6 5 , 66 . 6 8 . 7 3 , 7 4. 7 8 ; San
L o re n z o , 1 1 8 , 1 2 1 , 1 2 2 , 1 3 3 ;
P a l a zz o S pi n i , 1 6 1 Via C a l
z a io l i, 1 6 7 O r S a n M ich e l e ,
1 80, 1 8 2 Lo ggi a de
’
1 77,
Lan zi ,
1 94 ; P a l azz o Qu a ra
tes i ,
2 60 P a l a zz o A l e ssa n dri ,

265 S C ro c e ,
. 29 1 , 298,

335 S M a ri a
A rc h iv e s, .

N u o va , 3 5 1 P a l a zz o P a nc i a
ti c h i , 3 6 3 Via Ri c a so li , 3 9 5
P a l a zz o M a rtelli , 404 ; Va n
c h e to n e 44 7 P a l a zz o Pi tti ,
,

557 Uffiz i, ii 1 3 1 B ar .

274
D o na ti , C o rso , i . 265 11 . 2 4 8 , 3 50
4 88 I N D EX .

Fa mili es C a th e d ra l , 3 1 3 A rx ,
S tro zz i . i 4 34 , 4 3 9 , 44 1 , 46 2 . 3 1 6 C o nv e n t o f G e ro
46 8 ; ii 2 3 , 4 2 2 , 4 3 0, 4 3 8 l a m ites, 3 1 8 ; O ra to ry
S tu f a , i 5 36 ; ii 3 3 2 o f S a n t A n sa no ,
’
. .
31 8
T e mpe ra ni, ii 2 49 , 2 7 5 . Fieso l e , A nd re a di : O gn i S a n ti ,
T o rna b u o ni, i 4 3 9 , 4 6 4 . i 48 7 .

T o rrigi a n i , i 499 . F ra G i o va nn i da ( se e
U b e rti, i 1 7 2 . A n ge li c o , F ra )
U b e rti n i , i 304 , 3 34 . F il ica ia , Vin c e nz io , i 302 .

V a n n i n i , i 346 . F il ipe pi ( see B o t ti ce lli )

V e c c h i e t ti , i 1 4 7 , 4 5 6 . F in igue rra , M a so : C a th e dra l B o a rd
V e ll u t i , i 3 20 . o f \Vo rk s , i 1 0 3 ; V ia Va c .

V e spucc i, i 4 88 . c a re c c i a , 1 9 8 ; P a l a zz o Pi tti ,

V il l a n i, i 34 3 .
557 U fii z i, ii 9 4 B a rge ll o , .

V i sdo m i ni , i 1 2 . 260
Fa nelli , M a estro P a l azz o Pi tt i , i . . F io re n tino , F ra nc esc o : T a be rn acl e ,
555 ii 1 9 8
.

Fa ntacch io tti O do a rdo : U ffi z i , i

,
. F l o re nc e , a nce s to rs o f , i 1 .

2 04 ; S C roc e , 2 99 , 300 ;
. o rigi n o f na me , i 1 .

Fi eso l e , 1 1 30 7 . d ivi si o ns o f c i ty , i 9 .

F a rc e l l i C e rto sa , ii 407 . w a ll s o f 1 0 1 7 ,

F a rnese , Pi er, i 6 6 . ea rly h i sto ry , i 1 6 .

-

F a u v ea u , M dll e de : S C roc e , i . . . v i ro ns i 7 ; ii 2 9 7
en , . .

328 Fl o ri n F l o re nti ne ii 1 2 5
, , .

F e de righ i, Bi sh o p B e n o zz o , ii 4 2 2 . F o ggin i G i o v B a tti st a : S A m

, . .

F e l tri ni A ndrea : P a l a zz o Quara

, bro gi o i 3 5 2 ; SS A nnu n
, . .

t e si i 4 8 5 , . z i a ta 3 7 6 ; C a rm i ne 5 4 5
, ,

F edi : Lo ggi a de La nz i i 1 9 7 ’
, . Fo nt a na A nn iba l e : Pa l a zz o C a p
,

F e lice Bi sho p i 3
, , . p o ni i 3 6 5 : Uffiz i o rigi na l
, .

F e rre rii B a rto l o m me o : N a ti o na l

,
d ra w i n gs ii 9 2 I n tagli 1 1 5
, .
,

Lib ra ry i 2 1 5 ,
. Fo rtezz a del B asso i 4 3 1 , .

Z a c ch a ria s N a ti o n a l Li S a n G o r o i 5 06
i gi , .

b ra ry i 2 1 5 Fosco l o Ugo i ii
.

. .
, , , .

F erri C y ru s Pi tt i
, . , 4 24
F e rrucc i A ndre a C a th e dra l i 6 7
,
.
, .
°
F ra An ge li co ( se e A ng e lic o )
T a be rna c l e ii 1 9 7 , . F ra B a rto l o mmeo ( see B a rto l om
Fi eso l e 3 1 4 , me o )
F ra n cesc o : C a th e dra l i , . F ran c a vill a Pi ero , : S . C roc e , i .

7 5 S a n Lo re n z 1 16 o , 3 3 4 ; S S A n n u nz i a t a , 3 7 8 ;.

P a l a zz o Vec ch i o 2 3 7 , S M a rco , 4 2 5 ; S T ri n i ta,

. .

S ta T ri n i ta 439 . , 4 90 ; U fiiz i, ii 7 5
‘
.

Pi e tra D u ra , 38 7 F rancesc h i ni , B a l da ssa re ( see Vo l

F errucc i o F ra ncesco i 5 2 6 ; 1 1
, , . . te rra no )
F ra nce sco , d A n to n i o : La u re n
’
432 »

P e v ere , Pi e rre i , .
44 3 T a p estri e s , t i a n Lib ra ry , i 1 3 8 .

ii . 2 03 d i C ri sto f a n o ( se e F ra n
Fi c i no M a rsili o i
, ,
. 66, 2 1 4, 46 5 c ia bigio )

ii .
2 80 , 33 9 , 3 4 1 G i ro l a mo : Ufiiz i me ‘

Fi eso l e , Etru sc a n c i ty i , . 2 ; 1 1. da l s , ii 1 2 7 .

Ro m a n T h e a tre , d U be rti no ( se e B a c
’
30 5
3 1 0 ; M u seu m , 31 1 ; c h ia cc a )
 I N D EX .

F ra nc i a Fra nc esco P a l azz o Fra n

,
G a l a ntin i, I pp o li to , i 44 7 .

so n i i 4 8 4 Uffi i dra w ings

, . z
,
G a lil e i , G a lil eo N a ti o n a l Lib
ii 8 4 A ca demy 1 4 2
.
,
ra ry , i 210 ; S .C ro c e , 303 .

F ra n cia b igio M i se ri c o rdi a i 9 5 , .

3 2 8 ; Via de ll a C o sta , 5 06
Pa l azz o A l essa ndri 2 6 4 ; S , . Uffiz i, ii 7 4 ; Pi tti , 1 7 3 .

M a ri a de C a n de li 3 6 0 ; SS ’
, . T ribu n e , 2 9 2 A rce tri , 4 1 6 ,
A n n u n z i a ta 3 7 3 3 7 4 Pa , , 4 1 8 , 4 1 9 ; B e ll o sg ua rdo , 4 2 4
l az z o M a rte lli 4 04 ; S to , . G a ll a Pl a c i di a , i 40 .

S pi ri to 5 3 0 ; La C a l z a 5 49 ;
, ,
G a ll o , S a n ( se e S a n G a ll o )
U ffi i ii z44 , 5 0 ; th e
.
,
G a ll u zz o , C o mm u ne o f , ii 3 9 5 .

S c a l z o 1 6 0 ; R o e a no 3 5 9 ;
, v zz , G a m ba ssi , F ra ncesc o da C a th e
P o ggi o a C a i a no 4 39 ,
d ra l , i 6 8 .

Fra n ci o n e del : P a l a zz o Vecch io

, ,
G a m b e re lli ( se e Ro sse lli n o , B e r
.

i 24 1. n a rdo )

F ra nc i s S t : A ca demy
, . 1 47 , 11. G a m b e ru c c i, C o si mo S M a ri a .

S t di P a u l a ii 4 2 1 , . N o v e ll a , i 4 7 8 .

F ra nco G 1 o v a n B a tt : Pi tti 1 1
, .
, . G a m es
I 77 C a l c io , i 2 8 1 .

F ucc io , Va nn i , i 4 9 6 . P a ll a e M a gli o , i 36 6 .

Fu l igno , Bi sh o p , i 46 1 . o f P e a sa n try , i 5 54 .

G a ra v a gli a G i o vi ta : U ffiz i engra v

,

G 1 ngs , 1 1 . 1 04
G a rde n s
G a ddi , A g n o l o : C a th ed ra l , i 6 6 ; . B o b o li i 5 5 2 .

fl
,

S C ro c e , 3 1 4 , 3 2 4 ; S
. . B o ta n ic i 3 6 6 ; 1 1 2 8 9
, . .

A m b ro gi o , 3 5 3 S to . C a pp o n i i 3 6 6 , .

S pi ri to , 5 3 2 , 5 3 4 ; C a r di S a n M a rc o i 3 9 7 , .

m i n e , 54 3 ; U i z i, ii . O rti O rice ll a ri i 4 8 1 , .

6 ; O rigi n a l D ra w i n g s T o rrigi a n i i 5 4 8 , .

80 A c a demy , 1 49 G a rgio l l i D o m e n i co
, S M a ri a .

B a rgell o , 2 48 , 2 5 3 , 2 6 1 N o v e ll a i 46 7 ,
’

S a n M i n i a to , 3 8 0 G a ro f a l o B en v e n u to Pi tti 1 1 1 7 5
, , .
,
G a ddi : B a p ti ste ry , i 36 .
93 I
C a th edra l , 6 4 ; S C ro ce , . G a tes o f C i ty , i . 1 04 7
32 2 P a l a zz o C o rsi ni , P o rta )
( se e
44 6 G e mign a n o
, G i a c i nto, P a l a zz o
T a dde o : C a th e dra l , i 4 5 . C o rsi n i i 446 Arch iv es
, .

O r S a n M i ch e l e , 1 7 4 ; S M a ri a N u o v a 3 5 0
.
,

S C ro ce , .
3 06 , 3 08 , G e ntil e da F a b ri a no : A c a de my 1 1 , .

3 1 4, 322 ; S M a ri a . I 49
N o v e ll a , 4 7 3 P o n te S . G eo l o gy Env i ro ns o f Fl o re nc e , i .
T ri n i ta, 490 P o n te 28 1
V e cc h i o , 4 9 1 ; S F e li . G e o rge o fi l i, S o c i e ty o f , 1 1 3 0 3 .

c i ta , 5 1 1 ; U fii z i o rigi G e rini, L o ren z o : A c a dem y , ii I 5 1

‘
.

na l dra w i ng s, ii 8 0 ; . C e ri n i , N i c o l o : C a th e dra l , i 6 1 .

A c a de my , 1 48, 1 49 ; O gn i S a n ti, 4 8 7 ; S F e li .

S a n M i n i a to , 3 8 0 , 3 8 4 ; c i ta, 5 1 1 ; U ff i z i , 1 1 6 ; .

I m p ru n e ta , 4 1 5 A c a de m y , 1 3 6 , 1 49 , 1 5 1
G a et a n o , S c ipi o Pi tti , ii 1 8 4 . S a n M i n i a to , 3 8 1
C a tf u ri, M a e stro G i o rgi o : Ufiiz i, Pi e ro : B iga l l o , i 9 1 .

ii . 121 G eri n o o f Pi st o i a Uffi z i , ii 1 2

VO L . II .
490 I N D EX .

fl
G h e ra rdi n i , A l e ssa ndro : T a b e r N i c c o l o, 5 05 ;
‘

S .

n a el e , 1 1. 1 97 S a n F e li ce , 5 5
2 ;
G h e ra rdo : T a b e rn ac l e , 1 1 1 9 7 . S S pi ri to ,
.
5 33 ;
dell a N o t te ( se e H o nt U iz i, ii ‘
, . 15 31 ,
h o rst ) 69 ; En g ra vi n gs,
da M o n te : La u re nti a n 1 00 ; Pi tti , 1 8 7
Lib ra ry , i 1 3 8 . G ibbo ns, G ri nli n g : B a rge ll o , 1 1 .

G h eri , A gno l o S ta F e li c i ta, i 5 1 1

. . 26 1

G h e tt o , th e , i 1 4 1
. G igl io l i, En ri c o , 1 1 2 8 9 .

G h ibe rti , Lo re n z o B a p ti ste ry , i . G i n e st re , M o n te , ii 43 7 .

2 5 , 3 0 ; C a th e dra l , 5 3 , 6 8 , C i no ri C h i na F a c to ry , ii 34 7 .

7 2 O r S a n M i c h e l e , 1 78, G i o rda n o , Lu c a : S M a dda l e na .

de P a zz i , i 3 5 9 ; S S A mnu n
’
1 7 9, 1 83 ; S Croc e , 2 9 1 ,
. . .

304 S M a ri a N o v e ll a , 46 3
. z i a ta , 3 8 0 Pa l azz o Ri cca rdi ,
N a ti o na l Lib ra ry , 2 1 2 ; Via 402 ; C a rm i ne , 5 4 5 ; Ufii z i
S . Egi di o , 34 8 U ff i z i , ii . dra w i ngs , ii 1 0 1 .

D ra w i n gs , 8 1 B a rge ll o , 2 6 3 , G i o rgi o ne : U ffi z i, 1 1
’

57 , 6 1 ; .

2 66 ; Fi e so l e , 3 1 8 D ra w i ng s , 8 6 ; Pi t ti , 1 7 9 ,
G h i rl an daj o , B e n e de tto S M a ri a . 1 84
N o v e ll a , i 4 6 1 . G io ttin o : B iga l l o , i 9 1 P a l azz o
.

D a vi d : S t A nnu n .
~
Vecch i o , 2 2 2 ; S C roc e , 3 3 3 .

z i a ta , i 3 7 0 ; S . . A cc a de m i a F il a rmo nica , 3 40
M a ria N o v e l l a , 46 5 S A m b ro gi o , 3 5 3 ; U ffi z i,
.

D o m e n i co : C a th e 11 . 3
dra l , i 4 9 ; Pa
.
~
G i o tt o : C a m p a n il e , i 4 5 ; C a .

l a zz o Ve cc h i o , 2 22 th e dra l , 5 4 , 6 6 ; B o a rd o f
Pa l azz o Pa ncia ti Wo rk s, 1 05 ; S C roc e , 308 ,

fl
.

c h i, 3 6 3 ; I nn o 3 1 8 , 3 2 6 ; V ia C oc o m e ro ,
c en ti , 3 8 5 , 3 86 ; 3 9 5 ; S a n M a rco , 4 2 4 ; S
S a n M a rc o , 4 1 2 ; M a ri a N o v e ll a , 4 55 ; O gni
S T ri n i ta, 44 1
. S a n ti , 4 8 7 ; U i z i, 1 1 2 ; .

S F re di a n o , 5 4 6
. A c a de my , 1 3 8 , 1 46 ; B a r
S M a ri a N o v e ll a ,
. ge ll o , 2 5 7 S S M a ri a e Lo .

4 6 4 , 4 6 6 ; S Luc i a . re nz o , 3 5 8

de l P ra to , 4 8 2 ; G i o v a n n i d A st e : S C roc e , i
’
. .

P a l azz o F ra nso ni, 304

4 8 4 ; O gn i S a n ti , da B o l o gn a ( see B o l o gna )
4 8 6 , 4 8 7 ; U fiiz i, ( l a Fi e so l e ( se e A n g e li c o F ra ) ,

ii 2 4 , 6 7 ; D ra w
.
~
de ll e C o rn i o l e U fii z i ii 1 1 5 , .

i n gs , 8 2 , 8 4 , 8 9 di D o nn i no B iga l l o i 9 3 ,
.

A c a de my , 1 42, di S a n G i o v a nn i : P a l azz o
1 54 ; Pi tti 1 9 3 , C o n te G a lli i 2 6 1 ; Pa , .

T a b e rn a c l e 1 99 ,
l a zz o A n tel le si 2 8 3 ; S ,
.

B a rge ll o 2 6 6 , C ro ce , 3 1 0, 320 ; Via

Ri do l f o : B iga ll o i , . G h ibe lli n a , 340 ; S M a ri a .

9 3 ; Pa l a zz o V e c N u o v a , 3 4 8 ; O gn i S a nti ,
ch i o 242 ,S Ma .
4 86 , 4 8 7 ; S F e li c e , 5 2 6 ;
.

ria de gli A n g e li V ia de S e rra gli ,

’
, 54 7 ;
3 9 4 P a l a zz o C o r P o rta Ro ma n a , 54 9 , 5 5 0 ;
s i n i 4 44 ; Pa l a zz o
, U ffiz i, ii 7 2 . Pi tti , 1 7 6
T o rrigi a n i 5 02 ; ,
T a b e rna c l e s, 1 96 , 1 98 ;
4 92 I N DEX .

G u a l dra da , La B uo na , i 4 1 . H o rse races, i . 258

G u a rda m o rto , to w e r o f , i 8 4
’
. H ospi t a l o f
G ua rda vi a , di st ri c t o f , ii 4 30 . S an B o n i f a z i o i 4 30 , .

G u elph a n d G h ibe lli n e f a c ti o ns, F o u ndli n gs i 4 80 , .

i r6 é
. . S a n G i o v a nn i di D io 1 , .

G ue rc i n o P a l a zz o C o rsi ni , i 444 . ii 3 6 4 .

Pa l a zz o F ra n so n i, i 48 5 . I nno c e n ti 1 3 8 4 , .

U Ffiz i, ii 4 9 , 5 2 7 2 ; D ra w.
-
S Lu c i a i 49 8
.
, .

i ngs, 8 7 , 9 1 S t M a tth e w i 3 9 6
.
, .

G ugli e l mo , bi sh o p o f Are zz o , i 40 . M ili ta ry i 4 2 9 , .

di M a rc ill a ( see Ma r S ta M a ri a N uo v a i
.
, .

c ill a ) 3 50
G u i di , C a sa , i 5 2 4 . S an Pa o l o ,
G u i do o f A rezz o , ii 4 5 3
, . T e mpl a rs,
G u il d o f
A b u nda nce , i 1 7 3 , 1 8 4 .

A dv o c at es, i 1 8 2 .

A p o th ec a ri es, i 1 4 3 , 1 7 6 . I, J
B u tch e rs, i 1 8 2 .

C a l ima l a , 1 1 0 5 , 1 5 o , 1 7 9 , 1 8 3. J aco po ( a l C as e n ti no : S . M a ri a
C arp ente rs, i 1 80 . N o v e ll a , i .
4 7 1 ; Ufii z i,
Exch a nge , 1 79 T a be rn a c l e , 1 96
ii . 17 °

F a rri e rs, 1 1 7 8 . da Em po li ( se e C h i me n ti )
F 1ax i de ll a Qu e rc i a C a th e dra l ,

fl
.
,

F urri ers i , 77
. 1 B a rgell o ii 2 7 4 i .
49 , .

H o sie rs, i 181 da S e tt ign a n o i i 3 9 1 , .

N o t a ri es , J esi S amue l e : UfTi z i e n gra vi n gs

, ,

S k, i . ii 1 04 .

T a nne rs, i . 1 77 I m p ru ne t a M a do nna o f 1 1 4 1 4 , , .

Vi nt n ers i , . 1 5 8 ; A pp endi x , I n f a ng a ti M a n gi a de gli i 1 7 2

, , .

5 66 I ngesua ti th e i 5 4 8 , , .

Wo o l i , . 1 51, 1 78 I n gh i ra m i F ra nc esc o 1 1 1 8 1 30 3 , , .
,

G u i tton e , F ra , da A re zz o , i 39 1 I n gres Uf fiz i ii 7 3 ’

fl
.
. ,

J o rda ens H a ns : Pa l azz o F ranso ni

, ,
i 48 5
.

J ust i ni an Pa ndects o f i 1 39
, , .

H a m il to n , G a vi n U i z i, 1 1 6 3 .

H a nn iba l ii 3 08

fl
.
,

H a rl o w , G eo rg e U ffiz i, 1 1 7 3 .

H a w k w oo d Sir J oh n , i 6 1 ; 11
, . .

344 , 4 2 2
H a y ter, G U i z i, 1 1 6 3
.
‘
. K a rch e r N i ch o l as T a p estri es ii
, , .

H e a l e y , Uffiz i , ii 6 3 . 2 03
H e mli ng ( see M em li ng , H an s) Ka u fima nn Ang e li c a : U fiiz i, 1 1 7 2
'
‘
, .

H e rc u l e s, i 1 K em bl e J o h n, c i ted Uffiz i, ii

flfl
.
, .

H o bb e ma , M i nde rh ou t Pa l a zz o 1 10
T o rrigi a n i , i 5 04 . Ke tte rick Bi sh o p J oh n i , , .
3 3
0
H o lb e i n , H a n s : P a l a zz o del T u rc o , Kirku p ii 2 5 7 , .

i 1 6 0 ; U i z i, ii 5 4, 7 2
. . K n e ll e r S ir G odf rey U fii z i ii 7 3
, , .

H o n th o rst, G e ra rd : U i z i, ii 7 3 , . K ra n a ch Lu c as : U ffiz i ii 5 3 5 5 ;
, , .
,

7 4, 7 5 Engra vi ngs, 1 01
 I N D EX .
49 3

U ffiz i, 11. 7 6 ; A ca demy , 1 59

Pi tti 1 9 1 ,

L ab el l a rdiere , ii 2 88 . Lily B a dg e o f Fl o re nce i 2

, , .

L a i a ti c o , M a rch ese N e ri, i 2 99 . Li nnaeus C h a rl es de ii 2 8 8

, , .

La mb e rti , N ic o l oz C a th edra l , i Li o n k e ep er i 2 2 6
’
-
.
. ,

49 , 5 1 7 5 7 F ra Filipp o : S a n Lo renz o ,

Lam i , A b a te G i o v a nn i , i . 1 97 , i 1 1 7 P a l azz o A l essa n

.

302 . 34 7 ; ii .
3 20 dri 2 6 4 P a l a zz o Ric ca r
,
a

L a ndi n o , C ri sto f a n o , i 46 5 ; 1 1 . . di 402 S M a ri a N u o v a

,
.
,

2 80 3 5 0 ; P a l a zz o P a n cia tich i ,

J a co p o : O r Sa n M i 36 1 I nno c e n ti 38 5 ,

ch el e , i 1 84 . C a n to de ll a C uc u li a 5 3 6 ,

T a dde o : P o n te S T ri . U tfi i ii 1 4 3 9 ; D ra w z , .
,

n i ta, i 4 90 . i ngs 8 3 ; A ca demy , ,

L a ndo da G u bbi o , ii 1 2 5 , 2 44 . 1 44 1 51 ; Pi tti 1 9 1

, , ,

M i ch e l e , i 2 4 6 , 4 2 9 . 1 92 1 9 3 ; SS M a ri a e
, .

L a n do r, Wa l te r S a v a g e , ii 305 . L o re n z o 3 5 8 ,

L a n f re din i, J a c o p o d O rsi n i , 1 1
’
. Filippi no : B a di a i 2 7 0 ; , .

41 9 P a l a zz o S tro zz i 43 5 ,

z
L a n i , A b a te Lu igi , i . 2 98 P a l azz o C o rsi n i 444 , ,

La pi , N i c o l o di, i 4 2 6 . B a rge ll o , 44 5 ; S M a ri a N o v e ll a .
,

ii . 2 53 4 6 2 ; P a l a zz o F ra n so ni ,

La p o ,J a co p o T edesco : B a p ti stery , 4 8 4 ; P a l a zz o T o rrigi a n i ,

i . P o nte a ll a C a rra i a , 5 02 ; S S pi ri to 5 30 ; .
,

489 C a rm i ne 5 3 8 Uffi i, ii ,
z .

L a rgil liere , N i co l a s : Ufii i 1 1 5 5 z , . 27 2 8 ; D ra w i ngs

, 81 , ,

L asc a ( see G ra zz i n i A n to n F ra n ) , . . 82 , 91 84,A ca 89,

L a ti n i B ru n e tto i 2 5 7 3 20 4 33
, , .
, , de my , 1 5 3 , 1 5 7 T a b e r °

La u de si th e i 1 7 2 ; ii 3 2 8
, , . . n a c l e , 1 9 8 ; S e tt1 mo , 44 8
La u ra ti Pi e tro : U ffiz i 1 1 5
, , . Lo re nz o Uiii z i, ii 13. .

La zz a ro M a estro : S Ma ri a N O
, . A ca de my , 1 59 M al °

v ell a i 4 7 2 , . m a n til e 4 5 1 ,

Le a der J o h n T e m pl e 1 1 3 5 6
, , . Lipsiu s, J u stus : Pi tti , 1 1 1 7 1 .

Le B ru n M a da m e : U ffiz i ii 7 2
, , . Li ra , c o i n , ii 1 2 6 .

Le ge nd Wi n d a n d D e vil i 1 0 5
, , . Lo ggi a degli A di ma ri ,
Le igh to n S ir F re de ri ck : Uffi z i
, , de l G ra n o , i , 2 7 6
ii 7 3 d e La n z i , i 1 9 2
’
. .

Le ly S ir P e te r : Ufii z i 1 1 1 04 ;
, , . M e rc a to N u o v o ,
Pi tti 1 94 , N egh ito sa , La , i 1 68 .

Le o na rdo da V a ll o m b ro sa Lo g Ruce l l a i, i 4 3 7 .

gia de La n z i 1 1 9 3 Longh i , G i u se pp e Uffiz i e ngra v

’
o
.
,

da V i n c i ( see V i n c i ) i ngs ii , . 1 04
Le o n i Le o ne o f A re zz o : Uffiz i
, , Lorenz e tti , A m b ro gi o ( see B al
m eda l s ii 1 2 7 1 2 8 , .
, de se )
L ib ra ry La u re n ti a n i 1 3 5 1 40
, , .
-
Pi e tro ( see Lau ra ti)
M a ru c e l l ia n a i 3 9 7 , . Lo re nz o di Pi e tro ( se e Ve cch i e tta )
N a ti o n a l i 2 0 7 , . Lo re nz i S to l do : B o b o li
, ,

P a l a ti ne i 2 0 7 , . Lo tto Lo re n z o : Pi tti ii 1 7 8
, , .

L ib ri Pi e tro : Va n c h e to n e
, , Lou i s o f T o u l o u se i 2 9 0 , .

L igo i J ac o p o S M a ria N o v el l a
zz , : .
, Lu ca s v a n Leyde n Ufii i 1 1 5 3 z , .

i 4 5 7 ; O gn i S a nti 48 7 ;
.
, e n gra vi ng s 1 0 1 ,
 4 94 I N D EX .

Lu i n i ,B erna rdi no : Ufiiz i 1 1 5 2 , . M a rc An to n i o : Uffi z i en gra vi ngs ,

Lu na F ra n cesco de ll a G u il d o f , ii 9 7 , 9 8 99
S ilk i 1 5 5 I n n oc e nt i 3 8 4
, .
, M a rc o D o me n i co , P a l azz o Vec
Ri na l do de ll a : B a rge ll o 1 1 , . ch o , i i . 2 39
273 M argare t of A u st ria : Ufiiz i, 11.
Lu p o , G io v A n to n de l
. S . . 1 16
M i n i a to , 1 1 3 8 6 . of O rl e a ns, 11 .
7 5 , 44 3 ,
Lung A rn o Acc iaj o l i, i 4 90
’
.

Lu th e r, M a rt i n , i 5 34 ; ii 5 5 . . M a rgh e ri to ne o f A re zz o S C roc e .
,

i 326
.

M arc ill a , G u gli e l mo La u rent i an

Lib rary , i 1 3 5 .

M ari n i , A n to ni o i i , . 257
M acch i a v e lli , N i co l o, i . 29 7 , 5 3
1 ; M arign o l l e Ru s tico , ,
1i. 42 5
ii 2 7 3 , 4 1 3 M ari o D uca di C a ndi a 1 i 3 2 6
, , .

M acch i e tt i , G i ro l a mo : S Mari a . M ari o tt o G i o v F ra n di : C a th e

,
. .

N o v e ll a , i 4 5 6 . d ra l i 7 9 8 0 , .
,

M a ff e i , D o n T i mo teo : 1 1 3 0 1 . Marlbo ro ugh D u k e o f : P i tt i 1 1 , , .

M agl ia b ec ch ia , A n to n i o , i 207 , . 1 69

44 8 M arsili Lu igi , i 7 5
, .

M agnasco , A l essan dro : Pa l az z o M arsu pini, C a rl o , i 6 5 , 3 01 ; 11 . .

T o rrigi a n i , i 5 0 3 . 2 80
M aj an o , B e n e de t to da ( see B ene M a rti ne ll a , th e B e ll , i 1 5 4 .

de tto ) M a ruc e l l i, F ra nc esc o ,

M a i na rdi , S e bas t i a no S C roc e , i . . M a rz o cc o , th e , i .

3 32 S M a
. ri a N o v e ll a , 46 5 M asac c i o : S M a rti no , i 2 5 3 . .

U ffi z i, ii 1 8 . S M a ri a N o v e ll a , 4 55
l
.

M a l ta , K n igh t s o f : B a rge ll o , ii . P a a zz o T o rrigi a n i , 50 1

2 50 C a rm i ne , 5 3 7 ; Ufiiz i, 1 1 4 3 , .

M a n et t i , A n t o n i o : S S pi ri t o ,
. i .
7 1 D ra w i ng s , 8 2 ; A ca de my ,
5 29 1 51
G ia no z z o : C a th e dra l , i . M aso F in ig ue rra ( see F in igu e rra )

fl
6 1 , 6 5 T a be rn a c l e , ii . M a til da C o un t e ss i , , .
5, 1 07 ; ii .

I 97 453
Ru tili o C e rt o sa , 1 1 400 . Ma ta s , C roce , i 2 8 7
S . .

M a ni n : D an i el e , i 2 94 . M a th a m , Ja co b : U i z i e n g ra vi ngs ,

M a nn i , G ia n nic o l o : S S Anunu . 11. 1 02

z i ata , i 3 7 8
. M at teo di A cq u a spa rte B a rge ll o ,

M a n o z z i ( see G i o v a n n i di S a n ii 2 5 8

fl
.

G i o v a n ni ) M a tte ucc i C a rl o 1 1 2 90 2 94
, , .
,

M a n tega z z a , P ro f , 1 1 2 8 1 . . M a tsys Que n ti n : Ufh z i ii 7 2

, ,
.

M a n teg n a , A ndre a P a l az z o Pa n M a zz o li n o o f F e rra ra P a l a zz o ,

c ia tic h i, i 3 6 2 ; Pa l a zz o
.
5
F ra nso ni i 4 84 ; U i i ii , . z , .

M a rte lli , 404 Uffiz i, ii 48 .

5 3 ; Pi tti 1 7 6 ,

5 3 ; Eng ra vi ng s, 9 5 , 96 M azz u o l a F ra nce sc o ( see P a nn i

,

D ra w i n g s , 8 7 gi a no )
M a ntua , El eo no ra , D u ch ess o f M e di c i A l e xa nde r C a rdi n a l i
, , , .

P i tt i , ii 1 8 4
.
44 7
M a ra t ta , C a rl o : P a l a zz o Pa nc i a A l exa nde r, th e M oo r, i .

t i ch i , i .
3 6 2 ; Pa l a zz o C o r 1 26 , 1 3 2 , 2 4 9 , 40 1
si n i , 444 ; Pi tti , ii 1 69 . ii 1 2 5 , 1 2 7 , 336
.
496 IN D EX .

M ino da F i eso l e : P al a zzo A l es M o n tugh i di st ri c t

, o f , 11 .
336
sa n dri , i 2 6 5 ; B a di a , 2 6 9 ;
. Mo ra n di F ra nce sc o : C a th e dra l i
, , .

S C roc e , 3 2 8 ; S a n t A m 65
’
.

b ro gi o , 3 5 3 ; S S A nnu n . M o ra n din i, F ra nc esc o O r San

z i a ta , 3 80 ; Via de ll a Fo rca , M i c h e l e , i 1 84 .

40 5 ; C as a S t u f a , 5 3 6 ; B a r M o re , S ir A nth o ny Ufiiz i, 11 7 3 .

ge ll o , ii 2 66 , 2 7 2 , 2 7 3 ; . S ir T h o m as 1 1 5 4 , .

Fi eso l e 3 1 5 , M o re lli , A n to n i o O rti O ric e ll a ri,

M i nt ( Z ecca Ve cch i a ) i 33 7 , . i 48 2
.

M i ra ndo l a Pi co de ll a N a ti o na l
, , M o re t to , A l essa ndro : Uffi z i, 1 1 5 8 .

L ib rary i 2 1 5 ; S Am , . . M o rg a n te B o nil l i : Pi tti , ii 1 7 5 .

b ro gi o 3 5 2 ; S a n M a rco
, ,
M o rgh e n , Ra ff a e ll e , i 300 ; Uf .

4 2 5 ; ii 4 0 . fi z i, ii 7 3 ; En g ra vi n gs , 1 04 ;
.

M i se ri co rdi a I n st i tu ti o n i 8 3 M o n tugh i, 3 3 7

fl
.

8 6 9 4—
,

, 98 M o ro , Ve n tu ra da B iga l l o , i 8 9 .

M oc etta o f Ve ro na : Uffiz i e m M o ro ne , D o m e n ico Pi tt i , ii 1 7 5 , .

gra vi n gs ii 96 , . 1 76
M oc h i O ra z i o e F ra nc e sc o U i z i
, ,
G i o v B a tt : Uffi z i, 1 1 5 8 ,
. . .

ii 1 1 8
. 61
M o na co Lo re nz o : O r S a n M i
, M osa i cs in B a p ti ste ry , i 3 5 , 3 7 .

ch e l e i 1 8 5 ; S M a ri a M o zz i , Bish o p A nd rea de , 1 1 ’
.

fl
. .
,

de gli A n g e li 3 9 3 S T ri n i ta , .
, 37 4
44 0 ; Uf fiz i ii 7 6 3 ; A ca , .
,
M uge ll o Va ll e y
, 333 o f, 11 .

de m y 1 4 8 1 5 0 , ,
M ugn o n e , s tream o f , i 9 .

M o n a l di B o n figl io ii 3 2 8 3 2 9
, , .
, ,
M ul l e r, F re de ri c k U i z i e ngra v
1 04
33 I 1n
g s, 11 .

M o n ta n a ra , th e be l l of th e , 11. M u ra t e p riso n o f i 3 3 9
, , .

2 48 M urill o : Pa l a zz o Pa ncia tichi i , .

M o nte ( see G h e ra rdo a nd G io 3 6 2 ; Pi tti ii 1 6 7 1 68 , .

,

v anni ) M urra y T h o mas Ufii i i 7 3

,
z , .

M o n te b uo n i C ast l e 1 1 4 1 2 , . M u seu m A rc h aeo l o gi ca l ii 2 06

, , .

M o n te f e l tro B a tt i sta ii 2 7 5
, , . 24 1
Fe derigo di Ufiiz i Egyp ti a n A n tiq u 1 t1 e s,
ii 2 1 2 2 ; B a r .
,
, ,

ii 2 06 2 1 5
.
—
ge ll o 2 7 1 ,
Et ru sca n A nt i q u i ti es,
M o n tego z z i C a stl e o f ii 3 2 5
, , . ii 2 1 6 , 2 4 1
.

M o n te l a tice ;Pa dre U ba l do ii 303 , . N a tu ra l S c i e n c e , 1 1 2 80 .

M onte l u p o B a cc i o di : S a n Lo
, G e o l o gi c a l , ii 2 8 1 2 8 3 .
-

re n z o i 1 16 ; Or , . N a tu ra l H i sto ry , ii .

S a n M i ch e l e 1 7 4 , ,
2 89
1 76 ; S F e li c i ta .
,
B o ta ni c a l 1 1 2 8 3—2 8 9 , .

510 o f A rt : S a n M a rc o , i .

fl
Ra ff a e ll e di S a n Lo 49 9
i re n o , z . 1 29 ; SS .

A nn u n z i a ta 3 7 3 ,

R a ff a e ll e di : U i i z

dra w i n g s 1 1 9 0 , . N a l di , N a l do , 1 1 2 8 0 .

M o n ti ce lli di stri ct o f ii 4 30
, , . N a l di n i , G i o v B a tt . . : S . M a ri a
M on to rso l i G i o v A ng S a n Lo
, . . N o v e ll a , i 4 5 6 .

re nz o i 1 2 9 ; S S A n n u n z i a ta
, . .
, N an n i di B a cc i o Bigi o S to . S pi
3 8 1 ; S a n M a rc o 4 2 4 ii 3 2 7 , . i
r to , i .
5 30
 I N D EX .
49 7

N a n n i di B a n c o : C a th edra l , i .
49 , O rca gna , B erna rdo : O r S a n M i
c h e l e i 1 8 6 ; S M a ri a, . .

N a n teu il , R o b e rt : U ffiz i, ii 6 3 , . N o v e ll a 46 9 ; O g n i ,

1 06 S a n ti 4 8 7 ,

N a p o l e o n I , Pi tti , 1 1 1 9 5
. . J aco p o : P o rta Ro ma na ,

a rdini, Pi e tro : i 33 1 . ii 3 8 8
.

a rdo B iga l l o , i 9 3 . O rf o rd , C o u n tess o f , 1 1 30 7 .

N a tter Uffiz i i n ta gli , 1 1 1 1 5 . O rl a n di n i , B a l da ssa re , 1 2 44 .

N e ri, f a c ti o n o f , i 3 4 7 . O rsi n i , C a rdi n a l G i o v a n n i , i 2 6 8 .

N e ri, S a n Filipp o , i 5 4 7 O rso Bi sh o p A n to n i o d , i 6 6

’
. .

,
di Fi o ra v a n te C a th e dra l , i
.

. 11 375
45 O sm a n n o ra , di stri c t o f , 1 1 4 3 7 .

Po mpeo 1 1 3 1 9 ,
. O tto b u o n i, A l do b ra n dini, i 7 6 .

N e ro B e rn a rdo de l i 5 0 1
, , . O u dry , J e a n B a p ti ste : Ufii z i, 11.

N i cc o li N i c c o l o i 1 3 6 4 20
, , .
, 73
N ic c o l in i G i o v B a tt i 400
, . .
, . O v e rb ec k : Re na i , i .
5 4;
0 Ufiiz i,
N i c o l o di Pi e tro A re ti n o : C a th e ii .
73
dra l i 57 6 1, .
, ,

6 8 7 3 O r S an M i c h e l e
, ,

Fo lign o : B a di a i 2 7 2
di , . P a cc h ia ro tti, G i ac o m o : A c a dem y ,
N i o b e g ro u p o f th e Ufii i ii 7 6
, ,
z , . ii . 141
N o bili Le o p o l do i 2 9 9 ; 1 1 2 9 4
, ,
. . P a do v a nn in o , I l M a ru cel l ia na Li
N o l pe P e te r Uffi i e n g ra vi n g s
, ,
z , b ra ry, i .

ii 1 02
. P a gli a e ti o l a i i 449 ,
’
.

N o ri F ra n c esco i 2 9 5
, , . P a l a di na A rc a ngio l a
, ,

N o rma l S c h o o l s i 5 1 6 , . P a l azz o
N o rth c o te : Uffi i ii 6 3 7 3 z , .
, A cc iaj o l i i 40 1 , .

N o v e ll o G u i do ii 2 44
, , . A l essa n dri i 2 6 2 , .

A l to v iti i 2 6 6 , .

A m e rigo i 5 2 2 , .

A n te l l e si ( se e S tu f a )
A n tin o ri, i 4 3 4 .

O b iz z i, Lo do vi c o degli , i 304 A rch bi sh o p s , i 1 06

’
. .

O bl az i o n i , Le , i 2 0 1 . A rte min i : En vi ro n s , 1 1 4 5 1 .

O mb ro n e s tre a m , ii 4 3 8 , 444 , . B a rb a do ri, i 5 1 4 , 5 1 5 .

44 9 B a rb e ri ni , i 2 8 2 .

O m aggi di S a n G i o v a nn i , i 2 00 . B a rto li n i S a l imb en i, i 1 64 .

O ng a ro , F ra nc esco de l , i 40 5 . Bi n i , i i 2 8 3 .

O ra to ry , La P a c e , ii 3 8 9 . B o rgh ese ,
O rc agn a , A n drea C a th edra l , i 4 5 , . B o rgh e rin i ( se e D e l T u rco )
7 8 ; B iga l l o , 8 8 ; O r B ru c i a to ( see V ill a S tu f a )
S an M i ch e l e , 1 7 5 , C a n igia ni,
1 85 Lo ggi a C a pp o n i , i 3 6 5 ,
’
de .

La n z i 1 9 2 ; S Mi , . C a ste ll a n i ,
c h e l e V i sdo m i n i , 34 7 de ll e C e n to Fi n estre 1 4 33 .

S M a ri a N o v e ll a ,
. C e rc h i , i 5 1 4 .

4 5 6 , 4 6 3 , 46 4 , 4 6 9 C o cch i , i 2 8 0 .

U fiiz i, ii 6 ; B a rge ll o , . C o n ti B a rdi , i 3 4 1 .

2 53 5 Sa n M i n i a to , C o n ti G a lli , i 2 6 1 .

3 7 7 ; C e rtosa , 3 9 7 , 40 1 C o rsi , i 4 34 .
4 93 I N D EX .

Pa l a zz o Pa l a zz o
C o rsi ni ,
i 44 2 . Ug ucc i o n e , i 2 00

fl
.

D a v a n a ti i 1 6 4
z , . V a l o ri ( se e P a l a zz o A l to v iti)
D i n o C m p a gn i V e c ch i o , i 2 2 1 , 2 5 0
.

o , .

F e ro n i, i 547
. P a lli o , i 2 5 8 .

Fi ren z uo l a i 3 60 , . P a l m a G i o vi n e : U i z i, 1 1 6 0 .

F ira d o l fi i 5 2 1 , . O rigi na l d ra w i ngs , 8 3

F ra n so n i i 4 8 3 , . J a co p o , Il Ve c ch i o : Ufh z i,
F resc o ba l di i 5 1 5 , . ii 7 2 ; Pi tti , 1 6 4
.

G h e ra rde sca i 3 6 4 , . P a l mi e ri , M a tteo B a rge ll o ,

G in o ri i 40 5, . P a m pa l o n i : Pi a zz a de l D uo mo , i .

G i u gn i i 3 9 4 , . 101 S C ro ce , 3 20 .

G o nd i i 2 7 5,
. Pa nc ia tic h i, B a rto l o m me o , 1 1 7 4 .

G ua da gn i i 5 2 6 , . P a ndec ts o f J usti n i a n , i 1 39 N a .

G u icc ia rdin i i 5 1 2 , . t io n a l Lib ra ry , 2 1 4

L am be rte sc a i 1 5 5 , . Pa ndo l fi n i, B a tt i sta , i 2 6 8 .

M a nelli i 39 5 49 4 , .
, G ia no z z o , i 2 6 9 .

M a rtelli i 404 , . P a nte ra , G i o v A n to n , ii 6 1 . . .

M edi c i i 1 0 1 , . P a o li , G e ne ra l , ii 7 8 , 1 2 3 .

M e di c i ( se e Pa l azz o Ri cca rdi ) P a o li no , F ra : A c a de my , ii 1 5 8 .

M ich e l o z i i 5 24 z , . P a o l o , F ra : B a rg e ll o , ii 2 5 6 .

M o nta lv o , P ao l o di S te f a no S a n M i ni a to , 1 1 .

M u ra t i 488 .
37 7
N o n firiito i 2 5 9
,

, . P a rigi , G i u li o : Lo ggi a de l G ran o ,

O ric e l l a ri, i 48 2 . i 2 7 6 ; P a l az z o S tu fa , 2 8 3 ;
.

O rl a ndi ni , i 4 3 3 . S M N u o v a , 349
. .

P a nc ia tic h i, i 3 60 . Pa rk e r, Th eodo re ,
P a ndo l fi n o , i 4 30 . P a rl a to re , F il ippo , ii 2 80 , .

d e P a zz i , i 2 6 1 , 346 P a rmigi a no Ufii z i, ii 5 4 , 7 2

’
. .

P itti, i 5 5 4 . D ra w i ngs , 8 4 , 8 8 ; Pi t ti , 1 8 7
P o ggi o I m p e ri a l e : Enw ro ns, P a rri , S pi ne ll o ( se e S pi ne ll o P arri )
ii 3 90
. P a rtigi a n i , F ra D o me n i co S .

d e ll a P o rta i , .
394 M a rc o i 4 2 5 , .

P uc c i , 39 5 1. Passa v a n ti F ra J ac o p o i 4 7 4
, , .

Q u a ra tesi; 1 2 5 9 , 4 8 5 . P assign an o D o m e n i co : Pa l azz o

,

R i cc a rdi , i 400 S tu f a i 2 8 3 S C roc e 3 20

‘
°
. . . .
, , ,

Rido l fi , i 5 2 2 S M a dda l e n a de P a zz i 3 5 9
’ °
. .
,

Rin uc c ini, i 5 2 1 . SS A nn u n z i a ta
.
378 ; S , .

R i sto ri ( se e P a l a zz o F ra n M a rco 4 2 5 P a l a zz o T o rri

,
°

so n i) gi an i 5 0 1 ; Uff i z i ii 1 3
, , .

R u c e l l a i, i 4 3 7 . P as ti M a tte o U ffi z i ii 2 5
, , .

S a lvi a ti , i 5 4 7 . P a teri n i th e i 8 6 ; ii 3 94
, , . .

S a n C l em e n te , i 3 6 6 . P a terno n ea r Va ll o m b ro sa ii 4 5 3
, , .

S e ra ti , i 3 4 1 P a u l s St Lo n do n ii 3 5 9
’
. . .
, , ,

S e rristo ri, i 2 8 3 , 5 04 . P a u r T h e o do re B a rge ll o 2 5 8

, ,

S pi n i , i 1 6 1 . P a v o n ii 2 88
, .

S tro zz i , i 1 6 5 , 4 34 . Pa zz i J a c o p o 1 1 3 2 4
, , .

S tu f a , s c u lp to r i 2 49 3 9 3 , .
,

T e mpi, i 4 9 6 S ta M a dda l e n a de i 5 47
’
. .
.
,

T o rrigi a n i , i 4 9 9 . P edro D o n di To l e do i 7 7
, , , .

d e l T u rco , i 1 5 9 . P e ll eg ri no di stri c t o f ii 3 24
, , .
5 00 17 V225 L¥Z

P isa n o N i n o : S C ro c e i 30 1
,
.
, . a ll e M o sse : Envi ro ns 1 1 433 , .

Pi tti G a ll e ry o f th e ii 1 6 2 1 9 5
, , . -
Ro sso En vi ro ns ii 3 2 4
, , .

Lu c a ii 36 2 , . Ru b a c o n te ( se e P o nte a ll e
P oc c e tti B e rn a rdo C a th e dra l i
, , . G ra z i e )
73 ; M i s e ri c o rd i a 9 5 ; Pa , S T ri n i ta i 4 90
.
, .

l a zz o A n te ll esi 2 8 3 S M ad , . V e cc h i o i 4 9 1 , .

d a l e n a de P a zz i 3 5 8 ; V ia P o n te F ra nce sco J a co po Le a n
’
~

, , , ,

G i n o C a pp o n i 36 5 ; S S , . dro ( see B a ssan o )

A n n u n z i a ta 3 7 0 3 7 8 3 7 9 , , , , P o nto rm o J a c o po da : S S A n
, .
~

38 1 S a n M a rc o i 4 1 0 . n u n z i a ta i 3 7 0 3 7 4 38 1 .

fl
, , , , ,

4 25 ; S M a ri a N o ve ll a
.
, S a n M a rc o 4 20 ; P a l azz o ,

4 7 3 4 7 7 ; P a l a zz o A cciaj o l i
, , C o rsin i 4 9 2 ; P a l a zz o T o r
,

Via de S e rra g l i 5 4 7 ri ia n i 5 5 8 ; S F e li c i ta 5 1 0
’
49 1 , g , .
,

C a rm i n e 5 3 8 ; B o b o li 5 5 4 ;
, , U iz i ii 3 1 4 0 4 3 ; Pi tt i
, .
, , ,,

Pi tti 5 5 8 ; Ufiiz i ii 7 2 7 6 ;
, , .
, 1 7 7 ; T a pe st ri e s 2 03 ; C a s ,

D ra w i n gs 8 8 92 ,T a be r , te ll o 3 4 6 ,
P oggi o a C a i an o
n acl e 1 96 ,
1 9 7 ; T a p e stri e s
, , 4 39
2 0 3 ; F ie so l e 3 1 4 C e rto sa , , P o pe
40 5 A l exa nde r I V .
( S e gn i ) 1 1 33 1 , .

P o desta, o ffi ce o f , i 2 4 2 . VI .
( B o rgi a ) ii , .

P o ggi , D o m e nico U fiiz i meda l s, 36 7

ii 1 2 8
. B e n e di c t X I I I ( O rsm i ) , . 11

P o liz i an o , A nge l o , i 4 2 5 , 46 5 1 1 . . 9
3 7
B o ni f ace VI I I ( C a e ta ni ) , i .

P o l l aj o l o , A n to n i o B a p ti st e ry i : , .
48 2
29 B a p ti st e ry B o a rd o f C l e me nt V I ( B ea u f o rt ) , .

Wo rk s 1 04 ; S S A n n , . 279,
4 03
u n z ia ta , 3 7 0 ; M a ru c e l C l e me n VI I t .
( M e di c i ) , i .

li a na L ib ra ry , 3 9 8 ; Pa l 1 1 4, 35, 1 24 , 1 1 36
l a zz o C o rsi n i , 44 6 Pa C l e m e nt V I I I .
( A l do b ran
l a zz o T o rrigi a n i , 5 02 di n i ) , i 3 8 7 .

S . S pi ri to , 529, 5 33 ; C l em en t I X .

U ffi z i ,
ii 9 1 9 2 0 4 2 ; .
, , , ii 3 1 8 .

D ra w i n g s 8 1 ; Engra v , Eug e n i u s I V .

i ngs 9 5 ; M e da l s 1 2 7
, , 1 3 49
A c a de m y 141 Pi tti , , G re g o ry V I I .

1 93 B a rge ll o 2 6 0 2 6 4 , ,
i . 1 3, 1 1 1 ; ii .
453
Pi e ro de l S a n M i n i a to ii , , . G reg o ry I X .
( S e g n i ) , ii 33 0 .

38 5 G re go ry X .
( Vi sco nti ) , ii .

S i m o n e ( se e C ro na c a )
,

36 3
P o l l aj o l i, h o u ses o f th e , i 1 9 8 . G re g o ry X I .
( V i sdo m i n i), 11 .

P o m era n c ia , A n to n i o de ll a , i 3 5 0 .
37 4
P o m f re t , C o u n te ss o f , i 2 05 , 2 5 8 . J o h n XXI I .
( C a h o rs ) ,

P o m p e i , G i ro l a m o , i 3 02 .
40 3
P o m pi e ri , th e , i 1 5 4 . J o h n XX I I I .
( C o ssa ) , i 38
.
,

P o n te ( B ridge ) 45 3
a ll a B a di a , F ie so l e , En vi ro ns, J ul iu s II .

fi 32 5. 1 69
a ll a C a rra i a , i 4 8 9 . Le o X .
( M e di c i ) i 36 ,
,
. 1 23, 1

a ll e G ra z i e , i 27 7 . 139 , 2 30 , 3 4 9 , 4 0 1 , 4 33 ,

a G re v e Envi ro n s, ii 446 .
44 7 , 4 8 1 n 1 1 5 , 30 3 . 4 3 9
 . I N D EX .

[
Po pe P u cc i , A n to n i o , P o e t c i ted i , , .
31,
M a rti n V .
( C o l o nn a ) i , .
38 ,
3 49
°
P uc c i ne lli C a reggi ii 340 , .

N i ch o l a s I I .
( B u rg undy ) , i . P u l c i Lu igi ii 7 4
, , .

1 12 P u gli e se F ra n cesc o i 2 7 0
, , .

N i ch o l a s III .
( O rsi ni ) , 1 1. P u ligo D o m e n i c o : P a l a zz o T o rri
,

374 gi a n i i 5 0 3 ; T a be rn a c l e ii
, .
, .

N i c h o l a s V ( S a rz a n a ) , 1 1 3 1 2 . . I 97
P a sch a l I I ( Ra i n i e ri ) , i 1 1 2 . . P u lpi t, S a n Leo na rdo , ii .
420
P a u l I I I ( Fa rnese ) , ii 1 1 5 , . .

I 9O
S i xtu s I V ( Al b esco l a ) , 1 1 . .
Q
306
Qu a ra tesi C a ste ll o ii 3 7 0
'

U rb a n V ( G ri ma u d ) , i i 3 6 6 , , .

Qua rri e s M o n te C e ce ri ii 3 5 5
. ~
.

U rb a n V I I I ( B a rb e ri ni ) , ii , , .

Qu a rte rs o f C i ty i 2 2 7
. .

41 8
.
,

Qua y Lu n g A rn o A cc iaj o l i i
’

P o rb u s , F ra nz Uff i z i , 1 1 7 5 .
, , .

Pi tti , 1 6 3 , 1 8 9 49 0
P o rdeno n e : Uffiz i, ii 7 2 .
Lu n
’
g
A rn o C o rs i ni ,
1.
49 0
P o rta ( G a te )
S a n F re di a no , i 5 4 5 1 1 43 1 . .

S a n G a ll o , i 4 2 8 .

S a n G i o rgi o , i 5 0 7 . .Ra c es , ch a ri o t, i 449 .

S a n M i n i a to , i 5 06 . Ra daga sius, i 4 ; ii 3 08 , 3 3 3 . .

S a n N i c o l o, i 5 06 . Ra ddi , G i u se pp e , ii 2 86 , 2 9 6 .

de ll e P e re , i 2 8 0 . Ra ff a e ll e d U rb in o : Pi a zz a de ll a
’

S a n Pi e ro G a tto li no ( see S ign o ri a , i 2 00 ; P a l azz o .

P o rta Ro m a n a ) P a n do l fi ni, 4 36 ; Pa l azz o

Ro ma n a , i 5 49 ; ii 3 8 8 . . S tro zz i , 4 3 6 P a l a zz o C o r
Ve rz aj a ( se e P o rta S a n F re si n i , 44 3 , 444 ; P a l az z o T o rri

di a n o ) gi a n i , 5 02 Utfi z i, ii 49 , 5 0 , .

P o rte l l i , C a rl o T a be rna c l e , 1 1. 51 D ra w i n gs , 8 2 , 8 3 , 8 4 ,
1 98 8 5 , 8 7 , 9 0 ; A c a de m y , 1 3 7 ,
P o rti na ri F o l c o i 2 5 7 4 0 3
, , .
,
1 40 ; Pi tti , 1 64 , 1 6 7 , 1 6 9 ,
P o rtu ga l J a c o p o C a rdi na l ii 3 84
, , , .

P o u ssi n N i ch o l a s U ffi z i ii 7 8
, : , . 1 87 , 1 88 , 1 89 ; Via de ll a
D ra w i ngs 8 9 90 , ,
F a en z a 1 9 9 ,

P o we rs H i ra m i 5 5 0
, , . Ra ff a elli no del G a rb o : S a n Lo
P ri m a ti cc i o F ra ncesco : T a p es
, re nz o i 1 2 1 ; S an S i mo n e
, .
,

tri e s ii 2 02 , .
34 1 S M a ri a N u o v a 3 5 0 ;
.
,

Pri so n M u ra te i 3 38
, , . S M a dda l e na de P a zz i 3 5 9 ;
.
’
,

S tinch e Ve c ch i e i 340 , . S S pi ri to 5 3 3 ; U ffi i ii
.
, z , .

P roc a cc i n o An drea : Uf fi i e n
, z 25 D ra w i ngs 8 8 ; A ca demy , ,

gra vi n gs ii 1 0 1 , . 1 58
P roca ccino C a m ill o : Pa l azz o
, Ra ff a e ll o di M o n te l u p o ( se e M o nte
F ra nso ni i 4 8 4 ; Uffi z i , . lup o )
dra w i n gs 1 1 8 3 , . R a ib o l in i ( se e F ra n c i a , F ra n c esc o )
P to l o maeu s C l a u d i u s : N a ti o n a l
, Ra i mo ndo ( se e M a rc A nto ni o )
Lib ra ry i 2 1 3 , . Ran i eri , Bi sh o p , i 40 .

Puc c i Anto n i o de : Loggi a de Ra zz i , G i o v A n to n : Ufii z i, i 3 1

’ ’
. . .
,

La nz i i 1 9 3 , . O rigi na l dra w i ng s, 88 , 8 9
50 2 I N D EX .

Redi , F ra n c esco , 11. 2 80 , 3 47 , 3 6 5 , 255 ; Fi eso l e , 31 6,

39 1 , 4 37 3 1 8, C e rto sa , 4 06 ; S .

Re m bra ndt : U fiiz i, 1 1 5 4 , 7 3 . F ra n cesc o da P a u l a ,

En gra vin gs, 1 0 1 Pi tt i , 1 6 3 42 1 P o ggi o a C a i a no ,
1 68 4 39
René , K i n g o f A nj ou , 1 1 3 2 4 . Ro bb i a Wa re : B a rg e ll o , 11. 26 7

Ren i , G u i do P a l a zz o P a nc ia tic h i, V in c igl ia ta , 3 5 7 C e r ~

i 36 2 ; P a l a zz o S tro zz i , 4 3 5 ;
. t
o sa , 40 7 I mp ru n e a , t
P a l a zz o C o rsi n i , 44 3 Pa l a zzo 414
T o rrigi a n i , 503 ; Uffiz i, ii . Ro be a M a ruc e ll ia na Lib ra y , i
tt r .

53 7 ,
2 , 7 3 : D ra w i n gs. 8 9 . 3 9 8 ; Ufiiz i e ng ra vi ngs, ii .

9 1 ; Pi tt i , 1 8 2 96
Rib era , G i use pp e : P a l a zz o C o r Ro ma n e lli , P asq u a l e : P a l a zz o
s i n i , i 444 ; P a l a zz o T o rrigi
. Vecch i o , i 2 40 .

a n i, 5 02 Ro man o , D o m e ni c o : U fii z i me ~

Ri caso li , B a ro n B e t ti no , 1 1 2 9 8 , . da l s, ii 1 2 8
.

3 24 Ro mo l o , S a n ii 3 1 3 3 1 8

fl
.
, ,

Pan do l f o , i 3 1 1 1 1 1 9 4. . Ro ndi ne lli , G i o v a nn i , i 1 3 5 .

Ri c ci , S t e f a no : Pi a zz a S C roc e , . Roo st , J ea n Va n de r T a p e st ri es,

295 it 203
Ri c o , A ndre a : U i z 1 , 1 1 2 . Rosa , S a lv a to r : P a l a zz o A l es
Riga go l o , F ra , i 3 1 2 . san dri , i 265
. P a l a zz o Pa n
R i cc i a re lli ( see D a n i e l e da Vo l c ia tich i, 3 6 3 ; P a l a zz o M a r ~

te rra ) t e lli , 404 ; Pa l azz o S t ro zz i ,

Rigau d : Uff i z i , 1 1 5 5 .
4 3 5 ; P a l az zo C o rsi n i , 44 3 ;
Ri ngh i era : P a l azz o Ve c c h i o , i 2 3 2 .
44 6 Va nc h e to ne , 44 7 San
Ri sto ro , F ra , i 4 5 3 , 4 8 9 , 4 90
. F e li ce , 5 2 5 ; Pi tt i , ii 1 6 2 , .

Ro b ert o f N a pl e s : B a rge ll o , ii .

2 58 Rosse lli , C os i mo : S . M a ri a N u o
Ro bbi a , An dre a dell a S M i ni a to , . va , i 3 50 ; S Am
. .

ii 3 7 9 b ro gi o 3 5 2 3 8 3 S ta
, , .

Luc a de ll a C a m p a n il e , i M a ddal e na de P az z i ’
: .
,

54, 5 7 C a th e dra l , 6 9 , 359 S S A nn unz i a ta .

,

7 3 ; M e rc a to Vecc h i o , 3 7 1 ; S F e li c e 5 2 5 ; ,

1 4 3 S S A p o st o li , 1 5 9 ;
. S S pi ri to 5 3 3 ; Uffi
.
,

O r S a n M i ch el e , 1 7 5 ; z i ii
, 10 1 1
.
,

B a di a , 2 6 8 ; S C ro c e , . M a tte o Pa l azz o de l
,

3 26 . 3 2 7 . 3 2 9 ; S . T u rc o i 1 60 ; P a l a zzo
,

M a ri a N u o v a , 3 5 1 A n te l l e5 1 , S 283 ; .

I nn o ce n ti , 3 8 4 , 3 8 6 C roc e , 3 20 ; S M a d .

S M a ri a de gli A n g e li , da l e n a de P a zz i , 3 6 0
’
.

3 94 ; S B am a ba , 4 3 1 S a n M a rc o , 4 1 1 Pa
'

V ia N a z i o n a l e , 4 3 2 ; l a zz o C o rsi n i , 44 6
Lo ggi a S P a o l o , 448 . A c a de m y , 1 59 ;
S M a ri a N o v e ll a , 4 7 1
. Pi t ti , Po g
O gn i S a n ti , 4 8 5 S .
gio I mp e ri a l e , 3 9 1
Lu c i a de i M a gno li, Rosselli no , A n to n i o : B a di a , i .

4 9 9 ; C o n se rv a to ri o in 2 70 S C roc e , .

R ip o li , i 4 80 ; U ffi z i. 295 ;
°
B a rge ll o ii , .

o rigi n a l dra w i n gs, ii . 27 3, 2 74 ; San

81 B a rge ll o , 2 5 1 , M i n i a to , 38 5
 Via de ll e Ru o te , 4 2 9 ; S a n z i a ta i
3 7 6 ; S a n M a rc o ,
, .

M a rc o , 4 2 5 P a l a zz o C o rsi ni 424 ; P a l azz o C o rsi n i ,

444 S M a ri a N o v e ll a , 4 7 8
.
44 2 P a l a zz o O ric e l l a ri,
U ffi z i, ii 7 2 A c a de my , 1 5 9
.
48 2
S D o m e ni c o , 300 ; Vi nc i
. S ilvi o da Fi e so l e : S M a ri a .

gli a ta 3 5 7 ,
N o v e ll a , i 4 5 6 .

S a n tu cc i A n to n i o ,
M useu m , Via S i m o n e M e m m i ( se e M e m mi)
Ro ma n a ii 2 94 , . S i mo ne da Fi e so l e O r S a n
S a n z i o ( se e Ra ff a e ll e ) M i ch el e , i 1 7 6 , 1 88 .

S a rp i F ra P a o l o ii 3 6 S i m o ne tta , La B e ll a : Pi tti , 1 1
’
.
, , .

S a sso f e rra to : U fiiz i ii 7 5 , . 1 92

S a sso di D a n te i 1 0 1 , . S irie s , C a rl o S a n Lo re n z o , i .

S a v o na ro l a G i ro l a mo i 2 1 1
, , .
, 2 25 , 1 16 Pi e tra D ura M a nu
247 , 4 1 6, 426 ; U fiiz i, ii . f a ct o ry , 3 8 9
1 1 5 A c a de m y , 1 38 Lu igi Pi e tra D u ra M a nu
S ca l a , B a rto l o mme o de ll a , i .
364 f a c to ry , i 3 8 9 .

ii 2 99 S i sto . F ra . i 4 5 3 , 4 8 9 , 4 90
.

S ca l z i , or B a re fo o te d F ri a rs i , . S l o a ne , C o mm e nda to re F ra ncesco
397 S C ro ce , i 2 8 7 ; ii 3 40
. . .

8 021 12 0 , th e , ii 1 5 9 —1 6 1 . S nyde rs , F ra nz Pa l azz o T o rri

S ch e ff e r, A ry : U ffiz i, ii 7 3 . gi a n i , i 5 0 1 U fiiz i, 1 1 7 6
.
‘
.

S ch i a v o n e , A ndre a Pi tti , ii 1 7 8 . S o c in o , M a ri n o B a rge ll o , ii 2 6 2 .

S ch ong a ue r, M a rti n U fii z i dra w S o de rin i, Pi e ro , i 3 6 1

'

i n gs ii 9 1 , . S o do m a ( se e R a zz i )
S co p e to di stri c t o f 1 1 4 2 5
, , . S o gl ia n i, G i o v A n to n : S M a ri a . . .

S e b a sti a n de l Pi o m b o P a l azz o N uo vo , i 3 5 1 S a n M a rc o ,
.

C o rsi n i i 4 46 , .
4 1 1 ; U ffiz i, ii 75 A ca .

S egn i B e rn a rdo ii 4 2 4
, , . de m y , 1 59 ; T a be rn a c l e ,
S e na ri o M o nte ii 3 2 8
, , . 1 97 ; S D o m e n i c o , 3 00
.

S e nsi C ip ri a n o : T a b e rna c l e 1 1
, , . S o u th w e ll , R i ch a rd , ii 5 5 .

1 98 S pa gn o l e tto ( se e Rib e ra )
S erra gli o o f Li o ns, S p a no , Pipp o : B a rg e ll o 1 1 2 6 5 , .

S e rvi ti , O rde r o f , i 3 6 9 °
. S pina z z i, I nno c e nz i o : B a p ti ste ry ,
S estini, D o m e ni c o , i 3 2 , 34
S e t tign a n o ( se e D e si de ri o ) S pi n ell o , A re ti no : S M a ri a N o .

S e v e ru s, S e ptimiu s, ii 3 60 . v e ll a , i 4 7 2 ; F a rma c i a , S
. .

S evign e, M a da m e de , ii 5 5 M a ri a N o v e ll a , 4 7 8 ; Uffi z i,

fl
.

S f o rz a , B a tti sta , ii 2 2 . ii 6 ; Ac a de m y , 1 36 , 1 5 1
.

Sh i e l ds o f Re p u bli c , i 2 2 8 ; 1 1 . . S M i n i a to , 3 8 1
.

2 52 S pi ne ll o P a rri : C a rmi n e , i 5 4 3 .

S ign a , ii 44 9 U i z i, ii 5 4 , 7 2 ; D ra w i ng s,

fl
. .

S igno re lli , Lu c a : P a l a zz o C i no ri ,
:

i 405 P a l a zz o C o rsi n i , 444 °

.
°
S p ra ngh e r, B a rto l o mm e o : P a l a zz o
°

P a l a zz o T o rrigi a n i , 5 00 , 5 0 1 °
T o rrigi a n i , i , 5 03
C a l z a , 5 4 9 ; U i z i, ii 1 1 , 1 6 , . S q u a rc ia l u po , A n to n i o , i 7 8 .

22 D ra w i n g s, 81 A ca S ta m i na , G h e ra rdo : S C ro c e , i . .

d e m y , 1 3 6 , 1 4 2 , 1 5 5 ; Pi tt i , 323
1 92 M o ri tz : Ufiiz i e ngra v
S tein l a ,
S ilv a n i , G h e ra rdo P a l azz o G uic i ngs ii 1 04, .

c ia rdin i, i .
512
‘

S te no N i c h o l a s : S a n Lo re n z o 1
, , .

Pi er Fra ncesco , SS Annun. 1 19

 I N D EX .
5 5
0

S tili ch o , 1 1 308 , 3 2 5 . T a p estri es : S a n Lo re nz o , i 1 3 2 ; .

S tinch e , th e p ri so n o f th e , i , 3 40 Pa l a zz o Ri c c a rdi , 402 ; M u

S tosch , B a ro n P h ilipp e de U ffiz i, se u m of, ii . 201 , 2 05

ii . 1 1 5 T a ssi L a u re n ti a n Lib ra ry , i 1 3 5 .

S tra da n , J ean P a l azz o Vecch i o , , zz

A g o sti n o P a l a o C o rsi n i ,
ii 244 ; S S A nnu nz i a ta 3 7 6
. .
,
i 44 3 Pi tti ii 1 94
.
, .

T a p e stri es 2 03 ,
C o n te G a lli i 3 48 ; ii 4 2 9 , . .

S t ra nge Ro b e rt : Ufii i engra v

,
z T a ssini Le o n a rdo : S A mb ro gi o .
,

i ngs ii 1 03 , . i 3 53
S tro zz i B ern a rdo : P a l azz o F ra n
,
T a sso , B e rna rdo Lo ggi a Me rcato
so n i i 4 8 4 ; Pa l azz o N uo vo i 1 5 3

fl
.
,
.
,

T o rrigi a n i 5 00 , G i u li a no de l : Pa l azz o
Filippo i 43 1 ,
. Vec ch i o i 2 3 9 , .

S tro zz o i 2 1 3 8
.

, .
,
T o rq u a to , 1 .
5 23
Z e n o bi o : U iz i 1 1 7
‘
, . T a v a n ti, A n g e l o ,
S tro zz i no P ra to o f th e ii 4 2 2
, , . T e n i e rs, D a vi d :P a l azz o To rri
S u ll a ii 308
, . gi a ni i 5 04 ; Pa l a zz o F ran
, .

S uste rm a ns J ustus P a l az z o Pa n
,
so n i 4 8 4 ,Ufii z i ii 7 8 , .

c ia tich i i 3 6 2 P a l a zz o M ar
, . T erz o ll e stre a m o f th e ii 343
, , .
,

te lli 4 04 ; P a l a zz o G in o ri
, , 4 33
4 06 ; P a l a zz o S tro zz i 4 3 5 ,
T essa , M o nna ,
P a l a zz o C o rsi ni 442 44 3 i T e tto de Pi sa n i ’ i 1
’
, , , 97 .

U ffiz i ii 5 5 7 4 7 7 ; Pi tti
, .
, , ,
T h e a t re , Ro m an , F reso l e , 1 1 3 1 0 .

M edi c i , i 2 06 .

S w a ne v e l t : Uffiz i dra w i ngs, 11. Pa gl ia n o ,

81 Engra vi ngs, 1 03 de ll a P e rgo l a , i 36 4 .

S w a rtz , O l au s, ii 2 8 6 . Th eo do l inda , Que e n ,

S y na go gu e , J e w i sh , i 3 5 5 . Th e o do ri c , K i n g , i i 309 .

Th o rw a l dse n, B erto l d : S Lo renz o , .

1. 1 14
T h u n b e rg , C h a rl e s P e ter, 1 1 2 8 8 .

T a be rn acl e of C i nq u e La mp a de , T i ep o l o , G i o v B a tt : P a l a zz o To r
. .

ri ia n i, i
1 39 5 g 5 03 .

Via N az io na l e , i 43 2 . T in elli, T ib eri o Pi tti , 1 1 1 90 .

T a be rn a c l e s, ii 1 9 6 1 99 .
-
T i nt o re tto : P a l azz o C o rsi n i , i .

T a c ca Pi e tro M e rca to N u o v o , i .
44 5 ; Uffiz i, ii 5 8 , 6 0, 6 2 .

1 53 S S te f a no , 1 5 8 Pi a zz a
. T i ra to i , th e , i 2 7 7 , 3 9 5 , 5 40 .

S S A nn u nz i a ta , 3 8 3 ; B o b o li ,
. T i ti a n P a l a zz o P a ncia tich i, i .

553 ; P a l a zz o Pi tti , 557 3 6 2 ; P a l a zz o T o rrigi a n i , 5 03 ;

T a dda , C e c c a de l ( se e F e rru cc i , U ffiz i, ii 4 9 , 5 7 , 5 8 , 6 0, 6 1 ,
.

F ran cesco ) 6 2 , 7 2 ; D ra w i n gs , 8 5 , 8 6 , 8 7 ;
T a fi An drea : B a p ti ste ry i 36
, , . Pi tti , 1 6 3 , 1 66 , 1 6 8 , 1 6 9 , 1 7 0 ,
S C roc e 3 2 2 ; V ia Ri c a so li
.
, ,
1 7 3 , 1 8 5 , 1 8 6 , 1 8 7 , 1 90

39 5 T i ti , T ib e ri o Pi tti , ii 1 6 5 .

T a l enti , B e rn a rdo : V ill a C a pp o ni , T iv o li , R o sa di : P a l azz o P a nc i a

ii 4 2 5 . t i ch i , i 3 6 2 .

F ra J a c o p o S M a ri a N o . T o l e n ti n o , N i co l o, i 6 3 .

v e l la i 4 7 1 4 7 3 , . T o mm a so , G u i di di G i o v a nn i ( se e
S i mo ne : S a n C a rl o i 1 7 0 ; ,
. M a sa cc i o )
O r S a n M i ch e l e 1 75 , T o mma si N i co l a: , C a th edra l , i .

Lo ggi a de La nz i 1 9 2
’
, 45
VO L . I I.
 506 I N D EX .

‘
T o m ma seo , N ic o l b , l l 36 0 Ucc e ll o , P a o l o : C a th edra l i 6 1

fl
. .
,

T o mm a so di S te f a n o ( see G io ttino ) 68 S M a ri a N o v e ll a 4 7 2
.
, .

T o relli , Filipp o : La u re nt i a n Li P a l azz o T o rrigi an i 5 03 ,

°

b ra ry , i 1 3 8 . U fii i i i 1 0 ; D ra w i ngs 8 1
z , .
,

T o rre , G a sto ne de ll a , i 306 . U i i th e : A rch iv es i

z , 2 06 , .
°

T o rre ( T o w e r) M o de rn S ta tues be n e a th ,

degli A gli , 1 1 . 2 0 3 ; Th ea t re 2 06 ; Pi c tu re ,

B o c c a di Fe rro , i 2 5 3 . G a ll e ry 1 i 1 _ 7 9 ; D ra w i n gs
, .
,

B osc o li , i i 2 48 8 0—9 2 ; Engra vi ngs

.

.
,

C a rdu c c i , ii 4 2 9 . I n ta gli a nd C a me i 1 0 5 1 1 7 ; ,
-

d e ll a C a st a g n a ( se e B o cca di Pi e tra D ura 1 1 7 1 2 3 ; M e ,

-

F e rro ) da l s 1 2 4 1 2 8 ; B ro nz es a nd
,
-

de l G a ll o ii , .
416 S cu lp t u re 1 29 1 3 3 T rib un e ,
-
,

d el G ua rda m o rto , i . 84 46
I n f a n ga ti , i 1 9 8 Ugo li no , A nto n io d C a t h e dra l ,
’
.

P agl iaz z a , i 2 5 7 . 1 79
S a nt o Z en o bi o , i . 1 56 of S i e nn a , O r S a n M i
T o rri ce lli , Eva ng e li sta , ii . 2 80 , c he l e , i 1 8
5 Aca demy , .

ii
35 . 1
T o rrigi a n i , M a rch ese C a rl o i 9 8 , .
, Ul ive ll i, C o si mo : SS . A nnu n
4 3 1 5 4 8 ; ii I 05
, . z i a ta i , .
37 5
°
S . F e li c i ta ,

T o sc a n e lli P a o l o i 7 4
, , .
51 1T a be rn a c l e , ,
ii 1 9 7.

T o zz e t ti G i o v T a rgio n i i 2 93
, .
, . 1 9 8 ; S a n Le o n a rdo , 4 2 0
ii 2 8 0 2 8 8 2 9 1
.
, , U m ili a ti , F ra ti , i 4 8 2 ; ii 4 34 . .

O tt a vi a n o T a rgio ni 1 1 , , . U m il ta, S a n ta : A ca de my , ii 1 46 .

29 1 U n iv e rsi t y o f Fl o re nc e , ii 2 7 8 .

T ra v ersa ri, A m b ro gi o , i 39 4 . U rbi no , El e o n o ra G o nz a ga o f , 1 1 .

T re spi a n o , ii 3 2 6 .
58, 1 63
T rib o l o : La u re nt i a n Lib ra ry , i . Eli sa be tt a G o nz a ga o f, 11 .

1 3 5 ; B o b o li , 5 5 2 ; C a st e ll o , 2 69
ii 345 , 3 46 ; S M i ni ato ,
. . F e de rigo of : Pi tt i , 1 1.

37 2
T ro ll o p e , M rs T h e odo si a , i 4 3 1
. . F ranc esc o o f 1 1 5 9 1 7 9 , .
,

T ro y e , J e a n F ra n co i s de : T ap G u i do b a l do o f 1 1 1 7 6 , .

e strie s , ii 2 04 , 2 6 9 . Lo re nz o o f i 1 2 5 , .

T u rita , F ra J a c o p o , B a p ti ste ry , i Uzz a no N i c c o l o d i 2 6 39 ’

. .
, , , ,

36 1 5 8 3 9 6 49 8 ; ii 2 68 2 7 9
, , .
,

T usc a n y , G ra n d D u k e s o f , i 5 5 9 .

Va cc a ,Fl a m ini us : Lo ggi a dei

Ub erti, S a n B e rn a rdo de gli , i . La n z i ,

4 8 0 ; ii 3 5 8 . V a l e ri a n i C a rdi na l Pi e tro i 44
, , .

F a rin a ta degli , i 3 2 6 . V a ll o m b ro sa ii 4 5 3 , .

U b e rto de gli , i 1 7 2 , 2 7 4 . V a l o ri B a c c i o i 1 3 5 2 6 6 36 1
, , .
, ,

U b erti n i ( se e B a cch ia c c a ) F ra n c esc o i 2 7 1 36 2 , .

,

U b e rti n i , B io rdi de gli , i 304 . Va n de r G o e s H u g o : S M a ri a , .

‘
Ucc e ll a toj o , th e , o f D a nte , i
’
. N uo va i 3 50 , .

8 ; ii 3 2 3. Va n der H e l st Pi tt i ii 1 8 9 , .
50 8

B o rgo J ac o p o
Sa n , de ll e T e rme ,
La m b e rte sc a i 1 5 6 , . C o rso de i T i nt o ri , i 2 8 3 .

La rg a ( se e C a v o u r) T o rn a b u o n i,
de Le o n i i 2 2 2 V a cc a re cc i a , i
’
.
, .

de Lib ra i i 2 7 4 V ecch i et ti , i 1 46
’
.
, .

B o rgo San Lo renz o i 1 09 , . V ig n a N u o v a , i 43 7 .

M aggi o i 5 2 1
, . S Z e no bi o ,
.

de M a l c o n t e n ti i 33 7 V i a l e M a rg h e ri ta , 1 , 2 5 6
’
.
,

de l M a ndo rl o i 3 6 4 , . P rinc ip e U m b e rto ,

M a rt e lli i 40 3
, . V i ce nt i n o ( se e B o l drini, N i c o l o)
M e l e ra nc io i 40 3 , . Va l e ri o Uffiz i, ii 1 1 8 .

M ich e l o z z i i 5 2 4 , . Vi co , Ai neas : Uffiz i e ng ra vi ngs ,

de ll a M o rt e i 1 00 , . ii . 1 00
N a z i o na l e i 4 3 2 , . Vie u sse u x , G i an Pi e t ro , i . 1 62
F o nda cc io S a n N i c o l o i 5 06 , . Vigno li : S F eli ce , i 5 2 6
. .

de ll a N i nna i 2 0 2 2 2 2 2 30 ,
.
, , Vill as
de ll e O ch e i 1 6 9 , . A lbe rt i , 1 1 3 4 7 , 4 5 0 .

B o rg O gn i S a n ti i 48 5
’
, . A l to v iti, ii 44 6 .

O ric el l a ri , i 4 8 1 A mb ro n , ii 3 3 8
.

. .

de ll O riv o l o , 1 3 46 S A n dre a , ii 4 1 3
'
. . .

Pa l az z u o l a , 1 44 7 . A rtimini, ii 4 2 9 .

de l P a l a gi o , i 344 . B a ndi ne lli , ii 3 1 9 .

de l P a rio n e , i 44 2 . B ecca ri, ii 3 6 3 .

P e ll ic e ria , i 1 5 0 . B o naini, ii 3 6 5 .

de P e nt o li n i , i 3 5 5 B ru c i a t o ii 3 3 8
’
. .
,

de ll a P e rg o l a , i 3 6 4 . B ru t i ii 4 5 0
, .

P idigl io sa , i 4 96 . C a f aggio l o ii 3 33 , .

Pi et ra Pi an a i 3 5 1 , . C a m po ra ii 3 9 4 , .

de Pil ast ri i 3 54 C a ppo ni ii 4 1 2

’
, .
, 4 2 5 4 28 .
, ,

Pi nt i i 3 5 8 3 6 4
, .
, ( see Vill a B ecca ri)
de i P i tto ri i 1 6 7 1 6 9 , .
,
C a reggi ii 3 3 9 , .

F o r S a n M ari a i 1 5 6 , . C ast e ll a n i ii 4 2 3 , .

P o rt a P ra t o i 4 8 2 , . C aste ll e tt i ii 4 5 0 , .

de l P ro co nso l o i 2 6 6 , . C asta gno l o ii 44 8 , .

di Puc c i ,
C ast e ll o ii 3 4 5
, .

S Re p ara t a i 4 3 1
.
, . C o l o m b a i a ii 3 9 3 , .

R i c a so li ,
C o n c ez i o ne ii 34 1 , .

Ro n di n e lli i 4 33 , . S a n D o na to ii 4 3 3 , .

P o rta Ro ssa i 1 6 1 1 64 , .
,
F a b b rico tti ii 3 36 , .

de ll e Ru o t e i 4 2 9 ,
. F o ri n i A pp e ndix ii 47 0
, , .

S a n G a ll o i 4 2 9 , . F o sso mb ro ni ii 2 9 9 , .

de ll a S a pi e nz a i 3 9 6 , . C e ppi ii 4 2 4, .

de ll a S c a l a i 4 8 0 , . G h e ra rdesc a ( seeVil l a La ndo r)

S S e b as t i a no 1 3 6 5
.
, . G ioe ll o , ii 4 1 6 .

S e rragli ,
G ra zz i n i ( se e Vill a A lb e rt i )
d e S e rvi G ua da gn i , ii 2 9 9
’
.
,

S il v estrino , 1 4 2 9 . La v a ggi , ii 3 2 4 .

de ll a S p a da , i 4 3 8 . La ndo r, ii 30 5 .

de gli S p a da i ( see M a rt e lli ) Lemm i , ii 3 3 8 .

F o ndacc i o S Spiri to , i 5 20 . . M a cch i a v e lli , ii 4 1 3 .

 I N D EX .
5 09

V ill a s V ill a g e of

M a ga l o tti 1 1 36 5 , . P ereto l a 1 1 4 35 , .

M a rign o ll e , ii 4 2 5 . P e tri o l o ii 4 3 5 , .

M e di c i ( T ro ll o p e ) ii 3 6 2 , . P o n te C e rto sa 1 1 3 9 5 4 1 2 , .
,

M ich el o z z i, ii 4 2 4 . P on te a Ema ii 36 6 , .

M o n tau to ii 4 2 4 , .
Qu arra cchi ii 4 3 3 , .

M o zz i ( se e Vill a S p ence ) Qu a rto ii 3 44 , .

N ic co l in i ii 4 2 4 , .
Qu i n to ii 347 , .

N u ti ii 4 22
,
. Rif re di ii 3 4 3 , .

O m b relli no ii 4 1 7 4 2 4 , .
,
R ip o li ii 3 6 3 , .

P a l m eri no ii 3 54 , . Ro v e z a n o ii 3 5 9 z , .

P a l m i eri ii 3 2 3 , . S c a n di cc i ii 4 2 8 446 , .
,

P e tra i a ii 344
, . S o ff i a n o ii 4 2 9 , .

P eru zz i A n te ll a 1 1 3 6 5 , . S e ttig na no ii 3 5 9 , .

Pi tti Lepa re ll i ii 4 5 0 , . V i nc i ii 4 5 2 , .

P o ggi o a C a i a no ii 4 37 , . V ill a ma gn a di st ri ct o f 1 1 4 3 7
, , .

P ra to li no ii 3 2 7 , . V ill a n a B e a ta i 4 5 7 46 0 4 7 2
, , .
, ,

Rinuccini ii 4 2 9 , . V ill an i Filipp o ii 2 8 0

, , .

de ll a Rip a ii 3 4 2 , . V i nc i Le o n a rdo da P a l a zz o V e c
,
~

Ro ndi n e lli ii 3 1 8 , . ch io i 2 48 ; P a l azz o T o r

, .

R u sc i a n o ii 3 6 2 , . ri ian i
g 50 1 Uffi z i ii 1 5
, , .
,

S a cch e tti ii 4 2 6 , . 27 ,4 2 44 7 1 ; D ra w i n gs
, , ,

S a lvi a ti ii 3 2 6
, . 87 A ca de m y 1 55 Pi tti , ,

S a lvi n i ii 3 2 7
, . 176
S ch w a rtz e n b e rg i 506 , . V i sdo m i ni , C e re ttieri, ii . 1 67
S e gn i ( see O mb relli no ) Vi te lli , C l e ment e , ii 3 1 9 .

S p en ce ii 306, . V ivi a n i , Vince nz io , i 2 2 5 , 4 3 2 ; .

S tibb ert ii 3 36 , . ii 2 80, 2 9 3

.

S tro zz i ii 4 3 0
, . V o lp a i a , Lo renz o de ll a , i .

( se e V ill a N u ti ) Vo lp a to : Uffi z i engra v mgs, 1 1 1 04

S t uf a ( see B ru c i a to )
,
Vo l te rra n o , I I : S C roc e , .

( see Vill a C astagno l o ) S S A nnu n z i a ta , 3 7 5 O gn i

.

T egl ia cc i ii 3 5 4 , . S a n ti , 4 8 7 P e tra i a , ii 345 .

de ll a T o paj a ii 3 45 , . Po ggi o I mp eri a l e , 3 90

T o rre G a lli ii 4 2 9 , . Vosterma n , Lu c a s Uff i z i engra v
Z an n e tti ii 4 2 3 , . i ngs ii , . 1 02
Vill a g e o f
A n te ll a 1 1 3 6 2
, .

C a mpu c c io l a ii 447 , .

C a sa li n a ii 44 7 , . Wa ll s o f Fl o re nce i 1 0 1 7 , .
,

S a n C asc i a n o ii 4 1 3 , . Wa tts G F : U ffiz i ii 7 3 ; Ca

, . .
, .

C aste l Ri cc i ii 44 7 , . re ggi 3 36 .

C e rc i n a ii 3 2 6
, . We bb P h ilip B a rk er 1 1 2 86
, , .

S a n D o nn i no ii 4 3 7 , . We st B enj a m i n i 1 6 0
, , .

G i o g o li ii 4 1 2
, . Will a M a rch i o n e ss o f T usca ny i
, , .

I mp ru n e ta ii 4 1 3 , . 2 66 U f fi z i e ng ra vi ngs ii ’
, .

La stra S ign a ii 44 9 , . 1 03
M aj ano ii 3 5 4 , . Wil so n , C h a rl e s H ea th , i . 1 26 ; ii .

M a l m a n til e ii 4 5 1 ,
.
37 I
M o nto rso l i ii 3 2 7 , . Wi ttrock 1 1 2 86 , .

M osc i a no ii 4 2 8 , . Wo l sey C a rdi na l

, , 1 1. 3 54
5 I0 I N D EX .

Wo o l l e t Willi a m : Uffiz i engra v

, Z oa n , A n drea Uffiz i e ngra vi ngs,
i n gs ii 1 03
, . ii 9 6
.

Wo rk h o use ( Pia C a sa di La v oro ) , Z u cca ro , F e de rigo

i 3 37 U fiiz i dra w i ngs,
Pi tt i , 1 7 6
i .
3 5 0 ; Pi tti , 1 1 1 9 2
.

Z a ff e rin , O n o f ri o , 1 7 4
. Z u c c o ne , il , di D o na te ll o , i 5 6 ,
.

Z a mo ysk a , C o un te ss, i 3 00 .
510
Z a n n e tti, D r F e rdi na ndo ,
. Z um bo , G ae ta n o : Pa l a zz o P i tt i , i .

Z ec ca Ve c c h ia , o r M in t , i 2 04 , 3 8 7
.
5 5 6 B a rge ll o , ii 2 5 7 M u
.

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