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EDITION DE LUXE

plated an)r^eople0

FLORENCE
BY

CHARLES YRIARTE

Soltitne

II.

MERRILL AND BAKER

New
York

London

DGr
''
[

5'7

J-

;j

617342

THIS EDITION DE LUXE OF THE WORLD'S

FAMOUS PLACES AND PEOPLES

TERED
NO.
COPIES,

IS

LIMITED
REGISIS

TO ONE THOUSAND NUMBERED AND

OF WHICH THIS COPY

^d:^^'

Copyright, Henry T. Coates

&

Co., 1897

LIST OF ILLUSTRATIONS
VOLUME
II

PAGE

Cloister of Monastery of
Basilica of S. Miniato

S.

Marco

Frontispiece
.

286

PONTE Vecchio
Loggia dei Lanzi

310
340 354 390

Tabernacle in Or San Michele

VlTTORIA COLONNA

MaddalEna Doni

418

Madonna and Child

L.

438

ETBUSCAN AET.

265

CHAPTER
Long

V.

ETRUSCAN ART.
before giving to the world the spectacle of

the splendid development of art and civilization which

I have endeavored to describe,

Tuscany had been

in

these respects a very favored land.

More than a thousand years before our era the soil was occupied by the Etruscans, a mysterious people whose origin has never been clearly ascertained by the historian or the archseologist.
of Tuscany

Whether, as has been

Phoenician,

variously
or

argued,
Celtic,

Greek,
race

Grerman,

Iberian,

the

which peopled Etruria, and

settled

between the Tiber

and the
of

Amo

in the tenth century B.C.,

showed a
the

special instinct for art,

its

and

left

upon
that

all

the objects

creation so original a

mark

its style is

easiest to identify of all those

which the

archaeologists

have exhumed.

Mommsen, Niebuhr, and

Ottfried Muller have each

given their views, accepted by some and rejected by others ; Michelet says that the " genius of history is

dumb," and Sir George Comewall Lewis comes to the somewhat sweeping conclusion that " all the searching investigations of

modem

savants as to the primi-

266

FLOEENCE.
Thyrrhen-

tive history of the Pelasgi, the Siculi, the

ians, the Aborigines, the Latins,

and other national

races are as devoid of

any

solid foundation as the

study of judicial astrology, the discovery of the philosopher's stone, or the eUxir of life."

Ee
art,

this as

it

may, Etruria was the cradle of

art

Italian

and a work on the

and civiHzation of that

Etruscan

country which goes back to the earHest times would not

be complete without some notice of the

first

monuments.

These are beheved

to date

from the

close of the tenth century B.C., and the many specimens of them which are to be seen in the different museums have all the conventionality of Egyptian art,

a circumstance which

may

perhaps be accounted for

by the trade which Etruria carried on with the East. Etruscan art, however, was personal, so to speak,
while that of Egypt, on the contrary, was immutable,

and subject

to certain rites, religious prescriptions,

mathematical laws,

and immovable canons.

The

Etruscan sought to imitate nature, while the Egyptian covered the

human anatomy with an inanimate

which gave no clue
at
infinite

surface of porphyry or granite

to the life

beneath.

The Etruscan was

and the

pains to reproduce the muscles, the veins, the ar-

rangement of the
draperies.

hair,

folds of the loose

There are few large monuments

especially of the first period,

left

in Etruria,

though some walls of

colossal proportions like those at Fiesole,

and

lofty

ETEUSCAN AKT.
gates like those of Perugia

267
of the best-prestill

served monuments in Italy

one may

be seen, beis

longing to a period in which Greek influence

visible.

very

The

first

Etruscan style lasted until the

third century of

modification and

Rome, after which it underwent a became the Tuscan style, contemRome, Greek art it was to

porary with that of -^gina and Greece, while, five

centuries after the foundation of

had acquired

so complete a

monopoly that

be traced in aU Etruscan constructions of the time.

One

of the most

important Etruscan towns. Veil,

succumbed
subjugation

in the year

B.C. the battle of

B.C. to Rome, and in 283 Vadimo brought about the complete of the Etruscan nation by Rome. The

396

superposition of these two civilizations

close to

may

be seen

Florence, at Fiesole, on the slope of the

mountain upon which the

built, for

Roman
with

amphitheatre

is

hard by

this building,

its classic lines, is

the colossal Etruscan wall, which seems strong enough

to

prop up the mountain, and whose enormous layers,

placed one upon another without mortar, with the

edges as square as if it had been built yesterday,

tell

us of this people whose origin has remained an enigma

for scholars of

every age.

Etruscan

art

produced vases,

mirrors, jewels,
style,

statues of great size

and beautiful

and scarce

as they

now

are, great

arms,

etc.,

and

tables

numbers of sarcophagi, disci, engraved with inscriptions

and an astonishing number of grotesques are found

268
in the excavations,

FLOBENCE.
and are exhibited in the various

museums

of Europe under the

names of " Obesi/^

excelled in

and " Pingues Etrusci."

The Etruscans

bronze work, and there can be no more admirable specimen of it than the " Chimsera '^ in the Uffizi
Gallery, with an inscription

upon

its foot.

The " She-

Wolf"
in his

in the Capitol at

Rome

also

shows a complete

knowledge of the structure of those animals. Perkins,

work on

^^

Tuscan Sculptors," attributes

this

proficiency of the Etruscans to their habit of offering

sacrifices,

and of seeing animals immolated by the

augurs.
It

seems incredible that we should not have one of

those triumphal bronze statues, which were so

numer-

ous that after the capture of Volsinii the

carried off two thousand.

Romans

Some

of

them were of

gigantic size, and a fragment

Piot in
is

shown by M. Eugene the retrospective exhibition at Paris in 1878

to

beHeved to belong
period.

what we may

call

the Etrusco-

Greek

The Vatican Museum

has not so many,
it

is

very rich in objects beUflfizi

longing to this period, and though the

contains
in

Gallery
to

addition

the
is

"Chimsera," the "Orator" (Arringatore), which

the most perfect specimen of
tions
its

kind.

The excavaand carried

commenced

in the sixteenth century,

on with varying ardor ever since, have brought to

light riches

now
is
still

dispersed throughout Europe, and

far

the supply

from being exhausted.

The

ETKUSCAN AKT.

269

towns of Coreto, Chiusi, Toscanella, Volterra, Veii,

Coere, Castel d^Asso, Norchia, Vulci, Bomarzo, Fiesole, and Perugia have helped more than any others by the excavations made in them, to make us under-

stand the different phases of this civilization.

first

The

style denotes a

tendency to imitate nature which

art, since, in re-

may be

regarded as the dawn of

producing what they saw, the Etruscans took only

the main lines.

SimpHfying the shapes, the outlines

of figures, the draperies, and the anatomy of

animals,
creations.

men

or

they gave

really

lofty

tone

to

their

The second manner

still

reveals their

want of

sci-

ence, for in their anxiety to express action and motion

these primitive artists overdid

effect.

it,

thus hurting the

Those writers who have examined with care

the influence of Egyptian art, while

specimens of Etruscan painting and sculpture ascribe

the
first style to

much in common with island of ^gina. Long before the time

the second has
archaeologists

the art of the

of our

modem

and the scholars of the seventeenth century, Strabo, who had travelled in Egypt and Etruria,
observed these points of similitude, varied, however,

by the special characteristics which confer upon the artists of Etruria their unquestionable originality. The
Etruscans excelled, moreover, in giving to the objects

which they reproduced their natural

able proofs of this

color.

Admir-

may

be seen in

many

of the

mu-

seums.

270

FLOEENCE.
in the year

The Greeks, when

vaded Italy
regard to

212

B.C.

they in-

after the capture of Syracuse,

found the

people of Etruria readily accessible to their ideas in

art,

and Greek influence

is

apparent in the
this resulted

works of the

^gina

period.

From

new and more

It is

perfect, but less original style,

and the

national element soon disappeared altogether.

from this Etrusco-Greek period that date the

masterpieces in the Gregorian

Museum, the Vatican,

and most of those in the Uffizi, including the bronze ^^Cestus" in the Kircher Museum.
Skilful in the manipulation of metals, in the cast-

ing of bronze armor, in die-sinking, or in the carving of applied figures upon metals or
artists
stuffs,

Etruscan
their

supplied nations

more advanced than

There

own

in civilization, with their works,

which were
is
it

highly appreciated even at Athens.

point which has never been cleared
that after

one

up

how

was

becoming the purveyors of nations wealthy

enough

to indulge in all the refinements of luxury,

the Etruscan artists, instead of applying their talents

to the production of

every kind of plastic work, such

as armor, marbles, elegant furniture

and jewellery,

multiplied

by some

industrial

method innumerable

specimens of the same object or the same jewel,

creating a specialist for each of these departments.

Thus was
call

first

brought into existence what

we now

" art applied to industry," resulting in the pro-

duction of objects less perfect in taste, but neverthe-

ETEUSCAN AET.
less

271

to all the

imbued with that delicacy of conception common works of art in those days. The foreign
which are
to

influences

be traced in Etruscan

art are

not mere vague resemblances of shape or aspect, for

five centuries before Christ,

and two hundred and five

after the

years after the foundation of Rome, the Etruscans

coined gold and silver
coins current in Attica

money

model of the

and Asia Minor, while a cen-

tury before,

when

in constant communication with

the inhabitants of Cumse, the Samians, and the Ehodians of Campania, the strange spectacle
is to

be wit-

nessed (as

may

be easily seen from an examination

own, borrowing those of

of their objects of art) of a whole nation, devoid of

any heroic

traditions of its

other peoples, and representing

them

in her pictures

and sculptures.

This adoption of foreign myths

caused great embarrassment during long centuries to

the students of Etruscan lore,
science of archaeology

who
in

did not, while the

its

was

still

infancy,

know
of

what

to

make

of finding an episode in the

War

the Seven

Chiefs, or in the Fall of Troy, in the

artist.

work of an Etruscan

What

gives art so important a place in the history

it

of civilization, and causes

to

have such a hold upon

it is

the popular imagination,

rable from history.

is,

that

almost insepa-

If Herodotus, writing a century

before the foundation of

Rome,
Italy,

is to

be believed, the

Greeks knew nothing of

Sicily

but soon afterwards

first

was colonized by Greeks, Naxos being the

272

FLOEENCE.
in the island.

Greek settlement

The

influence of

Greece gradually extended, but Etruria retained her special characteristics until she became fused in the

Roman Empire.

Then a

fresh civilization engrafted

itself upon the older one, as we have seen in the case of Fiesole, Perugia, and other towns. While Rome had to fight for her own independence

and existence,

art

was confined

to the turning of the

potter^s wheel, or

by the
lighter

riverside.

to making a basket out of the osiers As Cicero says, " Art was left to
sit

the strangers, in order that their bondage might

upon them."
;

The Temple
to the

of the

Gods was
impelled

not yet built

but as the instinct of

man

him

to

offer

sacrifice

tutelary divinities, he

sought out a spot devoted to prayer to which he

might repair only for devotional purposes.

Etruscans taught those
their masters

The
alto-

who were about

to

become

and eliminate

their nationality

gether,

how

to build the ceUa of

a temple, and to re-

place their rustic dwellings, roofed with green boughs,

by

those water-tight houses which ultimately

villa. The Etruscan who had no idea of what

became
taught

the palace and the

his conqueror,

artist

architecture

meant, the graces of the full arch, and the expression " Tuscan architecture " became a familiar one in

Rome, prevailing there

Temple

until the

Sicily introduced their purely

Greek colonists of Greek decoration in the

of Ceres (496 B.C.).

I do not propose to trace the development of the

18

ETKU8CAN ART.

273

Roman

civilization,
it is

which followed that of Etruria,

modified,

true,

by the Greek
Tuscan

influence, but sud-

denly cut short by the conquest.

to indicate the origins of to decide
this art,

I merely wished
art,

leaving others

whether there

is

any

secret analogy between

B.C.,

which passed away in the year 280

and

that

which came into existence

at Florence fifteen

centuries later.
their

Rivers between their sources and

our notice, but

origins.

mouths often run underground and escape from we know where to look for their
In the same

way we may perhaps

by a new

discover

in the Florentine genius of Donatello a hidden analogy

with Etruscan
is

art, refined

civilization.

It

certain, in

delible

any event, that Greek art left an inimpress upon Tuscany, and after the terrible
first

Barbarian invasion in the

anity,

centuries of Christiit

and

after the darkness of the Middle Ages,

that Renaissance which

was once more Greek influence which brought about had its centre and highest
personification in Florence.

When Etruria was conquered, Etruscan art,

modified

already

by the
and

introduction of
it

individuality,

was not

until

Greek art, lost its more than ten cen-

turies had elapsed that the various arts for which Italy was famous were again to be seen in their native places, brought to life by the men who were the forerunners

of the Renaissance.
artists, to

In order to trace these

difi'erent

observe the course of events, and to underthose ancient times are connected with our

stand

how

274

FLOEENCE.
age athwart the
first

modem

centuries of the Chris-

tian era and those of the Middle Ages, down to about 1200, we must go from Tuscany to Rome, in turn the
political centre of

the Republic, the residence of the

emperors, and the seat of the Papal power.

A brief
make
the the great

summary
artists

of the principal personages will

transition clear,

and show the

affiliations of

who brought about

Rome,

the Renaissance.

Many
the
art,

reasons militated against the creation of a

for the national genius of

national school at

Romans

did not impel

them

to the cultivation of

and, caring

more

for war, politics,

and

legislation,

they even passed laws forbidding the representation

of the
fifty

human

figure.

years religion

For a period of a hundred and was altogether spiritual, but King

in this matter, accorded his

Numa, who had legislated

can
artists

protection to the foreign colony of

j

Greek and Etruswere formed. The

intrusted

and corporations of goldsmiths, and of

etc.,

workers in bronze, terra-cotta,

elder Tarquin, wishing to erect a temple to Jupiter

Capitolinus, infringed the laws of

Numa, and

the execution of the statue to Vulcanius, an artist of

Veii.

Then

followed five centuries of stagnation, in

it

the course of which

the

would be

difficult to

mention

name

of a single

Mamurius Vetturius,
which
fell

Roman sculptor as gifted as whom Numa employed to make

the eleven copies of the " Ancyle,'' or sacred shield,

from heaven during the pestilence.*

emblem
of Florence, p. 12.

* See note on the lily as the

ETEUSCAN ART.
It

275

was the Roman conquests which favored the development of the arts of statuary and painting,
the vanquished imposing their tastes upon the victors.

The

great

Roman commanders,

Marcellus,

Quintus Fabius, Scipio Africanus, Titus Flaminius,

Lucius Paulus, and Mummius, brought back to

the trophies taken in Sicily, Macedonia, and
pania, and

Rome
Cam-

when Corinth fell into the hands of the Romans they secured art treasures which served as models for their own artists. The love of art gradually became more general,
and each citizen was anxious
to

have in

his house
his

likenesses of himself, of his ancestors,

and of

gods, and as the native painters and sculptors were

neither numerous enough nor clever enough, artists

from Greece foimd ample employment.

In course of

time wealthy amateurs gave an additional stimulus to

art

by

their liberal purchases of pictures, statues,

j

and

stone engravings

and as the demand creates the

supply, there also

came

into

existence

plenty of
successful

clever forgers
artists

who

imitated the

names of

on the pedestal of a statue or in the comer of

of the

a fresco.

This 'was the epoch of Terentius Varro

refined Lucullus
j

of Verres,
;

whom

Cicero denounced

in such scathing terras

of Agrippa,

who in the

course

of one year provided

Rome
;

with a hundred fountains

surrounded by statues

and of ^milius Scaurus, who

constructed a theatre for the celebration of public

276

FLOKENCE.

games which was ornamented with three thousand marJulius Cajsar was very fond of bronzes, ble statues.
marbles, and stone carvings
5

Mecsenas has lent his

name
tries
;

to the patrons of art in all ages

and in

all

coun-

Pompey was an
j

indefatigable collector of stone

carvings

and the

taste for these things

became genand the

survive,

eral throughout Italy.

The Rome

of the Caesars did

much

for art,

age of Augustus rivals that of Pericles.

The monustill

ments of that period, many of which

bear the double impress of grandeur and elegance,

and
the

testify to the

genius of their creators.

There

is

a vast difference, however, between the Greeks and

Romans,
to

for while

the

former represent

the

supreme type of beauty and give a stamp of

tion
all

distinc-

they touch,

the

latter,

though

their

works are massive and imposing, lack grace in the

details.

When

the heaviness which

is

characteristic

of their style disappears,

we may be

sure that a

Greek

has had a hand in the work.

The whole
traces of
it

of this period was a brilliant one, and

still

are

visible not only in

Rome

itself,

but throughout Italy, and even along the coast of the

Adriatic and the banks of the Danube.

Roman

art,

coming into existence with the

left

first

of the emperors,

died with the last of them, while each successive ruler

upon

it

the impress of his

own

personal tastes.

Tiberius, Caligula, and

art

Nero blended Greek and Roman

by the importation of the great works of Olympia

ETKUSCAN ART.
and the
five

277

of Apollo at

hundred statues taken from the Temple Delphi and Titus employed Greek artists
j

for the bas-reliefs of his triumphal arch.

The column
of the genius of

of Trajan, erected to commemorate

his victory over the Daci, affords

an

irrefutable proof

Roman
If this

artists, for

the style of this

monument
lous

is clear,

concise,

and

free

from any nebu-

allegories.

Roman

school

had

lasted

there can be no doubt that the genius of the people

would have developed

distinct national characteristics

devoid of all foreign influences, which would have been transmitted down to our own day with no other

changes save those brought about by historical

cumstances
J

cir-

but a nation which rules the world must

inevitably be affected in

some way by the peoples

whom
East.

it

has subjugated, and the genius of

Rome

bears the constant impress of the influence of the

The Emperor Hadrian, who was a passionate admirer of Greece and Egypt, and who brought to Rome a great number of Greek artists, prided himself upon
being at once architect, sculptor, and painter, and
all rivals. He was succeeded by Antoninus, who cared but Httle for art, and then came Marcus Aurelius, of whom there stiU exists

was yery jealous of

an equestrian statue which

of the
artist

is

a very good specimen

it

Roman
Greek
art,

school,

though

was executed by an
its

of

nationality.

Roman

which had reached

zenith under

278

FLOEENCE.

Trajan, began to decline under

Commodus, and

it is

interesting to follow this decadence in the column

erected

by the

latter to

Marcus Aurelius,

^which

is

a rude imitation of the Trajan Column,

of Septimius

in the arch

Severus, and in that of Constantino,

the sculptures of which date from the time of Trajan.

Constantino consummated the ruin of

Roman

when

he transferred the capital of the

all

art, and Empire to

Byzantium he took with him

of the day, their departure, as

the greatest artists

observes,

Winckelman

leaving what had

until

then been the capital of the

world a very desert.

CHKISTIAN AET.

279

CHAPTER
With
the development of the

VI.

CHRISTIAN ART.
new
truths which

followed the birth of Christ, Christian art

came

into

being, but from a natural and even superstitious aversion

for

heathen mythology,

it

avoided anything
this

which symbolized those myths, and

tion of

abhorrence

of the productions of ancient art led to the destruc-

an immense number of priceless works.

The
and

statues of the gods

were broken in pieces

the im-

ages, the bas-reUefs, the temples, the friezes,

the marble tablets, with their historical inscriptions,

were destroyed; and the worshippers of the new

God were
deities

eager to sweep away

their ancestors

all

vestiges of those

whom

had adored.
beginning of the

After the birth of Christ the arts of painting and

sculpture stood
still,

and

at the

fourth century were no

more advanced than they had

Palm-branches,

been twelve hundred years before.

hearts, triangles, fishes,

and monograms were en-

graved upon the tombs of the catacombs, and the

efforts to

represent the Divine form in painting were

ludicrously primitive.

Not

until

an emperor had

been converted to Christianity was any improvement

280
noticeable,

FLOEENCE.

and when a Christian died at Rome he was frequently buried in a sarcophagus which had been

made hundreds of years before. The sarcophagus, in fact, was the

between ancient and

connecting-link
in the begin-

modem

art,

and

ning of the fifteenth century

we

find a Medici taking

an ancient sarcophagus for the interment of one of his relatives, and having the family arms carved upon
it.

For a long time the

to the sixth

ecclesiastical ordinances pre-

vented the development of sculpture and painting,

and up

century a very

strict

supervision

was exercised over the choice of

idols

subjects.

In the sixth century, when the recollection of the

had grown

faint,

the fathers of the Church per-

mitted three of the mysteries of the Passion to be

represented, while eighty years later permission

was

given to illustrate

all

the others.

The
the
ligious

history of art during the six centuries between

fifth

and the eleventh

may be

read upon the re-

monuments. The great crusade preached by Emperor Leo of Isaura and Constantino Copronymos against the worship of images (Iconology,
the

726-754) led

to

a mighty immigration of

artists into

the West, where, however, Byzantine art

firmly established,

was already
were not
or

and where

its

influences

thrown
This

off until
is

the end of the thirteenth century.

period

termed the

Italian-Byzantine,
all

Romanesque.

In the meanwhile

Europe was

passing through the terrors of the year 1000, when,

CHEISTIAN AKT.
according
to to

281

predictions
to

universally believed, the

All art,

and even busiwas suspended, but when the time passed, and the prophecy was proved to be groundless, the peoness,
ple, in their gratitude to
all

world was

come

an end.

heaven, erected churches in

directions, thus giving a fresh impulse to sculpture

and painting.
In future there was no line of separation between
the architect and the sculptor, and for two hundred

years there

is

no record of any name among the

hosts of artists
lars,

who worked

at the porches, the pil-

the naves, and arches of the great cathedrals.

The sculptor was regarded as a mere stone-cutter. The distinctive mark of this period was the carving of diabolic and grotesque figures, in which were

blended an expression of faith and simplicity recalling

the primitive age of art.
late

period the

artists

Even at this comparatively who executed these great

laid

works evidently carried out fundamental laws

down by a higher authority.

Ksa

affords a boundless field of study as to the

transition

from pagan to Christian

art.

Beneath the

spacious porticos of its

agi dating from the

Campo Santo we see sarcophperiod when Pisa was one of

the most important colonies of Imperial Rome, while there are others which have been brought there from

the East, from Sicily, and from Calabria, and which

date from the Middle Ages.

In the eleventh and

twelfth centuries the people of Pisa, while building

282
the

FLOKENCE.

Duomo and Leaning Tower, which attract so many

used for the decoration of the

visitors to their city,

exterior these sarcophagi, the sculptures of which,

much
copy.

as they admired them, they

were unable

to

The

highest honor they could

personage

at his

death was to

pay any great bury him in one of

them, and the Countess Beatrice mother of the famous

Countess Matilda, and Pope Gregory VIII.,
at Pisa in 1187, are interred in

who

died

two of these ancient

is

tombs.

Charlemagne himself

buried in a

Roman

sarcophagus representing the interment of Proserpine,

and

St.

Andreo

rests

in that

which formerly con-

tained the body of Tiberius Julius Valerianus, whose

ashes were scattered to the winds

by

the Barbarians.
said to connect

The

sarcophagus, therefore,

may be

the past with the present

to

have brought about the

regeneration of sculpture
attention

and when Niccolo Pisano's

the movement, the

was struck by the subjects which ornamented

them, and

when he compared

life,

and the anatomical science of the ancient sculptors

with the qualities of the stone-cutters employed in
the construction of the

and successful

effort to

Duomo, he made a determined shake off the trammels of By-

zantine stiffness and the narrow principles of the early

Christian period, thereby emancipating Italian art, and

founding that school which was destined to regenerate

the whole artistic world.
Pisano,

who played

as prominent a part in sculpin painting

ture as Giotto

and Dante afterwards did

CHEISTIAN AKT.
and
had
literature,
its

283
which

was a Tuscan,

so that the art

origin in Etruria

the Pelasgi,

was born again in a city of within a few miles of Florence and an-

cient Fiesole.

AKCHITECTUEE.

285

CHAPTER
It
is difficult

VII.

ARCHITECTURE.
to separate the study of the develop-

ment of
fail to

art

among a

people, from their political

and

social history, for in

attempting to do so one would

grasp the significance of the successive evolu-

tions, as

may be

clearly seen

by simply comparing
is

the historical facts and social events with the out-

ward form of some monument, which

sion of a particular society or period.

the expres-

Having thus given a rapid glance

antecedents of Tuscany,

at the transfor-

mations of art in Etruria, so as to see what were the

we have now reached

which
all

the

dawn

of Gothic art (improperly so called), remark-

able for the unanimity with

the workers are

obedient to the dictates of a master spirit

self

who him-

remains anonymous for us, inspired by the one

thought of glorifying
is built.

Him

in

whose honor the temple

We

are upon the eve of the desperate struggle

for nearly

which rent Italy

two centuries

upon the

one hand the Pope, and upon the other the Emperor,
each regarding the Peninsula as his domain, and

each representing an opposite principle.

During

this


286

FLOEENCE.
camo

continuous conflict civil and military architecture

into existence, their respective forms revealing in a

striking

manner the troublous circumstances out of

ancient

which they were evolved.

The most

monuments of Florence

those

which are characteristic of the thirteenth century,

and retain a certain unity, despite the modifications

which time has

efi'ected

are

the Baptistery

of San Giovanni, the churches of Santa Croce and

Santa Maria del Fiore, the Bargello, and the Palazzo

Vecchio.

Though Tuscany gave the signal for the movement which brought about the regeneration of art,
the
first

important work was carried out, not at Florbut at Pisa, where the

ence

itself,

Duomo,

erected

by

Buschetto, though composed in part from antique frag-

ments of the most various kinds, none the

vealed, in
its

less re-

conception and shape,

new
at

tendencies

and

aspirations.

It is

worthy of remark that Italy

no time beGothic archi-

came wholly subservient

tecture.

to the taste for

With

the examples and recollections of

ancient art before her eyes, she adhered to the rules

which the architects of an

earlier

age had laid down,

and looked upon the Gothic system as one of parasitic

ornamentation which had been grafted on to the main

body of her own architecture.

It

has been remarked with truth that the cathedral

of Milan and the upper church of St. Francis of Assisi

\;i!^

o^EimU^

V'

li:iiVt^J.a

r.OBENCE.

.i;^

111

rices

out of

Basilica of 5, cMiniato

ABCHITECTUKK
the only strictly Gothic churches in Italy

287

^were built

by Germans.
Orvieto, nor
as they

Neither those of Siena, Arezzo, and

any of the Florentine churches

to
it,

can, near

may come

be spoken of as Gothic, so

many are the

ipal

differences in design

and shape.

In the

order of civil architecture the granting of the municfranchise

and the

communal power brought

about a

new

style, of

which Florence possesses one

this point,

of the most remarkable specimens.

But before considering

must be made to

some reference

THE BASILICA OF SAN MINIATO.

The basUica of San Miniato, one of the most venmonuments in Florence, embedded in the fortress built by San Marino, is of great architectural
erable
interest, besides

being an ornament to the city of

Florence, of which a splendid view

may be had from

^^

the heights of Miniato al Monte, the ancient

King's

Mountain," which legend says derived

its

name from
to St.

an Armenian prince.

There was formerly an oratory dedicated

Peter there,
built, as is

supposed, in the third cen-

tury of our era, and this oratory having fallen into

ruins in the year 1013, the

Emperor Henry, Queen

its

Cunegonde

who was aftewards canonizedand HUWhile the building was

in progress

debrand. Bishop of Florence, built the basilica in

present shape.
the body of

San Miniato was found

at the spot

where

288

FLOEENCE.
left

the Porta Santa, to the

of the fagade,
altar.
is

now

stands,

and was interred beneath the high

In Italy, as in other countries, there

always some

annex for the dignitaries and staff of a basilica, who form a small colony gathered around the mother
establishment.

In 1295 Andrea de Mozzi, Bishop of

Florence, built as his episcopal residence the large

crenellated palace which adjoins the church on the

southern side.

Ricasoli, the successor of

Mozzi

in

the see, added a vast dormitory, the campanile of

which

falling

down

in 1499,
It

Baccio d'Agnola.

was rebuilt in 1518 by was on this side that Michael

Angelo, transformed for the nonce into a military

engineer, constructed his bastion for the defence of

the

city,

and placed those batteries which

fire

finally

averted the enemy's

and saved the tower.

basilica
recall

The noble
of the
it

outlines of this

those

primitive

churches,

from which, however,

to

differs

very much in respect

the

style

of

its

ornamentation.

The system

of

incrusting

the

fayades of buildings with marbles of different colors,

which, next to the massive walls

of the

Palazzo

Vecchio, and the solid substructures of the Strozzi

and Riccardi Palaces,

is

the most salient feature of

its

the Florentine school, had

origin in the necessity of

using in building and ornament the materials which

lay ready to hand.
is

The neighborhood

of Florence

rich in quarries of different colored marbles, so that

the

dome

of Santa Maria del Fiore, the proud cam-

AECHITECTURE.

289

panile of Giotto, the Baptistery, Santa Maria Novella,

and the fa9ades of the other principal buildings

in

Florence naturally contain incrustations of variously

colored marbles, arranged according to the fancy of

each architect.

Additions were

made

to

San Miniato

in each succeeding century, a sculptor adding a group

of statuary and a painter designing some brilliant

them were men of genius, the homogeneousness of the great basilica was not imcartoon
;

but as

all

of

paired.

The
terior,

interior, in
is

every respect worthy of the ex-

an admirable type of the ancient Latin

basilica with its

nave and

aisles

and three great

arches spanning the nave and

choir.

The

altar

and

chapel of the crucifix are very well placed for decorative

effect

between two grand marble

staircases

leading up to the tribune and choir.

This picturesque

chapel was built by Michelozzo Michelozzi for Piero

de' Medici,

who

deposited in

it

a crucifix supposed to
is

be endowed with miraculous power, which

the church of Santa Trinita.
is

now

in

The most striking by a short flight of stairs, the vaulted roof being borne up by thirty-six marble
feature

the crypt reached

columns.

In the centre of this crypt,

is

now used

as a

place of burial,

an

altar

beneath which repose the

remains of San Miniato.

Keascending the

stair-

case, the attention is caught by the singular arrangement of the bays which Kght this part of the edifice.

The

architect, in order to heighten the

19

solemn aspect

290

FLOKENCE.

of this spot, employed for the windows a transparent

marble which
golden tinge.

filters

the sun's rays and gives

them a

The

walls of the choir are covered

with traces of decoration of a very ancient period,

executed, no doubt,

poraries of Turrita and Taffi.

is

of the

by Greeks who were contemThe beautiful sacristy fourteenth century, and it was constructed
of the Alberti family, the pictures which

by Nerozzo,
it

contains representing

episodes in the

life

of St.

Francis, being attributed to Spinello Aretino.

The
it

fifteenth century did

much

for

San Miniato,

as

was then that Piero de' Medici erected the chapel

and that Bishop Alvaro dedicated the

of the crucifix,

chapel where are deposited the remains of Jacopo da

Portogallo, a cardinal

who

died in Florence at the

The tomb, like the work of Bernardo GambereUi, surnamed KosseUino (see chapter on Sculpture), who arranged with Luca della Robbia for the ornamentation, and the effect produced by the combination of his
early age of nine-and-twenty.
itself, is

chapel

the

marble incrustations with the terra-cottas of the

is

latter

very pleasing.

The tomb
it

is

the.

main feature

in

this chapel,

and

may be

regarded as only inferior

two splendid mausoleums of Santa Croce, the heavy looped curtains which fall from the top of the
to the

arch on
defect.

either

side

of a

roundel being the sole

The church

of

San Miniato

is

not only remarkable

it

for its architectural beauty, but

lends an additional

AECHITECTUEE.
charm
the
fine.

291
from the banks of

to Florence, the at the

view of

it

Amo

extremity of the Cascine being very-

contrast between the wooded scenery of and the mountain covered with ancient the park buildings is most striking, and from afar the traveller

The

approaching Florence beholds above the battlements

of the episcopal palace the declivities of
niato sloping gently

Monte Mi-

down towards the town. piazza with terraces, containing among other
a bronze copy of Michael Angelo's David,
is

A wide
statues

reached
on,

by the

beautiful Viale dei Colli

is

and farther
little

half hidden in the verdure,

the quiet
'^

church

of the " Reformed Franciscans

of San Salvador al

Monte, which Michael Angelo called the " Bella Villanella.^^

Florence

is

paying dearly now for the days of

tri-

umph which

lasted so
its

many

centuries

but the aspect

of the city, with

domes,

its

towers,
its

its

overshadowits

ing mountains,

its

rushing river,

Cascine, and

innumerable statues, remains as impressive as ever.

debt of gratitude

is

due

to those

who, in attempt-

ing to embellish her

when

she became the capital of

New

Italy,

adhered as closely as possible to the prin-

ciples of art laid

down by

the Florentines of the Resense, to

naissance, endeavoring, with true artistic

establish a

harmony between the natural aspect of

its

Florence and the outlines of

monuments.

292

FLOKENCE.

THE AKCHITECT AKNOLFO

(1240-1310.)

DI CAMBIO.

Both architect and

better

known
it

in the history of art as

for

(because

was

Amolfo di Cambio, Amolfo di Lapo a long time supposed that he was

sculptor,
is

the son of one Lapo),

perhaps the Florentine

artist

whose work was

ant,

in its original

form the most importcharacter-

though the many modifications made by succeedits

ing generations have somewhat altered

istics.

Ascending the eminence upon which San

Miniato stands, the various monuments erected by

this

forerunner of Tuscan architecture are aU dis-

closed to the gaze

Santa Maria
Greater

del Fiore, the Pa-

lazzo Vecchio, Santa Croce,

Or San

Michele, and the

very walls which formed the ramparts of the city in

the thirteenth century.
his
artists followed in

track, and made

alterations in accordance with

the ideas of their

his plans

own

time, but

many

of

them adopted
less in their

entirety.

and carried them out more or Arnolfo was born in 1240*

in

at

Colle

di

Valdelsa, and he began his studies

of Niccolo Pisano, the father of

the

studio

Tuscan

sculpture,

where he had
It

as a fellow-student
until

John of

Pisa.

was not

1274,

when he was
account.

thirty-four

years of age, that he had an opportunity of showing

what he could do on

his

own

He had

spent

publications,

I have been guided by the most recent which differ in many instances from those of Vasari, Cicognara, and other art historians.

* With regard to dates,

AECHITECTUKE.

293

some time at the Court of Charles of Anjou at Naples, and when the magistrates of Perugia, who had commissioned Niccolo Pisano to erect the beautiful fountain

anxious to procure him an assistant,

which stands on the square of that city, were it was to that

extant, and

prince that they applied for the services of Arnolfo.

The correspondence which passed

is still

Adamo

Kossi, the learned Hbrarian, has recently dis-

covered documents which prove that he received a

sum of ten sols a day for his services, though name does not appear in conjunction with those
Niccolo, his son John,

his

of

and Master Eosso.

Orvieto, where he carved

From Perugia he went to

portant

the tomb of Cardinal William de Braye, a very im-

monument
style,

in the history of art.

It is in

the

Gothic

and

is

held to be one of the best pieces

of sculpture of the period.

This

is

the only
his,

work
his

which we know

for a certainty to

be

though the

Gothic tabernacle at

St. Paulas extra

muros bears

name

in the inscription,

and that of a companion

of Boniface VIII., in

simply called Piero.

The tomb

the crypt of St. Peter^s, the altar of St. Boniface, and the

tomb of Pope Honorius

III.,

formerly at Santa

Maria Maggiore, are attributed

other writers,

him by Vasari, but whose information is more trustworthy,

to

say that Toriti and one of the Cosmati executed the

last-named work

statement which, from

my own

observations during a recent visit to

to confirm.

Rome, I venture

294

FLOKENCE.

Amolfo, as he advanced in age, abandoned scnlpture for architecture, and the

is to

full

measure of his genius

be seen in Santa Croce, the Palazzo Vecchio, and

Santa Maria del Fiore.

The Palazzo Vecchio was begun in 1299, by order of the Priors who stood in need of an official residence.
It

has often been stated that Arnolfo used designs for

this building

prepared

many

years before by Lapo

which simply means that he

idea for
it

may have
It

gotten the

from the Castle of the Conti di Poppi

latter at Casentino.

erected

by the
left

has been said,

too, that

Arnolfo was compelled to place his building

side of the square, so as not to

upon the
the site

occupy

upon which the house of the Uberti, destroyed

upon the day that they were driven from Florence by Whatthe fury of the people, had formerly stood.
ever truth there
all

may

be in these legends,

it is

beyond

doubt that the architect was instructed to inchide

^^

within the walls of the palace the

Foraboschi," or
familiarly

" Delia Vacca " Tower, as

called.

it

was more

This tower, which was then only twenty-nine

metres in height, Arnolfo raised to three hundred and

thirty feet, widening
it

above the point

at

which
it

it

shot

up from the new

building, so as to bring
itself.

into

proportion with the palace

The

various embellishments and changes

different generations in this

made by monument make it imits sittings

possible to form an idea as to its appearance in the

fourteenth century,

when

the Signoria held

AECHITECTUKE.
there, but the appearance of the fagade, apart

295
from

the shape of the windows and the removal of the

bars,

must be much what

it

was then.

There

is

something fierce and stern about the aspect of this

part of the building, in keeping with the spirit of the
time.
edifice,

The rugged strength

by

of the lower part of the

and the way in which the few windows near

solid iron bars, like the

the ground are protected

barbicans of a

fort,

teU of the stormy times during

which

it

was

in turn the refuge of tyrants

and of the

popular Government which expelled them. In the belfry hung the great bell called " La Vacca,'^ which

summoned
of defence

the corporations to arms, headed

;

by

their

district captains
;

the battlements symbolized the idea

and between the brackets of each was the

difi'erent city

scutcheon of a
ence.

made
is

subject to Flor-

The whole

of this fayade

symbolic, and

it

forms, so to speak, a preface to the history of the

mediaeval struggles of Florence.

The Piazza

della Signoria itself

sums up the annals

right
left

of this history as

weU

as a page of Machiavelli.

Standing in front of the palace

we have on our

the Loggia dei Lanzi and the Ufiizi, and to the

the splendid

Ammanati Fountain, crowned by

;

the

genius of John of Bologna

the equestrian statue of

for

Cosimo
chio

1.

and the Uguccione Palace, which was

a long time ascribed to Kaphael.

is

The Palazzo Vecf

raised a few steps above the level of the square

the platform before the entrance, added in 1349,

was

296
called the ringhiera.

FLORENCE.
It

was from here that the Signoria addressed the people^ and that, when war had
been declared^ the commanders and the rude condot-

whose services were purchased by the Italian republics received their investitures. It was from the
tieri

Ringhiera, too, that the important decisions arrived

at in the

claimed.

name of the people of Florence were proThe northern angle is still marked by the
Marzocco/' or
lion,

famous

^^

sculptured

by Donatello,

with the fleur-de-lis scutcheon between his paws.*

The

colossal

group of Baccio Bandinelli stands at the

This tribune was destroyed in

other

extremity.

1812.

The " David

present

" of Michael
it

Angelo stood on the

left

of the entrance, but

was placed under cover by the

Colli,

Government, and a copy erected in the

one of the
laid out at the

Piazza approached by the Viale dei

new promenades
was the

time that Florence

The door of the Palazzo Vecchio is very remarkable. Between the two lions in stone is a slab inscribed with the monogram of
capital of Italy.

Christ
^^

and

an

inscription,

which

formerly

read,

Jesus Christus,

Rex

Florentini Populi.

S. P.

De-

creto Electus " (Jesus Christ,

King

of the Florentine

Elected by Decree), but which was changed by Cosimo I. to " Rex Regum et Dominus Dominanpeople.

tium."

Clement VII., of the Medici family, was threaten* This

is

a bronze copy

the original

is

in the Bargello.

AKCHITECTUEE.
ing the liberty of Florence, and Nicolo Capponi,

297

who

was

at that time Gonfaloniere, laid before the Sig-

noria at the Palazzo Vecchio a strange proposition,

which, in his opinion, would preserve the independence

of the city.

Jesus Christ was to be elected King of

Florence, and His authority the

not dare to call in question.

Pope himself would

Thousand voted

this singular

The Council of the expedient by a small

majority, and the inscription

of the Palazzo Vecchio.

was placed on the fagade

The present
of what
it

aspect of the bmlding gives no idea

like in the time of

was

Dante and of the

for
it

struggles between Guelphs

and Ghibellines,

was

partly rebuilt as far

back as the

fifteenth century.

There was always, however, a marked contrast between the rudeness of the exterior and the elaborate
decoration of the interior.
built

The

inner courtyard,

by Arnolfo

di

Lapo, was altered, with the exas it was by Michelozzo Michelozzi in being completed in 1565 for the as

quisite taste

which

is

much admired now

four hundred years ago,

1434, the decorations

marriage of Francesco de' Medici and Jane of Austria

by the execution of those

In the centre
is

frescoes, which

it

was thought

would remind the young princess of her native land.

an exquisite fountain by Tadda,
adorned with an animated, laughing boy playing with
a dolphin, the work of Verrocchio, deservedly famous
in the history of sculpture,

and testifying

to the sup-

ple talent of the master,

who was

also the sculptor of

298

FLOKENCE.

the bronze statue of Colleoni on the Piazza San Gio-

vanni e San Paolo at Venice.

It is

always pleasant to find inscriptions upon the

stones of a

monument,

as

it

prevents any possible

Michelozzi, for

confusion between

men and

things.

instance, decorated the " Cortile " in 1434, and yet

the embellishments executed at the marriage of Francesco in 1565 are often attributed to him.
It is evi-

dent that this was not the work of one man, and the
inscription beneath the portico of the Palazzo

Vec-

chio gives the

friezes

names of the
foliage
:

sculptors

even of the

and the

Stephen Vittori da Monte

Sansovino, Marco da Faenza, and Francesco Salviati.

The

beautiful stuccoes

which ornament the columns

are by Peter Paul Minocci of Forli, Leonardo Ricciarelli of Volterra,

Sebastian

Tadda

of Fiesole, and

Leonardo MarignoUi.
they were
ejffaced;

The

frescoes of towns, though

entirely

restored in

1812, are almost

they were by Sebastian of Verona, John

Lombardi of Venice, and Caesar BagUoni.

terior of the Palazzo Vecchio,

The innow used for municipal

purposes, contains some fine relics of the fifteenth and

sixteenth centuries, some splendid frescoes of which

the public
ings

knows

little,

a fine collection of wall-paintbeautifully decorated chapel

by Bronzino, and a

of St. Bernard.

The

large hall, in which the Council

composed of a

thousand citizens was to meet, was built by the desire

of Savonarola, and has since been used, four centuries

AECHITECTUKE.
later, for

299
Italian

the sittings of the

architect

modem

ParHasur-

ment.

The

was Simone

Pollaiuolo,

named " B Cronaca," celebrated for his construction

of the splendid Corinthian cornice of the Strozzi
Palace.

Cosimo

de' Medici,

when he

transferred his

residence from the Medici to the Vecchio Palace, instructed Baccio BandineUi to alter this hall,
latter did not feel

and as the

himself equal to the task, he called

in the assistance of Vasari,

who

raised the roof

more
It is

than twenty feet and decorated the ceiling.

curious to note that twice in his
life

Vasari

who,

as

a painter, was only inferior to the great

biographies he has written
gelo and Carracci,

artists

whose

should, like Michael

An-

have had the opportunity of cover-

ing the greatest areas of painting ever executed in

Italy.

He

painted here thirty-nine compositions, the

smallest of

which

is

six yards in length, selecting his

subjects from the history of Florence

cities of

and of other

Tuscany, as Arezzo, Cortone, Monte Pul-

ciano,

Borgo San Sepolcro, Trebbiano, Volterra, San Gemignano, Chianti, Certaldo, and Fiesole. Romagna
alluded to with Castrocaro and the river Savio

is

while Casentino, Scarperia, Pistoia, Prato, Pescia,

and Valdamo are represented either in allegory or by some incident of local history.

There

is

some ingeniousness

in the arrangement

of the trapezes which remained to be decorated at the

corner of the Piazza San Firenze, where the Palazzo

Vecchio abuts upon

it.

This was the part added by

300
Cosimo
I.,

FLOKENCE.
and Vasari, having cut out a large square

divided into several panels for the execution of his

regular compositions, suddenly found himself face to
face with a triangle very difficult to ornament.

He

by means of a corridor separated from the large hall, and with a play of perspective and an appropriate decoration made this part into a It was here that he painted sort of antechamber.
solved the dilemma the portraits of his associates, Bernardo di

Mona

Mattea, mason and contractor of the works

Botticello,

Battista

who had
and the

the mouldings and frameworks to

gilder,

attend to

Stephen Veltroni de Monte

Sansovino.

able repute at the time,

Marco da Faenza, a painter of consideris believed to have assisted

Vasari,

who

called in the help of a great

many young
very dein
full,

students {garzoni).

Another

inscription,

tailed in its particulars, gives their

names

and

does justice to the humblest of them.

Proceeding from the Sala dei Cinquecento to the

Sala
d'

Udienza, one goes through a beautiful mar-

ble door

by Benedetto da Maiano, the

style of

which
be-

does not harmonize with the rest of the room, having

been brought from the Medici Palace,

longed.

to

which

it

There

still

remaius to be seen the chapel of

San Bernardo,
having been

beautifully painted in fresco

it

by

Kidolfo

Ghirlandajo, but

has

lost

much

of

its

beauty by

fitted

up

for the use of the municipality.

of beautiful frescoes

The present Council Koom, decorated with a series by Bronzino, which are skilfully

AECHITECTUKE.

301

distributed over the whole of its surface, has pre-

served a grandeur and unity not often found in buildings converted to

to see

modem

uses

but

it is

distressing

rooms so associated with the history of Flordegraded into municipal

Their destruction can only be a question

ence partitioned off and

offices.

of time, and it is to be regretted that walls so bound up with the ancient history of Tuscany have not been

saved from this

last indignity.

THE LOGGIA DEL BIGALLO.

No
one can pass by the comer of the Corso Adi-

mari without having his attention arrested by the

delicately carved arcades of the

Bigallo^ formerly a

simple oratory of the Misericordia, and

now an orphan
work of Ni-

asylum.

This beautiful building

is

the

colo Pisano, one of the greatest

men

of the thirteenth

century, whose career will be found detailed at length

in the chapter on Florentine Sculpture.*

Before the erection of this monument, the

site

upon which the Bigallo stands was occupied by

the tower in which the

dead were deposited

It

for

eighteen hours
building
in

before

burial.

was the
feet

tallest

Florence,

being

230

high,

and

in the course of one of the struggles for

which Flor-

it to

* Although Vasari attributes it to Nicolo Pisano its date shows belong to a much later period. It is probably the work of
?-1368.

Andrea Orcagna, 1308

cmd
Its Environs.

See Horner's Walks in Florence

302

FLOKENCE.
it

ence was notorious, the Ghibellines had

pulled

down

according to the tradition instructing

the

architect

who was employed

it fell it

to demolish

it

to ar-

range so that as

would crush the Baptistery

of San Giovanni, which was used as a meeting-place by the Guelphs but whether this story is true or not,
;

the Baptistery escaped destruction.

The
to

Bigallo consists of two open arches, forming

street,

an angle with the

of the arches

and a small porch leading

a sanctuary closed by iron gates.

is

The design
and decora-

exquisite, the mouldings

tions are in admirable taste,

still

and on the walls may

be traced, though dimmed by time, the outlines

of frescoes, sometimes attributed to Gaddi, but really

the

work of some

artist of the fifteenth century.

Three statues of the Virgin and two

life-size statue of the

saints decorate
is

the exterior, while over the altar of the chapel

Virgin and Child between two

angels with Jewish turbans on their heads, formerly

by Pisano, though documents recently brought to light by Cicognara prove that they were executed by Alberto Arnoldi of Florence about 1360. A predella by Ghirlandajo and numerous other fresbelieved to be
coes complete the decoration of this exquisite
building,
little

which successive restorations have not deits

prived of
rives not a

leading characteristics, and which deof its attraction from

its

little

position at the

corner of the piazza where stand the Baptistery, the

Duomo

of Santa Maria del Fiore, and the Campanile.

AECHITECTUEE.

303

SANTA MAEIA DEL FIOEE.

The document which
in

registered the decision of the

municipality of Florence to erect the cathedral church

1294

is

of historical interest, as testifying to the

generous
as follows
^'

spirit
:*

of the Florentine people.

Its tenor is

Believing that

all

the acts and undertakings of a

people which prides itself upon being of illustrious

origin should bear the impress of grandeur
gacity,

and

sa-

we command Amolfo,
is

director of the public

works of our commune,

to prepare to

a model or draw-

ing for the building which

be erected in place

of the church of Santa Reparata.

display a magnificence which

He

is

bidden to
skill

human power and

can never surpass.

Whatever a Grovernment underit

takes should correspond with the generous impulses

of the citizens
architect
in mind.''

whom

represents,

and

this point the

employed

to build our cathedral

must bear

The name
lily
first

is

evidently meant as an allusion to the

in the city arms.

The ceremony

of laying the

stone took place on the 8th of September, 1298,

his legate,

Pope Boniface VIII. being represented by

Cardinal Pietro Valeriano.

Amolfo's design was a

Latin cross with a nave and side-aisles opening into

each other by four pointed arches.

*

In the centre of

An

inscription

indicate that this date given

on the wall of the Duomo itself seems to by Villani is incorrect and should

be 1298.

304

FLOKENCE.

the space, under the dome, was the choir, with an

octagonal enclosure and an

small recesses there

altar,

and in each of the

was a rectangular chapel. Amolfo died in 1310, when the building had not got beyond the capitals upon which the roof was to rest, and in 1332 Giotto was appointed to carry on the work which for two hundred years was under
the supervision of the greatest architects of the day.

To
nile,

Giotto

cathedral

we owe the beautiful addition to the known throughout the world as the Campabuilt in

which was
little

1334 on the foundations of

It is

the

church of San Zenobio.

nearly 280

feet high, or about

30

feet less

than Giotto had de-

signed, as the spire, like that of St.

Mark
it,

at

Venice,
built

with which he had intended to

finish

was not

by Taddeo Gaddi, who succeeded him.

The Campawhich

nile is divided into six sections, the first two,

can easily be seen from the ground, being decorated

with bas-reliefs executed by Giotto himself, Andrea
Pisano, and

Luca

della Robbia.

There

is

no

little

analogy of sentiment between these bas-reliefs and

those of the famous fountain at Perugia.

two divisions are niches

for

placed in them being the four

tello,

Above these among those Evangelists, by Donastatues,

and on the principal southern fagade four proph-

ets,

three
di

by Andrea Pisano, and the

Stefano,

fourth

masso

sumamed

Giottino.

by TomUpon the
Arezzo,

eastern and northern sides of the tower are saints and

patriarchs

by Donatello, Nicolo

di Piero of

ABCHITECTUEE.
Luca
della Robbia,

305

and Nanni

di Bartolo.
is

One

of

the Evangelists mentioned above

the celebrated

^'Zuccone/' the "bald" St. Matthew of Donatello, a work which he esteemed so highly that he was more than once heard, while engaged upon the statue, adjuring it to speak while, by way of emphasizing a
5

statement, he would say, "

By the

faith I

have in

my

Zuccone."
Charles V.,

when he entered Florence

it,

after the

siege, is reported to

have said that the Campanile

so that
it

" ought to have a case made for

might

be shown as one would a jewel."

are seven bells, the largest

In the belfry,
city, there

which commands a splendid view of the

cast in

one which had got cracked

tons.

1705 weighing nearly

to replace

eight

The most

illustrious

of Giotto's

successors

was

Filippo Brunelleschi, who, as has been described in

a previous chapter, began the superb cupola in 1421.

This was his

magnum

opus, exceeding in boldness of

all

design and harmony of detail

other works of modis

em art. The cupola, as is

the outer one there
ings,
is

generally known,

double,
it

the inner wall being spherical, so that between

and

room

for the staircases, bracto

and chains which help

make

the

durable.

Michael Angelo took this as his

work more model when

Rome, and

constructing the

dome

of St. Peter's at

Leo
mini.

Battista Alberti for his unfinished temple at RiIt

was not completed

20

imtil fifteen years after

306
Brunelleschi's

FLOEENCE.
death,

Andrea
ball,

del

Verrocchio,

the

sculptor of the Medici tomb in the old sacristy, de-

signing and executing the

tolo the scroll

and Giovanni
rests.

di

Bar-

on which the cross

The church

contains several monuments, including those of Giotto,

erected

the Magnificent, and of the celebrated organist

tonio

by Benedetto da Maiano by order of Lorenzo An-

Squarcialupi,

who was a

favorite of Lorenzo,
his

and whose epitaph was composed by

Servi door, and
here.
it is

patron.

Aldobrandino Ottobuoni has his sarcophagus near the

believed that Poggio
is also

buried

The

walls

are

somewhat bare, but the buildof the highest order

ing contains

many works

by
It

Donatello, Michelozzi, Ghiberti, Delia Robbia, Sansovino,

Bandinelli,

and Andrea del Castagno.

Domenico di Michelino was painted in 1465 the portrait of Dante which was ordered by the Opera del Duomo as a tardy tribute Dante is represented in a red toga, to his memory. crowned with laurel, holding in one hand his poem,
near the Servi door that
while with the other he points to the Inferno.
inscription states that the execution of this fresco

The
was

suggested by Maestro Antonio, of the order of Franciscans,

tions of the Divine

who had given public Comedy in

readings and explanathe Cathedral.

In this wonderful building, so closely associated

with the history of Florence, was enacted the opening
chapter of the Pazzi conspiracy, and
it

was

in the

AECHITECTUEE.
sacristy that

307
after the death of

Lorenzo took refuge

Giuliano.

The medallion

of Pollaiuolo (see chapter

on Giuliano de' Medici) shows what was the appearance of the octagonal choir then standing beneath The fagade of Santa Maria del Fiore was the dome.

completed in 1887 from designs by

De

Fabris.

THE BAPTISTEEY OF SAN GIOVANNI.

This
if
is

the most ancient building in Florence, for

it

not of pagan origin

certainly dates from the

It

earliest

ages of Christianity.

was coated with

marble of different colors by Arnolfo di Cambio in

1293, while in the sixteenth century Agnolo Gaddi
designed the lantern
it
;

but long before Arnolfo^s time

as a Christian place of worship,
it

had been employed

being used as a cathedral up to 1128, when

converted into a baptistery.

was

This building contains three gates, which have no

parallel in the world.

The

oldest is that

on the south-

ern side, upon which Pisano spent twenty-two years

of his Hfe, a most beautiful

work
it

representing, in

twenty compartments, the

tist.

life

of St. John the Bap-

The

frieze

which rims round

was commenced

nearly a century afterwards

laiuolo

by

Ghiberti, and Pol-

had much to do with its completion. The northern gates are by Ghiberti, and,
life

like those

of Pisano, are divided into twenty compartments, the

subject being the

of Christ.

The bronze

door-posts

are delicately carved with flowers, fruit, and animals.

308
These gates were
in
finer

FLORENCE.
first

placed on the eastern side, but

to

1452 were removed

work.

make room

for Ghiberti's

still

On
is

the third fagade, that which faces the

the Porta del Paradise, so

Duomo, named by Michael AnGhiberti divided each

gelo,

who

declared that this gate was worthy to be

the entrance into Paradise.

panel into five parts, taking the following as his subjects,

after

suggestions

made by Leonardo Bruni

Aretino: (1) Creation of

Adam and Eve;

;

(2)
j

Cain and
(5)

Abel
Sinai

(3)
;

Noah
(6)

(4)

Abraham and

Isaac

Jacob

and Esau
;

Joseph in Egypt

(7)
;

Moses on Mount

The Capture of Jericho (9) David Slaying Goliath (10) The Queen of Sheba and Solomon. The frieze contains statuettes of the prophets and
(8)
;

prophetesses and portrait-busts of

still

men and women

and
his father

alive, including Ghiberti himself

while the frame-posts, with their masses of vegetation

and

flora

wrought

in bronze, are admirable for their

Bronze groups representing the " Decapitation of St. John the Baptist," by Danti, and the " Baptism of our Lord," by Andrea Sansovino,
truth to nature.

surmount two of the gates, which were

at

one time

heavily gilded, though few traces of this are

visible.

now

The
upon

Baptistery,

empty
it, is

as

it

appears to the eye

first

entering

replete with beautiful

fill

monu-

ments, a description of which would

a good-sized

volume.

It is built, as I

have already

said,

upon an

AKCHITECTUKE.
octagonal plan.

309

The

altar,

which formerly stood

beneath the cupola, has been removed.

On

the 24th

of June every year the magnificent retablo in massive silver,

in the
tistery.

which
del

is

preserved among the treasures

is

Opera

Duomo,

displayed in the Baplbs.,

The

silver alone

weighs 325

includ-

ing two centre pieces, two side pieces, and a silver

crucifix with

two
lbs.,

statuettes

seven feet high and

weighing 141
statues of
tists

the group being completed

silver.

by two
ar-

Peace in engine-turned
Clone,

Many
it.

were employed upon the making of

Michelozzi,

Fin-

iguerra, Pollaiuolo,

Verrocchio,
bas-reliefs
is

and Cennini made the lower parts and the

Betto di Francesco, and the base of

of the front, while the cross, executed in 1456,

by

it by Milano di Domenico Dei and Antonio Pollaiuolo. The interior of the cupola of San Giovanni is ornamented with some of the oldest specimens of mosaic

decoration in Florence, these Byzantine artists being

the

first,

after

Murano and
Tafi,

Altino, to exercise their

craft

in Italy,

and being succeeded by Jacopo da

and Gaddo Gaddi.

Turita,

Andrea

In the biography of Cosimo the Elder I have

alluded to the

handsome tomb of Baldassare Cossa

(Pope John XXIII., deposed at the time of the Council

of Constance), which was reared in the Baptistery

by Donatello.

The Holy of Holies is relatively modem, having been erected at the expense of the Guild of the " Calimala,^' as the men who gave the

310

FLOKENCE.
manufactured
a build-

finishing touch to the woollen stuffs

abroad were

called.

The baptismal

font, in

ing specially used for christening, would, as a matter

of course, be intrusted to artists of great repute, and
that at

San Griovanni
face
is

is

attributed to

Andrea Pisano.
religion,
;

Upon each

represented one of the Baptisms

most famous in the history of the Catholic

an inscription beneath explaining each episode

this font is unfortunately so

but

that

it

escapes the notice of

much many

in the

background

visitors.

Donatello carved the wooden statue of the

Mag-

dalen which occupies one of the niches, the thin

emaciated face being typical of the

artist's partiality

for reproducing in their smallest details the physical

defects of his

subject.

With regard

to

the other

features of interest in the Baptistery, they will be

found noticed in their proper place

the mosaics of

Andrea Tafi
reliefs

in the chapter on Painting,

and the bas-

of Ghiberti in that on sculpture, while the

works of Donatello and Pisano have already been

dealt with.

The

exterior aspect of the Baptistery

does not give one the idea of a building restored in

the thirteenth, but rather in the fifteenth century.

THE PONTE VECCHIO.

Until the close of 1080 the Ponte Vecchio was
built of

wood, the heavy masses of timber, though

offering

no steady resistance to the stream, dividing

course of the waters into a thousand small

the

muddy

oifc-^^^

factured
biiild'.;itter

Ponte Vecchio

AKCHITECTUKE.
currents,

311

and breaking

its

force.

But

in

1177

oc-

curred one of those inundations which were so fre-

quent that traces of them

walls of the quays.

may

stHl

be seen on the

These inundations were one of the curses of Florence, and though the evil has been to a certain extent cured by the construction of massive

quays, they stOl occur in the direction of the

Cascine.

An

attempt was accordingly

made

in the

twelfth century to obviate this inconvenience

by the

construction of a stone bridge.

carried

This, in turn, was

already
skill,

away in 1333, and Taddeo Gaddi, who had made a name for himself by his architectural
to build a bridge capable of re-

was employed

sisting the highest floods.

therefore erected in 1345, being

The present bridge was 330 feet long by 44

feature, shops
feet

wide.

With
built

the double object of obtainiQg an income

for the city

and of introducing a novel

let to

were

on the two pathways, which were 16

wide, and these were

the butchers of Florence,

thus reaUzing the Eastern plan of concentrating the

meat trade of a town

in one place.

This arrange-

ment

lasted from

1422
I.,

until 1593, but in the latter

year, under Cosimo

the " Capitani di Parte,"

streets

who

had the supervision of the

ordered that
all

and highways,

the goldsmiths and jewellers should

take the place of the butchers, and in a few months

the Ponte Vecchio

became the

wealthiest

and most

crowded thoroughfare of Florence.

In order to avoid

shutting out a view of the stream and interfering with

"

312

FLOKENCE.

the perspective, an open space had been reserved in

the centre, and

Uffizi

when

the Palazzo Vecchio and the

were connected with the Pitti Palace by means

of the large covered

this space

way

carried over the bridge,

was

left intact

so as to afford a

view of the
wind-

eminence of San Miniato upon one

side, of the

ings of the stream on the other, and of the Cascine

shrubberies and the mountains upon the horizon.

The

first

bridge above was built in 1235 by Messer

Rubaconte, a Milanese of the Casa Mandella, then

Podesta of Florence, and

first

is

called Alle Grazie.

The

bridge of Santa Trinita, afterwards replaced by

we owe to the genius of Amby Messer Lamberto Frescobaldi, and the bridge Alia Carraja was begun in 1218 by one Lapo. The great flood of 1333 carried all of them away, and this disaster is recorded upon a stone
the beautiful one which

manati, was built

which bears the following inscription

" Del Trentatre dopo I'mille Tracento,

II

Ponte Cadde per diluvio d'Acque

Poi dodici anni, come al comun piacque,

Kifatto fu con questo adornamento.

SANTA CKOCE.
Built

by

Arnolfo, then fifty-four years of age,

by

order of the Friars of St. Francis, this venerable

temple was raised upon the piazza called Santa Croce,

where formerly stood a small church belonging to the They had resolved to order of Franciscan monks.

AECHITECTURE.

313

embellish and enlarge their church, and Cardinal Matteo D^Acquasparta, general of the Franciscan

Order, proclaimed an indulgence to

all

contributors
far

towards

the

undertaking.

The church was

for services to
until

enough advanced in 1320

it,

be held in

though the fa9ade was then, as

it

a very recent

period
or

remained, a plain brick wall, without facing

any other ornament.

Santa Croce was not

sin-

gular in this respect, for San Lorenzo and

many

other

Florentine churches have never been decorated externally.

In 1442 Cardinal Bessarion, the founder of

the ceremony of consecration.
berti,

St.

Mark's Library at Venice, was delegated to perform

Donatello and Ghi-

incomplete as was the fa9ade, executed some

statues

and a stained-glass window

for

it,

but

it

is

only within the last few years that the city of Flor-

ence completed the work, leaving untouched the

grand piazza which had been the scene of so many

fetes

and intestine quarrels, and upon which

interior is

is

now

erected a statue to Dante.*

The
nave,

striking

from

its

vast size, the

cross, with

church being bmlt in the shape of a Latin

aisles,

and transepts, each of the seven pointed

arches being supported on an octagonal column.

Opall

posite the front entrance is the high altar, while

* The fapade of Santa Croce was completed in 1863.
Englishman.

The

ex-

pense having been principally born by Mr. Francis Sloane, an

314

FLOEENCE.
altars
I.

around the walls and between the side

in

1557 by Vasari by order of Cosimo

erected the
are

monuments of the illustrious dead. First of all on the left there is Domenico Sestini, a celebrated numismatist, whose bust was carved by Pozzetti. While in the first chapel on the right is the tomb of Michael
Angelo,

1564
bust

who died at Rome on the 17th of February, monument was designed by Vasari, the was executed by Battista Lorenzo. Two conJ

the

temporary sculptors, Valerio

tecture, the frescoes

Cioli

and Giovanni

Dell'Opera, did the allegories of Sculpture and Archi-

around the monument being by

nobler tomb might well have
of Michael Angelo.

Battista Naldini.

been raised

to the

memory
in the

The

body was deposited

church on the 12th of

people of Flor-

March, 1564, and lay in

state, for the

ence to come and pay him the

last tribute of respect.

it
it

The next tomb

erected in 1829

is

only commemorative, for

does

not contain the ashes of Dante, in whose honor

was
the

by

Ricci, as a tardy

homage on

part of Florence to one

who

suffered so

much

for

her

sake in

life.

After Dante comes Victor Alfieri, whose

name has
This

been borne with distinction by

his descendants.

monument was

erected

by Canova

in 1807.

Com-

pared with the monuments of the fifteenth century

and of the Renaissance, which are

inferior that

to

be seen in such

splendid profusion in Florence, these tombs seem so

it is

impossible not to wonder

how

the

AKCHITECTUEE.
decadence was brought about.
in the splendid temple of Santa
It is

315
not at Florence

alone that this feeling manifests itself; for at Venice,

Frari, beside the tombs of doges

Maria Gloriosa dei and condottieri of

that

the fifteenth

century there

stands

wretched

monument upon which

been traced.
This
is

the great

name

of Titian has

evidently the result of an in-

is subject. Genius comes into the world, grows, spreads, and covers the earth with its shadow then slowly the sap runs back
:

evitable law to

which humanity

from the verdant trunk, the tree yields

fruit

less luscious

and flowers not

so fair,

untU

at last the

branches

wither and the tree dies.

Close beside Alfieri
like so
is

buried Machiavelli, his tomb,

many

of the others, being of modern erection,

less beautiful

and consequently
the

than

if it

had been

work

of a sculptor

who had

studied in the school

of Ghiberti or DonateUo.
rests

By

the side of Machiavelli

less

Luigi Lanzi, a

name

generally known,

though celebrated in his time as an historiographer

of painting, or an art critic as

we

should

now

call

him.

His

friend. Chevalier Ornofrio Boni, prepared

the design for his tomb, which was executed at public

cost.

The

pulpit

fine

specimen of

fifteenth-

century sculpture, carved by Benedetto da Maiano at

the cost of Pietro MeUini,

who

presented
;

it

to the

church

is

well worth close inspection

and

close by,
is

between the tombs of Lanzi and Leonardo Bruni,

a group in freestone, representing the Annunciation.

316

FLOEENCE.
first

This was one of the

of Donatello's works, and

gave an earnest of

his future genius.

is

The tomb
left

of Leonardo Bruni Aretino

one of the

five or six greatest

works of
;

this

nature which ever

the sculptor's hands

sculptors of
all

it

has been used as a model

by the

the tombs in Santa Maria del

in 1369,

Popolo at Eome.
Florence in 1443
j

Born

Leonardo died

at

he was a

man

of letters, a savant,

and an

adroit diplomatist,

though his favorite study

was the law,

the highest.

his reputation as a jurisconsult being of

For a long time, however, he was

so

attached to literature that he abandoned politics for

it
;

was a thorough Greek scholar and a decided

parti-

san of the doctrines of Aristotle.

He had

served as

Apostolic Secretary under four popes, and

when John

XXIII. was driven

Constance.

into exile

he followed him from

excellence of their
It

The Papal

bulls of the early part of the

fifteenth century, noted

for the

Latin, were drawn up by him.

was not

until to-

wards the end of

his life that

he could be induced to

abandon

his post at the Vatican

fulfilled

and come

to live at

Florence, where he
sions,

several very difiicult mis-

and died Chancellor of the Republic.

He was
his con-

eulogized in the most extravagant terms

by

temporaries, and his epitaph records that "the Muses,

when they

learnt the death of Leonardo, could not re-

strain their tears,

and were dumb."

its

He

left

behind

him a History

of Florence from

foundation until

1404, and this work seems to have been highly ap-

AKCHITECTURE.
predated

317

at the time, for there are manuscripts of it

in nearly every important library throughout Italy.

The monument

to

Leonardo Bruni

is

the highest exall

pression of sculptural art, combining

the taste of

ancient Greece with the grace, the power, the calm,

the supreme harmony, and the perfection which genius

alone confers,
its

tranquil

and subdued beauty comeffect

paring favorably with the theatrical

splendor of the

and garish

monuments in St. John Lateran and The superb mausoleums of St. Peter's at Rome. Leopardi and of the Lombardi at Venice are, perhaps,
equally beautiful;

but I

am

inclined to give the

Rossellini.

preference to the

work of Bernardo

He
Papal

became acquainted with Leonardo Bruni Court, where he, as well as Leo Battista
a director of the pontifical works.
into the

at the

Alberti,

was

upper part of the

The Madonna let monument is by Andrea

is

Verocchio.
Close

by the tomb of Bruni

last

that of P. A. Micheli,
at the

a celebrated botanist, who died

age of

fifty in

1737
bili,

and the

monument on this
is

side of the

nave

before reaching the transept

that of Leopoldo

No-

who

died at Florence in 1833.

These are but

have been kept
bas-reliefs, in

second-rate works compared with those which precede

them, but the names of the

alive,

artists

Leopoldo Veneziani having prepared the de-

signs,

and Francesco Pozzi carved the

is

which the genius of science

nature, which
is

seen lifting the veil of

being held up by the allegorical

318
figure of Tuscany.

FLORENCE.
Not
far

from these

is

the mauso-

leum which Bartolini, one of the best modern sculptors in Florence, erected to the memory of Leo Battista Alberti, who as writer, architect, sculptor, and
medaUionist, was one of the leading

men

of his day
notice,

(1404-1472).

His death attracted but

at

little

and he was buried without pomp

Rome, and no

tomb was raised to his memory. The mausoleums against the opposite wall of the
maui nave are those of the Senator Giovanni Vincenof Antonio Cocchi, an antiquary, who zio Alberti died in 1773 and of Carlo Marsuppini, Secretary of
;
;

the Republic,

who

died in 1453.
is

This last-named mausoleum

beautiful of the
it

one of the most

works fashioned by human hands, and

is

by the

creation of

monuments

like this that

Florence has taken rank immediately after Athens in regard to intellectual culture.

There are some

who, dying
at

artists, just as
life

there are some poets,

an age when

seems

to

be opening

joyously before them, leave behind them an impression of tender melancholy in their works.

which may even be traced

Desiderio da Settignano, the author

of the tomb of Carlo Marsuppini,

who

died at the age

of five-and-thirty, was one of these.

He was

born in

1428, and his father, Bartolomeo di Francesco, a

stone-cutter at Settignano,

was a friend of Raphael's

si

father, who, in his " Cronaca Rimata," refers to the

boy as

^^

II

bravo Desider

dolce e bello," these two

AKCHITECTUKE.
adjectives seeming to imply that he

319

was a handsome

youth.

give an adequate description, the dead body reposing upon the sarcophagus, and the angelic faces of the two
children on either side, striking one, as
it

Of

the

work

itself it is difficult to

were,

dumb

with admiration.

This monument has not the over-

awing
and

effect of the Sistine

Chapel

it is

not pompous
j

theatrical, like the

Lateran chapels

nor

is

it

merely elegant, noble, and exquisite, like those of

Leopardi or Lombardi
j

but there
it

is
;

something more
so

human and more

fifteenth century,

tender about

much
full

so, that

after a long study of the painters

and sculptors of the

justice to

one

is liable

not to do

their successors
art,

who brought about a and gave expression to new ideas.

had
left

revolution in
If the great
to

sculptor Donatello

no other work scored

his credit save his pupil Desiderio, his

still

name would

be gratefully remembered.

Carlo Marsuppini, to
erected, has already

whom

this

monument was

been referred

to as the Secretary

of the Kepublic, and one of the most illustrious of

Florentine citizens.
consult,

The

son of a distinguished juris-

who

is

himself buried

by the

side of his son,

he was the pupil of Giovanni of Kavenna, and of

Emanuel Chrysoloras a man of profound learning, who derived great pleasure in teaching Greek to the young men of Eavenna. The father of Carlo, who
had been
for a short time

likewise secretary to

Governor of Genoa, was Charles VI. of France, and the

320

FLOKENCE.
first

son was also employed in the public service, his

mission being to accompany Cosimo de' Medici to

Parma

thence he passed into the service of Pope

to

Eugenius IV., and then he came

acted as secretary to the Republic.

Florence and
several times

He

represented the city as ambassador, and at his death

the people honored his

funeral ceremonies then in vogue. of April, 1453, the

memory by one of the grand Upon the 24th

state bed,

body was placed upon a

robed in sUk, around which streamed banners from

the Pope, the

King of France, the towns of Florence

Matteo Palmieri, one of the

and Ai'ezzo, and each of the communities and associations

of the city.

most learned

men

of the day, placed a laurel wreath

upon

brow and pronounced a funeral eulogy. After the tomb of the Secretary comes that of one
his

less illustrious,

Angiolo Tavanti, secretary to the

Emdied
also

peror Francis, husband of Marie Therese,

in 1782.

This monument

is

who by Spinazzi, who

no
little

carved that erected to Giovanni Lami, who, though

now somewhat
tions.

forgotten, rendered

service to

Florentine literature

by his many classical publicaLami was born in 1698 and died in 1770.
it is

In visiting Santa Croce

impossible not to feel

how

erroneous are the views often held as to the ex-

act place
to the

which

will

be

allotted in the roU of history

men

of the day.

Many

of the

names

in this

Pantheon are almost unknown, the tomb next to that

of Galileo containing the dust of Mulazzi-Signorini,

AKCHITECTUBE.

321
Another

who

has never been heard of out of Italy.

is

unavoidable reflection

that the talent of the sfculp-

tor is rarely in proportion to that of the

man whose

memory he

MachiaveUi was commemorated by two obscure sculptors like Foggini and Ticcati, and Michael Angelo by Battista Lorenzi.
is

about to perpetuate.

What

by the refusal of Michael Angelo's offer to erect a tomb to Dante when the city of Florence was about to ask Ravenna to restore his
has the world not
lost

remains to her

Among
to

the less illustrious persons whose tombs are

be seen in Santa Croce

may be mentioned
is

the

Countess of Albany, whose monument

by Luigi

Giovannozzi and Emilio Santarelli, Raddi the botanist, John Catrick, Princess Charlotte Bonaparte, Joseph
Salvetti,

Raphael Morghen, Bettino

Ricasoli,

the

architect

Alexander

Galilei, the

Countess Zamoiska,

and the CasteUani.

It

would be superfluous

to describe all the parts of

this vast

monument, which, interesting

art in the

in

itself,

con-

tains

numerous works of
and
frescoes,

way

of pictures,

bas-reliefs,

by Taddeo Gaddi, Stamina,

to

Mainardi, and even Giotto.

built

The convent annexed by Amolfo. It was

it

Santa Croce was

also

originally occupied

Franciscan monks, and

was here

that,

by the from 1284

notori-

to 1782, the Inquisition held its sittings.

The

ous Frenchman,

Gaulthier

de Brienne,

Duke

of

Athens,

who

for a brief period ruled Florence as Cap21

322

FLOKENCE.
monastery as his
resi^

tain of the People, selected this

dence in June, 1342, but having in September of the

same year succeeded

of Florence for
chio.
life,

in getting himself elected ruler

to the

he removed

Palazzo Vec-

His reign, however, was of only brief duration, year following he was expeUed by the people.
;

for the
St.

Bernard of Siena

the celebrated Felix Peretti,

monk who cast away his crutches, exclaiming, " Ego sum Papa ; " the mighty Sixtus Quintus and Pope Clement XIV. were all monks of Santa Croce.
the
;

The

cloister is also

very interesting,

for although

the form of decoration has been altered

by

successive

generations, the primitive design has been preserved.

Among

the dead buried in

it

are the Alamanni, Fran-

cesco Pazzi, and Gastone della Torre Patriarch of

AquUeia and Bishop of Milan, who died

on the 8th of April, 1317, from the from his horse.

at

Florence
of a
fall

ejffects

THE CHAPEL OF THE

At the end
family of that
Brunelleschi.

PAZZI.
is

of the cloister of Santa Croce

built in

the

Chapel of the Pazzi,

1410 by the powerful name, who intrusted the work to FiKppo

By permission

of the family, this chapel

was used

as a chapter-house for the

monks

of Santa

Croce, and in 1566 four thousand of them assembled

there to hear the regulations for the establishment of

the Inquisition.

The chapel
art,

of the Pazzi

is

one of

the sanctuaries of Italian

having a purity of taste

AECHITECTUEE.
peculiar to Florence, and
is

323

as perfect a specimen as

could be desired of the

nelleschi introduced at

new architecture which Bruthe dawn of the Renaissance.

When

an architect of authority and genius can eneffect

force strict discipline on his fellow-workers he obtains

complete harmony both in general

tail.

and in de-

This was the case with Brunelleschi^s work, and

della Robbia,

Luca

who was one

effect

of his assistants, not

only brought into play his abilities as a sculptor, but

improved the general

by the

rich friezes with

which he ornamented the

of his school that his
overlooked, but the

interior.

There are such

artists

a vast number of works by his brothers and the

own achievements

are apt to be

chapel of the Pazzi contains

specimens of his art of which he might well be proud.

The Four Evangelists

life-size in

glazed terra-cotta,

the heads of the Twelve Apostles on the upper part of the walls, and a frieze composed of a host of angels'

heads and scutcheons, form a charming whole, perfect in form, rich in appearance,

and of a coloring
the

both enduring and

feature,

brilliant.

Another interesting
is

from an architectural point of view,

use of terra-cotta in the decoration of the ceiling, and

of the cupola in the portico of the chapel.

The building was commenced by Andrea Pazzi, and at his death the work was carried on by his son FranApart from the cesco, who is buried in the convent.
architectural work, the

Pazzi employed the most

famous

artists

of the day for the decoration of the

324
altars.

FLORENCE.

Many

of the heads and figures of the angels

are

by

Donatello.
Cinelli,

In the work of Francesco Bocchi, revised by

and published
title

in the seventeenth century

under the
it

of "

Le

Bellezze della Citta di Firenze,"

is
;

is

stated that Galileo

buried at the foot of an altar in

the Medici chapel

and as the author says

still

that, at

the time of his writing, the tomb was

place,
it

in the

same

must be assumed either that the monument in Santa Croce is only commemorative, or that his
remains have been removed there since.*

THE BAEGELLO.
Formerly known as the Palazzo del Podesta,
palace,
this

now transformed
by

into

a National Museum, was

is

also erected

Arnolfo, and

a very fine specimen

of thirteenth-century architecture.

In September, 1250, there was a popular rising

against the GhibeUines.

As a matter

of course, there

was a complete change of government, the first ^'Captain of the People " was appointed, and the ofiice conferred

twelve elders (Anziani).

*

upon Hubert of Lucca, who had under him Arnolfo di Cambio was rehim

On

the deatli of Galileo the feeling of the clergy against

was

so strong that they v/ouid not permit

;

him

to be buried within

the church

his remains were, therefore, left neglected in a spot

to the right of the altar in the chapel of the Novitiate of the

Medici until 1757, when they were removed, and, in accordance with his own dying request, deposited beside the body of his
favorite pupil, Viviani, in the nave of the church.

AECHITECTURE.

325

quested to build a palace for their accommodation,

and the

site selected

was

that of a church attached to

the neighboring monastery of the Badia,

now
it

so cele-

brated for
beautiful
It

its

venerable appearance, and for the

contains.

works by Mino da Fiesole which

difficult to

would be

describe what the Bargello

was

like in the thirteenth century, for its

It

form was

changed in 1345 by Agnolo Gaddi.*

was

first

caUed the Palazzo del Commune, and afterwards the

Palace of the Podesta, being styled the Bargello
it

was used

as a residence for the

when Chief of Police, who

bore that

title.

Now a
ful

National
its

Museum, and
is,

restored with a careit

regard to

original aspect,

presents a very

imposing appearance, and

without exception, the

best preserved of aU the ancient

ence.

of the

monuments in FlorThe scutcheons of the various Podestas and ordinary members of council, let into the walls
This was a general usage at the time,

give a very characteristic appearance to the ornamentation.

and many interesting specimens of this description of

decoration,

now

fallen into disuse, are to

little

be seen

at

the

Town

Hall of Fiesole and in the

village at

which so many

travellers halt to visit the

famous

" Certosa,^' beyond the gates of Florence.

Another singular usage

though

it

was dictated by

it

* This statement, for which Vasari is responsible, is disputed, being asserted by some authorities that Neri di Fiorovarti was

the architect of the present building.

326

FLORENCE.

a sentiment of quite an opposite kind

was

that of

representing, on the walls of the Bargello, frescoes

of traitors and rebels, and in 1345 Giottino

was em-

ployed to paint the features of the

Duke

of Athens

after his downfall, though, unfortunately for us, this

fresco is

now

almost entirely obliterated.

The
to

walls of the Bargello chapel

were well known

be covered with paintings by Giotto, which, when

the building was converted into a prison, were concealed beneath a coat of whitewash, and only brought
to light again in

1840, portraits of Dante, Brunetto,

Latini,

and Charles of Valois being discovered among

them.

During the fourteenth century the prisoners

to death

condemned

were executed
art

in the court-yard

of the Bargello, and this contributed to give the place

a sinister name.
its

But

now reigns supreme

within

waUs, and the great names of Donatello, Verroc-

chio,

Michael Angelo, Maiano, Desiderio, Brunelleschi,

Ghiberti, and the brothers Delia Robbia,

have

obliter-

ated the recollection of the gloom in which the palace

was once involved.

ANDREA ORCAGNA.
(1308-1376.)

large place in the history of Florentine art

is

by Andrea Arcagnuolo, sumamed Cione, because he was the son of Matteo Cione, who was himself an unrivalled goldsmith in his day, and to whom we owe part of a work matchless in its way,
that held

AECHITECTUEE.
viz.,

327

the famous silver " Opera del Duomo."

altar

treasured up in the

in 1308, and the date of his some authorities as 1368, and bydeath is given by others as 1376. He was goldsmith, architect, painter,
sculptor,

Orcagna was

bom

and even poet, combining,

like so

many

of

his compatriots in the fourteenth and two following

centuries, manifold gifts.

As a goldsmith he worked
father,

under the direction of his

and he received

les-

sons in painting from his eldest brother, Bernardi.

He

soon gave up the goldsmith's trade for fresco

painting,

and there

is

reason to believe that his greatfive-

est paintings

were done while he was between

and-twenty and five-and-thirty.

nardi,

His brother Berto

many

of

whose works are ascribed

Andrea,

painted the two large frescoes of Hell and

Santa Maria Novella,

Heaven in though he was assisted in them

by

his brother.

painting
"

the specimen of Virgin

of the
of his

He showed so much talent in easelLondon National Gallery has a fine

was employed
at Pisa. to decorate the walls

his pictures in the " Coronation of the

that he

Campo Santo
life,

This was the great

real genius in paint-

work

and he showed

ing a commentary on those lines in which Horace

describes

how " pale death

with one blow overturns

the cottage of the poor and the palace of the great." good deal is said about " realism " and " natural-

ism" in the present day, but Orcagna rendered palpable

by

his unpretentious style of art the idea

which

328

FLOEENCE.
fail

he had in his mind, and the most simple cannot

to seize his

meaning.*
first

Andrea Orcagna
had
built

distinguished himself as an

architect in connection with

Or San

Michele.

Amolfo

upon the

site of

an old Lombard church

dedicated to St. Michael a sort of Loggia, to be used

as a corn mart, of the kind so

common

in Italy, the

vaulted roof resting on brick

columns, with open

arches between them.

celebrated painter of his

day, Ugolino of Siena, had decorated one of the col-

umns with a Madonna, and about

thirteenth century this

the middle of the

became a place of pilgrimage. In 1294 it was rumored that a miracle had been wrought there in presence of the people, and crowds

came on market days with votive

last

offerings, until at

the wealthy corn merchants determined to erect

a building more worthy of the object of their worship.

The opportunity occurred

carelessness of a prior of

in

1304, when, by the

San Piero Scheraggio, known

as " Neri Abati," the corn market

was burnt down,

merchants and

together with seven hundred houses and towers.

At the
of the

joint initiative of the corn

of a lay order which had assumed the guardianship

Madonna, the members styleing themselves

captains of

Or San Michele (Or being derived from

it

Horreimij granary),f

was resolved

to rebuild the
artist of

^ These frescoes are now generally attributed to some

the Sienese school.

t Or, according to some authorities from Hortus, a garden.

AECHITECTUKE.

329

Loggia, and the work was intrusted to Taddeo Gaddi,

at that time

chief architect (Capo Maestro) of the

Commune. Above
change he
tion
built

the part set aside for the

stories,

com

ex-

two

one for the Administra-

and the other

stone

for the granaries,

which accounts
the church.

for the peculiar shape of

what

is

now

The
della

first

was

laid

with great pomp, and two

years later the Corporation of Silk-weavers (Arte

Seta)

having asked permission to place the

statue of their patron saint in one of the niches of the

new

building, the other corporations asked a like

favor.

Thus

it

was that

in course of time the original

use of the building was changed, and

consecrated place of worship.
tinually being

came to be a Large sums were conit

bequeathed to

it,

and in
to

fifty

years the
florins.

gifts of the pilgrims alone

amounted

350,000

When the plague raged in Tuscany, carrying off threefifths

of the inhabitants of Florence, four-fifths of the

population of Pisa, and eight thousand inhabitants of

Siena, the Florentines might

have been seen kneeling were spared.

night and day before the Virgin of the Pillar, offering

to dedicate their fortunes to her if they

The

Signoria, acting in accordance with the popular

feeling,

passed a law by which the captains of

Or San

Michele were to receive a third of the property of

persons

who had

slain

one of their relatives in order

to obtain his or her inheritance.

was under these circumstances that Andrea Orcagna was called in to transform the granary into a
It

330
church,
its

FLOBENCE.
history

and

situation

making

it

one of the

most interesting monuments in Florence.

There

it

stands, without perspective or set-ofF, as impossible to

sketch or to photograph as to see, situated in a nar-

row and
Orcagna

ill-built street,

along which, as

is

so often the
it.*

case in Florence, one might pass without noticing

closed in the open arches with Gothic win-

dows, placing the niches for the different patron saints

of the guilds between them.

The famous

painting of

Ugolino of Siena

was enclosed by him

kind.

in a shrine, a

work unique

of
is

its

This shrine

of white marble, and Gothic in style,

the sculptures representing the principal episodes in the

life

of the Virgin.

The holy image

is

is

in the centre

of the composition, which

surmounted by an opena whole mass of bas-

worked

lid,

with statuettes of the Archangel Michael

and an angel above.

reliefs, statues, busts,

There

is

mosaics, incrusted stones, brilglass, the great variety of

liant enamels,

and stained

material not marring the general harmony.

in his
^^

Perkins,

Italian Sculptors," gives the following

it,

com-

plete description of

accompanied by etchings of

some of the

bas-reliefs.

He

says, "

Upon

three sides

of the base, in octagonal recesses, are bas-reliefs rep-

resenting the Birth, Presentation, and Marriage of

the

Virgin,

the

Annunciation,

the

Nativity,

the

^ The alterations which have taken place in Florence since this was written have entirely changed the surroundings of Or San
Michele.

AECHITECTUEE.

331

Adoration of the Magi, the Presentation of Christ in the Temple, and an angel announcing to the Virgin

her approaching end.

The

Virgin, represented as an

aged woman,

is

looking with an expression of hope

at the divine messenger,

and submission
ble to the

and

is

receiv-

ing a palm branch, which will render her body invisi-

Jews when carried

to

the tomb.

The

subjects are divided

by

small bas-reliefs, repre-

senting the

Christian virtues, and

surrounded by

small figures personifying the Virtues, the Sciences,

and the Arts.

there
is

Above

the base and behind the shrine

a large panel representing the death of the

laid out

Madonna,

upon her bed and surrounded by

her
belt, to

the Apostles, and her ascent in the mystic ^Mandorla,'

whence she lets St. Thomas."

It is

fall

convince the doubting

worth noting that Orcagna, instead of conceal-

ing his identity, as was the case with so

contemporaries,

many

of his

made a

point of signing his works,

and on the shrine in San Michele

Fiorentinus

may

be read in

Gothic letters the inscription, "Andreas Cionis, pictor

. . .

extitit

hujus

LIXMCCC." He also

reproduced his

own

features in one of the bas-rehefs

of this shrine, executed, as the inscription proves,

when he was only thirty years of age. Those who are interested in art will also observe that
most of the great
centuries,
artists of

the fourteenth and fifteenth

once architects, painters, '' sculptors, and goldsmiths, place the word " sculptor
at

who were

332
or " goldsmith
'^

FLOKENCE.
in the corner of a picture
;

while to

a piece of sculpture they append the signature of " painter " or ^^ architect/' as if to prove that their
talents

were manifold.

Such was the case with Ghiand several

others.

berti, Pollaiuolo, Pisanello, Francia,

The celebrated Madonna by Ugolino, which caused the

Loggia
to

be converted into a churchy has not^ unfor^^ alia Greca/' and " Intonaco," to use the at once on

tunately, survived, for he painted

as he transferred
it

term of the day,

fire

it

had

either

been destroyed by the

of 1304, or had gradually been obliterated

air before

damp
artist

Orcagna made the

is

shrine.

by the But an

whose name

no doubt

unknown some pupil of Giotto, painted a Madonna on canvas for it.*

this

Orcagna was ten years about

work, beginning

by

closing in the arcades

and by opening a door on

to the

Via Calimara, completely changing the appear-

ance which the Loggia had when built by Taddeo

Gaddi.

The

church, as

we

see

it

now,
it

is

the result of two

in the fifteenth

centuries of embellishments, but

was

century more especially that the guilds showed the

greatest liberality, the result of the respective donations of the wool-carders, the butchers, the

smiths,

* There
picture.

is

great diversity of opinion as to the authorship of this

It has

been attributed to Lanzi, Orcagna, Lorenzo

Mo-

naco,

and Bernardo Daddi

in turn, but the latest investigations

seem

to settle the question in favor of the last

named, an

artist

of the fourteenth century.

AKCHITECTUEE.
the farriers,

333

etc., being a sort of external altar, very pecuKar in shape, and having a mass of variegated

ornamentation, typical of the

sculptor's art in Florence.

development of the

Apart from

its artistic
it

importance.

Or San Michele

is interesting, because

symbolizes the strength and

influence of the guilds of Florence, which

said to

may

be

have made the

city not only wealthy

and

famous, but noble and beautiful.

The

guilds, in short,

were the

first

and most beneficent patrons of

art in

Florence and throughout Italy.

There were fourteen niches on the

these were gradually
filled

outside,

and

with statues of the patron

saints of the various guilds,

whose banners were

St.

dis-

played from them on the festival of

Anne.

This

ceremony, which was one of the most imposing of the

year,

was

first

observed upon the expulsion of the

Duke

of Athens, and notwithstanding the dissolution

it is still

of the guilds,

carried on.

Beginning
St.

at the northwest,

we

see the statue of

Matthew, by Michelozzo Michelozzi, and a careful

inspection of the

hem

of the cloak which the saint

is

represented as wearing wiU disclose the following inscription

:

" Opus,

Universitatis cansorum, Floren-

ti^ An.

Dom. MCCCCXX.'^

The niche

itself

was

designed by Niccolo Aretino, and the guild of money-

changers bore the cost.*

* The niche was more probably designed by Ghiberti, to whom,
the statue
is also

sometimes ascribed.

334

FLOKENCE.
St.

Lorenzo Ghiberti did the statue of

Stephen, in

the second niche, for the Guild of Wool-combers.

The Guild

of Smiths employed Nanni, the son of

An-

tonio di Banco, less famous than

artist of sterling ability, to

Ghiberti, but an

carve their statue.

A bas-

relief at the foot represents the bishop

under whose

protection this guild placed

itself,

in the act of shoe-

ing a horse possessed by a devil. ing on to a dark, narrow street,

is

This fa9ade, lookoften overlooked

by

visitors

but, with its singular corridor connecting

Or San Michele with the neighThe street in boring house, it is very picturesque. question is called " Sdrucciolo di San Michele." The
the upper stories of
flax

merchants obtained

permission

to

place

the

statue of their patron saint (St.

Mark)

in the first

niche of the south side, and the work was intrusted to

Donatello,

who carved a statue which is not so much admired as many of his works, though Michael Angelo
is

reported to have said of

it,

^^

How can any one

not believe the Gospel,

when

it is

preached by a saint

whose countenance
armorers, and this
the sculptor's art.

is

honesty itself?"
St.

Donatello also did the statue of

is

George

for the

one of the

finest

specimens of

St.

George

is

in full armor, stand-

ing upright, and with one hand resting on his shield.

The noble and

as
it

tranquil dignity of the saint, defying,

invisible

were, an

enemy,

is

the most striking

feature in this remarkable work.

On

the pedestal

may

be seen a small bas-relief by

AECHITECTUKE.
Donatello of
St.

335

cotta reproduction of

George slaying the Dragon, a terrawhich is in the South Kensingis

ton Museum.*

On

the southern front

the statue of St. John the

EvangeUst, executed by Baccio da Montelupo for the Guild of the " Por Santa Maria," and above these
niches, in the spandrels,

Luca

della

Robbia placed the

guilds done in
is

arms and emblems of the

terra-cotta or majolica.

different

The

fa9ade, which

most

noticed, overlooking as

it

does one of the most crowded

streets of Florence, has in its centre a splendid niche,

the architectural design of which

is

by

Donatello, the
thrust-

niche

itself

containing the figure of St.

Thomas

ing his finger into the side of our Lord, by Verrocchio, the tribunal of the

Mercanzia having found the

at a later period,

fimds for this effective composition.

Giovanni da Bologna,
for the Guild of

executed
St.

Judges and Notaries the statue of

first

Luke, which occupies the

front,

niche on the eastern

is

while that of St. Peter on the north side

by
di

Donatello,

who

did

it

for the

Guild of Butchers.
instructed

The Guild
Banco

of Shoemakers

Nanni

to carve a statue of St. Philip for the second

niche on the north front, and the Carpenters and

Masons employed him

crowned
*

to erect a

group of four un-

saints

martyred under Diocletian.

An anec-

The

original St.

National

Museum II

George by Donatello is at present in the Bargello whither it was taken in 1892, a

cast being substituted at

Or San Micbele.

336
dote,

FLOKENCE.
which proves what a great influence Donatello
is

possessed over the artists of his day,

tion with this work.

told in connec-

When

the saints were finished

Nanni discovered that they were too big for the niche, and he consulted Donatello, who promised to help him
out of his trouble if he would give a supper to

him

and

his

workmen.

Donatello set to work, and after

the shoulders and arms of the
into such close contact that
difficulty.

knocking

off portions of

four saints, brought

them

they could be placed in the niche without

It will

be seen from the foregoing description that Or

is

San Michele

a true sanctuary of Florentine

is

art.

In
of

the interior, which, like the exterior,

the

work

successive generations, the magnificent shrine of Or-

cagna, representing the history of the Virgin,

attracts our attention.

first
is

The

first altar to

the right

modern, while that consecrated

to

St.

Anne

dates

from the close of the

last

century, in the centre being

a handsome group of

St.

Anne and

the Virgin,

San

Gallo,

an

artist

with something of

by Michael Analtar for

gelo's

manner.
has been entirely reno-

Simon da Fiesole had decorated the rear

the Guild of Grocers, but
vated, and, except for the
it

handsome vaulted roof and

no sanctuary in Flor-

Orcagna's shrine, the interior has not the attractions

of the exterior.
Still

there

is

ence more venerated, the sacred picture of Ugolino

helping to inspire the people of the present day with
the same respect which was shown
it

in the Middle

ABCHITECTURE.
Ages.

337

There are two curious legends, also, in connection with the group of the Virgin and Child, by-

Simon da

Fiesole.

One of these

is

that a

Jew having,

them a blow on the face, he was pursued and stoned to death by the children of Florence, an inscription at the base of the statue commemoratin 1493, struck

was reported again in 1628 that the Virgin had been seen to move and blink her eyes, and as the plague occurred in Florence two
ing this occurrence.
It

years

later, this

was of course

said to

have been a

presage of the calamity.

THE LOGGIA DEI

ried on in

LANZI.

Concurrently with the work which was being car-

Or San
;

Michele, Orcagna was assisting in

the building of the Orvieto Cathedral, where he spent

the year 1360

but so

much

pressure was put upon

him

that he did not remain there long,

and returned

to Florence, the first important

work which he underAcare the most trustin 1374, but

took after that being the " Loggia dei Lanzi."

cording to

Gaye and

Eicci,

who

worthy

authorities, this

work was begun

Itahan dates of this period are never to be relied upon

altogether.*

The

building of the Loggia was intercivil dissensions

rupted by war and

during a period

of ten years, but Baldinucci, in his " Libro di Ricor-

danze del Proveditore

Stieri," referring to the

sums
Cione,

* The Loggia dei Lanzi is also attributed to Benci di who may have executed it from designs made by Orcagna.

22

338

FLORENCE.

paid to the sculptors

who

assisted in

carving the

statues above the Loggia, shows that considerable

progress must have been

made

in a short period.

It

was thought

at

one time that Orcagna had carved the

statues of the four Cardinal Virtues, but

Gaddi and

Giovanni Seti are now known to have executed those of " Fortitude " and " Temperance," if not the two
others.

The Loggia
tion, for
it is

merits a somewhat detailed descrip-

an open-air Tribune, holding much the

as the famous
to painting.

same
Uffizi

position as regards sculpture

Tribune does in respect

Orcagna,

by the
lowed.

substitution of full for pointed arches,

made an
fol-

innovation in architecture which was generally

The
building

principal

characteristics

of

this

handsome
and

are
5

boldness

of

design,

elegance,

strength
pillars,

it

consists of three

open arches with three

enclosing a platform raised six steps above

the square.

The Loggia was

citizens

originally designed to protect the

from the weather during the discussion of

public affairs.

About 1541 Cosimo

I.

brought to

Florence a Swiss Guard composed of two hundred

soldiers,

and the name

De' Lanzidates from

St.

this

period, the derivation being from the

word Lancer,

Not that the Loggia was occupied as a guard-house,

like that

on the Piazza of

Mark

at Venice, but
is

there

was a barrack

close by,

and there

no doubt

AECHITECTUKE.

339

that the soldiers on guard at the Palazzo Vecchio

paced up and down before

it. The first captain of named Fuggler, was and his men Guard the Swiss

were quartered

first

in the Fortezza da Basso, then

in the Medici Palace,

and

finally

on the Piazza

itself.

The Swiss Guard was only abolished in 1745, and its uniform was similar to that of the Pope^s Guard at
the Vatican.

The
though
tion,
it

aspect of the Loggia has changed with time,

its

architecture has undergone no modifica-

the various pieces of sculpture being placed in

as they
I.

were executed.
to

Michael Angelo urged

all

Cosimo

continue the colonnade

round the

Piazza, but the idea was not carried out on account of

the expense.

The

oldest of all the

is

works of sculpture

placed in the Loggia

beyond question DonateUo's

originally intended to

" Judith," though

it

was not

occupy

its

present position.

An
it

engraving of the

sixteenth century shows that

of the Palazzo Vecchio.

then stood in front

arcade

Its transfer to the

of the Loggia
interest.
It

is

due to a circumstance of historic

in the first instance for

was executed

the Medici Palace, and

when

Pietro de' Medici was

expelled

it

was placed
"

at the entrance to the Palazzo

Vecchio and the following inscription carved upon

the pedestal
1495.''
gelo's
:

Exemplum
it

Sal.

pub. cives posuere,

In 1504

was replaced by Michael Anits

" David," and subsequently transported to

present position, which, according to Gualandi, the

340
Bologna art
centuries.
critic,

FLOKENCE.
it

has occupied for nearly four

The two
one of them

colossal

marble

lions

which stand

at the

foot of the staircase

is

have only been there since 1780;

is

very ancient, while the other

by

Flaminio Vacca.

The Kape of the Sabines," a superb composition by Giovanni da Bologna, which stands out finely
""

against the architectural background,

was not

orig-

inally intended to represent that subject.

de'
^^

Francesco
it

Medici requested that the

of

artist

should caU

The Rape

ghini, the

Andromeda by Phineus," but Borlearned critic, suggested " The Rape of the

Sabines " as more appropriate, and Giovanni represented that historical episode upon the base of the
pedestal.

He was

eminently

fitted for the

work of

decorating spacious buildings of this kind, and

his other compositions
is
'"''

among

Hercules slaying the cen-

taur Nessus," carved from a single block of marble,

and remarkable
the

for the precision of the

anatomy and
This group
it

life-like attitude of

the two figures.

was not
but
it

specially intended for the place

occupies,

forms a

fitting

pendant to

^^

The Ajax and

Patroclus," a restoration of a

Greek sculpture placed

there

by

the architect Poccianti.

all

Last of
Cellini,

comes the masterpiece of Benvenuto

a bronze statue representing Perseus, which

the characteristics of the eccentric genius

has

all

by

whom

it

was

cast.

Perseus

is

represented as having

uJl

rc>b

v>i\y>>^

Loggia del Lanzi

ARCHITECTUKE.
just severed Medusa's

341
is

head from the trunk, which

writhing beneath his feet, while he, with a calm air

of triumph, holds up the head with one hand, his

sword grasped in the other.

The base

is

ornamented

with a series of bas-reUefs, the four sides containing

niches, in

which are small

allegorical statues.

There

are few

more

interesting stories than that in which

relates

Benvenuto himself

how
it

the cast of the statue

was made.

The Loggia,

as

now

stands, occupies a

page in the history of Florentine

of lying hidden in
out in the
full light

art,

which, instead
spread

museums and

galleries, is

of day, beneath the blue canopy

of heaven, and with a whole population to admire

its

beauties.

PIAZZA E CHIESA SANTA MAEIA NOVELLA.

Pucellai, about

1469, instructed Leo Battista Alfor the

berti to design a

grand fa9ade

church of Santa

Maria Novella.

The

square,

upon which one now

cloister,

comes upon issuing from the

largest in Florence,

was then the

open spaces
In 1331

even worse

off for
is

in the time of the Medici than

it

now.

a decree had been issued for the laying out of this

piazza,

and thirteen years

series of

later,

when Peter Martyr

was
still

was deUvering a
larged.

sermons against an heretiit

cal sect called the Paterini,

further en-

As

all

the inhabitants of Florence were very fond

of festivals and sight-seeing, an open space of this

342

FLOEENCE.
5

kind was indispensable

and when

in after-years the

Grand Duke Cosimo got up tournaments, jousts, and so forth, it was there that the chariot races, with
their four colors of green, red, sky-blue

and white,
cloth,

were
and

held.

The
At

prize

was a piece of crimson

all

seats

were erected
first

round the amphitheatre for

the populace.

some wooden pyramids served

as goals for the competitors, but in

1608 Giovanni da

Bologna erected the two small obelisks in Seravezza

marble, resting on tortoises and surmounted by bronze
lilies.

The church
its is

is

very famous in Florence, and with

In 1221

agglomeration of monastic buildings and cloisters

one of the most interesting in the

city.

the Dominicans took possession of the ancient sanctuary, and began building a
their order,

new

church.
Sixtus,

Two

of

Fra Ristoro and Fra

as

were apand the

pointed architects a number of years

later,

work was completed,

we

see

it

now, in 1470.

The

low arcades on the right were used as tombs, beneath

which the principal famihes living in the quarter

were buried.

The

interior is Gothic,

and

in the shape of a Latin

classiis

cross, thus

forming a marked contrast with the

cal character of Alberti's fa9ade.

This church

as

much a museum
greatest
It

as

it

is

a sanctuary, some of the

names

in Italy being

commemorated

there.

contains the

Rucellai

and Strozzi Chapels, the

Ricasoli,

tomb of the Beata Villana (1360), of G. B.

AECHITECTURE.
of Bishop
Alliotti,

343

of the Patriarch of Constantinople,

who

died in Florence in 1440, and the mausoleum

The tomb of Filippo Benedetto da Maiano, but the balusby Strozzi is trade of the organ loft by Baccio d^Agnolo has been sold to the South Kensington Museum.
of Aldobrandini Cavalcanti.

The

Ruccellai Chapel contains the celebrated

is

Ma-

donna by Cimabue, which

regarded as the starting-

point of the Florentine school,

and there are many

other paintings of great importance in Santa Maria

Novella, including two frescoes of " St. Philip Exorcising the

Demon " and

this

of " St. John the Evangelist

Raising Drusiana to Life."

But the

artist

who has

done most for

church

is

Domenico Ghirlandajo,
paint in the choir

who was employed by Tornabuoni to

St.

a series of scenes from the lives of the Virgin and

John Baptist

in
his

which appear likenesses of sev-

eral

members of

own

family and of other

illus-

trious persons of the day.

Pitti, Baldovinetti,

Among them

are

Luca
Po-

Piero Tornabuoni, Cosimo son of

Pitti,

Lorenzo, Bartolini, Salimbeni, Francesca

litian,

Marcilio Ficino, Cristoforo

Landino, Andrea

de' Medici,

and

all

the

and

Ridolfi families.
pupils,

was one of his

members of the Tornabuoni At this period Michael Angelo and in the " Visitation of Mary
have painted the man

to Elizabeth" he is said to

looking from a balcony in the distance.

The

walls of the Strozzi Chapel are covered with

frescoes

by

Filippino Lippi, and the cloisters are

full

344

FLOEENCE.
In the Spanish Chapel

of most interesting works.

Taddeo Gaddi and Memmi painted the Church Militant and the Church Triumphant, and Memmi is believed to have introduced into his picture the leading

men

of his day.

The

subject of Gaddi's picture

is

St. Thomas Aquinas seated in a pulpit, surrounded by the Prophets, the Evangelists and the angelic host.* The Great Cloister, as it is called, which

communicates with
ence, and
ters.
is

this one, is the largest in Flor-

decorated with paintings by various masdis-

It

was a vast reHgious establishment,

persed at the time of the Revolution, and founded in

1278, covering more than 200,000 feet of ground.

There were the Pope's quarters and the Pope's chapel

and the refectory,
built

by Talenti

in 1460, contain-

ing several paintings, including Allori's famous composition representing the miraculous supply of
in

manna

the desert.
still

The Spezeria of Santa Maria NoIt is

vella

remains open.
is

entered

by a door on

the Via Scala, and

celebrated for the liqueurs and

perfumes prepared there.

Altogether Santa Maria Novella
is

a true sanctuary

of art, the chapel of Ghirlandajo giving a better idea

than any other place in Florence of the

prolific

genius

of that day, while the compositions in the cloisters

are worthy to be compared with those in the

Campo

Santo at Pisa.

* The authorship of these paintings

is

disputed.

ARCHITECTUEE.

345

THE PIAZZA BELLA SANTISSIMA ANNUNZIATA.

This
is

one of the

finest squares in Florence, sur-

rounded by arcades and decorated with busts of the

Medicean Grand Dukes.

south, there is a fine

Approaching

it

from the

view of the church of the

the right
it

nunziata, while

to

is

flanked

Anby the

Foundling Hospital, and to the

of the order of Servites.

left

by the convent

These buildings are aU

In the centre of the square
I.

much
is

in the

same

style.

an equestrian statue of Ferdinand

by John

of

Bologna, while to the right and

left are two fountains

by

Pietro Tacca, in which monsters of the deep are

in the act of vomiting water into bronze shells.

The

statue

was erected

in 1608, the veteran sculp-

tor being at that time eighty years of age,

and the

work was done by order of Ferdinand

to the

IT.,

as a tribute

memory

of his predecessor, and also to comSt.

memorate the victory of the Knights of

being used to
scription,
''

Stephen
latter

over the Turks, the cannon taken from the

make Con la fusione

11.

the statue, which bore the indei metalli rapiti al fiero

Trace."

Ferdinand
shield,

afterwards had

the

large

bronze
of bees,

with motto, "Maj estate

Tantum," seme

let in at

the base of the statue.

is

The

portico of the church

of the Corinthian order,

the central arcade having been built for

Leo X.,

after

the designs of A. da San Gallo, while the

the other arcades was found

money for by Alexander and Rob-

346
ert Pucci.

FLOKENCE.

The

central door leads into the church,

by-

and opens upon the beautiful portico decorated

Andrea

del Sarto

that to the left leads to the cloister,

and thence

to the church,

through the door over which

del Sacco."
St.

Del Sarto painted the famous " Madonna

The door
portico.

to the right
its

opens into the chapel of

Sebastian, with

tiny cupola which rises above the

is

This church

one of the marvels of Flor-

ence, and so
late that
it

many additions have been made to it of is now resplendent with gold and precious
were decorated by
in
all

marbles.
princes

Its thirty chapels

the

the

who succeeded one another time of the first Medici down

Tuscany, from

to the last repre-

sentatives of their race.

The
upon

building of the Foundling Hospital was decided

at the

meeting of the Communal Council on the

25th of October, 1421, the mover of the resolution

being Leonardo Bruni,

who

is

buried in Santa Croce.

When

Filippo Brunelleschi, to

whom

the

work was
left

given, had to leave Florence on account of his pre-

vious engagements, he prepared the designs, and

his pupil, Francesco della Luna, to carry them

out.

This was

much to be

regretted, for the latter

changed
to

the lines of the edifice, and having once

begun

make alterations, to stop. The fagade has a handsome portico with nine arcades, and in the spandrels may be noticed terra-cotta
medallions representing infants in swaddling-clothes,
as typical of the object of the building.

he did not know where

AECHITECTUKE.

347

merit,

frescoes are by Poccetti, an artist of some and over the door leading from the court to the church is an Annunciation of the Virgin by Luca della

The

Hobbia.

348

FLOKENCE.

CHAPTER

VII I.

SCULPTURE.
NICCOLO AND GIOVANNI PISANO.
(1205-1278.)

Tuscany was the cradle of the Renaissance of sculpture, for though the precedence has been claimed for Apulia, the works
that

There can be no doubt

of sculpture which decorate the eleventh and twelfth

century monuments in that part of Italy are more or

less of

a Saracenic or Byzantine type.

Pisano,
art,
is

who
was
un-

may be
certain,

regarded as the originator of Tuscan

not a native of Florence, and his place of birth

though he

is

generally believed to have been

bom

at Siena.

He was

man

of genius, in the

full

acceptation of the term, for he

was the creator and

at first

founder of a great school.

attention to architecture,

He
and

devoted his

at

sixteen years of
II.

age followed the Emperor Frederick

to Naples,

where he

is

supposed to have remained twelve years,

during which period he undoubtedly worked at the

celebrated Castel
dell'

Ovo and
to

the Castel Capuano.

is

From Naples he went

in honor of

Padua, where he

said to

have superintended the building of the church erected

San Antonio, the famous Santo of

whom

SCULPTURE.
the city of

349
is

Padua is

so proud,

though there

no direct

proof of his having taken part in this great work.

From Padua he went

evidence of his
skill

to Lucca,

where he

first

gave

as a sculptor, carving a "Descent

from the Cross" for one of the side doors of the

cathedral of

San Martino.

This work was in his early

manner, the outcome of his natural acquirements and

personal observations, and to this period doubtless be-

long the Madonna, the St. Dominic, and the

dalene on the Misericordia Vecchia at Florence

Mag-

this

Madonna being the prototype Madonnas of the Pisan School.

were blended together, but

of

all

the subsequent

Henceforth his labors as an architect and sculptor

it is difficult

to assign

an

exact date to each of his works.

Trinita Church at Florence

He

built the

Santa

Buontalenti

San Domenico d'Arezzo,

restored in 1593

by
at

the

Duomo

Volterra, the Pieva,

and Santa Margherita

established,

at Cortona.

In 1260, by which time his fame both as a sculptor

and an architect was firmly

he executed

the beautiful pulpit in the Baptistery of Pisa, which

may be

regarded as one of those works which inspire

a whole school.

In

this creation

he shows the

influ-

ence of the ancient sculptures which had come under

his observation as, for instance, the sarcophagus con-

taining the ashes of the wife of Boniface Marquis of

Tuscany, and mother of the celebrated Countess Matilda

who

died in 1076.

He

also altered the accepted

shape which had been adopted from the earUest ages

350

FLOKENCE.

of Christianity, conforming himself, however, to the

traditions of the

Lombard Church, by

letting the col-

umns

of the pulpit rest upon the backs of lions.

As

a proof of his having been in some measure inspired

by antique

art,

the fact of his having taken from the

of Pisa the bearded Bacchus of the
often been mentioned

Campo Santo
this subject.

Greek vase has

by

writers on

From

Pisa Niccolo went to

Bologna, where he

fashioned the

sarcophagus for the remains of San

Domenico

(the

Area

di

San

Domeyiico),

which

is

one

of the marvels of that city.

The ashes

of the saint

were placed

in

it

on the 12th of June, 1267, as

we

know by
Siena,
pit,

the documents brought to light

by Professor

Bonaini, but Niccolo had started the year before for

where he arranged
details.

to

carve the cathedral pul-

leaving his pupil Guglielmo Agnelli to complete

a few unfinished

The

pulpit at Siena

erected with the assistance of his

of his pupils,
It is

was son Giovanni, and

Amolfo

di

Cambioj Donato, and Lapo.

in with bas-re-

octagon in shape, and rests upon nine columns.

part has six panels,
filled

The upper
liefs

representing the Nativity, the Adoration of the

Magi, the Flight into Egypt, the Massacre of the Innocents, the
Crucifixion,
is

and the Last Judgment.

The

centre pillar

surrounded by allegorical figures,

in semi-reHef, of

Astronomy, Grammar, Dialectics,

Philosophy, Arithmetic, Geometry, and Music.

The

frequent journeys of Pisano from town to town,

SCULPTUEE.
and the great works which he executed
naturally exercised no
little

351
in each,
art in the

influence

upon

places which he visited, and at Siena

more

especially

he acted as a pioneer
date.

for all the sculptors of a later

The name

of Pisano

is

connected with one of the

bloodiest episodes in the history of his time

the exe-

cution of Conradin,

by order

of Charles of Anjou,
for

after the battle of Tagliacozzo

he was employed
battle-field,
is not,

to build

an abbey and convent upon the

to receive the remains of the dead.

There

however, a single stone of these buildings now standing, the

name

of Santa Maria della Vittoria, given to

a neighboring church, alone remaining to indicate the

spot.*

In 1274 Pisano was

at Perugia,

where he erected

the beautiful fountain which

in its decorations the

may be said to embody attributes of many of the cities

visited.

which he had previously

This fountain com-

prises twenty-four statuettes attributed to Niccolo,

fifty bas-reliefs

done by his son Giovanni, and a basin

from which springs a column bearing up a bronze

Tazsa^ from which, in turn, springs another column

surrounded by nymphs, and surmounted by the

fins of

grif-

Perugia and a

lion.

The

magistrates of Peru-

gia set so

much

store

by

this fountain that severe

* A festival commemorative of the victory is held in this church every hundred years. See Perkins's jBTisf. Hand-book of
Italian Sculpture.

Note, p. 20.

362
were issued damage.
edicts

PLORENCE.
to insure
its

preservation from

Pisano was the founder of Tuscan sculpture, and

exercised an influence, the extent of which cannot
well be exaggerated, upon after generations.
kins, in his "

Per-

Tuscan Sculptors," weU says of him,

all,

" Respected and esteemed by

truly great

he

is

one of the

men

to

whom

the whole world owes an

like a

undying debt of gratitude, and he stands out

beacon light in the darkness of these

five centuries.

What Dante was

was

to Italian literature, Niccolo Pisano

to Italian art."

ANDEEA

PISANO.

(1273-1349.)

Andrea was the son of Ugolino

di Nino,

and he

studied under Griovanni Pisano, the son of Niccolo,

acquiring the reputation of being the most skilful

bronze-founder of his day.

He was

the

maker

of

one of the bronze gates in the Baptistery at Florence, and the inscription, stiU legible, gives the date

on which the bronze was cast

Nini de
Pisis

'^
:

Andreas UgoUni

me

fecit,

a.d.

MCCCXXX."
this date,

But

though the casting was made on

assisted

Andrea,

by Leonardo di Giovanni, spent nine years more upon the chasing and finishing. A hundred
years
later,

Lorenzo

Ghiberti,

famous Gate of Paradise, was employed

frieze

which runs round the

who wrought the to make the gate executed by An-

SCULPTUEE.
drea,

353

and

after his death in

to
it

were made

by

Pollaiuolo.

1454 further additions There are altogether

twenty panels, representing the principal incidents in

the Hfe of St. John the Baptist.

These gates were erected during the

of the

artistes life-

time at the principal entrance opposite the facade

Duomo, and

the Signoria

came

in procession

from the Palazzo Vecchio when they were put into

place,

and conferred upon the maker the freedom of

Demonstrations of this kind are worth re-

the city.

cording, for they excite a spirit of emulation

among

other nations, and lead to a further development of

artistic progress.

Andrea was a

friend of Giotto, and contributed to

the decoration of the Campanile, for which he carved

several of the bas-reliefs
also

upon the lower

story.

He

executed some statues for the niches of the

Duomo fa9ade. He was an

architect as well,

and

fortified

the

Palazzo Vecchio for Gaultier de Brienne, who, however, failed to find

it

a secure refuge from the fury

Baptistery of

of the people.
Pistoia,

He
at

also erected the

and dying

Florence in 1345 was buried in

of the art of sculpis

the Cathedral.

The development

ture due to the genius of these

vellous, for

men

indeed mar-

though in

later times there has

been more
thir-

freedom of movement than the sculptors of the

teenth century could boast
of,

their conceptions

have

never been outdone in point of boldness and con23

354
scious strength.

FLOEENCE.
There
is

a clear analogy between

the bas-reliefs of the Campanile and those on the

fountain at Perugia, their epic outline and

symboUc

expression lending to them characteristics of grandeur

and simplicity worthy of the best epoch of ancient

sculpture.
It

may be

said, in fact,

that there

was

more profundity of thought and

geniality of concep-

tion with the Italian sculptors of the thirteenth than

with those of the fifteenth century, though the latter

excelled

them

in

harmony and grace

of outline.

ANDKEA ORCAGNA.
(1328-1368.)

Although Andrea Orcagna, surnamed Clone after

his father,

Matteo Clone, has already been mentioned

among the architects and painters of his day, his name cannot well be omitted from a chapter on sculpture.

He was

a goldsmith as weU, and he was the

maker of the
in 1366,
lion,

original of the silver altar preserved in

the treasury of the

Duomo.

This work, commenced

was destroyed

in the course of

some

rebel-

but a

new one was made, and

it,

a few parts of the

original one let into

laiuolo,

by

Grhiberti, Michelozzo, Pol-

and Verrocchio.

His brother, who was a painter, helped him with

the frescoes of Santa Maria NoveUa, and he then set
to

work upon the

celebrated decorations of the

Campo

Santo, which have rendered his

name

so famous,

^^The Triumph of Death" and

"The

Last Judg-

tn^^-iyxO

r^-\tinK

on the
nabolic

Tabernacle

in

Or San Michele

Andrea Orcagna

SCULPTUKE.
ment.'^*

355

He

transformed, as described in a previous

into a

chapter,

Or San Michele from a corn market

illustrates the history of the

sanctuary, and carved the Gothic shrine of white

marble which

Madonna.

He also
tect of the

is

sometimes credited with being the archito all these gifts

Loggia dei Lanzi, and

was added that of poetry, for he has left behind him many sonnets, and manuscripts of his are to be seen
in the Ubrary of the Strozzi Palace

and

in the

Mag-

liabecchiana.

There

is

some doubt

as to whether he

built the Certosa

near Florence, though, as Niccol5

Acciaiuoli, the founder,

is

was a contemporary of his,

Orcagna was the
of which
last

it

generally supposed that he or one of his pupils

it.

should be credited with

the Pisano school, the

of

members

may very

appropriately be classed with that of Florence, not

merely because of the influence which they exercised

upon

art there, but because

most of them were made

in classing

citizens of Florence.

And

them thus

am
art,

only following an example set

by

all

historians of

from Vasari down to Perkins.

JACOPO BELLA QUEECIA.

(1374-1438.)

This
too

artist

much to

describe
at

was not a Florentine, though it is not him as the forerunner of Michael

Siena in 1374, he executed, when

Angelo.

Born

only nineteen years of age, the equestrian statue in

* See note to chapter on Orcagna on this
subject.

356

FLORENCE.
of

wood
left

Siena

Azzo Ubaldini, the celebrated when the city surrendered

he came

soldier.

He

to

Giovanni
liveli-

Galeas Visconti, and after earning a precarious

hood

for nine or ten years,

to Florence,

and
only

took part in the competition organized by the Signoria for the Baptistery gates, coming out of
it

second to Ghiberti and Brunelleschi.

ability stood
to

This proof of

him

in

good

stead,

and he was employed

make

the Porta dei Servi at Santa Maria del Fiore,

handiwork being plainly discernible in the " Madonna della Cintola," over one of the side doors, and
his

in the mystic " Mandorla," with angels as supporters.

From

Florence Jacopo repaired to Ferrara, where

he executed the tomb of Vera, afterwards transferred

by Annibale Bentivoglio
vanni Maggiore
at

to the

church of San Gioat

Bologna.

While
at Siena,

Ferrara he

received an application to erect the fountain (1409-

1419) upon the grand piazza

Gaza,'^ as
it is

and "La Fonte

called, is as celebrated as that erected

by Pisano
fountain.

at Perugia,
it is

though

it is

of such singular

construction that

more

like a

water-tower than a

This work was in such a dilapidated state

that the municipality of Siena has recently

restored,

had

it

and the work,

so far

as

it

has gone, has

been very conscientiously done.

Only a smaU fragment of the tomb erected by

Jacopo in the cathedral of Lucca
to Ilaria, the

second
is still

wife of Paolo Guinigi, the signer of the city,

extant, the remainder having been destroyed

when

SCULPTUEE.
Paolo was dethroned
talent is to
j

357
his

and the best specimen of

be seen in the decoration of the grand

portal of the basilica of

San Petronius

at Bologna,
influ-

with

its

fifteen bas-reliefs,
;

which undoubtedly

enced Michael Angelo

as

may

be seen by comparing

certain parts of the ceiling of the Sistine Chapel with

the portal of San Petronius.

Jacopo della Quercia returned

to Siena, in accord-

ance with the contract he had signed for two bas-reliefs for

the Baptistery 5 he passed the last three years

there,

of his

life

dying in that city on the 20th of

October, 1438.

LOKENZO GHIBERTI.
(1378-1455.)

The son
names

of Clone di Ser Buonaccorso,

bom

at

Florence in 1378, bears one of the most popular

in the history of Florentine art, thanks to the

Porte del Paradiso of the Baptistery, and an adequate

biography of him would occupy a volume in

itself.

He
band.

served his apprenticeship as a goldsmith under

Bartolo di Michieli,

who was

his mother's second hus-

In 1399 he went to Kimini, and attracted the

frescoes he executed in the palace

notice of Carlo Malatesta, the uncle of Sigismundi,

by some
he
at

but on

hearing of the competition for the Baptistery gates

once returned to Florence, and, as previously

explained,
nelleschi

was

successful against such rivals as Bru-

and Quercia.

358

FLOEENCE.

Ghiberti took twenty years to complete this work, though he had twenty assistants in the moulding and casting, among them being Donatello and Paolo
Uccello.

In 1424 the gates were placed in the posi-

tion previously occupied

just opposite the entrance to the

by those of Andrea Pisano, Duomo, and the

church-wardens of Santa Maria immediately commis-

him to make the second gates, for which LeoBruni Aretino, the Secretary of the Republic, nardo
sioned

was requested
these gates

to select the subjects.

when

quite a

Ghiberti began young man, and when they

old.

were finished he was seventy-four years

It

should be added, however, that he had undertaken

several other works in the interval, including the St.

Matthew,
Michele.

St.

John,
also left

and

St.

Stephen at Or San

He

behind him bas-reliefs for the

Baptistery font at Siena, funeral slabs at Santa Maria

Novella and Santa Croce, and the bronze shrine of

San Zenobio, executed

Florence.

in

1446

for the

Duomo

at

Ghiberti

left

a diary, from which

it

is

clear that

many

of his works have disappeared, and this

;

may be

regarded as a sort of poetical justice

for,

as already

mentioned in the sketch of Brunelleschi, he acted in

anything but an honorable way towards when they were both engaged upon the
the latter

cupola of

Santa Maria del Fiore.

Ghiberti was pre-eminently a painter and goldsmith, for in sculpture he attempted too

much

and

SCULPTUEE.

359

instead of being content with the resources of an art

which, from the very nature of the materials employed,

is limited, he

abused it by trying to obtain

all

the variety

of a picture.

The

result arrived at is remarkable,

is false,

beyond
it is
it is

all

doubt, but the principle itself

for

unreasonable to ask from a material more than

capable of giving.

Even

in the gates

^which

are the creation of a goldsmith rather than of a sculptor

he has represented the sky and passing

is
'^

clouds

and there

an anecdote told of a very competent

judge of sculpture, who, passing in front of the Baptistery gate, said,

sculpture."

There is the man who has ruined The judgment was a severe one, but it

expresses, if in an exaggerated form, a true canon

of art.

Ghiberti was less at

home

in the carving of statues

than in fashioning shrines, mitres, and other ecclesiastical objects

which he executed
is

for the pontiflfs.

:

complete

list

of his works

as follows

The At the age of

two-and-twenty he was at Rimini, where he did several

enamels and frescoes for Carlo Malatesta. He commenced the Baptistery gates in 1403, and continued In 1414 he cast at work upon them for twenty years. the statue of St. John for Or San Michele, and in 1417 we find him at Siena, executing two bas-rehefs for the font, which, however, were not completed until 1427, and then at Rome, where he made a mitre and

some other things

for

Pope Martin V.

In 1419 he
Michele,

did the statue of St. Matthew for

Or San

360
and
in

FLOKENCE.
1424 he
finished the first of the Baptistery-

gates, having between-whiles erected the

tomb of Fra

Leonardo

di Stagio Dati.

Three years

after this

he erected the tomb of

Lodovico degh Obizzi, and in the same year he began

the second of the Baptistery gates.
ever, confine his attention to

He

did not, how-

them

alone, executing

concurrently the tomb of Bartolommeo Valori, the

two

bas-reliefs of the Siena Baptistery, the shrine of

San Zenobio, another shrine

cinto,

for Saints Proto, Giafor

and Nimesio, and a mitre

and on the
1st of

Pope Eugenius

IV.

In 1452 he completed his second pair of Bap-

tistery gates,

November, 1455, he

died and was buried at Santa Croce.

DONATELLO.
(1386-1466.)

DonateUo, son of Niccolo di Betto Bardi, was

at

bom

Florence in 1386, and, with the exception of

Michael Angelo,
Florentine

may be considered the sculptors. He was a Tuscan

life

greatest of
to the core,

as upright in his private

calling.

as he

was

gifted in his

Thoroughly grounded in the study of the

antique, which he held in the deepest veneration, he

at the

personal characteristics

same time succeeded in maintaining his own and though some of his
j

works, notably a patera in bronze, forming part of

the Martelli Collection in the South Kensington

Mu-

seum, might be mistaken for some

relic of ancient

SCULPTURE.
Greece
at first sight,

361

they have a distinctive impress

which could only have been given them by a FlorenI have dwelt at length more tine artist like him.
than once before upon the dramatic and splendid
talents of Donatello, but

he possesses a power and a

his

nobility which cannot be too highly eulogized,

gifts

only stopping short of the very highest genius.

infinite in their variety,

His works are almost

and he

may be

classed with

Dante and Machiavelli as among

a

the most characteristic representatives of the genius

of Florence.
ters,

He was

man
;

of culture and of

let-

with a more extensive knowledge than the other

great stone-carvers of his day

and he was a general

under the same

favorite with his brother artists, living

roof with Michelozzo, and sharing his labors.

story of

The
but
it

how he

assisted

Nanni

di

Banco

at
;

Or San

Michele was told in the preceding chapter

may

be added that he was beloved by his pupils, for

for the express purpose of assisting

one of whom, Simone Ghini, he made a journey to

Rome

him

to cast

the bronze slab for the

tomb of Martin V. The great charm of DonateUo is that his works appeal to the heart and feelings as much as they charm the eye. Few have possessed to an equal de-

gree the knowledge of

how

to obtain desired effects.

at in the studio apis

statue

by him, which looked

pears monstrous and ill-proportioned,

tion of shape

the perfecfor

and outline when stood in the place

which

it is

intended.

362

FLOEENCE.

Donatello was thoroughly versed in the science of

practical perspective as applied to buildings.

The

famous

bas-reliefs of the Bargello^ intended for the

balustrade of the organ-loft in the

of which cannot be fully appreciated

Duomo, the beauty when seen out

in*-

of their place on a level with the eye, are a good

stance of his perfect knowledge of the effect of height

and distance.
gin
is

The

bas-reliefs of the outer pulpit of

the Prato Cathedral, from which the girdle of the Viris

exhibited, afford another instance of this.

elasticity of

There

an

movement and a
libero,

vivacity about the

gambols of the children which

Horace, ^^Nunc pede

recall the

words of

pulsanda teUus."

Dona-

teUo, in order to protect these bas-reliefs

from possi-

ble injury, kept their level below that of the surround-

ing mouldings.
first

In examining this pulpit

it

it is

best

to consider

as a whole,

and then

to

take the

separate details.

So varied and vast was Donatello's work that the

mere

list

of his sculptures in

San Antonio

at

Padua,

with his equestrian statue of Gattamelata, forms a

whole volume
the

Berhn Museum

compiled by Herr Bode, Curator and a very

is

of

interesting contri-

bution to the history of art in Italy.

At seventeen years of age he went

sulted
tance.
tions,

to

Rome, being
of impor-

already an artist of some note, as he had been con-

by the Signoria on some questions

He
and
it

assisted BruneUeschi in several excava-

was

at his instigation in later

years that

SCULPTUEE.
Cosimo the Elder formed a

363

collection of antiquities.

He

spent several years at

works, on returning to

Rome, and one of his first his native city, was the " Anis

nunciation of the Virgin " in the Cavalcanti Chapel

of Santa Croce.

There
is

much grace and

Michele.

nobility

about this

work, which

quite in his early manner,

like the ^^St.

Mark"

in

Or San

The "St.
St.

Peter" was of a
George.

later date (1411),

and was executed

about ^ve years before the splendid statue of

was between the years 1425 and 1427 that he executed the tomb of John XXIII. in the Baptistery
It

of

Florence

(referred

to

in

the
all

chapter on the
the time in Flor-

Medici), but he did not remain

ence, as in

1426 he erected the tombs of Cardinal

at Montepulciano.

Brancacci in the church of San Angelo at Naples,

and of Bartolommeo Aragazzi

At

the end of 1427 he went to Siena, and did a bronze

bas-relief for the font in the Baptistery
;

and

letters

dated 1433 speak of him as beiag at Rome, where he

was consulted about the tomb of Martin V.

pulpit of the Prato Cathedral dates

The

from 1434, and

Florence for the

there

is

nothing to show that he

left

next ten years, where he was busUy engaged upon

statues for the Campanile, bas-reliefs for the balus-

trade of the organ-loft, the statue of " David," and

a number of

bas-reliefs,

statues,

terra-cotta busts,

and bronzes,
collections of

now

disseminated among

the various

Europe.

364

FLOEENCE.
devoted twelve years of hard work to the

He

church of San Antonio of Padua and the statue of

Gattamelata on the Piazza, which was the
trian statue cast in Italy in
first

eques-

we

find

visits,

modem times.* In 1444 him at Ferrara, to which he paid several and it was about this time that he made an
to erect a

agreement

bronze statue of Borso d'Este,

it.

though nothing ever came of

The proof

of his

having been

at

Venice

is to

be found in the beautiful

altars

wooden
he was

statue of St.

John over one of the

this

of

Santa Maria Gloriosa dei Frari.

at

In 1456 and 1457

his last excursion

Faenza, and

was

from Florence.
at

On

his return he modelled the niche

Or San Michele, in which was placed the group and I of " The Doubting Apostle " by Verrocchio " Enhis other works the must also mention among
j

tombment/'
tian,"

at

South Kensington
E.

the " St. Sebas-

belonging to M.

Andre,

of Paris

the
la

bronzes presented to the Louvre by M. His de

Salle,

and those

in the Berlin

Museum
St.

to say noth-

ing of private collections.

The "

John

" in the
last

Duomo

at Siena was also his handiwork, and the

his life

few years of

were devoted

to the

church of

San Lorenzo, which was the Pantheon of the Medici family, for which he did the Four Evangelists in
stucco, several busts of saints, the small bronze door
* Equestrian statues of Tommaso and Bonifazio degli Obizzi See Perat Lucca in the fourteenth century.

had been erected

kins's Historical Haind-hook of Italian Sculpture, p. 103.

SCULPTUKE.

365

near the altar of the sacristy, and the two bronze

pulpits,

which

latter were,

however, completed by
Signs of de-

his

pupil

Bertoldo after his death.

crepitude are to be observed in his last work, the

statue of St. Louis of Toulouse,

which formerly ap-

peared above the porch of Santa Croce.

He

died

of an attack of paralysis on the 13th of March, 1466,

after

one of the most enviable careers in the history

of art, and at his

own

special request

was buried

in

San Lorenzo, by the

side of his protectors

and friends

of the Medici family.

MICHELOZZO MICHELOZZI.
(1391-1472.)

As a
that he

sculptor Michelozzi

was worthy to be compared

it

with his master, Donatello, but

was

as an architect

was best known

in Florence.

He was

born

in that city about 1391, his father being a tailor;

and he was destined,

in conjunction with Brunelleschi

and Leo Battista

Alberti, to

make a

fresh departure

in architecture, after

having linked his name with

that of Donatello in the execution of

some of the

great works which the latter

was then engaged upon. He had the honor of being selected by Cosimo the

Elder to build the family palace,

now

called Kiccardi,

though one would have thought that the Florentines

would have restored the original name.

that

It

was there

Cosimo assembled the works which he had pur-

chased on the advice of Donatello, but these coUec-

366
tions
city

FLOKENCE.
were dispersed when the French entered the
under Charles

Vm.

During Cosimo's temand

porary exile from Florence, Michelozzi, his intimate

friend, followed

him

to Venice,

it

was during
San Giorgio

that time that he built for the convent of

Maggiore a splendid
of

library,

and did several pieces

work for the churches. At Milan he built the Vismara Palace, the magnificent gate of which has been removed to the Brera Palace. Returning to
Florence with his master, he restored the Palazzo
Vecchio, built the
villa

of Careggi, the favorite resi-

dence of the Medici, those of CafFagiolo and Mozzi,

and enlarged and

rebuilt the

convent of San Marco.

A fitting pendant
narrow
street that
it,

to the Riccardi Palace

it

would be

the Strozzi Palace, but

it is

is

so badly situated in a

impossible to obtain a satisis

factory view of

but this

of

all

the less consein

quence, as the two buildings have

much

common.

The
the

Strozzi Palace, however, can boast of the

mag-

nificent

Corinthian cornice which has immortalized

of Simone Pollaiullo, surnamed
at

name

Cronaca,

who repeated
originally

Siena the design which he had taken

from the fragment of an ancient cornice

found lying among the ruins of the

Roman Forum.

The
also

lanterns, or "fanali," of the Strozzi Palace

deserve notice.
Niccolo Grossi

The
;

artist

named

and Lorenzo

who made them was de' Medici, who

would often stop

at the
^^

smithy in which he worked,

Caparra," because he always

had nicknamed him

SCULPTURE.
insisted

367
These iron

upon being paid

in advance.

lanterns at the

comer of the

palaces, like the rings

for holding torches to the

on fete-days, were only allowed

citizens,

most distinguished

and

for this reason

who had the privilege of displaying them endeavored to make them as costly and beautiful as The Strozzi key, in the collection of Baron possible.
those

de Rothschild, was at one time regarded as another

perfect specimen of his art
investigations
it
j

but according to recent

has been found to be the work of a

French

artist.

The
of
its

Pandolfini, like the Medici Palace, is typical

kind.

Instead of being built like most of the

houses in the fifteenth century, so as to resist attack,

it

partakes of the character of the Florentine palace

of the sixteenth century.

Raphael

is

said to

have
it-

prepared the designs for

self

it

in 1520, the building

being erected by

Gr.

F. da San Gallo and Arisuntil 1620.

totile,

by whom
is

it

was not completed

Michelozzi
architect,

less

known
left

as a sculptor than as an

though he has

a silver statuette of

St.

John the Baptist on the Baptistery altar at Florence, and a statue of Faith on the monument of Pope
John.

Apart from

its

architectural interest, the Riccardi

Palace, sold in 1659

by the Grand Duke Ferdinand

n.

de'

Medici to the Marquis Gabbriello Riccardi for

lire,

241,000

contains

many works

of art of the high-

est value, including the

famous fresco by Benozzo

368

FLOKENCE.
This work
is

Gozzoli in the chapel.

not only of infact that

it

trinsic value, but is interesting

from the

gives the portraits of

many

of the most celebrated

personages of the day, including the Medici themselves,

and the friends with

whom

they were wont to

converse in the Ruccellai Gardens.

or private library of the

The Bkcardianay Riccardi family, now belong-

ing to the city, contains twenty-four thousand vol-

umes, among them being three thousand six hundred

priceless manuscripts,

and

six

hundred editions dating

from the
It

first

invention of printing.

was

in this palace that

Lorenzo the Magnificent

was born, and

learned

that he presided over the meetings of

men who formed

the

Academy.
is

Michael An-

gelo added the

loggia.

windows under what was formerly a

a collection of

In the large guard-room

bas-reliefs,
capitals,

fragments of ancient sculpture, sarcophagi,

inscriptions,

and

which make a museum in

If

themselves, placed here by the Marquis Riccardi.

this palace possessed
its

no other charm, the chapel, with

fresco

by

Gozzoli, would suffice to

make

it

one

of the most attractive buildings in Florence.

DESIDEEIO DA SETTIGNANO.
(1428-1464.)

Desiderio was the son of a stone-cutter of Settignano, and

it is

only quite recently that his

Italy,
it

name has
said, out

become famous out of

of Florence.

may even

be

In the early part of this century his

SCULPTUKE.

369

works were confounded with those of Donatello and

other celebrities of the day, but his abilities are
fully recognized,

now

and

it is

seen that he possessed that

gift

tender suavity so often the

tined to die young.

of those

who

are des-

Vasari himself
all at

knew

so

little

about him that he

is

sea in the dates given in his biography, and yet

this artist

produced one of the most beautiful works

is

of which Florence, rich as she

art,

in masterpieces of

can boast.

vate collections

Here and there may be seen in pria Madonna or a Predella by him, and
carved statu-

he was

also the artificer of a beautifully

ette of the Infant Jesus in the

church of San Lorenzo,

is

while a Magdalen in San Trinita

also believed to

be by him.

But

if

not

many

great works can be attributed to

(see

Desiderio, the

tomb of Carlo Marsuppini

the

chapter on Illustrious Florentines) in Santa Croce,

opposite the Cavalcanti Chapel, in which his master,

Donatello, carved his

first bas-relief, is

sufficient to

keep

his

memory
is

alive.

The defunct Secretary

to his breast.

of

the Republic

represented in a recumbent position

on a couch, clasping a book

side of the

On

each

richly decorated

sarcophagus stands a

naked
is

child holding a shield.

The base

of the

tomb

beautifully carved, while the

upper part forms a

crowned by a vase, with graceful figures holding heavy festoons, which fall down on either
lunette
side.

Although the entire surface

24

is

covered with

370

FLOKENCE.
delicacy of the
j

ornamentation the exquisite

causes
it

work
it,

to

be in very good taste

and I know of no
to

tombs in Florence which can be compared

ex-

cept those of Leonardo Bruni and of Cardinal Portogallo,

which have a greater variety of ornament, but

Desiderio's bust of Beatrice d'Este

are not so chaste.

is

in the Louvre,

and Baron Adolphe de Rothschild

also a masterpiece
artist

has a beautiful

Madonna by him.
is

The

bust of Marietta Strozzi

;

of sculpture

everything in fact by this

should

be jealously preserved, for nothing can exceed the

suavity of expression and the charm with which he invested his creations

notably

in the case of the

two

children holding shields at the foot of Marsuppini^s

tomb.

Desiderio,
is

who

died in 1464, only thirty-six

years of age,

buried in San Piero Maggiore at

Florence, and his worth was evidently appreciated

during his lifetime, as a pompous epitaph, according

to the
^^

custom of the age, was prepared, stating that

Nature, aggrieved at finding in him her superior,

his days.

had cut the thread of

But the

act of ven-

geance was in vain, for he had immortalized the

marble, and the marble had immortahzed him."

VEEKOCCHIO.
(1435-1488.)

Andrea
obscure

di Micheli

di

Francesco

Clone, born at

Florence in 1435, has rendered famous the hitherto

name

of Messer
as a

Giuliano Verrocchio, the

It

goldsmith to

whom

boy he was apprenticed.

SCULPTURE.

371

frequently happened that artists of the fifteenth cen-

tury took the names of their masters, or rather were

given them by the apprentices of other masters, so

that
to

when they attained celebrity they be known by the borrowed name.

still

continued

Verrocchio was a very talented sculptor, and

as,

unlike most of the pupils of Donatello, he retained a

personality or style of his own,
it

was

for a long time

at

doubted whether he had studied under that master

all.

As a

goldsmith, he displayed great refinement

and imaginative power, but though he executed a

great

many works

for Sixtus IV.,

most of them,

in-

cluding twelve statuettes of the apostles, chasuble

clasps, incense-burners, vases, etc.,

have

been de-

stroyed or stolen, and the only one which can give

any idea of

his talent is the

fragment of the silver

altar already described as part of the

Duomo

treasure.

Baron Adolphe de Rothschild has

treme right of
this altar.

in his possession

part of the clay maquette for the bas-rehef to the ex-

Verrocchio was a painter as well, and several galleries contain reUgious pictures

by him, though the

only one in Florence

the Academy.

is is

the " Baptism of Christ," in

This

not a work of any great merit,

but Vasari states that Leonardo da Vinci, then only a lad, and a pupil of Verrocchio, painted it " an angel

with golden hair," which was so

rest of the composition that

much

better than the

Verrocchio resolved forth-

with to give up painting.

372

FLORENCE.
also

He
of St.

made the group known as " The Incredulity Thomas " for the principal facade of Or San
was
also

Michele, and the tomb referred to in the biography

of Piero de' Medici

executed by him in 1472.

Another work attributed

to

him

is
is

the equestrian

statue of Colleoni at Venice,

which

even superior

to that of Gattamelata at Siena for force of expression

and

fire.

Bartolommeo

Colleoni, Captain-General of

the armies of the Venetian Republic, died at Ber-

gamo, bequeathing
niture, silver plate,

to the State his arms, horses, fur-

and a sum of 216,000

florins,

upon

the condition that a statue should be raised to his

memory.

Verrocchio,

being the most celebrated

to,

sculptor in Italy,

was applied
to

and he had already

completed the model of the horse when he was told

that the rider

was

be done by one Bellano of Padua.

He was

so indignant that

he broke the legs and head

of his cast, and returned to Florence.

The Senate

of

Venice sentenced him

set foot

to death should

he ever again

on Venetian territory, but Verrocchio, from

he was put to death Venice would
again, he could put another head

the security of his native town, laughed at the decree,

observing that

if

be the

loser,

because, while the Senate could not

life

bring him to

and new legs

salary

to the statue.

The Senate

in the

end

annulled the sentence, and gave Verrocchio a higher

;

but he had hardly recommenced the work

died after a brief
illness.

when he
will
it

Upon opening

his

was found

to contain a clause in

which he asked

SCULPTUKE.
that

373
to finish the

Lorenzo

di Credi

might be allowed

horse.

But the Senate intrusted the work to Alessandro Leopardi, whose name will be found inscribed
:

across the lower girth

It is

" A. Leopardi, F."

an open question whether Leopardi merely-

carried out the designs left behind

by Verrocchio,

or

whether he executed the whole work upon a plan of his own. The letter " F ^^ after his signature maysignify "

Fudet

^^

(he cast

it),

as well as " Fecit " (he

made

it), and though the work is spoken of as the " Colleoni by Verrocchio," there are some strong pre-

sumptions in Leopardi's favor.

Verrocchio,

who was

goldsmith, professor of perspective, engraver, sculptor,

and musician,

left

behind him other works instinct

with vigor and grace, chief among which

may be men-

tioned the boy playing with a dolphin, originally ordered

for the

Careggi Gardens by Lorenzo de^ Medici. The Bargello now contains his statue of " David,"
it

which, meagre as

is

in outline, is
is

very correct in
originality about

regard to anatomy.
this

There

much
It

work, down even to the belt which the vanquisher

of Goliath has round the waist.

may

be said of

Verrocchio, in short, that he was a great and original

artist,

endowed with a very supple

talent,

and with

high qualities in every branch of his profession.

LUCA DELLA EOBBIA.

(1400-1482.)

Luca

della

Robbia was the founder of a school and

member

of a family devoted to art.

Engaged

as

374
they were in

FLOKENCE.
sculpture

and majolica- work, there

always has been and always will be a great deal of

uncertainty as to the particular achievements of himself,

his

nephew Andrea, and

his four sons, Giovanni,

Girolamo, Luca, and Ambrogio.

Although Luca proved himself

great abihty, he
is

to

be a sculptor of

principally

known to posterity as the

;

inventor of enamelled pottery

and

as

he was the

first

to discover, or rather to apply, this beautiful process

of decoration,

all

the works of this kind dating from

the fifteenth century are attributed to him.

cess,

The

proit

however, was known long before his day, as

in use

was

among

the Egyptians, the Assyrians, the

Arabs, the Persians, the Moors, and the Greeks, and

it

cannot have been

unknown
is

to the Italians of the

thirteenth century, for there

entitled
is full
^^

in existence a treatise

Mara vita

Preciosa," dating from 1330, which

of details on this subject, and of various speciof early works, which

mens

M. Eugene Piot has

^^

published, with plates and illustrations in his

Cabi-

net de F Amateur."
It

was towards the

close of his life that

Luca, after

a long course of experiments,

cation of his process

made a

practical appli-

upon the splendid tomb of Be-

nozzo Federighi Bishop of Fiesole, in the church of

St.

Francesco di Paolo, at the foot of the Bello Sguardo,

potteries, previously

employing painted

baked in the
he used a

oven and covered with enamel.

At

first

pure white enamel, which covered the surface with a

SCULPTUKE.
transparent coat of protecting varnish.

375
Afterwards

he had recourse

to a blue

shade for the backgrounds,

and a Ught green shade for the soil, the plants, and His nephew Andrea assisted him in the accessories.
his decorative

work, and they continued their experiat those

ments, adopting one shade after another, and gradually arriving

general combinations which

altars, spandrels, arches,

may be
and

seen upon the friezes,

walls of convents

and churches.

Much
it is

as has been written about the Robbia family,

impossible to define precisely what share of the

its

work was done by

tivity,
it

head, but as he lived to the age

of eighty-two, and was a

man

of extraordinary ac-

must have been

large.

At the same

time,

when

it is

remembered

that six of the Robbias

were

actively

employed

for over a century,

it is

and that two

there are
to

of them were

named Luca,

impossible to speak
Still

with any confidence on the subject.

many

pieces of enamel at Florence

known

be by

him, notably the exquisite lavatory in the sacristy of

Santa Maria Novella,

ling Hospital

all

the medallions in the Found-

on the square of the Annunziata, the

in the

arms and insignia let into the fa9ade of Or San Michele,

some of the medallions

Loggia

di

San Paolo

in

the Piazza of S. Maria Novella, and a

collected in the Bargello.

number of works

As high a
tor

testimonial as

any

to his skill as a sculpalti-relievi

may be

found in the splendid series of

ordered for the balustrade of one of the organ-lofts of

376
the

FLORENCE.

Duomo,
it

as a pendant to those

by Donatello.

This

was deservedly the most popidar of his works, for

though
tello's

has not the

fire
is

and bold character of Donaof matchless elegance, and

composition,

it

well balanced in design.

There are a great number

of

Madonnas by Luca

in private

museums

all

over

Europe, but the

finest are in the

South Kensington

Luca died in 1482, leaving the secret of his method to his nephew and The most striking specimen his nephew's four sons.

Museum, the Louvre, and

Berlin.

of Robbia-ware

is

in the

Ceppo Hospital

at Pistoia, in

the frieze representing the Seven Acts of Mercy,

which cost Andrea and

of labor.
tion into France, in the

his son

Luca
this

II.

eleven years
of decorait it

Girolamo introduced

mode

and there was a

fine

specimen of

Chateau de Madrid, just outside Paris, but

in the

has been entirely destroyed.

are

now

Some Cluny Museum.

of the fragments

THE
There were
lino,

EOSSELLINI.

(1409-1478?)

five sculptors of the

name

of Rossel-

aU born in

Florence

Bernardo,

Domenico,
all

Maso, Giovanni, and Antonio.

of

They were

sons

Domenico

del Borro,

surnamed Gambarelli, and

at

Bernardo and Antonio were the two most famous.

The

first-named spent nearly the whole of his

life

Rome, where he held the appointment of Director of

Public

Works under

Nicholas V., but he

is

so far

SCULPTUEE.

377

connected with Florence that he erected the splendid

tomb of Leonardo Bruni Aretino

described in a preceding chapter.

in Santa Croce,

Antonio, his brother, was

sumamed Del ProconsolOj

which he was born
having been a
to his

after the district of Florence in

and there can be no doubt as

pupil of DonateUo.

His greatest work was the tomb

of Cardinal da Portogallo for the church of San Miniato.

This prelate belonged to the house of Braganza,

for piety while

and had acquired such a reputation

at the early

studying at Perugia, that he was raised to the purple

age of six-and-twenty.

Though a Portuto

guese by birth, he was in the service of the Florentine Republic,

which employed him as ambassador

the most Catholic King.

He

died

when
at

only twenty-

nine

and as he had founded a chapel

Antonio

San Miniato,

he stipulated that his body should be buried there.

The tomb which

erected represents the

chil-

marble figure of the young cardinal, with two

the emblems of victory.

dren and two kneeling angels holding in their hands

The medallion above, upon

singularly graceful
;

a blue background,
style of its

is

it

has a

own, distinct from that either of Desiderio

is

or Verrocchio, and

evidently the

work of an

orig-

inal artist able to maintain his

a time
lowed.

own characteristics at when DonateUo was being universally folof

The church

Monte Oliveto

at

Naples contains
Rossellino,

another funeral

monument by Antonio

378
erected

FLOEENCE.

by the Duke of Amalfi

It is

to his wife,

Maria of

Aragon.

ahnost an exact replica of the one at

San Miniato, with the addition of a superb bas-relief For the same representing the Nativity of our Lord.
church he carved a
able for the
^^

Resurrection/' which

is

remark-

number

of the figures, the simplicity of

softness of their expression.

their features,

and the

If he takes after
berti,

any one

in sculpture,

it is

Ghi-

from

whom

he evidently derived the

art of so

arranging his distances as to be able to graduate his

figures as in a picture, though
it

is

fair to

add that

he did not carry

gree.

this process to

an exaggerated de-

Bernardo, born in 1409, died in 1472, and his

brother Antonio, born in 1427, died about 1478.

BENEDETTO DA MAIANO.
(1442-1497.)

The Maiani form another dynasty

tects,

of artists, archi-

and

sculptors.

There were three brothers,

sons of Antonio da Maiano, a Florentine stone-cutter.

Two

of them, Giuliano and Benedetto,

became

famous, while the third, Giovanni,

having

less talent

than the others,

is

but

little

known.
at the

Benedetto comCourt of Mat-

menced
and

his career in

Hungary,

thias Corvinus, a liberal patron of art

at first

and

literature,

devoted himself to the art of Intarsiatura^

or the inlaying of
in great

wood

of different colors, which was

fifteenth century.

vogue during the

But he

SCULPTUKE.

379

soon sought a wider scope for his talents, and as

sculptor

and architect rapidly acquired considerable

celebrity at Florence, his greatest

Strozzi Palace,
architecture

work being the commenced in 1489, in the style of introduced by Brunelleschi and MichelFilippo Strozzi began the build-

ozzo Michelozzi.
ing,

and

his son, also

named

Filippo, completed

it
j

but the works were for a long time suspended, and,

as

Cronaca came back from

Eome just as they were

interior courtyard,

about to be resumed, he was asked to take charge,

and designed the part facing the

as well as the beautiful cornice crowning the whole,

which can only be equalled by that of the Farnese

Palace at Rome.

An
came

intimate friendship must have existed between

the elder Strozzi and Benedetto, for the latter besculptor

for

the whole

family, and

was the

author of those beautiful marble and terra-cotta busts

of Filippo Strozzi surnamed the Elder to distinguish

him from

his son,

who came
for

to such a tragic end,

which were so eagerly bid

by

all

the

musuems

of

Europe when they were

and were
finally

lately put

on the market,

purchased by the Louvre.

Filippo the Elder married Clarissa, daughter of

Pietro de' Medici, and falling under suspicion

his

when

father-in-law

freedom as
side,

was exUed, he, devoted friend of he was, would not take part with either
at

and died

Florence in complete retirement,

having directed Benedetto to erect him a tomb in

380

FLOKENCE.

Santa Maria Novella.

The sarcophagus, very simtwo angels*

Benedetto had not

ple in design, stands under a recess, with

figures holding

up a

tablet.

much

scope for his fancy here, but in the space above the
recess he carved
greatest

what

is

generally considered as his

Child, very similar in

work

a Madonna and

upon the tombs of Rossellino, Desiderio, and Verrocchio, and superior to them Benein the studied refinement of the modelling.
outline to the medallions

detto also left a medallion of Filippo Strozzi, a replica

of the bust which formerly stood here.

His son, Filippo the Younger, who had emigrated

during the reign of Alessandro de^ Medici, came to a
tragic end.

When
he

Lorenzino had murdered

to

Duke

Alessandro,

repaired

Venice

and induced

Filippo to join the Fuorusciti.

But Cosimo, son of

as Alessandro's suc-

Giovanni,

who had been chosen

at the battle of

cessor, sent Vitelli against the rebels,

who were

de-

feated

by him

Montemurlo.

Filippo

and Piero Strozzi fought desperately, but the former

was taken prisoner and immured

da Basso."

in the

^'

Fortezza
fortress

This, curiously enough,

was the

which Pope Clement VII. hesitated about building,

but which he at
last

agreed to do

at the earnest re-

quest of Filippo Strozzi, and against the advice of

who remarked that he might perhaps ^^ be digging his own grave." The sinister prediction was verified to the letter.
Salviati,
It is said that

the examining magistrate endeavored to

SCULPTUEE.
extract from
plicated in

381

him a confession that he had been imthe murder of Alessandro, and that, though
It

innocent of that crime, he was so fearful of the con-

sequences that he committed suicide.

has been

questioned more than once whether he had enough

energy to destroy himself, and the Marquis del Vasto,

governor of the
murderer.
fortress,
is

has been mentioned as his

There

letter,

however, extant which

is

Luciano Scarabelli has published, and which

to

said

have been foimd by

his side in the prison.

" To God the Deliverer.

" In order that I

may

not remain in the hands of

my

enemies,

who have

unjustly tortured me, and in

order that I

may

not be constrained

by

the violence

of fresh tortures to say anything which can affect

the honor of myself,

my relatives

and

friends, as

hapI,

pened the other day

end

to the hapless Giuliano Gondi,

Filippo Strozzi, have resolved, at whatever cost, to

days. I humbly commend my soul to the mercy of God, and I implore Him to receive me in the place allotted to Cato and other virtuous men who have taken their own lives. I beg the
infinite

my

governor of the Castle,

take a
little

Don

Giovanni di Luna,
it

to to

of

my

blood after death, and send

His Eminence Cardinal Cibo, in order that

this latter

may feast

his eyes

on

it.

He
I

has

now no
to

obstacle to

prevent his reaching the Papal chair, to which he has

so shamelessly aspired.

beg him

have

me

buried

382
at

FLOEENCE.

Santa Maria Novella, by the side of

my

wife

^if

Cibo deems
ground.
I

me worthy
prison,

to be buried in consecrated

I beg

my relatives

to respect the will

is

which
Gio-

have made in
is to

and which

in the
. . .

hands of

Benvenuto
vanni
for

Olivieri, excepting these.

Don

be repaid

all

the expenses he has incurred

me, as I have never reimbursed him for anything.

"
ter

And
to

you, Caesar,

let

me beg

watch over the

interests
for

you to keep betof unhappy Florence,

of

and

have more care

them, unless you have re-

solved to bring her altogether to ruin. " Philippus Strozza Jam Jam Moriturus."
^^

Exoriare Aliquis nostris ex ossibus ultory

Eeturning to the Maiani,

it

may

be added of Bene-

detto that he also did a good deal of

work

at Naples,

where

his brother Giuliano

had been employed by the

Duke
in

of Calabria upon the church of

Rossellino

Monte
the

Oliveto,

which Antonio
to

erected
of

funeral

monument
est

the

Duchess

Amalfi.

He

also

carved the altar of San Savino at Faenza, his great-

work, so far as regards the number of figures and

bas-reliefs.

From Faenza he

returned to Florence,

where he was employed by Pietro Mellini

pito
^^

to erect a marble pulpit in Santa Croce, the celebrated " Pul-

in the nave, with a staircase cut into one of

the pillars.
tolo in the

Added

to this is the
St.

tomb of San Bar-

Church of

Augustine at San Gemig-

nano, and a retablo for the Santa

Fena Chapel

in the

SCULPTUEE.
cathedral at the same place
;

383

while among the manyof one Giotto is in Santa Maria del him busts by Fiore, and another of Squarcialupo upon the tomb

which Lorenzo
to the

de'

Medici raised in the same church

memory

of that great musician.

MINO DA FIESOLE.
(1431-1484.)

Mino da Fiesole must have derived

his

second

name from
Fiesole, for
tino,

the fact of having bought a residence at

he was a native of Poppi, in the Casen-

and

his

name appears upon

the

lists

of the Cor-

poration of Stone-hewers.

He

acquired a reputation for originality of style as

a sculptor, but his manner was always the same, and

he was chiefly notable

of treatment.

for tenderness

and refinement

His work cannot be

distance
f

fully appreciated
it,

when seen from a

and note the
pression.
is

one must examine

delicate reproduction of the lines

and

wrinkles, the Uving look of the eyes and of the ex-

One

of the best specimens of his

manner
divided

the bas-relief opposite the tomb of Bishop Salutati

in the cathedral at Fiesole.

into three

This retablo

is

compartments

in the centre the

St.

Madonna

upon her knees with the Child and

the entablature
realistic
is

John, and

on either side San Lorenzo and San Remigius.

a bust of our Lord, but this

Upon
is

too

in

character,

and the best figure

in the

group

is

that of the Infant Savior stretching out his

384
hand
to St. John,

FLOEENCE.
Mino da Fiesole being unrivalled
San Ambrogia
is

in

depicting children at play.

The

retablo of

of the same date,

fine

and the church of the Badia contains two

tombs
of
in-

by the same master

spired

those
to

of Count

Ugo and

Bernardo Giugni, both of which are evidently

by the tombs
other works

in Santa Croce.

Two

known

be by him are the very

poor bas-reliefs on the pidpit of the Prato Cathedral,

executed in 1473, just before his third

visit to

Rome.

One

of his greatest works, a

II.

Pope Paul
church of
basilica

by

his

St. Peter,

monument erected to nephew Cardinal Barbo, in the disappeared when that ancient
it

was demolished, but a few fragments of

be seen in the crypt.
in Trastevere
is

may

still

At Santa Maria

the "

a very elaborate shrine, a repHca of

Opus Mini," which was done

by him for the sacristy of Santa Croce at Florence. There are many other works which have been attributed to him at Rome, but which, though not unlike
his productions,

were probably executed by

pupils.

Such, for instance, are the Borgia altar at Santa

Maria del Popolo, the Riario tomb in the church of

the Holy Apostles, the Sarelli tomb at
that of Francesco

Ara
il

Coeli,

and

Tomabuoni
is

in Santa

Maria sopra
Gottoso by

Minerva.

There
retablo

a bust of Piero

him, and several of his busts are in Paris collections,

while the
in

the Baglioni

Chapel in the
is

church of S. Pietro in Cassinense at Perugia

very

SCULPTUKE.

385

similar in character to that of Santa Maria in Traste-

vere.

Mine died
in his studio.

in

1484 from the

to

effects, it

is

said, of

having attempted

move a heavy block

of marble

ANTONIO POLLAIUOLO.
(1429-1498.)

There was, as with several of the

referred
to,

artists already-

a whole family of architects, sculptors,

and goldsmiths bearing the same name.

celebrated of them, Antonio,
is

The most

credited with most of

by any PoUaiuolo. Next celebrity came his brother point of to Antonio in Piero, his cousin Simone (surnamed II Cronaca), and the latter's brother Matteo, who was a pupil of Antonio Rossellino, and who died in the prime of life. According to contemporary writers, the word PoUaiuolo
the famous works executed

was

indicative of the trade of poultry-rearing followed

by

the father, whose proper

name was Jacopo

di

Giovanni Benci.
Antonio,

who was a

pupil of Ghiberti^s step-father,

son, in

assisted Vittorio, GhibertPs

lintels

decorating the

of

tistery.

It

Andrea Pisano^s bronze gate of the Bapwas he who carved the quail fluttering
is

among
visitors

the foliage which

invariably pointed out to

by the

guides.

He
"
in the

also did the bas-reHef of the "

Banquet

^^

and

The Dance

of Herodias " for the silver altar front

treasure,

Duomo

working
25

at the outset of his

386

FLOKENCE.
niellist.

career as a goldsmith and

also distinguished himself as

Antonio Pollaiuolo an engraver, his " Comwell

bat of

Ten Naked Men " being

well,

known.
at

an able sculptor as

having erected

He was Rome the

tomb of Sixtus IV., and

that of Innocent VIII. in the

church of San Pietro in Vincoli, which contains the

^^Moses" of Michael Angelo.
paintings, but a great

He

did not leave

plaquettes,

many
which

many bronze

are to be found in
positions of

modern

collections,

reproduce com-

which he was the author.

:

The National
the
^^

Gallery possesses four of his pictures

Martyr-

dom
in

of St. Sebastian," painted for the Pulci Chapel

dei Servi at Florence
;

San Sebastiano

a " Virgin

in the act of Adoration," formerly the property of the

Contugi family at Volterra

the

^^

Angel Raphael ac-

companying Tobias," from the collection of Count Galli Tassi at Florence and an ^^ ApoUo and Daphne,"
5

from the collection of Mr.

Gallery itself has not so
there
is

W.

Coningham.

The

Uffizi

many

of his pictures, though

one remarkable portrait of a warrior arrayed

in armor,

very similar in character to the piece of

contains the bronze relief of the

sculpture in the Bargello.

The same museum

Crucifixion, which is attributed to him, but which is more probably by Agostino di Duccio. In 1484 Antonio went to Rome, at the request of Pope Innocent VHI., to execute the works already

referred

to.

He

died there in 1498, and was buried

in the church of

San Pietro

in VincoH.

SCULPTUEE.

387
is

Highly as his works are now appreciated, there a good deal of exaggeration about his style, which
far

is

removed from the grace and simplicity of DesiHitherto artists derio, Maiano, and the Rossellini.
to the idea than to the

had paid more attention

execution of
it;

mere

when

the conception was thoroughly

mastered
gible

was comparatively easy to put it into tanBut form and execution gradually shape.
it

came
gelo

to

be thought more of than the idea, and

art

beginning to decay

when

the genius of Michael

was An-

dawned upon the world.

given of the
last artists

Before speaking of that great master a brief notice

may be

belonging to the close

of the fifteenth century.

di Piero

Among them were Andrea

who began
the tomb

Ferucci (1465-1526),

of Antonio Strozzi in Sta. Maria Novella, and erected

that of Marcilio

Ficino in the

Duomo; Francesco

Ferucci, surnamed Cecca del

skilful

Tadda,who was a very

worker of porphyry, and the carver of a statue

of Justice upon a column in the Piazza della Santa

Trinita
;

and Baccio Sinibaldi da Montelupo (1469-

1535), the author of a bronze statue of St. John the

Evangelist at
of

Or San Michele, and possibly of a statue Mars on the tomb of Benedetto Pesaro, in the

Frari Church at Venice.

ANDKEA CONTUCCI
Andrea Contucci
1529), architect
del

(SANSOVINO).

(1460-1529.)

Monte San Savino (1460and For-

and

sculptor, visited Spain

388
tugal,

FLORENCR
and there are a statue of
St.

Mark and a bronze

bas-relief executed

by him

at

Coimbra.

He

carved

the baptismal font in the Baptistery at Volterra, a

Madonna and Child

for the Cathedral at

Genoa, and

the group representing the Baptism of Christ over

one of the gates of the Florence Baptistery, with the

exception of the angel, which
nazzi.
dinal
Gr.

is

said to be

by

Spi-

At Kome Contucci erected the tombs of CarB. della Rovere and Cardinal Ascanio Maria
Maria del

Sforza, behind the high altar in Santa

Popolo, the various portions of which, examined apart,

are very handsome, but which as a whole are wanting
in

harmony.

From Rome

Contucci went to Loretto, where he

carved the bas-reliefs on the temple enclosing the

Santa Casa, which, interesting as they are, cannot be

compared with the work of some of the sculptors of

the early Renaissance.

Another Florentine, Jacopo di Antonio Tatti

(1477-1570), took the name of his master Sansovino,

and became famous in Venice as Sansovino.

Then we have Giuliano da San Gallo (14451516), and Francesco da San Gallo (1493-1570). The first named was the sculptor of Sassetti's tomb in
Santa Trinita, under the fresco by Ghirlandajo
;

while

the second was the author of the statue of the Bishop

of Cortona, in the middle of the

pavement of one of

the chapels at the Certosa of the Val

d'Emo
St.

of the
in

group of the Virgin and Child and

Anne

Or

SCULPTUEE.
San Michele
j

389

of the

tomb of Bishop Angelo Marzi,

altar of the

on the steps of the

Annunziata

of the

statue of Paolo Giovio at the entrance to the basilica

of San Lorenzo from the cloister

and of the mon-

ument

to Piero de^

Medici in the convent of Monte

artist

was unquestionably much by Michael Angelo, as may be seen by comparing his work with that of the master. Benedetto da Rovezzano (1474-1550) erected the monuments of Piero Soderini in the Carmine Church, and of Oddo Altoviti in that of the SS. Apostoli. His tomb of San Gualberto was broken to pieces during the siege of 1530 in the sculptor^s
Casino.

This latter

influenced in his style

studio, all that

remain being the

it

reliefs

now

in the

BargeUo.
tor of

Strange as

may

seem, he was the sculp-

Lord Nelson's tomb, who died nearly three hundred years afterwards. Rovezzano went to England to erect

a tomb for Cardinal Wolsey, which

selected

was afterwards

by King Charles

I.

for his

own

burial-place.

After his execution Parliament

sar-

had the bronzes melted down and preserved the

cophagus, which, a century and a half
later,

was by

royal decree utilized for the interment of Nelson.

The

last

sculptor of this period

was Torrigiano
and who

(1472-^1522),

who was a

soldier of fortune,

became notorious by breaking the nose of Michael Angelo in a studio quarrel. He executed different works at Rome, the tomb of Henry VIH. in Westminster Abbey, and afterwards resided

Spain,

390
where he
cotta,
tion,
left

FLORENCE.
behind him several works in terra1522.

dying

at Seville in

According to tradi-

he broke

to pieces a statue for

which one of

his

employers refused to pay what he deemed a fair

price,

and the

latter,

by way of vengeance, dehaving

laid sacriis

nounced him
legious hands

to the Inquisition as

upon the holy images.

This story

declared

by

Quilliet to

be untrue, but in any event

Torrigiano has acquired by his attack on Michael

Angelo a notoriety which

his works, able as

for him.

some of

them

are,

would not have won

MICHAEL ANGELO BUONAROTTI.

(1475-1564.)

Just
figures

when

Florentine art was losing the towering

its

which had asserted

supremacy throughout
6,

Europe, Michael Angelo was born (March

1475)

in the castle of Chiusi e Caprese, in the Casentino,

of which place his father

was Podesta.

He came

to

Florence while quite a lad, and, like his friend Granacci the painter, entered the studio of
Ghirlandajo.

Domenico

His

temper

now

the property of

Virgin and Child,

work was a picture in disLady Taunton of a with St. John and Angels, which
first

in its unfinished state betrays the influence of Ghir-

landajo.

His

earliest

efforts

were encouraged by Lorenzo

the run of his collec,

the Magnificent,

who gave him

tions in order that

he might copy from the antique

to see

and when that prince happened

one day the

terra)

tradi-

Vittoria

Colonna

Mitziano

SCULPTUEK
Head of a faun, now
it

391
and ascertained that him to reside in

in the Uffizi,

was

his

own drawing, he

invited

the Medici Palace.

There he lived in the society of

the most notable

of the day. Politian suggested " The Combat of Centaurs," now to him the idea of
to

men

be seen in the Casa Buonarotti.

to the

The death
sculptor,
his

of

Lorenzo was a cruel blow

it is

young

and

said that

when it occurred he abandoned

work

and spent several days in a sort of lethargy. Pietro de' Medici showed him equal favor, but he
missed that poHshed and
the most learned
loftiest

brilliant society in

which

men

of the day had discussed the

and most recondite questions.

Wishing

to

remain neutral in the struggle about to break out between the people and the family of his patrons,
Michael Angelo determined to quit Florence, and
accordingly repaired to Venice just before the entrance of Charles VIII.
is

From

Venice, where there

to Bologna,

no trace of his presence, he went

where

he executed the statue of an angel kneeling, holding

a candelabrum, before the altar of the shrine of San

Domenico.
portal of

At Bologna he pursued

his studies,

and

copied the bas-reliefs of Jacopo della Querela on the

San Petronius

these drawings he afterwards

used

for the ceiling of the Sistine Chapel.

Sketching only the main outlines of his mighty

career,

we

find that

from Bologna he returned

to

Florence, where he enjoyed the patronage of Lorenzo,

son of Piero Francesco of the younger Medici branch,

392

FLORENCE.
sold to the

and did the statue of Cupid, whicli was

Cardinal di San Giorgio as a

work

of antiquity after

being hidden in the ground and digged up again.

He went

to

Rome

about the matter of the Cupid,

where he executed another one

Kensington

Museum

and a

now

in the South
for a

statue of

Bacchus

Roman gentleman named Jacopo

beautiful Pieta,

Gallo.

He was

then one-and-twenty, and from this period dates his

pended
that
it

his

now in St. Peter's, to which he apname because he heard some one remark
Solari.

was by Cristoforo
first

His

stay at

Rome was
to

not a very long one,

and when he returned

sive works,

Florence he signed an agreefor

ment with Cardinal Piccolomini

ecuted, as no trace of

some very extento

which do not appear

have been exIt

them

is

to

be found.

was

about this time (1503) that he utilized the large block

of Carrara marble which the building committee of

the

Duomo had on

hand, and which he converted into

the beautiful statue of David, afterwards placed on the Ringhiera of the Palazzo della Signoria.
^^

The
in

Madonna and

Child,"

now

in the Bargello, dates

^^

from the same period, as does the

Holy Family "

the Tribune, a harsh and unpleasing picture, which

has doubtless been spoilt by the ravages of time. The celebrated cartoon of the " Battle of Pisa,"

now

entirely

destroyed,

but which contemporary

chroniclers describe in such glowing terms, also dates

from about the same period.

SCULPTUEE.
His fame as an
plan the
artist

393

day, and Pope Julius

II.

was growing greater everyinvited him to come and

erect-

mausoleum which he contemplated

ing during his lifetime in St. Peter's.

deal of discussion as to the best site
to

After a good

it was decided puU down the venerable basilica of St. Peter's and Michael Angelo prepared a very ambirebuild it.

tious plan, included in

it

being the erection of no

fewer than forty statues.

to see the

The Pope was so anxious work begun that he sent him to Carrara to

superintend the cutting out of the marbles, and here

he remained six months.

Upon

his return

he

fitted

up a studio near the Vatican, and the Pope,

to this studio, often

who had

A temporary bridge made leading from his apartments

came

to see

how

the

work pro-

gressed.

It

was

here that he made the rough

sketches for his " Moses " in the church of San Pietro
in Vincoli, his "

Two

Prisoners," and the statue of

Victory for the tomb

of Julius.

When

he had been

nine months at this work the Pope changed his mind,

and upon
treated

his asking for

payment he was

so rudely

by

the

officials

that he wrote to the Pope,

" Driven out of your palace this morning by the express orders of your Holiness, I take the liberty of

saying that
time,

if

you happen
have

to require

me
he

at

any future

you

will

to look for

me

elsewhere than at
set out forth-

Rome."

This was no

idle threat, as

with for Florence, and though messengers on horse-

back were sent

after

him refused to

return.

Upon his

394

FLOKENCE.
were adthat the
his

arrival at Florence three official requests

dressed to the Signoria^ asking them to compel him to

come back, and the Florentines were afraid Pope, who was then marching at the head of

army

against Bologna and Perugia in revolt, would declare

war against the

asked him
phorus
to

city.

Michael Angelo was thinking

of starting for Constantinople, as the Sultan

had come and throw a bridge from the

suburbs of Pera to the opposite shore of the Bos;

but just then the Pope entered Bologna, and

sent the Cardinal Legate to the Signoria with

to negotiate for the great artist's return.

power
interfol-

An

view between the Pope and the sculptor then

lowed, and
it

was during

this

interview that the

former vented his displeasure upon one of the Monsignori,

who, without meaning any harm, remarked

that Michael

Angelo had erred through ignorance,

of that sort do not understand any-

" because

men

thing outside their calling."

conciliation

The outcome

of the restatue of

was the erection of the bronze

the Pope on the Piazza of Bologna, the sculptor obey-

ing the Pope's behest to " put a sword, not a book,

in

my

hand, for I have no pretensions to learning."

This statue was destroyed by the populace

Bentivoglio was restored
It

when
of

was Julius

II., also,

by the French troops. who conceived the idea

having the Sistine Chapel decorated with frescoes, though Michael Angelo insisted that he was a good
sculptor, but a poor painter.

Nevertheless, this work.

SCULPTUBE.
which he brought
immortalized his
to a conclusion in

395
two years, has

name

as a painter.

With

little

re-

gard to method, and devoting his whole attention to the

conception and form of the work, he succeeded in

achieving a masterpiece that may, without exaggeration,

be termed sublime.

It is said that

being unac-

quainted with the material processes of fresco painting,

he sent for some very

skilful artists

from Siena, and

having mastered their secret, shut himself up, and

would not allow even the Pope

to see

what he was

doing until All Saints^ ^^Jy 1509, when the work being half completed Julius was admitted to judge of
the effect and was struck
miration.

dumb

with wonder and ad-

The
it

chapel,

open

to the public

commenced in 1508, was not imtil 1513, when the Pope died,
II.

although

had been completed the previous year.

X. succeeded Julius
he determined

When Leo
where

to complete the basilica of San Lorenzo at Florence,

his ancestors (the Medici)

were

interred,

and

Michael Angelo was obliged to spend five years of

his life in tedious

exile at Carrara, procuring the

;

necessary marbles for the fa9ade

his design

having

been accepted from among a number that were submitted for this work, which after all was never
executed.

From
itself,

time to time, as the opportunity presented

11. ,

he went on with the tomb of JuHus

his favorite enterprise.

which

was evidently

The

reign of

Adrian VI., who had no liking

for literature or art,

396

FLORENCE.
it

enabled him to work at

for a

whole year

but when

Clement VII. (Giuliano

de^ Medici)
life,

succeeded Adrian,
so

he led a very hard and feverish

numerous were

the engagements forced upon him.

Upon

the one

hand, the executors pressed him to finish the tomb of

Julius
II.,

while upon the other, Clement VII. insisted

at

upon employing him upon the Medici chapel

Lorenzo.

San

Amid these

conflicting calls

upon his time he painted

which
a
is

the " Three Fates,"

now

in the Pitti Palace,

one of the few easel pictures by him.

describes the
ter to
life

He

graphically
let-

which he led

at this period in

Messer Luigi del Riccio, who had acted as the

contracts.

agent of the Pope in these

^^

He

says,

Painting, sculpture, fatigue, and honesty have done

for

me, and things are as bad as they well can be.

I
life

should have done

much

better if I

had started

in

as a vendor of matches " (Zolfanelli).

He

speaks of

himself as being a very martyr, and says that he is " stoned every day, as if I had crucified our Lord."

The monument was finally completed in a very different manner from that originally intended, only one
statue, the Moses, is

by Michael Angelo
was

himself,
his.

and

two of the others are from designs of

Prisoners,"
this

" The

now

in the Louvre,

also intended for

tomb.
in the

The two tombs

new sacristy of San Lorenzo,

for the

which Clement VII. ordered in 1525

of his two relatives, Giuliano,

remains

Due

de Nemours, and

SCULPTUKE.
Lorenzo,

397
more

Duke

of Urbino, were executed with

it

dispatch, though

took twelve years to complete the

whole work, for during that period Florence was besieged

by Charles

V.,

and Michael Angelo

laid

down

the chisel to fortify the slopes of San Miniato.

When
fly

Florence was taken Michael Angelo had to

from the vengeance of the Pope, but as no one

was capable of going on with the work in San Lorenzo, he was eventually pardoned, and returned Upon either side of the to complete the two tombs.
else

sarcophagus of Griuliano he placed the two gigantic

figures

known

as

Day and

Night, while by the side

of the sarcophagus of Lorenzo,

sumamed

II

Pensiero,

on account of
figures of

its

thoughtful attitude, he placed the

Dawn and Twilight. Opposite the altar is " a Madonna and Child," quite after the manner of
Michael Angelo, and grandiose in design.

The tomb

of the Medici was not finished

when

Michael Angelo, on Christmas Day, 1541, disclosed to view the grand fresco of the " Last Judgment,"
"
filling

the world with stupor and admiration," to use

Vasari's phrase.
It

was

at this period of his life that

fell

Michael Angelo,

then sixty-four years of age,

deeply in love with

the celebrated Vittoria Colonna, Marchioness of Pescara, daughter of Fabrizio

tefeltro,

Colonna and Anna de Mon-

married to Alfonso d'Avalos, Marquis of Pesdied in 1525 of wounds received at the

cara,

who

battle of Pavia.

Her

influence upon

him was very

398
great, for,

FLORENCE.
he writes, " I cannot turn
:

my

eyes

away

them the Hght which guides me towards God." He Hved for nine years in her society,
from hers
I see in

burning with a

spiritual passion

which

recalls that of

Dante

for Beatrice.

When

she died he was present

to imprint

a kiss upon the cold hand.

In a subse-

quent sonnet he expresses his regret at not having

kissed her forehead.

He was
solved

at this time

about 1547

busily engaged

upon the dome of

St. Peter's,

which, as he had re-

when he saw

Brunelleschi's work, equalled that

of Santa Maria del Fiore at Florence.

This great sculptor, painter, architect, and poet

died at the age of nearly ninety, and his remains were

claimed by Florence, as he had expressed a desire to

be buried in Santa Croce.

Pope Pius IV. was

to

also

anxious to raise a tomb worthy of him in

St. Peter's,

and the Florentines were compelled

smuggle his

body out of Rome

Constantinople.

in a bale of goods, as

had been

done by the Venetians with the body of

St.

Mark

at

The

funeral

ceremony was a splendid one, the

coffin.

whole of Florence defiling past his

Benedetto

Varchi pronounced the funeral oration, and his tomb

was erected by Vasari, who, however, was not equal It must be said that his influence to the occasion. was almost
as a matter of necessity prejudicial to those
after him, for, in attempting to imitate his

who came

originality of style, they only succeeded in bringing

SCULPTUKE.
into relief

399

what may be termed its defects, exaggerating his eccentricities of posture and attitude. Florentine art could still, however, boast of several men of
talent,

such as Montelupo, Simone Mosca, Lorenzetto, and Montorsoli, followed by Baccio Bandinelli, Tribolo,

and Giovanni da Bologna, though the name of Michael Angelo stands out in the sixteenth century
as an exception recalling the galaxy of genius which had illumined the fifteenth century. Raffaello Sinibaldi da Montelupo, who was bom in 1505, and who died at Orvieto in 1567, was

one of the best pupils of Michael Angelo, who allowed

him
ets,

to

do some of the statues for the tomb of Julius

n., including those of Leah, Rachel, one of the Proph-

and a

Sibyl.

He was
also

an architect as

well,

and

held the position of architect of the castle of St.

gelo

An-

for

which he

executed a marble angel, now

placed inside the building

tion of the

and

assisted in the erec-

dome at Orvieto. LoKENZO DEL Campanaro, surnamed Lorenzetto, bom June 13, 1490, and died in 1541, left but few
traces behind him, his principal

works being part of tomb of Cardinal Portiguerra in the cathedral of Pistoia, and the statues of ^^ Jonas " and " Elias " in the Chigi Chapel at Santa Maria del Popolo at Rome.
the

The
it,

first is

generally attributed to Raphael, but the

truth

is

that he merely designed, or at most modelled,

it

and that Lorenzetto carried

out.

This happened

often with statues which are attributed to Michael

400
Angelo, though
it

FLORENCE.
must be added that the general
primary condition of success
carries
it

outline of a statue is the

in sculpture,

and that the hand which

into

execution

is

of only secondary importance.

inferior artist,

SiMONE MosCA, a somewhat

in Sansovino's studio with

worked
about

Tribolo.

He was

the same age as Michael Angelo, but he died before

him, his principal works being the decorations of the

Cesia Chapel at Santa Maria della Pace at Rome, and
those of the

Magi Chapel
his

in the Orvieto Cathedral.

Another of

pupils,

sumamed II
by

MoschinOj ex-

ecuted for this same chapel a group representing

the Father surrounded
angels, a Visitation,

God

and a

San Sebastian of no

little

beauty.
is

Fra Giovanni Angiolo Montorsoli

telupo,

the most

celebrated of Michael Angelo's pupils next to

Mon-

and the great

artist

was

five-and-forty years

of age
Peter's,

when he came

to

study under him at St.

having been grounded in his profession by

Michael Angelo employed him

Andrea Ferrucci.
prior to

1527

in the

new

sacristy of

Florence, and he was again with

San Lorenzo him from 1531

at

to

1534, having a share in the erection of the tombs of

Giuliano and Lorenzo de' Medici.
to France,

He

also travelled

where Fran9ois

I.

was endeavoring

to at-

tract Italian artists

and founding the Fontainebleau

School, which gave such a great impulse to the

naissance.

Re-

For the Annunziata

at

Florence he ex-

ecuted for the Painters' Chapel the stucco decora-

SCULPTUKR
tions, notable

401

and

are the figures of Moses works behind him at Genoa, Bologna, Messina, Arezzo, and Naples. At Genoa
St. Paul.

among which

He

left

there

is

a colossal statue of Jupiter by him in Prince

villa,

Doria's

in the church of St.

and several marble and plaster statues Matthew, which are more or less
style.

an exaggeration of Michael Angelo^s

his

The

celebrated fountain at Messina, erected in the piazza,

is

work

after completing

it

he returned to Florthat he

ence and finished the Capella dei Pittori in the church

of SS. Annunziata.
It

was there

was buried

on the 1st of September, 1563, his funeral oration

being pronounced by Michael Angelo.

BENVENUTO
There
is

CELLINI.

(1500-1571.)

not a more remarkable figure in the his-

tory of Italian art than the exuberant, hardy, and

brilliant sculptor

and goldsmith whose career, resemartist,

bling rather that of a condottiere than of an

has been related with such a mixture of cynicism and

candor by himself.

Not shrinking from crime

in

moments of passion, he was

at times accessible to the

promptings of generosity, and the verdict of posterity

has not been altogether an vmfavorable one.

Bom
warm

during the reign of Cosimo

art, his

I.,

who was
at

patron of

father,

Giovanni

Cellini,

intended him to be a musician.

early age

But having

an

developed a preference for the plastic

402
arts,

FLORENCE.
he entered the studio of Antonio
di

Sandro
to

Involved in a haruffa^ he fled to

Siena, and thence

Bologna, returned to Florence for a short time, and

then spent a year at Pisa.

In 1518 Torrigiano,
in a quarrel,

who had broken Michael Angelo's nose

offered to take

him

to

England.

He

preferred,

how-

ever, to go to

Rome

with a wood-carver

named

Tasso.

His

life

from

this point

may be

divided into three dis-

tinct periods

Rome,
many

Paris,

and Florence.

At Rome,
in the ser-

where he spent twenty-two years, partly

execution of

vice of Clement VII., he distinguished himself

little

by the

masterpieces of goldsmith's
candelabra, diamond setin head-dresses,

work, such as

salt-cellars,

tings, gold medallions

worn

and coins
is

for the

Pope.

The
for

clasp of a cope for Julius II.

;

described in detail in his Memoirs

the

Pope paid him

kind of

36,000 ducats

it,

his only rival in this

work being Caradosso of Milan. Benvenuto was present at the sack of Rome by the Constable de Bourbon in 1527, and according to
his account

he took an active part in the defence,

artillery in the castle of St.

commanding the
himself and

Angelo,

and discharging the gun which

killed

the Cardinal

wounded the Prince of Orange, though

this latter statement is not generally believed.

He

should have assisted at the siege of Florence, for

Orazio Baglioni,

who was

in

command

of the defend-

ing forces, appointed

him captain, but he fled to Rome and accepted employment under Clement VII. He

SCULPTUEE.
remained in

403

Kome during the reign of Paul m., but having stabbed the goldsmith Pompeo in a fit of passion,

he had to

fly.

The Pope, however, overlooked

into such disfavor

the crime in consideration of his great talents, but the

tragic occurrence

had brought him

that he resolved to go to France.

Reaching Lyons by

way

of Switzerland, Frangois
ill,

I.

was glad

to to

employ

him, but falling

he returned once more

Rome,

where he was accused of having made way with some of the jewels of the Holy See, whose settings
he had melted down by order of Pope Clement VII.

Though the charge was not proved, he was none

less

the

detained for two years in the castle of St. Angelo,

during which period, according to his

own

account, he

became pious and even ascetic. He was finally pardoned through the influence of Cardinal Hippolytus
of Este.

At the urgent request

to France,

of Fran9oi8

I.

he came back

and from

this period date those beautiful

jewels,

now

in the Apollo Gallery of the Louvre.

The French

king, of

whom

he has

left

a medallion,

gave him, for a residence, the Hotel du Petit-Nesle,

then occupied by Provost Jean d^Estouteville, and
containing at the time a distillery, a printing-office,

and a
tion of

saltpetre manufactory.

Benvenuto^s descripit

how he

took possession of

forms one of

the most curious chapters in his memoirs.

The
two

pro-

vost refused to leave, and Benvenuto, always ready

for a fight,

armed

his

workmen and

his

pupils,

404

FLORENCE.
it.

Ascanio and Paolo Romano, and laid siege to

Among

the besieged persons was a favorite of the

his quarrel,

Duchesse d'Etampes, who espoused

appealed to the King for justice.

and

A lawsuit

ensued,

but Cellini, without waiting for a legal decision, at-

tacked his adversaries with the sword.

Fran9ois

I.

was an

enthusiastic admirer of Cellini,

his first im-

and

it

was

in

France that he executed

portant piece of sculpture.

This was at Fontainebleau,

where he represented over the grand entrance the

" Fountain of Pure Water," a
fruits floating

nymph crowned
left

with

upon the water, her

arm

encircling

the neck of an antlered stag, while the right

rests
at

hand

upon a vase from which flows a stream of water,

not up to the standard of his
to

which wild boar, deer, and hounds are drinking.

This work, which
is

ability,

was presented

Diane de Poitiers by Henry

and she had
it

n.

after the King's death,

placed above
it

the gateway of the Chateau d'Anet,

whence

was

removed by M. Lenoir,
to the

at the time of the Revolution,

Museum of the Renaissance Rooms in

The Ambras

Augustins, and thence to the

the Louvre.

Collection at

Vienna contains the

to

cele-

brated salt-cellar executed for Cardinal Hippolytus

of Este, and presented

by him

Francois L, being
to

afterwards given

by Charles IX.

the

Archduke

Ferdinand, uncle of his betrothed, the daughter of

Maximilian
Cellini

III.

had another outburst of temper

at

Fontaine-

SCULPTUKK
bleau,
ticcio

405

asked both him and Primato prepare plans of a fountain for the gardens
I.
;

where Francois

of a chateau

and when the

latter

the work, Cellini threatened to "

kill

was entrusted with him like a dog."

Frangois
did not

I.

once more overlooked the offence, but he

resistance to his departure

make any

when

Cardinal da Ferrara sent for him.

Cellini

now proceeded

to

Poggio a Cajano, and

presented himself to Cosimo de^ Medici.

He was

kindly received, and told to prepare the model for a

statue of Perseus, to be placed in the Loggia dei Lanzi
(see the chapter

on Architecture).
of

The account

how
is

the statue was cast

is

well
as

worth reading in

Cellini^s

Memoirs, and the work,

already described,

the personification of a certain

Cellini

epoch of the Renaissance.

taining sufficient

had trouble

in ob-

money to complete the group, and

and
It
is

was involved

in constant quarrels with Bandinelli,

Rocci the Duke^s Majordomo.

wonderful that

one so impulsive and

patience
to write his

irritable should

have had the These

two
to

Memoirs

as well as treatises

on sculpture

and goldsmiths' work.

treatises are interesting,

inasmuch as they explain

f

us the methods which were in use at the time

but

the Memoirs, in spite of their obvious exaggeration,

are

much more

valuable for the light they throw upon

the manners and customs of the artists of the Renaissance.

This work has

all

the charm of a sensational

novel, being a strange mixture of enthusiasm, ro-

406

FLOBENCE.

mance, shrewd maxims, and precepts of art as professed

by a

great

artist,

interwoven with a tissue of

adventures worthy of some bravo of the sixteenth

century.
It is infinitely superior to

Bonaccorso
it

Pitti's

chronicles,

and though the

style is faulty,

gives a

vivid and fascinating picture of the existence led

these adventurous

by

men

of genius.

He was
Caradosso,

not destitute of generosity and gratitude,

recognizing the superiority of Michael Angelo and

and adopting the six children of

his

widowed sister, Liberata Tassi. He was a poet, too, and wrote several sonnets, madrigals, sacred hymns,
love sonnets, and satires.

He fell ill in December, 1570, and died on the 13th of

the following February, leaving his fortune to his wife

and three
funeral,
ziata,
It

children.

He was

honored with a public

and

buried in the vaults of the SS.

Annun-

under the chapter-house.

has been the custom to regard Benvenuto as only

a skilful goldsmith

who had a

talent for

combining

gold with enamel and precious stones, and of so pro-

ducing very tasteful compositions, but he possessed

genuine ability as a sculptor, and only needed an

opportunity to show of what he was capable.

BACCIO BANDINELLI.
(1493-1560.)

Baccio was, like

Cellini,

a pupil of the goldsmith

if all that his

Michael Angelo di Viviano, and

contem-

SCULPTUKE.
poraries said of

407

him was

true,

he must have been a

All his works

man

of very contemptible character.

were spoken slightingly of by them, and even the most celebrated of his statues met with a hostile reception,
due more probably
to the impopularity of the artist

than to the indifference of the works themselves.

Baccio, however, enjoyed the favor of Cosimo
I.,

and throughout the whole of his career he was employed by the Medici. Benvenuto Cellini was one of
his bitterest enemies,

and the Grand Duke derived

amusement from letting the two artists attack one another in his presence, and exhaust the vocabulary
great

of the fish market.

It is absurd,

however, to accuse

BandineUi of having destroyed Michael Angelo's great

cartoon of the Pisan war, for

we may be
it

sure that if

there had been any ground for such a charge Cellini

would not have

failed to

mention

in his Memoirs.

His chief fault was

his vanity,

and

his arrogant asser-

tion that the only artist

who

could come up to him

was Michael Angelo, has gone much against him with

posterity.

The

story of his group of " Hercules and Cacus,"

is

on the Piazza della Signoria, as told by CeUini,

amusing.

very

The

latter criticized

it

in the following

terms in presence of the Grand Duke and of BandineUi, to whom he said, " If your Hercules had his
hair cropped he would not have skull enough
left to

hold the brain.

that of a

One cannot

tell

whether
is

his face is

man

or a monster, for he

half lion and

408
half ox.

FLOKENCE
His heavy shoulders remind one of the two His chest and
nature, but from

panniers of a donkey's pack-saddle.

muscles are copied, not from

human

a bag of bad melons."

But, in spite of aU criticisms,

Baccio was concerned in the principal works of art

executed during that period. He was the author of the copy of the " Laocoon " in the Uffizi, which was executed for Frangois
I.,

but which the latter ex-

changed with the Pope

for several antique statues.

at

At Santa Maria sopra Minerva,

the tombs of Pope Clement

Rome, he erected
X., orders

VH. and Leo

obtained through the influence of the Medici.

also

He

executed a statue of Giovanni de' Medici, surdelle

named

Bande Nere.
Held

And

there are a

number

of his works in Santa Croce, the Cathedral, and the

Palazzo Vecchio.
de' Medici,
critic

in too high

esteem by Cosimo

and underrated by
strike the

posterity, the impartial

must

happy mean.

BAKTOLOMMEO AMMANATI.
(1511-1592.)

This

artist

was

at

one time a pupil of BandineUi, but

unable to put up with his violent behavior, he went to

study under Jacopo Sansovino at Venice, where he

imbibed
school,

many of as may be

the

principles of

the

Venetian

gathered from his different com-

positions.

He was

one of Sansovino's assistants in

the decorations of the Library of St. Mark, which

is

one of the most beautiful monuments in VenicCj

SCULPTUKE.
and there
great
lie

409

had

for

sandro Vittoria.
first

Upon

comrades Cataneo and Aleshis return from Venice, his

of

work was the tomb

Urbino in which
it

Duke

Francesco

Maria, which has disappeared from the Santa Chiara

Church

at

formerly stood.

He

also erected in the

Eremitani at Padua a very com-

plex and elaborate

monument

to

a professor of juris-

prudence, one Marco di Mantova Benavides, a wealthy

amateur of

art

who, during his Ufetime, resided in a

splendid palace, the entrance to which was under a

triumphal arch erected by Ammanati,

ecuted a Hercules
Cortile.

who

also ex-

twenty-five

feet

high for the

Summoned
ous,

to

Rome

at

the instance of Michael

Angelo, whose engagements were then very numer-

Ammanati received

the order for the tomb of

at

Antonio de^ Monti and his father

Montorio.

San Pietro

in

He also was

the sculptor of the celebrated

fountain at Pratolino, and of the colossal group of

Hercules and Antaeus at Castello.

tant

His most imporat the corner

work

as a sculptor

was the fountain

of the Ducal Palace, with the figure of Neptune in a car drawn

by

sea-horses, looking

down upon a numThis founall

ber of mythological figures in bronze.

tain,

very pleasing to the eye, but devoid of

pre-

tensions to classical outline,

the

was erected by him after work had been competed for Benvenuto CeUini and Giovanni da Bologna being among the unsuc;

cessful competitors.

410
It is,

FLORENCE.
however, as an architect that Ammanati has

the highest claims to the admiration of posterity, and

it

is

difficult

to

speak too highly of the bridge of

its

Santa Trinita, with the noble proportions of

arches.

He

also

completed the

Pitti

Palace after BnineUeschi,

is

and the whole of the and

Cortile

by him.

He

died,

imiversally regretted, on the

is

14th of April,

1592,

buried in the church of San Giovanni, which

he had so much embellished.

The
ful

idyl of his

life

was

his passion for the beauti-

Laura

Battiferri,

who has been made famous by

'^

the verses of Bernardo Tasso and Annibale Caro, the

former of
bino,"

whom

speaks of her as
^^

the pride of Ur-

whUe the latter styles her the new Sappho." The Duchess of Urbino was anxious to keep her at
Ammanati,
and was there married
to him.

that court, but she eloped to Loretto with

GIOVANNI DA BOLOGNA.
(1524-1608.)

This

artist

was not the

last

sculptor of the

grand

epoch, but he was the last truly great man.

not

Though
and
his
it

bom in Florence,

he was a Tuscan by

affinity,

Florence was, so to speak, his cradle, as

centre of action.

was

He had been

successful in the competition for the

Fountain of Neptune on the Piazza deUa Signoria, but was set aside in favor of Ammanati, on the

ground of

his being too

young and inexperienced

SCULPTURE.
but
it is

411

probable that the model was afterwards used

for the fountain

on the grand piazza of Bologna.

is

The

^'

Mercury/' which
of his works, at

the most popular and

first

graceful

occupied a very-

prominent position upon the basin of the fountain of

the Villa Medici, and remained there until 1750,

when
to

Grand Duke Peter Leopold I. restored it The celebrated group of the " Rape Florence.
the

of the Sabines,"
also
this

now

at the

Loggia dei Lanzi, was

of

one of his early works.

group came to

The anecdote be caQed the " Rape

first

how
to

of the

Sabines," after having

been merely intended

young man mastering an adversary and taking away a female captive, has been told in a The statue excited so much adprevious chapter. miration in its completed form, that John of Bologna
represent a

was declared
Angelo.

to

be a

fitting

successor to Michael

This was exaggerated praise, but John of

of his works period

Bologna was in so much request that he had more

than he could do, and the
list

is

almost

The artists throw nearly so much soul

interminable.
tiveness

of this

did not
as their

into their

work

predecessors, so that the only Umit to their produc-

successive

was their physical endurance. Giovanni's works were the equestrian statue of
on the Piazza della Signoria
;

Cosimo
of
''

I.

the group

Hercules and Nessus," which forms a pendant to the " Rape of the Sabines f the " Victory " group in the large room of the Palazzo Vecchio 5 the " St.

412

FLOEENCE.
;

Luke "
at

in Or San Michele j the Boboli Fountain the " Genius of the Apennines," which is so conspicuous

the

Lake

of

Pratolino;
villa

the
at

beautiful

bronze

"Venus'' in the royal

colossal

Pretayaj
Philistines,"

and the
which,

" Samson slaying the

originally in the casino of St.

sent,

Mark

at Florence, was to

with the basin and

fittings,

the

Duke

of

Lerma, minister of Philip

chased

III. of

Spain.

The Duke

of Buckingham, while travelling in that country, purit

for

Buckingham

Palace, and

when King

George acquired that residence he made a present of

it

to Sir

William Worseley.
is

This

far

from a complete

list

of his greater

works, to say nothing of hundreds of small bronzes

which are now

of

in private collections,

and of

articles

common

use, such as fire-dogs, etc.

The

destruc-

tion of the bronze gates of the Pisa Cathedral,

which

had been melted during the

fire

of 1595, gave Gio-

vanni da Bologna an opportunity of distinguishing

himself; but though he displayed great manual
his
skill,

bas-reliefs

were

inferior

to

the

original ones.

He was

assisted in this

work by a Portuguese monk

of the Dominican order, Portigiani,

who
at

as a founder

had few or no

equals.

His sculptures
all

Siena recall

the Medici Chapel, but here, as in

the depth and inspiration
style.
fall

his other works,

short of the outline

and

There
his

is

a general concurrence of testimony as to

having been a

man

of very estimable private

SCULPTUEE.
character,

413

and when he

died, at eighty-four years of in the

age, he

was buried with due honors

last great

Madonna

del Soccorso Chapel at SS. Annunziata.

The

artists

whose names may be mento

tioned are Tribolo, Vincenzio Danti, Lorenzi Stoldo,

and Paolo Ponzio Trebati,

biographical sketch
is

each of

whom

a brief

attached.

TKIBOLO.
(1485-1550.)

The proper name

cini.

of Tribolo was Niccol6 Brac-

He

first

comes into notice with a bronze

executed for Lorenzo Strozzi.

group

for a fountain

In 1525 he went to Bologna, where he did twelve

bas-reliefs for the door of the cathedral,

which had
Like
all

been decorated by Jacopo

della Querela.

the artists of the sixteenth century, his style betrayed

the influence of Michael Angelo.

From Bologna he
Maria delP
to Loretto,

went

to

Rome, where he erected the tomb of Pope

in

Adrian VI.

the

church of Santa

Anima, and from Rome the Pope sent him

where he decorated the sanctuary, the

which,
it

bas-reliefs of

may

be added, are of a commonplace and

almost vulgar type.

ence,

From
falling

Loretto he came to Flor-

where Michael Angelo employed him upon the

ill,

Medici Chapel, but

CeUini,
vino.

he went
for

to

Venice with

who hoped

to find

work

him with Sansoup the deco-

Failing that, he once more returned to Flor-

ence,

and took an active part

in getting

414

FLOEENCE.

rations for the marriage festival of Alessandro de'

Medici to Margaret of Austria.

Cosimo

I.

employed

him

to

make two

fountains for the villas of Castello

and Petraya, and on the marriage of that Prince with

Eleanora of Toledo he erected a superb triumphal
arch at the Porta
artistic
al Prato.

He became

a sort of

master of ceremonies, and, as this was a

period of great festivity in Florence, he never lacked

employment.
ing to

When the

son of the Grand

Duke was

christened he transformed the Baptistery from ceilfloor,

bringing the

^'

St.

John

" of Donatello

from the Casa Martelli to surmount the temporary

font

which he had erected.

his attention

Turning

from sculpture
difficulties.

to hydraulics,

Tribolo got into serious

Inundations oc-

curred during the execution of certain works planned

by him, and chagrin

at the

popular manifestations of
is

disapproval which resulted,

sometimes supposed to

have been the cause of

September, 1550.

his death,

which occurred in

He was

one of the leading sculp-

tors of his day, surpassed only

by Michael Angelo

and Giovanni da Bologna.

VINCENZIO DANTI.
(1530-1576.)

Danti completed the marble group representing

the Baptism of Christ upon the architrave of the
eastern gate of the Baptistery.
critics

It

say only modelled

by

was begim

some

Sansovino, and the

SCULPTUKE.
angel was
tury.

415

made by Spinazzi in the seventeenth cenThough most of his work was done at Florence, he was a native of Perugia, for which place he cast the large bronze statue of Pope Julius 11., which
stands just behind the cathedral.
architect as well,

He was

a military

and

left

several sonnets, being alto-

gether a very notable representative of the Renaissance.

LoRENZi Stoldi was one of the

employed upon the

artists

who were

Duomo and San

Celso at Milan,

and what value

his

sculptures possess they derive

from being imitations of the antique.

the Court of Francois

Paolo Ponzio (1500-157-). This artist, taken to I. by Primaticcio, was a naturalit

ized Frenchman, and

was

as

^^

Paul Ponce

^^

that

he modelled the stuccoes for the gaUery of Fran9ois

I.,

the frescoes in which were painted

Primaticcio, and recently restored

by Rosso and by M. Alaux. The

this artist,

Louvre contains several works of mained

in

who

re-

France during the reign of four monarchs, Fran9ois from I. to Charles IX. The Renaissance
contains his statues of Albert Pius of Savoy,

Museum

Prince de

Carpi,

Charles

de

Magny
It is

captain

of

Henri H.'s body-guard, and of Andre Blondel de Roquencourt. Controller of Finance.

not

known

whether he died in France or in

Italy,

but he must

have lived

to

a great age.

One

of the last great sculptors of the period was

Peeteo Tacca, a native of Carrara, who did a good

416
deal of

FLOEENCE.

work

at Florence.

The Medici employed him

Royal Palace
at

very frequently, and some of the equestrian statues

in the court-yard of the

Madrid are

by him. He was a pupil of Giovanni da Bologna, and it was after a model made by that master that he
cast the statue of

Duke Ferdinand on

the Piazza deUa

SS. Annunziata.

He was

also

the

author of the

bronze fountains which ornament the same square.

From this time the decadence

of the art of sculpture

proceeded rapidly, and though there has been a revival

within the present century, the last of the long series
of mighty artists belonging to the period of which
this

volume

treats is Michael Angelo,

whose name

stands out as a model of civic virtue as well as of inspired genius.

PAINTING.

417

CHAPTER
PAINTING.
ElCH

IX.

in paintings as are the Florence collections,

is

and marvellous as

the spectacle of the Uffizi and the

Pitti Galleries, it is not in

them

that the elements for

a study of Florentine painting are to be sought.

contain, no doubt,

They

many unique and

incomparable ex-

amples of the greatest masters, but the true Florentine art is fresco-painting.
is

In this respect Florence

is

highly privileged, for there

not

one of her

churches or public monuments from the thirteenth to

the seventeenth century in which some great artist
the impress of his talent, and some wealthy

has not

left

citizen a proof at once of his liberality

It is impossible in the course of

and

piety.

a single chapter to
art,

take more than a bird's-eye view of Florentine

and though there

is

no lack of material

for writing at

length on these paintings

appealing

as they do

more
and

vividly to the imagination than statuary does

confine myself to indicating the

I must

march of

ideas

the

successive phases of their development, citing

various specimens of the difi'erent masters to illustrate

my

argument.
Uffizi

The

and the

Pitti Palaces contain

such vast

27

418

FLORENCE.
pictorial art that

numbers of specimens of the

tions of specialist writers.

no ade-

quate idea of them can be gathered from the descrip-

Here were gradually accumulated aU the masterpieces purchased by successive

members of the Medici family, the liberality of the last bearer of this name converting these galleries into a national museum, which, while not perhaps unrivalled
as a general history of art, unquestionably contains

specimens unique of their kind, and which no

of art can ignore.

critic

The
life at

great
for,

name

of Raphael does not belong to

at

Florence,

bom

Urbino, he spent most of his

there are

the Vatican.

Still

many

of his

works

at Florence, the Pitti Palace alone possessing twelve,

while in the Tribune of the Uffizi

may be

seen the

traits

^^Fomarina," the of " Julius

^^

Madonna

del Cardellino," the por-

II.,"

and of " Cardinal Bernardo

Dovizi da Bibbiena" who was so fond of Raphael

that he wished

him

to

marry

his niece,

and other

masterpieces.
Calandrtty the

The Cardinal was the author of the first comedy written in Italian, and
also painted
Pitti

Raphael painted his portrait twice, and

several portraits of his niece.

In the

Palace

hang

his

portraits of

Maddalena Doni, and her hus-

band Angiolo Doni, who was a great friend of

Raphael's.

Masterpieces of sculpture, which furnished excellent models,

and exercised upon the Renaissance of

influence,

that art a

marked

had been bequeathed

to

418

AC-

Madddlena Doni
Raphael

PArNTING.

419

the Italians by the ancients, but this was scarcely the

case in regard to painting.

Not that nothing was

left

of ancient genius in this branch of art, but neither

Pompeii, Herculaneum, the Palace of the Caesars, the

tombs of the Volsci and the Etruscans, nor the

efibrts of Christian

first

art

upon the walls of the

cata-

combs, had been brought to light from out of the

entrails of the

earth in which they had been en-

tombed

for centuries.

The

inheritors of

Greek
earliest

art

were the Byzantines,

it

and they were the

revivers of

with their

mosaic compositions at Rome, Pavenna, and Classa.

Though the
less,
it,

art of painting

was

shrivelled up, life-

and mummified,
it

so to speak, the depositaries of

artists.

such as

was, were these Greek

The
of

persecution of the Iconoclasts had driven some

into Italy
j

them

the Crusades had led to the es-

tablishment of more intimate relations between the

East and the West

and the Venetians, when

desir-

ous of decorating their city and beautifying their

temples, sent for artists from Byzantium.
Italian artists

A
at

few

had also studied under the Greek monks,

and thus began the resurrection of painting

the

Rome,

Florence, Siena, Perugia, and even at Venice, where

Murano School owes

to

them

its

supremacy.

There are no specimens of the early painters of the

eleventh century at Florence, and with regard to the

miniature painters, with

sition

whom we have

the real tran-

from ancient

art to the

Renaissance of paint-

420
ing, their history is

FLORENCE.
very obscure.

The only

Flor-

entine painters of the eleventh and twelfth centuries

of whose works anything

is

known

are Rustico (1066),

Girolamo di Morello (1112), MarchiseUo (1191), Magister

Fidanza (1224), Bartolommeo (1236), and Lapo

(1259).

In the thirteenth century a Franciscan monk.

Jacobus

Toriti,

decorated the cupola of the Bapthe date being

still

tistery, his

name and
also

legible.
St.

This

artist

executed the famous mosaics in

John Lateran and Santa Maria Maggiore

his tracery

and

foliage

at Rome, work above the " Coronation

of the Virgin " in the latter church being very celebrated.

These mosaics are works of great merit, the combination of shape and colors testifying to his artistic
sense.

The

decorations of the Baptistery were be-

gun by him about the year 1226, continued by Taffi They bear in 1294, and completed by Gaddo Gaddi.
unmistakable evidence of being the work of an
artist

who had
of fact,

studied under the Greeks, and, as a matter

their pupils,

Andrea Tafi was one of

at the

having

worked

mosaics of

St.

Mark's (Venice), where

of

he and his fellow-workers

one

whom, Buffalmaco,

has a few works in the Florence collections

their

derived
to

main

inspirations from the Greeks.

first

CiMABUE was the

in Florence.

of the

new

school of painters

Bom

in 1240,

and said by Vasari

have been a pupil of the Greek mosaic workers, with

PAINTING.

421

only the works of Turrita and of Coppo di Marco

Valdo as models, he was obliged

their track
;

at first to follow in

but he soon shook off their trammels,

and acquired a freedom of handling and a power of expressing life and movement which they did not
possess.

The

greatest of

Cimabue's works

is

the

Madonna
is

in the Ruccellai
still

Chapel

at

Santa Maria

Novella, which, though

intellectuaHzed,
mosaicists.

Byzantine in character,

and

rises far

above the work of the

is

Greek

The Virgin

represented

as

dressed in a red tunic, covered with a blue mantle

embroidered in gold.

Angels stand three deep on

each side of the throne.

criticize in the painting,

Though
by
it

there

both of the

much to Madonna and

is

Child, the effect produced

was overpowering,

and

it

has been mentioned in a previous chapter

how
the

Charles of Anjou,
visit it

King of Naples, went

in state to

while passing through Florence, and

how

whole city crowded after him.

When

the picture

was taken

to

Santa Maria Novella there was a solemn

procession to the church, and public rejoicings ex-

tending over several days.

With the exception of another Madonna Academy of Fine Arts, which adheres more
to the

in the

closely

Byzantine

style,

Florence does not possess the

this pioneer of the Renais-

most important works of

sance
artists.

The Upper Church

of Assisi

is

said to

have afforded

specimens of the highest development of Cimabue^s

422
talent,

FLOBENCE.
but

we

are obliged to take this to some extent

on

trust, as the frescoes are so

it is difficult

much

injured

by time
art

that
like.

to

judge what they originally were

it is

When, however,

remembered that the

of painting in that day consisted in the representation of a figure, a frieze, and a procession, as in the mosaics of the
first

centuries,

much

credit is

due to the

artist

who

first,

with the assistance of the pupils

whom

he

employed, represented Bible scenes, and attempted

compositions such as those which in a perfected form

were executed by

his successors

upon the waUs of the

Vatican, in the Stanze, and the- Sistine Chapel.

Comparing Cimabue and

and the
latter as the first of

Giotto, various writers

last of

have described the former as the

second part of this dictum

Byzantine

modern

painters.

The
is

is,

beyond doubt,

correct,

and the distance between Giotto and Cimabue

enormous.

The

story of

how Cimabue saw

Giotto,

while looking after his flock of sheep, sketching them

with a piece of charcoal on a rock, and at once took

him

as a pupil,

is

well known.

If Giotto's composi-

tions are criticised in detail, or if

he were

to

be judged
under-

by a few
stand

easel pictures of doubtful authenticity preit

served in the museums,

would be
to

difficult to

how
But

his

works came

be so popular, or

why

he holds so prominent a place in the history of painting.

this is not the

way
is

to look at him,

and what
is

elicits so

much

admiration

the spirit

by which he

animated, his tendencies, his breadth, and the genius

PAINTING.
which enabled him
it

423

to

symbolize an idea, and to render

palpable

sophical

by transferring it from the moral and philodomain to the world of reality and fact by
Thus, for instance, when he

some striking imagery.

sel,

represents the Catholic Church as a storm-tossed ves-

he displays a power of inventiveness which apIn his " Life of St. Franpeals to the intelligence.
cis," in the

Upper Church

at Assisi,

which was one

life

of his earlier works, he illustrated the

saint,

of that

by
is

representing various scenes, in each of which

part.

one or more personages are depicted as taking

and delicacy of touch in these fresthan in those of Cimabue, and Giotto already coes

There

more

life

showed that he was a master of posture and

as, for instance,

attitude

when seeking

to represent a thirsty

man coming upon

a spring, he depicts him as throw-

ing himself face downwards to the ground.

The

fres-

coes in the lower church, executed later, testify to a

still

more marked improvement

in the art of painting,

the color being harmonious, and the shade effects

transparent and light, though time has

so

dimmed them

much
As

that

it is

impossible to reproduce them in an

engraving.
it is

my

object to describe the special charac-

teristics

and

style of each artist rather than to write

it

his

biography or a catalogue of his works,

may be

said,

with regard to Giotto, that he lent animation to

the personages
to the passions

whom he painted,

and gave expression

to feel.

which they might be supposed

424

FLORENCE.

All his characters carry their nationality on their

faces
sible

this

being a distinct advance upon the impas-

and uniform type of countenance painted by the

Byzantines

as in his " Raising of Lazarus '^ at Padua,

where
Arab.

it

is

easy to distinguish an Israelite and an

is,

Moreover, he

so far as

we know,
St.

the

first

portrait painter.

In a picture at

John Lateran

(1300) he represented Pope Boniface VIII. in a standing posture, wearing his tiara, and attended by two

young

clerks

and among the

portraits

by him

in the

Bargello, so fortunately discovered in 1841, are those

of Charles of Valois cousin of the

King

of Naples,

Dante, Corso Donato, and Brunetto Latini the master of Dante.

There are few churches

contain frescoes either
of his school.

in Florence

which do not

advantage in

by Giotto himself or by one But Giotto does not show to so much his own country as at Padua, where the
works
is

greatest of his

to

be seen in the Scrovegni

Chapel

at the

Madonna

delP Arena, in a series of

frescoes illustrating scenes from

^^

Holy Scripture.
Crucifixion
^'

The

Bribery of Judas " and the

^'

are con-

ceived with great dramatic power, and awaken in the

beholder mingled feelings of terror and pity.

friend

His

Dante was

at

Padua during
had no
little

this period,

and

his presence doubtless

this

influence

upon
the

work.
painter of
at

Giotto was the

the

frescoes

in

Peruzzi and Bardi Chapels

Santa Croce.

He

PAINTING.
visited

426

many

of the principal cities of Italy, and most

of the Courts.

The

Visconti invited him to Milan,

to Rimini,

an ancestor of the Malatestas

portrait of Boniface VIII.

and Gero
to paint a

Pepoli to Bologna, while he went to

Rome

He

spent some time at

Arezzo, and in 1330 he was at Naples at the request

of

King Robert
disciples,

in

each of these

cities

he made

many

and

effected a revolution in painting.

He

set the fashion of fresco pictures,

and

this is

why

many

subsequent works were accredited to him.

Giotto was an architect and sculptor as well, and in 1334 he was charged with the building of the Campanile at Florence.
It

appears certain that he prethis edi-

pared the plans for the architectural part of

fice,

as well as the drawings for aU the sculptures

executed by Andrea Pisano.

ried out in
its

His plan was not car-

entirety, for

he had designed a pyramid

St.

similar to that

which surmounts the Campanile of

Mark's, but

this, as

by

his pupil

already mentioned, was omitted Taddeo Gaddi, who assumed the direcafter his death.

tion of the

works

His pupils, in addition to Taddeo, were Puccio Capana Fiorentino, Ottaviano da Faenza, Pace da Faenza, Guglielmo da Forli, Stefano Fiorentino, and
Pietro Cavalini, and some mention must be

made

of

them, as they were the stem from which issued the branches of the tree of
art.

son of one of those early

Taddeo Gaddi was the artists who were associated

with Andrea Taffi upon the mosaics of the cupola of

426
San Giovanni, and

FLOEENCE.
his father,

Gaddo Gaddi, was also a

Taddeo went
to this
to

contemporary of Jacopo da Turrita, and worked with

him

at

Rome. From

his father^s studio

it

that of Giotto, his godfather, and

that he

was

change

owed the prominent

place which he occupied

in the world of art.

He had

a quick eye for decoskill in outline,

rative effects,

and with a good deal of

at

his pictures are, as a rule,

ity.

remarkable for their suavSanta Croce contains

The BaronceUi Chapel

^^

several frescoes from the

Life of the Virgin."

At

Santa Felicita there

is

a very graceful Madonna, and

in the Spanish Chapel of Santa

Maria Novella a grand

" Apotheosis

allegorical composition representing the

of St. Thomas," surrounded

gelists,

by prophets and evanfoot.

and trampling Heresy under

This fresco

also comprises fourteen figures representing the Sci-

ences and Virtues, and at the foot of each

is

seated a

personage who

may

be regarded as the incarnation

Thus, for instance, Cicero
is

of that particular

gift.

at the feet of Rhetoric,

and Euclid

at those of

Geom-

etry.

The

Sacristy Chapel of Santa Croce also con-

tains

an altar-piece of the Madonna surrounded by

saints, the

work

of this artist.
architect as well,

Taddeo Gaddi was an

structed the Loggia of

and recon-

Or San

Michele, after the de-

signs of Arnolfo di Cambio, while a still more important work was the Ponte Vecchio, with its row of shops, which brought in such a handsome income to the

town.

It

has been noticed that the strongest floods

PAINTING.

427
and

have never
it

affected the solidity of this bridge,

is

strange that a painter such as Taddeo should

call civil

have been so well versed in what we should

engineering
;

though, as a matter of

fact,

the

Com-

munal Council employed him on many important works of a similar kind. He widened the quays, repaired the fortifications, and rebuilt the Ponte Santa
Trinita (again destroyed in 1557), and
that he

was

so

busy

had

to

take Simone

Memmi

to assist him.

He

also

completed the Campanile, begun by his mas-

ter Griotto, and, as I

have several times mentioned

sons,

before, modified the original design.

Taddeo Gaddi had two

cloister,

Agnolo and Giovanni;

his remains are interred at Santa Croce, in the first

and in the same tomb as that erected by him

for his father, the epitaph

upon

it

reading

Hoc uno
Vivente
:

dici poterat Florentia felix

at certa est

non potuisse mori.

Giottino

was the

surname

given

to

Tommaso
sur-

Stefano, whose father, a painter of some merit, was

a contemporary of Giotto.

name does
of this
fluence
;

not indicate

The weU-deserved much originality on the

little

part
in-

artist,

who, however, exercised no

it

and
so

is

astonishing, considering that he

died at the early age of two-and-thirty, that he should

have

left

many works behind

all is

him.

The

best

known
life
".^^

of

them

the composition relating to the

of St. Silvester, in the Bardi Chapel at Santa

428
Croce.

FLOEENCE.

The

saint is represented in the act of exor-

cising a dragon

whose breath
is

is

poisonous, and a
his

monk who
showed

is

present

pressing his hand to

nose with a very lifelike expression. Filippo Lippi

his appreciation of this
it

work by borrowing
Santa

some of the features in

Maria Novella.

for his frescoes at

There are frescoes bj him

in the crypt of

in the Cappella Strozzi

Santa Maria Novella, and a Pieta at

is

present in the Uffizi

probably by the same hand.

When

stiU

very young he was intrusted with a

singular task

by the

Signoria.

The Duke

of Athens

had just been expelled, and in order

to stigmatize his

memory,
gello) the

it

was determined
his

to

portray on the walls

of the Palace of the Podestas (now caUed the Bar-

Duke and

companions, with the mitres

of justice on their heads, surrounded

by the animals
there anything

which were emblematic of

Nothing remains of
to

his

appetites and vices.

is

this

work, nor

give an idea of the portraits of the Pazzi con-

spirators,

who, after being himg by the

feet,

were

painted on these same waUs a hundred years later.

curious feature of these paintings

was

that the

scutcheon of the family was given under the ef^gy

of each person.

Many
said to

of the works executed

by Giottino
is

at Flor-

ence have disappeared, but there

a composition
at

be by him in

St.
;

John Lateran

Rome,

in

which the Pope appears

a group of celebrated per-

PAINTING.
sonages at the Orsini Palace
St.
;

429
fine portrait of
Coeli.

and a
the

Louis to the right of the high altar at Ara

also left his

He

mark upon

Lower Church

at

Assisi.

Taddeo Agnolo Gaddi left two sons, Agnolo and The first commenced his career as an artist at San Jacopo extra Muros at Florence, where
Giovanni.

he painted the

^^

Kesurrection of Lazarus," in what

^^

would now be termed

is

realistic" fashion.

The body

represented as quite putrefied, and the expressions

of the spectators are supposed to be in keeping with

the horror which they
feel.

It

may be remarked

in

this connection that the naturafists of the present

day

have never gone

so far as the early painters,

this respect

who

have only been outdone in

by the Spanlatter

iards of the seventeenth century,

and these

such as Ribeira and Valdes Leal

had

skill

and

power which did much

of their delineations.

to mitigate the repulsiveness

Another important work of Agnolo was the "Life

of St. Ceciha" in the Carmine Church
Croce, the " History of the True Cross."
j*

and he

painted for the Alberti family, in the choir of Santa

Like his

father,

he was a

skilful architect,

and was
after the
at the

employed
fire

to repair

and enlarge the Bargello

of 1330.

He went

on with his paintings

* More
both.

generally attributed to Carentino

or

Spinello,

or

430

FLORENCE.

in the Uffizi

same time, executing several works now preserved and Academia. He also painted some
and a Madonna
is

frescoes in the cathedral at Prato,

and
to

saints in

Santo Spirito in Florence

is

attributed

him.

He

described as having only painted

when
art,

the fancy took him, as he was rich enough to

;

be independent

and

his sons,

who had no

taste for
at

went

into trade,

and made a large fortune

Venice.
three.

Their father died at Florence, aged sixty-

Another early painter of

whom

little

is

known,

though he played a very prominent part

at Florence,

was BuFFALMACO.
which of the two

His surname or Christian name

it

is

difficult

to say

was Buonhave

amico, and this pupil of Andrea Taffi was a very

jovial

and humorous character, and was probably the

Boccaccio and Sacchetti have
is

originator of the studio jokes for which painters

ever been noted.

made
are

him famous, and he

than for his works.
to

better

known

for his adventures

be found

in the

Some of the latter, however, museums of Florence, and there

j

are

by him at the Certosa near Florence Badia, where he represented the ^^ Passion "
frescoes

at the

in the

Giochi and Bastari Chapel; and at the Ognissanti, where he painted the " Nativity of Christ " and the
^^

Adoration of the Magi."

At Arezzo he was emVasari has drawn a very

ployed by Bishop Guide to decorate the baptismal

chapel of the cathedral.

fascinating portrait of Buffalmaco,

who appears

to

PAINTING.
have been something of a poet, and
His stay
at

431
to

have written

very sprightly notices of his own works.*

Arezzo was followed by a journey to

other compositions, he painted

Pisa, where,

among

the History of the World, from the Creation to the

Building of the Ark.

All round this composition

was

frieze,

with the portraits of different personages,

himself included.
this

He

wrote a sonnet descriptive of

work, and Vasari, in his lengthy biography of

so poor, at the age of sixty-eight, that
cloisters

him, describes him as prodigal in his style of living,

and as dying

he was buried in the paupers^ grave in the

of the hospital, 1340.

Taddeo Gaddi
Florentine

left

a pupU, Venetian by birth but

named Antonio Veneziano, whose earliest works, in the Grand Council Room at Venice, have been destroyed by fire. He seems to
by
adoption,

have been rather badly used in

so

his native country,

and to have excited the jealousy of foreign painters,

he returned
to Florence,

where he was very well

received.

He

did paintings at Santo Spirito, San Ste-

* "They (frescoes illustrating the Life of our Lord, in the Campo

Santo at Pisa) are ascribed to a certain Buonamico Buffalmaco,

whose existence is, however, altogether doubtful, as the description of his life by Vasari is a mere tissue of whimsical stories."
Hand-book of Painting.
Kiigler, vol.
i.,

p. 145.

Crowe and Cavalcaselle make only a passing allusion to Buffalmaco in connection with the Pisan Campo Santo (vol. i., p. 451), and the only work attributed to him in Homer's Walks in Florence is a fresco in the left aisle of San Miniato, while his name does not occur in Karl Karoly's The Paintings of Florence.

432

FLOKENCE.

fano al Ponte Vecchio, and he* was afterwards em-

ployed by the committee of the

Campo Santo

at Pisa

upon the frescoes illustrating episodes in the life of San Ranieri, the patron of the city. This was the greatest work which he executed, and it won him a
high place in the esteem of the people of Pisa.

From

Pisa he returned to Florence, and painted a

series of religious scenes in a tabernacle in the

grounds

of Nuovoli, just outside the Porta al Prato.

Thence he

went

to the Certosa,

where the Acciaiuoli family embut this

ployed him to decorate the chapel in which their ancestors

were buried

is

one of the

many

works which have been effaced by the hand of time.*

Veneziano
later in life

gave up painting

for botany.

He
are

died somewhere about 1387.

Spinello Spinelli was

bom

at Arezzo, but there

many

of his works at Florence.

Baron

Capelli,

pleased with his style, employed

cipal chapel of

him

to paint the prin-

Santa Maria Maggiore.

He

is

also

supposed to have done some of the frescoes in the Car-

mine Church, as well as a

for the

fine fresco of the

Ascension

Santa Trinita

and a number of other works,

in the

some of which are now preserved

Academia.

He

painted some historical scenes in the Palazzo

Publico at Siena and was commissioned in 1377 by

Nerozzo degli Alberti

to decorate the Sacristy of

San

* Crowe and Cavalcaselle attribute the Navicella on the ceiling

of the Spanish chapel at Santa

Maria Novella

to this artist.

PAINTING.
Miniato with scenes from the
life

433
of St. Benedict.

He

died about the year 1410.

is

Aio^REA Orcagna
preciated as he

not, perhaps, so highly ap-

deserves to be, as architect, sculptor,

he excelled in covering large spaces, were comprehensive enough to embody the vast subjects which he represented on the walls His architectof many a Campo Santo and church.

and painter,

for

and

his ideas

ural abilities

were displayed

at the

Loggia dei Lanzi.

At Or San Michele we see

gifts,

his wonderful sculptural

while in the frescoes upon the waUs of Santa

to his

Maria Novella he gave free course

agination.

gloomy im-

There

is

more realism about Paolo Ucello, who

alle-

represented historical facts without any of those

gories which tend
to confuse at times.

His proper
his

name was Paolo

di

Dono, and

it

was because of
Ucello.

fondness for birds that he was

sumamed

He
birth.

was a Florentine, not only

in style, but

by

Born
raries,

in 1396, he was, like most of his contempo-

a goldsmith rather than a painter in his early

days.

He was

employed in the shop of Ghiberti

when

work on the Baptistery gates. At Santa Maria NoveUa there are a series of frescoes by him, and in the Florence Cathedral there is a work signed
the latter was at

But very few of his own works are known.

" Pauli Ucelli

opus.''

This fresco

is

a portrait of Sir
free

John Hawkwood, an English captain of

panies,

com-

who was

for

many

years in the service of the

28

434
Republic.

FLOEENCE.

Paolo was fond of soldiers, and in the Casa Padua he painted portraits of the mighty men of war so often spoken of by Andrea Mantegna.
Yitali at

The

Bartolini

Garden

at

Gualfonda had until recently

a series of frescoes by him entitled the " Four Battles," of which the Enghsh National Gallery now has the " Battle of San Egidio," in which Carlo Malatesta

nephew Galeazzo appear side by side. Apart from his work as a painter, he has transmitted to us
and
his

several facts of historical interest, and

as to dress

many

details

and military equipment

at

Florence in the
little

fifteenth century.

Paolo contributed not a

to

the advancement of the science of perspective, owing

to
his

having studied mathematics with

Gianozzo

Manetti.

His " Battle of San Egidio "

is

a work which deit

serves close attention, for though

is

old-fashioned,
fig-

and the horses are

as stilted

and wooden as the

is

ures of the warriors are childish, this

the

first

battle
first

painted by an artist of the Renaissance

the

composition in which the laws of perspective are observed.

This picture, moreover, shows us what was

the kind of armor

worn

in the early part of the

fif-

teenth century, and gives likenesses of the celebrated

Condottieri, who, with their free companies, played

such a conspicuous part in the history of Italy.

Masolino da Panicale, an
riod,

artist of the

same pe-

and a Florentine as

well,

gave a marked impulse

to the art of his time,

and effected a considerable im-

PAINTING.
provement
ers in the execution.

436
all

Until his time

paint-

employed a conventional perspective, and the various personages of a group were invariably huddled together.
berti,

Masolino was a pupil of Lorenzo Grhiassistants

and one of the twenty-one

the Baptistery gates.

who helped
were

to make made at Rome, but

His

first efforts

falling sick of

a fever, he returned
to

to Florence,

where he had the good fortune

St.

be em-

ployed to paint the Life of

Peter on one of the

walls of the Brancacci Chapel in the

Carmine Church.
is

This work appears to have been characterized by

much

force

and expression, but

it

impossible to
his painting

distinguish

what

is

due to Masolino, as

has been effaced by the brushes of his successors.*

Still

he contributed his share

the

to the building,
first

and

he

is

credited with having been the

smile,
flutter
;

painter

who

could portray a

of a

garment,

or the lifelike hue of the flesh

while Vasari asserts

that in regard to the relief of his pictures, he so de-

ceived the eye that his figures seem to stand out.

Masaccio, one of the leading figures in the history

of Florentine painting,

was born

in 1402,

and with

his superb talent, his native

elegance, his combinahis profound

tion of strength

and suavity,

knowledge
though

of anatomy, and his strongly

marked

characteristics,
of,

he stands quite alone.

contemporary
live

younger than, Ghiberti, he did not

beyond the

* Crowe and Cavalcaselle consider that these frescoes are not the

work

of Masolino.

436

FLORENCE.
death,

age of seven-and-twenty, and his premature

was a severe

loss to Florence.

His greatest works are in the Brancacci Chapel in

the Carmine Church.

The

various restorations of

these pictures have robbed

interest, but disfigured as

them of much of
still

their

they are, one can

form
the

some idea of the

nobility of the compositions

by

engravings which have been preserved of them.

For

a century they were

fruitful

examples, and a school

of study for painters, and not since Giotto had any

artist effected

such progress in the details of paintfor the

still

ing,

paving the way

more perfect crea-

tions of a

Leonardo da Vinci and a Raphael.

is

The

place of Masaccio's burial

uncertain, though Vasari

says that he was interred in the Carmine Church.

Another painter, whose works throw no little light upon the dress and manners of the day, is PlERO DELLA Francesca, who was born in 1416, at Borgo

San Sepolcro, and who, 1492, was quite blind.

are

at

the time of his death in

His pictures and frescoes

now very
it

scarce, but he

was an active

artist.

At a time when
vogue,
artists
is

portrait painting

was

so

little

in

interesting to

meet with the works of

such as he and Pisanello,

who portrayed

be-

tween them many princes and leading men. Piero della Francesca painted portraits at the Courts of
Urbino, Ferrara, Rimini, Pesaro, Ancona, and Rome;

perspective.

and he was a distinguished geometer and writer on His portraits are now much sought

PAINTING.
after,

437
into the

and whenever one comes

market

it

fetches a high price.

and

Alesso Baldovinetti (1427-1499) is less known, his works are even scarcer than those of FranIf his disfigured frescoes could have been

cesca.

preserved

the greatest

we should have had authentic portraits of men of the day, for he painted in the
Luca
Pitti, Diotisalvi

Gianfigliazzi Chapel of Santa Trinita likenesses of

Guicciardini,
de^ Medici,

Neroni, Giuliano

Gherardo Gianfigliazzi, Messer BongiStrozzi.

anni,

and Filippo

These interesting works

injured, until they finally
altar-piece

became more and more

disappeared in 1760.
for this

The

which he did

same chapel

is

identified

by Crowe and Caval-

caselle with the

one hanging in the Academy of Fine

between two kneeling saints, and catalogued " Inconnu.'^ The frescoes of Santa
Arts, of the Trinity

Trinita were
to finish.

Cosimo

begun in 1471, and took him five years Rosselli, Benozzo Gozzoli, Pietro
Lippi were

Perugino, and Filippino

value them.

employed

to

Up

to that time the painters of the fourteenth anci

fifteenth centuries treated sacred subjects in a broad

and philosophical
with the most

spirit.

This was the case even

them, such as Giotto and
not only religious by

illustrious of

Orcagna; but a new school was gradually formed,

consisting of artists

who were
di

doctrine and feeling, but were themselves attached to

the Church.

Fra Filippo

Tommaso Lippi (bom

438
at Florence

FLOEENCE.
and died
in 1469)

in 1412,

was one of
in art as

the

first

of this school.

He was known

Filippo Lippi, and he belonged to the Carmelite order.

Brought up in the Carmine convent, he doubtless

acquired as a boy a taste for painting from the frescoes of Masaccio
latter's
;

and when he began

to

copy the

work, he became so imbued with his princi-

ples, that it

was commonly

said that Masaccio's soul

had become embodied

throw
off the robe.

in him.

In course of time he

abandoned the Carmelite convent, though he did not

In 1452 he was chaplain to the
S.

convent of nuns of
this benefice

Giovannino

at Florence,

and

enabled him to pursue his

It

artistic pro-

fession in independence.
it

was customary then, as

later, to in-

was

in

France two or three centuries

names of the great had taken orders, upon the

scribe the

artists of the
list

day who

of candidates for

vacant benefices, and Leo Battista Alberti held a

canonry, which enabled him to carry out the important

works upon which succeeding

So numerous were the

pontiffs

employed

him.

artists in

holy orders

in Italy, that the

Dominicans alone have formed the

of Filippo Lippi
;

subject of a bulky volume.

curious incident in the

life

was

his capture

by

pirates

upon the Adriatic

for eigh-

teen months he remained their prisoner, owing his

release to the talent with
portrait of one

which he drew a charcoal

of his captors.

On

his

return to

Florence he gained the friendship of Cosimo, and

to^^xJL

oc\q5\H

438

^"t"^) was one of icnown iB art as

Carraelite order.

doubtless

Madonna and Child

Fitippo Ltppt

PAINTING.
afterwards of Lorenzo de^ Medici.

439
There
is

scarcely

a place in Tuscany which cannot boast of frescoes by

him, though, as he had a son of the same name, also
in holy orders
is

and

also

a painter of some abiUty,

it

not always easy to distinguish between them.

It is

strange that a painter whose compositions

were

so full of reUgious fervor should

have been
for

so

dissolute, as he appears to have been, but he pos-

sessed some good qualities in private

de^ Medici,

life,

Lorenzo

deeming that

his

tomb

in the cathedral of

Spoleto

at

which place he

died, while decorating the

principal chapel of the cathedral

was not worthy

whUe on
his

of
to to

him, after paying a

visit to it

way

Rome,
him.
erect a

asked that the body might be given up

As this request was refused, he resolved to monument worthy of the defunct artist, and
and Politian
to write the epitaph in-

instructed Cardinal Napoli to superintend the execution of the tomb,

scribed on

it.

In the " Coronation of the Virgin," now in the

Academy
has
left

of Fine Arts at Florence,

Fra Filippo Lippi

is

a portrait of himself.

He

the figure with

j

clasped hands ascending the steps on the right

portrait
coes.

his

may

also

be seen in one of the Spoleto

fres-

Andrea del Castagno, whose name

several times in the course of this

has occurred

work (1396-1457),

painted the effigies of the Pazzi conspirators in the BargeUo, and so got the nickname of " Andrea degP

440
Impiccati.^'

FLORENCE.
Several churches in Florence have frestheir firm handling

coes

by him, which with

and
a

dark tones remind one of Mantegna and some of the

Lombard

painters, while in the Pitti Palace there

is

portrait of

some unknown person attributed to him. Benozzo Gozzoli, born at Florence in 1420,

died in 1498, was a pupil of Fra Angelico at Fiesole,

and helped him

to paint several of the frescoes

in

Orvieto Cathedral.

An

indefatigable worker,

many

of his paintings are extant both in Pisa and Florence,

the frescoes in the

Campo Santo

at the

former place
consist of

being possibly his greatest work.

They

twenty-four scenes taken from the Old Testament,

beginning with Noah and terminating with the Visit

of the

Queen of Sheba.

Benozzi Gozzoli called

to

his aid all the resources of nature, laying the scenes

of his subjects amid beautiful landscapes or handsome

buildings,

and peopling

his pictures with animals of

different kinds,

horses, dogs,

and birds of briQiant

is

plumage.

The

influence of Masaccio

perceptible

in his heads, but

he has a style of his own in the out-

lines of his female figures

and

in the delicate arrange-

ment
of
all

of the hair and the draperies.

his

The

best

known

works

is

in the ancient Medici

Chapel of the

Riccardi Palace, and represents the " Adoration of

the Magi."

The Magi

are depicted as winding on

horseback through a rocky country on their

way

to

Bethlehem.

Most of the figures are

portraits

of

prominent persons of the day

Cosimo

the Elder;

PAINTING.
his brother Lorenzo;

441

Gozzoli himself; Lorenzo the

;

Manuel Palaeologus the Patriarch of Constantinople, and many others being represented He was very fond of painting his contempohere.
Magnificent
j

raries,
cilio

and in the Campo Santo

at Pisa

he placed Mar-

Ficino

among

the prelates, with Argiropoulos,

the celebrated Hellenist, and Bartolommeo Platina.

Benozzo Gozzoli exercised an immense influence

upon

his time, for the illuminated manuscripts of the

fifteenth century

abound

in subjects copied from him.

His various compositions and costumes, even his peculiarity of

always bringing animals into his pictures,

are reproduced.

The monks
all

of the

Campo Santo

of
it

Pisa were so pleased with his work, attracting as

did strangers from

parts of Italy, that they erected

lifetime,

a funeral monument to him during his

the inscription,

with

"Hie Tumulus

est Benotii Florentini,

:

qui proximo has pinxit historias

hunc

sibi

Pisanor

donavit humanitas

MCCCCLXXVm.^^
artists for

This tomb

was erected
1498.

in 1478, but Gozzoli did not die until

He

is

one of those

whom

the pres-

ent generation has conceived a great admiration, and

it

may

almost be said that he has been re-discovered,

th(}

his

fame having hitherto been obscured by

paint-

ers of the sixteenth century.

Cosmo RossELLi and Sandro

latter is

Botticelli (1447-

1510) were contemporaries, but the celebrity of the

incomparably the greater.

Sandro (the

di-

minuitive of Alessandro)

was the son of Mariano

442
Filipepi,

FLOEENCE.
and took the name of
Botticelli,

from the

goldsmith to
scholar of

whom

he was apprenticed.

He was

Fra Filippo Lippi, and united

to the vigor-

ous and forceful style of that master an original and

delicate fancy, particularly noticeable in his allegorical pictures.

One

of these has a somewhat peculiar

history.

It

represented Pallas (the

Wisdom

of the

Medici) leading a centaur (Violence

and Misrule),
it

and Vasari's not very accurate description of

supported by an existing engraving
painting,
5

was
dis-

of the original
to

however,

all

traces

seemed

have

appeared.

In the year 1894 Mr. William Spence noticed a

picture hanging in an obscure corner of one of the

royal apartments in the Pitti which he thought bore

indications of being

by

the hand of Botticelli.

it,

The
It is

attention of Signor Ridolfi being called to

hesitatingly pronounced
it

he un-

to

be the

lost Pallas.

thought to have been painted about the year 1480 in

honor of Lorenzo the Magnificent.

Vasari also mentions as one of his easel pictures
the profile of a

woman who
It is

has always been sup-

posed to be the mistress of Giuliano de' Medici, killed

in the Pazzi conspiracy.

now

thought, however,

that this portrait represents a

young woman of the

lower classes, the picture in the collection of the

Due
This

d'Aumale being that of the

verse

real

Simonetta.

lady died young, and her charms were celebrated in

by both

Politiano

and Bernardo

Pulci.

The

PAINTING.
former also wrote an epitaph on her.
his notes

443
Lorenzo, in

on

his

own

sonnets, describes the grief

caused in Florence by the premature death of a

young lady of singular beauty, who has been tified as this same Simonetta.
Botticelli illustrated the

iden-

" Divina Commedia," and

no other painter, not even Giotto, was so thoroughly versed in the works of Dante, whom he annotated,
taking the subjects of several of his compositions from He was also an enthuepisodes in the " Convito."
siastic

admirer of Savonarola, and towards the close

life felt

of his

so strongly in his cause that he

would

wiQingly have suffered martyrdom for him.

The round
saints

picture of the

Madonna surrounded by
is

which hangs in the

Uffizi Grallery

a happy

example of the peculiar

a few are to be seen
fresco

style of this master.

A num-

ber of his other works hang in the same gaUery, and

at

painter
scenes,

we

find

Paris and Berlin. As a him represented by three

portraits

bibhcal

and the

of twenty-eight

Popes in the Sistine Chapel, where Sextus lY. had employed him to superintend the decoration of A great many artists were engaged upon the walls.
the work, and the editor of Kiigler's " Hand-book of

Painting " states that Cosimo Rosselli having gauged

the quality of the Pope's artistic taste, overlaid his
figures thickly with gold,

whereupon " to the dismay

of the other artists his Holiness expressed himself

best pleased with Cosimo's performances.''

444
Botticelli died

FLORENCE.
about the year 1510, his most emi-

nent scholar being Filippino Lippi.

Fr4 Giovanni da

Fiesole, better

known

as

Fra

Beato Angelico, belongs to the school of ascetic

painters whose lives were spent in praising

God mth
Vec-

voice and brush.

He was

born

at

Castello di

chio, in the Mugello, in

1387, and christened Guido.

He
life

entered the order of the Preaching Brethren, or

Dominicans, at the age of twenty, and ended his

as a miniature painter.
at

His

first

essays in art

were made
still

Cortona, where several of them are

preserved.

He was

at Fiesole in
little is

1418, and for

the ensuing eighteen years but

known

of him.
friars

In 1436 the convent formerly occupied by the

of S.

Sylvester was given to the Dominicans, and

to paint

Fra Angelico was employed

and decorate the walls with
famous

an altar-piece

frescoes.

He

spent nine

years upon this work, which has

made

his

name

so

helped,

it is

said,

by

his brother

Fra Bene-

detto, the series of frescoes painted there rendering

San Marco a very sanctuary of

senting what
painting.

art.

There are two

and homely

distinct categories of decoration in

San Marco, repre-

may be
first

called ceremonial

In the

Fra Beato depicted the grander

scenes of Holy Writ with profound faith and consum-

mate

skill,

combining simplicity and grandeur of exthe convent he

ecution with the manifest sincerity of a great soul.

In the
light.

cells of

is

seen in quite another

Having

lived in intimacy with the different

PAINTING.
monks, he knew the favorite
of that saint.
saint of each,

445
and delife

picted on the walls of his cell some episode in the

After nine years of this work he was invited

by-

Pope Eugenius IV., in 1445, Vatican, where Nicholas V.

ment.

to

come and work at the also gave him employ-

This did not prevent him, however, from

going to Orvieto, where he commenced, but did not

finish,

a series of frescoes in the Duomo.

to

Sum-

moned back

Rome by

Nicholas V., he remained

there until his death in 1455, and was buried in

Santa Maria sopra Minerva.

It

was

said that he

never took up a brush without a previous prayer,

and

it is

a pity that his gentle countenance has not

been depicted on the walls of San Marco, as a pendant to the portrait of Savonarola, with

whom

his

name is so closely associated. LuCA SiGNOEELLi was not,

strictly speaking,

one

of the Florentine School, for he was born at Cortona,

about 1441, was a pupil of Pierro della Francesca,

and painted
Angelico.

at

Arezzo, Citta di Castello, and Orvieto,

left

where he completed the work

unfinished

by Fra

He

also painted at the Sistine Chapel, but

most of his works have disappeared, and

his greatest

achievement was the decoration of the chapel of the

Madonna of San
position

Brizio in Orvieto Cathedral

a comand

which inspired Michael Angelo

himself,

which

may

be regarded as one of the most powerful

in Italy.

SignoreUi took only three years and three

446
months
to

FLOEENCE.
complete this grand series of frescoes,

divided into four separate compositions

Hell, the Resurrection, Paradise.

^^

Antichrist,

The

Fulminati

destruction of the wicked

is

a marvel of move-

ment and

intensity, the attitudes of the figures be-

ing sublime in their reality.

Fra. Baetolommeo, called Bartolommeo di San

Marco, partly because of the part he took in the

decoration of St. Mark's and partly because he was

an inmate of that convent, was originally known as

Baccio deUa Porta.

He was

one of the most emi-

nent of Florentine painters of religious subjects, excelling in the

grandeur of his outlines and the superb

gravity of his figures.

side Prato,
it

Born

at Suffignano, just out-

was

his passion for

Savonarola which

brought him to the convent of San Marco, where he

was an assiduous attendant of the Dominican's

around him when the populace
Mark's.
laid

ser-

mons, forming one of those who grouped themselves

siege
to
St.

But

if

he was a great

artist,

he was not
at finding

very warlike,

for,

becoming panic-stricken
he made a vow that
if

his life in danger,

he escaped

he would enter holy orders.

in

This he accordingly did

1500

at Prato,

where he assumed the robe of the

as well, but in the

Dominicans, and shut himself up from the world.

For a time he abandoned painting

of his works are
to

course of time he returned to St. Mark's, where

still

many

be seen.

This was the period

of Raphael's visit to Florence, and the

young painter

PAINTING.
of Urbino

447
monk,
on to

became a very

close friend of the

cell.

passing hours at a time in his

He went

Kome, while Michael Angelo and Raphael were there, marking his progress by the execution of different
works in the towns through which he passed.
pictures

Two

by him in the Pitti Palace at Florence are thus described by Yasari " The fancy took him, as it was
:

said that

he could only paint small pictures, to prove the

thirty feet high, representj

contrary, and to place above the door, opening into the

choir of

San Marco, a panel

ing St.

Mark

the Evangelist

the

work being

perfect

in design
Belli,

and one of

real merit.

After this Salvator

a Florentine merchant, hearing, on his return

talent,

from Naples, of Fra Bartolommeo^s

picture of our Saviour

and having

seen some of his works, ordered from him another, a

surrounded by
globe,

as symbolic of his

own name
There are

the four Evangelists.

also in this composition

two children holding up the

is

and their fresh coloring

like the rest of

the work, admirably rendered."

These painters, who

given a dispen-

belonged to the religious orders, are very numerous

in the history of art
;

they were

all

sation from their duties in the convent,

and what they

gained with their brush went to the community, as

they were only allowed to keep what money they

required for the purchase of colors and accessories.

Ghielandajo, one of the

himself a painter of no

artists

whose works
5

in-

fluenced Fra Bartolommeo, died in 1498

little

he was

talent,

combining grav-

448
ity

FLOKENCE.

and power with much grace.

his works,

He was gifted, moreis

over, with a robustness of expression which

equally

noticeable in

all

whether

at

Santa Maria

Novella

in the series of compositions

which cover

the walls of the choir from roof to base

Sassetti Chapel at Santa Trinita.

or in the

His proper name was Domenico Corradi, and

said that his father first obtained the

it is

name

of Ghir-

landajo on account of the garlands he manufactured

for the

young

girls of Florence, his trade

being that

of a goldsmith.

The

frescoes at Santa

Maria Novella are remarkof figures they contain,

able for the large

number

and the

portraits of

contemporary personages intro-

duced into them.

These comprise the whole of the

Tomabuoni
dino,

family, MarcUio Ficino, Cristoforo

Politian,

Lan-

Demetrius Greco,

and one of the most

beautiful of the Florentine maidens, Ginevra Benci.

Even

in his delineation of buildings he represented

the actual state of the city, and the architectural ar-

rangements of the time.

Domenico, who was born

Francesco
Granacci,

in 1449, died about 1498, his pupils comprising, in

addition

to

Michael Angelo

Mainardi, Cieco, Jacopo del Tedesco, and Baldini.

Francesco Granacci was the favorite pupil of Ghirlandajo, and a feUow-student of Michael Angelo.
Lorenzo
de' Medici,

who took

a great deal of interest

in Ghirlandajo

and

his pupils,

employed Granacci

to

design several of the costumes in the Triumph of

PAINTING.
Paulus Emilius, which he had organized, and
carried out the

449
later

he

decoration of the
his cortege passed,
state.

streets

through
that pon-

which Leo X. and

tiff

when

entered Florence in

All these ephemeral

works have passed away, aU that remains being the poems which were composed for the occasion by some
of the greatest writers of the day.

Granacci had

been so intimate with Michael Angelo in the studio

of their

common

master, that the latter sent for

him

to assist in the decoration of the

Sistine, but, con-

cluding that his powers were not equal to the task,

subsequently dismissed him, a coolness arising be-

tween them in consequence.

several standards and banners

Most of Granacci's
done by him.

paintings are in distemper, and there are stiU extant

He

possessed some of the qualities of Ghirlandajo, and at

one period was powerfully influenced by Michael Angelo in the

first

instance and Raphael later.

He

died

about 1543, and his remaias were laid in San

brogio at Florence.

Am-

Leonardo da Vmci was

also

a Tuscaa by birth,

but though born in the Val d'Arno, he was, for reasons which I wiU explain, almost a stranger to Florence.
his son

His

father, Pietro

da Vinci, was a notary, and

was

bom

in 1452, the father being appointed,

Leonardo was a Andrea Verrocchio, and the legend goes that he showed himself so much superior to the latter in
in 1484, notary to the Signoria.

pupil of

paiuting that Verrocchio resolved to abandon that

29

450
branch of
in
art,

FLOEENCE.
and devote himself
solely to sculpture,

which he acquired such

distinction.
art,

Leonardo's genius embraced every branch of

science,

and

literature.

Sculptor, painter, architect,

engineer, botanist, anatomist, mathematician, and as-

tronomer, he seemed to be at
of

home

in every branch

human knowledge.

He was

a poet, too, and he

had few equals as a musician when, taking up the lyre to which he had added a chord, he accompanied
his

own mellow and resonant

field, for

voice.

For

all

of these

gifts

Florence apparently did not offer a sufficiently

broad
to

when Ludovico

il

Moro

invited

him

Milan he wrote accepting the

" I can do

offer.

The

original

of this letter, preserved in the Ambrosiana Library at Milan, runs

;

all

that

is

humanly

possible,

whether in painting or in sculpture, as well as any

Hving
artist."

He

might

fairly

have added

that, be-

sides being the

tic arts,

most

skilful of his race in all the plas-

he

also possessed great physical strength

it is

beauty, for
his day,

said that he

was the

first

and swordsman of

and that he could twist the clapper of a beU,

or stop with one turn of his

ers.

arm

the most fiery cours-

His arrival
destiny
;

at

Milan was the turning-point in his

of Fine Arts and

he was forthwith intrusted with the found-

ing of a ducal

Academy

made Di-

rector of the works of the

Duomo,

his patron also

ordering from him an equestrian statue of his father,

Francesco Sforza.

This colossal group, of which he

PAINTING.

451

made fourteen
in bronze,
it;

different sketches, was never executed though Leonardo completed two models for

the

first

was accidentally broken and the second,

" Carof
soldiers

according to Castiglione the author of the

teggio,"

was destroyed by the Gascon

Louis XII. at the capture of Milan,

He soon

acquired a high reputation as a painter by

still

his execution of the great fresco

in existence,

and famous throughout the world

of Leonardo da Vinci."

as the " Cenacolo

Unfortunately, whether beit

cause the vehicle employed was not what

ought to

have been, or because the wall had been imperfectly

prepared, or else owing to the dampness of the
soil,

within a hundred years after

fresco

it

had been painted

Still it

this

was almost

entirely ruined.*

may be

gathered from the engravings of Morghen and the

copies of

Marco d'Oggione

that

it

was the work of a

great genius, converting the refectory of the

Do-

minicans of the Madonna della Grazia into a true

sanctuary.

In 1499 he returned to Florence, where

he was very favorably received by the Gonfalonier

Soderini,

and

after executing

some other works was

to

employed, in 1503, to paint a cartoon for the grand

haU of the Palazzo Vecchio, the subject

bolic of the glories of Florence.
to decorate the opposite wall,

be sym-

Michael Angelo was

and the

loss of these

two cartoons cannot be too deeply deplored.

*
Its final ruin
it,

Michael
re-

touched

was accomplished by the "restorers " who one in 1726, and another in 1770.

452

FLORENCE.

Angelo's composition depicted a scene in the Pisan

campaign

while Leonardo selected as his subject the

defeat of the Milanese under Piccinino,

entines, at Anghiari, near

by the FlorBoth

Borgo San Sepolcro.

works were destroyed

Medici,

at the time of the return of the

hall.

when

the soldiers were quartered in this

Arriving at Rome, in 1514, as one of the suite of

Giuliano de' Medici, Leonardo executed a

number of

paintings notably that of two female figures repre-

senting Vanity and Modesty, formerly in the Sciarra

collection,

and the " Christ Disputing with the DocNational Gallery in Lonto France,

tors "

don.

now to be seen in the From Rome he went

I.

and remained

in the service of Francis

until his death. to

He

fol-

lowed that prince

dying

to Pavia,

and back again

France,

forming part of the

boise
;

suit at

Fontainebleau and

Am-

at Cloux,

near the latter town, on the

2d of May, 1519,
is

at the

age of sixty-seven.

There

a popular engraving in France which represents

as

him

drawing

his last breath in the

arms of the

King, and the Louvre possesses several of his works,

including the famous
in the Salon Carre.
''

Mona

Lisa " and the

Madonna

His manuscripts on science and

those of

art

form, with

Leo

Battista Alberti, the first technical trea-

tises written

by
;

artists.

Florence possesses but few

be mentioned the Head of Medusa and an Adoration of the Kings, both in the
of his works
of these
Ufiizi Gallery.

may

PAINTING.

453

rocchio,

Lorenzo di Credi was the favorite pupil of Verand it was to him that the sculptor of the
I have already explained

" Colleoni " assigned in his will the task of complet-

ing that famous statue.

that the Senate, not feeling sufficient confidence in

his ability, called in Alessandro Leopardi,

who

re-

ceived in consequence the sobriquet of Alessandro

del Cavallo.

Lorenzo, however, inherited

all

the art

works of

his late master.

The

list

of his works

is

a very long one, for he

painted principally easel pictures, was extremely industrious,

and lived

to the

age of seventy-eight.
it

He
from
for

was a

close imitator of Leonardo,

to

being sometimes
original

difficult

distinguish

the

latter's

Lorenzo's copy.

His pictures are remarkable

elaborate finish,
artist.

their religious sentiment, their

and

the high glaze employed

by the
is

Andrea del Sarto

one of the most touching

Ardent,
finally

figures in the history of Florentine painting.

passionate, and even wanting in good faith, he became the victim of a misplaced affection

for a

woman whom

his brush has immortalized.

He was
name Ap-

the son of a tailor (del Sarto), and his proper

was Andrea Vannucchi.

and

He was born

in 1487.

prenticed at the outset of his career to Grian Barile,

later to Piero di Cosimo,

he rapidly acquired a

great reputation at Florence, and was invited

by the

King of France

to Fontainebleau.

When

five-and-

twenty years of age he had married a widow named

454

FLOEENCE.

Lucrezia del Fede, of

traits.

whom

he has

left

several por-

At her urgent request he asked Francis I. him forego his engagements and return to Florence, and the King not only agreed to this proposal, but intrusted him with a sum of money to purchase works of art for him in Italy. Andrea, however, spent the money at Florence, and never sent the pictto let

ures, thus precluding the possibility of his return to

France.

Many works by him

still

exist, his frescoes

in the SS. Annunziata, in the small cloister leading

to the church,

which have been protected against the

and execution.

ravages of time by an enclosure of glass, being marvels of taste

The

^^

Madonna

del

Sacco," over the door of the large cloister leading

into the church,
Italy,
is

one of the finest works of art in

and

is

regarded as his masterpiece.

is, first,

Among

his other

more celebrated works

the " Dis-

pute about the Trinity,^^ painted for the Augustinian

brethren, and

when

their chapel

beyond the Porta

In 1555 an
it

San GaUo was razed

for strategic reasons during the

siege of Florence, brought into Florence.

inundation of the Arno having

siderably in the church of

damaged

very contra' Fossi,

San Giovanni

which was then their headquarters, the picture was

removed
tavio
for
it.

to the Pitti Palace,

and a good copy by Ot-

Vannini, a pupil of Possignano, substituted

Next, the " Descent from the Cross," painted during the plague of 1523, and

known

in Italy as the

PAINTING.
" Pieta
di

466
upon

San Luco," Andrea

del Sarto having,

the advice of one Antonio of the Brancacci family,

taken refuge at Luco, and

it

was

for the sisters of

San Piero
Pitti.

that he painted this picture,

now

in the

" Assumption of the Madonna," painted for the Cardinal of Cortona, a " Virgin and Saints " and the

An

" Descent from the Cross " give a good idea of the
grandiose style of this gifted
artist,
:

Michael Angelo wrote to Kaphael

fellow at Florence who, if he

concerning whom " There is a little

as

was employed
it

you are
it

upon great works, would make

very hot

for you."
is

A judgment
for

such as

this,

expressed though

in

homely terms,

justifies

any measure of enthusiasm

life,

Del

Sarto,

who

died in the prime of

on the

22d of January, 1531, his sharp-tongued wife surSo perfect was he as a deviving him forty years. signer and colorist, that he was known as " Andrea
senza Errori " (Andrea the
faultless).

The

Florentine School very justifiably regards him

its

as one of

brightest ornaments

Pontormo,

II

Rosso,'
his

and Domenico Puligo being numbered among

scholars.

There

is

no need

to devote
list

much

space to GriORGiO
is

Vasaei, though the

of his works

a lengthy one,

and though he had in the course of

tunities

his career oppor-

more gifted than himself. An architect, a painter, and a writer, his biographies of celebrated artists are his best title to fame, and
denied to
artists

456

FLORENCE.
and
dates,

these, while full of errors both as to facts

are invaluable as forming the

art

first

work on modem
is

worthy of the name, and supplying information

about

many

of the leading painters which

unob-

tainable from

any other

source.

Vasari was a favorite of Cosimo,

who employed
Santa Maria del

him

to paint the soaring cupola of

Fiore,

and he

also altered the Uffizi Palace

and erected

the present fagade.

His career was a very busy one,

all

and he was concerned in

day.

the chief events of his

Besides the

many

pictures which he painted

for churches,

he was fortunate enough, as I have

to

mentioned in describing the Palazzo Vecchio,

be

employed

to

decorate the vast ceiling of the Sala

del Cinquecento.

He was

man

of talent and of

considerable acquirements, but in comparison with

men

of genius

consumed by the

fire

burning within

them, he was cold and formal.

easel paintings

There are not many

large

by him, most of his works being

decorative compositions designed for the walls of

palaces and convents, which, if they do not enthral,
at least please the eye.

PONTORMO, a pupil of Del

Sarto,

whose proper

name was Jacopo Carucci, was born in 1494. Coming to years of manhood at a time when Michael
Angelo's fame resounded throughout Italy, he had

been deeply impressed by the grandeur of

his genius.

He

himself excelled as a portrait painter, and there

are numerous admirable examples of his

work

in this

PAINTING.
branch of
art

467

to

be seen in Berlin and Florence.

He won
to

the favor of the Medici,

who employed him

at
It is

decorate the walls of their villas

Cajano and Careggi with frescoes.

Poggio a worthy of

remark that Pontormo, who shows the influence of Michael Angelo in all his fresco paintings, recovers
his originality

when

left

face to face with nature.

His portraits are of a very high order, and he was employed to paint many of the Medici family, among
others Cosimo the Elder, a
in

work which may be seen

Cosimo the
this

cell at

San Marco.

It is true that

Elder died long before Pontormo^s time; but

does not necessarily discredit the authenticity of the

portrait, as

he would have had abundant materials

for

good likeness.

Pontormo died

in

1557.

Bronzino, a contemporary and imitator of Pontormo,

was
first

bom

in 1502, at Monticelli, near Florence, his

master being Raffaellino del Garbo.

to

His best

works are

be seen in a small chapel in the Palazzo

illus-

Vecchio, where he executed a series of frescoes

trating scenes from the Old Testament.

Most of

his

pictures are portraits of the Medici and others,

more
and

than twenty of these being found in the

Ufiizi Galleries alone.

Pitti

There are probably few collections in Europe which have not a picture of one of the Medici by him. His intimate friend, Vasari, gives him, as he deserves, a prominent place in his " Lives," for he

was

a poet as

well,

and a member of the Academy of

458

FLOEENCE.

Florence, his verses having been published at Naples

in 1723.

There

is

most

brilliant pictures,

much poetic feeling in one of his now in the National Gallery

His

of England, "Venus, Cupid, Folly, and Time."

death occurred in 1572.

Christofa2^0 Allori owes his celebrity to his picture of " Judith," which

with the Madonnas of " Raphael and the famous Cenci," more frequently
is,

copied than any work in Italy.

Il Rosso, or Giovanni Battista Fiorentino, went to

France with Primaticcio, and was, with Niccolo delP

Abbate, one of the Fontainebleau School
gorical frescoes in that palace, set off
;

his alle-

by the orna-

mental compositions in stucco of Dell' Abbate, being

his best title to fame.
is represented in Santa " Orazione delF Orto," has a good deal Croce by the

Andrea del Minga, who

of Bronzino's style in the outline of his figures, but

it

it

is

easy to see that one

is

reaching the end of a

school.
his

With regard to Cristoforo dell^ Altissimo, name is not classed among the masters, though
represented both in the Uffizi and the Pitti Pal-

he

is

ace.
at

He was

a pupil of Pontormo, as

may be

guessed

once by his portrait of Clarissa Altoviti, which

his

might have been painted by

zino.

master or by BronRidolfi,

This lady was the

sister of Niccolo

Archbishop of Florence and of Sabine and nephew

of
I.

Leo X.

Cristoforo

was

also

employed by Cosimo

to copy, at the residence of

Bishop Paolo Giovio at

PArNTING.

459
portraits

Como, the two hundred and twenty-four

which formed the

collection of that learned prelate.

patron, Cardinal Salviati,

in art by the name of his was bom at Florence in 1510, and studied under Andrea del Sarto. He was an imitator of Michael Angelo and a friend of Vasari,

Francesco Rossi, known

one of his best-known works being a portrait of

Aretino, which he painted at Venice, and sent as a

present to Francis

I.

of France.

He

died in 1563,

having spent a short time in France imder Henri H.,

and then gone

to

Eome, where he executed

Santa Maria del Popolo.

several

important works at

The

last

names of the Florentine School are

Cigoli,
last

Poccetti, Jacopo Empoli,

and Carlo Dolci, the

named of whom, born in 1616, died

in the

at the close of
is

the century, his masterpiece being a Pieta, which

museum

at

Madrid, and which

is

not lacking
Poccetti's

either in force or grace of expression.

frescoes are very

numerous

in Florence.

They come
be said that

nearer to the superficial but graceful French School

of the eighteenth century, though
it

may

Florence had no intermediate school in the seventeenth century, like Venice, which could boast of a

Guardi, a Tiepolo, a Ricci, and a Longhi,

Naples, with
its

or,

like

grand decorative painters.

end, for though

Here

my task must

much might be

written about the history of Florentine painting and

sculpture, as well as about the architecture, the history,

and the

intellectual

development of the Tuscan

460

FLOKENCE.
is

people, the object of this book

to give a general

idea of the part which Florence has played in the intellectual history of

modem

times.

The novel

feature in this

book

is

the chapter on

"Illustrious Florentines/' in

which I have given a

brief sketch of the

life

and idiosyncrasies of those

who achieved

distinction in Florence in philosophy,

politics, literature,

and

science, giving special promi-

nence to those gifted humanists who shed such lustre

upon the Tuscan name

in the fifteenth century.

There must always be faults in a book of this kind, and they are apparent enough to the author, but upon
the whole I hope that I

may have

succeeded in con-

veying an adequate idea of the superiority of Florence over the other cities of Italy, and of imparting
to

my

readers something of the enthusiasm, the readmiration,

feel for Italy,

spectful

and the

profound tenderness
all,''

which I

" the divine mother of us

all

and
turn

for

that City of Flowers towards which

faces

when they want

to study the origin of the

naissance of literature and art in the

Remodern world.

INDEX.
Abbate, Niccol6

Academy, Cimento,

dell', 458. 109.

Ancycle, the,

275.

Andrea
(S.),

(S.),

church
of, 283.

of, at

Mantua.

of Florence. 87. of La Crusca, 87. Platonian, 212. Accaiuoli, conspiracy of, Acciaiuoli, Niccol6, 355.

209.

tomb

Angelico, Fra.
45.

biography, 444-445.

S. Marco, 229. Angelo Buonarotti, Michael, biog-

biography

of, 163-164.

Accursi, the jurisconsult, 166. Acquasparta, Cardinal, sent to Florence as Papal Legate, 23. Cardinal Matteo d' and S. Croce,
313.

raphy, 390-399. character of, work, 9. David, 291, 296, 339. dome of Florence Cathedral,
197, 305.

JEneas Sylvius, see Pope Pius African Corsairs, 102. Agnolo, Baccio d', 343. Agnoli, Convent of the, 36.
Agriculture of the Medici,

II.

Donatello's S. Mark, 334. fortifies Florence, 78, 288. Grinacci, 449. 8. Maria Novella, 343.

57, 90.

Alamanni, tomb of, 322, Albany, tomb of Countess

Alberghettino, the, 32. Alberti family, the. 204.

of, 321.

Leo
S.

Battista, 140, 438. of, 201-211. dome of Cathedral, 305.

biography

Maria Novella,
of, 318.

341.

nose broken, 389. Riccardi Palace, 368. "the man with four souls," 10. tomb, 314. tombs of the Medici, 75, 77. bridge of S. 209. Anjou, Charles of, 421. arms adopted by Florence, 14. Robert of, 157. his arms adopted by Florence,
,

of Senator G. V., 318. Albizzi, family, 25. hatred of the Alberti, 205, 210.

tomb tomb

14.

Annunziata, church and Piazza of the SS., 345-347. decorations of church of the SS.,
208.

Renaldo

degli, 32.

Aldrovandri, Ulysses, 94. Alessandri, Cornelia degli, 38. Alexander VI., see Pope. VII., see Pope. Alfieri, tomb of Victor, 314. Alighieri, see Dante. father of Dante, 142-143. Almini, Sforza, 92. Alliance, the Holy, 262. Alliotti, tomb of Bishop, 843. Allori, Alessandro, 344.
Cristoforo, 458.

Ammanati, Ponte
Anziani, the,

S. Trinita, 312. 18, 21, 324.

Apatisti, literary society, 115. Apennines, giant of the, 94. Arab influence on Italian art, 135,
136.

Alms Houses,

118.

Altar, Silver, 327, 354. Altissimo, Cristoforo dell', 458, Altopascio, battle of, 24. Altoviti, portrait of Clarissa, 458. Amadei, family, 16.

Arbia, the river, 19. Arch, the Etruscan, 273. Archaeology, Biondo da Forli, 207. Architecture, 283-347. Etruscan, 273. Archivio Generale, 90. di Stato, 29. Aretino, see Bruni, Leonardo. Niccolo, Or S. Michele, 333, and
note.

Aretines at Campaldino, 21. Arezzo, church of S. Domenico, 349.

tomb of Duchess of, Ammanati, Bartolommeo,

Amalfi,

382.

biogra-

Argyropulus, 45. Arms of Florence, 12-13-14.

Arnoldi, Alberto, 302. Arrabiati, the, 223. Art, Christian, 280-284. Art, influence of Savonarola on, 230,
232.

phy, 408-410. Pitti Palace, 200.

Ponte

S. Trinita, 90.

Signoria Fountain, 295.

Julia, 257.

461

462
Art,

INDEX.
275.
d', 286.

Roman,

Beatrice,

mother of Countess Mar

her tomb,
283.
18.

Assisi,

church of S. Francis

tilda,

frescoes at, 421-422-423. Athens, Duke of, at S. Croce, 321

322.

of Lorraine, 14. Bell, in the tower of the Lion, la Martinella, 81.

la Vacca, 295.

apitano del Popolo, 24. ceremony on expulsion of, expulsion of, 24.
portrait of, 326, 428.

333.

Bellarmino, Galileo and Cardinal,

259.

reign of, 165. Austria, Joanna of,

silver
96.

Bembo,
94, 297.
of,

Bells in the Campanile, 305. clears Politian's character,

238.

Maria Maddalena,105.

wedding of Emperor

the Dialogues of Cardinal, 75. Benavides, palace and tomb of

Marco

di Montova, 409.

Azeglio (D') on the Palazzo Vecchio,

8.

Benivieni, biographies of the, 234235.

Badia, Monastery of the, 325. Baldovinetti, Alesso, portraits by,

437.

Jerome, portrait of, 233. Bernardo, chapel in Palazzo Vecchio of S.,300.

Balia, the, 74, 81.

Banco, Nanni di, statues at Or Michele, 3?4, 335.

S.

da Siena, S., 322. Bessarion, consecration of S. Croce by Cardinal, 313.

Bigallo, Loggia del, 301-302. Bianchi and Neri, 22.

and Donatello, 361. Bandinelli, Baccio, 299.

biography of 406-408. colossal group by, 296. Baptistery, S. Giovanni, 286,
gates, 194, 352.
302.

307-310.

Bibbiena, Cardinal da, 418. Black Band, John of the, 83-85. Boboli Gardens, 90, 94. Boccaccio, biography of, 164-172. friendship with Petrarch, 157,
160, 165.

meeting-place of the Guelphs,

mosaics, 135. tomb of John XXIII.,
at Pistoia, 353.

30, 183.

Barbarossa, 15. Barber's Salon, 216. Barcelona, the Peace of, 255. Bardi, dau. of Count, 31, 38. Niccol6 di Betto, 360.
Bargello, the, 286, 324-326. effigies of conspirators,
70.

inspired by the plague, 25. studies in Greek, 43, 127. Bocchi, " Le Bellezze della cittil di Firenze," by Francesco, 324. Bode, list of Donatello 's works compiled by Herr, 362. Bologna, tomb of Ver^, 356. Sarcophagus of S. Domenico,
350.

Bologna, Giovanni da, biography

of, 410-413.

enlarged, 429.

Barlaam, Bernardo, 132. Bartolini, tomb of Leo Battista Alberti, 318.

Boboli Gardens, 94. Loggia dei Lanzi, 340. Medici statues, 93, 102, 345.
obelisks, 342.

Bartolo, Giov. di, 306.

OrS. Michele,
biography
of,

335.

Bartolomeo and Romolo, Abbey of

S., 35.

Bartolommeo, Fra,
231.

446-447. effect of Savonarola's

Battiferri, Laura, 410.

death on,

Portal of S. Potronius, 357. Bolide, the Alberti, 206. Bonafeste, collection of Princess Matilda, 93. Bonaparte, tomb of Princess Charlotte, 321.

Battle of Altopascio, 24.

Campaldino,

21.

Montaperti, 19. Montecatini, 24.

Bonaventuri, Pietro de Zenobio, 95. Boni, Chev. Ornofrio, 315. Boniface VIII., see Pope. Borgia, Caesar and Machiaveli, 246.
Lucretia, 96. see Pope Alex. VI.

Montemurlo,

380.

Tagliacozzo, 351. of Vadimo, 268. Bavaria, dau. of Duke of, 113. Beata, Villana, tomb of the, 342. Beatrice, first meeting with Dante,
142.

Bosco a Prati, Convent of, 35. Botticelli Sandro, biography of, 441444. Botticelli,

news of death

of, 144,

Sandro, influence of Savonarola on, 231. Pazzi conspirators, 70. portrait of Simonetta, 215.

INDEX.
Botany, study of under Coslmo I., 90. Bourbon, sack of Rome by the Constable de, 78, 255, 402. Bracciolini, Giacomo, son of Poggio,
186.
36.

463

Camalduli, Fathers, convent of the,

Cambio, Amolfo
292-294.

di,

biography

of.

Brave, tomb of Cardinal de, 293. Bridge, see Ponte. Brienne, Gaulthier de, see Athens,

Baptistery, 307. Bargello, 324. S. Croce, 312, 321.

Duke of.
Brochi, Giuseppi, Lives of Florentine Saints by, 112. Bronzino, biography of, 457-458. paintings in Palazzo Vecchio by
298, 300.

Or S. Michele, 328. Campaldino, battle of, 21, 23, Campanile, the, 304-305, 425.
bas-reliefs, 353.

143.

Can Grande
21.

della Seal a, 147. Cancellieri, Pistoia, family of the,

portrait of Cosimo I., 93. Brunellesehi, Filippo di Ser, biogof, 190-201. of Duomo, 305, 358. Foundling Hospital, 346. letter from Albert! to, 205. S. Lorenzo, 28. Pazzi chapel, 322. Bruni, Leonardo (Aretino), 133. biography of, 182-185. Foundling Hospital, 199, 346.

raphy

Canova, tomb of Alfieri by, Canti Carnavaleschi, 46, 51. Capello Bianca, 94-98.

314.

dome

pamphlet on marriage
96.

f6tes of,

Capitano del Popolo, 18, 324. Capitani di Parte Guelfa, 25, 311. Caporali di Popolo, 18. Capponi, Niccolo, plan for protecting Florence, 297.
Piero. and Charles VIII., 72, 222. Capraia, fortress of, 17. Caroccio, the, 13. Carraja, see Ponte. Carteggio, the, 54. Cartoons, of Leonardo da Vinci and

subjects for
368.

Baptistery

Gates,

tomb

of, 316-317.

Bueri, Piccarda, 28. Buflfalmaco, Buonamico, 420.

biography of, 430-431. Buggiano, bust of Brunellesehi by,

200.

Michael Angelo,
ton

451.

Caskets, marriage, in So. Kensing-

Buonaccorsi, Elena, 218. Buonaccorso, Clone di Ser, 357, Buondelmonte family, the, 16. Buonsollazzo, Monastery of, 112. Burchiello, Domenico, biography
of, 216-217.

Museum, 47. Cassino, monks of Monte,

439-440.

126.
of,

Castagno, Andrea del, biography

paintings at the Bargello, 70. Castellani, tomb of the, 321. Castruecio Castracane, 24. Catasta, method of taxation, 27. Cathedral, see Duomo.
Catiline, flies to Fiesole, 11 note.

Burckhardt, virork on the Renaissance by, 122. Burial in churches, decree concerning, 167.

Burlamachi, burning of the " Vanities," 225.

Catrick, tomb of John, 321. Cavalcanti, tomb of Aldobrandini,

343.

death of Lorenzo de' Medici, 5859,

and note on

p. 60.

Cellini, Benvenuto, 401-406.

biography

of,

Buschetto, architect of Pisa Cathedral, 286.

bust of Cosimo I., 89. competes for Signoria fountain,

89.

Byzantine, Art in the West,

artists in Italy, 419.

281.

Byzantium, capital transferred

from

Perseus by, 340-341. his quarrels with Bandinelli, 407.

Cellini, Giovanni, 401.

Rome

to, 279.

Cerchi, Veri de, at Campaldino, 143.

Ceres,
271.

Cabala, library of Pico della Mirandola, 242.

Temple

of, 273.

Cestus in Kircherian

Museum, the,

Cacciaguida, grandfather of Dante,

141.

Cafaggiuolo,

36.

Certaldo, tomb of Boccaccio at, 167. Certosa, 355.

Calandra, first Italian comedy, 418. Calimala. Guild of the, 21. 309. Camaldoli, Ambrose, preface to the life of; by Abbfe Mehus, 240. Camaldoli, gatherings in the woods
of. 209.

Charlemagne, sarcophagus of, 283. Charles of Anjou, device adopted, 14. execution of Conradin, 351. visits Cimabue's Madonna, 421.
Charles I., 389. ^^ Charles V., and the Campanile, 305.

464
can
91.

INDEX.
Convent of
233,444.
S.

Charles V., campaign against AfriCorsairs, 102.

Marco,

221, 226, 229,

claims Duchy of Milan, 78. confers Order of Golden Fleece,

interview with the Pope, 79. Charles VIII., enters Italy, 71. enters Florence, 72. and Pico della Mirandola, 244. and Savonarola, 221. Chimaera of the Uffizi, 269. Choir of Duomo as it was formerly,
oU7.

Convito, by Dante, 145. Comiole, cameo of Savonarola, by,

232.

Cortona, works of N. Pisano at, 349. Corvin Matthias, 54. Cosmati, the, 293. Cossa, Baldassare, see Pope John

XXIII.
Council of Carthage, 130. of Constance, 29. deposes John XXIII., Poggio at, 185.
183.

Christian art, 280-284. Christianity and Greek art and literature, 129, 130. Chrysoloras, Emanuel, 133, 319. Churches, separation of Eastern and

established by Lorenzo Medici, 57. of Florence, 43, 134.

de'

Western,
Cigoli, 459.

130.

Cimabue, Giovanni, 135. biography of, 420-422.

his Madonna, 343. Cimento Academy, the,
Cioli, Valerio, 314.
109.

formed by Savonarola, of Priors, the, 31. of twelve citizens, 81. of Vienna, 132.
Credi, Lorenzo di, 453.

73.

Ciompi Revolution, the, 25. Clone, Andrea, see Orcagna. Bernardi, 327. Matteo, 326, 354.
appearance in Florence of, 15. Clement, see Pope. Clizia, comedy by Machiavelli, 250.
Civil strife, first
Cloister, of S. Croce, 322.

influence of Savonarola on, 231. named in Verrochio's will, 373. Croce, S., 286, 312-322. chapel of the Noviziato, 36. of the Pazzi, 198. Cronaca, il, see Pollaiuolo, Simone. Cross, Triumph of the, by Savonarola, 225.

Crucifix from S. Miniato, the miraculous, 289. Crusca, Academy of La, 87. Cupid of Michael Angelo, the, 392.

of S. M. Novella. 314. Coats of Arms, union of Fiesoline and Florentine, 12. Cocchi, tomb of Antonio, 318. Collections of the Medici scattered,
72.

Dami, valet of John Gaston, 117. Dandolo, Boccaccio's birth-place,

164.

clears Politian's character, 238.

Colleges founded
99. 100.

by Ferdinand

I.,

Florence down to the Fall of the Republic by, 62.

summary
statue

of

II

Governo della

Colleoni,

of Bartolommeo,

298, 372-373.

Colli, Viale dei, 296. Colonna, Bishop, influence on Pe-

trarch, 156.

Famiglia, 182. Dante, 10. anecdote of an admirer of, 43. biography of, 141-150. Boccaccio's admiration for, 165.

murder

of, 158.

commentaries on
150.

170.

Vittoria, 397-398.

Botticelli's familiarity with, 443.

Commentators, Dante,
17.

Comune, Palazzo del, see Bargello. Communes, establishment of the,

Oonradin, execution of, 351. Conspiracy, against the Medici, of April 1526, 251.
Pazzi, 57, 62-70, 306.
45.

Campaldino, 21. connection with Sacchetti famat

ily, 176.

influence
lines

upon

Giotto, 424.

on the battle of Monta-

perti, 19.

made a Prior, 23. monument to, 314.

portraits of, 140, 306, 326. and Virgil, 127.

Constance, see Council. Constantino Copronymos, and image worship, 281. Constantinople, tomb of Patriarch
of, 343.

Danti, Vincenzio, 308.

biographv
339, 392.

of, 414-415.

David, by Michael Angelo, the, 296,

23.

Consuls,

Contado, the,

15.

bronze copy

of, 291.

Convent of

S.

Croce, 321-322.

Dazzi, Andrea, 49.

INDEX.
Decameron, the,
25, 172,

465

Dialogues, Galileo's, 261. for the theatre, 240. Diary of Ghiberti. 358. Didot, M. Firmin, pamphlet on marriage fetes of Bianca Capello,96.
Disputatixmes Camaldulenses, 46. Dolci, Carlo, 459. Dolphin, boy and, by Verrocchio,297. Domenico, Area di S.. 350. Donatelio, Annunciation by, 315.

Facade of the Duomo, 307. of S. Maria Novella, 208, 341. Facades of Florentine buildings,
289.

Facardino, the Emir, and the Holy Sepulchre, 101. Fanali or Strozzi Palace, 366-367. Fanani, Pietro, gives facts about Macchiavelli, 245. Fede, I.ucrezia del, wife of A. del
Sarto, 453.

biography of, 360-365. Marzocco by, 296.

Federighi Benozzo, tomb

387.

of, 374.

Nanni di Banco and,

Brunelleschi and, sculptors of the fifteenth cent. and, 9. statue, of, S. George, 334. Judith, 339. the Magdalen, 310.
S. Mark, 334. S. Peter, 335.

336. 193.

Ferucci, Andrea di Piero, 387. Francesco (Cecca del Tadda),88,

Feruccio, loss
Festivals,

of, 80.

at marriage of Bianca Capello, 96. of Ferdinand de' Medici, 264.

of Gonzaga, 265. of Henry IV, and Maria de* Medici, 264.

Festivals under Cosimo Ficino, Marcilio, 42, 45.
I., 143.

and stained glass at S. Croce, 313. tomb of John XXIII., 30, 183.
works in Pazzi chapel by,
"II Zuccone," 305. Donati, Corso, 22. Gemma, wife of Dante,
berti in, 211.
324.

biography of, 211-215. letter from Cosimo the Elder

40.

to,

144.

letter
252.

from Politian

to, 56.

Dreyfus Collection, portrait of Al-

stands sponsor for Guicciardini,

Fiesole, Catiline takes refuge in, 11 note.

Duomo, Florentine, dome, 196-198.

statues

303-307.
353.

by A. Pisano,
Milan,
286.

Duomo

of,

of Pisa. 286. of Prato, the bas-relief of the

pulpit, 362.

Etruscan walls at, 267, 268. Florence formed by emigrations from, 11. forms alliance with Florence, 12. Medici villa at, 36.

Edward

IV.,

Emblem

and the Medici, 38. of Florence, lily the,

Town Hall, 325. Fiesole. biography of

12,

Mino

da, 383-

385.

and note. Emperor and Pope, struggle tween the, 14.

at, 19.

be-

his his

tomb of Bishop

Salutati, 175.

Filelfo,

Empoli, conference of Ghibellines

works in the Badia, 325. Francesco, enmity of Marsuppini towards, 188. Poggio's attack upon, 187.

Empoli, Jacopo, 459. Engraving under Francesco I., 93. Equestrian statues, 364, and note.
Etruscan, architecture, 273.
art,,

Fiorovarti, Nero di. 325 note. Fire, Savonarola's trial by, 226. Firenze, Le Bellezze della citta. di,

266-270.

chimaera in the Uffinzi, 110. remains, at Fiesole, 267, 268. at Perugia, 268. Etruscans, become subject to Rome,
268.

by T. Bocchi, 324. Flood, see Inundation. Floren, first striking of the gold, 19. Florence, Academy of, established,
87.

beautified

by Cosimo

I., 90.

origin of the, 266. Eugenius, see Pope. Exarchate of Ravenna, influence

on Tuscany,

134.

the Alberti, 203-204. Exile, of Cosimo the Elder, 33-34. of Dante, 145. Exiles, plots of the, 86.

besieged by Imperial Army, 78. Council of, 43, 134. fortified by Michael Angelo, 78. in the year 1490, described by Guicciardini, 54. Jesus Christ elected King of, 297. offers to admit Dante, 146. period of development of art

and

literature, 34.

Facade, ol

S. Croce, 313,

and

note.

sketch of the history of, 11-26. treaty with Gonzaga, 80.

30

466

INDEX.
Galilei, Alex.,

Florence, under John Gaston, 118. down to the fall of the Republic, essays by Dandolo, 62. the history of, by Leonardo Bruni, 183, 316. by Macchiavelli, 250. by Poggio, 186.

tomb

of, 321.

Vincenzio, 257.
Galileo, 10.

befriended by Cosimo by Ferdinand II., 107. biography of, 257-264.

II., 104.

by Giovanni
Florentine
of, 20.

Villani, 150.

burial-place of, 324, and note, influence in Florence, 108.

merchants,

reputation

tomb,
135.

320.
of,

Font in the Baptistery, 310. Fonte Gaza, La, a56. Foraboschi Tower, the, 294. Forli, Biondo da, 207. seven inhabitants of, beheaded,
180.

trial for heresy, 107-108. Galla Placidia, mosaics on tomb

Galleries, the Uffizi,

connected with

the

Pitti, 89.

Gallo, Antonio

Fortezza da Basso, 380. Fortifications of Florence inspected by Macchiavelli, 250. strengthened by Michael Angelo, 78.

founded by Francesco I., 93. da San, church of SS Annunziata, 345. Giuliano da San, 388. Francesco da San, 336, 388-389.

Fortress of San Martino,

87.

ofTerredelSole, 87. Foundling Hospital, the,

346.

199,

208,

Gambarelii, Antonio, 290, 376-378. Bernardo, 376-378. Domenico del Borro, 376. Gardens, Giovanni da Bologna decorates the Boboli, 94. Gates, the Baptistery, 307-308.
Ghiberti, 358-360. A. Pisano. 352. della Querela, 356.
of,

Fountain, by Ammanati,
at Perugia, 293, 351. by Tadda, 297.

295, 409.

J.

Fountains on hquare of the SS. Annunziata, 345, 416.

" Fourteen," the, 21. Francesca, Piero della, 436.

Gattamelata, equestrian statue

364.

Gaulthier de Brienne, see Athens,

Duke

of.

Francesco, Bartolomeo di, 318. Francis I. and Andrea del Sarto,

453-454.

Genealogies of Italian families, by

Litta, 97.

and Benvenuto
4fi5.

Cellini, 403-40-1-

Gentucea di Dante, la, 146. George, Donatello's statue of S., 334335

and

note.

and Leonardo da
d'Assisi,

Vinci, 452.
286.

church of S., Franciscans, church of

formed,
112.

Gerolamo, Monastery of S., 35. Ghibelline party, conference at EmRepoli, 19.

the

291.

Monastery founded by Spanish,

Frederick II., death of, 20. his influence in Italy, 136-137. struggle with the Pope, 17. treachery of, 17.
passes through Florence, 188. French in Italy, fall of the, 253. Fresco painting at Florence, 417. Frescobaldi, Battista, attempt on life of Lorenzo de' Medici, 57. Messer Lamberto builds Ponte
III.
S. Trinita, 312. Fuorusciti, the, 380.

effect of
23.

defeated at Campaldino, 21. death of Henry VII. on,

ceases to be prominent,

name
origin

20. first heard

of in Florence,

16.

of, 17,

and

note,
324.

popular rising against the,

'successes of the, 17, 19, 24. victories of the, 19, 24. Ghiberti, Lorenzo, biography, 357360.

Baptistery, 307-308, 310.

niche for statue of

333

S.

Matthew,

Gaddi, Agnolo, Baptistery lantern,

307.

and Giovanni,

429-430.

and note, statue of S. Stephen, 334. statues and stained glass at S. Croce, 313. Ghini, Luke, botanist, 90.
Ghirlandajo, Domenico, biography
of, 447-448.

Gaddo, 420, 426. Taddeo, biography of, 425-427. Campanile, 304. frescoes in S. Maria Novella, 344. OrS.Michele,329. Ponte Vecchio, 311.

frescoes
343.

at

S.

Maria Novella,
in

Ridolfo,

paintings Vecchio, 300.

Palazzo

INDEX.
Ghirlandajo, predella in the Bigallo,
302.

467

Gianfigliazzi,

Giano "Ordinances of Justice," 22. Giorgio, library founded in Monastery of Giottino,

S., 36.

252. della Bella institutes

Simona,

Guicciardini, Francesco, his descrip tion of Florence in 1490, 54.

Lodovico,
Piero, 252.

257.

Guilds, the Florentine, 333. they select Priori delle Arti,

Tommaso Stefano, named il, biography of,

429.
304.

sur-

427-

of the Calimali, money-changers and woollen-cloth merchants, '

21.

Campanile, Campanile,

fresco in the Bargello, 326. Giotto, biography of, 422-425.

304.

Hadrian, arts encouraged by, 278. Hapsburgs, Tuscany ruled by Lorraine branch of the,
119.

frescoes in Bargello, 326. S. Maria de Fiore, 304. portrait of Dante, 140.

Hawkwood,
Heidelberg
fined in,
30.

portrait of Sir

John,

castle,

tomb, 306. Giovanni, criminals pardoned on festival of S 146. tumult on eve of S., 23. Giovannozzi, Luigi, 321.
Giovio,
238.

John XXIII. con-

Hemaphrodite, of the Uffizi, 110. Henry IV. marries Marie de Medici,

94.

sends
ence,
VII.,

representatives to Flor15.

Paolo,

slanders Politian,
384.

Giugni,

tomb of Bernardo,

canzone by Dante on death

of, 146.

Golden Fleece, Cosimo

I., receives order of the, 91. Gonfaloniere, office of, 21, 23. Salvestro de' Medici made, 25. Pietro Soderini made, 73. Gronzaga, Captain of Imperial Army,

the death
VIII.,

tomb

of, 23. of, 389.

Hercules and Nessus, Giovanni da Bologna, 340. Hildebrand, see Pope Gregory VII. History of Florence, by L. Bruni,
183, 316.

80.

Eleanora, 114. by Macchiavelli, 250. Government, Guelphs establish a by Poggio,186. by Giovanni Villani, 150. new form of, 18. change in form of, 21. of Italy, by Guicciardini, 256. Governo della Famiglia, il, 182. Honorius, see Pope. Gozzoli Benozzo, biography of, 440- Hospital, the Foundling (degli In441.

nocenti), 199, 208, 346.

frescoes in Riccardi Palace, 368. Granacci, Francesco, biography of,

448-449.

Hubert of Lucca,
Popolo,
324.

first

Capitano del
to settle near

Huguenots not allowed

title first

Grand Duke, imo I., 91.

Grandi, the,

borne by Cos-

Pisa, 116.

Humanists, the,
Iconology,
281.

40-41.

24.

Grazie, Ponte alle, 312.

Greece, influence upon Italy, 125. Greek art in Italy, 268. chair of, founded in Florence,
132.

Ilaria, wife of

Paolo Guinigi, her

tomb,

356.

Iliad, translated

by Boccaccio,

43.

Imperial succession, interregnum in

the, 20.

influence on Etruscan art, 271. language used in Rome, 129 settlements in Sicily, 273. Gregory, see Pope.
Grossi, Niccolo, 366.

Impiccati, Andrea degli (Andrea Castagno), 70.

Guard, Cosimo
Swiss, 338.

I.

establishes the

biography of, 439-440. Imprese of the Medici, altered by Ferdinand I., 103.
Infantry, Macchiavelli's opinion
247.
of,

Guelphs, defeat at Montaperti, 19. name first used in Florence, 16.

Innocent, see Pope.

Inquisition, regulations establishing
the, 322. sittings of the, 321.

and note, of government established by, 18. victory at Campaldino, 21. Guicciardlni, Francesco, biography
its origin, 17,

new form

summons of
Inundations,

Galileo before the,

of, 251-257.

107, 258, 259. 311, 312, 414.

468
134, 138.

INDEX.
Litta, genealogies

Italian language, formation of the,

of Italian fiimilies

by, 97.

preferred by Boccaccio, 164. used by Dante, 149. Italy Guicciardini's History of, 256.

Loggia, del Bigallo. 301-302. dei Lanzi, 337-341.

Lombardi, Pietro, 148. Lorenzetto, Lorenzo del Campanaro,

399.

Jerome, Greek classics and S., 129. Jerusalem, asylum established by Cosimo the Elder in, 36. Jewels of the Holy See, and B. Cellini, 403.

Lorenzini, Lorenzo, imprisoned

by

Cosimo

III., 116.
,

Julius, see Pope.

Joan, Queen, 163. John II. of Portugal, 54. John S., see S. Giovanni. Jubinal Collection, Medician tools
in the, 88. Julian, Greek written by the peror, 129. Justice, the statue of, 88.

Lorenzo, basilica of S. 28, 35, 199. burial of Bianca Capello at, 98. Medici chapel, 100. tomb of Cosimo the Elder, 41. of Piero de' Medici, 44. Lorenzo, Battista, bust of Michael Angelo, 314. Lorraine branch of the Hapsburgs,
rule Tuscany, 119. Lorraine, Christine of, co-regent of Florence, 105. Lothair, schools founded by, 126.

Em-

Lami, Giovanni, 320. Landino, Cristofero, 45, Lando, Mlchele di, 25.
Lanzi,
Lai)o,

46, 211.

tomb of Luigi, 315. Ponte alia Carraja built by one, 312. Larga, Medici Palace in the Via, 36. Lateran, abbey built by C. de' Medici for canons of the, 35. monuments of S. John, 8. Latin language, influence of the,
127.

Louis IX portrait at Ara Coeli, 429. Louis XI., 54. Louis XIII. and Alexander VII., 107. Louvre, Alberti's portrait in the, 211.
,

Loiseleur, M. on Galileo, 263. Lucca, plot to introduce armed force

from

23.

tomb of wife of Paolo Guinigi

at, 356.

work of Niccolo Pisano at, 349. Luini, portrait of Pico della Mirandola by, 140.
Luna, Francesco
della, 346.

Latini, Dante studies under Brunetto, 143. portrait in Bargello of, 326. Latino, Card., acts as Papal Legate,
20.

replaces the Anziani, 21. Laura, 162. Laurentiana, see Library. Legends connected with Or
chele, 337. Leo, see Pope. of Isaura,
281.

Macchiavelli, Bernardo, 245. Macchiavelli, Niccolo, his account of Giov. de' Medici, 2S. of death of Cosimo the Elder,
39.

S.

Mi-

and image worship,

imprisonment of Co.simo, 33. the Pazzi con.spiracy, 62. the plague, 24. the origin of Florence, 11. the Alberti, 210. his biography, 245-251.
of of of of of

Leopardi, Alessandro, 8, 373. Leopold, decree concerning burials,

of Duke, 167.
Leori, Piero, a celebrated doctor, 59. Lettere Innaiizi il I'rincipato, 29.

tomb

ol",

315.

Madonna

di

Gimabue,

343.

Library, the Laurentian,

232.

43, 53,

90,

di Niccolo [-"isano, 349. del v'^aeco, A. del Sarto, 346. di Ugolino da Siena, 328-329, 330, 332 and note. Magdalen, Donatello's statue of the,
310.

of Niccolo Niccoli, 43. Libraries founded by Cosimo the Elder, 35, 36. Libro d'Oro of Venice, 96. Libro di Ragione of the Medici, 36. Lily of Florence, the, 12 and note,
303.

Maiano, Benedetto da, biography of,

378-383.

doorwav bv. .300. pulpit a't S. Croce, 315. tomb of Giotto. 306. of Filippo Strozzi, 343.
Maiani, the, 378. Makart, the painter, 96. Malatesta, treason of Baglione, 78, 80. Malatestas, Temple of the, 202, 208. Malvolti, Federico, 33.

Lions, marble, in Piazza Signoria,

340.

Lippi, Filippo, biography of, 437^39. Filippmo, Mi. frescoes in S. Maria Novella, 343.

INDEX.
Mandragola, comedy by Macchiavelli, 250.

469
72.

Medici, collections scattered, counting-houses, 37.

..-family

Manetti, Gianozzi, asked to aid Mar-

sup pini,
delivers
184.

189.

Brum's funeral oration,

.r

extinct, 119. influence in the 17th cent., 106.

becomes

and John XXIII., 31.

Manfred, the death of, 19. Mantegna, Andrea, tomb in Mantua,

209.

and Macchiavelli, 249. origin of the, 27. palace, 199.

and
^

Mariti, Giovanni, Hist, of Facardino,

101.

Marco, church and convent of

35, 233.

S.,

Politian, 238. political influence, 32. portraits in Riccardi Palace, 368. 440-441.

^
446.
'

and the Renaissance,

residences, 36.

38.

attack of the Arrabiati, 233,

frescoes, 444.

MSS. presented by Cosimo de' Medici to, 44. Savonarola at, 229. tomb of Mirandola and Benivieni at, 235. Marcus Aurelius, column of, 279. equestrian statue of, 278. writes his Maximus in Greek, 129. Maria del Fiore, S., 196, 286, 303-307. Ghiberti and the dome, 197, 858. old choir, 70. Porta dei Servi, 356. statues bv A. Pisano, 353. tomb of Brunelleschi, 200. Maria Novella, S., 341-344.
facade, 208.
frescoes, 153.

^return of che, 74, 81, 253. stanze written for Giuliano'a

stars,

tournament, 286. named by Galileo,

I..

statue of Cosimo

105, 261. 102, 295.

of Ferdinand de', 416. statues bv Giov. da Bologna and

Tacca.'lOl.

tombs by Michael Angelo,

396-397.
46.

77,

triumphal displays under the,

Medici,
118.

younger branch of the, 39, 82. Anna Maria Louisa de', 113,
77, 79, 80.

Medici, Alexander de',

biography

murder
Cosimo
Medici,

of, 80-82. of, 86.

by Bernardi Clone, 327. Lorenzo di Credi at, 231. Maria sopra Minerva, S., Galileo's
trial. 262, 264.

Medici, Buonagiunta de', 27. Medici, Cardinal de', brother of

III., 114.

Cardinal
I., 97.

de',

brother of

Maria della
Marsuppini,

Vittoria, S., 351.

Francesco
of,

Carlo,

biography
200.

187-190.

epitaph on Brunelleschi,

tomb, 188, 818, 369. Marsuppini, Gregory, 188. Martelli, Cammilla, 92.
Martinella, the, 81. Martino, Fortress of San,
248.
87.

Medici, Carlo de', 42. Medici, Catherine de", 76, 106. Medici, Cosimo the Elder, called Father of his Country, 4.
of, 215. 212, 213. 182. portrait in S. Marco, 233. recalls the Alberti, 205. Medici, Cosimo I. de', 82. biography of, 85-93.

biography of, 29-41. elegy by Pulci on death

and Ficino. 211, and Pandolfini,

Maximilian, Macchiavelli sent

to,

May day, popular disturbance on, 23.

Marzocco, 296, and note. Masolino da Panicale, biography of,
434-435.

and Baccio Bandinelli, 407-408. and Benvenuto Cellini, 405.

equestrian statue
of, 102, 295.

Masaccio, biography of, 435-436. influence on Fillppo Lippi, 438. Matilda, history of the Countess, 14. tomb of mother of Countess, 349. Mebius, Jacobus, invention of adopt-

and Guicciardini, and Tribolo, 414.

Medici,

255.

Cosimo

II.

de',

biography

of, 103-105.

ed by Galileo, 260. /Medici, ability, 29. account books, 36. yaccused of corruption, 37. age of the, 38. banishment, 33. chapel at S. Lorenzo, 100,
'

and

Galileo, 258.

Medici, Cosimo III. de', biography

of, 111-116.

Medici, death of Eleanora de', 92. Medici, Ferdinand I. de', biography

of. 98-103.

101,

395-396.

statue of, 102, 345. Medici, Ferdinand II. de', biography

of, 105-110.

Chapel at

S.

Miniato, 289-290.

470
Medici, Ferdinand
lileo, 260.
II. de',

INDEX.
and Ga- M6hus,
240.
I,,

Abbfe,

on death of

Politian,

and

statue of

Ferdinand

102,

345.

Medici, Ferdinand de', son of CosimoIII.,113. Medici, Francesco I. de', 93-98.

Mellini, Pietro, gives pulpit to S. Croce, 315. Memmi, frescoes in S. Maria Novella,
344.

marriage

of, 297.

Medici, Don Garcia de', 92. Medici, Giovanni de', founder of the house, biography of, 27-29. death, 26. wealth, 37. Medici, Giovanni de', son of Cosimo the Elder, 42. death. 41. marriage, 38. Medici, Giovanni de', son of Lorenzo,

Memoirs, of Benvenuto Cellini, 405. of Bonaccorso Pitti, 178. Mencken, biography of Politian by,
240.

Mercati, Michael, and Ficino, 214. Mercenary troops suppressed by Macchiavelli, 247. Merchants, reputation of Florentine, 20.

Merula, Politian's controversy with

Giorgio, 239. Michele, Or S., 328-337, 426. Micheli. P. A., the botanist,
his tomb, 317.

Pope Leo X. Medici, Cardinal Giovanni

see

115.

de', 92.
44.

Medici, Giuliano de', son of Piero,

biography medallion
56, 74, 75.

of, 61-70. of, 307.

Michelino, Domenico, portrait of Dante, 306. Michelozzo Michelozzi. 297.

Medici, Giuliano, son of Lorenzo de',

Medici, Giulio, son of Giuliano de', see Pope Clement VII. Medici, Cardinal Hippolytus de',

biography of, 365-368. chapel of S. Miniato, 289, 290. statue of S. Matthew, 333.

tomb of John XXIIL, 30. Misericordia, oratory of the, 301.

Minga, Andrea
del, 458.

biography of, 77-80. Medici, John of the Black Band, biography of, 83-85. Medici, John Gaston, 114. biography of, 116-119. Medici, Cardinal Leopold de', 108,

Milan, Duomo, 286. Miniato, S., basilica of, 287-91. Medici chapel, 36. Mirandola, Giov. Francesco, 241. Mirandola, Pico della, charities
285.

of,

and
,

109, 110, 114. Galileo, 260.

,

Medici Lo renzo de' son of Giovanni,

38, 39, 82.

biography of, 241-244. at death-bed of Lorenzo de' Medici, 60.

Medici, Lorenzo

il

Magnifico,
390.

41, 42.

friendship with
235.

J.

Benivieni,

biography of, 44-6'J. and Michael Angelo,

443.

and Savonarola, 221. sonnet on death of Simonetta,

sons of, 71. Medici, Lorenzo de',
bino,

with Politan, 237. with Savonarola, 219, 221, portrait by Luini, 140.
Miscellanepe, the, 237.
I., 99.

229.

Missions encouraged by Ferdinand

Duke

of Ur-

74, 254. biography of, 75-77.

Medici, Lorenzino de', 82, 86, 380. Medici, Maria de', 94, 93, 106. Medici, Piero de', son of Cosimo the

Montaperti, battle of, 19. Montecatini, battle of, 24. Montelupo, Baccio da, statue of John, 387.
Raflfaello Sinibaldi da, 399. Montemurlo, battle of, 380.

S.

and

Elder, biography Ficino, 213.

of, 41-44.

Montevarchi, defeat of the Ghibellines at, 17.

marriage, 38. Medici, Piero Francesco de', 38. Medici, Pietro, son of Lorenzo de',
56.

Montmartre, Convent
400-401.

of, 113.

Montorsoli, Fra Giovanni Angiolo,

biography of, 71-73. and Michael Angelo,

Monuments,
391.

Politian, 241. Medici, Salvestro de', Gonfaloniere,

25.

and

Medici, Virginia de', 92. Medician, archives, 31. dynasty, 34.

S. John Lateran, 8. Vatican, 8. Venice, 8. Morgante, by Luigi Pulci, 215. Morghen, tomb of Raphael, 321. Moro, Ludovico il, and L. da Vinci,

450.

Mosaics, in the Baptistery, 309, 420.

INDEX.
Mosaics of San Vitale,
135.
135.
i

471

of tomb of Galla Placidia,

Mosaic workers, 420. Mosca, Simone, 400.

Mosctiino, il, 400. Mozzi, Episcopal residence at S. Miniato of Andrea de, 288. Mugello, convent of Bosco a Prati at,

Orsini, Alfonsino, 75. Clarice, 56. wax figures of the

70.

Medici by. '

Otranto,

bombarded by the Turks,

Mussulman

Ottobuoni, Aldobrandino, 306. Orvieto, tomb of Cardinal William de Braye, 293.

Palatine,

invasion, the, 131-132.

William
113.

Elector

Naldini, Battista, 314. Nantes, revocation of Edict of, 116. Naples, Robert of, proclaimed King of Italy, 145. Naxos. Greek settlement of, 272. Nelli, Bartolomea di Stefano, 245. Nelson, tomb of Lord, 389.

Count,

and

Palazzo, Medici, 72, 199. Pandolfini, 367.

Pitti, 89, 200, 410.

collection, 115, 417.

meetings of Cimento Academy, '

109.

Nemours, Duchy
Neri Abati, 328. and Bianchi,

of, 75. 22.

portraits of Bianca Capello in the, 98. site of the. 180.

Neroni

Diotisalvi, 42, 45.

Netherlands, History of the, by L.

Guicciardini, 257.

del Podesta, 324-326. Riccardi, 39, 48, 365, 367-368.

Strozzi, 299, 366, 379.

Neuberg, daughter of Philip

of, 114.

Uberti, 294.

Nicholas, see Pope. Niccolo Niccoli, 43, 44, 133. Nigretti, Matteo. architect, 100. Nino, Ugolino di, 352. Nobili, tomb of Leopoldo, 317. Nobles of the Contado, 15. Nolza, Francesco Maria, 79. Norman influence in Italy, 137. Novello, Guido, 147. Noviziato chapel at S. Croce, 36. Numa Pompihus, the sacred shield,
13 note, 275.

Uguccione, 295. Vecchio, 8, 286, 294-301. Cosimo the Elder imprisoned in

the, 32.

Palmieri, Matteo, 164, 209. and Marsuppini's funeral oration, 189, 190, 320.

Pancras,

S., 208.

Pandolfini. Agnolo,
181-182.

biography

of,

Palace, 367. Paolo extra Muros,

S., 293.

Obesi, 269.

Papacy, Savonarola and the, 222. Papal Interdict, Florence under

S.

a,
of,

Obelisks in Piazza of
vella, 342. Obizzi, tomb of

Maria Nodegli, 360.

23.

Passavanti,

Jacopo, biography

Ludovico

152-154.

Odyssey, translated by Boccaccio, 43.

Opera del Duomo, 327, 354. Giovanni Dell, 314.

facts about Macchiavelli, 245. Passerini, text of the " Provisioni,"

204.

name
384.

first

used, 264.

Rinuccini and the, 264. Opus Mini, in S. Mariain Trastevere,

Orange, Prince
death, 402. at siege of Florence, 78. Orator of the UflBzi, the, 269.
of,

Silvio, regent of Florence, 78. Pasti Matteo da, medallion of Alberti, 211.

Paterini, the, 341.

Paul, see Pope.

Pawn-shops
105. 324.

first

opened in Florence,

Orcagna, Andrea, 354-355,

the Bigallo,
301,

433.

Pazzi, chapel at S. Croce, 198, 322-

and

note.

biography of

326-332.

the Loggia, 337. Orvieto Duomo, 337. Ordinances of Justice, the, 22. Organ-loft bas-reliefs, by Donatello,
362.

conspiracy, 57, 62-70, 306. Politian's account, 236. conspirators, Bargello portraits

of 428, 439. tomb of Francesco, 322. Pendulum, invented by Galileo,

Peretti.

260.

della Robbia, 375. Orleans, assassination of the

of, 180.

by Luca

Monk

Felix, 322.

Duke

Louise Marguerite d', 113. Or S. Michele, 328-337, 358.

Perugia, Etruscan remains, 268. fountain of, 293, 351. Perseus of B. Cellini, 340-341, 405. Peter, Martyr, 341.

472

INDEX.
Poccetti, 347,459.

Peter, oratory of S., 287. Peter's, dome of S., 398. Petit-Nesle, Hotel du, residence of B. Cellini, 403. Petrarch, biography of, 154-163. Boccaccio's grief at death of, 168.

Podesta, office

of, 18, title of, 325.

and

note.

ignorance of Greek, 43. tries to revive study of Greek,

127.

Palazzo del, 324-326. Poems of A. Orcagna, 355. of L. de' Medici, 46. Poggio, Bracciolini, biography
185-187.

of,

buried in
S.

S.

Maria del Fiore,

of, 147.

Petronius, Portal of
357.

at Bologna,

306.

Polenta, the Lord

75.

Philiberta of Savov,

PhilodoxeoK, by Alberti, 205. Piagnoni, the, 223. Piazza, della J^S. Annunziata, 345Ml. di S. Maria Novella, 341.
della Signoria, 295-296.
.

Politian, Angelo. account of death of L. de' Medici, 59-60.

of Pazzi Conspiracy,

62.

biography of, 236-241. biography by Mencken,

240.

by

Sarassi, 240.

Piccolomini, Silvio, letter from Soderini

Pilate,
to, 97.

epitaph on Filippo Lippi, 439. on Simonetta, 443. pronounces Alberti's funeral

oration, 210. Pollaiuolo, Antonio, biography of,
385-387.

Leonce, 128. Pingues Etrusci, 269. Pisa, ancient sarcophagi,

135, 282.

Duomo,

2R6.

frescoes in Campo Santo, 327-328, and note. 355. gates of Duomo, 412.

Medallions, 70, 307. (II Cronaca), 299, 379, 385. cornice of Strozzi Palace, 299,

Simone
366.

Macchiavelli
248.

and capture

of,

Council Hall, 299. Savonarola's influence on,

the. 385.

232.

pulpit in Baptistery, 349.

Treaty of, 107. University of, 87. Pisano, Andrea, biography

354.

Pompeo, stabbed by B.
of,

Cellini, 403.

352-

Ponte, Alia Carraja, Alia Grazle, 312.

312.

S. Trinita, 90, 312, 427.

font in Baptistery, 310. Giovanni and Niccolo, biographies of, 348-352. Niccolo, 135, 292. Baptisterv Gates, 807. the Bigallo, 301. influence of ancient sarcophagi on, 283. Pistoia, Baldinetto da. attempts Lorenzo de' Medici's life, 58. Baptistery of, 353. origin of Bianchi and Neri quarrel, 21.

Veechio, 310-312,426.
gallery over the, 89.

Pontormo, Jacopo Carucci,

456-457,

Ponzio, Paolo (Paul Ponce), 415. Pope, Alexander VI. (Borgia) Savonarola, 222-223. Alexander VII. (Chigi)

and

and

Louis XIII., 107. Boniface VIII. (Caetani), asked to mediate, 22, 23. and Dante, 144, , legate lays corner-stone of

Duomo,
of,

303.

Pitti,

Bonaccorso, biography
180.

178-

portrait

collection, the, 115, 417-418.

by Giotto, 424-425. tomb, 293. Clement IV. (Foucauld) bestows

device upon Florence,
13, 14.

Luca,

180.

Palace, see Palazzo. Pius, see Pope. Plague, the, 24, 329. Boccaccio and the, 25. visitation in the seventeenth

Clement VI. (Beaufort) and Petrarch, 158. Clement VII. (Medici), 62, 69, 77,
79, 81, 85, 296, 380.

century,
Plato.

106, 337.

and B. Cellini, 402. and Guicciardini, 254,255.

employs Macchiavelli, 250. and Michael Angelo, 396. imprisoned in Castle Angelo,
78.

Cosimo the Elder and, 40. Latin translations of, 42. revival of study of, 213. Platonic Philosophy, chair founded,
42.

Clement XIV, (Ganganelli)

Croce, 322. Eugenius IV. (Condolmieri),
S,

at
34,

Platonician school, founded by Cosimo the Elder, 40. Plethon, Gemistas, 40.

188.

Gregory VII, (Hildebrand),

14.

INDEX.
Pope Gregory VIII.
at Pisa, 283.
(di

473
24.

Morra), tomb

Popolani, 24. Popolo, grasso,

Minuto, 24. Honorius III. (Savelli), 293. Innocent IV. (Fieschi), struggle Porphyry, working on, 88. Porta, Baccio della (Fra Bartolomwith Frederick II., 17. meo), 446. Innocent VII. (Cosmator de' Meliorati)

and

L. Bruni, 183.

Innocent VIII. (Cibo) and Pico della Mirandola, 243.

Portigiani, 412. Portogallo, tomb of Cardinal Jacopo da, 290, 377.

Portraits,

and Politian, 237. John XXIII. (Baldassare

183, 316.

Cossa),

by Bronzino, 93, 457. by Piero della Francesco and

54.

death, 30. deposed, 30. and the Medici,

Julius
74.

Pisanella, 436. Portugal, John II. of,

31.
30.

submits to Martin V., tomb, 30, 183, 309.

II. (della Rovere), death,

and B. Cellini, 402. and Florence, 73, 253. and Macchiavelli, 248. and Michael Angelo,
395.

employs Politian, 238. Pottery, art of enamelling known to ancients, 374. Pozzetti, bust of Lestini, 314. Pozzi, Francesco, 317. Prato, bas-reliefs for Cathedral, 362. Pratolino, constructed by Francesco
I., 93.

393, 394,

Primaticcio, 415. Priors (Priori della Arti), council

31.

of,

reinstates the Medici, 74. statue at Bologna, 394. at Perugia, 415.

Dante one of the,

144.

tomb of, 393, 396. Leo X. (Medici),

254.

device of the, 13. elected by the Guilds, 21. exile Bianchi and Neri leaders,
23.

56, 74, 76, 77, 79,

liberates Macchiavelli, 249.

and Michael Angelo,

berti, 203.

395.

Martin V. (Colonna) and the Al-

and epitaph of John XXIII.,

30.

increased to six, 21. Princess Joan, 158. Principe, il, by Macchiavelli, 251. Painting becomes general in Florence, 87. Proconsolo, A. Rossellini, called
Del, 377. Propositions, the nine hundred of Pico della Mirandola, 243. Prosperity, periods of, 18, 19, 20. Provision!, the, 204. Ptolemys, destruction of the library of the, 131. Pulci, Antonia, wife of Bernardo,

receives submission

of

John

XXIII., 30. Nicholas III. (Orsini), asked to mediate, 20. Nicholas V. (Parentucelli) and
Alberti, 207.

embellishes Rome, 209. and Fra Angelico, 445.

II. (Barbo), tomb in S. Peter's 384. Paul III,' (Farnese), 86. Pius II. (-S^neas Sylvius) and Alberti, 207.

Paul

her works, 216. Bernardo, biography Luca, 216.

of, 215-216.

Luigi, 215-216. Pulpit, in S. Croce, 315, 382. in Pisa Baptistery, 349.

passes through Florence as secretary to Frederick III., 188. Pius V. (Ghislieri) and Cosimo
I., 91, 92.

in Siena Cathedral, 350.

Querela, Jacopo della, biography of,

355-357.

Sixtus IV. (della Rovere),

62.
64.

and Ficino, 214. and the Pazzi conspiracy, and Sistine chapel, 443.
Sixtus V. (Peretti) at
322.
99.

Raddi, tomb of the botanist, Raphael, 418. introduces Savonarola

fresco, 228. letters from
455.

321.

in

a
to,

S.

Croce,

Michael Angelo

and Card. Ferdinand de' Medici,

Urban V. (Grimoard) and
tati, 173.

Salu-

Urban

VIII. (Barberini) Galileo, 107, 259, 262.

and

Ravenna, Dante at, 147. his tomb, 148. Exarchate of, its influence on Tuscany, 134. Greek literature at, 130.

474
Ravenna, victory
of, 253.

INDEX.
Rubaconte, Messer, builds

Ponte

Raymond de
by

Cordova, takes Prato

AUe
343.

Grazi6, 312.
S.

assault, 74. Redi, letter from Galileo to, 260.

Rucellai chapel at

Maria Novella,
20. 94, 840,

" Reforms," designed

gate, 23.

by Papal Le-

Rudolph of Hapsburgh,
411.

Renaissance, the, 35. brief sketch of the movement,

121-138.

Sabine group in the Loggia,

Sacchetti, Filippo, 177.

work on
122.

the,

by Burckhardt,

Reparata, ch. of S., 303. legend of S., 13 note. Republic, attitude towards the great powers, 30. end of the, 6, 34, 253. foundation of its liberty and
strength, 18. Retablo of the

Salvetti, Salviati,

Francesco, biography of, 175-177. Nicholas, Gonfaloniere, 177. tomb of Joseph, 321.

Francesco Rossi,

459.

Maria di Alimanno, 252. Maria di Jacopo, 85-86.

Jacopo, 253. and the Fortezzo da Basso, 380.

Salvador al Monte,

291.

OPA

(Opera del

Duomo),

309.

Salutati, Coluccio, 172-175.

biography
175.

of,

Revolution, the Ciompi, 25. Rieasoli, Bishop of Florence, tomb of Bettino, 321. tomb of G. B., 342. Riccardi Palace, see Palazzo.
Ricci, the, 25.

tomb of Bishop,
288.

Sansovino, Andrea,
387-388.

biography
308, 414.

of,

baptism of Christ,
Jacopo, 388, 408.

Dante's monument, 314. Rienzi and Petrarch, 158. Rimini, Malatesta temple
208.

Santarelli, Emilio, 321. Sarassi, biography of Politian by,

240.
at,

202,

Sarcophagi, ancient, importance in art of the, 281, 282, 283.

Sarto,
at Pisa. 135, 349. Andrea del, 453-455.
346.

Ringhiera, the, 296. Rinuccini, Filippo Alamanno,

Ottavio, biography
265.

264.

biography

of,

of, 264-265.

Piero Francesco, Robbia, brothers and nephews of

frescoes in the SS. Annunziata,

Lucca

della, 374.

Savonarola, Fra

Girolamo, biogra-

Robbia, Lucca della. Annunciation

by, 347.

phy by

Villari, 232.

biography

of, 373-376.

Pazzi chapel, 198, 323. tomb of Card. Portogallo, 290. work at Or S. Michele, 335.

biography, 217-234. Council Hall built for, 298. at death-bed of L. de' Medici, 58. forms a Great Council, 73. influence on Fra Bartolommeo,

Roman

art, 275. 130.

Empire, seat transferred,

on
10.

446. Botticelli, 443.

Romance, Boccaccio the

modern,
169.

father of

Rome, compared with Florence,

influence on Dante, 127. influence of monuments, 124. sacked by Constable de Bourbon, 78, 255, 402. Rosselli, Cosimo, 441-442. and decorations of Sixtine chape], 443.
Rossellini, the, 376-378. Rossellini, Bernardo, 207.

portrait at San Marco, 233. sent to Charles VIII., 72. Savonarola, Niccolo, 218. Scotino, il, 234.

Sculpture, 348-416. Scutcheons on buildings, 325.

Serapeum,
131.

sacked by Theodosius,

Servi, Medician chapels in ch. of the, 36. Seti, statues by Giov., 338.

Settignano, Desiderio da, biography

of, 368-370.

tomb of
317.

character of work, L. Bruni,

9.

184,

185, 189,

Rossi,

tomb of Card. Portogallo, Adamo, 293.

290.

character of his work, 9. reference toby Giov. Santi, 318. tomb of Marsuppini, 188, 189, 318. Sforza, Catherine, dau. of Galeazo,
83.

Rosso, 458.

Rovere, della, see Pope Julius

II.

and Sixtus

IV., Vittoria, 106.

389.

Rovezzano, Benedetto,

Shrine, Orcagna's Gothic, 330-331. Sicily colonized by Greeks, 272. Siege of Florence, the, 5, 78.

INDEX.
Siena, fountain, 356. pulpit in Cathedral, 350 treaty with, 17.
103.

475
102, '

Tacca, statues of the Medici,

Tadda Cecco
of, 328of,

University

of, 87.

wars with, 17. Siena, Ugolino da.

329, 330, 332.

Madonna

del, fountain by, 297. statue of Justice, 88. Tafi. Andrea, 310, 420. Tagliacozzo, battle of, 351.

Talenti, Refectory of

S.

Signorelli, Luca,
446.

biography
V., 31.

Maria Noof, 163.

445-

vella, 344.

Tarentum, Prince Louis

Signoria

and Martin

nucleus formed of the, 21. Piazza della, 295-296. Signorini, Mulazzi, 320. Simonetta, La Bella, elegy on death
of, 215. portrait of, 215, 443.

Tarquinius Priscus and Temple of

Jupiter, 275,

Tavanti, tomb of Angiolo, 320. Taxation, oppressive system of,

de' Medici, 26, 27.

26.

system reformed by Giovanni

Taxes, lightened by John Gaston,
118.

Sinibaldi da Motelupo, Baccio, 387. Sixtine chapel, decoration of the,

394-395.

Temple of Jupiter

Capitolinus, 275.

Sixtus, see Pope. Soderini, Pietro, appointed Gonfaloniere for life, 73.
flight of, 74, 249.

of the Malatestas, 202, 208. Terre del Sole, Fortress of, 87. Tesoro and Tesoretto, by Brunetto
Latini, 143.

Theatre, Politian writes decalogues

for the, 240.

tomb

of, 389.

Soderini, Vittorio, account of death of Bianca Capello, 97. Sophocles, MS, preserved by Petrarch, 128. Spanish chapel at S. Maria Novella,
344.

Thiers,
256.

on Guicciardini's History,

Tiraboschi, anecdote about Ficino,

214.

Titian, portraits by, 80.

Specchio della Vera Penitenza, by

Passavanti, 152. Spence, Mr. William, discovers Botticelli's Pallas, 442.

Title,

tomb of, 315. Venus in the Tribune, 110. Royal, obtained by Cosimo
in.

III.,

Spezeria of S. Maria Novella, 344. Spinazzi, tombs at S. Croce, 320.

Spinelli, Spinello, 432-433.

Toledo, Eleanora di, 92, 200. Tombs of Marsuppini and Bruni,

189.
of,

biography

Tommaso

in Mercato of the Medici, 36.

S.,

residence

Squarcialupi, Antonio, tomb of, 306. "Stanze" of Politian, 239. Stephen, Order of S., 87, 102. victory of the Turks by Knights
of, 345.

Toriti, Jacobus, 293.

Mosaics of, 420. Tornabuoni, Camilla Lucrezia,

44-45, 215.

38,

Stoldi, Lorenzo, 415.

Strabo,
Strozzi,

on Etruscan and Egyptian

chapel in
S.

art, 270.

of Gastone della, 322. Torrentino works printed in Florence, 88. Torrigiano, 402.
Torre,

tomb

Maria Novella,

biography

of, 389-390.

343.

fanali, 366-367.

Filippo the Younger, 380-382. the Elder, 379.

tomb

of, 343.

Torture, Galileo, 263. Macchiavelli, 249. Tour, Madeleine, Jean de la, 76. Tower del Guarda morto, 302. of the Lion, 18.

key, 367. Palace, 299, 366, 379.

Palla, 133, 182.

Vacca,

294.

Trajan, Column of, 278. Trappists, Monastery founded

by

Swabia, influence on Italy of House

of, 136.

French,

112.

Sylla, cohorts
11.

of,

build Florence,

embellishes Florence, 12.

Tabernacle, at
293.

S.

Paolo extra Muros,

of, 415-416.

Treaty, with Charles VIII., 71. with Imperial Forces, 80. with Siena, 17. Trebbio, 36. Trial, instructions for Galileo's, 262. official report of Galileo's, 261. Tribolo, Niccolo Bracini, biography
of, 413-414. Trinita, church of S., 349.

Tacca, Pietro, biography fountains by, 345.

476
church
of, 289.

INDEX.
Vasari,
314.

Trinita, miraculous crucifixion in

tomb of Michael Angelo,

8.

Ponte, S.,312.

"Triumphs," under the Medici, 4652,91,96,104. illustrated accounts of sixteenth

Vatican, Monuments of the, Vaucluse, 154. Vecchio, Palazzo, 8, 294-301. Ponte, 311-312.
Veil,

century,

48.

becomes subject

to

Rome,

268.

Troubadours, Italian literature influenced by, 138. Turks, bombard towns on the coast,
102.

Veneziano, Antonio, 431-432. Leopoldo, 317. Venice and Florence compared,

library

10.

founded by Cosimo de'

36. of, 8.

vessels destroyed

by Cosimo

de'

Medici,

Medici,

87.

monuments
become
indepen-

Tuscan

colonists, 11.
20.

Communes
dent,
II., 105. Tyrrhenians, 11.

Venus de' Medici, brought from Rome, U5. Vera, tomb of, 356.
Verdiana, Monastery of S., Verrocchio, Andrea, 449. biography of, 370-373.
ball
35.

Tuscany during minority of Ferdi-

nand

Ubaldini, Azzo,
of, 365.

equestrian statue

on Duomo cupola, 306. boy and dolphin, 44, 297. Madonna on Bruni's tomb,

317.

TJberti family, the, 15. Farinata degli, 19. PftlRoe 294

Ucello, Paolo, biography of, 433434. Uffizi, Gallery, the, 417-418. connected with the Pitti, 89. enriched by Cosimo III., 115.

statue of Colleone, 44, 298. of S. Thomas, 335. tomb of Piero de' Medici, 44. wax models of the Medici, 70. Messer Giuliano, 370.

Vienna, Council

of, 132.

Vieri de' Cerchi, at Campaldino, 21. joins the Bianchi, 22.

by John Gaston and Anna Maria

de' Medici, 118.

summoned

to

Rome,

22.

founded by Francesco Ugo, tomb of Count, 384.

Palace, 295.

I., 93.

Vilanella. la Bella, 291. Villani, Filippo, 152, note. description of Boccaccio, 167.

Uguccione, della Faggiuola,

24, 146.

Unity of

Italy, the, 10.

Universities of Pisa and Siena, 87. Urban, see Pope. Urbino, Gentile di', tutor of Lorenzo
de' Medici, 45.

Villari, 232.

Giovanni, biography of, 150-152. Matteo, 152. biography of Savonarola,

Vinci. Leonardo da, 139.

biography of, 449-452. angel in Verrocchio's picture,

371.

Uzzano, Niccolo da,

27.

Vacca,

la, 295.

marble lion by Flaminio, Tower della, 294. Vadimo, battle of, 268.
Valeriano,

340.

Vinci, Pietro da, 449. Virgil and Dante, 127. house at Brindisi, 127. statue decorated, 127.
Vitale, mosaics of S., 135.

Cardinal, lays Duomo corner-stone, 303. Valois, portrait of Charles of, 326. Valori, tomb of Bartolommeo, 360. Vanities, burning of the, 223, 224,
225.

Volgare Eloquio, by Dante, 145. Volsinii, capture of the, 269.

Volterra,

Duomo,
of, 58.

349.

sack

Varchi, Benedetto, delivers Michael An^elo's funeral oration, 398. description of Hippolytus, 79. on influence of the Medici, 37.
Vasari, Giorgio, 455. chapels at S. Croce, 314.

Will of Boccaccio, 167. Wolf of the Capitol, 269. World, predictions of end of the,
282.

Writers of the fifteenth century,

48.

Zamoiska, tomb of Countess,

Zenobio,
S., 304.

321.

connects Pitti and Uffizi, 89. paintings in Palazzo "Vecchio,

shrineof S., 358, 360. Zuccone di Donatello, il,

305.

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