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Les diayrammes suivants illustrent la m6thode. 32X 1 2 3 4 5 6 fr^ ■■■ ^"' F FLORENCE GRANT ALLEN'S HISTORICAL GUIDE BOOKS TO THE PRINCIPAL CITIES OF EUROPE TREATING CONCISELY AND THOROUGHLY OF THE PRINCIPAL HISTORIC AND ARTISTIC POINTS OF INTEREST THEREIN NEW YORK A. WESSELS COMPANY 1900 i > ...-■, ^^.>.«»S»«*»'' \ >5 5^ t ,1 INTRODUCTION THE object and plan of these Historical Handbooks is somewhat different from that of any other guides at present before the public. They do not compete or clash with such existing works ; they are rather intended to supplement than to supplant them. My purpose is not to direct the stranger through the streets and squares of an unknown town towards the buildings or sights which he may desire to visit ; still less is it my design to give him practical information about hotels, cab fares, omnibuses, tram- ways, and other every-day material conveniences. For such details, the traveller must still have recourse to the trusty pages of his Baedeker, his Joanne, or his Murray. I desire rather to supply the tourist who wishes to use his travel as a means of cultu-e with such historical and antiquarian in- formation as will enable him to understand, and therefore to enjoy, the architecture, sculpture, painting, and minor arts of the towns he visits. In one word, it is my object to give the reader in a very compendious form the result o*" all those inquiries which have naturally suggested themselves to my own mind during thirty-five years of foreign travel, the solution of which has cost myself a good deal of research, thought, and labour, beyond the facts which I could find in the ordinary handbooks. For several years past I have devoted myself to collecting and arranging material for a set of books to embody the idea /,. ||^^,^«««a,»ia««««l»SM!lBa«»&^^ ,**»ia*>*v&*^i -.Jwie^ INTRODUCTION I had thus entertained. I earnestly hope they may meet a want on the part of tourists, especially Americans, who, so far as my experience goes, usually come to Europe with an honest and reverent desire to learn from the Old World whatever of value it has to teach them, and who vhole, and upon the allusions or symbols which its fabric embodies. A single instance will show the method upon which I intend to proceed better than any amount of general description. A church, as a rule, is built over the body or relics of a particular saint, in whose special honour it was originally erected. That saint was usually one cf great local importance at the moment of its erection, or was peculiarly implored ^.•r-^.^TwwsswKsavRftiKM^asi,'-'. ■« INTRODUCTION ey may meet a ans, who, so far e with an honest Torld whatever ot pared to take an d account which dors 1 shall call ion. ly with the Great y are numerous. ueci will be some- why a town ever )ot — what induced e than elsewhere, social or political ch it assumed its it gave rise to that s Art, and towards After that, we giowth or develop- of art which they oisible, tracing the jarticular, we shall each structure as or symbols which )on which I intend eneral description, ody or relics of a r it was originally at local importance peculiarly implored fjifisrstimiimfiv against plague, foreign enemies, or some other presiting and dreaded misfortune. In deahng with such a church, then, I endeavour to show what were the circumstances which led to its erection, and what memorials of these circumstances it still retains. In other cases it may derive its jrigin from som^T:^.;iH-^l'^ I ia HOW TO USE THESE BOOKS GUIDE- rHE portions of this book intended to be read at leisure at home, before proceeding to explore each toivn or monument, are enclosed in brackets \thus\ The portion relating to each principal object should be quietly read and digested before a visit, and re- ferred to again aftenvards. The portion to be read on the spot is made as brief as possible, and is printed in large legible type, so as to oi easily read in the dim light of churches, chapels, and galleries. 7)^d' Icey-note words arir printed in bold type, to catch the eye. Where objects are numbered, the numbers used are always those of the latest official catalogues. Baedeker's Guides are so printed that each principal por- tion can be detached entire from the volume. The traveller who uses Baedeker is advised to carry in his pocket one such portion, referring to the place he is then visiting, to- gether with the plan of the town, while carrying this book in his hand. These Guides do not profess to supply prai,- tical information. Individual works oj merit are distinguished by an aster- isk (*) / those of very exceptional interest and merit have two asterisks. Nothing; is noticed in this book which does not seem to the writer worthy of attention. See little at a time, and see it thoroughly. Never attempt to "do" any place or any monument. By following strictly the order in which objects are noticed in this book, you will gain a conception of tlie historical evolution of the town which you cannot obtain if you go about looking at churches and palaces hap-hazard. The order is arranged, not quite chronologically, but on a definite plan, which great lyfacili- tates comprehension of the subject. I GUIDE- ^.d to be read at \g to explore each n brackets \thus\ 1 object should % visit, and re- on to be read on ind is printed in n the dim light of -note words are Where objects are 'hose of the latest ach principal por- ne. The traveller in his pocket one : then visiting, to- carrying this book rss to supply prai.- ished by an aster- t and merit have is book which does n. V. Never attempt > following strictly this book, you will ution of the town looking at churches •rranged, not quite .l.ri4S#'-'' ORIGINS OF FLORENCE 15 fertile, bordered by nous Chianti wine. e seat of the second :e, however, was not (now silted up and iportance ; possessed its ; and erected the side the town which ion of tourists. But the inland trade, and er the destruction ol iportance ; and, Pisa Genoa, the inland 10 basin. Nominally :tically an independ- quarrels, but capable ing cities. Its chief • than those of Pisa ; hurches and palaces, 1, till about the close riod belongs the rise )ainting under Giotto, nilitary, and artistic larly Florence, teresting at Florence its final crown in Fra 1 5th, we get the dawn rt set out once more ue workmanship. In irm of humanism ; in 1 itself in the persons i Donatello ; in paint- elli, Ghirlandajo, and J set forth here the dvanced to the height Michael Angelo, and that my readers will in Kugler and Layard feSfeS'-iiiS'^'' or other high-class authorities. Nor shall I endeavour to trace the rise of the dynasty of the Medici, whose influence was so great upon the artistic expression of their country ; the limits of space which I have imposed upon myself here render such treatment impossible. I will rather proceed at once to my detailed examination of the chief existing monuments of Florence in roughly chronological order, leaving these other facts to exhibit themselves piecemeal in their proper place, in connection with the buildings or pictures of the city. For in Florence more than elsewhere I must beg the reader to excuse the needful brevity which the enormous mass of noble works to be explained in this richest of art-cities inevitably entails upon me. We start, then, with the fact that up to nearly the close of the 13th century (1278) Florence was a comparatively small and uninteresting town, without any buildings of importance, save the relatively insignificant Baptistery ; withv^ut any great cathi dral, like Pisa and Siena ; without any splendid artistic achievement of any kind. It consisted at that period of a labyrinth of narrow streets, enclosing huddled houses and tall towers of the nobles, like the two to be seen to this day at Bologna. In general aspect, it could not greatly have differed from Albenga or San Gimignano in our ova time. But commerce was active ; wealth was increasing ; and the population was seething with the intellectual and artistic spirit of its Etruscan ancestry. During the lifetime of Dante, the town began to transform itself and to prepare for becoming the glorious Florence of the Renaissance artists. It then set about building two immense and beauti- ful churches— Santa Croce and Santa Maria Novella- while, shortly after, it grew to be ashamed of its tiny San Giovanni (the existing Baptistery), and girded itself up to raise a superb Cathedral, which should cast into the shade both the one long since finished at maritime Pisa, and the one then still rising to completion on the height of Siena. Florence at that time extended no further than the area known as Old Florence, extending from the Ponte Vecchio to the Cathedral in one direction, and from the Ponte alia I ii i > ^ .i|t i i ifjj i H i i t^ tf^»t 1 l6 FLORENCE %.. Carraja to the Grazie in the other. Outside the wall lay a belt of fields and gardens, in which one or tv/o monasteries had already sprung up. But Italy at that moment was filled with religious enthusiasm by the advent of the Friars, both great orders of whom, the Franciscans and the Dominicans, had already established themselves in the rising commercial city of Florence. Both orders had acquired sites for monastic buildings in the space outside the walls, and soon began to erect enormous churches. The Dominicans came first, with Santa Maria Novella, the com- mencement of which dates from 1278 ; the Franciscans were a little later in the field, with Santa Croce, the first stone not being placed till 1294. Nevertheless, though the Dominican church is thus a few years the earlier of the two, 1 propose to begin my survey of the town with its Francis- can rival, because the paintings and works of art of Santa Croce are older on the whole than those of Santa Maria, and because the tourist is thus better introduced f the origins and evolution of Florentine art. Remember, in conclusion, that Florence in Dante's day •as a small town, with little beauty, and no good building save the (since much embellished) Baptistery ; but that during Dante's lifetime the foundations were laid of Santa Maria, Santa Croce, and the great Cathedral. We shall have to trace the subsequent development of the town from these small beginnings. The Roman name Florentia passed into Fiorenza in mediaeval times, and is now Firenze. From a very early date, St. John Baptist (to whom the original Cathedral was dedicated) has been t'-e patron saint of Florence. Whenever you meet him in Florentine art, he stands for the city, as St. Mark does for Venice, or the figure of Britannia for our own island. St. Cosmo and St. Damlan, the holy doctors, and therefore patron saints of the Medici family, and especially of Cosmo de' Medici, also meet us at every turn. They represent the ruling family, and may be recognised by their red robes and caps, and their surgical instruments. WWWWS'K' side the wall lay a |or two monasteries that moment was Iveni oftJie Priara, nciscaiis and the themselves in the Both orders had the space outside ous churches. The la Novella, the com- ,e Franciscans were roce, the first stone heless, though the »e earlier of the two, m with its Francis- orks of art of Santa )se of Santa Maria, it introduced t' the ence in Dante's day nd no good building baptistery ; but that i were laid of Santa lathedral. We shall ent of the town from Bd into Fiorenza m baptist (to whom the s been f'e patron sei him in Florentine does for Venice, or id. ! holy doctors, and iedicl family, and neet us at every turn. i may be recognised surgical instruments. ORIGINS OF FLORENCE 17 wwwsrasEsjsw-Ti Saint Lawrence is also a great Medici Saint : in early works, he represents Lorenzo de' Medici the elder, the brother of Cosmo (1395-1440:) in later ones, he stands for Lorenzo the Magnificent (1449-92.) Observe for yourself which of the two the dates in each case show to be intended. Santa Reparata, the old patroness of the city, and San Zanobi, its sainted bishop, arc also frequent objects in early painting and sculpture in Florence. If you visit the various objects in the order here enumerated, you will get a better idea of the development of Florence and of Florentine art than you could possibly do by hap-hazard sight-seeing. Also, you will find the earlier steps explain the later. But there can be no harm in examining the picture-galleries side by side with the churches, especially if dark or wet days confine you ; pro- vided always you begin with the Belle Aril, which contains the A B C of Tuscan and Umbrian panel-painting. From it you can go on to the Uffizi and the Pitti. ■. IIII..-W imlWii II ' T 1 SANTA CROCE AND THE FRANCISCAN QUARTER PQT. FRANCIS of Asslfll, the Apostle of the Poor, died LO in 1226, and was promptly canonised in 1228. His followers spread at once over every part of Italy, choosing in each town the poorest quarters, and ministering to the spiri- tual and temporal needs of the lowest classes. They were representa^ves of Works, as the Dominicans of Faith. In 1294, (some 16 years later than the Dominicans at Santa Maria T^ovella) they began to erect a church at Florence, outsii ^ the walls, on the poorer side of the city, dose by their monastery. It was dedicated under the name of Santa Croce, and shortly adorned by Giotto and his pupils with beautiful frescoes, the finest works of art yet seen in Italy. Two things must thus be specially borne in mind about this church: (i) it is a church of the Holy Cross, whose image and history meet one in it at every turn ; (2) it is a Franciscan church, and therefore it is largely occupied with the glorification of St. Francis and of the order he founded. Their coarse brown robes appear in many of the pictures. Look out for their great saints, Bernardino of Siena, Louis of Toulouse, Antony of Padua, etc. The Franciscans were a body of popular preachers. Hence, in their church, the immense nave, which includes the pulpit, was especially importint. It was designed to accommodate large numbers of hearers. But its width and empty spaces also gave free room for many burials ; whence Santa Croce became one of the principal churches in l.l Floi cog wh« wer a s( liul cnl W.1 lies abl esp fav the He the Ta do sti yo th ba w< fn e> th is in sr w tl ¥ r^Tr»;FTK!?aE'^i^^«SftSSS^f-W^W^V>^A^^'' JARTER e of the Poor, died sed in 1228. His F Italy, choosing in taring to the spiri- asses. They were :ans of Faith. In e Dominicans at irect a church at r side of the city, ed under the name by Giotto and his t works of art yet specially borne in turch of the Holy one in it at every and therefore it is of St. Francis and rown robes appear their great saints, , Antony of Padua, jopular preachers, ve, which includes [t was designed to But its width and ly burials ; whence icipal churches in 1.1 SANTA CROCE 19 Florence for interments. In time, it grew to be the re- cognised Pantheon or " Westminster Abbey" of the town, where men of literary, scientific, or political importance were laid to rest ; and its numerous monuments have thus a sentimental interest for those who care for such memorials, liut it would be a gre.it mistake to regard Santa Croce entirely or even mainly from the point of view of a national Walhalla, .is is too often done by tourists. Its real interest lies rather in the two points noted above, and in the admir- able works of art with which it is so abundantly supplied, especially in the chapels of the various great families who favoured the order. The general design is by Arnolfo di Cambio, who at the same time was employed in designing the Cathedral. Begun, 1294 ; finished, 1442. It is the best museum for the Florentine art of the 14th century. See it by morning light. Choose a bright morning. Take your opera-glasses.] Go past the Cathedral and the Signoria, and then dive down the narrow Borgo de' Greci, through the tangled streets of the Old Town, (which mte as characteristic) till you arrive at the Piazza Santa Croce. In the centre of the square stands a modern statue of Dante, turning his back on the church which he never really saw. Its walls were only rising a few feel high when the poet was banished from Florence. Proceed first to the north side of the church, to view the exterior of the mediaeval building, now much obscured by the later Renaissance loijgia. Little of the primitive design is at present visible. Notice the bare brick architecture, intended to be later incased in marble. Observe also the smallness. infrequency, and height from the ground of the windows, and the extreme difference in this respect from the vast stained-glass-containing arches of northern Gothic. Here, the walls themselves support most of the weight, instead of leaving it to buttresses as in France and England. This wealth of wall, however, with the smallness of the windows, ^iJr 30 FLORENCE [1. permits of the large development of fresco-palntlng within, which is characteristic of Italian buildings : it also allows room for the numerous monuments. Note at the same time the short transept and sma'.l rose window. Now, go round again to the front. The fai^ade, long left unfinished, was encrusted with marble in 1857, by the munifi- cence of . .Sloane, an Englishman, after a Renaissance design. ' . to be by Cronaca, modified by the modern archiu ''li. Matas. The nave and aisles have separate gables. ' Notice, throughout, the frequent occurrence of the Holy Cross, sustained over the main gable by two angels ; flanked, on the two lesser gables, by the Alpha and Omega ; and re-appearing many times elsewhere in the general decoration. The modern reliefs over the doors represent, L, the Discovery of the True Cross (Sarrocchi :) centre, the Adoration of the Cross (Duprd :) R, the Cross appearing in Heaven to Constantino, and so imposing itself as the symbol of the official religion of the Roman Empire (Zucchi). Observe the fine Renaissance work of the doorways, with the Alpha and Omega again displayed. High up on the front, over the rose window, is the monogram I HS, intro- duced by the great Franciscan saint, San Bernardino di Siena. His original example is preserved within. The right side of the church is enclosed by the former buildings of the monastery. Now, enter the church. The Interior is at first sight bare and simple to the degree of positive disappointment. The Franciscans, vowed to poverty, were not a wealthy body. Begin by walking up the centre of the nave, to observe the simple aisles, (with no side chapels) the short transepts, the impressive but by no means large Gothic choir, (of Arnolfo's period) and the ten chapels, built out from the transept, as in continuation or doubling of the choir, all of which are characteristic features of this age of Italian Gothic. Each of these chapels was the property of some great mediiBval family, such as the Bardi or the Peruzzt. Observe also the plain ham-like wooden roof, so different from the beautiful stone vaulting of northern cathe- >■] ex ■n"WM'(:»««y453S:" paintins within, s : it also allows te at the same low. favade, long left 57, by the munifi- er a Renaissance by the modern s have separate occurrence of the le by two angels ; pha and Omega ; : in the general e doors represent, rchi :) centre, the ross appearing in self as the symbol Empire (Zucchi). ie doorways, with High up on the ogram IHS, intro- an Bernardino di 'ed within. The e former buildings r is at first sight 'e disappointment. !re not a wealthy 5 of the nave, to chapels) the short Jans large Gothic chapels, built out • doubling of the ires of this age of ^as the property of the Bardi or the e wooden roof, so of northern cathe- ••] SANTA CROCE 21 drals. Architecturally, this very simple interior is severe but interesting. Now, go down again to the door by which you entered, and proceed along the R aisle, to observe the various objects it contains in detail. 1 will dwell upon the monuments very briefly, as mere excrescences upon the original building. Michael Angelo BuonarottI, k, buried I v. Died at Rome, 1564. General design by Vasari ; bi ,. ';: Bat- tista Lorcnzi ; figure of Architecture by Giovanni dell' Opera ; Painting by Lorenzi ; Sculpture by Cioli. Preten- tious and feeble. P:llar L, *Madonna and Child (Madonna del Latte) part of the monument of Francesco Nori, by Antonio Ros- sellino, 15th cent ; extremely beautiful. R, Dante's cenotaph. The poet is buried at Ravenna. L, on a column, the famous *pulpit, by Benedetto da Majano, said to be the most beautiful in Italy, though far inferior in effect to that of Niccol6 Pisano at Pisa. Its supports are of delicate Renaissance work. The subjects of the reliefs (Franciscan, of course) are, the Confirmation of the Franciscan order. Burning immoral books, St. Francis receiving the Stigmata, Death of St. Francis, and Martyr- dom of Franciscan Saints. Notice the hand holding out the Holy Cross from the pulpit, here more appropriate than elsewhere. The statuettes beneath represent Faith, Hope, Charity, Courage, and Justice. R, opposite it, monument of Alflerl, erected for his mistress, the Corntess of Albany, by Canova. Macchiavelli, died 1527 : monument erected in 1787. Lanzl, the historian of art. A fresco, by Andrea del Castagno, with St. John Baptist, as patron saint of Florence, and St. Francis, as representing the present church and order. This alone now remains of all the frescoes of the nave, cleared away by the Goths of the 17th cent. Near it, exquisite ^^Annunciation by Donatello, of pittra serena^ gilt, in a, charming Renaissance frame ; aa FLORENCE [•• perhaps the most bcnutiful object in the whole church. Notice the .tpeukiiiK po»itiont of the aw^kX and Our I.ndy, the usual book and pHedieu, and the uxquisite shrinking timidity of the Madonna's attitude. Worth all the tombs put together. Over the door, the Meeting of St. Francis and St. Dominic. Compare with the Delia Kobbia at the Hospital of San I'aolo, near Santa Maria Novella. Beautiful Renaissance tomb of Leonardo BrunI, by Dernardo Kossellino — a model afterwards much imitated, especially at Venice. Turn the corner into the R transept. The first chapel on your r, that of the Holy Sacrament, is covered with much-defaced frescoes by A^^nolo (iaddi. (Recollect that this church is the great place for studying the eariy Giot< tesque fresco-painters : first, Giotto ; then, his pupil, Taddeo Gaddi; next, Taddco's pupils, Agnolo Gaddi, and Giovanni da Milano. See Kugler.) R wall, lives of St. Nicolas (first bay) and St. John Uaptist (second bay). The most distinct of these are (ist) St. Nicolas appearing in a storm at sea, (or, restoring the nobleman his drowned son .) and (2nd) the Haptism of Christ ; but some of the others can be faintly recognised, as at the top, the figure of St. Nicolas throwing the three purses of gold as dowries into the window of the poor nobleman with three starving daughters. (See Mrs. Jameson.) The walls here show well the way in which these frescoes were defaced by later additions. L wall, lives of St. John the Evangelist and St. Antony, also by Agnolo Gaddi. The scene of the Temptation of St. Antony is the best preserved of these. Against the pilasters, life- size terracotta statues of our Franciscan lights, St. Francis and St. Hernardino, by the Delia Robbia. L wall, monu- ment of ttie Countess of Albany. End wall of the R transept, good Gothic monument of the 14th cent, with reliefs of Christ, the Madonna and St. John, and a Madonna «!«!»-- r whole church. I and Our Lady, L|ui!iite sluiriking th all the toinbi Francis and St. % at the Hospital irdo BrunI, by ) much imitated, The first chapel is covered with (Recollect that g the early Giot- his pupil, Taddco :ldi, and Giovanni s of St. Nicolas bay). The most caring in a storm owned son .) and the others can be ire of St. Nicolas !S into the window daughters. (See I the way in which Iditions. L wall, . Antony, also by tion of St. Antony the pilasters, life- lights, St. Francis a. L wall, monu- c monument of the snna and St. John, and exquisite little a. The Chapel of ironcelll, contains I] SAXTA CROCE n admirable •♦ frescoes from the Life of the Virffin, by Taddco (laddi. These should all be carefully studied. L wall, beginning from above, (as always here) Jirst tur, Joachim is expelled by the High Priest from the temple, his offering being rejected because he is childless : watching hit flocks, he perceives the angel who foretells the birth of the Virgin. Notice the conventional symbolical cipen Icinple. (Read the legend later in Mrs. Jameson.) ind tiir, U the meeting of Joachim and Anna at the Ciolden date ; the servant behind carries, as usual, the rejected offering ; R, the Kirth of the Virgin, the child, as always, being washed in the foreground. Observe closely the con- ventional arrangement, which will re-appear in later pictures, yti tier, i,, Presentation of the Vi.gin in the Temple by St. Joachim and Si. Anna j the young Madonna stands on a single flight of steps (wrongly restored above). Carefully study all the details of this fresco, with its Romanesque or early Gothic architecture and round arches, lor comparison with the Giovanni du Milano of the same subject, which we will see later. (At three years old, the Virgin was consecrated to the service of God by Joachim and Anna.) R, the Marriage of the Virgin ; the High Priest ioining her hand to Joseph's, whose staff has budded, in accordance with the legend. (All were placed in the Holy of Holies, as in the case of Aaron ; and he whose staff bud- ded was to wed the Virgin.) Observe the disappointed suitors breaking their staffs, etc. All the incidents are stereotyped. This picture should be carefully noted for comparison both with the Giovanni da Milano here, and with other representations of the Sposalizio elsewhere : {e.g. the Raphael at Milan.) I strongly advise very long and close study of these frescoes, (some of which are imitated directly from Giotto's in the Madonna dell' Arena at Padua,) for comparison both with those originals and with the later imitations by Giovanni da Milano. They cast a flood of light upon the history and evolution of art. Each figure and detail will help you to understand other pictures you will see hereafter. It is a good plan to get photographs of :s-»v»*v*aKI»"',- 1 24 FLORENCE [I- the series, published by Alinari in the Via Tornabuonl, and look at the one series (Gaddi's), with the photographs of the other (Giovanni's) in your hands. You cannot over- estimate the importance of such comparison. In the two Presentations, for example, almost every grot-.p is reproduced exactly. Window wall : above, l, Annunciation ; R, Visitation •. notice the loggia in the background. These are also most illustrative compositions. 2nd tier, L, the angel appears to the shepherds ; R, Nativity. 3r^ Her, L, the Star appears to the Wise Men ; R, the Adoration of the Magi. Notice the ages of the Three Kings, representing, as always, the three ages of man, and also the three old continents— Europe, Asia, Africa. Observe the very Giottesque Madonna and Child. This fresco should be compared with the Giotto at Padua. R wall, fresco by Mainardi : the Madonna ascending in a mandorla, escorted by angels from her tomb, which is filled with roses, drops the Sacred Girdle, (Sacra Cintola), now preserved at Prato, to St. Thomas below. (Go to Prato to see it, in order to understand the numerous Sacra Cintola pictures in Florence ; and read in Mrs. Jameson, under head, St. Thomas.) L of this chapel is the door leading to the Sacristy. At the end of the corridor is the Cappella Medici, erected by Michelozzo for Cosimo de' Medici. It contains many beauti- ful objects. R wall, *marble ciborlum, by Mino da Fiesole, with charming angels and an inscription: "This is the living bread which came down from heaven." Giottesque Coronation of the Virgin with four saints-conspicuous among them, Peter and Lawrence. Over the tomb of Loinbardi, beautiful *Madonna and angels of the school of Donatello. End wall, (our patron) St. Francis with the Stigmata. Over the altar, exquisite *»terra-cotta Madonna of the school of Delia Robbia, (attributed to Luca) bemg crowned by angels, and attended by, L, St. John Baptist as representing Florence, R, St. Lawrence (Lorenzo de' Medic..), St. Frai>cis (for this Franciscan church), and St. Louis of I] Toi Coi in \ for Be; ove No free cha No alti 1 Sa sh( Gu pr« Th Pi« sol on coi int frc CO Cl( all ar pc ex to G at w; ce th 3' in iWSS»T.Ssi'4i,>»;*i!iS.'5;«'SsS' •"" [I. le Via Tornabuoni, and ith the photographs of >ds. You cannot over- imparison. In the two r'ery group is reproduced iciation ; R, Visitation ; These are also most L, the angel appears tier, L, tht Star appears n of the Magi. Notice esenting, as always, the old continents — Europe, iottesque Madonna and pared with the Giotto at e Madonna ascending in her tomb, which is filled lie, (Sacra Cintola), now below. (Go to Prato to numerous Sacra Cintola TS. Jameson, under head, ng to the Sacristy. At pella Medici, erected by It contains many beauti- iuin, by Mino da Fiesole, scription : "This is the jm heaven." G iottesque four saints— conspicuous ce. Over the tomb of I angels of the school of m) St. Francis with the ;e **terra-cotta Madonna ttributed to Luca) being y, L, St. John Baptist as nee (Lorenzo de' Medici), hurch), and St. Louis of «■] SANTA CROCK 25 Toulouse, the great Franciscan bishop. L wall, a famous Coronation of the Virgin, by Giotto, tender in execution, but in his stiffest panel style. It is regarded as a touchstone for his critics. Very graceful faces : crowded composition. Beyond it, Madonna and Child by the Delia Robbia, and, over the doorway, Pietk, by the same, in a frame of fruit. Notice these lovely late 15th century majolica objects, frequent in Florence. All the works in this very Franciscan chapel of the Medici, indeed, deserve close inspection. Notice their coat of arms (the pills) over the arch of the altar and elsewhere. It will meet you often in Florence. Returning along the corridor, to the R, you come to the Sacristy, containing many curious early works, all of which should be noted, such as the Crucifix bowing to San Giovanni Gualberto as he pardons the murderer of his brother, in the predella of an altar-piece by Orcagna, to the L as you enter. The R wall has frescoes of the Passion, by Niccol6 di Pietro Gerini, of which the Resurrection, with its sleeping soldiers, mandorla (or almond-shaped glory), and red cross on white banner, is highly typical. Study all these for their conventional features. Notice also the fine roof, and the intarsia-work of the seats and boxes. A beautiful iroii railing of 1371 separates the Sacristy from the Cappella Rinticcini, containing, on the L wall, *fres- coes of the Life of the Madonna by Giovanni da Milano, the close similfvrity of which to those by his master, Taddeo Gaddi, already observed, should be carefully noticed. The subjects are the same : the treatment is very slightly varied ; but pointed arches replace the round ones. Summit, Joachim expelled from the Temple, znd tier, L, the angel appears to Joachim, and the Meeting of Joachim and Anna at the Golden Gate ; R, the Birth of the Virgin ; study the attitudes and note the servant bringing in the roast chicken, St. Anne washing her hands, etc., of ail which motives (older by centuries) imitations occur in such later representations of the s.ime scene as Ghirlandajo's at Santa Maria Novella. yd tier, L, the Presentation in the Temple, with Gothic instead of Romanesque arcade and the steps indicating jsfw.ft^t;ifltf«^3a 26 FLORENCE [I. how those in the Taddeo Gaddi originally ran. (Do not omit to compare these two by means of photographs.) R, Marriage of the Virgin. These two last are specially favour- able examples for observing the close way in which Giotlesque painters reproduced one another's motives. I advise you to spend some hours at least in studying and comparing the frescoes of this chapel and the Baroncelli. On the R wall, scenes from the Life of Mary Magdalen, (to whom this chapel is dedicated). Summit, she washes the feet of Christ ; notice the seven devils escaping from the roof. 2nd tier, L, Christ in the house of Mary and Martha ; observe Martha's quaintly speaking attitude ; R, the Resur- rection of Lazarus, ird tier, L, Christ and the Magdalen in the garden, with the women and angels at the tomb ; R, a miracle of the Magdalen in Provence (see Mrs. Jameson :) she restores to life the wife of a nobleman of Marseilles— a very long story: this fresco is to my mind obviously by another hand : it lacks the simplicity and force of Giovanni. Observe also the fine altar-piece, with the Madonna ...id Child, flanked by St. John Baptist and St. Francis, as repre senting Florence and the Franciscan order : then, St. John the Evangelist, and Mary Magdalen, patroness of the chapel : and, in the predella, scenes from their lives. Emerge from the Sacristy. Now take the chapels in line with the choir. The first chapel contains faded frescoes, said to be of the age of Cimabue, (more likely by a pupil of Giotto) representing the combat of St. Michael and the Devils, which seem to have suggested the admirable Spinello Aretino of the same subject in the National Gallery in London. Second chapel: uninteresting. Third chapel, of the Bonaparte family, tawdry. **Fourth chapel, the Cappella Peruzzi, (called, like the others, after the family of the owners) contains the famous frescoes by Giotto, from the lives of the two St. Johns. L wall, St. John Baptist (patron of Florence). Upper tier, the angel appears to Zacharias. 2nd tier, R, the Birth of the Baptist ; L, he is presented to Zacharias, who writes down, •'s^ztiKW!:x^rs;^^mmfm i y ran. (Do not hotographs.) R, specially favour- which Giotlesque I advise you to 1 comparing the Mary Magdalen, tmi/, she washes ;scaping from the ary and Martha ; le ; R, the Resur- id the Magdalen it the tomb ; R, a ; Mrs. Jameson :) of Marseilles— a nd obviously by brce of Giovanni, he Madonna ,..»d Francis, as repre T : then, St. John patroness of the heir lives, le chapels in line IS faded frescoes, kely by a pupil of Michael and the idmirable Spinello .tional Gallery in , tawdry. ;i, (called, like the ntains the famous two St. Johns. L ). Upper iter, the , the Birth of the , who writes down, I] SANTA CROCE 37 " His name is John." ^rd tier, Herodias's daughter receives his head, and presents it to her mother. The attitude of the player, and the arrangement of the king's table reappear in many later compositions. Look out for them hereafter. R wall, St. John the Evangelist. Summit, he has the vision of the Apocalypse in a quaintly symbolical isle of Patmos. 2nd tier, he raises Drusiana, an admirable opportunity for the study of Giotto's style of drapery. The St. John in this fresco already contains premonitions of Masaccio and even of Raphael, jrrf tier, he is taken up into heaven by Christ in clouds, accompanied by the Patriarchs : a magni- ficent dramatic composition. These frescoes, which repre- sent the matures! work of Giotto's manhood, should be closely studied in every detail. Spend many hours over them. Though far less attractive than his naive earlier work in the Madonna dell' Arena at Padua, they yet display greater mastery of drawing and freedom of movement. Do not let one visit suffice for them. Compare them again and again with photographs from the Arena, and look out for imitations by later painters. Do not overlook the altar- piece, by Andrea del Sarto. It represents the two great plague-saints— San Rocco and St. Sebastian. The Fran- ciscans were great nursers of the plague-stricken, and this altar was one where vows were oflfered for recovery. Fifth chapel, the Cappella Bardi, contains other frescoes, also by Giotto, (unfortunately over-restored) of the Life of St. Francis. These were once the chief ornament of this Franciscan church. L wall : summit, he divests himself of his clothing and worldly goods, and leaves his father's house, to be the spouse of Poverty. 2nd tier, he appears suddenly at Aries, to Sant' Antonio of Padua, while preaching. (Read up all these subjects in Mrs. Jameson's Monastic Orders.) ird tier, the Death of St. Francis ; his soul is seen conveyed by angels to Heaven. This picture, which formed the model for many subsequent saintly obsequies, should be compared at once with the Ghirlandr.jo of the same theme in the Santa Trinitk in Florence. R wall : summit, St. Francis receives the confirmation of the rules of bis order from Pope Inno- •mw^&^ 38 FLORENCE [>. '•] =,■ cent III. 2nd tier^ his trial of faith before the Sultan, yd tier, his miracles (appearance to Guido d' Assisi : a dying brother sees his soul leaping towards heaven). Consult parts I and III of Raskin's Mornings in Floretice, on the subject of these frescoes, but do not be led away by his too positive manner. On the ceiling, St. Francis in Glory, and his three great virtues. Poverty, Chastity, Obedience. Note also the figures of the chief Franciscan luminaries, St. Louis of Toulouse, St. Louis of France, St. Elizabeth of Hungary, and St. Clara (foundress of the Franciscan female order of Poor Clares) round the windows. The whole is thus an epic of Franciscanism. Study it fully. The curious ancient altar- piece of this chapel deserves attention. On the archway, above this chapel, outside, St. Francis receiving the Stigmata, by Giotto — resembling the altar- piece of the same subject in the Louvre, painted by Giotto for San Francesco at Pisa. I recommend long observation of all these Giottos. Go later to Assisi, the town of St. Francis, and compare them with the Giottos in the parent monastery. The choir, which is, of course, the central point of the whole church, usually bears reference to the name and dedication : here, it '•% naturally adorned by the History of the Holy Cross, depicted in fresco on its walls by Agnolo Gaddi. These frescoes, however, are so ill seen, owing to the railing, and the obstacles placed in the way of entering, that I will merely give a brief outline of their wild 'egend as here represented. R wall. 1. Seth receives from an angel a branch from the Tree of Knowledge. He is told to plant it in Adam's heart, with an admonition that when it bears fruit, Adam will be restored to life again. 2. The Tree, cut down by Solomon for use in the Temple, and found unsuitable, is seen in passing by the Queen of Sheba, who beholds a vision of the crucified Saviour, and falls down to worship it. 3. The Tree is found floating in the Pool of Bethesda, and is taken out to be used as the Cross of the Saviour. CO po 1 pu ( off Ch sal C0( ani La set sa] as! La dei lar alt an hi! wi tic or wi he nc til B O f^-KAVis»£}^>ismvmmm!s [I. the Sultan, yd Assisi : a dying :aven). Consult Florence, on the 1 away by his too cis in Glory, and )bedience. Note linaries, St. Louis beth of Hungary, I female order of )le is thus an epic ous ancient altar- tside, St. Francis nbling the altar- painted by Giotto i long observation i, the town of St. ttos in the parent ;, the central point 5nce to the name led by the History s walls by Agnolo ill seen, owing to e way of entering, leir wild 'egend as \i from the Tree of im's heart, with an im will be restored use in the Temple, r by the Queen of :ified Saviour, and Pool of Bethesda, of the Saviour. I] SANTA CROCE fl9 4. The Holy Cross, buried for three hundred years, is dis- covered by the Empress Helena, who distinguishes it by its powers in healing sickness. L wall. 5. Helena carries the Holy Cross in procession amid public rejoicing. 6. Chosroes, King of Persia, takes Jerusalem, and carries off a part of the Holy Cross, which was still preserved there. 7. Heraclius, Emperor of the East, conquers and beheads Chosroes, and rescues the Holy Cross from the heathen. 8. Heraclius brings the Holy Cross in triumph to Jeru- salem, and carries it barefoot on his shoulders into the city. First chapel, beyond the Choir. Interesting altar-piece. Second and third chapels. Nothing noteworthy. Fourth chapel, of St. Stephen and St. Lawrence. Fres- coes by Bernardo Daddi, an early Giottesque. L, the Trial and Martyrdom of St. Stephen. R, the Martyrdom of St. Lawrence, with the usual boy blowing the bellows. The scene is caught at the famous moment when the Saint is saying, " Turn me over ; this side is done." (Jam versa : assatus est.) L and R of the windows, St. Stephen and St. Lawrence, with their palms of martyrdom. (These two deacon saints are usually painted in couples. They simi- larly share Fra Angelico's chapel in the Vatican.) Over the altar, a somewhat vulgarly coloured relief of the Madonna and Child, with angels ; St. John the Evangelist, holding his symbol, the cup and serpent, and St. Mary Magdalen, with the alabaster box of ointment. Notice the Annuncia- tion and the little saints in the predella of this work. Their order from L to R is : St, Dominic with his star ; St. Lucy with her eyes in a dish ; St. Catherine of Alexandria with her wheel ; and St. Thomas Aquinas with his open book. A Dominican work in this Franciscan church, placed here, no doubt, by some Dominican-minded donor. Fifth chapel, of St. Sylvester, contains frescoes by Giot- tino or Maso di Banco. L, over the tomb of Uberto de' Bardi, the Last Judgment, with the dead man rising solitary. Over the next tomb, (this is more probably by Taddeo iss^smm,,- 30 FLORENCE [I. t Gaddi,) the Entombment, all the attitudes in which are characteristically Giottesque, and should be carefully noted. R wall, the Conversion of Constantine, and the niirr.cles of St. Sylvester, greatly faded, (exorcism of a dragon, etc.). Notice, in the lower tier, two dead men restored to life, naively represented in the usual fashion, the dead bodies below, the living rising out of them. Similar scenes will meet you elsewhere. End chapel of the l Transept, no work of importance. Observe from its steps the general view of the building. Chapel beyond Transept, modern monuments and paintings. Return by the L aisle. Monument of Raphael Mor- ghen. ••Monument of Carlo Marsuppini, by Desiderio da Settignano, an exquisite specimen of Renaissance work, v/ith lovely decorative framework and charming boy- angels, Inolding the coat-of-arms of the deceased. Every portion of the decoration of this exquisite tomb should be examined in detail. Observe in particular the robe and tassels. It is a masterpiece of its period. Many of the late altar-pieces in this aisle are worth pass- ing attention, as specimens of the later baroque painting. Tomb of Galileo Galilei, died 1642. Over the holy water stoup, St. Francis with the Stig- mata. Entrance wall of the Nave, in the rose window, Descent from the Cross, thus completing the series of the Holy Cross, from a design by Ghiberti. Beneath it, the original IHS, from the design of St. Bernardino of Siena, the holy Franciscan, who placed it with his own hands on the old fagade. Over the central door, Statue of St. Louis of Toulouse, the other great Franciscan saint, by Donatello : beneath his feet, the crown which he refused in ordtr to accept the monastic profession. Study well all these Fran- ciscan memorials, and observe their frequent allusiveness to the Holy Cross. The reader must not suppose that in this brief enumera- UIL BrrH!33B«5®aBtfcVSafe»,» which most later representations are gradually derived. Notice the position of Judas in the foreground, long main- tained in subsequent paintings. I advise you to get photo- graphs of this work for comparison with the Ghirlandajo at San Marco, the Cenacolo di Fuligno, etc. The Crucifixion, above, has near it a Genealogical Tree of the Franciscan order : close by, St. Francis receiving the Stigmata, History 32 FLORENCE [«. of St. Louis of Toulouse, and the Magdalen at the feet of Christ in the house of the Pharisee. All these, again, should be noted for comparison : they are probably the work of a pupil of Taddeo's. Do not omit to observe the Franciscan character here, too, nor the frequency of the outcast figure of the Magdalen. The Franciscans-thc Salvation Army of their day-ministered especially to the poor and sinful. i«-. -W-. .^ -...'-^rtwxwSifeiaiitWifajl^gia-;- .^^,.Jgf.'t1 jdalen at the feet of these, again, should bably the work of a erve the Franciscan )f the outcast figure the Salvation Army le poor and sinful. II SANTA MARIA NOVELLA AND THE FIRST DOMINICAN QUARTER ["OT. DOMINIC of Castile, the great contemporary and L>^ friendly rival of St. Francis, died in 1 22 1. The order which he founded (distinguishable in art as in life by its black-and-white robe»), soon spread over Italy. The Dominicans constituted themselves the guardians of Faith, as the Franciscans were the apostles of Works ; they pro- tected the faithful against. heresy, and extirpated heretics. The Holy Inquisition grew out of their body. They were also, incidentally, the leading teachers of scholastic philosophy; they posed as the Learned Order. As preachers, they chiefly expounded the Doctrines of the Church, and preserved its purity. The Dominicans were the earliest builders of any im- portant monumental church at Florence. In 1278 (some 16 years before the Franciscans at Santa Croce), they began to erect .- splendid edifice on the west side of the town, in the garden belt outside the narrow walls of the earliest precinct. It served as chapel to their monastery. The design for this church, in pure Tuscan Gothic, was prepared by two Dominican monks, Fra Sisto and Fra Ristoro ; and the building was finished (except the fafade) about 135 5- The /ufade itself is a later Renaissance addition to the original building. Before examining Santa Maria Novella, however, I strongly advise the visitor to begin by inspecting the Strozzi Palace, in the Via Tornabuoni. This massive Tuscan residence forms a typical example of the solid and M C 34 FLORENCE [II. gloomy Florentine palaces -half fortress, half mansion. It was built, as a whole, in 1489 (lonj; after Santa Maria), by Benedetto da Majano, for his patron, Filippo Strozzi, the chief rival of the Medici in the later isth century. The beautiful cornice which tops its exterior on the side next the Via Strozii was added later by Cronaca. But it is well to inspect (from without) this magnificent house before visiting Santa Maria, because both Filippo Strozzi and Benedetto da Majano will meet us again more than once in the church we are about to consider. Observe that the solid Tuscan palaces of which this is the type are designed like fortresses, for defence against civic foes, with barricaded windows high up on the ground floor, and a castle-like front ; while they are only accessible by a huge gate (readily closed) into a central courtyard, lighter and airier, on which the principal living-apartments open. (These palaces incidentally give you the clue to the Cour du Louvre.) Note the immense blocks of stone of which the wall is composed, and the way they are worked ; observe also the windows, doorways, corner-lanterns, and rings or link-holders of the exterior ; then walk into the Court, whose front was added somewhat later by Cronaca. Contrast these fortress town-houses of the turbulent Florentine nobles with the relatively free and open mansions of the mercantile Venetians, among whom (under the strong rule of the Doges and the oligarchy) internal peace was so much earlier secured. Remember finally that the Strozzi were among the chief patrons of Santa Maria Novella. From the Strozzi Palace, again, walk just round the corner into the Via della Vigna Nuova, and inspect the exterior of the slightly earlier Rucellal Palace. The family who built it were the pillars of Santa Maria and of the Dominican order. It was designed by Leon Battista Alberti, the first of the famous Renaissance architects ; it is remarkable for the pilasters which here first intervene between the so-called rustica work of the masonry. These two palaces give you a good idea of the Tuscan houses. If you wish to learn more of Alberti's style inspect also the i--»yf*ir»KWtu»n«SJlsKflSJ^- [n. CSS, half mansion. It ftcr Santa Maria), by , Filippo Strozzi, the ■ isth century. The r on the side next the ica. But it is well to house before visiting trozzi and Uencdetto in once in the church hat the solid Tuscan signed like fortresses, ricaded windows high ike front ; while they readily closed) into a n which the principal .ces incidentally give I Note the immense mposed, and the way windows, doorways, Iders of the exterior ; was added somewhat »ss town-houses of the ilatively free and open among whom (under le oligarchy) internal lemember finally that trons of Santa Maria walk just round the ova, and inspect the Palace. The family ita Maria and of the d by Leon Battista sance architects ; it is here first intervene the masonry. These le Tuscan houses. If style inspect also the fll.] SANTA MA HI A NOVELLA 35 dainty little (hlockcd-up) arcade or loiii^ia opposite ; as also the Rucellal Chnpel in the Via AtWx Spada, which encloses an imitation by Alberti of the Holy Sepulchre at Jerusalem. And now you are in a position to understand Santa Mario, ihtfafade of which this same Alberti designed. Recollect then (i) that it is a Dominican church, full of the glory of the Dominicans, and of their teaching function, as well as of their great philosophic saints, in particular, St. Thomas Aquinas ; look out for their black-and-white robes : and (2) that it is the church of the Rucellai, the Strozzi, the TornabuonI, and other wealthy and noble Florentine families. Earlier in date than Santa Croce as to its fabric, 1 place it later in the order of our tour, because its contained works of art are of later date, and its style less uniform. Choose a very sunny day. Take your opera-glasses.] Go into the Piazza Santa Maria Novella. Observe :he church, and the opposite hospital of San Paolo • good 'clief of the Meeting of St. Dominic and St. Francis by the Delia Kobbia, in R corner of the latter, under the loj^gia. Then, walk round the R corner of the church into the Piazza dell' UnitJi Italiana, where stand by the obelisk to examine the exterior of the inediosval portion of the building, with its almost windowless Nave and Aisles, and its Transept with small rose window. This part was designed for the Rucellai by two Dominican monks about 1278. Afterwards, proceed towards the Railway Station, so as to observe the architec- ture of the end of tl'R church, and the interesting campanile. This is all part of the primitive building. Now, return to the much later Renaissance facade, erected by Leon Battista Alberti in 1456 for Giovanni Rucellai. This fagade is well worth close notice, as a specimen of early Renaissance architecture. Observe first the earlier Gothic arcades {avelli), in black-and-white marble, which surround the corner : these were used as burial vaults ; and contain, below, the coats of-arms of the various noble families interred there. Those to the R have been over- restored ; but on the lower tier of the /a(;ade itself, and to -*pw-wjr*irtXWiu*nr«l^4sS!^ ":' ai*Mi*:.':«-.S!*--.. 36 FLORENCE [U. the I. by the monastery buildinKa they still remain in their original condition. The two Literal doorways are also early and Ciothic. The central doorway, however, and the rest of the / r - j M a ' i : ia{ «7— t still I mm [u, still remain in their rway* are also early ever, and the rest of B, and HCipentinej - -belongs to the later (If you K'' ""ound ch of San Lorenio, fiuits were often left he contrast between he handsome green e and aisles have has a visible gable- f the aisles is con- ch does not answer sath the pediment ICIXLARIVS, PAV[1,1] L'LXX" ; that is to say, (e Year of Salvation, an one memorial of trons of Santa Maria a fine specimen of 1 Aisles, with vaulted ewhat longer than is J the junction of the f) in order to observe id the position of the hat c. „anta Croce : I CfmpelA. )n the entrance wall, nunciation of the 1 5th donna and angel, the :kground, etc., are all : subject. Beneath it, ion of the Magi, and L of the doorway, a much injured, but still 'np'rntsB^wtflV^^JrtSEgp^gjfX'^ SAJVTA MARIA NOVELLA 37 a fine work by Masaccio. The altar-pieces in the R aisle arr of the 17th century, and mostly uninteresting. One ii dedicated to St. Thomas A'Hecket. R Transept. Uust of St. Antoninus, the Dominican Bishop of Florence. (The Dominicans make the most of their saints here, as the Franciscans did at .Santa C'roce.) Heyond the doorw.wy, Tomb of Joseph, Patriarch of Constantinople, who came to the Council of Fdrrara (after- wards at Florence) in order to arrange a basis of reunion for the Eastern and Western Churches, and then di<'d here, 1440. (The beautiful fresco of the Journey of the Magi by Henozzo Gozzoli at the Riccardi Palace, which you will visit later, contains his portrait as the Eldest King.) Above this, early Gothic Tomb of Aldobrandino (1279), with Madonna and Child, added, by Nino Pisano. To the R, another tomb (Bishop Aliotti of Fiesole, d. 1336) with recumbent figure, Ecce Homo, etc., best viewed from the steps to the end chapel : this is probably by Tino da Camaino. Note these as specimens of early Tuscan sculp- ture. Ascend the steps to the Rucellai Chapel. (Remember the family.) Over the altar is CImabue's famous Madonna, with attendant angels superimposed on one another. This celebrated picture, the first which diverged from the Byzan- tine (or rather barbaric Italian) style is best seen in a very bright light. It forms the starting-point for the art of Tuscany.* A replica, with slight variations, can be studied with greater ease in the Belle Arti. This famous work is the one which is said to have been borne in triumph from the painter's studio to the church by the whole population. Note the greater freedom in the treatment of the angels, where Clmabue was less bound by rigid custom than in Our Lady and the Divine Child. On the R wall, characteristic Giottesque Annunciation, where the loggia and the position of the angel should be noted. On the L wall, St. Lucy, with her eyes in a dish, by Ridolfo Ghirlandajo. The tomb of the Beata Villana (with angels, as often, drawing the curtains) is by Bernardo Rossellino. The Martyrdom of St. JSw,>*^«i*.'B ii^ nfu^JjtiMCl. 7V\i^ J » ^ ,rV*V 38 FLORENCE [U. Catherine is by Bugiardini. Come again to thi^ chapel to study the Cimabue after you have seen the copy in the Belie Arti. Notice outside the chapeS, as you descend the stairs, the Rucellai inscriptions, including the Tomb of Paolo, father of Giovanni who erected ihe fai^ade. Now, turn to the Choir Chapels, extending in a line to the L as you descend. And observe here that, just as the exterior belongs to two distinct ages. Medieval and Renais- sance, so also do the frescoes. The Orcagnas and the paint- ings of the Spanish Chapel are Giottesque and medi- asval : the Filippino Lippis and the Ghirlandajos are Renais- sance. We come first upon the later series. First chapel, uninteresting. Second chapel, of the Strozzl family, the other great patrons of Santa Maria Novella. This was formerly, as the Latin inscriptions relate, dedicated to St. John the Evan- gelist, but was afterwards made over by Filippo Strozzi (builder of the Strozzi Palace) to his family patrons, St. Philip and St. James. The same powerful nobleman employed Filippino Lippi to decorate it with ** frescoes, which rank among the finest work of that great Renais- sance master. Here you come for the rirst time upon a famous Florentine painter of the isth century. Contrast his frescoes with the Giottesque types at Santa Croce, and observe the advance they mark m skill and knowledge. The L wail contains Scenes from the Life of. the (dis- possessed) St. John the Evangelist, af compensation for disturbance. Below, St. John raists Dnisi ,ia, a legendary subject which we saw at Santa Croce. Observe here, how- ever, the Roman architecture, the attempts at classical restoration, and the admirable dramatic character of the scene, especially visible in the strange look of wonder on the face of the resuscitated woman herself, and the action ot the two bier-bearers. The group of women, mourners, and children to the R should be carefully studied as typical of Filippino Lippi's handiwork (about 1502). Above, St. John in the caldron of boiling oil. ObsetTe again the classical *»Tmi!3iH!>afl!.«i5^,- CE [U. [le again to thi~ chapel to ive seen the copy in the ^ou descend the stairs, the e Tomb of Paolo, father of }ls, extending in a line to ;rve here that, just as the es. Medieval and Renais- le Orcagnas and the paint- re Giottesque and medi- e Ghirlandajos are Renais- iter series. zi family, the other great This was formerly, as the ;ed to St. John the Evan- : over by Filippo Strozzi to his family patrons, St. same powerful nobleman orate it with ** frescoes, irk of that great Renais- for the rirst time upon a le isth century. Contrast types at Santa Croce, and , m skill and knowledge, om the Life of. the (dis- !list, a? compensation for lists Dn:si ,ia, a legendary ;roce. Observe here, how- the attempts at classical Iramatic character of the trange look of wonder on n herself, and the action ot of women, mourners, and liully studied as typical of it 1502). Above, St. John >bseiTb again the classical n.] SANTA MARIA NOVELLA 39 i tone in the lictors with fasces and other Roman insignia. The R wall is d'jvotcd to the legendary history of St. Philip, the namesake of both patron and painter. Below, St. Philip exorcises a dragon which haunted a temple at Hierapolis in Phrygia, and killed by its breath the king's son. Here again the dramatic action is very marked both in the statue of Mars, the priest, the mourning worshippers, and the dragon to the L, and the dying prince in the arms of his courtiers to the R of the picture. Above, the Martyrdom of St. Philip, who is crucified by the outraged priests of the dragon. These frescoes, though marred by restoration, deserve attentive study. Their exaggerated decorative work is full of feeling for the antique. They are characteristic but florid examples of the Renaissance spirit before the age of Raphael. (Good accounts in Layard's Kugler, and Mrs. Jameson.) Note, however, that while excellent as art they are wholly devoid of spiritual meaning —mere pleasant stories. On the window wall, Tomb of Filippo Strozzi by Benedetto da Majano, the architect of the Strozzi palace. (Notice throughout this constant con- nection of certain painters and sculptors with families of particular patrc s, and also with churches of special orders.) The Madonna and Child, flying angels, and framework, are all exquisite examples of their artist's fine feeling. The bust of Filippo Strozzi, from this tomb, is now in the Louvr" The window above, with Our Lady, and St. Philip and Sc. James, is also after a design by Filippino Lippi. Observe likewise the admirable Sibyls and other allegorical figures of the window wall. Not a detail of this fine Renais sance work Si ould be left unnoticed. Do not forget the Patriarchs on the ceiling, each named on a cartolino or litlle slip of paper. Return more than once to a chapel like this, reading up the subjects and pai ters meanwhile, till you reel you understa ,d it. Enter the Choir, noticing, as you pass, the marble higl. altar, which covers the remains of the Dominican founder, the Beato Giovanni di Salerno. The ** frescoes on the walls were originally by Orcagna, t«T*B.!OTlS!H|iKaKlS®S5SJ.'', l^WSrjS^Cf-is^tjivWeM&^J^I ■>!»k'&'»A'sottl*iH Sl!«l«"f»" 40 FLORENCE ta bi:t in 1490 Giovanni Tornabuoni commissioned Domenico Ghirland.ijo to paint them over with the two existing series, representing, on the R wall, the Life of St. John Baptist, the patron saint of the city, and, on the L wall, the history of the Virgin, the patron saint of Santa Maria Novella. (Here, therefore, as usual, the Choir contains direct reference to the dedication.) The upper scenes on either side are so much damaged as to be hardly recognisable, but the lower ones are as follows : — L wall, 2nd tier ; L, the Presentation of the Virgin in the Temple, which should be compared with similar scenes by earlier Giottesque painters, in Santa Croce. R, the Marriage of the Virgin ; observe again the positions of Joseph, Mary, the High Priest, the attendant Virgins of the Lord, and the disappointed suitors, breaking their staffs, etc. (Recall or compare with photograph of Raphael's Sposalizio at Milan) Lowest tier; L, the Expulsion of Joachira from the Temple (because he is childless) where the spectators (introduced as if viewing the facts), are con- temporary Florentine portraits of the painter and his brother, and the family and friends of the Tornabuoni. Contrast the details with the Giottesques at Santa Croce : noble figures of the High Priest and St. Joachim. R, the Birth of the Virgin, with St. Anne in bed, the washing of the infant, and a group of Florentine ladies as spectators : conspicuous among them, Lodovica, daughter of Giovanni Tornabuoni : in the background, the Meeting of Joachim and Anna at the Golden Gate. In all these pictures, the irvivals and modifications of traditional scenes should both be noted ; also, the character of the architecture and the decorative detail in which Ghirlandajo delighted. He had been trained as a goldsmith and retained through life his love of goldsmith-like handicraft. The introduction of portraits of contemporaries as spectators is highly character- istic both of age and artist. Ghirlandajo was in essence a portrait-painter, who used sacred scenes as an excuse for portraiture. t". nmissioned Domenico le two existing series, I of St. John Baptist, the L wall, the history ianta Maria Novella, ntains direct reference re so much damaged le lower ones are as tion of the Virgin in ;d with similar scenes Banta Croce. R, the gam the positions of endant Virgins of the jaking their staffs, etc. f Raphael's Sposalizio xpulsion of Joachira childless) where the i the facts), are con- the painter and his 5 of the Tornabuoni. ques at Santa Croce : St. Joachim. R, the I bed, the washing ot ladies as spectators : daughter of Giovanni Meeting of Joachim »11 these pictures, the itional scenes should the architecture and ndajo delighted. He I retained through life The introduction of rs is highly character- dajo was in essence enes as an excuse for -- wiiM»wa I!.] SA2VTA MAR! A NOVELLA 41 R wall : lower tier ; L, the Visitation, where the positions of the Madonna and St. Elizabeth should be noted, as those on which later pictures by Mariotto Albertinelli, Pacchia- rotto, etc., are based, and also as derived from earlier examples. Here, also, notice the contemporary portraits. The lady, standing very erect, in a stiff yellow gown, is Giovanni Tornabuoni's step-daughter Giovanna Albizi, the same person of whom a portrait by Ghirlandajo (a study for this picture,) e.xists in the National Gallery in London, and who is also introduced in the two frescoes by Botticelli at the head of the principal stairs in the Louvre. R, the Angel appearing to Zacharias, where the group of contem- porary portraits of distinguished Florentines is particularly celebrated : Baedeker names them : I will not, as you will have his book with you, and tier, L, Zacharias writes " His name is John." r, the birth of the Baptist. Sit on the seats long, and study au fond these typical and im- portant frescoes. Window wall, ill seen and defaced frescoes, also by Ghirlandajo of St. Francis before the Sultan, and St. Peter Martyr killed by assassins : the Annunciation, and St. John Baptist in the desert : and, below all, Giovanni Tornabuoni and his wife, the donors of these frescoes. Observe here in the Choir, which is, as it were, the focus of the church, that almost everything refers to the Blessed Virgin, the patroness of this building, or to St. John Baptist, the patron of the town in which it is situated. I cannot too strongly recommend close study of these late Renaissance pictures of the age immediately preceding that of Raphael. Do not be satisfied with noting the few points I mention : look over them carefully as specimens of an epoch. Specially characteristic, for example, is the figure of the nude beggar in the scene of the Presentation of the Virgin, on the L wall, showing the growing Renais- sance love for nude anatomy. On the other hand you will find in the same picture the positions of St. Jerome and St Anna, of the two children, and t/f the two men in the fore- ground, as well as that of the Madonna pausing half-way up — Wl^l'""! ■ 42 FLORENCE [n. \ the steps, exactly equivalent to those in the Taildeo Gaddi and the Giovanni da Milano. Photographs of all these should be compared with one another, and also with the famous Titian at Venice. I have tried to give some hints on this subject in an article on the Presentation in the Temple contributed to the Pall-Mall Magazine in 1895. ist chapel beyond the choir : uninteresting. It contains, however, a famous crucifix by Brunelleschi, which would seem to show that a crucifix, by whomsoever designed, is still a crucifix. and chapel, of the Gaddi, good bas-reliefs by Bandini. Under the steps which lead to the elevated Strozzi chapel (the second belonging to the family in this church), is a tomb with Gothic figures and a Giottesque Entombment, attributed to Giottino. Ascend the steps to the Strozzi Chapel, the altar of which covers the remains of a " Blessed " member of the family, the Beato Alessio dei Strozzi. This chapel contains some famous Giottesque frescoes by the brothers Orcagna. Window wall, the Last Judgment, by Andrea Orcagna, with Angels of the Last Trump, the twelve apostles, the rising dead, and other conventional elements. Conspicuous just below the figure of the Saviour are, L, Our Lady, pat- roness of this church, and R, '^t. John Baptist, patron ot this city. Right of the Saviour, the elect : left of Him, the damned. Every one of the figures of the rising dead, saints, and apostles, with the angels bearing the instruments of the Passion, deserve close attention. Most of them will recur in many later pictures. Compare the similar scene in the Campo Santo at Pisa. L wall, the Paradise, also by Andrea, a famous and most beautiful picture, with Christ and the Madonna enthroned, and an immense company ol adoring saints and angels. As many as possible of these should be identified by their symbols. Return from time to time and add to your identi- fications. The tiers represent successively Seraphim and Cherubim, Apostles, Prophets, Patriarchs, Doctors of the Church, Martyrs, Virgins, Saints, and Angels. Notice the SI cl d S b c ii s C b tl tl 1 c F F V V f i I i t s ftt. 1 the Taildeo Gaddi graphs of all these •, and also with the to give some hints Presentation in the agazine in 1895. resting. It contains, leschi, which would nsoever designed, is reliefs by Bandini. Evated Strozzi chapel n this church), is a tesque Entombment, Chapel, the altar of sed " member of the This chapel contains he brothers Orcagna. by Andrea Orcagna, twelve apostles, the ments. Conspicuous ,re, L, Our Lady, pat- m Baptist, patron oJ lect : left of Him, the he rising dead, saints, he instruments of the Et of them will recur i similar scene in the ;a, a famous and most Madonna enthroned, laints and angels. As )e identified by their nd add to your identi- ssively Seraphim and irchs, Doctors of the I Angels. Notice the vJmitm ".] SANTA MARIA NOVELLA 43 suitability of this dogmatic arrangement in a Dominican church, belonging to the stewards and guardians of ortho- doxy. The painting unites Florentine grandeur with Sienese tenderness. R wall, a very ugly Inferno, attributed to Orcagna's brother, Bernardo, and divided into set divisions, in ac- cordance with the orthodox media:val conception, which is similarly crystallized in Dante's poem. The various spheres are easily followed by students of the Divina Commedia. Do not omit to observe the very beautiful altar-piece, also by Orcagna. Its ch.ef subject is Christ giving the keys, on the one hand, to Peter, and the book, on the other hand, to the great Dominican saint and philosophical teacher, St. Thomas Aquinas. The allegorical meaning is further ac- centuated by the presence of the Madonna and St. John, patrons of this church and city. We have thus St. Thomas placed almost on a plane of equality with the Papacy. The other figures are St. Michael the Archangel, St. Catherine with her wheel, St. Lawrence with his gridiron, and St. Paul with his sword. In the predella beneath are subjects taken from the stories of the same saints. The most interesting is the struggle for the soul of the Emperor Henry II. (See Mrs. Jameson.) The Emperor is seen dying : then, devils go to seize his soul : a hermit sees them : St. Michael holds the scales to weigh the souls : the devils nearly win, when, suddenly, St. Lawrence descends, and places in the scale a gold casket which the Emperor had presented to him (once at Bale, now in the goldsmiths' room at the Musde de Cluny) : the scale bends down, and the devils in a rage try "' to seize St. Lawrence. A quaint story, with an obvious moral, well told in this predella with spirit and vigour. This chapel as a whole is one of the best smaller examples now remaining of a completely decorated Giottesque in- terior. Not a single element of its frescoes and Dominican symbolism should pass without notice. Observe, before you leave, St, Thomas Aquinas on the arch, in four char- acters, as Prudence, Justice, Courage, and Temperance. ,;S**«^**^*fei*^Kss^*^»^toi8Sii«*ss^^ 44 FLORENCE [II. The Strozzi Chapel again is one to which you must pay frequent visits. Descend the steps. The door in front leads to the Sacristy. The most interesting object in it is a lavatory in marble and terra-cotta of the school of Delia Robbia. The pictures of Dominican saints with which it is adorned have little more than synibolical interest. The L aisle contains no object of special interest. This completes a first circuit of the church itself ; but you have still to see the most interesting object within its walls— the Spanish Cliapei. Do not attempt, however, to do it all in one day. Return a second briglit morning, between lo and 12, and pay a visit to this gem of early architecture and painting. A door to the R of the raised Strozzi cliapcl. in the L Transept, leads into the cloisters. It is locked. You must get the Sacristan to open it. He is usually to be found in the Sacristy. The first cloister which you enter, known as the Sepolcreto, and containing numerous mediteval or modern tombs, has faded Giottesque frescoes, two of which, in the bay to the R as you descend the steps, pretty enough in their way, have been made famous (somewhat beyond their merits) by Mr. Ruskin. That on the L, in a curiously shaped lunette, represents, with charming naivete, the Meeting of Joachim and Anna at the Golden Gate. Observe the con- ventional types of face and dress in the two saints, and the angel putting the heads of the husband and wife together : also, the servant carrying the rejected offering, all of which are stereotyped elements in the delineation of this subject. The fresco to the R represents the Birth of the Virgin, and may be instructively compared with the Ghirlandajo upstairs, and also with the Taddeo Gaddi and the Giovanni da Milano at Santa Croce. The simplicity of the treatment is indeed reminiscent of Giotto's manner, but few critics, I fancy, will agree with Mr. Ruskin in attributing these works to the actual hand of the master. Remember, too, iaau#:%^ .vAifta [n. bich you must pay front leads to the in it is a lavatory 1 of Delia Robbia. vhich it is adorned al interest. church itself; but ig object within its attempt, however, md bright morning, J this gem of early EZi chapel, in the L It is locked. You i usually to be found n as the Sepolcreto, modern tombs, has h, in the bay to the lOUgh in their way, leyond their merits) a curiously shaped vet6, the Meeting of e. Observe the con- e two saints, and the [ and wife together : jffering, all of which ition of this subject. Birth of the Virgin, >rith the Ghirlandajo ddi and the Giovanni city of the treatment ner, but few critics, in attributing these ten Remember, too, ".] SANTA MARIA NOVELLA 45 that Giotto is always simple, because he is early ; later times continually elaborated and enriched his motives. On the side walls, L, the angel appears to Joachim and Anna simultaneously ; R, the Presentation of the Virgin in the Temple. Compare these naive works with the frescoes in the Madonna dell' Arena at Padua, and other examples. This cloister also contains a vulgarly coloured and some- what coarse terra-cotta relief of Christ as the Gardener and the Magdalen in the Garden. I will not further particularize, but several hours may be spent in examining the objects in this single courtyard alone, many of which are extremely interesting. From the base of the oratory containing this relief is also obtained one of the best views of the church and campanile. The second cloister, known as the Chiostro Verde, is decorated with very faded frescoes, in shades of green, representing the history of Genesis. Good general view of the church and campanile from the further end of this cloister. [The green frescoes, I fear, will scarcely interest you at first, and may be passed over with a few glances on a preliminary visit. But you must return to them later on, because, defaced and destroyed as they are (more so within my own memory) they are yet important links in the history of Renaissance art, and especially in the development of perspective, anatomical knowledge, and the drawing of the nude human body. (See Layard's Kugler, under Paolo Uccello.) They represent the incidents of Genesis, by various hands ; but the best are the Sacrifice of Noah, and the Deluge, by Paolo Uccello, not in the least sacred, and full of admirable naturalistic incidents. They help to bridge over the gap in this church between Giottesques like Orcagna and late isth century Renaissance painters like Filippino Lippi and Ghirlandajo. I will not dwell upon them now, but advise you, at some future time, when your conceptions of the evolution of art in Tuscany have become clearer, to return to them for some hours at least of patient study.] A door to the R of the entrance gate leads into the S^4.'*&Mi*te'iS<*"'-" ■waML. 46 FLORENCE [M. famous cappeila degll Spagnuoll, or Spanisli Chapel, whose beautiful external architecture, with twisted columns, should be observed before entering. It was erected about 1340 by a rich Florentine citizen, for the celebration of the Festival of Corpus Christi, then newly instituted. Its pre- sent name dates only from the age of Cosimo I., who assigned it to the suite of Eleanor of Toledo. This chapel is the finest existing example (save the Arena at Padua) of a complcteb decorated Giottesque interior. The frescoes are by uncertain artists, but rank among the noblest productions of their period. It would require many days adequately to examine all the beautiful objects which this building contains. I will therefore call attention in detail to a few only. Those first mentioned are peculiarly appropriate to a Chapel of the Corpus Christi. On the altar wall, facing you as you enter, is the History of the Passion, in consecutive sections, after the early fashion : probably by an artist of the School of Siena. L, the Way to Calvary. Above it, the Crucifixion, every detail of which should be closely studied. Notice in particular St. Longinus, the centurion who pierced the side of Christ, and who was afterwards converted, distinguished by his halo. On the R, Christ descending to Hades, and liberating the souls, with the crushed and baffled demons. First among the dead are Adam, Abel with his lamb, and the various Patriarchs. Every detail in these three works will give a key to other compositions. The compartment of the celilng above this fresco re- presents the Resurrection, with Christ in a mandorla ; the Three Women at the tomb ; and Christ and the Magdalen in the Garden. Observe once more every detail of this beautiful composition : it is probably the work of Antonio Veneziano. (But do not trouble much at this suige about these artists : confine your attention to the details of the action.) The R wall contains a very famous ** fresco, commonly attributed to Taddeo Gaddi, but much more probably a work of Simone Martini or some other artist of the early •i-WISI!\tB«»!Wlf:' ^£9 MM - SpanihU Chapel, th twisted columns, t was erected about celebration of the nstituted. Its pre- mo I,, who assigned pie (save the Arena Ljiottesque interior, jt rank among the ivould require many jtiful objects which e call attention in ioned are peculiarly liristi. nter, is the History IS, after the early : School of Siena, e Crucifixion, every udied. Notice in ho pierced the side :rted, distinguished snding to Hades, jshed and baffled dam, Abel with his ery detail in these )ositions. ove this fresco re- n a mandorla ; the and the Magdalen ivery detail of this 2 work of Antonio U this siage about the details of the * fresco, commonly 1 more probably a artist of the early n.] SANTA MARIA NOVELLA 47 School of Siena (Cavalcaselle attributes it to Andrea di Firenze). It represents the Way to Paradise, especially as shown by the Dominican Fathers. Study this noble allegorical work in full detail. Below, on the L, is the Church Militant, represented by the original design of the Cathedral at Florence, as sketched by Arnolfo, with Giotto's faqade, and the Campanile beside it. Below this, as in the Dantesque ideal — that splendid embodiment of mediieval Christian theory — sit enthroned the spiritual and temporal authorities, the Pope, with his pastoral staff, and the Emperor, with his sword and ball ; at whose feet lie the Faithful, represented as a flock of sheep, and guarded by black-and-white dogs, the domini canes, or Dominicans. To the L of the Pope are the various Church dignitaries, — cardinal, archbishop, bishop, priest, deacon, and monks and nuns of the various orders, each in the garb of their profes- sion or monastic body. Foremost among them observe the black-and-white robes of the Dominicans, closely allied with their Franciscan urethren. To the R of the Emperor, again, stand the various temporal authorities, — kings, princes, marquiies, dukes, lawyers, burghers, gentlefolk, pilgrims, artizans, beggars, and women. (Most of these are said to be contemporary portraits— the Pope, Benedict XI ; the Emperor, Henry VII ; the King, Philippe le Bel of France ; the Bishop of Florence of the period, and so forth : while others are considered on merely traditional authority to be Cimabue, Arnolfo, Giotto, Petrarch, Laura, etc. I advise you, however, to pay little attention at first to such leal or supposed portraits, the identification of which merely dis- tracts you from the underlying import and beauty of the picture. In any case, the poets and painters at least seem to be wrongly named. Thus, the cavalier in the curious white hood, usually pointed out by the guides as Cimabue, is much more probably Walter de Brienne, Duke of Athens, who also appears on a white horse in the Ciucifixion.) The whole assemblage thus represents the mediaeval world, temporal and spiritual. Beyond these to the R, the Way to Paradise, Dominican Fathers pointing the road, and W«i.iAs^t>^,^i^'i^^li^9^iSf&^^^^iS^i&Miisfei'-^' ■■ 48 FLORENCE [II. arguing and expostulating with heretics, whom St. Thomas Aquinas, on the extreme R, is confuting, so that some of them tear up their heretical books, whik others stop their ears and refuse to listen. Oriental costumes (representing eastern sectaries) may be detected among them. In the fore- ground, the Dominicans, as black-and-white dogs, xrt worrying the heretical teachers under the guise of wolves, thus symbolising the terrible functionj of the Inquisition. In the second tier, winding round above to the R, are seen the pleasures and vanities of this wicked world, with dancing figures ; while a Dominican Father is showing souls the way to heaven, and another is giving absolution to sinners. These figures thus represent Sin, Confession, Absolution, and Penitence. Further tu the l, again, the Souls of the Right- eous, a joyous company, are being welcomed and crowned by delicious little angels at the Gate of Heaven, where St. Peter with the keys stands to open the door for them. Within is a vista of the Heavenly City, with adoring saints, among whom St. Lawrence and St. Paul are specially con- spicuous. Over the dome of the church, too, is seen the half-figure of the great Dominican nun, St. Catherine of Siena. Thus this part of the picture symbolically represents the Church Triumphant, as that below represents the Church Militant. The whole composition is crowned by Christ in Glory, with adoring angels. I have given here only a brief outline of this noble Glorifi- cation of the Dominican Order ; but attentive observers will discover for themselves many other interesting and curious features which I have been compelled by considerations of space to pass by in silence. The compartment of the celling; above this fresco repre- sents the Ship of the Church, under the guise of the Apostles on the Sea of Galilee, with Christ and Peter walking on the water. It is partly copied from Giotto's famous mosaic, now built into the newer St. Peter's at Rome. The quaint fisher- man to the left is common to both of them. The entrance wall has a Last Supper, and frescoes of the History of St. Dominic and St. Peter Martyr, the founder and the holy man of the Dominican Order. ■w.^WT-.-'^^^^^'i ''i^^^^mmmims^m:^" [u. , whom St. Thoinas so that some of them 8 Slop their ears and epresenting eastern lem. In the fore- nd-white dogs, ire he guise of wolves, of the Inquisition. e to the R, are seen I world, with dancing lowing souls the way on to sinners. These in, Absolation, and Souls of the Right- med and crowned by Heaven, where St. the door for them, with adoring saints, 1 are specially con- ch, too, is seen the in, St. Catherine of nbolically represents :presents the Church owned by Christ in of this noble Glorifi- entive observers will iresting and curious 3y considerations of vt this fresco repre- guise of the Apostles 'eter walking on the famous mosaic, now . The quaint fisher- lem. iper, and frescoes of r Martyr, the founder der. li'^ ii.i SANTA MARIA NOVELLA 40 The compartment of the celling above these has an Ascension, with Christ in a mandorla, the apostles and Madonna, and the messenger angels (by Taddeo Gaddi ?). The L wall contains a highly allegorical and architectural picture, doubtless correctly ascribed to Taddeo Gaddi, and representing the Glory of St. Thomas Aquinas. Above, the Saint is seated, enthroned, with the open book, as the Doctor of the Church, and the great Dominican teacher. Heneath his feet are the discomfited heretics, Arius, Sabellius, and Averrhoes. (See the similar scene by Benozzo Gozzoli in the Louvre.) By his side are the great teachers among the Prophets and Apostles, their names inscribed beneath them. On the R, St. Matthew and St. Luke the Evangelists, Moses with his conventional horns, Isaiah, and King Solomon. O., the L, St. John and St. Mark the Evangelists, St. Paul, the great organiser of Christian teaching, David as the Psalmist, and Job as the dialectician of the Old Testament. Thus these figures represent Doctrine and Dogma under both dispensations. Only in this Domini- can church could a great Dominican teacher be so highly exalted at the expense of the earlier canonical writers. Note the angels above, with their various symbols. The lower tier consists of symbolical figures of the Arts and Sciei.^es, with various personages at their feet distin- guished for proficiency in them. The following is their order from L to VL.— Civil Laiu, with Justinian : Canon Law, with Pope Clement V (a portrait) : Practical Theology, with Pietro Lombardo, "magister sentv .tiarum" : Speculative Theology, with Boethius : Faitk, with St. Dionysius the Areopagite : Hope, with St. John of Damascus : Charity, with St. Augustine : Arithmetic, with Pythagoras : Geometry, with Euclid : Astronomy, with Ptolemy : Music, with Tubal- cain : Dialectic, with Aristotle : Rhetoric, with Cicero : and Grammar, with Priscian. The whole thus represents the philosophical and teaching faculty of the Dominicans, as the opposite side represents their pastoral activity in saving souls. The two great frescoes may indeed be distinguished as the spiritual and temporal mission of the Dominicans. s«sPSfB®^S!5 ■/.:'d%ili^,^i"'^^--''- . 1, i}f» . ipr MU^' 50 FLORENCE fn. The compartment of the celling above this fresco repre- sents the Descent of the Holy (ihost on the Dny of I'entc- cost (by Taddco Ga(Uli t). The Spirit, as a dove, in descend- ing from heaven, while tongues of fire alight on the heads of the Madonna and Apostles, chief among whom, in accordance with the authoritative character of Dominican teaching, is naturally St. I'eter. Helow, by the closed doors, are the various nations, who hear the Apostles speak with tongues, each understanding that of his own country. Observe the Moors and the Oriental costume of some of the characters. Come often to this chapel until you have learned to under- stand its architectural plan, and have puzzled out such of its infinite details as cannot here be adeciuatdy explained to you. It is not well, indeed, to be told everything. I shall be quite satisfied if I put you on the track, leaving you to find out many points for yourself. 15ut sit long and observe, remembering that everything in \.\\.i Chaplei -house of Uominicanism is full of meaning. In my jud"ment, too, these pictures are as beautiful as works of art as they are important as a body of Dominican theology. The little group of the Souls as they enter Heaven is one of the most \ charming and attractive conceptions of all Giottesque painting. It is impossible to overestimate the value of photographs for the study of frescoes, especially when the originals are either defaced or faded. Every one knows how fatiguing it is to stand long in a chu'ch and look up at the walls : the photograph you can inspect at your leisure at home, and so familiarise yourself at least with the composition and the story of the subject. After you have thus got to know the picture in black-and-white, return to the church to examine it again : you will then find that the colour and the size, as well as the artist's touch, vivify and brighten what in the photograph was often dead and meaningless. Also, the photograph, besides giving you the composition in a measurable space which the eye can grasp, so generalises -. !.-.■« T--'«ia.|«,,^jga;igg^>gf ft [tl. ■e this frfsco repre- the Day of I'entc- s a dove, in descend- klight on the heads among whom, in acter of Dominican by the closed doors, Vpostles speak with his own country. itume of some of the ,ve learned to undcr- izzled out such of its [uatcly explained to everything. I shall ack, leaving you to sit long and observe, I Chaptei -house of my jud"mcnt, too, of art as they are heology. The little 1 is one of the most of all Giottesque ilue of photographs in the originals are )W3 how fatiguing it p at the walls : the jre at home, and so :omposition and the us got to know the church to examine our and the size, as ■ighten what in the .ningless. Also, the composition in a ;rasp, so generalises "1 SANTA MARIA NOVELLA ft' the figures as often to supply in effect missing lines and obscure portions. Of course you must not rely on the photograph alone : but, when used in conjunction with, and as supplementary to, the fre:erior by a canopy or symbolical roof. i ^ ■^ ' •". ' i ' . ' 4--," JIL ■(tg' 58 FLORENCE [111. All these reliefs should be most carefully studied, both as scenes in the history of John which occur abundantly elsewhere (see the silver altar from this very church in the Opera del Uuomo), and also as specimens of that Gothic art which replaced the earlier attempted classical revival by Niccol6 Pisano. The ftict is. Niccolb was a man in front of his age, whose direct influence died out at once, sub- sequent sculptors preferring a treatment more consonant with the architecture and painting of the moment. The eight lower panels contain admirable allegorical figures of the Cardinal Virtues. Each is named legibly beside it. Note them as examples of the embodied alle- gories so popular during the Gothic period. The Re- naissance adornment at the sides of the doors was added in 1452 by Vittorio Ghiberti, son of the great Lorenzo whose main work you have next to examine. Now, go round to the second or North Door, which comes next in chronological order — a hundred years later. Flor- ence was by this time no longer dependant upon Pisa for her artists. At the beginning of the isth century it was decided to make another pair of bronze doors, and, after a competition for the choice of an artist, in which Jacopo della Querela and others took part, the Signoria decided upon commissioning Lorenzo Qhiberti to execute them. His original panel for the competition, together with that of his chief rival Brunelleschi, may still be seen at the Bargello. This beautiful door, in fact, represents the first beginnings of Renaissance Sculpture. (See Perkins's Tuscan Sculptors, a book which you should assiduously read up in the even- ings.) Compared with Andrea Pisano, the composition is richer, the relief higher, the treatment more naturalistic. (Orcagna's reliefs at Or San Michele bridge over the gap between the two in the history of Florentine sculpture.) These gates are devoted to the Life of Christ, to whom John testified. The subjects begin on the L, third panel from the bottom, and (unlike the last) run right across, from door to door, being continued upward, (i) Annunciation, with the usual •zm%T^ Interno. Above, as part of Heaven, are seen the heavenly bodies. On a bright day (when this picture is seen to advantage about 10 a.m.) students of Dante will find in it many familiar elements of the great poem. Beyond the second door, modern monument of Amolfo. Near it, statue of the statesman and humanist, Poggio Bracciolini, by Donatello. The first pillar has a Ime picture of San Zanobi between San Crescenzio and Sant, F.ugenio, by Orcagna. I ^ Ulmimim^ii^miltm 68 FLORENCE III. Proceed one day in this connection to visit the Gpera del Di?omo. whose Museum is housed in c courtyard just opposite the Tribune of San Zanobi. Note the Roman remains in the courtyard ; the quaint Hons ; and the Lamb of St. John, with Florentine UHes, over the doorway. (Lambs, eagles, and lilies pervade Florence.) The lamb and flag is the arms of the wool-weavers, an important guild. The Museum contains a few fragments from the old fabric of the Cathedral, and numerous pieces of many demolished works within it, as well as pictures from the Duomo or Baptistery, which (to say the truth) can be studied here to much greater advantage than in the gloom of their original situf.tion. If you want to study closely, buy the official catalogue. Otherwise, use the hand-cards pio- vided in each room. Among the chief objects within, too numerous to mention in detail, are Oround floor, Roman fragments ; and (40) a fine Madonna of the School of the Pisani, probably by Giovanni Pisano. Stairs, Reliefs of Saints and Prophets, by Baccio Bandi- nelli and Giovanni de)l' Opera. First floor, the beautiful **Singlng;-Loft« {Can/one), with groups of singing and dancing children, by Donatello and Luca della Robbia, once in the Cathedral. Examine these in detail. The one on the wall nearest the door by which you enter, is by Luca della Robbia, and is his loveliest work. No- where else has childhood been so sympathetically and naturally depicted. Luca always succeeds best with children : he must have loved them. Obseive the exqui- site brackets supporting the Loft, which compare most favourably with Donatello's more ornate examples opposite. All the Renaissance decoration on this Loft is lovely. The four most visible reliefs illustrate the verse in the Psalm, "Praise the Lord (i) with the sound of trumpets, (2) with psalteries, (3) with harps, (4) with timbrels "; the words of the I'salm being inscribed beneath them. Those below illustrate the remainder of the text : " With dancing, and ?-ifl?.K-:;Liv!-: -S'S'-*;. «te«ssi-~ .•'•rM'-,'V«^l¥«,;«5i»; [.II. ypicallv interest- : red and white iom (many times vo patron saints, aller. The same ose by. I advise \i give you types cond study, after eir meaning and 1. I do not pro- )u look round for interesting local I Baptist, with a li (1505), with the d the city in the , by Agostino di tron saints (Santa , San Zanobi, with ned between two Majano ; 107, the , Robbia ; 89, the >bi ; and so forth. n Zanobi figures, ut St. Blaise, the other interesting : Creation of Eve, 1 to be seen also a most singula' motive with the 1 a picture in the end. I most beautiful ; ngel by Niccol6 le school of Pisa, dadonna, forming h bearing distinct ! and 93, beautiful )y Andrea Pisano. III.] THE CATHEDRAL GROUP 71 Under Donatello's singing loft, quaint Byzantine Gospel stories, in mosaic and enamel, giving early forms of scenes : and an embroidered Life of the Baptist, very u;teresting. In the first .series note especially Chris* in Hades (2nd tier, l) and Christ receiving the soul of Our Lady (3rd tier, R; for future comparison. I recommend to all who really wish to understand the evolution of art a close examination of thesf; Byzantine compositions. The Second Room contains the designs for the fofode of the Cathedral by De Fabris and others. Those who desire to study the symbolism of the facade can do so here to the greatest advantage. The sequence of the various designs affords a perfect history of architectural art in Tuscany. Notice also the cast of the Area of San Zanobi in the centre. For the Campanile, designed by Giotto, and carried on after his death by Andrea Pisano and Francesco Talenti, I must refer you to Baedeker. It is one of the loveliest architectural works ever planned : but it requires rather long inspection than description or explanation. All that is needed for its study (besides time) is your Baedeker and an opera-glass. The sculpture of the lower story, on the other hand, though important for the study of the ev ilutiou of that art in Tuscany, you had better defer till a/ier you have visited the Bargello and Or San Michele. Its mean- ing and connection will then become clearer to you. You will understand Giotto's relation (as sculptor) to Andrea Pisano ; and Donatello's to Orcagna ; besides being in a better position to trace Donatello's own personal develop- ment. rj^^liJl^Y::^i^'^'^--'^'!^l^i'f$^y^^'f^.V4i^i^f^O*<^^'^!^-^^'^^^^^^ IV TME SECOND DOMINICAN QUARTER: SAN MARCO n't T rHATEVER else you see or leave unseen in Flor- L VV ence you cannot afford to ignore the Monastery of San Marco. This famous convent, a perfect museum of the works of Fra Angelico, the saintliest and sweetest of the early isth cent, painters, was originally built for Silvestrine monks, but was transferred by Cosmo de' Medici to the Dominicans. In 1436, the existing buildings were erected by Michelozzo, whose handicraft we have already seen in the chapel of the Medici at Santa Croce. Shortly afterwards, Fra Angelico of Fiesole, a Dominican monk and inmate of this monastery, decorated the cells, cloisters, and chapter- house with famous frescoes, which represent the most ex- quisite work of the later Giottesque period, as yet wholly untouched by the Renaissance spirit. Fra Angelico is above all things an ecstatic and mystical religious painter. His panel-works, it is true, may be seen in the north, but his in- finitely greater skill as a fresco-painter can only be ade- quately estimated at San Marco, -vhere he was painting for his own brethren, and for the glorification of the Dominican order. Even his exquisite and saintly work in the Cappella Niccolina at the Vatican fails to attain the same spiritual level as his delicate imaginings on the cells of his own monas- tery. The influence of Popes and Cardinals seems to have had a chilling effect upon his humble and devout spirit. It spoiled Raphael : it merely damped the saintly Dominican. At the end of the 15th cent, San Marco was also the home of the great prior and preacher, Girolamo Savonarola, w '^S!SM-'f£^i>!r-!i''Mi?i:liMiS^&^0. WK: m QUARTER: e unseen in Flor- t the Monastery lerfect museum of nd sweetest of the lilt for Silvestrine de' Medici to the ings were erected e already seen in shortly afterwards, mk and inmate of ters, and chapter- isent the most ex- iod, as yet wholly I Angelico is above ious painter. His ! north, but his in- can only be ade- le was painting for of the Dominican )rk in the Cappella the same spiritual > of his own monas- lals seems to have 1 devout spirit. It lintly Dominican, [arco was also the rolamo Savonarola, iV.] THE SECOND DOMINICAN QUARTER 73 the fiery reformer who was burnt at the stake in 1498. His cells and many memorials of him still exist at San Marco. Fra Bartoiommeo, also a monk at this monastery, was deeply influenced by Savonarola ; so also were Botticelli and many other contemporary painters. Their work is full of the religious revival he inaugurated. Read up the whole of this period in Villari's Savonarola, at your leisure in the even- ings. The convent was secularised after the unification of Italy, and is now preserved as a public museum. Admission daily, I lira : free on Sundays. Remember, then, these things about San Marco : (i) It is a Dominican monastery, and everything about it has reference to the glory, or the doctrine and discipline of the Dominicans. In this respect it may be regarded as a later and more spiritual edition of the Spanish Chapel. But simple piety is its note, rather than dogmatic theology. (2) It was founded as a Dominican house by the bounty of the Medici, whose patron saints (Cosmo, Damian, Lawrence,) reappear over and over again in many parts of it. (3) It was, in the early 15th cent., the home of Fra Angelico, and of the holy Archbishop St. Antonine, the later saint of Florence. (4) It was, later still, the home of Savonarola and of Fra Bartoiommeo, many memorials of whom exist within it. But, more than all else, expect in San Marco the Qlorifl- catioii of St. Dominic and Domlnicanism.] Go past the Cathedral, and take the Via Cavour to the left, passing (l) the Riccardi (Medici) Palace, the original home of the Medici family : notice its proximity to the Medici monastery. You will soon arrive at the Piazza ot San Marco. In front of you is the Church, which omit for the present. The door to the right of it gives access to the monastery. The exterior is unattractive. The outer cloister, which we first enter, is surrounded by a fine colonnade or loggia (Michelozzo), and encloses a pretty little neglected garden. |Si3^5^'?^'''*-^5aEi««!Kfe*i»»aias«4«!«ffii!j^ 74 FLORENCE l«v. T The lunettes are fille'l v'th i/th cent, frescoes (by Poccetti and others), mainly relating to the life of St. Antonine, the famous Dominic; a Archbishop of Florence, and prior of this monastery. They are ufficiently explained by the inscrip- tions b . w th'jm -ju* ae chief objects of real intcre,;* •' t* h CO i..' *i;e 'J; c "^fr scoes by ' ra Ange 'co, all bear- ing ref;. -f. .. '> i'in rhruai 'eristics of the Dominican Order. Facinp yt<:! xs ^ uu « ti er is the figure of St. Dominic embrac- ing tht Crc, i-^jrciitnt,. j the Devotion of the Dominican Order. The founder '; iv lay usually be recognised by the little red star (here aim^/st ob iterated, but still just traceable) over his forehead, immediately to the L of it, over the door of the Sacristy, St. Peter Martyr, with his wounded head and palm of martyrdom, placing his finger to his lips, in order to enforce the Dominican rule of silence. This fresco thus represents the Sanctity of the Dominican Order. Notice here and elsewhere the Medici pills displayed every- where. Midway, to the R, near the entrance to the Chapter- House, (which pass for the momeni,) St. Dominic with his red star and open book, bearing the scourge of rods, and representing the Discipline of the Dominican Order. On the end wall, over the door of the Refectory, a Pietk. At the opposite end, over the door of the foresteria, or rooms reserved for the entertainment of strangers,** two Dominican monks welcome Christ, in the garb of a pilgrim — " Inasmuch as ye have done it unto the least of these little ones ye have done it unto me." This fresco therjfvre represents the Hospi- tality of the Dominican Order. For tenderness and beauty, it is unsurpassed by any work in this monastery. The next lunette has one of Poccetti's frescoes, interesting as showing Sant.' Antonino in a procession, with a view of the cathedral as it then existed, giving the details of Giotto's unfinishedy^fai&, iierwards demolished. Conspicuous among' the spectators on the R may be noted Savonarola, in his black and white Dominican robes, as prior of this monastery. Near the entrance door, St. Thomas Aquinas with his book, standing for the Learning of the Dominican Order : also by Fra Angelico. ':i:^rm^^SwM'^^miW3M^^- wtm ■'1L3ESI2 [IV. icoes (by Poccetti ' St. Antonine, the e, and prior of this ed by the inscrip- of real intcrej* '^ Lnge 'CO, all bear- Dominican Order. . Dominic embrac- er the Dominican recognised by the still just traceable) L of it, over the with his wounded finger to his lips, of silence. This Dominican Order, s displayed every- ice to the Chapter- Dominic with his urge of rods, and nican Order. On tory, a Pietk. At esteria, or rooms ,** two Dominican grim — " Inasmuch little ones ye have resents the Hospi- jrness and beauty, lastery. The next esting as showing of the cathedral as i unfinished/«fai&, ^ng the spectators is black and white istery. Near the his book, standing der : also by Fra 1 If 'U,U^aaMnmitk ri IV.] THE SECO:. '' DOMINICAN Qr'ARlER 75 Now return to thr hapter>Hou«c. on the opposite side, which contains the calleu Great Crucifixion, — in reality the P loration of ; >; Cross by the Monastic Orders, .-uJ mn T irti'-; 'arly by the Dominicans in th' Monastery o» San Marco in the Town of Vlorc .ce. This is one of Fra Angelico's noblest paintings. Those who have only seen his small panels in the north will hardly be prepared for the freedom and vi.-rour of this splendid picture. At the foot of the Cross stands a most touching group, with the essential figures of the fainting Madonna sustained by St. John, St. Mary Magdalen, with her long (air hair, and the ether Mary. These are simp 'y part of the conventional Calvary. The group to the R, nowever, for whose sake the fresco was really painted, represents the Founders of all the various Monastic Orders. Nearest the foot oi" the Cross, and in ardent adora- tion, as is right in a Dominican house, kneels St. Dominic himself, with his little red star, a most powerful figure. Be- hind him, also kneeling, is St. Jerome, the father of all monks, and founder of monasticism, with his cardinal's hat on the ground beside him. The two standing figures in the background represent St. Albert of Vercelli, in green and white, the founder of the order of the Carmelites, habited as bishop (a compliment to the great Florentine monastery of the Carmine) : and St. Augustine, with his pen and book, as the founder of the Augustinian or Austin Friars, and author of the DeCivitate Dei. (It was believed that the Carmelites were originally founded by Elijah, and only " revived " by St. Albert : hence his nearness to the Cross, and perhaps also the attitude in which he seems to be calling St. Jerome's attention, as if the Old Dispensation pointed the way to the New.) Next, again, in brown Franciscan robes, comes St. Francis with the Stigmata, bearing his usual crucifix. Note how well the difference is marked between the intellectual St. Dominic, the ascetic St. Jerome, and the ecstatic piety of St. Francis. Behind the last, standing, is St. Benedict, with the scourge, representing the Benedictines : in front of whom kneels St. Bernard with his book. Next, standing and hold- ing a crutch, is St. Romualdo, the founder of the Camaldo- 76 FLORENCE [IV. lese, in his white robe. Close by kneels San Giovanni Gualberto, I'ounder of the Vallombrosans ; these two being imports' ...onastic bodies in the neighbourhood of Florence, tow." i whom such politeness was only natural. Last of p' , next the arch, the series is completed by the two most uistinguishcd Dominican saints, St. Thomas Aquinas, stand- ing, and St. Peter Martyr, kneeling, with his wounded head. These two represent respectively the Learning and the Sanctity of the Dominican Order. Note that each saint is habited in the garb of the monastic body which he founded, while only the Dominicans themselves are permitted to show any minor members. Every face is characteristic of the Order it represents : every detail has its meaning. Look out for these : »hey will dawn upon you. The group to the L represents rather the Town of Florence and this Monastery of San Marco situated within it. At the foot of the cross of the Penitent Thief (distinguished by a halo from his reviling companion) stands St. John Baptist, patron saint of the town, as embodying Florence. Beside him sits St. Mark, the patron of the monastery, writing, in order that you may see he is an Evangelist. To the extreme h again, we havt St. Lawrence with his gridiron, in rich deacon's robes, as representing Lorenzo de' ^^^dici (the elder — Cosmo's brother) : while behind him stand the two J. Iron saints of the Medici family, Cosmo and Damian. Of these, St. Cosmo, standing for Cosmo de' Medici, then the ruling power in Florence, looks up towards the cross in adoration ; v/hile St. Damian, who is here merely because his presence is needed to complete the pair, turns away and hides his face, weeping— a very courtly touch for this saintly painter. The whole composition thus indicates the Devo- tion to the Cross of the Mcnastic Bodies, and especially of the Dominicans, more particularly as embodied in this Dominican house of San Marco, in this town of Florence, founded and protected by the ruling Medici family, and especially by the brothers Cosmo and Lorenzo. We can now understand why the Crucifixion is so relatively unim- portant in the picture, and why all the painter's art has rather s;t^fr' riv. peels San Giovanni ns ; these two being (lurhood of Florence, ly natural. Last of ted by the two most imas Aquinas, stand- h his wounded head. ! Learning and the »le that each saint la Jy which he founded, ire permitted to show characteristic of the its meaning. Look I. the Town of Florence tuated within it. At hief (distinguished by inds St. John Baptist, ig Florence. Beside lonastery, writing, in elist. To the extreme his gridiron, in rich 5nzo de' ^^edici (the d him stand the two mo and Damian. Of de' Medici, then the towards the cross in here merely because ; pair, turns away and J touch for this saintly i indicates the Devo- idies, and especially of as embodied in this :his town of Florence, g Medici family, and id Lorenzo. We can is so relatively unim- painter'sart has rather IV.] THE SECOND DOMINICAN QUARTER 77 been lavished on the three exquisite groups in the foreground. .Study it all long. The longer you look at it, the more will you see in it. [The ugly red of the background was once covered by blue, but the pigment has peeled off or (ultra- marine being cxpersivc) been removed on purpose.] Do not fail also to notice the framework of Sibyls, pro- phets, and patriarchs, nor the genealogical tree of Dominican •aints and distinguished personages who form a string-course beneath the picture, with St. Dominic as their centre-piece, flanked by two Popes of his Order, and various cardinals, bishops, etc., whose names are all inscribed beside them. Look at each separately, observing that the saints have each a halo, while the Beati or " Blessed " have only rays round their head. (Read up in this connection the subject of canonization.) After sitting about an hour before this picture (for a first impression) proceed into the Qreat Refectory, at the end of the same corridor. A good later fresco here, by Aitonio Sogliani, represents St. Dominic and the brethren at St. Sabina in Rome being fed by angels. This appropriate subject for a refectory is called the Providenza ; its obvious meaning is, " The Dominican Order receives its sustenance from the Divine Bounty." In the background is a Calvary, by Fra Bartolommeo, with St. John and Our Lady, while St. Catherine of Siena, kneeling with her lily to the R, signifies the participation of the female branch of the Dominicans in the same divine protection. (The figure to the L I take for St. Antonine.) Observe always the mean- ing and relevancy of refectory frescoes : the most frequent subjects are the Last Supper and the Feast of Levi. The central door gives access to the corridor which leads to the upper story. On the \. of this corridor is the entrance to the Smaller Refectory, which contains a fine fresco by Ghirlandajo of the Last Supper. In this work Judas is represented after the earlier fashion (as at Santa Croce) seated opposite to Christ in the foreground. (Another Cenacolo by Ghirlandajo, so closely similar to this as to be almost a replica, exists in the Refectory of the monastery of jtiliiiSi. p^ 7S FLORENCE [iv. Ognissanti in this town. The two shoiiM be visited and compared together. Those who feel ,in interest in this frequent and appropriate refectory subject, should also compare the Giotto at Santa Croce and the Cenacolo di Fulijfno in the Via Faenza.) Observe in this work the characteristic decorative background, the border of the table-cloth, the decanterrj and dishes, and other dainty prettinesses so frequent with Ghiriandajo, wliu delights in ornament. Mount the stairs to the First Floor. Opposite you, at the summit, is a beautiful ♦*Annuncia- tion, all the details of which should be closely studied. This is essentially a moittistk treatment of the subject, severe and stern in architecture and furniture,— in which respect it may well be contrasted with such earlier treatments as Filippo Lippi's for the Medici Palace, now in the National Gallery at London. The lo^fpa in which the scene takes place is that of the Church of the Annunziata, here in Florence. Ily a rare exception at .San Marco, this picture has no distinctive touch of Dominicanism. On the other hand, you will notice in almost all the cells the figure of St. Dominic, often accompanied by the Medici sain's, as a constant factor. All the frescoes here are by Fra Angelico himself, unless otherwise mentioned. Opposite this Annun- ciation is another version of St. Dominic embracing the Cross. His red star will always distinguish him. Continue down the corridor to the R, opposite this last picture, leading through the Dormitory of the monastery, and visit the cells from R to L alternately. Each has its own fresco. I give them as they come, irrespectively of the official numbers. (i) "Noli me tangere." Christ as t- gardener, and the Magdalen. (2) Crucifixion, with Mater Dolorosa, and an adoring Dominican. (3) The Deposition in the Tomb, with St. John and the mourning women, partly suggested by the Giotto at Padua. Behind, St. Dominic with his lily, in adoring wonder. :;#iittSSv 1 [IV. otiltl be viiited and .111 intereiit in this ubjcct, should aUo nd the Cenacolo di e in this work the the border of the , and other dainty :ijo, whu delights in lautiful ♦*Annuncia- losely studied. This e subject, severe and which respect it may eatments as Filippo [le National (iallery scene takes place is i, here in Florence, this picture has no On the other hand, lis the figure of St. Medii.i saints, as a ire by Fra Angelico Opposite this Annun- ninic embracing the :uish him. he R, opposite this ory of the monastery, tely. Each has its irrespectively of the ; gardener, and the sa, and an adoring th St. John and the the Giotto at Padua, loring wonder. f(#, I IV.] THE SECOND DOMINICAN QUART EN 79 (4) Another Crucifixion with a Dominican worshipper (St. I'ater Martyr). (5) Another *Annunriation, with St. Peter Martyr ador- ing. The flame on the archangel's head is conventional. Notice the exquisite adoring figure of the Madonna, who here kneels to the angel, while in later treatments the angel kneels to her. This is again a very monastic picture ; tho architecture is suggested by this very monastery. (6) The Hearing of the Cross, with an adoring Dominican (St. Thomas Aquinas ?) (7) Crucifixion, with Madonna and St. John, St. Dominic, and St. Jerome. Observe the cardinal's hat in the corner, which is St. Jerome's emblem. As before, the figures represent Monasticisrn as a whole and the Dominicans in particular. y'8) Christ bound to the pillar to be scourged, accom- panied by a Dominican, similarly stripped for penance and flagellation. A mystical subject. (9) Nativity, with the ox and ass and other habitual features. St. Peter Martyr with his wounded head adoring. The figure to the l is St. Catherine of Alexandria. (10) A Pictk; Peter and the maid, Kiss of Judas, Scourging (with only hands visible), Judas receiving tho bribe, and other symbolical scenes in background. In the foreground, St. Thomas Aquinas with his book in adoration. On the wall, between this and the next cell, Madonna upd Child with Dominican and Medici saints,— a symbolical composition, similar to that in the Chapter House. Extreme L, St. Dominic; near him, St. Cosmo and Damian in their red doctors' robes, representing the family of the founder ; beside them, St. Mark as patron of this convent : on the opposite side, St. John the Evangelist, St. Thomas Aquinas, St. Lawrence with his gridiron, representing (the elder) Lorenzo de' Medici, and St. Peter Martyr (for Piero de' Medici). All the martyrs bear their palms of martyrdom ;— once more the Learning and Sanctity of the Dominican order, and this convent of St. Mark, with its Medici founder and the saints of his son and brother. Note, by it, way, the draped 8o FLORENCE [IV. child, the red cross behind the head of Christ, nnd the sta"- which always almost appears on the Madonna's shoulder. The more you observe these symbolical points, the more will you understand Florentine pictures. I recommend the developmtiit and variation of the halo of Christ as a subject for study. (ii) ♦^l he Transfiguration. Christ in a mandorla, with Moses and Elias ; His extendv'jd hands prefigure the cruci- fixion. Below, the three saints whom He took up into the - mtain. L, the Madonna ; R, St. Dominic observing the mystery. (12) Crucifixion ; Madonna, Magdalen, an adoring St. Dominic. (13) Scourging and Buffeting ; the Crown of Thorns. Only the hands and heads are seen : Fra Angelico could not bring himself to paint in full this painful scene. Below, St. Dominic reverently looking away from it. (14) Baptism of Christ ; the positions, and the angels on the bank, are conventional. Observe them elsewhere. To the R, two Saints adoring. (15) Resurrection, with the Maries at the sepulchre. Their attitudes are admirable. On the L, St. Dominic adoring. (16) Crucifixion, a symbolical treatment with angels and the usual St. Dominic. (17) **Coronation of the Virgin, a most lovely subject, in celestial colouring. Below, adoring saints, conspicuous among whom are not only St. Dominic, St. Thomas Aquinas, St. Peter Martyr and St. Mark, but also, by a rare conces- sion, St. Francis with the Stigmata. This is a compliment to our ''ranciscan brethren. Perhaps the cell was lent to Franciscans. (18) Crucifixion, in this case with no Dominican sym- bolism. (rg) *Presentation in the Temple, with a charming girlish Madonna. The St. Joseph behind is a marked type with Fra Angelico. Observe him elsewhere. On either side, St. Peter Martyr and St. Catherine of Siena — the male and female repret,entatives of Dominican piety. T ilL. a^f" [IV. of Christ, nnd the sta"- ; Madonna's shoulde.. )lical points, the more res. I recommend the of Christ as a subject it in a mandorla, with ids prefigure the cruci- m He took up into the Dominic observing the dalen, an adoring St. he Crown of Thorns, n : Fra Angelico could 1 painful scene. Below, from it. ions, and the angels on 'e them elsewhere. To at the sepulchre. Their St. Dominic adoring, atment with angels and , a most lovely subject, ing saints, conspicuous lie, St. Thomas Aquinas, also, by a rare conces- This is a compliment ips the cell was lent to h no Dominican sym- with a charming girlish is a marked type with i'here. On either side, of Siena — the male and n piety. ^1? T IV.] THE SECOND DOMINICAN QUARTER 8 1 (20) Madonna and Child, with St. Thomas Aquinas, and (I think) St. Zenobius, bishop of Florence. He often ap- pears ':.! works in this city. T'Ue cells to the R, along the nex» corridor, all contain iepetitions of a single subject, — the Crucifixion, with St. Dominic in adoration, but in varied attitudes, all of them significant. They need not be particularised. These fres- coes are said to have been executed by Fra Angelico's brother, Fra Benedetto, who also assisted him in some of the preceding. At any rate they are the work of a -upil and imitator. The cells were those inhabited by the novices. The last thre; cells in this corridor were those inhabited by Savonarola, as the little I atin inscription testifies. The first contains his bust, with a modern relief of his preaching at Florence (by Duprd). The walls have frescoes by Fra Bartolommeo, contrasting ill with his medijeval prede- cessor : Christ as a pilgrim received by two Dominicans, etc. The second contains a portrait of the great prior by Fra Bartolommeo, and Savonarola relics. The third has a curious picture of the scene of his burning in the Piazza della Signoria, — interesting ^Iso as a view of the Florence of the period. (Read up the period in Villari : see also George Eliot's Romola). Now, return to the head of the staircase by which you entered, and proceed to examine the cells in the corridor beyond the great Annunciation. The first to the L contains a quaint genealogical tree of the Dominican order, and several relics, sufficiently described on their frames. These are ♦he rooms of St. Antoninus, and contain the bier on which his body used to be carried in procession. It now rests in th? adjoining church. The fresco represents Christ delivering the souls of the pious dead from Hades. Notice the personal Hades crushed under the doors of Hell, as described in the Apocryphal Gospel of Nicodemus. The wnite robe, and the banner with the red cross, always mark Christ after the Crucifixion till the Ascension. Observe the lurking devils in the cran- F a 82 FLORENCE [IV. nies. Conspicuous among the dead is the figure of St. John Baptist, patron of Florence, who, having predeceased the Saviour, was then in Hades. Study this picture closely. (2) L, Christ and the Twelve; the Sermon on the Mount. (3) In the small cell adjoining, two scenes of the Temptation, with ministering angels. (4) Another Cruci- fixion, with fainting Madonna and an adoring Dominican. Beyond this cell, the door to the R gives access to the Library, whose architecture has coloured several of Fra Angelico's pictures in the Dormitory. The cases contain beautiful illuminated manuscripts, chiefly by Fra Benedetto, all of which should be inspected, though description is im- possible. Next cell, R, Crucifixion, with St. Longinus piercing the side of Christ, and an adoring Dominican. St. Martha, exceptionally represented in this picture, has her name in- scribed accordingly. She occurs elsewhere here : I do not know the reason, but one must be forthcoming. Could it have been the narr.e of the painter's mother or sister ? I,, the Kiss oi Judas, unusually spiiited, with Roman soldiers, and Peter cutting off the ear of Malchus (a constant concomitant). This picture has perhaps more action than any other by Fra Angelico. Also, in a frame, *Madonna della Stella, one of Fra Angelico's most famous smaller works. In the adjacent cell, an exquisite little *tabemacle of the Coronation of the Virgin, clof more action than frame, *Madonna st famous smaller I *tabemacle of the ing the well-known ow are worth the resco of che Entry Mary and Martha, lunciation and the ^ngelico's style in ed saints : identify d symbolical treat- I mystic Institution ien from their scats IV.] THE SECOND DOMINICAN QUARTER 83 and kneel : on the other side, a knee'mg saint in white — not, I think, Our Lady. Notice the quaint device of the windows, in order to suggest the upper chamber. Last cells on L, Christ being nailed to the Cross (with Nicodemus, Joseph of Aramathaea, and Longinus), and a Crucifixion, with St. Dominic spreading his arms in adora- tion, and St. Thomas with his book, philosophically contem- plating the mystery of redemption. Observe such frequent touches of characterisation. Note, too, the halo on the penitent thief, whose anatomy is unusually good for Fra Angelico. On the end wall, tapestry with the arms of the Medici. The cells to the R are those which were occupied by Cosmo, Pater Patrice, when he retired to the convent, in retreat, for prayer and meditation. The first therefore contains a Cruci- fixion, with St. Cosmo, St. John, and St. Peter Ivlartyr (the last two as patrons of Giovanni and Piero de' Medici). Cosmo could thus pay his devotions to the Saviour before his own patron and those of his sons. The upper cell, where Cosmo slept, contains a Pietk, above which is the Adoration of the Magi, doubtless as represenling worldly authority submitting to the Church, and therefore most appropriate for the retreat of the powerful founder. Notice the charac- teristic figure of Joseph. The attitudes of the Three Kings also occur exactly alike in many other pictures. The train of attendants with horses and camels to the R (most fearsome monsters) are also characteristic. The riders are supposed to be observing the Star in the East. Notice the attempt to introduce types of Orientals, some of whom have truly Asiatic features. This cell also contain'^ a good terracotta bust of St. Antoninus, and a portrait of Cosmo (in the dress of his patron saint) by Pontormo, of the i6th century (not of course contemporary, but reconstructed from earlier mate- rials). St. Antoninus used here to converse with Cosmo, who also received Fra Angelico. After visiting the monastery of San Marco, I advise you to pay a brief visit to the Church of San Marco by its 1 84 FLORENCE [JV. side, — originally, of course, the chapel of the monastery. TYiG facade '\a of the i8th century, and ugly, but contains in- teresting symbolism of St. Mark, St. Dommic, St. Antonine, etc., which you will now be in a position to understand, for yourself. In the porch, on the holy water stoup, and else- where, the balls of the Medici. The interior, though ancient, was so painfully altered in the 1 6th century as to preserve little or nothing of its original architecture. It contains, however, a few old works, the mo.«!t interesting of which are a Christ on a gold ground over the central door, said to be by Giotto. (Compare with several old crucifixes in the Uffizi.) The Madonna over the second al'.ar is by Fra Bartolommeo, a monk of the monas- tery. Over the third altar (St. Dominic's) is an early Christian mosaic of the Madonna, from Rome, so greatly modernised, with new saints added, as to be of little or no value. But the most interesting object in the church is the Chapel of St. Antonine, prior of the monastery, and Archbishop of Florence, whose cells you have already seen in the adjoining dormitory. It still contains the actual body of the Arch- bishop. The architecture is by Giovanni da Bologna, who also executed the statue of the saint. The other statues (poor) are by Francavilla. The frescoes by the entrance represent the Burial and Translation of St. Antonine. This chapel, ugly enough in itself, helps one to understand the late frescoes in the monastery. The church also contains the tombs of the two distinguished humanists and friends of the Medici, Pico della Mirandola and Poliziano. You will not fail to observe, throughout, the Dominican character of the church, nor its close relation to the adjoining monastery and its inmates. Visit some other day the Riccardi, formerly the Medici Palace, close by, the original home of the great family, before it migrated to the Pitti. The chapel is very dark ; therefore, read all that follows before starting. This palace was built in 1430 for Cosimo Pater Patria2 by Michelozzo, the Medici architect, who also built the Monastery of San ':^^^mm'wy^ [IV. f the rocnastery. , but contains in- nic, St. Antonine, o understand, for ' stoup, and eise- linfully altered in or nothing of its r, a few old works, on a gold ground , (Compare with dadonna over the nk of the monas- an early Christian eatly modernised, )r no value. But is the Chapel of id Archbishop of n in the adjoining ody of the Arch- da Bologna, who rhe other statues by the entrance , Antonine. This o understand the rch also contains sts and friends of iziano. You will lican character of oining monastery nerly the Medici he great family, pel is very dark ; ing. This palace ae by Michelozzo, Monastery of San IV.] THE SECOND DOMINICAN QUARTER 85 Marco and the Medici Chapel at Santa Croce, as well as Piero de' Medici's pretty little baldacchino or shrine at San Miniato. Compare all these, in order to understand Michelozzo's place in the evolution of Renaissance archi- tecture. Note, too, how the politic Medici favoured both the important monastic bodies. This was the Palace of Lorenzo de' Medici, and it continued to be the family home till the Medici migrated about 1549 to the Pitti. It was sold ten years later to the Riccardi family, whose name it still bears ; and it is now the Prefecture. The exterior of the Palace is very handsome : the ruslica work here for the first time is made to taper upward. Ad- mirable cornice. The Court is imposing : it contains a curious jumble of tombs, buLts, sarcophagi, antique inscrip- tions, and mediaeval fragments. The medallions above the arcades are by Donatello, after antique gems. The total effect is too mixed to be pleasing. But the great reason for visiting the Medici Palace is the Chapel : (ask the porter ; fee, half a franc). This dark little building is entirely covered with one gorgeous ** fresco by Benozzo Gozzoli, painted by means of artificial light, about 1460— his greatest work,— and one of the loveliest things to be seen in Florence. It represents the journey of the Three Kings to Bethlehem, represented as a stately mediccval processional pageant through a delicious and varied landscape background. Benozzo was a pupil of Fra Angelico, and he took much from his master, as well as some hints from Gentile da Fabrianos Adoration of the Magi, now in the Belle Arti (but then at Santa TrinitJi), which you will see hereafter ; the two should be carefully compared together. Therefore, on this account also, you should bear in mind the double connection between San Marco and the Medici Palace. Note, however, that Benozzo has a sense of landscape and pretty fantastic adjuncts denied to Fra Angelico's ascetic art, and only shared in part by Gentile de Fabriano. At San Marco all is monastic sternness ; at the Medici Chapel, all is regal and joyous, all glitters with gold and glows with colour. 86 FLORENCE [IV. On tueLwall, the Eldest King, mounted on a white m':le (cruelly mutilated to make a door) rides towards Bethlehem. The venerable face and figure are those ot the Patriarch Joseph of Constantinople, who was then in Florence attending the abortive council already mentioned for the reunion of the eastern and western churches. A troop of camels bearing his present zig-zags along the ' mountain route in front of him. Notice also the hunMng leopard, already introduced into a similar scene by Gentile da Fabriano, whose influence on Benozzo is everywhere apparent On the end wall comes the Second or Middle-aged King, in a rich g. een robe, daintily flowered with gold. To mark his Easteri origin, he wears a turban, surmounted by a crown. Tht face and figure are those of John Palaeologus, Emperor of ^'Constantinople, then in Florence for the same purpose as tie Patriarch Joseph. His suite accompany him. Observe to the far L three charming youths, wearing caps with *'.e Medici feathers. On *^ i< wall, Xti'i Young King, on a white horse like the others, and wearing a crown which recalls Gentile, moves on with stately march in the same direction. This king is a portrait of Lorenzo the Magnificent. In front of him, two pages bear his sword and his gift. Behind him, various members of the Medici family follow as part of the pro- cession : among them you may notice Cosimo Pater Patriae, with a page leading his horse. Further back, some other less important personages of the escort, among tuem Benozzo himself, with his name very frankly inscribed on his headgear. On the choir wall, groups ot most exquisite and most sympathetic angels stand or kneel in adoration. These ehaiming figures originally uttered their sonorous glories tc the Madonna and Child in the central altar-piece, which has been removed to make vay for the existing window. This altar-piece was by Benozzo himself, and represented the Adoration of the Child ; it is now in the Old Pinakothek at Munich. I do not know at what time the original Adoration ;;^c; [IV. on a white mile 'ards Bethlehem, ot the Patriarch en in Florence entioned for the :hes. A troop of g the "lountain lunMng leopard, by Gentile da I is everywhere iddle-aged King, gold. To mark urmounted by a shn Palaeologus, nee for the same suite accompany r youths, wearing ite horse like the Jentile, moves on This king is a ront of him, two nd him, various part of the pro- no Pater Patriae, jack, some other t, among tnem kly inscribed on [uisite and most loration. These norous glories tc •piece, which has window. This represented the Id Pinakothek at riginal Adoration IV.] THE SECOJD DOMINICAN QUARTER 87 was removed, but in 1837 Filippo Lippi's Nativity, now in the Belle Arti, filled the vacancy. I have very briefly described the main idea of these ineffably beautiful frescoes. You must note for yourself the rich caparisons ot the horses, the shepherds and their flocks, the pomp of the escort, the charming episodes in the background, the delicious and fairy-like mediaeval landscape, the castles and rocks, the trees and bright bird :, the hawks and rabbits, the endless detail of the fanciful accessories. Pomegranate and vine, stone-fir and cypress, farmyard and trellis, all is dainty and orderly. In these works for the first time the Joy in the beauty of external nature, just foreshadowed in Gentile da Fabriano, makes itself distinctly and consciously felt. If the naive charm of Benozzo's rich and varied work attracts you, you can follow up their artist's later handicraft in the Campo Santo at Pisa, and in the lost little mountain town of San Gimignano, near Siena. THE BELLE ARTI r T) Y far the most important gallery in Florence, for the L X3 study of Florentine art at least, is the Accademia delle Belle ArtI in the Via Ricasoli. This gallery contains a splendid collection of the works of the Tuscsn and Umbrian Schoold, from the earliest period tj the Higli Renaissance, mostly brought from suppressed churches and convents. It is destitute, ind-^ed, of any works by Raphael, Michael Angelo, Leonardo, Titian, and the other chief painters of the early i6th century, but it possesses a magnifi- cent series of the great artists of the 14th and 15th centuries, when art was feeling its way, whose works are therefore so much more interesting to the student of the history and evolution of painting. It begins with a collection of Qiot- tesque altar-pieces, and then leads gradually on, through the slowly improving art of the early 15th century, to the great group of glorious Florentines, Filippo LippI, Filippino Lippi, Botticelli, Verrocchio, who immediately preceded the early 16th century movement in art which culminated in the Decadence. It is also the first gallery which you should visit, because its historical range is on thu whole less varied, its continuity greater, its stages of development more maiked, than in other instances. Being confined to the early -oainters of Florence and of the upland country behind it, it ■.. ables you more readily to grasp the evolution of art in a sinjjle province, up to the date of Raphael, than you can do elsewiiere. I advise you, therefore, to spend many days in this gallery before proceeding to the Uffizi and the Pitti. Or, if this sounds too hard a saying, then look «« ~ZJ^.„v^^ ^w:w ma^M v.] THE BELLE ART! 89 through the two last-named casually first, but begin your definite study in detail with the Relle Arti.] I Florence, for the s the Accademia s gallery contains the Tuscsn and riod tj the High sed churches and orks by Raphael, the other chief issebsesa magni fi- nd isth centuries, i are therefore so the history and illection of Qiot- lually on, through h century, to the } Lippi, Filippino ediately preceded lich culminated in tilery which you on thy whole less levelopment more I confined to the id country behind e evolution of art Laphael, than you e, to spend many the Uffizi and the laying, then look Go to the Cathedral square, and then take the Via Ricasoli to your L. A little before you arrive at the Pisizza of San Marco, you will see on your R a door which gives access to the gallery— officially known as the Reale Galleria Antica e Moderna. Open daily at 10, i lira. Free on Sundays. The First Room which we enter— the Outer Corridor- contains Early Tuscan panels, chiefly altar-pieces from suppressed churches, and of comparatively small artis'ir value. Nevertheless, as leading up to later works, and a exhibiting the characteristic assemblages of Florentine or Tuscan saints, they deserve the closest attention. I will not particularise as to many of them, but will call attention as we pass to a few interesting retails. Unless you s.udy these early and to some peop.e unattractive worka you cannot properly comprehend the later ones. I will lay stress only on the saints or motives which oftenest recur, so as to lead you gradually on to a knowledge of the subject. L wall, 51, Ascension : with St. Lawrence, as a Medici patron ; St. John, ps patron of Florence ; St. Benedict ; and St. Mark. Above, in two separate lozenges, the Annuncia- tion. From a monastery in Florence. 49, Crucifixion. Note the St. John and Magdalen, and the angel catching the sacred blood — a frequent feature. Look out for it elsewhere. The blood was preserved in the Holy Grail. Some of it is at Bruges and in reliquaries in other churches. 47, Neri di Bicci, that late manufacturer of Giottesque pictures to order. St. Francis with the Stigmata, embracing the Cross; to the extreme R, the ascetic portrait of St. Bernardino of Siena. The other saints are Jerome, the Baptist, Antony of Padua, and the Magdalen. A Fran- ciscan picture. 46, A Madonna, attributed most doubtfully to Cimabiie. ' 90 ORENCE [V. It looks much more like a work of the school of C.iolto. Notice the goldfinch. Among the group of Saints close by, notice again, 43, St. Lawrence, in his usual rich deacon's robes. From the monastery of San Marco. In 35 we get once more a Holy Trinity (observe its composition) with ,t. Cosrno and St. Damian, St. Francis kneeling, and other saints. Do not overlook the medical instruments of the holy doctors, nor the little Annunciation in the predella. The remaining saints arc named beneath. Observe always such named saints ; they will help you to identify others by the emblems. 32, Neri di Bicci, shoul(^ be observed for its St. Apollonia with the pincers (often carrying a tooth elsewhere) and St. Catherine with the wheel. Note its spikes, which you will find tolerably constant. This picture came from the convent of St. Apollonia : hence the position of the saint and her sister martyr : St. Louis of Toulouse should also be noted. 28, Same artist. A most characteristic Annunciation, with loggia, the orthodox division between the angel and Madonna, the Eternal Father discharging the dove, the bed- chamber in the background, and all the typical Giottesque peculiarities. I specially recommend a study of Annuncia- tions. This gives the commonest type : notice it carefully. In 27 you get the old patron saint of Florence, Santa Reparata, whom you saw so abundantly at the Opera del Duomo. In 26, note St. Barbara with her tower, as well as the characteristic Florentine figure of St. John Baptist. Thf bald head of St. Paul (with his sword, on the L) has the typical features always given to the Prince of the Apostles. The other saints are Benedict and John the Evangelist. 22 is excellent, for comparison of the central subject with the last ; while the St. Michael to the L, weighing naked bouls, and trampling on a highly Giottesque dragon, strikes a common keynote. To the R, St. Stephen, with the stones on his head, is equally typical. Note the circle of angels above, and the trio playing musical instruments below, who fisSl&i [V. school of Giolto. dice again, 43, St. robes. From the finity (observe its amian, St. Francis erlook the medical little Annunciation ire named beneath. f will help you to ir its St. ApoUonia elsewhere) and St. Ices, which you will le from the convent the saint and her lid also be noted. Stic Annunciation, een the angel and the dove, the bed- typical Giottesque itudy of Annuncia- notice it carefully, of Florence, Santa t at the Opera del er, as well as the [ohn Baptist. Thf on the l) has the >ce of the Apostles, he Evangelist, entral subject with L, weighing naked que dragon, strikes len, with the stones he circle of angels uments below, who v.] THE BELLE ARTl 91 develop later into the exquisite child-cherubs of Raphael or Hellini. Every detail here is worth study, not as art, but as type or symbol. Go from one picture of a subject to others WVf it. . 21, St. Vincent Ferrer, the Dominican. Study him for future recognition. 20 has a Trinity, noticeable for its very youthful Eternal Father. Compare its St. Michael with that in the last. The St. Antony the Abbot is also chaiacteristic. To the extreme R beyond St. Francis, stands St. Julian, patron saint of Rimini. Do not overlook the six-winged red seraphs, and 'he Annunciation in the lozenges. The in- scription gives the name of the donor and the date, 1416. 18, Another St. Bernardino of Siena, bearing the IHS, with which we are already familiar at Santa Croce. Observe the well-known portrait character of the pictures of this saint. From the Franciscan convent of Monte Oliveto. 14, Bicci di Lorenzo. Madonna with cardellino or gold- finch : may be compared with the so-called Cimabue close by. Note that this is a Franciscan picture (from San Francesco in Fiesole) : therefore it has St. Francis with the stigmata, St. Louis of Toulouse habited as a bishop in a red robe, spangled with fleurs-de-lis, and with the crown which he rejected lying at his feet, as well as St. Anthony of Padua, holding the flames, and St. Nicholas of Bari with his three golden balls. Do not omit to note throughout such details as the flamelike ornaments on the heads of the angels, and the subjects represented on the Bishops' robes. AH these will often cast light upon the nature of the subjects. Cross over the room to the opposite «Ide and return to- wards the door. 13, Another Franciscan picture, with the same three Franciscan saints as 14, reinforced by St. Bernardino of Siena, once more bearing his IKS ; St. Jerome, with his cardinal's hat and open book (as translator of the Vulgate), and St. Sebastian holding his arrow and p;ilm of martyrdom. The last figure shows the work to be probably a votive offering for the plague, painted for a Franciscan church. It wm&^: IMAGE EVALUATION TEST TARGET (MT-3) A 5^ ./<" i^y ^^ '4& '^o 1.0 I.I !:i.25 JMIIIM 112.5 IIIIIM 2.2 la 2.0 ^^^ 18 1.4 1.6 6" Photographic Sciences Corporation 23 WEST MAIN STREET WEBSTER, N.Y. 14580 (716) 872-4503 \rp'!^^r^?V'':ifTv: %^ C?. X % M # (A fA J CIHM/ICMH Microfiche Series. CIHM/ICMH Collection de microfiches. Canadian Institute for Historical Microreproductions / Institut Canadian de microreproductions historlques f^'j^^-i'^'-.'^. V 92 FLORENCE tv. comes from the Florentine convent of St. Jerome, whence that saint is introduced with the others. la. Life of the Virgin. Interesting to compare with Fra Angelico's scenes in the adjoining room, and with the little series of histories by Giotto to be noticed later. Contrast particularly with other treatments the Flight into Egypt and the Adoration of the Magi. The way in which Joseph examines the Elder King's gift is highly characteristic The development of these subjects from those (in fresco) by Giotto in the Arena at Padua is very instructive. Do not omit the Madonna ascending above in a mandorla, with the kneeling donor, nor the little Annunciation in the lozenges of the gables. II has its saints named. Compare them with 20 just opposite. You will thus be enabled to form a type of St. Julian. The St. Peter and St. Paul in the lozenges above are also typical. Note their features. You will by this time be familiar with the characteristic faces assigned to St. Anthony with his crutch, and to St. John Baptist. Observe in later art that the somewhat infantile innocence of St. Lawrence is preserved but modified. 10. A Crucifixion. Note the scorpion banner, frequent with the soldiers who kill the Redeemer, and identify all the personages. 9 is interesting for its inscription, and its group of saints, who are excellent types of their personages- -Nicholas of Bari, Bartholomew, San Firenze (a local Bishop), and St. Luke. It comes from the church of San Firenze in Florence, which is why that saint is so prominent. 8, by Ugolino da Siena, should be compared with the twc works on the same subject (Coronation of the Virgin) by Neri di Bicci. In the great group of saints beside it you will now have no difficulty in distinguishing, to the L, St Peter Martyr with his wounded head, in Domiiiican robes ; St. Paul, with his sword ; St. Bartholomew, with his knife ; to the R, St. Peter, with the keys ; St. John Baptist ; St. Dominic, with his lily ; and St. Thomas Aquina*, with his ray-bearing book. Notice that this is therefore a Domini- m ] i ] [V. ■ St. Jerome, whence ;o compare with Fra n, and with the little iced later. Contrast light into Egypt and ly in which Joseph ^ characteristic. The those (in fresco) by instructive. Do not a mandorla, with the ation in the lozenges ! them with 20 just .0 form a type of St. 1 the lozenges above >. You will by this faces assigned to St. m Baptist. Observe :ile innocence of St. ion banner, frequent r, and identify all the 1 its group of saints, lonages- -Nicholas of ical Bishop), and St. of San Firenze in prominent, mpared with the twc on of the Virgin) by saints beside it you lishing, to the L, St. in Dominican robes ; imew, with his knife ; at. John Baptist ; St. las Aquinav, with his i therefore a Domini- v.] THE BELLE ART I 93 can work. As a matter of fact, it long occupied the High Altar of Santa Maria Novella : which shows how important it is to understand the origin of a picture. You can now see why the Virgin is there (the church being hers) ; and why the Dominicans and St. John Baptist accompany her. A little inspection will also enable you to identify many other figures, such as that of St. Gregory the Pope (behind Peter and John), with th& Spirit as a dove whisper- ing in his ear, as always. Remember each saint you identify, and use him for later identifications. In 7 you will have no difficulty in distinguishing Gt. Lawrence, St. Sebastian, St. James, St. John, etc. The gradino has subjects from th3 legend of Joachim and the Madonna — her birth, Presentation in the Temple, Sposalizio, etc., with which the frescoes in Santa Croce will have famili- arized you. 6 contains a version of the frequent subject of the Virgin ascending to heaven and dropping her girdle, the Sacra Cintola, to St. Thomas, many variants upon which will occur in other rooms in this gallery. As the girdle was preserved at Prato, this was a common theme in this district. 5 contains another Annunciation, where all the adjuncts are extremely typical. Observe the quaint figure of St. Luke painting the Madonna. In the other saint you will recognise St. Apollonia. 4 is a somewhat unusual type of Presentation, with a good characteristic figure of St. Benedict. If you can read Latin, make out the inscription on this and other pictures. They often help you. I cannot too strongly recommend close study of these superficially unattractive pictures, which, nevertheless, con- tain the germ of all that comes after in Tuscan and Umbrian art. Go over them again and again, till you are sure you understand every figure. I would advise you to get the official catalogue, and ncte in every case whence the picture comes, as well as why the various saints are in it. Now pass straight along this entrance hall till you reach 94 FLORENCE [V. The Cupola, with the **David of Michael Angelo transferred to this place from the door of the Palazzo Vecchio. This famous statue, the first great work in sculpture of the artist, was modelled out of a block of marble which had been spoiled and abandoned. (Read the good remarks on the subject in Baedeker.) In this youthful effort Michael Angelo bhows more poetry, and less of his rugged massiveness, than in his later work. Both in painting and sculpture he is more attractive, indeed, in his treatment of the youthful nude male form than in his women or his elder men and draped figures. Remember that this is a great masterpiece. Adjoining the David are a collection of casts of all the plastic work of Michael Angelo. Taking this room in con- nection with the Medici tombs in the Nuova Sagrestia at San Lorenzo, you get a better opportunity of studying Michael Angelo's work as a sculptor than can possibly be attained anywhere else. As, however, these works require merely a general taste for sculpture, and close observation and comparison on the part of the visitor, for their proper apprecia- tion, they do not enter into the special scheme of this work, which is purely explanatory. I recommend long and atten- tive scrutiny of all, with the aid of such critical remarks as are to be found in the various valuable books on the subject of Michael Angelo by English and German critics (Springer, Symonds, etc.). Do not study the sculpture at the same visit with the pictures. Go to San Lorenzo on a separate day, and then come back here more than once for compari- son. Pass abng the corridor containing the casts, and enter the first door on the L, which leads to the Sala del Perugino. This room and the two adjoining ones contain the noblest and most beautiful pictures of the Florentine Renaissance. Strictly speaking, in order to preserve the chronological order, you ought to go first to the Sala dei Maestri Toscani : but as you must return to the Academy many times, it will do you no harm to begin in this manner. [V. transferred to this icchio. This famous ire of the artist, was ch had been spoiled irks on the subject in ichael Angelo !>hows ssiveness, than in his :ulpture he is more <{ the youthful nude Ider men and draped t masterpiece. n of casts of ali the ng this room in con- ; Nuova Sagrestia at 3rtunity of studying han can possibly be these works require close observation and their proper apprecia- scheme of this work, nend long and atten- :h critical remarks as books on the subject man critics (Springer, :ulpture at the same >renzo on a separate an once for compari- e casts, and enter the fO. ;s contain the noblest rentine Renaissance, re the chronological dei Maestri Toscani : y many times, it will ,,,.M2g»m v.] THE BELLE ARTI 95 To the R of the doorway is ** 57, a very noble Perugino, representing the Assumption of the Virgin, in a mandorla, surrounded by a group of cherubs in the same shape. Her attitude, features, and expression of ecstatic adoration, as well as the somewhat affected pose of her neck and hands, are all extremely characteristic of Perugino. So are the surround- ing groups of standing and flying angels ; the angel immedi- ately to the spectator's L of the Madonna has also the characteristic poise of the head. Above is the Eternal Father, in a circle, with adoring angels. Below stand four Vallombrosan saints, as spectators of the mystery: (the picture comes from the great suppressed monastery of Vallombrosa). You v .1 grow familiar with this group in many other parts of the gallery, as most of the pictures were brought here at the suppression. The saints are, San Bernardo degli Uberti (in cardinal's robes) : San Giovanni Gualberto (the founder) : St. Benedic; (in brown) : and the Archangel Michael. Note their features, x^he figure of St. Michael, in particular, may be well compared with the other exquisite St. Michael, also by Perugino, from the great altar-piece in the Certosa di Pavia, now in the National Gallery in London. This Assumption is one of Perugino'c finest and most characteristic works. It deserves long and attentive study. Such compositions, with a heavenly and earthly scene combined, are great favourites with Umbrian painters. (See them at Perugia, and in Raphael's Disputk in the Vatican.) Do not fail to potice the beautiful landscape background of the country about Perugia. Study this work as a model of Perugino at his best. L wall, 56, * Perugino, the Descent from the Cross, a beautiful composition. The scene takes place in character- istic Renaissance architecture. The anatomy and painting of the dead nude are worthy of notice. Observe the way in which the Madonna's face and head stand out kgainst the arch in the background, as well as the somewhat affected pietism of all the actors. R, the Magdalen and Joseph of Arimathea ; L, St. John and Nicodemus. Notice their types. _;J- M»i 96 FLORENCE [V. Beyond the door, 53, Perugino, the Agony in the Garden. The attitudes of the Saviour and the three sleeping apostles are traditional. Lookout for them elsewhere. The groups of soldiers in the background are highly redolent of Perugino's manner. So is the charming landscape. Compare this angel with those in the Vallombrosan picture first noted in this room. Observe Perugino's quaint taste in head-dresses. Also, throughout, here and in the Assumption, the Umbrian isolation and abstractness of his figures. Above, on this wall.* 55. Fra Filir po Lippi, a very charac- teristic Madonna and Child enthroned. The Medici samts, Cosmo and Damian, in their red robes, and two holy Fran- ciscans, St. Francis and St. Antony of Padua, stand by. The faces and dres=es of the Medici saints are typical. The Madonna belongs to the human and somewhat round-faced type introduced into Tuscan art by Filippo Lippi. Note, in the arcaded niches at the back, a faint reminiscence of the older method of painting the saints in separate compart- ments. This is a lovely picture ; do not hurry away from it- It comes, you might guess, from a Franciscan monastery— namely, Santa Croce. I took you first to that church and Santa Maria in order that such facts might be the more significant to you. 54, Fra Filif>po Lippi, St. Jerome in the desert, with his lion in the background, and his cardinal's hat and crucifix. The impossible rocks smack of the period. This is a tra- ditional subject which you will often meet with. Don't overlook the books and pen which constantly mark the translator of the Vulgate. 52, Cosimo Rosselli, St Barbara. A curious but character- istic example of this harsh though very powerful painter. In the centre stands St Barbara herself, with her tower and palm of martyrdom, as if just rising from the throne on which she had been sitting. Beneath her feet is a fallen armed figure, sometimes interpreted as her father, some- times as the heathen proconsul, Marcian, who ordered her execution. The picture, however, as the Latin elegiac be- neath it relates, was painted for the German Guild of [t. ny in the Garden. 5 sleeping apostles re. The gioups of (lent of Perugino's 5. Compare this ture first noted in te in head-dresses, tion, the Umbrian ppi, a very charac- rhe Medici saints, nd two holy Fran- Padua, stand by. i are typical. The :what round-faced 10 Lippi. Note, in iminiscence of the separate compart- lurry away from it- iscan monastery — o that church and night be the more he desert, with his s hat and crucifix, od. This is a tra- iieet with. Don't nstantly mark the rious but character- y powerful painter, with her tower and irom the throne on her feet is a fallen s her father, some- in, who ordered her e Latin elegiac be- German Guild of v.] THE BELLE ART I 97 Florence. Now, St. Barbara was the patroness of artillery (the beautiful Palma Vecchio of St. Barbara at Venice was painted for the Venetian Guild of Bombardiers) : I take the figure on whom she tramples, therefore, though undoubtedly an emperor in arms, to be mainly symbolical of the fallen enemy. In short, the picture is a Triumph of Artillery. To the L stands the St. John of Florence : to the R, St. Mathias the Apostle, with his sword of martyrdom. Two charming angels draw aside the curtains : a frequent fea- . re. Study this as a typical example of Cosimo Rosselli. It comes from the Florentine Church of the Annunziata. R wall, near the window, * 66, Ghirlandajo, a Madonna and Child, enthroned : in reality a Glorification of the Angels. (It must have come, I think, from some church degli Angeli.) To the L stands St. Dionysius the Areopagite, who was said to have written a treatise (still existing) on the angelic hierarchy (drawn from Hebrew sources). Kneel- ing at the feet is his spiritual father, St. Clement the Pope, as a secondary personage. To the R, St. Thomas Aquinas, in his Dominican robes and with his open book, as the great vindicator of the position of the angels. Kneeling at the feet is his spiritual father, St. Dominic. The picture was clearly painted for the Dominicans : but the figures are placed in diagonal order, I believe by some misconception of the donor's wishes. Observe that the angels in whose honour this fine picture is painted are here, quite exception- ally, provided with starry halos. Beneath the main picture, a series of little works in a predella, containing stories from the lives of these saints — decapitation of St. Denis (identi- fied with Dionysius the Areopagite) : he carries his head : St. Dominic restores the young man Napoleon to life, doubly represented, etc. 6$, p.bove. Luca Signorelli, the Madonna embracing the Cross. A good sample of this able and powerful Renais- sance painter. Beyond the door, 62,** Filippo Lippi's Coronation of the Virgin, the finest altar-p^eix by this great master. It is well to compare it with the oarliei treatments of the same subject G FV ■ ■■ pW!f T^^tit**? 98 FLORENCE [V in the Corridor, from which it is, oh I how much, developed and beautified. I will not attempt any description of this noble and beautiful work, one of the masterpieces of early Italian painting. I will merely call attention to a few formal points in it. Notice first, in the centre, the extremely human Virgin, no longer the Queen of Heaven, but a Florentine lady, whose features reappear again in the touching figure in blue in the R foreground, with the two children (said to represent Lucrezia Buti, the painter's wife, and their two little ones, including Filippino. Read up the romantic story of their elopement in any good history). On either side of the rone, adoring angels with sweet childish faces. The rest looks confused at first, but will gradually unravel itself into a celestial and terrestrial scene, with saintly mediators. To the extreme R, St. John of Florence, preserving his traditional features, but transformed and transfigured by spiritual art. He introduces and patronises the kneeling figure of Filippo Lippi beside him, whom a scroll in Latin ("This man composed the work") designates as the painter. To the L, St. Zenobius and other saints, amongst whom the patriarch Job is specially identified by the very inartistic device of writing his name on his shoulder. Do not over- look the frequent obtrusion of the Florentine lily. This picture can only be adequately appreciated after n\any visits. It is one of the most exquisite things to be seen in Florence. Very human in its models, it is divine and spir.tual in its inner essence. Above it, 63, a Trinity, in the conventional form, by Mariotto Albertinelli : good, but uninteresting. The other pictures in this room, including the fragment of two charming little angels by Andrea del Sarto (from Vallombrosa), though deserving attention, do not stand in need of interpretation. Examine every one of them, espe- cially that attributed to Francia. Now, enter the room to the r, the Sala Prima del Botticelli. Facing you as you enter is ** 80, Botticelli's Primavera, V much, developed description of this sterpieces of early ion to a few formal e extremely human , but a Florentine he touching figure > children (said to ife, and their two the romantic story On either side of lildish faces. The lually unravel itself I saintly mediators, ice, preserving his id transfigured by )nises the kneeling n a scroll in Latin ates as the painter, amongst whom the the very inartistic der. Do not over- rentine lily. This id after ntany visits. De seen in Florence, and spir.tual io its trentional form, by ssting. uding the fragment ea del Sarto (from )n, do not stand in one of them, espe- (Iticelli's Primavera, ▼J THE BELLE ART! 99 perhaps the most beautiful picture in the world. This ex- quisite allegory has been variously explained. I give my own interpretation. It is probably on<^ of four panels re- presenting the seasons. In the centre stands the figure of Spring, who is therefore significantly painted as pregnant. To the extreme L, Mercury, the god of change, with his caduceus, dispels the clouds of winter. (Perhaps rather Favonius, the west wind, in the guise of Mercury.) Beside him, an unspeakably beautiful group of the Three Graces, lightly clad in transparent raiment, represent the joy and freshness of spring-tnnc : on whom a winged and blind- folded Love, above the head of Primavera, is discharging a fiery arrow — since spring is the period of courtship and mating. The figures to the R represent the three spring months. Extreme R, March, cold and blue, blowing wind from his mouth (notice the rays), lightly clad, and swaying the trees as he passes through them. Next to him, as if half escaping from his grasp, April, somewhat more fully draped in a blue and white sky. On the hem of her robe green things are just sprouting. She seems as if precipi- tating herself into the lap of May, who, erect and sedate, fully clad in a flowery robe, scatters blossoms as she goes from a fold of her garment. March blows on April's mouth, from which flowers fall into the lap of May. The obvious meaning is "March winds and April showers bring forth May flowers,"— a Tuscan equivalent for which proverb still exists in Italy. The action cf March's hands probably represents the old idea that he borrows three days from April. I will not attempt to say anything about the aesthetic beauty of this exquisitely spiritual and delicate work. It is one of those profound pictures which must be visited again and again, and which gain in intensity every time you look at them. As to place, it was painted for Lorenzo de* Me- dici's villa at Castello : notice it as one of the first purely secular paintings, with Renaissance love of the nude, which we have yet come across. To the L of it, * 8i, Pacchiarotto, Visitation. The central part of the picture should be compared with the Mariotto m 100 FLORENCE {r. Albertinelli in the Uffizi. The arrangement of the figurei and the way they are silhouetted against the arch is almost identical. It should also be compared with the dhirlandajo in the Louvre (where the .irst use of the arch in this way occurs) and other examples, such as the Giotto at Padua. This, however, is not a Visitation simple, but a Visitation with attendant saints, amongst whom to the L stands St. John Baptist. He, of course, could not possibly have been present at the moment, as he was still unborn— thus well showing the nature of these representative gatherings. Kneeling in the foreground to the R is St. Vincent, the patron saint of prisoners, holding handcuffs, whence it is probable that the picture was a votive offering for a release from Barbary pirates or some foi m of captivity. Behind is St. Nicolas of Bari, with his three golden balls. The other laints are the two St. Antonies — the Abbot, and the Paduan : note their symbols. Most probably the donor was an yVntonio who wished to stand well with both his patrons. The architecture of the triumphal arch shows study of the antique. The bronze horses are suggested by those over the doorway of St. Mark's at Venice. Note the dove brooding above the picture. The technique of this somewhat hard and dry but admirable and well-painted work deserves close attention. I have entered at length into the evolution of Visitations in one of my papers in the Pall Mall Magasine. Below it, 82, Fra Filippo Lippi, a Nativity. Good and cnaracteristic. Note the ruined temple, ox and ass, etc., as well as Lippi's nascent endeavour to overcome the difficulty of placing the attendant saints, well shown in the figure of the Magdalen to the R of Our Lady. He is striving hard after naturalistic positions. The infant, of course, is Lippi all over. Beneath the St. Jerome, observe the figure of the kneeling St. Hilarion, doubtless the name saint of the donor. The whole of this quaint work is highly interesting as exhibiting the conscious effort after greater freedom, not yet wholly successful. 79, opposite, Fra Filippo Lippi, The Virgin adoring the «,,»,»- ,'../.»^. Mi.it^ ..«..i.i»».ii«. "IfifW^ ir. nt of the figures le arch is almost > the Cihirlandajo arch in this way Giotto at Padua, but a Visitation the L stands St. ssibly have b«en nborn— thus wcU Hive gatherings. St. Vincent, the ifls, whence it is ring for a release livity. Behind is balls. The other Abbot, and the tbably the donor rell with both his phal arch shows are suggested by Venice. Note the technique of this and well-painted entered at length my papers in the tivity. Good and X and ass, etc., as :ome the difficulty in the figure of the triving hard after lurse, is Lippi all the figure of the saint of the donor. i!y interesting as :r freedom, not yet ^irgin adoring the V.J THE BELLE ART I lOI Child. A very similar picture. It should be closely com- pared with the preceding. The hands of God a^tpcaring through the clouds, diicha.'^ing the Holy Spirit, are an interesting feature. Note again the attempt to introduce the youthful St. John Baptist of Florence in a more natural manner Compare with the great Coronation of the Virgin. From about this time, too. Renaissance feeling makes the young St. John (more or less nude) tend to supersede the adult representation. Study these two pictures carefully. The saint in white is St. Romuald, the founder of the Carnal- dolese : this aicar-piece comes from Camaldoli. 78. Perugino. Crucifixion, with the Madonna and St. Jerome, the latter attended (as usual) by his lion. Our Lady is a good figure, but the rest of the picture is unworthy of Perugino. It comes from the monastery of St. Jerome in Florence — whence the saint. 76 Andrea del Sarto. Four Vallombrosan saints, origin- ally painted on either side of an adored Virgin, much older. To the L St. Michael ; observe the exquisite painting of his robe and armour. The other saints are San Giovanni Gualberto (the founder) ; San Bernardo degli Uberti ; and St. John Baptist. Compare them with the group of similar saints in Perugino's Assumption. Both for character and technique such comparison is most luminous. 73. Botticelli, Coronation of the Virgin (from the monastery of San Marco). The main subject of this vehement work should be compared (or rather contrasted) with the early Giottesque examples. The beautiful and rapturous flying angels are highly characteristic of Botticelli's ecstatic con- ception. Observe the papal tiara worn by the Father. In the earthly scene below are four miscellaneous saints observ- ing the mystery : I do not understand the principle of their selection. They are, St. John the Evangelist, St. Augustine, St. Jerome, and St. Eloy (Eligius) the holy blacksmith. Look for the last, again, on Or San Michele, where one of his miracles is recorded in bas-relief under his statue, where he is similarly represented in his blacksmith's forge in the predella. See Mrs. Jameson. •tt-JM loa FLORENCE tt. R of it • Verrocdiio'd Hapti^m, perhaps the most famous example of this well-known subject. Somewhat hard and dry, with peasant-like ascetic features, the St. John is yet a noble figure, veiy well painted, with excellent anatomical knowledge. His position, as well as the cup which he raises and the cross which he holds, are strictly conventional : they may be seen in many earlier examples. So also is the course of the narrow and symbolical Jordan. The angels on the bank, replacing the earlier river-god of the Ravenna mosaics, and holding the conventional towel, arc extremely beautiful. The softer and more delicately touched of the pair, to the I^ is said to have been painted in by Leonardo (a pupil of Verrocchio) : and indeed it seems to bear the impress of that great painter's youthful manner. Do not overlook the hands disc'aarging the dove. I have treated more fully the evolution of this subject in an article on The Painter's Jordan in the English lUmtrated Magazine. 70, Masaccio. A very inadequate specimen of this great painter. The Madonna and Child sit on the lap of St. Anne, a conventional position charmingly transformed by Leonardo in his welUknown picture in the Louvre. On the base of this wall are several small stories of saints, which should be studied in detail. Among those by Botti- celli (already referred to), notice particularly St. Eloy (St. Eligius), the holy blacksmith, cutting oflf the leg of a refrac- tory horse, in order to shoe it, and afterwards miraculously restoring it : compare with the same subject at Or San Michele. Close by are a very charming series by Pesellino, the best of which is the Martyrdom of the Medici saints, Cosmo and Damian. Observe them for comparison with Fra Angelico in an adjoining room : read up in Mrs. Jameson, 69, Michele Ghirlandajo (do not confound him with his great namesake). Marriage of St. Catherine of Siena (not Alexandria). Distinguish these two subjects. This is an unusual treatment, the Christ being represented as adult (He is usually an infant in this scene) and the Madonna as an elderly woman. Not a good picture, but interesting for comparison wtth others of this subject. The assistant the most famous tewhat hard and St. John is yet a llent anatomical p which he raises ly conventional : s. So also is the . The angels on of the Ravenna rel, aie extremely Y touched of the in by Leonardo (a :iTis ic bear the nanner. Do not I have treated m article on The ' lifagaaine, men of this great in the lap of St. Y transformed by Louvre. II sf^ries of saints, ig those by Botti- irly St. Eloy (St. he leg of a refrac- ards miraculously ubject at Or San eries by Pesellino, :he Medici saints, mparison with Fra [1 Mrs. Jameson, und him with his •ine of Siena (not ijects. This is an (resented as adult and the Madonna ire, but interesting ct. The assistant V.J THE BELLE ART I 103 saints are St. Paul, King David, St. John, and St. Dominic. The insipid St. Catherine contrasts most markedly with the inimitably beautiful figure by Uorgognone in the National Gallery. The picture comes from the Dominican convent of Santa Caterina at Florence, which explains all the characters. Beyond the door, Granacci, the Assumption of the Virgin, an unusually fine specimen of this comparatively late painter. On the ground below, St. Hcrnurdo degli (Jberti, St. Michael the Archangel, San Giovanni Gualberto, and St. Catherine of Alexandria with her spiked wheel. You will now have little difliculty in discovering for yourself that this is essentially a Vallombrosan picture. It comes from the monastery of Santo Spirito. Recross the Perugino Room and enter the ■ v-r ' Sala Seconda pel Botticeu-I. ' ' Entrance wall, to the L, 98, a * Descent from the Cross, the upper portion by Filippino Lippi, with whose style you will already have become familiar at Santa Maria Novella. Filippino died, leaving it unfinished ; and the lower part, with the fainting Madonna and saints, was add^';d by Peru- gino. This is an e.xcellent opportunity for comparing the styles of the two painters. The Mary to the R, supporting the Madonna, is extremely Peruginesque in face and atti< tude. Note the three nails in the foreground, which recur elsewhere. Compare also the kneeling Magdalen with Fra Angelico at San Marco. Observe how differently hands and feet are by this time painted. In both parts of this picture we have good examples of the increased knowledge of anatomy, of the nude, of perspective, and of light and shade in the later Renaissance. Filippino's somewhat fly- away style is also well contrasted with Perugino's affectation and pietistic simplicity. Beyond the doorway, 97, Fra Bartolommeo, the Madonna Appearing to St. Bernard. A characteristic example of this, to my mind, overrated painter. The crowded arrangement of the attendant angels is very typical. Compare with the 8sii%3fajw^s^&,(fa.i**>i«iii,»" «4^4'.,& ^ 104 FLORENCE (V f infinitely nobler treatment of the same subject by Filippino Lippi in the church of the Badia. I advise you to go straight thtre from this picture to visit it. Above it, 96, a good Andrea del Sarto, charmingly deli- cate in colouring. A Vallombrosan picture : the saints are again San Giovanni Gualberto and San Bernardo degli Uberti. 94. Lorenzo di Credi, Nativity, with adoring angels. Compare this with 92 beside it. Adoration of the Magi, where the Child is almost identical. This exquisite painter is somewhat less successful in works on this larger scale than in the smaller examples of his art which we shall see at the Uffizi, Nevertheless, in 92, the shepherd to the L is a most charming figure. The smoothness and clearness of thfc style is conspicuous. Note throughout the conventional accessories. Nothing is more interesting than to ree the way in which these and the landscape are transformed and improved from earlier usage. St. Joseph's feet are deserv- ing of study. Above, two ascetic Andrea del Castagnos. Of these, the companion figures of St. John Baptist and St. Mary Magda- len, (also combined in the Baptistery,) must be regarded from the point of view of the lean and hungry pentitent only. These pictures are good because they attain their object : they are expressions of a painful and repulsive ideal. 90. Raffaellino del Garbo, Resurrection, with sleeping Roman soldiers. Worthy of attention for its conventional detail. 88. Botticelli, Madonna and saints. A Franciscan Medici picture. To the extreme l, St. Mary Magdalen with the alabaster box of ointmeiit Next her, St. John of Florence . Then, the kneeling figures of Sts. Cosmo and Damian, the former significantly placed on the Madonna's R. Beyond, again, St. Francis with the Stigmata, and St. Catherine of Alexandria with her wheel. The two female saints and the face of St. Damian are very characteristic ot Botticelli's manner. A beautiful but not wholly satisfactory example. 85. * Botticelli, Enthroned Madonna, .vith adoring saints. (V subject by Filippino [ advise you to go rto, charmingly deli- ture : the saints are Jan Bernardo degli th adoring angels, ration of the Magi, his exquisite painter on this larger scale which we shall see shepherd to the L is ess and clearness of out the conventional :ing than to ree the are transformed and ph's feet are deserv- gnos. Of these, the nd St. Mary Magda- ,) must be regarded lungry pentitent only. ' attain their object : palsive ideal, ction, with sleeping for its conventional A Franciscan Medici Magdplen with the St. John of Florence tio and Damian, the lonna's R. Beyond, and St. Catherine of female saints and the eristic ol Botticelli's itisfactory example. , .vith adoring saints. v.] THE BELLE ARTI 105 Our Lady and the Child are highly characteristic. The angels drawing the curtains and holding the crown of thorns and three nails appear to be portraits of Medici children. They are very lovely. The female saint to the L, whom I take to be St. Catherine, is the familiar mod< '■. reappearing in the Three Graces of the Primavera. St. John of Florence, in the foreground, admirably represents Botticelli's ideal. The St. Michael beside him, in refulgent armour, is also a beautiful embodiment. The other saints are St. Ambrose and St. Barnabas— the latter because the altar-piece was painted for the altar of his church in Florence. A picture not to be lightly passed over. 84. Botticelli : (the ascription is doubted, I think unduly. Comparison of these two St. Michaels ought surely to satisfy the most sceptical.) The Three Arch- angels conducting Tobias, who holds the fish which is to cure his father Tobit. Such pictures are often votive offer- ings for escape from blindness. (Read the story in the Apocrypha.) The springy step of all the characters is essentially Botticellian. Notice the contrasted faces of the elder St. Michael ; the affable Archangel, Raphael, who holds the boy's hand ; and the spiritual Gabriel, with the Annunciation lily. Study these three Archangels closely. I advise you to compare all these Botticellis, noticing par- ticularly the peculiar sense of movement, the tripping grace and lightness of his figures, as well as the spiritual and elusive tone of his somewhat morbid faces. Botticelli paints souls, where Ghirlandajo paints bodies. (You cannot spend too much time in these three rooms, which form a perfect history of the art of the Renaissance. Supplement them by visits to the Brancacci Chapel at the Carmine, and a run over to Prato, where you will find the finest woriis of Filippo Lippi.) Now, go along the Michael Angelo corridor as far as the Long Qallery, and pass into the Sala Prima Toscana. This contains works of the earlier mediaeval type, the culminating point of Giottesque painting. MHMai io6 FLORENCE (V. In front of you as you enter, on easels in the middle, are two of the noblest and most beautiful pictures of tlie early 15th century. That to the Lis^Qentlle da Fabriano's Adoration of the Magi, the most gorgeous altar-piece of the Early Umbrian School, still enclosed in its original setting of three arches. This great work, which comes from the Sacristy of Santa Triniti in Florence, should be closely studied in all its details. Contrary to custom, the Madonna occupies the L field. The ruined temple and shed to the L, the attendants examining the Elder King's gift, the group of the Madonna a: d Child, with Joseph in his conventional yelow robe, and the Star which stands "over the place where the young Child was," should all be observed and compared with other pictures. (I may mention parentheti- cally that the Star of Bethlehem in Adorations is in itself worth study, being sometimes inscribed with the human face, and sometimes developed in curious fashions.) Examine also the group of the Three Kings, the eldest of whom, as usual, is kneeling, having presented his gift and removed his crown ; while the second is in the act of offer- ing, and the third and youngest, just dismounted from his horse, is having his spurs removed by an obsequious at- tendant. The exquisite decorative work of their robes, the finest product of the Early Umbrian School, deserves close attention. Note, next, the cavern of the Apocryphal Gospels m the background, with the inevitable ox and ass of the Nativity. The two or three servants who formed the sole train of the Magi in earlier works have here developed into a great company of attendants, mounted on horses and camels, to mark their oriental origin, and dressed in what Gentile took to be the correct costumes of Asia and Africa Note the excellent drawing (for that date) of some of the horses, and the tolerably successful attempts at foreshorten- ing. Observe likewise the monkeys, the hunting leopard, the falcons, and the other strange animals in the train of the Kings, to suggest orientalism. All this part of the picture should be closely compared with the inexpressibly lovely Benozzo Gozzoli of the Procession of the Kings in the n the middle, are ;ures of the early e da Fabriano's altar-piece of the its original setting t comes from the should be closely om, the Madonna nd shed to the L, j's gift, the group I his conventional "over the place be observed and ention parentheti- rations is in itself with the human :urious fashions.) Kings, the eldest sented his gift and in the act of offer- tnounted from his an obsequious at- of their robes, the )ol, deserves close pocryphal Gospels >x and ass of the 10 formed the sole e here developed Lted on horses and 1 dressed in what f Asia and Africa. te) of some of the pts at foreshorten- hunting leopard, in the train of the part of the picture lexpressibly lovely the Kings in the v.] THE BELLE ART I 107 Riccardi Palace. The face of the Young King is repeated in one of the suite to the extreme R. Examine all these faces separately, and observe their characterization. Do not over- look the fact that the principal ornaments in this splendid picture are raised in plaster or gesso-work, and then gilt and painted. The background of the main picture also contains three separate scenes of the same history. In the L arch, the Three Kings, in their own country, behold the Star from the summit of a mountain. In the centre arch, they ride in procession to enter Jerusalem and enquire the way of Herod. In the R arch, they are seen returning to their own country Do not be satisfied, however, with merely identifying these points to which I call attention ; if you look for yourself, you will find others in abundance well worth your notice. This is a picture before which you should sit for long periods together. Two subjects remain in the predella, the third is missing here (now in the Louvre, Presentation in the Temple). To the L is the Nativity, with the angels appearing to the shep- herds. In the centre is the Flight into Egypt. The gable-ends or cuspidi also contain figures, which do not seem to me by the same hand. R and L, the Annuncia- tion, m two separate lozenges ; centre, the Eternal Father, blessing. The scrolls with names will enable you to identify the recumbent kings and prophets. This picture, dated 1423, strikes the keynote for early Umbrian .?rt. Observe how its Madonna leads gradually up to Perugino and Raphael. Softness, ecstatic piety, and elaborate decoration are Umbrian notes. You cannot study this work too long or too carefully. The second of these great pictures is Fra Angellco's Descent from the Cross,— his finest work outside the realm of fresco. This also deserves the closest study. Observe that, in spite of its large size, it is essentially miniature. To the L is the group of the Mater Dolorosa and the mourn- ing Maries. Hard by, the Magdalen, recognisable (as always) by her long golden hair, is passionately kissing the sttii mm ^IMtlMW.!»Ulil. io8 FLORENCE ly. feet of the dead Saviour. St. Nicodemus and St. Joseph of Arimathea — the latter a lovely face, — distinguished by their haloes, are letting down the sacred body from the Cross, which St. John and another believer receive below. To the extreme R is a group of minor disciples, one of whom (dis- tinguished by rays, but I cannot identify him) exhibits the Crown of Thorns and the three nails to the others. The figure in red in the foreground is possibly intended for St. Longinus. Above, in the arches, are sympathising angels. This is a glorious work, full of profound feeling. The towers and wall of the city, recalling those of Florence, should also be noticed. The trees and landscape are still purely conventional On the frame, a> figures of saints : L, St Michael the Archangel, a glorious realisation ; St. Francis with the Stigmata ; St. Andrew ; and St. Bernardino of Siena ; R, St. Peter with the keys ; St. Peter Martyr with his wounded head ; St. Paul with the sword (observe the type) ; and a bearded St. Dominic, with his red star and lily. In the gable ends or cusfiidi are three saints by Don Lorenzo Monaco, who can usually be recognised by the extreme length and curious bend of his figures. (See him better at the UflSzi.) L, Christ and the Magdalen in the garden ; centre, the Resurrection ; R, the three Maries at the tomb. Compare with the Annunciation just to the right on the wall, by the same painter. Now begin at the Lwall by the door. These pictures represent the earliest art of Tuscany, and are mostly altar-pieces. High up, a curious "Byzantine" (say rather, barbaric) figure of St. Mary Magdalen, as the Penitent in Provence (see Mrs. Jameson). As always in this subject, she is clad entirely in her own hair, which the modesty of the early Christian artist has represented as covering her from head to foot like a robe. It is here rather red than golden. She holds a scroll with the rhyming Latin inscription, — Ne desperetis, vos qui peccare soletis, ' Exemploque meo vos reparate Deo: nwMHr; m ly. and St. Joseph of inguished by their y from the Cross, ve below. To the ane of whom (dis- him) exhibits the the others. The jT intended for St. npathising angels, md feeling. The hose of Florence, landscape are still L, St Michael the Francis with the ardino of Siena ; Martyr with his observe the type) ; star and lily. In > by Don Lorenzo 1 by the extreme (See him better at n in the garden ; [aries at the tomb. ; right on the wall, r. These pictures ', and are mostly rather, barbaric) litent in Provence ubject, she is clad lesty of the early ng her from head :han golden. She ription, — jletis, ' Deo: v.] THE BELLE ART I 109 that is to say : " Despair not ye who are wont to sin, and by my example make your peace with God." At its sides are eight small stories from the Life of the Saint, biblical and legendary. Beginning at the top, L, the Magdalen washing the feet of Christ ; the canopy represents a house ; the tower shows that it takes place in a city ; R, the Resurrec- tion of Lazarus, represented (as in all early pictures) as a mummy ; note the tower, and the bystanders holding their noses. Second tier : L, Christ and the Magdalen in the garden ; R, she goes to Marseilles, with Martha and St. Maximia, and converts the people of that city, which ob- serve in the background. Third tier : L, she takes refuge as a Penitent, now clad only in her luxuriant hair, in the Sainte Baume (a holy cave in Provence), where she is daily raised to see the Beatific Vision by four angels. (Look out for later representations of this subject, often improperly described as the Assumption of the Magdalen.) R, the Magdalen, at the mouth of the cave, has the holy wafer brought her by an angel. Fourth tier : L, St Maximin, warned by an angel that the Magdalen is dying, brings her the Holy Sacrament to her cave ; R, he buries the Magdalen at Marseilles ; canopy and tower again repre- senting church and city. Beneath this, 100, similar early figure of St. John in the desert, with his own head in a charger before him : ill described as Byzantine. loi. Curious barbaric picture of Madonna and Saints, with scenes from the life of Christ : brought from the Franciscan convent of Santa Chiara at Lucca. The saints can be sufficiently identified by their inscriptions. Compare the quaint St Michael with Fra Angelico's, and the St. Anthony and St. Francis with those later types with which we are already familiar. Never forget that these rude early works form the basis of all later representations. Notice Santa Chiara, to whom the work is dedicated (see B ledeker, Assisi). 102. Cimabue, Madonna and angels, resemb'ing the picture in Santa Maria Novella, but with a considerable ■MPI g ff i K»ii«iigj P | i | i t Jl lP, « )|ifyii no FLORENCE [V. variation in iht angelic figures, here rather less successful. It is, I think, an earlier picture. Beneath it, four prophets in an arcade, holding scrolls with inscriptions from their own writings, interpreted by mediaeval theologians as prophecies of the Holy Virgin. Next it, 103. A similar altar-piece by Giotto, with same central subject, where the difference of treatment and the advance in art made by the great painter are tolerably con- spicuous. At the same time, Giotto is never by any means so interesting or free in altar-pieces as in fresco. The best figures here are the angels in the foreground. The details of both these pictures deserve attentive study and comparison. Then, 116, Taddeo Gaddi, The Entombment, with the risen Christ in a mandorla above, and angels exhibiting the instruments of the Passion. The attendant St. John and other figures in this fine work should be compared with the corresponding personages in Fra Angelico's Descent from the Cross. They serve to show how much the Friar of San Marco borrowed from his predecessors, and how far he transformed the conceptions he took from them. This is one of the best altar-pieces of the school of Giotto. Do not hurry away from it. The OSM stands for Or San Michele, from which church the picture comes. 127. Agnolo Gaddi, Madonna and Child, with six Floren- tine saints. Note the dates and succession in time of all these painters. Compare the central pane' with the Giotto close by to show its ancestry. The other saints are St. Pancratius (from whose church and high altar it comes) ; St Nereus ; and St. John the Evangelist : St. John the Baptist ; St. Achileus ; and Santa Reparata of Florence. For these very old Roman saints, little known in Florence save at this ancient church, consult Mrs. Jameson. Omit the predclla for the moment. Beneath these pictures are a set of paael«, attributed to Giotto, and representing scenes in the Life of Christ. They originally formed part of a chest or cupboard in the Sacristy of the church of Santa Croce in Florence, as the very similar series by Duccio still do at Siena (if you go to Siena, you mmr ^T [V. ler less successful. :h it, four prophets -iptions from their al theologians as Giotto, with same treatment and the are tolerably con- ever by any means I fresco. The best )und. The details dy and comparison, mbment, with the Ijels ex^ibiting the iant St. John and compared with the co's Descent from h the Friar of San , and how far he m them. This is of Giotto. Do not »r Or San Michele, d, with six Floren- iion in time of all le' with the Giotto ber saints are St. Ii altar it comes) ; ist : St. John the irata of Florence, nown in Florence . Jameson. Omit aels, attributed to e of Christ. They ird in the Sacristy as the very similar go to Siena, you v.l THE BELLE ARTI III should compare the two). Though not important works, they deserve study from the point of view of development. Note, for example, in the first of the series, the Visitation, the relative positions of the Madonna and St. Elizabeth, and the arch in the background— an accessory which afterwards becomes of such importance in the Pacchiarotto in an adjacent room, and in the Mariotto Albertinelli in the Uffizi. Observe, similarly, the quaint Giottesque shepherds in the second of the series : their head dress is characteristic : you will meet it in many Giottos. The Magi, with their one horse each, may be well compared with the accession of wealth in Gentile del Fabriano ; while the position of the elder king and the crown of the second are worth notice for comparison. Observe how almost invariably the eldest king has removed his crown and presented his gift at the moment of the action. Earlier works are always simpler in their motives : never forget this principle. Not less charac- teristic is the Presentation in the Temple, with fire in the altar, where the figures of St. Joseph, R, and St. Simeon, L, are extremely typical. The Baptism has the unusual feature of the Baptist and the angels on the same bank, while a second figure waits beyond with the towel. The Trans- figuratioh prepares you for Fra Angelico's in St. Marco. The Last Supper, with Judas leaving the table, is an in- teresting variant. The Resurrection shows most of the conventional features. The Doubting Thomas also sheds light on subsequent treatments. Compare these works with those in the predella of the Agnolo Gaddi, where the story of Joachim and Anna, with which you are now, I hope, familiar, is similarly related. Joachim expelled from the Temple, with the angel an- nouncing to him the future birth of the Virgin, ought by this time to be a transparent scene. In the Meeting at the Golden Gate you will recognise the angel who brings to- gether the heads of wife and husband, as in the lunette at Santa Maria Novella. The Birth of thr Virgin has, in a very simple form, all the characteristic elements of this picture. So has the Presentation in the Temple, with its ■m. 119 FLORENCE [v. flight of steps and its symbolical building. Most interesting of all is the Annunciation, which should be close'./ com- pared with similar representations. Beneath this Agnolo Gaddi, again, are a small series, also attributed to Giotto, of the Life of St. Francis. The scenes are the conventional ones : compare with Santa Croce : St. Francis divesting himself of his clothes and worldly goods to become the spouse of poverty : St. Peter shows Innocent III. in a dream the falling church (St. John Lateran at Rome) sustained by St. Francis : The Confirmation of the Rules of the Order. St. Francis appears in a chariot of fire ( 2J). He descends to be present at the martyrdom of Franciscan brothers at Ceuta, etc. The scene of St Francis receiving the Stigmata is closely similar (with its six-winged seraph and its two little churches) to the great altar-piece from San Frances -o at Pisa, now preserved in the Louvre. Note its arrangei ent. Next it, L, St. Francis appearing at Aries while St. Anthony of Padua is preaching, recalls the fresco in Santa Croce. Indeed, all the members of this little series may be very well collated with the frescoes of similar scenes in the Bardi Chapel. (Go also to Santa TrinitJi for the Ghirlandajos.) End wall, 129, altar-piece of the Coronation of the Virgin, with attendant saints. All are named on the frame : so are the painters. Observe the saints and their symbols— especi- ally Santa Felicitk, for whose convent it was painted. Notice also the usual group of angels playing musical instruments, who develop later into such beautiful accessories. It may be worth while to note that these early altar-pieces give types for the faces of the apostles and saints which can after- wards be employed to elucidate works of the Renaissance, especially Last Suppers. Left panel, Spinello : centre, Lorenzo : right, Niecol6. R of the door, two stories from the Life of St. Nicolas of Bari. In the upper one, he appears in the sky to resuscitate a dead child, where the double figure, dead and living, is characteristic. For the legends in full you must see Mrs. Jameson. --.• ?mM«i»iti ii *Wiai I liililiiHM^,,_pii [V. Most interesting be closel/ corn- small serieH, also icis. The scenes Santa Croce: St. nd worldly goods • shows Innocent l^teran at Rome) n of the Rules of riot of fire (21). om of Franciscan Francis receiving iix-winged seraph ir-piece from San Louvre. Note its ipearing at Aries recalls the fresco of this little series i of similar scenes a Trinitk for the tion of the Virgin, the frame : so are symbols— especi- s painted. Notice isical instruments, ^essories. It may altar-pieces give ts which can after- the Renaissance, Spinello : centre, • of St. Nicolas of ! sky to resuscitate ead and living, is ou must see Mrs. V.J THE BELLE ART! 113 134. Ambrogio Lorenzetti (one of the best of the eariy School of Siena), the Presentation in the Temple. Note the positions of St. John and the Madonna, St. Simeon and St. Anne, whose names are legibly inscribed on their haloes. Observe also the architecture of the temple, and note that in early pictures churches and other buildings are represented as interiors by the simple device of removing one side- exactly as in a doll's house. All the early altar-pieces on this wall deserve attention. Do not omit St. Nicolas of Bari throwing the three purses as a dowry into the window of the poor nobleman with three starving daughters. One is already thrown and being pre- sented : the saint is holding the other two. St. Nicolas was the patron saint of pawnbrokers (they " freely 'end to all the poor who leave a pledge behind"), hence his three golden balls are the badge of that trade. 137. The Annunciation, with saints, among whom St. John of Florence and St. Dominic are conspicuous. All are named on the frame, and should be separately identified. The wall behind the 'ladonna and angel, the curtain, and the bedroom in the background, are all conventional. Notice the frequent peacocks' wings given to Gabriel. Observe, in the predella. Pope Gregory the Great, with the dove whis- pering at his ear as always. I do not particularise in these a'.tar-pieces, because, as a rule, the names of the saints are marked, and all you require is the time to study them. The longer you look, the better will you understand Italian art in general. The next picture, 139, shows itself doubly to be a Fran- ciscan and a Florentine picture. It has the Medici saint, St. Lawrence, beside the Florentine St. John Baptist ; while on the other side stand St. Francis and St. Stephen, the latter, as often, with the stones of his martyrdom on his head, and in the rich dress of a deacon. The donor was probably a Catherine, because (though it was painted for a Franciscan convent of Santa Chiara, as the inscription states) at the Madonna's side stand St. Catherine of Siena, the Domini- can nun, and St. Catherine of Alexandria, the princess, with H 1 i# MilMtlillpI 114 FLORENCE (V. her wheel. In the prcdella, observe the Adoration of the Magi, where attitudes, camels, and other details, lead up in many ways to later treatments. 140 is a characteristic Holy Trinity, with St. Romuald the Abbot and St. Andrew the Apostle. The chief subject of the predella is the Temptation of St. Anthony. In another predella, below it, notice the Presentation of the Virgin in the Temple and the Marriage of the Virgin, all the elements in which should be closely compared with the frescoes at Santa Cro<.e. 143 is an Annunciation, by Don Lorenzo Monaco, where the floating angel, just alighting on his errand, and the shrinking Madonna, represent an alternative treatment of the subject from that in Neri di Bicci. Look out in future for these floating Gabriels. Note that while no marked division here exists between Gabriel and Our Lady, the two figures are yet isolated in separate compartments of the tabernacle. The saints are named. St. Proculus shows this work to have been probably painted for a citizen of Bologna, of which town he is patron, though it comes here direct from the Badia in Florence. 147 introduces us to a different world. It was usual in mediaeval Florence to give a bride a chest to hold her trousseau, and the fronts of such chests were often painted. This example represents a marriage between the Adimari and Ricasoli families, and is interesting from the point of view of costume and fashion. The loggia is tha of the Adimari family. The Neri di Bicci, 148, uninteresting as art, has curious types of St. Mary Magdalen, St. Margaret, St Agnes, and St. Catherine, each with her symbol. These insipid saints have little but their symbolical significance to recommend them ; yet they deserve attention as leading up to later representations. On the window wall, notice 155, a picture which seems to lead up to or reflect the manner of Botticelli. Near the door, 164, Luca Signorelii. Not a pleasing example of the gr«at master. The Archangel St. Michael, "'^■^CSiSS wr gi Migj ^. [V. le Adoration of the ir details, lead up in , with St. Romuald The chief subject inthony. In another on of the Virgin in gin, all the elements with the frescoes at ;nzo Monaco, where his errand, and the rnative treatment of Look out in future ,t while no marked i Our Lady, the two smpartments of the St. Proculus shows ted for a citizen of ough it comes here Id. It was usual in chest to hold her were often paintud. etween the Adimari J from the point of ggia is tha of the ; as art, has curious ;aret, St Agnes, and rhesc insipid saints ance to recommend leading up to later picture which seems itticelli. i. Not a pleasing :hangel St. Michael, v.] THE BELLE ART! 115 weighing souls, and Gabriel bearing the lii" of the Annunci- ation, are the best elements. The Child is also well painted, and the faces of St. Ambrose and St. Athanasius below are full of character. The next room, the Sala Srconda, is chiefly interesting as containing, on an easel in the centre, ••Ghirlandajo's magnificent Adoration of the Shep- herds. In its wealth of detail and allusiveness, its classical touches and architecture, its triumphal arch, its sarcophagus, etc., this i!> a typical Renaissance work. As commonly happens with Ghirlandajo, the shepherds are clearly por- traits, and admirable portraits, of contemporary Florentines. Notice the beautiful iris on the R, representing the Floren- tine lily. Also the goldfinch, close to the Divine Child, and Joseph's saddle to the L. The disUnce represents tha Approach of the Magi, and may be well compared with the Gentile da Fabriano. Note how the oriental character of the head-dress survives. The landscape, though a little hard, is fine and realistic. The contrast between the ruined temple and the rough shed built over it is very graphic. Not a detail of the technique should be left unnoticed. Observe, for example, the exquisite painting of the knee'.ing shepherd's woollen cap, and the straws and thatch through- out the picture. The Madonna is characteristic of the Florentine ideal of Ghirlandajo's period. The ox and ass, on the other hand, are a little unworthy of so great an artist. On the walls of this room are pictures, mostly of second- ary interest, belonging to the age of the High Renaissance. R of the door are a series of good heads by Fra Bartolom- meo, the best of which is that of St. Dominic, with his finger to his lips, to enforce the Dominican rule of silence. Above them, a fine Madonna and Child, by Mariotto Albertinelli, where the figures of St. Dominic with his lily, St. Nicolas of Bari with his three golden balls, and the ascetic St. Jerome with his cardinal's hat and lion, will now be familiar. But the finest figure is that with a sword, to «n » «<> FLOkENCR [y. tilt L, repre^onting St. Julian, th^ patron iain» of Rimini. The fly-away little antjeli and the unhappy canopy fore- ihadow the decadence. Better far is Mariotto'g Annunciation, adjacent, where the addition of the heavenly choir ;'.bove is a novel feature. The shrinking position of the Madonna may well be com pared with the earlier specimens, and with the beautiful Andrea del Sarto in the Uffiii. Beyond, 171 and 173. two Madonnas by Fra Bartolom- meo, which may be taken as typical specimens of his style in fresco. Compare with the heads to the L in order to form your conception of this great but ill-advised painter, who led the way to so much of the decadence. Between them, 17a, also by Fra Bartolommeo : Savona- rola in the character of St. Peter Martyr, a forcible but singularly unpleasant portrait. Above it, 170, Fra Paolino, Madonna and Child with saints. Interesting as showing the grouping that came in with the High Renaissance, and the transformation effected in the character of the symbols. These canopied thrones belong to the age of Fra Bartolommeo. The Magdalen can only be known by her box of ointment. St. Catherine of Siena, to whom the infant Christ extends a hand, seems to be painted just for the sake of her drapery. St. Dominic with his lily becomes an insipid monk, and even the ascetic face of St. Bernardino of Siena almost loses its distinctive beauty. The attitude of St. Antony of Padua, pointing with his hand in order to call St. Catherine's attention to what is happening, as though she were likely to overlook it, is in the vilest taste. Altogether, a sad falling off from the purity and spirituality of the three great rooms of Botticelli and Perugino. This picture comes from the convent of Santa Caterina in Florence. I74i The Madonna letting drop the Sacra Cintola to St. Thomas, is a far more pleasing specimen of Fra Paolino. The kneeling Thomas has d'.jnity and beauty, and is not entirely painted for the sake of his feet. St. Francis is a sulli-ienlly '•ommonplacc monk, but St. John the Baptist tv. m taint of Rimini, jappy canopy fore- adjacent, where the is a novel feature, may well be com with the beautiful by Fra Ilartolom- cimens of his style the L in order to ill-advised painter, lence. alommeo : Savona- tyr, a forcible but la and Child with iping that came in ^formation effected I canopied thrones 0. The Mcigdalen ent. St. Catherine mds a hand, seems pery, St. Dominic id even the ascetic loses its distinctive )f Padua, pointing Erine's attention to kely to overlook it, illing off from the rooms of Botticelli m the convent of icra Cintola to St. sn of Fra Paolino. beauty, and is not t. St. Francis is a John the Baptist V] TffE BELLE ART! 117 has not wholly lost his earlier beauty. The tomb full of lilies is pleasingly rendered, and the figures of St. Elizabeth of Hungary (or is it St. Rose?) and St. Ursula with her arrow behind have simplicity and dignity. This is of course a Franciscan picture : it comes from the convent of St Ursula in Florence. The little frieie of saints by Michele (jhirlandajo, beneath it, is worthy of notice. The second of the series is Santib Keparata. The other pictures ii; this room can, I think, be suffi- cientiy interpreted by the reader in person. 177, Sogliani, the angel Raphael, with Tobias and the fish. As the angel carries the s&cred remedy, this was probably a blindness ex voto. To the left, St. Augustine. The Pieth, above, by Fra Bartolommeo and Fra Paolino, is noticeable for its Dominican saints. You will know them by this time. A second group of the Madonna letting drop her girdle to St. Thomas, by Sogliani, may be instructively compared with Fra Paolino. The late Renaissance pictures on the rest of the wall need little comment. The Sala Tekza, contains works of the 16th and I7«h centuries, mostly »• unpleasant as theatrical gesture and false taste can make them. 198, Alesnandro Allori's Annunciation, while preserving many of the traditional features, is yet a noble and valuable monument of absolute vulgarity. The fly-away Gabriel, with coarsely painted lily, the cloud on which he rests in defiance of gravitation, the cherubs behind, the third-rate actress who represents Our Lady, the roses on the floor, and the attitudes of the hands in both the chief characters, are as vile as Allori could make them. But the crowning point of bad taste in this picture is surely the eldest of the boy-angels, just out of school, and apparently sprawling in ambush on a cloud to play some practical joke on an un- seen person. Comparison of this hateful Annunciation with the purity and simplicity of Fra Angelico's at San I f S¥S Tffi!Wr'ireHV V iWiK'? Hrnif*''WWB^. ii8 FLORENCE iv. Marco will give you a measure of the degradation of sacred art under the later Medici. 203, Carlo Dolci's Eternal Father may be taken as in another way a splendid specimen of false sentiment and bad colouring. coj, Cigoli's St. Francis, admirably illustrates the attempt on the part of an artist who does not feel to express feeling. Most of these pictures deserve some notice because, as foils to the earlier works, they excellently exhibit the chief faults to be avoided in painting. Sit in front of them, and then look through the open door at the great Ghirlandajo, if you wish to measure the distance that separates the 1 5th from the later i6tb and 17th centuries. Cigoli's Martyrdom of Stephen, however, has rather more merit bot!. 'n drawing and colouring : and one or two of the other pictures in the room just serve to redeem it from utter nothingness. Such as they are, the reader will now be able to understand them for himself without further description. Return through the Cupola and the first part of the Corridor to the room on the I-, the Sala del Beato Angei-ico. This room contains numerous smaller works of Fra Angelico and his contemporaries. L of the door, 227, Fra Angelico, Madonna and Child enthroned, under a niche, with Franciscan and Medici saints on either side. This work is interesting for the transitional stage it shows in the development of these Madonna pictures. The saints are now grouped in a comparatively natural manner, but the arches behind them show reminiscences of the earlier tabernacle and altar-piece arrangement. L of the throne, on a raised marble dais, a step below the level of our Lady, stand the Medici saints, Cosmo and Damian, in their red deacons' robes, with their boxes of ointment and palms of martyrdom (note here as always that the most important saints for the purpose of the picture are to the Madonna's R, and the spectator's L). On the opposite side, balancing them, and equally raised on the tt^a tv. legradation of sacred may be taken as in false sentiment and illustrates the attempt el to express feeling, ne notice because, as ntly exhibit the chief in front of them, and :he great Ghirlandajo, iiat separates the 1 5th Cigoli's Martyrdom merit bot!. 'n drawing ! other pictures in the ;r nothingness. Such le to understand them the first part of the JELICO. imaller works of Fra I, Madonna and Child anciscan and Medici is interesting for the development of these e now grouped in a le arches behind them srnacle and altar-piece , raised marble dais, a ind the Medici saints, icons' robes, with their rtyrdom (note here as 1 for the purpose of the the spectator's L). On d equally raised on the v.] THE BELLE ART I n9 dais, are St. John the Evangelist and St. Lawrence with his deacon's robe and palm of martyrdom. Below, on the ground, stand the Dominican St. Peter Martyr, with his wounded head, and the Franciscan St. Francis, with the Stig- mata, in the robes of their orders. Observe that the later historical saints stand on a lower level than their legendary predecessors. The face and dress of the Madonna, the stiff draped Giottesque child, the star on Our Lady's shoulder, and many other accessories deserve close study. This picture is one which marks time in the progress of paint- ing. Compare the arrangement of saints here with the Giottesque altar-pieces just outside, and then with the quite naturalistic arrangements in the three rooms of the great 1 5th century painters. L of these works begins a series by Fra Angelico of the Life of Christ,— small panel pictures (from the uoors of a press in the Annunziata), some of them of comparatively little artistic merit, but all interesting from the point of view of development. (The first three, as they stand, do not seem to me to be Fra Angelico's at all.) Notice particularly the scene of the Baptism, for comparison with the Verrocchio in an adjoining room. Ihe position of the Baptist and the small symbolical Jordan are highly typical Verses from the Vulgate beneath explain the subjects. Above are prophecies from the Old Testament, supposed to foreshadow the events here pictured. In 234, an Annunciation, with its loggia and garden background, is very noteworthy. Here, only a doorway separates the Madonna from the announcing angel. The Adoration of the Magi in the same set may be well compared with Gentile da Fabriano. The Massacre of the Innocents, on the other hand, shows Fra Angelico's marked inability to deal with dramatic action, and especially with scenes of cruelty. In the Sacred Wheel, in 235, observe the curious figures of the four Evangelists, at the cardinal points of the centre, each with human body, but with the head of his beast as a symbol. The whole of this mystic w*-el, explained by its inscriptions, deserves close attention. The Circumcision and the ♦Flight into Egypt ISO FLORENCE [V. below are entirely conventional. Note the inefficient draw- ing of the ass. Compare the St. Joseph with that in the upper panel of 236, the Nativity, where the type of this saint continually repeated by Fra Angelico will become apparent. In 237, **Judas Receiving the Money is especially spirited : the dramatic element is rare in Fra Angelico. The Last Supper, close by, is noteworthy as a historical delineation, for comparison with the mystical one on the walls of San Marco. The scenes of the Buffeting and the Flagellation again exhibit Fra Angelico's limitations. I advise attentive study of all these little works, many of which are of high merit : make careful comparisons with the same subjects in the Giottos and elsewhere. 243, also by Fra Angelico, contains a graphic account of the ** history of St. Cosmo and St.' Dnniian, the holy phy- sicians who despised money, and who in the 1< er L hand compartment are represented as declining the heavy fees proffered by a wealthy woman. (Or rather, St. Cosmo refuses, and St. Damian accepts, because the lady asks him to take it in the name of the Lord.) The other subjects relate the trial of the two saints, with their three younger brethren, and the attempts successively made to drown them, from which death they are saved by angels ; to bum them alive, when the flames seize upon their persecutors; to crucify and stone them, when the stones recoil on the heads of the senders and the arrows bend round to strike the assailants ; and Anally the last successlul effort to behead them — a punishment which no saint except St. Denis ever survives. This is a very miraculous story, delineated with perfect faith and naivete, in a series of exquisite miniatured, far superior in execution to the Life of Christ. They formed a gradino at the Annunziata. Observe the complete medi- evalism of the details, untouched as yet by the slightest Renaissance tendency. The Roman official who condemns them is dressed like a Florentine gentleman of the period ; there is no archaeology. Above, 241 and 242, two good portraits of Vallombrosan monks by Perugino, who was largely employed in commis- ji Ml p i n i'i i »i . 11itii ffr iB g Wi [V. e inefficient draw- 1 with that in the e type of this saint become apparent. ;specially spirited : gelico. The Last :orical deHneation, [ the walls of San 1 the Flagellation I advise attentive which are of high e same subjects in Graphic account of lian, the holy phy- the 1< er L hand ig the heavy fees ather, St. Cosmo the lady asks him 'he other subjects leir three younger ide to drown them, els ; to bum them r persecutors; to ecoil on the heads und to strike the il effort to behead spt St. Denis ever y, delineated with quisite miniatured, rist. They formed le complete medi- !t by the slightest ial who condemns lan of the period ; :s of Vallombrosan ployed in commis- v.] THE BELLE ART I 131 sions for that monastery, and who painted for it his magnifi- cent Assumption. The figures are those of the General of the Order, and of the Abbot of the monastery ; and they stood originally at the side of the Assumption, looking up at the Virgin — whence their attitudes. Still higher, Madonna and Child, by Fra Angelico, exhibiting advance in freedom of treatment over the more Giottesque model in 227. Compare these carefully. 249, etc., other little panels by Fra Angelico, containing a Pietk, Adoration of the Magi, etc., with scenes in the background. Beyond these, L, continuation of the Life of Christ In the Raising of Lazarus, note the curious swathing of the mummy-like figure, which earlier still was represented as an actual mummy. The Entry into Jerusalem contains some excellent characters. The Washing of the Apostles' feet betrays Fra Angelico's lack of accurate knowledge in per- spective and foreshortening. The Last Supper has points of resemblance with the mystic treatment in San Marco. In Christ before Pilate, notice once more the pure medi- aevalisnt of the treatment, as contrasted with such Roman and antiquarian touches as are given to similar scenes by Ghirlandajo and Filippino Lippi. The Jewish faces of the priests are admirably rendered. The Betrayal of Christ has the usual episode of Peter cutting off the ear of Malchus. In the next group, 253, note the scorpion tabards of the soldiers on the Way to Calvary, and the parting of the raiment. Beneath it, Christ in Limbo delivers Adam aid Eve and the holy dead, among whom King David is con- spicuous. Observe the red cross of the banner, universal in this subject, the usual demon crushed under the gate, and the others baffled in the L background. The Last Judgment beneath it, is interesting for comparison with the larger tabernacle on the end wall of this room. Observe the attitude of Christ, displaying His wounded hands in mercy, as in most representations of this subject, from the frescoes in the Campo Santo at Pisa onward. (Compare tb"^ fine I IT ■MIMIM 122 FLORENCE [v. Fra Bartolommeo and Mariotto Albertinelli in the Hospital of Santa Maria Nuova. A study of this subject, beginning at Pisa, and culminating in the Sistine Chapel, is most interesting.) Note the Madonna, apostles, and patriarchs, surrounding the Christ, and the sweet little angels below embracing the just, among whom a Dominican figure is conspicuous. The damned, to the L of the Saviour, display Fra Angclico's usual inability to deal with what is not ecstatic and beautiful. The last set of the series, containing the Passion, Ascen- sion, etc., is interesting (amongst other things) for its Descent of the Holy Ghost, with the various nations below hearing the apostles speak with tongues, which may be well compared with the fresco in the Spanish Chapel. Not one of these little scenes is without interest from the point of view of comparative treatment with others elsewhere. Go through them carefully, and note the prophetic verses. On the same wall, 247, the Dominican painter has also represented the School of the great Dominican teacher, St. Thomas Aquinas, with the three discomfited heretics (Averrhoes, Sabellius, Guillaume de St. Amour) at his feet as usual. Compare the Benozzo Gozzoli in the Louvre. Above this, 246, a fine Deposition, with a few adoring saints who do not belong to the subject. Amongst them, to the L, is conspicuous St. Dominic. This picture belonged to a religious body which accompanied condemned criminals to the scaffold. End wall, 257, two stories from the lives of St. Cosmo and St. Damian, by Fra Angelico. They fix the leg of a dead Moor to a sick white man, on whom they have practised amputation. Below, their burial with their three brethren : in the background, a somewhat imaginative camel, denoting foreignness and orientalism. The dainty little Annunciation by Ghirlandajo, above, should be noticed. 260. Simone Bolognese, an extremely rude but interesting picture of the Nativity, where the star, the attitude of the ass, the shepherd hearing the angels, and the very unreal Hi in the Hospital subject, beginning Chapel, is most !s, and patriarchs, little angels below >minican figure is le Saviour, display with what is not he Passion, Ascen- er things) for its ■ious nations below which may be well Chapel. Not one from the point of srs elsewhere. Go )hetic verses, n painter has also >ominican teacher, iscomfited heretics Amour) at his feet in the Louvre. mth a few adoring Amongst them, to is picture belonged mriemned criminals IS of St. Cosmo and ( the leg of a dead hey have practised eir three brethren : ive camel, denoting ]lhirlandajo, above, rude but interesting the attitude of the nd the very unreal v.] THE BELLE ARTI 133 The wattles sheep in the foreground should all be noted, and saddle are characteristic of the subject. Above it, a charming early Tabernacle, 259, 14th century, with the Madonna and Child, which may be well compared both with Giotto and Fra Angelico. On the wings above, an Annunciation, with the Madonna and angel separated as usual : notice this arrangement, which often recurs. Beneath is a Crucifixion ; with St. John Baptist, St. Catherine and other saints. This is one of the most beautiful tabernacles of its period : its fine work should be observed. 266. *Fra Angelico's celebrated Last Judgment, a picture which may be well compared with the Orcagna in Santa Maria. In the centre, above, Christ in a mandorla, sur- rounded by adoring angels whose symbolical colours and various hierarchies you will find explained by Mrs. Jameson. Beneath, the angels of the last trump. R and L of the Saviour, the Madonna and St. John Baptist. Then, the apostles and patriarchs, with their symbols, among whom may be noted also St. Dominic on the extreme L and St. Francis on the extreme R, with other monastic founders, especially of Florentine or neighbouring bodies, (Vallom- brosans, Camaldolesi.) The terrestrial scene hfs for its centre a vault or cemetery, with open empty tombs from which the dead have risen, (See also at Pisa.) To the L (the Saviour's R as usual) are the blessed risen, welcomed and embraced by charming little angels, who lead them onward as in a mazy dance to the Heavenly City. The robes and orders of the monks should be observed, as also the various grades of popes, bishops, and other ecclesiastical functionaries. Note that this is essentially a representative assemblage of the Church Trimnphant, in which, it must be admitted, the lay element figures but sparingly. To the R, the damned are being hurried away to hell by demons. Among them are not only the great and mighty of the earth,— kings, queens, etc.,— but also false monks who loved money better than their profession, as typified by the bag round the neck of one in the foreground. Every one of these lost souls also is representative. Note the bats' faces and wings of the i i of mm ^ibk 124 FLORENCE [V. demons. To the extreme R is Hell, divided into the usual mediaeval regions, and best explained by reference to Dante. (See also the Orcagna at Santa Maria Novella) The personal devil devouring souls below recalls the figure in the Campo Santo at Pisa. Do not overlook the jaws of Death. Every detail of this interesting picture should be noted and carefully studied. Nothing can be lovelier than the scene of angelic peace on the R ; few things uglier than the opposite torments, attributed, as usual, to another hand. The picture comes from the monastery degli Angeli in Florence, whence the large and charming part assigned in it to angels. Above it, 265, MoJcnna and Child with saints, by Fra Angelico. Compare the cupola and niches, from the point of view of evolution, with those of the large picture almost opposite. To the L, a group of Franciscan saints, Antony of Padua, Louis of Toulouse, and Francis : (it comes from a Franciscan retreat at Mugello.) To the R, the Medici saints, Cosmo and Damian, and St. Peter Martyr. The child is here nude, a rare case with Fra Angelico. Note always this point, and observe its early occurrences. Close by, 268 and 269, Two little panels of the i6th century, interesting fc their treatment of the Annunciation, and St. Thomas Aquinas and St Dominic. L wall, 272, an interesting St. Elizabeth of Hungary, sheltering under her mantle her votaries. The arrangement of the mantle and the angels who sustain it should be noted as characteristic of similar subjects, common elsewhere. By the window wall, several early panel pieces, the most interesting of which is 277, with St. Francis receiving the Stigmata, where the seraph, saint. Brother Leo, and attend- ant buildings, are all characteristic. Compare the Giotto in another room in this building. Tht St. Paul on the way to Damascus is a less usual subject, interestingly treated. Note that the sword has not been forgotten. 277. Another St Francis receiving the Stigmata, closely resembling the picture in the Louvre of the same subject Compare all the examples of this theme in the present led into the usual iference to Dante. » Novella) The Is the figure in the he jaws of Death. I should be noted lovelier than the igs uglier than the to another hand. f degli Angeli in part assigned in it ith saints, by Fra es, from the point rge picture almost :an saints, Antony : (it comes from a le R, the Medici Iter Martyr. The 1 Angelico. Note currences. anels of the i6th the Annunciation, beth of Hungary, The arrangement it should be noted ion elsewhere. :1 pieces, the most ncis receiving the r Leo, and attend- )mpare the Giotto t. Paul on the way erestingly treated. :n. i Stigmata, closely ' the same subject, ne in the present V.l THE BELLE ART I 125 IP gallery, noting the position of the Seraph-winged Christ, the buildings, etc. 381. Fra Angelico, another Madonna and Child, with characteristic angels. In the foreground, with its singular early Romanesque mosaic, (which should be carefully noted,) the Medici saints kneeling. To the R, the two great Dominicans, St. Dominic and Peter Martyr, with St. Francis. To the L St. Lawrence, St. John Baptist, St. Stephen. This is a fine altar-piece, though greatly damaged. Note always whether the Christ holds a globe, a goldfinch, or a pomegranate. In the next window, a series of stories by Granacci, sufficiently described by their labels, but worthy of all attention. On the easel 263, Filippo Lippi, the Annunciation (curiously divided,) and St. John Baptist of Florence. This is a single shutter, with the other half in 264, where St Antony balances the Baptist. 291. A Trinity of the isth cent. Notice, in the predella, the arrangement of the arcade in the Annunciation, with the garden in the backgro md. R and L, angelic subjects ; St. Michael and the Dragon, St. Raphael and Tobias. The delicious naivetd of the last is worthy of attention. It is impossible to enter in detail into all the works in this small room, with its rich collection of early panel pictures. The visitor should return to them again and again, spelling out their further meaning for himself by the light of the hints here given, or the official catalogue. But the more you make out for yourself, the better. Remember that every figure is identifiable, and that each in every case has then and there its special meaning. Fully to understand these, you should afterwards consult either the catalogue, or, still better, the description of the principal pictures m Lafenestre's Florence. Also, I cannot too strongly recommend that you should ^o from one picture of a subject to another of the same in this collection, observing the chronology of the works, and the evidences which they show of progress in .imm^mmm(Mi0smmm-mm*,-^. 126 FLORENCE [V. art-evolution. As a single example of what I mean, take the Annunciations in this Gallery, and follow them out care- fully. Or again, look at the group of saints on either side of the Saviour in 366. Note here on the L the white starry robe of the Madonna, as Queen of Heaven. Next her, St. Peter with his conventional features, and his two keys of gold and iron. Then, beside him, Moses, distinguishable by his horns of light and by the Hebrew inscription on the tablets he carries. In the opposite group, observe similarly, in the place of honour, St. Paul with his sword, close beside the Baptist, behind whom stands St. Agnes with her Iamb, and next to her, King David. Above St. Dominic, once more, to the extreme L of the group, the dove whispering at his ear marks the figure of St. Gregory ; close by whom the deacon with the palm of martyrdom and the bleeding head is seen to be St. Stephen. I will not go through the whole of this interesting group, but attentive study of the symbols will enable you to identify every one of them. Do not be satisfied with your study of the picture until you are sure that you have understood all its details. If it was worth Fra Angelico's while to discriminate them by signs, it is ,«urely worth your while to spend a few seconds each over .hem. A useful little book for identifying saints, which also gives you an account of the robes of the various monastic orders, is Miss Greene's Saints and their Symbols. You can get it at any bookseller's in Florence. You cannot do better than test this picture by the light so thrown upon it. Again, in 254, the Entombment, notice the positions of .he Crown of Thorns and the nails in the foreground, upon which equal stress is laid in the great Descent from the Cross by the same painter, which stands on the easel beside Gentile del Fabriano's Adoration of the Magi. Recollect in this connection the importance given to these relics from the 13th century onward, by their purchase from the Emperor of the East by St. Louis of France, who had erected the Sainte Chapelle on purpose to contain them. The legend of their preservation had therefore great prominence in the 13th, 14th, and early 15th cent>., and it was important that illus* ' .m^KBmmmm: [V. r what I mean, take illow thetn out care- saints on either side le L the white starry ven. Next her, St. nd his two keys of s, distinguishable by ' inscription on the p, observe similarly, sword, close beside gnes with her lamb, St. Dominic, once ! dove whispering at close by whom the d the bleeding head a through the whole tudy of the symbols them. Do not be e until you are sure s. If it was worth them by signs, it is ' seconds each over g saints, which also :he various monastic • Symbols, You can f ou cannot do better >wn upon it. ice the positions of le foreground, upon t Descent from the I on the easel beside Magi. Recollect in these relics from the "rom the Emperor of d erected the Sainte The legend of their inence in the 13th, mportant that illus* v.] THE BELLE ART I 137 trations of the subject should contain some reference to the mode in which these much-revered relics were saved for the adoration of posterity. I offer this hint merely to show the way in which legend and doctrine reacted upon art in the Middle Ages. Look similarly for the nails in the Descent from the Cross by Filippino Lippi and Perugino in the 2nd Botticelli Room, and in Botticelli's Madonna, 88, in the same room, where an angel holds them as well as the Crown of Thorns. You will find in like manner that the series of the Life of Christ by Fra Angelico in this room has i.i each case above the picture a prophecy from the Old Testament, and below, a verse supposed to be its fulfilment from the New. The more you observe these facts for your- self, the better will you understand both the details intro- duced into the pictures themselves and the reason for their selection. Mediaeval art embodies a dogmatic theology and a theory of life and practice. It can never be fully com- prehended without some attention to these facts which condition it. Visit the Belle Arti often : it contains, on the whole, the finest pictures in Florence. When you have got beyond these notes, go on with Lafenestre ; or else buy the official catalogue, which is in very easy Italian ; it gives you always the original place for which the pictures were painted. Do not be satisfied till you understand them all. And compare, as you go, with the frescoes in churches and the works in the Ufiizi. The way to comprehend early art is by comparison. VI THE UFFIZI, ETC r'T~*HE centre of modern Florence is occupied by the L X Piazza dellaSlKnorla, which contains the Palazzo Vecchio and the Loggia del Lanzl. This square was once the Forum of the Republic, and round it revolved the political and social life of early Florence. Ill the 13th century the Bargello (to be visited later) was the seat of the Florentine Government. But in 1298, about the same time when Santa Croce and the Cathedral were rising above their foundations, the City began to feel the want of a second stronghold for its new democratic (or oligarchic) authorities, and of a fitting hall for its deliberative assemblies. In that year, therefore, the Signoria commis- sioned the great Arnolfo di Cambio, who was already engaged in building the Duomo, to begin the erection of a vast castle, now known as the Palazzo Vecchia It was evi< dently based in idea upon the Palazzo Pubblico in the rival town of Siena, the foundations of which appear to have been laid some nine years earlier. The greater part of the build- ing as it now stands represents Amolfo's original work, though the upper portion of the slender tower is of the ijth century, while the/a(at/e towards the Via del Leone at the back was added by Vasari in 154a The courtyard and porch have also suffered great alterations. The Palazzo Vecchio in its original form was strictly the Castle of the Guilds of Florence, which had imposed their rule in the 13th century over the whole city. It was, in short, the stronghold of the commercial oligarchy. The early government of Florence had been mainly aristocratic, and all its functions were performed by the nobles : but by mm is occupied by the ontains the Palazzo ■anzi. This square d round it revolved ince. )c visited later) was But in 1 398, about the Cathedral were y began to feel the new democratic (or II for its deliberative Signoria commis* as already engaged erection of a vast cchla It was evi> ubblico in the rival appear to have been er part of the build- olfo's original work, tower is of the isth a del Leone at the The courtyard and s. trm was strictly the :h had imposed their >le city. It was, in ial oligarchy. The mainly aristocratic, the nobles : but by VI.] THE UFFIZI, ETC 139 1382 the Arts or Guilds, among which the Wool-Weaveri and Silk-Workers were the most important members, had gained possession of the executive power, which they en- trusted to iheir own Priori or Guild-Masters. The body thus installed in the Palazzo Vecchio was known as the SIcnoria : it retained power in Florence until the {{radual rise of the democratic despotism of the Medici, a wealthy commercial family who favoured the people, and finally made themselves in the 16th century Grand Dukes of Tus- cany. (See Villari.) The fortress-like appearance of the Palace is due to the fact that the commercial oligarchy had to hold its own by force wiihin the city against the great nobles on the one hand, and popular rising on the other. All Florence, in fact, is clearly built with a constant eye to internal warfare. In 1376, the Piazza della Signoria was further decorated by the erection of the Loggia del Lanzl, a magnificent vaulted arcade for the performance of public functions before the eyes of the citizens. This noble buildii g was perhaps designed by Orcagna, but was certainly carried out by Benci di Cione and Simone di Francesco Talenti. It exhibitf the same curious combination of round arches with Gothic detail which is also seen in the neighbouring church of Or San Michele— the chapel of the Guilds. The arcade was known at first as the Loggia de' Priori or della Signoria ; it gained its present name under Cosimo I., who stationed here hia German lance- wien. I do not rtdvise a visit to the Interior of the Palazzo Vecchio until after you have seen everything else of impor- tance in Florence, when Baedeker's account will be amply sufficient. But a cursory inspection of the exterior, and of the general features of the Piazza, is necessary to an under- standing of Florentine history. As you will already have seen in the picture at San Marco, Savonarola was burnt at the stake in thii square, near the spot now occupied by the Fountain of Nr ptune]. 1 II FLORENCE tw. I. The Sionoria. Go alon^; any street, ai far aa the Duomo : then, turn down the ViatJalsaioli. On your h, as you turn the comer, is the beautiful I'ttle Lo^fgia of the * Blgalio, probably designed by Oreagna, and built in 1353. Notice here the peculiar Florentine combination of round arches with Gothic architecture. The statues over the front, towards the 1 iazta, by Filippo di Cristoforo, represent a Madonna and Child, flanked by St. Dominic and St. Mary Magdalen. Continue down the Via Calzaioli till you come to the Piazza della Slgnorla. Observe tht/aftui* of the Palazzo Vecchlo. Then, enter the Outer Court, built by Micliel- oxzo (whose hand you will now recognise) in the Renaissance style, in 1432. The elaborate decorations were added in 1565 : though very florid, they have a certain picturesqueness which is not unpleasing. The centre is occupied by a charming little * fountain, by Verocchio, representing a Boy on a Dolphin. The surrounding Sculpture*, as well as those at the door, are by inferior Renaissance artists, and quite uninteresting;. So is Bartolommeo Ammanati's Qreat Fountain, in the square, with Neptune and Tritons. The equestrian * statue (in hronie) of Cosimo I., by Giovanni da Bologna, is scarcely more interesting. It has high technical merit, but lacks grace or beauty. (Michael Angelo's David stood till recently at the door ol the Palazzo Vecchio. So did the Marzocco, at present in the Bargello.) Now, turn to the Loggia del I, ' *. Note the noble sweep of the large round arches, e ad the character of the decorations Observe its resemblance (on a larger scale) to the Bigallo. The figures on the frieze above are after designs by Agnolo Gaddi, and are fine examples of the characteristic Gothic allegorical personages, with incipient Renaissance leanings. They represent Faith, Hope, Charity, Temperance, and Fortitude. Identify the symbols with an opera-glass. Of the pieces of Sculpture within the Loggia, by far the most important are the two bronzes mtim ^1 1.. g 11, 1 ii mmm 9mn'Mvn the l), and remark- :f on a line half-savage round the comer from ipacious quadrangle, a the side towards the 1 Uffizi, which girdles ic offices (whence the ited by Alfonso Parigi, s a continuous arcade, which, after remaining our own time with a hed Tuscans, all named me day to go round and contains, in its lower Archives of Tu' any, ourse to the visitor its : Picture Qallery and on the whole, the most In painting, it is true, Ics of the great Early telle Arti ; but on the y Raphael, it has some i Bartolommeo, and it (allery the pictorial art VI.] THE UFFIZI, ETC 133 of the High Renaissance. Moreover, it is no/ confine . to Tuscan and Umbrian works (to which nevertheless I advise you in Florence mainly to address yourself) but has some admirable North Italian and Venetian specimens, by Man- tegna, Titian, Giorgione, and others. Outside Italy alto- gether, it also embraces some noble Flemish, German, and Dutch works, which it will be impossible for you to pass by wholly unnoticed. Then, finally, it has in addition its col- lection of Sculpture, including several famous works, once unduly over-praised, as well as many antiques, less cele- brated in their way, but often more deserving of serious attention. I have endeavoured to note in passing the most important of all these various treasures, giving most atten- tion, it is true, to Tuscan and Umbrian handicraft, but not neglecting th- products of other schools, nor the antiqu-i sculpture. As everywhere, my aim here has been purely explanatory. If at times I have diverged into an occasional expression of aesthetic approbation or the opposite, I hope the reader will bear in mind that I never pretend ^o do so with authority, and that my likes and dislikes are merely those of the a-erage man, not of the professed critic. Do not attempt to see all the Uffizi at one visit, or even any large part of it. Begin with a little bit, and examine that thoroughly. Do not try to combine the paintings and sculpture in any one room ; observe then, separately on different occasions. Follow for each class the general order here given j you will then find the subject unfold itself naturally. Study Baedeker's excellent Plan of the rooms b»fore you go in. Recollect that the Galleries extend, in th ee arms, right round the top floor of the entire building, as sran from outside j this will help you to understand the ground- plan of the rooms, as well as the charming glimpses nnd views from the windows. A passage, built quaintly over houses and .;hops, and distinguishable outside, crosses the Ponte Vecchio from the Uffizi to the Pitti. It was designed by the Medici as a means of intercommunication, ana also as a place of possible I '^TTf^^S |t««-;rV4^i>>(''ir'J>'A4*j:,iiM'-lit.i^.- :-\Sl0 escape m case of risings or other danger. You can cross by means of it from one Gallery to the other ; but you must pay an extra franc for entrance in the middle.] A. Paintings. Approach from the Piazza della Signoria. The entrance is by the second door under the portico on the left hand side of the Uffizi Palace. Umbrellas and sticks are left below ; tickets (one franc each, free on Sundays) are taken half-way up the stairs, which are numerous and tedious. (Lift, 50 c. each person.) Admission daily, from 10 to 4. (The statues and busts on the Staircase and in the Vestibule, etc, will be treated separately, with the other sculptures.) The Iwong Gallery, which we first enter, contains for the most part eftrly works in painting, many of which are of comparatively slight artistic importance. I advise you to begin with the paintings alone, not attempting to combine them with the sculpture in the same day. Turn to the R on entering the gallery, and start at the end of the room with the oldest pictures. I is a Gr<£co-Byzantine Madonna, (loth cent.) interesting as representative of the starting-point of Italian art. It should be compared with 2, an Italian picture aiming at the same style, (12th cent.) which again leads up (at a distance) to the Cimabue in Santa Maria Novella. Observe the superior technique of the Byzantine. These early Madonnas deserve close attention. 3 is a Crucifbc, where the position of the Madonna and SL John on the ends of the arms is highly characteristic : the type survives till quite a late period. By its sides are small scenes from the Passion, the types in which should be ca;'«- fully noted. The face of the St. Peter, for example, in the upper L compartment, already strikes a keynote ; while the Christ in Limbo, delivering Adam and Eve from the jaws of death, contains all the salient elements which you will find, improved and transformed in later versions. Note in crucifixes the point where the two separate nails in the feet, seen in tkis example and the next, are replaced by the single 3 [VI. VI.] THE UFFIZI, ETC 135 ir. You can cross her ; but /ou must Idle.] ■a. The entrance the left hand side ks are left below ; are taken half-way idious. (Lift, 50 c. to 4. (The statues stibule, etc, will be res.) er, contains for the ly of which are of . I advise you to npting to combine Turn to the R on of the room with h cent.) interesting of Italian art. It :turc aiming at the s up (at a distance) )bserve the superior Madonnas deserve e Madonna and St. characteristic : the ' its sides are small ich should be ca;s- for example, in the keynote; while the Eve from the jaws nts which you will versions. Note in :e nails in the feet, ilaced by the single Observe also whether the eyes nail, a later representation, are open or closed. 4 has the same devices of towers and canopies, to mark towns and interiors, to which I have already called attention in the barbaric Magdalen at the Belle Arti. 6, a Crucifix with the single nail, has the position of St. John and the Virgin well-marked on the cross-pieces. The pelican feeding her young above is symbolical. It recurs often. I do not dwell upon these very early works, as they lack artistic interest : but the visitor who takes the trouble to examine them in detail, as well as the Madonnas in their neighbourhood, will be repaid for his trouble. For example 5, by Guido da Siena, an important early Sienese master, marks decided advance upon 2, and leads the way to the later Sienese manner, which is already present in embryo in this picture. In 7, do not overlook Peter and Paul, and St. Catherine between the wheels, in the predella. 8. A fine altar-piece, attributed to Giotto, of the Agony in the Garden, where the angel with the literal cup and the three sleeping Apostles are highly characteristic of the type. You have seen them elsewhere in later examples. Note the little figure of the donor at the side. The Kiss of Judas and the Parting of the Raiment in the predella must not be omitted. 9. A Florentine altar-piece, where the Madonna and Child are flanked by the patron of the city (St. John Baptist), and the local bishop, San Zanobi, identifiable by the Florentine lily on his morse or buckle. 10. St. Bartholomew enthroned, with his usual knife, and angels recalling the manner of Cimabue, was of course painted for an altar dedicated to the saint. Note these saints enthroned, in the same way as Our Lady, often with other saints forming a court around them. Beside it, two Giottesque Crucifixions, in the first which, 13, the position of the Madonna, the Magdalen, and St. John, and the angel catching the sacred blood, will by this time be fa^niliar. In the second, 12, (a Crucifix) note W"i>iiiiillHiiliiiiliiiii>'i»iiiniii""Miiiniiiiii ill ■MM 136 FLORENCE [VI. the gradual approximation to reality in the altered posi- tions of Our Lady and St. John as contrasted with those in earlier Crucifixions. II is again a Florentine Madonna, with the two local saints, (John Baptist, Zanobi) a mandorla of cherubs, and angels holding the Florentine lily. Note that this is some- times represented by the white lily and sometimes by tb:. iris. 14, an altar-piece of the school of Orcagna. Si. John the Evangelist, enthroned, with his eagle by his side, trampling on the vices, in a fashion which is characteristic of Domini- can painting. They bear their names : Pride, Avarice, Vainglory. Notice, above, the characteristic Christ, holding the Alpha and Omega. You will do well to spend a whole morning (if you can spare the time) in attentive study of these first fourteen numbers. They cast floods of light on subsequent painting. Beyond the door, 17, Ascension of St. John the Evangelist. An altar-piece closely suggested by Giotto's fresco in SanU Croce. Compare with photographs; Above it, 15, Pietro Lorenzetti, a characteristic and gentle Sienese Madonna. Compare it with Guide's No. 5. Observe the placid Sienese angels, with their somewhat ill-humoured mouths, drawn fretfully downward, a survival from the morose Byzantine severity. Very early art is never joyous. The inscription is curious, because in it, as in most pictures of the school of Siena, the panel itself speaks in the first person — So-and-so painted me. 16, the story of the Anchorites in the Desert, by Pietro Lorenzetti, is partly reminiscent of the great fresco in the Campo Santo at Pisa. Most of its many episodes you will find explained in Mrs. Jameson. It takes much studying. Above, 26, good altar-piece by Bernardo Daddi : St Matthew, St. Nicolas of Bari. Nicolas was the name of the donor. From this point the technical excellence of the pictures increases rapidly. 20, St. Cecilia, patroness of music, once wrongly attributed to Cimabue. This is a good and stately '. the altered posi- asted with those in (ith the two local la of cherubs, and that this is some- sometimes by tb:. jna. Si. John the his side, trampling :eristic of Domini- : Pride, Avarice, Stic Christ, holdinjf 1 to spend a whole attentive study of floods of light on ohn the Evangelist, o's fresco in Santa cteristic and gentle lo's No. 5. Observe ewhat ill-humoured survival from the art is never joyous, as in most pictures speaks in the first ; Desert, by Pietro great fresco in the »y episodes you will s much studying, nardo Daddi : St i was the name of nee of the pictures tiess of music, once > a good and stately VI.] THE UFFIZI, ETC 137 Giottesque figure, for her altar in her old church at Florence, now destroyed. Round it are eight (habitual) stories of her life. L side, (i) her wedding feast (note the music :) (a) she reasons with her husband. Valerian, in favour of virginity : (3) an angel crowns Cecilia and Valerian : (4) Cecilia con- verts her husband's brother, Tiburtius. R side, (5) the bap- tism of Tiburtius ; (6) her preaching : (7) her trial before a Roman Court : and (8) her martyrdom in flames in her bath. All are quaintly and interestingly treated. See Mrs. Jameson. The allar-piece above has its names inscribed on it. Its types are worth study. 23. *• Simone Martini and Lippo Memmi, the Annunci- ation, one of the loveliest altar-pieces of the early school of Siena. The exquisite angel, to the I^ bears a branch of olive (beautifully treated) instead of the more usual lily, which, however, stands in a vase to separate him from the Madonna. Note the words of the Salutation (raised in gold) issuing from his mouth, and the inscriptions on his charming flowing ribbons. Do not omit the exquisite work of his robe. Our Lady herself, seated in a dainty inlaid chair, representative of the finest ecclesiastical furniture of this period, shrinks away, as often. The book and curtain are habitual. The Madonna's almond-shaped eyes and somewhat fretful drawn-down mouth still faintly recall By- zantine precedents. But the mild Sienese spirit and fine painting of the piece are admirable. Do not overlook the dove escorted in the centre in a mandorla of cherubs, and the three arches isolating the personages. Linger long over this masterpiece. R and L are two patron saints of Siena, Sant' Ansano and Saint Juliet, with their palms of martyrdom. Here, again, in the inscription, the picture speaks. Compare this exquisite altar-piece in all its details with previous works of the school of Siena. It is one of the loveliest things in this gallery. In 22, observe the Annunciation, above, in two compart- ments; the coat of arms ; and the singular inscription, (Hear the other side) probably betokening it as a votive offering from a party to a quarrel, in opposition to some other 138 FLORENCE [VI already dedicated. (The official catalogue refers it to some court of justice.) 37, attributed to (the doubtful painter) GiotMno. A very fine Deposition from the Cross, reminiscent in its principiU figures of the Giotto at Padua. The saints to the R, show- ing the nails, may be well compared as to attitude with the great Fra Angelico at the Belle Arti. To the L are two donors, with their patrons placmg their hands on their heads. The one in white is St. Benedict : the other I take to be (not San Zanobi, but) St. Remi, (Remigio) from whose church the picture comes. 28. Agnolo Gaddi, Annunciation, where the loggia, book,* dove, vase with lilies, and other particulars, should all be noted. This is an unusually good specimen of its artist. The little scenes in the predella will by this time explain themselves. Note that an interior is still represented by taking out one side of the building. Compare the Adora- tion and the Presentation with others seen previously. (A Presentation, by the way, can always be distinguished from a Circumcision by the presence of Simeon and Anna, the former of whom usually holds the divine infant.) 29. Niccol6 di Piero Gerini, Coronation of the Madonna, with attendant group of Florentine patron saints. From the Mint of Florence. You will recognise the Baptist, Santa Reparata (with her red cross flag ;) San Zanobi ; St. Anne, holding the town of Florence ; St. Catherine with her spiked wheel ; St. Joseph with the budded staff; St John the Evangelist (r) holding his Gospel ; St. Matthew (l) holding his, with the first word inscribed, etc 30. School of Agnolo Gaddi, the Doubting Thomas : a characteristic treatment. 31. Another Coronation of the Virgin. The saints are named. Note their characteristics. The one you may fail to recognise is St. Ivo, who is in Florence the patron of orphans. Observe the combination of Francis and Dominic. In the cuspidi. Annunciation, in two portions. 36. Another Annunciation, of the School of Orcagna. Here the division, such as it is, is made by means of the ■I [VI. ue refers it to some r) Giot'ino. A very :ent in its principal lints to the R, show- to attitude with the To the L are two eir hands on their the other I take emigio) from whose re the loggia, book,* :ulars, should all be icimen of its artist. )y this time explain still represented by Compare the Adora- >een previously. (A ! distinguished from leon and Anna, the infant.) on of the Madonna, itron saints. From :ognise the Baptist, ;) San Zanobi ; St. St. Catherine with le budded staff; St Dspel ; St. Matthew ibed, etc }ubting Thomas : a in. The saints are le one you may fail rence the patron of rancis and Dominic. tions. ichool of Orcagna. le by means of the VI.] THE UFFIZI, ETC 139 arches. Unless I mistake, two separate panels have here been united. This often happens in Annunciations. 32. Giovanni da Milano, altar-piece, with group of named saints. Below, choruses of Virgins, Martyrs, Patriarchs, etc All have their names. Note their characteristics. The picture was painted for the chitch of Ognissanti (All Saints), whence the assemblage. Catherine and Lucy often go together. The latter has two symbols, both significant of her name : a flame, or her eyes in a dish. Originally only emblems to suggest the name, these marks have later legends attached to them. The two holy martyrs, St. Stephen and St. Lawrence, buried in the same grave, also go together. See in Mrs. Jameson the qua'nt story of how Laurence, "the courteous Spaniard," turned over on his side to give the best place to the earlier martyr. In the last of the group, the scallop- shell of St. James marks him as the saint to whose great shrine (Santiago de Compos- tella) pilgrims made religious journeys. The dove at St. Gregory's ear we have often before noted. I cannot too strongly recommend study of such named saints and choruses for identification afterwards. Notice among those below : Reparata, with her flag ; Agnes with her lamb ; and Margaret with her dragon, among the Virgins ; Noah with his ark, among the Patriarchs, and so forth. The Prophets hold distinctive verses in the Vulgate from their own writings. Above, in small circles, the Lord creating heaven and earth. 35. St. Martin dividing his cloak with the beggar : a common French subject, rarer in Italy. 4a PietJ^ by Lorenzo Monaco ; with symbolical figures in the background of Pilate washing his hands ; the Sacred coat ; Judas receiving the money ; the knife that cut Malcbus's ear ; Peter and the seivant ; the sun and moon darkened ; the pelican and its young ; the .crowing cock ; the lance of St. Longinus ; and many other symbols, the rest of which I leave to the reader. Puzzle it out in detail. Do not pass by 37, Spinello Aretino, and others, merely because I do not memion them. (In this picture for example. I m^^mmsafm l»''itaBliMM!l»JMIWI»Wfttirii^M*lfty"Wl.' 140 FLORENCE [tn. the halo round the head of St. Longinus, the devil carrying away the soul of the impenitent thief, the parting of the raiment, etc., should all be noticed. The las'; scene usually occupies the R hand side in historical as opposed to de- votional pictures of the Crucifixion. Observe in future which scene is intended.) 39- * Don Lorenzo Monaco, Adoration of the Magi. A fine picture, with the usual long and sinuous bodies and drapery of that j sculiar painter. Observe, to the R, the at- tendants seeing the star and struck with wonder. Also, the Moors in the suite, and the very imaginative camels. I have treated of this picture at much greater length in an article in the Pali-Mall Magasine on Adorations in general. The scenes above are by a later hand : observe the very graceful Annunciation. 41. Don Lorenzo Monaco, fine Tabernacle, in its original frame, with Madonna and Child, named saints, and An- nunciation. Observe, in almost all these early Madonnas, the draped infant, and note the point where the nude com- mences. 4J. Zanobi Strozzi, Giovanni de' Medici. Interesting chiefly as an early portrait of the shrewd old founder of that great family. 44. The same, St. Lawrence Enthroned on his Gridiron. Below, episodes of his legend. To the R, he releases souls from Purgatory — a hint to pray to him for friends in torment. 45. •Bicci di Lorenzo, Cosmo and Damian, the two Medici saints with their medical instruments and boxes of drugs. The attitudes, I think, are partly suggested by a Byzantine original, though the technique and treatment are of course Florentine of the period. Below, in the predella, two quaint little stories— the miracle of the Moor's leg, and the decapitation of the holy doctors. 46. Madonna Enthroned, with St. Philip and St. John Baptist. 48. Madonna and Child, with, L, St. John Baptist of Florence and St. Francis with the Stigmata; R, the ■^^^'^^^s^iasir' [VI. lus, the devil carrying :f, the parting of the rhe las', scene usually al as opposed to de- Observe in future ition of the Magi. A 1 sinuous bodies and lerve, to the R, the at- th wonder. Also, the lative camels. I have r length in an article ions in general. The lerve the very graceful ernacle, in its original med saints, and An- lese early Madonnas, where the nude com- Medici. Interesting vd old founder of that med on his Gridiron. e R, he releases souls him for friends in id Damian, the two uments and boxes of artly suggested by a ue and treatment are lelow, in the predella, f the Moor's leg, and Philip and St. John St. John Baptist of I Stigmata; R, the Vl.l THE UFFIZI, ETC MJ Magdalen and St. John the Evangelist. In the cuspidi, St. Peter and St. Paul. Close by, 49 and 50 : interesting little panels of St. Cath- erine standing on her wheel, and St. Francis on a symbolical desert. 51. Florentine Madonna, with St. John Baptist, Antony Abbot, Peter, Lawrence. Note, on the frame, the usual symbols of the Magdalen and St. Catherine. Here is the door to the First Tuscan Room, which past for the present, and continue on along the Long Corridor. 52. Paolo Uccello, Cavalry battle. Interesting as showmg his early attempts at movement of horses, foreshortening, etc. This is very bad. His picture in the National Gallery shows an immense advance on this early effort. Observe particularly the hard task he has had in trying to foreshorten the dead horses in the foreground. 53. Neri di Bicci, characteristic Annunciation, on the samp model as those in the Belle Arti. Garden, bed- chamber, and all details, are conventional. This is better painted, however, than is usual with Neri. School of Verrocchio, Madonna, with characteristic Flor- entine type of the period. 56. Pesellino, (more probably Baldovinetti) Annunciation, with the angel just entering. This somewhat unusual point should be noted. Also, the attitude of the Madonna, reminiscent of Donatello's treatment. The porphyry arcade is also interesting. The cypresses recur. Never pass by an Annunciation unnoticed. 54. Neri di Bicci, wooden Madonna, with angels of the same material, drawing the curtain, and Child opening a pomegranate. 60. Baldovinetti, interesting as a specimen ot its rare painter, who aimed at certain effects unusual in his period. Madonna and Child, with Florentine and Medici saints. Cosmo and Damian may be compared with the previous picture in this gallery by Bicci di Lorenio. Then, St. John Baptist, now growing youthful : he is generally young for the High Renaissance. Beyond, St. Lawrence, with his grid- tm^^mm^Kmnmia^ uniiMMnMUMnMmiiHH I 142 FLORENCE [VI iron embroidered on his deacon's robe as a symbol : he represents Lorenzo de' Medici. Behind him, Si. Julian for Giulinno de' Medici. Next, St. Peter Martyr and St. Antony Abbot, joint patrons of Picro de' Medici. To balance St. Peter Martyr, St. Francis, kneeling. A very Jamily picture, with Franciscan and Dominican suggestions. The cypresses in the blackground, common elements in such scenes, may be compared with many other adjacent pictures of the period or earlier. This was once a good hard picture, but it has been badly treated. Compare with 56 for technical method. 62, I note mainly as being a rare secular picture of its period. 63. Cosimo Rosselli's Coronation of the Virgin. The utter want of sacredness in its angels' faces is conspicuous. The technique, though hard, has this painter's merits. Note the triple crowns on the two chief personages. 65. Same painter, Adoration of the Magi, where the Florentine portraits to the L are noteworthy. This is, in- deed, a picture painted for the sake of its portraiture. The curious character-study in the St. Joseph is worth notice. Observe the tendency towards greater truth in the landscape background. 79- Perhaps Botticelli. Dainty Tuscan Madonna, with typical face, in clouds with angels. 69. 70, 71. 72, 73- Five somewhat insipid figures of Virtues by Pollaiolo, much injured. The Renaissance frieze and decorations are noteworthy. 64 is amply described on its frame. A good hard picture. 84. Piero di Cosimo. One of that painter's favourite mythological scenes,— the Marriage of Perseus. Observe the compo.sition and treatment. We here get a new note struck by the Renaissance, both in painting and architec- ture. Above it, 75, Charming unknown Tuscan Madonna. Observe in the Madonnas, etc., of this group the increasing nudity of the infant. 80. School of Ghirlandajo. Good hard Madonna and « as a symbol : he \d him, Si. Julian for artyr and St. Antony iici. To balance St. very tmiily picture, ions. The cypresses in such scenes, may :ent pictures of the od hard picture, but vah 56 for technical ecular picture of its f the Virgin. The faces is conspicuous, nter's merits. Note nages. e Magi, where the worthy. This is, in- ;s portraiture. The ph is worth notice, uth in the landscape can Madonna, with id figures of Virtues lissance frieze and . good hard picture. painter's favourite Perseus. Observe sre get a new note nting and architec- Tuscan Madonna, roup the increasing ard Madonna and XMk VI] THE UFFIZI, ETC 143 saints. You will recognise St. Blaise with his wool-carder, St. Antony of Padua, St. Benedict, and St. Antony Abbot. Bishop Blaise is the patron of the wool-trade, one of the staple businesses of mediaeval Florence. Beyond this, unnumbered, Luca Signorelli, two fine pic- tures, noticeable for their study of the nude and their anatomical knowledge. Luca is in this respect, as in many others, the precursor of Michael Angelo. Art for art's sake is his theory. The shepherds in the background are there only because Luca likes to paint them. 81 and 83. Piero di Cosimo, in two very different moods. The Andromeda is most characteristic. Piero delighted in these grotesque and incongruous monsters. In the Madonna picture, the eagle marks St. John the Evangelist ; the lily, St. Antony of Padua ; the keys, St. Peter ; the cross, San Filippo Renizzi (?) ; then St Catherine and St. Margaret, kneeling in the foreground. 90. The beginning of the Decadence. Peruginesque Madonna, in a mandorla, adored by saints who foreshadow the 17th cent. The St. Francis in front leads on to the in- sipid church pictures of the Baroque period. The others are the Baptist, Jerome, and Antony Abbot. . 91. Gerino da Pistoia, Madonna and Saints. I call atten- tion to this picture mainly in order that you may judge for yourself whether the exquisite Cenacolo di Fuligno in the Via Faenza (to be visited later) can really be attributed to this insipid and jejune trtist. The San Rocco to the K showing the wound in hiS leg is a characteristic figure of the painter. The other saints are easily recognised. In this Long Corridor you have just been able to trace the gradual development of Tuscan art (for the most part as seen in its second or third rate representatives) from the earliest date down to the High Renaissance. We will now proceed into the rooms which contain the worthier repre- sentatives of the great age of the early Renaissance. Do not however, neglect the early works ; without them, you can never intelligently understand the later ones. :i iitfifa liwBijtMiaatmaQBfeKaw' mi> gjwium -mwiM ft^s^mtttt* M^WM^- #1 144 FLORENCE [VL . Retur . 4lor.K the Corridor to the flrit open door marked Scuola To*cana. Pass through the fu»t room, and enter the second, opposite, tho SAl^ TKRZA, which contains the pictures that come first in chronological order among the later painters. This room you cannot study too long. It embraces the finest work of the best perio'l. Wall to the L, as you enter. Jacopo (Landmi) di Cascn- tino. bnllKintiy colored Glory of St. Peter, seen enthroned as Pope, with stories from his life on either side. The at- tendant saints and church dignitaries to whom he distributes honours are symbolical : examine them. Note St. Cosmo. The Kroup of Peter in prison, visited by the angel, to the L, it interesting both in itself and for comparison with the noble Renaissance work in the Drancacc. chapel at the Carmine. (Go from one to .he other.) To the R, the Cruci- fixion of Peter. At the ends, 8 Apostles or evangelists, Andrew, John, Philip, Matthew, Thomas, the Jameses, Luke. Above it, 1 31 5, Mainardi : Beautiful figures of three saints, of whom the chief, St. Stephen, enthroned, is an exquisite modification of the traditional type. Beside him, James and Peter. , . •» ** 128$, Recently attributed to Leonardo: it so, an early work. Beautiful Annunciation. Note here again how the traditional features are all retained, including even the garden and t.ie cypresses in the background, (so frequent in early works,) while the whole spirit of the scene is trans- formed and transfused with tht developed artistic ideas of the Renaissance. Observe the exquisite sculpture of the nrie-dieu Our Lady's hands are not Leonardesque. Tney recall rather the school of Botticelli. This debateable picture may be by Ridolfo Ghirlandajo : but, whoever painted it, it is very beautiful. ,,,,,• . „f 1295 *Ghirlandajo's round Adoration of the Magi, one of this great painter's masterpieces : admirably balanced and richly coloured. The Madonna and Child, the Three Kings [v.. t open door marked irst room, and enter first in chronological is room you cannot ist work of the best (Landini) di Casen- I'eter, seen enthroned either side. The at- o whom he distributes m. Note St. Cosmo, ay the angel, to the l., comparison with the tncacci chapel at the To the R, the Cruci- lostles or evangelists, homas, the Jameses, figures of three saints, roned, is an exquisite 3eside him, James and Leonardo : it so, an Note here again how ed, including even the ground, (so frequent in of the scene is trans- eloped artistic ideas of uisite sculpture of the ; Leonardesque. They This debateable picture t, whoever painted it, it ion of the Magi, one of dmirably balanced and Child, the Three Kings V..J THE VFFIZt, ETC 145 in the foregrounJ, nnd the Joseph should a!l be closely noted. Observe the attauilw. ir.d 5Cti"r: cf iLv i\\\g%. Their faces are ciearly portraits. So are the shepherds, with clear-cut features, (as of !• lorentine scholars and humanists) in the group to the R, and the delicate lads with Medici faces, near the sheep and horses in the background. Notice the beautilul ruined temple, with its conventional shed or stable, and the ox and ass closfl by, as well as the admirable painting and foreshortening of the horses. The composition though full, is admirable : the colour most harmonious. Every detail of this picture, one of the finest specimens of Renaissance art, should be carefully studied, both for com- parison with others, and as a specimen of its artist's consum- mate skill. I have dealt with this also at greater length in the Pall- Mall Magazine, on the subject of Adorations. 1301. Antonio Pollaiolo : St. James, with his pilgrims hat and staff, flanked by St. Vincent and St. Eusta> The central saint in such groups is of course the impor iit one. Fine char-\cteristic figures by this good but not very sympa- thetic painter. He thinks more of anatomy and portraiture than of soul or sacredness. The colour is splendid. The St. Vincent here may well be compared with his brother deacon St. Stephen, in the Mainardi opposite. Painted for the Chapel of St. James (of the Cardinal of Portugal) at San Miniato. 1311. *Lorenzo di Credi, "Touch me Not" : Christ and the Magdalen in the Garden. A beautiful specimen of the tender and finished painting of this exquisite artist, who always succeeds best in small subjects. Observe the deli- cate and clear-cut landscape in the background, which should be compared with the mistier and more poetical effect of the mountains in Leonardo's Annunciation beside it. Contrast also the painting of the robe of Christ with the Madonna's bosom and the angel's sleeve in the (doubtful) Leon, rdo, which last are as well done as it is possible to do them. Lorenzo's painting has always the distinctness of a bas-relief. 146 FLORENCE [VI. 1300. Piero della Francesca, good hard portraits (named) in the dry and formal profile manner of this exreller.t U»n- brian painter. At the back, (swung by a h'niie) an allegori- cal triumph of the same personages : the di'chcsa drawn by unicorns, the symbol of chastity. Where sufficient informa- tion is given on the frames I do not repeat it. 1313. Lorenzo di Credi, Christ and the ^Voman oi Samaria, good, but not quite so satisfactory as its companion picture. Beneath this, a fine predella by Luca Signorelli, admirable as indicating the aims of the artist. Entrance wall, beside the door. ^^1160, Lorenzo di Credi, Annunciation. A nost beautiful Renaissance revivifi- cation of somewhat the same early type as that often repro- duced by Neri di Bicci (see the Long Gallery). Observe the admirable way in which the traditional motives are here retained and beautified There is nothing new, but every- thing is altered with subtle charm. The attitude and ex- pression of the angel, and the little start of the Madonna, all copied from the Giottesque, are most admirable in their wholly different treatment. Note at the same time how much more closely Lorenzo has followed the traditional ideas than Leonardo (if it be Leonardo) has done. Even the little round windows you will frequently find in earlier treatments ; but the clear drawing, the dainty colour, the fairy-like scene, the exquisite delicacy of the technique, are all Lorenzo's own. So is the beautiful landscape seen through the windows. There are four Annunciations in this room, two of them by Lorenzo. Compare them care- fully, in order to mark coincidences and differences. Also, compare the other Lorenzos here. Nowhere else in the world will you see him all at once to equal advantage. You cannot linger too long over this delicious picture. 1307. **Filippo Lippi, Madonna and Child, the infant supported by two merry boy-angels. Note the folds of the transparent stuff in Our Lady's head-dress. This is an exquisite picture, presenting the same general types as the Coronation of the Virgin in the Belle Arti. It is perhaps Filippo's most charming panel work. There is little to VI.] THE UFFIZI, ETC W hard portraits (named) of this exreller.t Utr.- jy a Irnjie) an allegori- the di'chcbb drawn by here sufficient informa- epeat it. the ^Voman oi Samaria, its companion picture. a Signorelli, admirable •. **ii6o, Lorenzo di ful Renaissance revivifi- ype as that often repro- )ng Gallery). Observe tional motives are here .othing new, but every- The attitude and ex- start of the Madonna, most admirable in their It the same time how bllowed the traditional lardo) has done. Even equently find in earlier the dainty colour, the .cy of the technique, are autiful landscape seen four Annunciations in >. Compare them care- and differences. Also, . Nowhere else in the I equal advantage. You cious picture, a and Child, the infant 5. Note the folds of the dead-dress. This is an me general types as the elle Arti. It is perhaps ■ork. There is little to understand in it, but worlds to look at. Return to it again and again till it has burnt itself into your memory. It was painted for Cosimo Pater Patripe, a> 1 stood originally as an altar-piece in a room in the Medici (Riccardi) Palace. The Madonna is the most perfect embodiment of Lippi's ideal. The angels are delicious. Even the chair-arm is a poem. As for the colour, it is exquisite. Above it, 1287, round Madonna and Child, by Lorenz(' di Credi. This is a type of subject commonly known as ;he Madonna adoring the Child : you will meet it often. Ob- serve the infant St. John of Florence, sustained by an angel. (See how the Renaissance alters St. John.) The ruined temple and Joseph sleeping in the background (to suggest night) are all conventional. As usual, Lorenzo is less suc- cessful on this larger scale than in his smaller pictures : he loses by expansion. Only the Child here is quite worthy of his genius. Compare carefully with the infinitely more beautiful Annunciation beneath it. Yet, if any one else had painted it, it would have been a masterpiece. We judge Lorenzo by Lorenzo's standard. 1223. Franciabigio : Temple of Hercules. Interesting chiefly as a specimen of these curious Renaissance resusci- tations of classical subjects. It was the front of a chest, to contain a bride's trousseau. Above it, 1303, **Botticelli, exquisitely beautiful Madonna and Child, enthroned, in a niche. In this picture again there is nothing to explain, but much to admire and wonder at. The type of Our Lady is one of Botticelli's most spiritual conceptions. 1314. **Lorenzo di Credi, another beautiful little An- nunciation, with the motives considerably varied on the preceding one, but scarcely less beautiful. You will observe by this time that Annunciations fall into different types, and that works in each type are suggested by predecessors. In this delicious and clear little picture, observe the attitude and hand of the kneeling angel ; the adoring wonder and joy of the Madonna ; and the beautiful landscape in the background, dainty and pure as always with Lorenzo. But 148 FLORENCE tVL observe, also, the c^.iotant survival of the loggia, the divid- ing pillar, and the bed in the background. This is a simple treatment, but exquisitely effective. 1 168. Lorenzo di Credi, Madonna and St. John, with charming landscape background ; a beautiful work, not quite, however, attaining the level of the two Annunciations. This Mater Dolorosa is of course represented after the Jrucifixion. Lorenzo succeeds best with isolated figures, as in this room, and the Louvre altar-piece : where he attempts composition, he loses in beauty. Above these, 1291 : *Luca Sipnorelli, Holy Family, in which thMl^, wmm [VI. dc women and boys r their na'ted limbs, ith his usual pallid, of all the draperies e. It is curious, in with its false and there of the pprlier ices of theu :. la- ily interesting as a Compare it with the Spanish Chapel. ■ Lorenzo the Mag- :hiefly interesting as :tty character of the )od portrait, in the and which doubtless stume of St. Cosmo, is family. Compare f Pontormo, a com- ;osimo Pater Patriae, the dress which you St. Cosmo, the holy jf the Long Corridor, id by Pontormo from ;1 Sarto's beautiful ;al, supported by two jn either side by St. t. They are almost ixquisitely soft and iching work with the d pigments in Bron- perhaps the highest altar-piece in which ne on either hand, in e composition in this dy. Our Lady's face, VI.] THE UFFIZI, ETC 151 the Child, the draperies, the St. John, and his red cloak, are all as lovely a? art can make them. In the St. Francis, just p note obtrudes itself of the coming degeneracy. He is a faint trifle affected. But, oh, what colour ! Beyond it, 1266, good portrait by Bronzino, showing him in one of his happier moments. 1265. Design in bistre by Fra Bartolommeo for a Ma- donna and Child, with St. Anne behind. The position of the St. Anne is conventional : see the Leoisardo in the Louvre ) in other pictures in Florence the Madonna sits on her mother's lap. On either side stand the patron saints of Florence, conspicuous among whom are Santa Reparata and San Zanobi. This work, much praised by the critics for its skilful composition, seems to me to strike the first note of the decadence. The adoring face of St. Anne, how- ever, is undeniably beautiful. Observe the survival of her traditional head-dress. The saint was a popular favourite in Florence, as Walter de Brienne was expelled from the city on St. Anne's Day, which was ever afterwards kept as a public holiday. The picture was commissioned by the town of Florence. Back wall, 1261. lacopo da Empoli, St. Ivo as pro- tector of orphans. A good late picture, painted for the magistracy of the orphans, of which the saint was patron. You will find a rude early picture of the same subject in the Opera del Duomo, interesting for comparison : St. Ivo wears a similar dress in both. Above it, one of Pontormo's ugliest nudes. 1268. **Filippino Lippi, an exquisite but somewhat sad- faced Madonna, crowned by angels. The clear and lumi- nous colour strikes the eye at once. In the foreground is a fine ascetic figure of St. John Baptist of Florence, balanced by San Zanobi, distinguishable by the Florentine lily on his morse. In the background, St. Augustine (the authorities say, St. Victor) and St. Bernard. Observe the beautiful Renaissance architecture and the charming faces of the angels. The flowers also are lovely. Above, the arms of the Florentine people. This great work was painted 153 FLORENCE Cvi. for a hall in the Palace of the Signoria : hence the group- ing, and the Florentine arms at the summit. 1257. ♦*Filippino Lippi's exquisite Adoiation of the Magi, a work instinct with Renaissance feeling. Th^ Old King has already presented his gift, which is held by an attendant on the R. The Middle aged King, close shaven, kneels behind him. The Young King, as often, is just Uking his gift in his hand, while his crown is being removed by a servant, as in earlier pictures. But the movement and characterisation of the scene are entirely Filippino's. All the figures are portraits, some of them are Medici. The group of the Madonna and Child, with the yellow-robed St. Joseph bearing his staff, has been entirely transformed from earlier models by the painter's genius. The attendants to the R are particularly noteworthy. Even the conventional accessories of the ruined temple, the shed, the ox and ass, and the cavalcade in the distance, are all transfused with Filippino's own sympathetic temperament. This is one of the culminating pictures of the best age of the Renaissance : stand long before it. Observe the hands and feet, and the management of the drapery. R wall, 1283, Entombment. A good hard work by the little-known late Renaissance painter Raffaello di Franco (Botticini), conspicuous for its extraordinary want of emotion. The figures look as if an entombment were an every-day occurrence with them. The Florentine St. John Baptist marks the country of the painter. In the back- ground, the Way to Calvary. 1 28 1 bis, Cosimo Rosselli, Madonna and Child v/ith the infant St. John. Even harder and drier than is the painter's wont. To the R and L of her, St. James as pilgrim, and St. Peter with his keys. The hands and feet are the best part of the picture. Compare the solid angels holding the crown with the charmingly living and flowing figures in the Filippino to the L of it. Good drapery. Over the door, *Granacci, the Madonna letting fall the Sacra Cintola to St. Thomas. The charmingly youthful figure of the saint w^s evidently suggested by Nanni di [VI. ia : hence the group- ntnit. Adoration of the :e feeling. Th^ Old which is held by an i King, close shaven, IS often, is just taking i being removed by a the movement and rely Filippino's. All m are Medici. The ith the yellow-robed entirely transformed lius. The attendants ^ven the conventional shed, the ox and ass, re all transfused with nent. This is one of e of the Renaissance : nds and feet, and the od hard work by the RafTaello di Franco raordinary want of entombment were an e Florentine St. John linter. In the back- i and Child v/ith the ;r than is the painter's 63 as pilgrim, and St. feet are the best part 1 angels holding the flowing figures in the y- lonna letting fall the charmingly youthful iggested by Nanni di -rp" VI.] THE UFFIZI, ETC I&3 Banco's admirable relief on the N. door of the Cathedral, itself suggested by the Orcagna at Or San Michele. To the R, St. Michael the Archangel kneels to balance St. Thomas. In the empty sarcophagus, flowers as usual— this time roses, not lilies. This is Granacci's mastei piece, and is an astonishingly fine example for suci; a painter. 1252. '^Leonardo's unfinished Adoration of the Magi, in bistre. Compare with the Filippino. A fine work, full of Leonardesque power, but without sufficient detail to render it attractive to the general observer. 1279. *Sodoma's celebrated St. Sebastian, shot with arrows. This is one of the most beautiful representations of the subject, in a very low tone of colour, and is perhaps Scdoma's masterpiece. The angel descending in a glory behind with a crown of martyrdom is peculiarly full of Scdoma's spirit. Fully to appreciate it, however, you must know the master's other works at Siena. This panel, painted for a Sienese Society, was carried in procession as a plague picture by the Confraternity to which it belonged. On the back is a Holy Family, with St. Sigismund, and the other great plague saint, San Rocco. An attendant will unlock it for you. 1278 bis. School of Verrocchio, good Madonna, with St. John of Florence, San Zanobi holding a model of the town and cathedral, St. Francis with the Stigmata, and St. Nicolas of Bar! with his three balls. Thcf architecture and decoration are noteworthy. Obsei-ve also the palms and cypresses in the background, which often appear in similar pictures. 1277 and 1275. Two miracles of San Zanobi, by Ridolfo Ghirlandajo, son of Domenico : from the church of the Fraternity of San Zanobi. These two pictures, like Gran- acci's Sacra Cintola, indicate the extraordinary way in which, during the great age of Florentine art, even secondary painters often produced works of the highest merit. Nothing can be better in its way than their drawing, composition, and colouring. The first represents the miracle of the tree which burst into Iwf when the body of San Zanobi was being 154 FLORENCE [vi. carried past it : (see the Cathedral.) Observe its naked boughs, and the leaves just draping them. Note the Baptistery on the VL (without the later s.ulpturc) and the tower of the Palazzo Vecchio : to the L, the Campanile and part of the o\Af/natie of the Cathedral. The second picture shows the miracle of the restoration of the French (or Gallic) lady's son, which is also the subject of Ghiberti's relieC on the Area oi 'jan Zanobi in the Cathedn.l. Observe the Florentine lily on San 7ancbi's morse. Cood portraits of bystanders. The colour here is beautiful ; the grouping fine'; and the air of returning life on the chilus pallid face very well rendered. 1259. *Mariotto Albertinelli's Visitation. Another splen- did example ot the way in which compaiatively minor artists produced nolile works, in the full flush of the High Renais- sance. In 'xi.ipos'tion this picture resembles somewhat the Ghirlandajo of ihe same subject in the Louvre, and far more closely the central part of the Pacchiarotto in the Belle Arti. Compare thee two, and note the way the figures are sil- houetted against the sky in the background. The design is said to be by Fra Bartolommeo. I have traced the evolution of the arch in the background in one of my papers in the Pall-Mall Alagasine. Observe the survival of the tradiiional hoods in both St. F-lizabeth and Our Lady. This picture, however, shows the way in which the beautiful brocades and other carefully-wrought stuffs of early painting, well discriminated and reproduced, give place with the High Renaissance to what is known in the abstract as " drapery " — mere colour and folds, without distinctive texture. Observe this trait in this room, progressively, in the Filippiv.os, the Andrea del Sartofi, the Albertinslli, and the Pontormo. Next the door, *I254, Andrea del Sarto, St. James, with his pilgrim s staff, as protector of ch'" Iren ; a processional woik, carried as a banner by the Confraternity of St. Jamts, which protecte 1 orphans, and thus much injured. It low displays comparauvely little of Andrea's dellcat'' colour- ing. On easels in the centre, two .ecent acquisitions. * 3152, "7.K- wn-tS*»?-T "sr^ "Sf*' ■ E [n. A.) Observe its naked ping them. Note the later s.ulpturc) and the ; L, the Campanile and al. The second picture of the French (or Gallic) of Ghiberti's relief on athedr.-l. O'oserve the rse. Cood portraits of jeautiful ; the grouping t\ the chilu's pallid face tation. Another splen- npatatively minor artists ash of the High Renais- resembles somewhat the he Louvre, and far more iarotto in the Belle Arti. way the figures are sil- cground. The design is have traced the evolution le of my papers in the survival of the tradiiional ur Lady. This picture, the beautiful brocades of early painting, well 'e place with the High abstract as " drapery " — nctive texture. Observe ly, in the Filippiv.ob, the and the Pontormo. ;1 Sarto, St. James, with :h'" Iren ; a processional )nfraterriity of St. Jamts, > much injured. It low ndrea's delicate coljur- nt acquisitions. * 3453 VI.] THE VFFIZl, ETC 155 Lorenzo di Credi's Venus, a fine treatment of the nude, not in colour quiic- equal to this artist's general level. 3436. An Adoration of the Magi, drawn by Botticelli, but coloured, and spoiled in the colouring, in the 17th cent. Little of the master remains, except the sense of movement and the character in some of the faces. The distinctive Botticellian feeling has almost gone out of it. The little room to the R, Scuola To«cana, Prima Sala, contains an immense number of small works of various ages, many of which are of the first importance. Entrance wall, near the window, 1 163 and 34. * Two admirable portraits by Lorenzo di Credi. Notice in the first the hands of a born sculptor, and the sense of form about the eyes and forehead. The second is that of a high-born and unscrupulous Florentine gentleman, a dangerous rival in a love-affair. *n78. Fra Angelico's Adoration of the Virgin. A beauti- ful little work, highly typical in its arrangement In the background, the Temple ; in front, the High Priest, clad in his robe and ephod. To the K, the youthful figure of Our Lady, timid and girlish, accompanied by St. Anne and the Virgins of the Lord, with the usual group of children in the distance. To the L, St. Joseph with his budded staff, on which sits the dove of the Holy Spirit. Behind him, as always, the angry suitors, striking, a.nd the impatient suitors breaking their staffs. To the extreme L, the golden and silver trumpets. Even the garden wall at the back, with its palms and cypresses, is a conventional feature. You will find it in several earlier pictures. Compare the Taddeo Gaddi in Santa Croce, where almost every figure occurs in the self-same ord?r. I have treated this subject at length in on-; of iny articles in the Pall-Mali Magazine. 1182. * Botticelli's Calumny, one of this great painter's finest tho'-.gh less pleasing works. It is painted after the description of a picture by Apelles. The fine nude figure to the L recalls the Primavera. So does the beautiful form 106 FLORE NCR [VI. scattering rosesi over the nude man in the centre. The ad- mirable Kenaiitsance enrichment of the arcnitecture, and the reliefs of the tribune must not be overlooked. This is a work which requires long study. The drapery of the woman in the foreground, to the extreme R, is a marvel of colour- ing. Above it, three good little pictures, the finest of which, 1 163, by Fra Angelico, is one of a series of the Life of John the Baptist, and represents Zacharias writing, " His name is John." 1 1 $3. Good small Fra Bartolommeo. 1184. *Fra Angelico, Death of the Madonna, attended, as usual, by the apostles and angels, with Christ in a mandorla receiving her glorified spirit. The apostles have their names inscribed on their haloes. Identify them. The little angels at the side are in Fra Angelico's most charming manner. 1345. lacopo da Empoli. Good Sacrifice of Abraham. Somewhat reminiscent of Sodoma. Most of the other pictures on this wall require some attention. 1156, ** Botticelli's Judith, with the head of Holophernes, a marvellous work, deserving long study. No other painter ever put so much life and motion into his figures. Beyond the door, some of Bronzino's unpleasing nudes. A detestable Cigoli of St. Francis receiving the Stigmata, and other unpleasing works of the same period, are also here. End wall, an interesting Martyrdom of St. Sebastian. The type is the same as that of the PoUaioIo in the National Gallery, and the rude old work in the Opera del Duomo. Beneath it, 1146, attributed to Andrea del Sarto, Ma- donna and Child with the infant St. John. Not a pleasing specimen. 1312. Another of Fiero di Cosiino''; fantastic monsters. 1150. School of Pinturicchio. Madonna, with St. Joseph and St. Blaise ; the latter easily lecognised by his wool- carder. Return along the H wall. More nudes by Bronzino. A CE [VI. 1 in ihe centre. The ad- f the arcnitecture, and the verlooked. This is a work I drapery of the woman ! R, is a marvel of colour- Lires, the finest of which, series of the Life of John arias writing, " His name meo. iie Madonna, attended, as with Christ in a mandorla apostles have their names f them. The little angels tost charming manner. )d Sacrifice of Abraham, na. Most of the other attention. the head of Holophernes, study. No other painter nto his figures, ino's unpleasing nudes, is receiving the Stigmata, he same period, are also 'tyrdom of St. Sebastian, of the PoUaioIo in the \ work in the Opera del Andrea del Sarto, Ma- it. John. Not a pleasing o's fantastic monsters, ■ladonna, with St. Joseph lecognised by his wool- X nudes by Bronzino. A v.] THE UFFIZI, ETC 157 little Visitation of the 17th cent, interesting to compare with the Albertinelli. Tolerable nudes by Zuccheri. 1309. An unspeakably vulgarised Dead Christ by Bron- rino. Then, a Leda with the Swan, and other works, the best of their type, but singularly unpleasing. Ueyond the door, 1179. Pretty little St. Sebastian by llolticelli. n8o. Small copy of Allori's fine Judith in the ''itli. 1 1 59. Hepd of Medusa, unaccountably attributed to Leo- nardo. 1 161. Exquisite little Circumcision and Nativity by Fra Hartolommeo. On the hark of the flaps, Annunciation, in two separate pieces. 1 1 57. * A fine portrait, attributed to Leonardo. 1 1 58. * Botticelli. Holofernes discovered headless under his tent. Above these, three fine portraits, of which that by ♦Masaccio is very remarkable. The medallist (iiS4)» falsely called Pico della Mirandola, is probably a Botticelli. Higher still, good later portraits, by Andrea del Sarto, etc. I have passed lightly over the small works in this room because they are so numerous ; but many of them deserve the closest attention. Do not think because a picture is little it is unimportant. Some of the loveliest gems of the collection are in this small apartment. The next room. The Tribuna, contains what are generally considered the gems of the col- lection, though the selection by the authorities is in accord- ance with the taste of the beginning of this century rather than with that of the present generation. Start at the door, entering from the main corridor. L of the entrance : Holy Family by Alfani ; a trivial work, chiefly interesting as showing the mixed school of Perugino and Raphael. 1 129. ** Raphael's Madonna del Cardellino, one of *lc most beautiful pictures of his Florentine period U507)- It 158 FLORENCE [VI. Khnuld be compared with the Helle Jardiniere in the Louvre. The subject is one oriKinally peculiar to Florentine painters, the Madonna and Child with the infant St. John of Florence, the latter here hoIdinK the symbolical goldfrnch. Note how the earlier abstractness here jjivcs way to a touch of naturai- lim. The exquisite sweetness and Floientine cast of the Madonna's countenance, and the i harminjj painting of the nude boys should be carefully noted. This, however, is one of those pictures which must be mp.inly left to the percep- tive powero of the reader. Do not overlook the charming contrast of the baby foot with the mother's in the fore- ground. 1 1 27. Raphael, or more probably from a design by Ra- phael. The Young St. John in the Desert. Here the Renaissance love for the healthy youthful nude male form has triumphed over the asceticism of earlier conceptions. This is just a beautiful boy, with the traditional attributes of the penitent in the desert. The Florentine St. John is often thus used as a mere excuse for earthly painting or sculpture. You will meet him a),'ain in many shapes at the Hargello. Above it, 11 30 and 1126. Fra Bartolommeo, Job and Isaiah. Grand, or shall I say rather grandiose figures which reveal the spiritual parentage of the Raphael car- toons J these are typical specimens of this great but un- pleasing Migh Renaissance painter. Art, not spirit : and the art itself chilly. 1 125. Franciabigio, the Madonna of the well. Subject the same as the Raphael which balances it, but with tlie later Roman treatment, the spirituality all going out, and mere naturalistic prettinesses substituted for the careful painting and more spiritual ideals of the earlier epoch. A good work of its sort, but oh, how fallen ! 1 134. * Very fine portrait by Frar ia. Beneath it, 1 123. Probably Sebai ano del Piombo. The so-called Fornarina, attributed to Raphael. By whomever produced, this is a splendidly-drawn and well-painted but ugly and vulgar picture. Compare it with B [VI. ardiniire in the Louvre, r to Florentine painters, tnt St. John of Florence, il goldfinch. Note how ay to a touch of natural- Floientine cast of the darniinK painting of the This, however, is one linly left to the percep- overlook the charming ! mother's in the fore- from a design by Ra- the Desert. Here the 3Utliful nude male form of earlier conceptions, the traditional attributes le Florentine St. John use for earthly painting gain in many shapes at Bartolommeo, Job and ather grandiose figures je of the Raphael car- s of this great but un- •. Art, not spirit : and i of the well. Subject alances it, but with the ality all going out, and stituted for the careful )f the earlier epoch. A xllcn 1 ' ia. ino del Piombo. The Raphael. By whomever vn and well-painted but it with VI.] THE VFFJZl, ETC 159 1 1 30, *Raphael, A beautiful portrait of an unknown lady, in his earlier and better manner. The attribution is doubt- ful : it has been ascribed to Leonardo. iiJi. •Mantcgna, fine portrait of the Duchess of Urbino. Above the door, a good Rubens. 1115. *Fine Vandyck. I II 7. ♦Titian's Venus. A beautiful voluptuous nude, of a type suggested by the Giorgione now at Dresden. Com- pare with photographs. 1 136. Veronese. Very Venetian Holy Family, with volup- tuous fair-haired Venetian lady as St. Catherine. You can only know her for a saint because she carries a palm of martyrdom. Characteristic of the later lordly school of Venice. 1 131. One of the replicas of Raphael's Julius II. (some say the original). There is a better one in the Pitti, and a third in the National Gallery. 1141. ♦♦Diirer's Adoration of the Magi. Here in Flor- ence I will not dwell in detail on this noble German work, which may however be compared in all its details, for like- nesses and differences, with Italian representations. The face of the Madonna and of the Middle-aged King are essentially and typically German. The whole work, indeed, is redolent of German as opposed to Italian feeling : yet Diirer largely influenced contemporary Italians. In northern art, by the way, and as a rule in Lombardy and Venice, the Young King is a Moor. Note how in this picture almost all the traditional elements remain the same, yet how totally they are varied by the divergent spirit of the northern artist. Study of this picture and the Filippino in a neighbouring room is a fine lesson in the differences between German and Italian methods. 1 1 22. ♦Perugino. Beautiful Madonna and Child, with the St. John Baptist of Florence, and the wounded St. Sebas- tian, — therefore, a plague picture. There is a fine replica of the last pathetic figure in the Louvre. This and Sodoma's are the mc3t beautiful St. Sebastians ever painted. Peru- gino's is pure Umbrian in clearness and pietism : Sodoma's «rs* i6o FLORENCE [VI. f- has the somewhat afiected softness and -ylowing light of that Sienese Lombard. 19/. *Fine portrait by Rubens of his wife : extremely natural. H14. Guercino's Sibyl, astonished to find nerself in such strange company. 1 108. A second Recumbent Venus by Titia:.. More simply voluptuous and more resembling Pa^ma Vecchio's type than the forme>- one. Good, but fleshly : it foreshadows Veronese. Beneath it, pictures of the later period, master- pieces, no doubt, in their own florid way, but sadiy out of keeping with the Perugino, t'i:e Diirer, and the Raphael of tl' Cardellino. 1 143. Crown of Thorns, by Lucas Van Leyden. 1 1 16. *Portrait of Bcccadelli by Titian. Admirable but not pleasing. The flesh and hands splendidly painted. 1 139. **Michael Angelo's Holy Family, with about as much holiness in them as there was in the painter. A mag- nificent work, on an uncongenial subject. Our Lady is a fine vigorous woman of the lower orders, with an unpleasing face, and splendid arms and hands, excellently painted. The pose of her neck is wonderful. The Child is not a divine fipnre, bi't a fine study in anatomy and foreshorten- ing. The baby Si. John of Florence in the background i^ a charming young Bacchu.s. The graceful nude figures be- hind, disposed in glorious attitudes, show what Mi.:hael Angek> really cared for. This is a triu-nphant work of art, but it none the less exhibits the futility of seUing such a man to paint what wer-; thought to be sacred pictures. Note the ^..aperies. Above, a fine Vandyck and two Cranachs, (Adam and Eve) interesting as showing the crude northern conception of the unidealised nude, very well rendered. Compare this Eve, in its faithful likeness to a commonplace uadraped model, with Lorenzo di Credi's graceful Venus in an adja- cent hall, or with the two voluptuous Venetian Titians in this very room. Comrare the Adam, again, with Perugino's St Sebastian. They mark the difference between the literal [Vl. d "[lowing light of that his wife: extremely to find nerself in such uis by Titiati. More bling Palma Vecchio's fleshly : it foreshadows le later period, master- l way, but sadiy out of er, and the Raphael of Van Leyden. ritian. Admirable but iplendidly painted. Family, with about as in the painter. A mag- ect. Our Lady is a fine rs, with an unpleasing ds, excellently painted. . The Child is not a atomy and foreshoften- » in the background L a •aceful nude figures be- ;s, show what Mi':hael triuTiphant work of art, ity of settiiig such a man ;rcd pictures. Note the Cranachs, (Adam and ide northern conception indered. Compare this commonplace uadraped ceful Venus in an adja- ; Venetian Titlans in this rain, with Perugino's St nee between the literal VI.] T/TE UFFIZI, EZC I6l simplicity of the north and ihe idealism and daintiness rf the south. in 8. Correggio's Repose on the Flight into Egypt, with St. Francis adoring. Not a pleasing specimen of '.he great master. Far more interesting and typical is his 1134, *the Madonna adoring the Child, a pretty Parman woman, charmed with her baby. It has all .hat mastery of light and shade, and that graceful delicacy of workmanship, which is peculiar to Correggio. But the simper is affected, and the sacredness is of course a negative quantity. A pretty domestic scene, masouerading as a Nativity. Above it, 1135, Lumi, Herodias's daughter receiving the head of John the Baptist. The princess's face is fine and characteristic, but the work as a whole does not adequately represent Luini at his best. It is cold and laboured. The next Room, that of the MaeAtri DIversi Italiaiii, contains small pictures of the later period, mostly of dimin- ished interest. Amongst them, however, are some fine works. 1025, A beautiful and delicately-finished little Mantegna, shouV be closely noticed. Its bar'.;ground is glorious. IF 05, A rather pretty infant Christ lying on the Cross, by Allori, has a certain sentimental interest. I will allow the reader to make his own selection among these minor works. An Annunciation, by Garofalo,, 1138, may be instructively compared wit'i earlier and better treatments. Most of these pictures, indeed, are chiefly interesting as showing how later painters did iii what earlier artists had done much better. They are studies in decadence. The next room devoted to the Dutch School contains several admirable works, some of which are of the first importance. Such are : 972, by Metzu ; 870, by Heems- i kerck ; 905, by Van der Werf ; 854, by Mieris ; 926, by 1 Gerard Dou, etc. T^iese works, however, have no natural I organic connection with Florence, and though in many L - ' il 7,".'«''!!'!?'V'^»". '6:1 FLORENCE fvi. i. cases extremely beautiful and wonderfully finished, they seldom require any explanation. They do not therefore fall within the scope of this work, and I will leava them to the reader's nativt. appreciation. Somewhat the same may be said of the next room, con- taining Flemiflh and Qerman pictures, many of which, however, are in their subjects more cognate itrith early Italian painting, so that they may often be com- pared to advantage with their southern compeers. In this room you cannot afford to overlook *78o and *8oi, two ex- quisite portraits by Memling. ^778 is a lovely portrait by the samo, of a Benedictine monk in the character of St Benedict —a frequent little excuse for portraiture. *777 is a fine head of St. Philip by Diirer. 771 and 773, are good miniatures of saints by Poelemburg. 768, a companion picture of St. James by Diirer. **769, an unspeakably beautiful portrait by Memling, which, as an example of Flemish style may be compared with **766, Dijrer's essen- tially German portrait of his father, marvellous in its fidelity. 838, A rather coarse portrait of Luther by Cranach. 847, The same, Melancthon. 845, The Electors of Saxony. 765, ♦*Holbein's magnificent portrait of Richard Southwell, too frank to be flattering — immensely superior to the one in the Louvre. 795. *Roger Van de Weyden's wonderful Deposition, where the characteristics of northern art may be well contrasted with Italian treatments of the same subject The two eider saints are Joseph of Arimathea and Nico- demus. 784 is a fine portrait by Anthony Mor. I do not dwell on any of these, as not essential to Florence : but if you have time to see Ihem, after seeing all that is distinc- tively local, they will well repay you for your trouble. The Scuola Plammingra e Tedesca, Prima Sala, similarly contains a number of admirable Flemish and German works. Conspicuous among these, on the wall »7hlcli faces you as you enter, near th^ window, is **Mem mmm fvi. VI.] THE UFFJZI, ETC 163 Fully finished, they lo not therefore fall I leav3 them to the the next room, con- ctures, bjects more cognate r may often be com- \ compeers. In this Jo and *8oi, two ex- a lovely portrait by the character of St ortraiture. *777 is a I and 773. are good 768, a companion 769, an unspeakably 1, as an example of **766, Diirer's essen- irvellous in its fidelity, er by Cranach. 847, Electors of Saxony, of Richard Southwell, ^ superior to the one ! Weyden's wonderful of northern art may be s of the same subject I Arimathea and Nico- ithony Mor. I do not I al to Florence : but if I ing all that is distinc- or your trouble. a. Prima Sala, Imirable Flemish andj ig these, on the wallj th*; window, is **Mem-| ling's exquisite Enthroned Madonna, where Our Lady's face is (as usual with Flemish art) somewhat vagu^ and wooden, — a convention too s!\ :r?d fr- i to tamper with : — while the two angels, especially t)', ^ne with the apple to the L, are absolutely charming, liie exquisite finish of everything in this triumph uf Flemish painting should be carefully noted : — the architecture of the arches, the children holding festoons of fruit and flowers (themselves most daintily and delicately finished,) the delicious clear-cut landscape background, the richly- wrought brocade behind Our Lady's back, her hair and robe, the carpet at her feet, the draperies of the angels, and the lovely ecclesiastical vestments worn by the apple-bearer, all deserve the closest study. This glorious picture glows like a jewel. Only the fact that it is not Italian hurries me away from it. But dixl not Mantegna take occasional hints from such festoons as these in contemporary Flemish painters ? Close by is a lovely *Van der Goe (or Aldegrever ?) of the Madonna and Child, with St. Catherine and St. Bar- bara (?) and angels holding a crown above her head. Though inferior both in feeling and finish to the exquisite Madonna of the Portinari family, by the same artist, at Santa Maria Nuova, (which go and see,) it is nevertheless a splendid example of minute Flemish workmanship. I will only direct attention to the hair and robe of the Madonna and the architectural enrichments. Other pictures on the same wall, well deserving study, are Kulmbach's (or Schauffelein's) Crucifixion of St. Peter and Conversion of St. Paul ; an Adoration of the Magi, by an unknown isth century Fleming (Gerard David? I think" not) ; and some good little genre works by either Teniers. Beyond the door, charming portrait by Joost Van Cleef, (Justus of Ghent) of a Dominican nun, in the character of the Mater Dolorosa. An Adam and Eve, by Floris, show once more the harsh northern conception of the nude, now largely modified by Italian example. The end wall has a curious triptych by Nicolas Froment, the painter patronized by King Rend of Anjou (and the ^««iB*ii*'«i»«-|-ii-* rr*m-t 164 FLORENCE [VI. Meister Korn of the Germans). In the centre is the Resurrection of Lazarus, with the ghastly expression of returning liiie on a dead man's ''ace rendered with painful truth and weird imagination. The bystanders holding their noses are conventional : see the old picture in the Belle Arti. The painting of their robes is very characteristic. L panel : " Lord, if Thou hadst been here our brother had not died." R panel : the Magdalen anointing the feet of Christ. The Pharisee in this and the central picture seems to me most typically German : but there are also undeniably CId French touches. Lafenestre claims it as French. Observe all the details. On the flaps outside, in grisaille, L, Madonna and Child ; R, the donors kneeling. Dated, 1461. Other good pictures on this wall I cannot particularise. L wall, 731, attributed to Jan Van Eyck, (I think erroneously : it is probably Dutch) *Adoration of the Magi. Very interesting for comparison both with the Italians and the Diirer. Notice the Moorish king, the architecture of the background, and the shepherds on the R flap. The Old King seems almost worthy of the great master : perhaps copied. Below, 749, two admirable portraits attributed to Petrus Cristus. Here again I leave many flnc works unnoticed, because of their want of connection with Florentine art or history. For the same reason I will not notice any of the works of the French School just beyond, though Clouet's Francois I", Wa*teau's (?) Flute-player, and several others are well worth attention. Now, pass out of this suite of rooms into the End Corri- dor. The door to the L leads to a room containing the Qems, many of which are worth close inspection. The corridor is chiefly occupied with sculpture, though it has also a few tolerable pictures. Cross it to the R, observing as you go the charming views out of all the windows, especially the end one, looking down the Amo. Then, turn along the Second L^ng Corridor, on the west side, and enter the first door to your L, which gives access to the m [VI. ]e centre is the tly expression of ered with painful ders holding their ture in the Belle characteristic. L ir brother had not the feet of Christ, ture seems to me 10 undeniably Cld French. Observe ;, in grisaille, L, ,ng. Dated, 1461. particularise. Eyck, (I think ation of the Magi, h the Italians and architecture of the ip. The Old King perhaps copied, iributed to Petrus jnnoticed, because e art or history, any of the works Wa*teau's (?) irorth attention, to the End Corri- >m containing the inspection. The ire, though it has he R, observing as windows, especially en, turn along the de, and enter the the VI.] THE UFFIZI, ETC 165 Scuola Veneta, Sala Prima. This room is full of good work-, (chiefly bought by Cardinal Leopoldo de' Medici from a Florentine merchant at Veni'.e) which excellently exhibit the splendid Venetian colouring. They are not, however, of the first importance, nor does the Uiifizi contain a sufficient number of examples to enable you to form a conception of the Venetian School, especially if you have not yet visited Venice. (The Pitti supplements it.) Entrance wall : to the L of the door as you enter ; 585, Pordenone's fine Portrait of a Venetian Gentleman, well thrown up against a screen of wall, with admirable colour and accessories. Near it, 604, Carletto Veronese, (son of Paolo) the Madonna in clouds of glory, with St. Mary Magdalen, St. Justina, Can Frediano of Lucca, with his rake, etc., a picture very characteristic of the later debased taste of Venice. The Magdalen has the face and costume of a courtesan. 577, Good portrait by Paris Bordone. 587, Much finer portrait by the same. Above it, 601, Good characteristic portrait by Tintoretto of a Venetian admiral, where his peculiar tone of red is well marked. L wall ; 595, Group of the painter's family, by Jacopo Bassano, also very typical of the later Venetian feeling. **6os and *599, Portraits by Titian of the Duke and Duchess of Urbino, admirable as works of art, the painting of the armour and robes most noteworthy, but the Duchess's face extremely unpleasing. The Duke's is finely and boldly rendered. Above, 596, Paolo Veronese, Esther brought before Ahasu- erus. The central figures, the architecture, the accessories, and the spectators, of this good work are all extremely char- acteristic of Veronese's manner. The whole is envisaged as a Venetian pageant of his time, with high-born Venetian ladies and great signiors of the period. Note the man in armour on the extreme L, with the more commonplace figure who I i65 FLORENCE [VI. balances him on the R. Colour and composition are well worth study as typical of the painter. On an easel close by, 626,* Titian's Flora, a characteristic exampls of large, idealised, voluptuous, aristocratic, Vene- tian womanhood. A fine model, excellently rendered. Hair, arms, and robe, are all admirably painted. Note the dainty hands, with shade behind them, and the beautiful treatment of the L shoulder. The delicate flesh-tints could hardly be surpassed. The whole work is most light and luminous. The colour of the robe on the R is lovely. 594. A murky Domenico Tintoretto of an apparition of St. Augustine. Below it, a characteristic Jacopo Bassano, Moses and the Burning Bush : both good examples of late Venetian manner. End wall, 3388, Tintoretto's Leda, a last product of the type initiated by Giorgione, and handed on by Titian. A graceful enough treatment of the nude, exquisite in its blended colour, less voluptuous and more ideal than Titian's models. The light and shade are marvellous. Notice tfie hands and feet, and the curtain in the background. The attendant by the chest is painted in one of Tintoretto's pecu- liar attitudes. Below it, 571, attributed to Giorgione, perhaps by Caroto, (or Torbido) a noble *portrait, said to be Gattamelata, where face, hair, armour and everything are exquisitely painted. Next it, **i 1 1 1, a marvellous triptych by Mantegna. One of the minutest and finest works of the great master's early period. Its finish is exquisite. Note the influence of north- ern art in it. The central panel, slightly curved, consists of an Adoration of the Magi, where the face of the Madonna and the treatment of the Child are highly typical of Man- tegna's manner. The tall bent St. Joseph, the realistic portrait-like faces of the Three Kings, (almost German or Flemish in tone) the camels and cortege in the background, the cave behind, and the still half conventional rocks, should all be noted. Observe, too, how in North Italian art inter- course with the East (through Venice) makes the calvacade of the Kings really oriental in costume and features. All [VI. iposition are well a, a characteristic iristocratic, Vene- ;llently rendered. ainted. Note the and the beautiful te flesh-tints could s most light and I is lovely. an apparition of Jacopo Bassano, examples of late I last product of ded on by Titian, e, exquisite in its ideal than Titian':, llous. Notice tfie background. The ■ Tintoretto's pecu- erhaps by Caroto, lattamelata, where uisitely painted. r Mantegna. One eat master's early influence of north- curved, consists of e of the Madonna y typical of Man- >eph, the realistic almost German or in the background, ional rocks, should 1 Italian art inter- ikes the calvacade and features. All VI.] THE VFFtZI, ETC 167 the faces in the background are fine studies of Asiatic or African types. This is a picture to look into and dwell upon. To the L is the Resurrection, where the straining upward faces and necks show Mantegna's love of setting himself difficulties to conquer. Each of these attitudes and faces deserves close study. To the R, the Circumcision, where the shrinking boy in the Madonna's arms, and the aged figures close by, are thoroughly Mantegnesque. Observe the typical Paduan enrichment of the architectural background, and the Venetian touch in the bystander child sucking his finger. Every part of this magnificent work demands close attention. I have treated of it more fully in one of my articles in the Pali-Mall Magazine. ♦648. Titian, pretty portrait of Caterina Comaro, Queen of Cyprus, in the character of St. Catherine, whose spiked wheel just appears in the background. There is nothing else saintly about this attractive portrait of a lovely and richly-dressed Venetian woman. The purple satin of her sleeves, the rich green brocade, the jewellery and gewgaws, and the regal head-dress, are admirably painted. Notice especially the pearls, each produced by a few consummate touches. Note how art has become conscious and triumph- ant : it does things now with a twist of the hand which earlier it elaborated with endless minuteness. Beyond the door, 586, noble portrait by Moroni : fine in attitude, expicssion, and detachment from its background. R wall, 631, Giovanni Bellini. The Madonna by the Lake, a curious and unusual mystic attempt on this great painter's part to introduce novelty and variety into the groups of saints attendatjt on Our Lady. He had an order for so many, and he tried to vivify their grouping. To the extreme L is the Madonna enthroned, without the infant Saviour. (I cannot account for this unusual omission : was it for a mother who had lost her baby ?) Beside her kneels St. Catherine of Alexandria, crowned ; to the L, a most un- conventional Catherine of Siena (?). Behind the parapet stand St. Peter and St. Paul, the former only recognisable by the type of his features. Below, children are playing with fruit, 168 FLORENCE and with a symbolical tree, perhaps that of the future Cross. As the fi^ lies have no haloes it is impossible to decide which is intended for the infant Saviour, but I take him to be the >ne phyin, 'Mti the tree, a natural symbol. To tb : extren" ii ire ''i' ,;••> ^.-eat pla;^ je-saints, St. Job, ihe patriarch, iW; ..?v< :r'*cnlii-t u the Adriatic, ant. well seen in Bellini's Jjittri^ ti-^jji .■ I'ictute from San Giobbe now in the Academy at •' I, ; *,; ru J ^t. Sebastian, pierced with arrows, proving this woik to be ;i t likely a votive plague-picture. In the background a> t oL er curious episodes, St. Antony the Hermit with!the Satyr, etc. The landscape, with its artificial rocks, is peculiar and poetical : it should be compared with Mantegna, Bellini's fellow-pupil and brother-in-law. But I half doubt the ascription. This strangely mystic; picture is, if authentic, unique among Bellini's works ; whoever painted it, it represents an abortive attempt ?.t that freer style of Sacra Conversazione which was later achieved in another form by Titian and his successors. (Some authorities attribute this work to Basaiti.) Above it, *584 and *584 bis, two good pictures by Cima da Conegliano, exhibiting well the Bellinesque type of Venetian Madonna, with her serene and queenly features, her strong column-like neck, and her peculiar head-dress. Notice the naked children, and the painting of the hands. The St. Peter with the keys is hijiily characteristic of Vene- tian treatment. This fyr-e of Madonna, best seen in Bellini at Venice, devclopes at last Into Titian's ideal. Its evolution is interesting. The roundiaced, strong-necked, matronly Venetian Madonna, extremely unlike any other Italian representation of Our Lady, seems to be ultimately denved from the school of Cologne, through Giovanni da Allemagna, a Rhenish artist who settled at Venice, and founded the school of the Vivarini. His type, altered and beautified by Bellini, was further modified by Titian and bis successors, but always retained at Venice its matronly roundness and its fine neck. Elsewhere in Kaly the Madonna, derived directly from the thin-faced fretful Byzantine type, is slight and girlish, no matter how varied in other particulars. [VJ. ■ the future Cross, le to decide which ke him to be the , To th : extrer"" ob, ihe patriarch, seen in Bellini's ' in the Academy h arrows, proving K-picture. In the , St. Antony the e, with its artificial t)e compared with ler-in-law. But I mystic, picture is, ; whoever painted reer style of Sacra 1 another form by ities attribute this pictures by Cima ilinesque type of queenly features, culiar head-dress, ing of the hands, acteristic of Vene- )est seen in Bellini leal. Its evolution -necked, matronly my other Italian ultimately derived mni da Allemagna, , and founded the and beautified by nd his successors, ily roundness and Madonna, derived tine type, is slight ■ particulars. I VI 3 mS VFFIZI, ETC 169 *S83 bis. subject, (o most typii.. . ragme:'*\ry Carpaccio, of some Old Testament .". Way ,.0 Calvary) where all the *= jui«ss ate : of their painter. 579- Annun-iation of th" 5d.v. -1 of Paolo Veronese: (Morelli attributes it to Zelotti.) The Madonna is one of Veronese's Venetian modelc. The action takes place in a vast loggia, of the school of Sansovino, where only the formr-l arrangement reminds one of the empty central colon- nade in Neri ui Bicci's pictures. The Announcing Angel, with his annunriation lily in his hand, just descended from the sky, and raising his hand with a theatrical gesture, contra.sts in every r spect with earlier and more sacred treatments. He is just a plump Venetian figure, ostentatiously posing himself in what he v'onsiders a telling attitude. It is inter- esting to note here the retention of all the formal features, (such as the garden in the background, the priedieu, etc.,) side by side with the utter and lamentable transformation in the spirit ' the scene. Note the Holy Ghosi, descending in the midst in a vague glory of cherubs. You cannot properly understand such pictures as these unless you have first studied earlier representations of the same subjects. 592. Sebastiano del Piombo. The Death of Adonis. A Renaissance mythological subject, treated in Sebastiano's earlier manner, almost wholly Venetian, but with tinges of Roman influence beginning to show in it. Just beyond, 578, pleasing portrait by Paris Bordone. 575, Lorenzo Lotto's Holy Family, with St. Anne and the Madonna in a familiar attitude, (we have seen it before) and St. James and St. Jerome introduced in the background. It should be compared with the pair by Cima close by, to show the development in Venetian treatments of this subject, 574- Polidoro Veneziano, the Madonna and Child with St. Francis, where the composition and the landscape back- ground are in the style initiated by Titian. Entrance wall, again, 572, Paolo Veronese's St. Catherine, the exact analogue of the Annunciation just noticed. Below it, 627, attributed to Sebastiano del Piombo (prob- ably Dosso Dossi.) Striking portrait of a G' >eral. I i^' 170 FLORENCE [VI. The next room, the Second Hall of the Venetian School, has, L of the door, 590, a Madonna and Child with St. John, by Titian, in a mandorla of cherubs. A good picture in a transitional manner. Near it, 609, reduced copy of Titian's celebrated Battle of Cadore, (burnt in the fire at the Doge's Palace in 1577) a work noted for its life and movement, and its vigorous treatment. 3390. Tintoretto, one ofhis finest portraits, full of character and diKnity, and admirable in colour. 613. Fine luminous portrait by Paris Bordone. The L wall has a fine portrait of Sansovino the sculptor, by Tintoretto : 636, Crucifixion, by Paolo Veronese, well ex- hibiting the later non-sacred conception of this subject : and *633, a beautiful Madonna and Child, with the boy Baptist and St. Antony the Hermit, by Titian. The last i i one of his most exquisiite Madonnas. Alx)ve it, admirable cartoon by Bellini (or of his School) for a Pietk. End wall, 623, a fine Holy Family with St. Mary Mag- dalen by I'alma Vecchio, (perhaps a copy) in which the face and head-dress of the Madonna and the face and hair of the Magdalen should be carefully compared with Cima and Titian. Rich and well-harmonised colour. Beneath it, 639, fine portrait of a Man with a Guitar by an unknown artist (Moretto i') No. 625 exhibits Titian's most mundane style of Madonna, with a well-made Venetian young lady in the character of St. Catherine. The infant Christ has here attained the furthest height of Renaissance treatment, while Our Lady's face is frankly human and lady-like. Trace its evolution by the aid of *.he Palma above it, the Bellini, the Cima, etc. *63o. Giorgione's Judgment of Solomon, with fine land- scape background and striking figures. This and its com- panion piece are among the very few works attributed to this great Master which Morelli allows to be authentic. They were probably painted in his 17th or i8th year. The [VI. School, lild with St. John, i;ood picture in a lebratcd Battle of ?dace in 1577) a and its vigorous ts, full of character irdone. jvino the sculptor, Veronese, well ex- f this subject : and th the boy Baptist The last i i one of admirable cartoon th St. Mary Mag- r) in which the face ace and hair of the d with Ciina and r. vith a Guitar by an ; style of Madonna, in the character of here attained the t, while Our Lady's ace its evolution by the Cima, etc. ion, with fine land- This and its com- vorks attributed to IS to be authentic, or 18th year. The VI.] THE VFFIZI, ETC 171 deep colour, the sparkling touch, the feeling for nature, and the line drawing of the figure arc there already. 589. Paolo Veronese's Martyrdom of St. Justina. A Venetian lac*/, pallid from fear, with Moors and negroes as bystanders or executioners, and portraits of Venetian gentle- men as Roman officials, afraid of getting their fine robes spoiled by the spurting blood of the martyr. A most frank instance of a sacred subject distorted from its purpose, but pieaiiing in colour and large in treatment. Nice architec- ture. Above it, 628, Bonifazio's L st Supper. *62i. Giorgione, the Child Moses undergoing the ordeal of fire— a legendary subject Compare with the companion piece. **622. Giorgione, splendid portrait of a Knight of Malta : a noble and authentic work, very much repainted. 642. Good portrait by Moroni. R wall: 619. Palma Vecchio's *Judith, which strikes a key-note. It is very much injured. 618, Unfinished Ma- donna and Child, by Titian, a copy of his famous Pesaro Madonna at Venice. 617, Tintoretto's Marriage at Cana, a sketch for the great picture at Venice, with alterations. On the same wall, several good portraits. Entrance wall, by the door, Transfiguration by Savoldo, with the curious mode.n touch and tendency of that very original Lombard painter. Note the transformation of earlier conceptions. Above it, 646, Tintoretto's Sacrifice of Isaac. I do not enlarge upon many of these pictures, because the Venetian school is so much better studied in Venice than at Florence, where the series is but fragmentary. Those who have visited Venice will be able to put most of these works into their proper order in the evolution of Venetian painting. For those who have not, they must remain unplaced till another visit. Return to the Second Long Corridor, and take the first door to the L, which leads through a passage (with Portraits of Painters) to the iU (I :- 1 17a FLORENCR [VI. Sal* di Lx>r«nzo Monaco. This room contains some of the finest and most interestini; works of the Early Florentine period. L of the door, as you enter, *i3io, Gentile da Fabriano : four isolated saints, portions of an altar-piece, with the Madonna (who once was there) omitted. L, St. Mary Maydalen, with her alabaster box of ointment. Next to her, St. Nicolas of Hari, with his golden balls : on his robes are embroidered the Nativity, the Adoration of the Magi, the Flight into Egypt, the Mas- sacre of the Innocents, the Presentation in the Temple, and the Baptism of Christ. Note such subjects hereafter, em- broidered on the robes of other bishops. They often throw light on the personages represented. Then, St. John Bap- tist of Florence, as the ascetic saint, and St. George, with the red cross on his lance and shield, a striking figure. In the cuspidi above, other saints and angels. This picture comes from the church of St. Nicolas in Florence, and the Nicolas stood on the R hand of Our Lady. 1302, beneath, Benozzi Gozzoli, Predella : (i) Marriage of St. Catherine of Alexandria, a charming girlish figure : (a) Fieta with St. John and the Magdalen : (3) St. Antony with his crutch and book, and St. Benedict holding a book and arrow. From Santa Croce. End wall, **I309, Don Lorenzo Monaco. Great altar- piece of the Coronation of the Virgin, in a magnificent tabernacle of three arches. Adequately to describe this noble picture, the only important work now remaining by Fra Angelico's master, would require many pages. I note a few points. Below, the circles of heaven, with stars and angels. Centre, once a reliqucr now gone, about which angels swing censers. In the group of saints under the L arch ; nearest the throne, St. John Baptist of Florence ; then, St. Peter (keys), and St. Benedict, scourge, (this being a Camaldolese-Bene- dictine picture, pr.inted for Don Lorenzo's own monastery of the Angeli at Florence :) above him, St. Stephen, with the stones on his head ; beside whom stands St. Paul, hold- ing his sword and his Epistle to the Romans ; then, St. li lr i l i iil A tiil [VI. >. [ most interesting L of the door, as ur isolated saints, na (who once was fith her alabaster J of Hari, with his red the Nativity, ) Egypt, the Mas- 1 the Temple, and cts hereafter, em- They often throw en, St. John Bap- , St. George, with triking figure. In els. This picture Florence, and the [ : (i) Marriage of girlish figure : (2) 3) St. Antony with ilding a book and aco. Great altar- in a magnificent ' to describe this now remaining by iny pages. I note en, with stars and {one, about which arch ; nearest the n, St. Peter (keys), "amaldolese-Bene- >'$ own monastery St Stephen, with ads St. Paul, hold- womans ; then, St. VI.] THE VFFIZI, ETC 173 James the Greater, (with a stafT), St. Antony Abbot (crutch) and other saints less discernible, among whom I believe I detect St. Louis of France, and St. Louis of Toulouse. In the opposite arch ; on the extreme R, (to balance St. Benedict) in white robes, St. Romuald, founder of the Camaldolese order (a branch of the Benedictines ;) next him, St. Andrew and St. John the Evangelist ; behind the last, St. Lawrence, with his gridiron, (Lorenzo's name saint ;) St. Bartholomew with his knife ; and St. Francis with his Franciscan robei and crucifix. Between the last two, a bishop, probably San Ziinobi, as his mitre bears the Florentine lily. Between him and St. Francis is, I think, St. Vincent. The rest I cannot decipher. Observe the numerous angels, represent- ing the monastery. In the cuspidi, an Annunciation, and Christ blessing. Many of the figures on the frame may also be identified. L, King David, Noah with the ark, and other Old Testament characters. R, Daniel, Moses with the stone tables, and various prophets. The predella contains Bible scenes, and Stories from the Life of St. Benedict, (i) His death, where his disciple St. Maurus sees his soul ascend- ing to heaven : (2) his teaching in his monastery, with St. Maurus and the young monk who was tempted by the devil. (See the same subject in the very different St. Bene- dict series by Francesco di Giorgio Martini in the Scuola Toscana, 3" Sala). (3) Nativity and (4) Adoration of the Magi : (5) St. Benedict in his cell with Benedictine saints, male and female : he sends out St. Maurus to rescue St. Placidus from drowning : (6) resuscitation of a novice, killed by a falling house at the Convent of Monte-Cassino. (The same scenes occur, with others, in Spinello Aretino's frescoes in the Sacristy at San Miniato.) Taking it all round, a noble work for its date, worth close study. 1305. ^Domenico Veneziano, Madonna knd Child, en- throned, under a very peculiar canopy, with St. John Baptist, St. Francis (Bernard?), San Zanobi, and St. Lucy. (It was painted for the church of St. Lui it Florence.) A hard picture, in very peculiar colouring, , A with fine drawing and good characterisation. It is, iu point of fact, an early lllWKillWi f III! niKiiWiriW- •' gm fpnfWWiff" anMIU^. ...w'l I. 174 FLORENCE [VI. attempt at oil-painting, the secret of wliich Dor .ico had learnt, and which he imparted to Andrea del Casiagno, who murdered him in order that he alone might possess it. The colouring is clear and bright, but lacks harmony : it is any- thing but melting. The drawing and composition remind one of Andrea del Castagno. 24. Lorenzo di Crcdi. Virgin adoring the Child. The infant exquisite. 1286. **Botticelli's Adoration of the Magi. One of the painter's finest sacred works, where all the conventional elements are retained, while a totally ntw meaning is given to the merest detail, such as the great ruined classical temple, and far more to the group of attendants on the Three Kings, all of whom are contemporary Florentine por- traits. Notice in the figure of the Young King, to the R, in white, (a portrait of Lorenzo de' Medici) how completely Botticelli has transformed and spiritualised the earlier con- ception. The portrait faces of all the Three Kings, indeed, are exquisitely beautiful ; the eldest, seen in profile, is Cosimo Pater Patriae. Equally fine is the group of men of letters and statesmen to the R. Do not overlook the poetical Botti- cellian touch in the light gauze veil thrown over the Second King's gift, nor the fur 'on his dress, nor the dainty painting of the peacock on the r-.in, nor the thoughtful face of the draped figure in yellow, to the extreme R, nor the haughty aristocratic mouths of the Medici to the L, nor indeed any- thing about this wonderful picture. Every face is signifi- cant, every fold of the drapery is beautiful and flowing. (From Santa Maria Novella.) 1297. *Ghirlandajo's beautiful Madonna and Child, with adoring Angels, a work of his early manner. All the details of this picture are marvellous. Observe the architecture and decoration of the canopy, and the trees in the back- ground. Also, the carpet on the steps, and the vase of flowers, including Florentine lilies. One stage below the Madonna stand the two archangels, Michael with his sword, and the half-womanish Raphael with the box of oint- ment he carried to Tobit,— both exquisite figures in Ghir- IfH tarn [VI. liich Dor sicohad I del Casiagno, who fht possess it. The larmony : it is any- :omposition remind ng the Child. The Magi. One of the II the conventional V meaning is given lat ruined classical " attendants on the ary Florentine por- f King, to the R, in ci) how completely >ed the earlier con- hree Kings, indeed, in profile, is Cosimo p of men of letters c the poetical Botti- -n over the Second the dainty painting ughtful face of the R, nor the haughty L, nor indeed any- ery face is signifi- utiful and flowing. la and Child, with ler. All the details ■e the architecture trees in the back- i, and the vase of 5 stage below the Michael with his ith the box of oint- te figures in Ghir- i'l^ttiki M«r| VI.] THE UFFIZI, ETC 175 landajo's most attractive manner. A step lower down kneel two sainted bishops ; to the R, San Zanobi (with the lily on his morse,) to the L, another, who is probably St. Just, because the picture comes from the church of San Giusto, near Florence. Nv.te the figures on their robes.. This is one of Ghirlandajo's best and most carefully painted panels. 17. *Fra Angelico's famous tabernacle of the Madonna and Child, with St. John Baptist and St. Mark the Evangelist, patrons of Florence and of the Convent of San Marco. This is an early picture (1433), the drawing still very crude; and rigid. It has a draped and somewhat vapid infant, Giottesque in type : and its Madonna disappoints : but round its frame are charming angels, continually copied. On the outside of the flaps, St. Peter and St. Mark again (or is it St. Jerome?) with the iion. Beneath it, 1294, its pre- della, relating to these same saints. In the L compartment, St. Peter preaches at Rome, while St. Mark the Evangelist takes down his words to write his gospel. Centre, Adora- tion of the Magi, where the action of one of the Kings and Joseph is verj' unusual. In the R compartment, Martyrdom of St. Mark, who is dragged by a rope at Alexandria, with the overthrow of his assailants by hail and lightning : in the background, Christ appearing to him in prison. (Painted for the Guild of Linen Merchants, whose patron was St. Mark.) R hand wall, 39, **Botticelli's exquisite Birth of Venus, one of the most lovely embodiments of Renaissance feeling. It was painted, like the Primavera, which it closely resembles in tonp and feeling, for Lorenzo de' Medici's villa at Castello. In the centre, Venus rises nude from a foaming sea, throned on a scallop shell. Her figure has a strange elusive beauty. Her long fair hair, her wistful face, her lithe ideal form, are wholly Botticellian. The picture, though pagan, is anything but classical : it has modern pessimism in it. As a Tuscan embodiment of the nude, a^ain, compare this unspeakably graceful form with Lorenzo di Credi's merely human Venus in the Sala Seconda Toscana. The paleness of the flesh- tints only enhances the ideal feeling of the work. To the L, i '».*I»JlS»iJiSSU.,v, i^R^ WiW i lW»lifP ! ii - T^ 176 FLORENCE [VL figures resembling the March and April of the Primavera scatter flowers around the goddess. To the R, a draped form, like the May of the Primavera, prepares to throw a brocaded mantle over Venus's shoulders. All the figures and draperies are instinct with Botticelli's peculiar flowing movement. This is a picture to linger before for hours. It embodies better than any other the pagan side of this earnest painter's natiire. Yet its paganism is superficial : the ascetic ideal, the* profound moral yearning, are every- where apparent. The pictures in the remaining rooms, though in many cases valuable and interesting, do not call for explanation. The next halls to the left, as you continue along the Corridor, are devoted to Portraits of Painters (or what pass for such), chiefly by themselves, but in several instances of doubly doubtful authenticity — ♦bat is to say, it is not always certain that they are really the work of the artists whose names they bear, nor again that they rep esent the person they are said to portray. Among the most important (with this need- ful reservation) are Raphael, Perugino, Cranach, Holbein the \ounger. Van der Heist, Van Dyck, Titian, and Rubens. Of later painters, the most often noticed is the charming if somewhat coquettish Mme. le Brun, familiar from copies ; the most noteworthy are Angelica Kaufmann, Ingres, Jules Breton, Watts, Millais, Puvis de Chavannes, Leighton, and Cabanel. The Hall of Barocclo, beyond, contains numar- ous good pictures of the 17th and i8th centuries, among which you may note fine works by Bronzino, Rubens, Guido, Velasquez, etc., outside the range of this Guide. At the end of the Corridor are three rooms containing a magnificent Collection of Drawings by the great artists. Students of Morelli will know how to value these — but I do not presume to write for students of Morelli. B. Sculpture. [The Sculpture in the Uffizi, being almost entirely classi- cal in origin, forays a subject of special study, outside the [YL of the Primavera the R, a draped pares to throw a All the figures > peculiar fiowing ore for hours. It gan side of this im is superficial : iming, are every- , though in many 1 for explanation, long the Corridor, 'hat pass for such), tances of doubly lot always certain ists whose names e person they are It (with this need- L'ranach, Holbein itian, and Rubens, s the charming if iliar from copies ; ann, Ingres, Jules es, Leighton, and , contains numar- renturies, among o, Rubens, Guido, uide. At the end ng a magnificent lists. Students of I do not presume )st entirely classi- study, outside the VI.] THE VFFIZI, ETC 17 author's sphere, and scarcely poss'ble of treatment within the narrow limits which can be given lo it in this Guide. Those who wish to pursue it seriously should read the different questions up in Gardner's Handbook or Murray's History of Sculpture, or else in Liibke or Furtwangler. Moreover, most of the antiques in the Uffizi wete freely restored and even rudely modernised during the i6th and 17th centuries, before the sanctity of an ancient work was thoroughly re- cognised. Many of them have, therefore, modem heads and arms. Others are provided with antique heads, which, however, do not always belong to them, violence having been done to neck and torso in order to effect an apparently natural junction. In origin, most of 'he statues and busts are Roman, or were found at Rome : they were brought here from the Villa Medici on the Pincian Hill by Leopoldo de' Medici in 1779. They have thus no organic connection with Florence. Nevertheless, I give a brief and quite un- authoritative account here of the most important wcrks, leaving the reader to follow up the subject if he will in more specialist treatises. A good little book on plastic art in general is Marquand and Frothingham's History of Sculpture^ Staircase, last landing : L, Silenus with the infant Bacchus, in bronze, a Renaissance copy of ti»e antique original at the Villa Pinciana at Rome. The same subject in marble exists in the Louvre. R, Bronze statue of Mars. Round them, portrait busts of the Medici, Apollo, etc. Entrance landing, 18, horse, rearing, supposed to belong to the group of Niobe (see later.) 24, 25, Two Molossian dogs. 19, A celebrated *Boar, of Greek workmanship, one of the finest specimens of antiqu*^ animal sculpture. There is a good bronze copy by Pietro Tacca in the Mercato Nuovo. Behind it, and opposite, triumphal pillars. In the niches, Hadrian, Trajan, Augustus, and other Roman portrait statues. Enter the Long; Corridor, and turn to the R. At the end, 38, M ■RJ 178 FLORENCE [VI. Hercules and the Centaur Nessus. Almost the entire figure of the Hercules is of Renaissance workmanship. So are the head and arms of the Centaur (restored by Giovanni da Bologna.) The antique portion, however, is of very fine workmanship. L wall : 39, *Fine Roman sarcophagrus, representing the life of the person whose body it contained, from infancy to old age. I give some account of the reliefs, as a specimen. (If the subject interests you, follow up the other sarcophagi with the official guide.) Rend, l portion. Birth of the Subject, represented as a child, with his mother and nurse. R portion, his Education; he reads a book with his tutor, while above are the Muses, —the tragic muse, as representing poetry ; another, holding a scroll, for history ; and a third, Urania, with globe and compasses, for mathematics and astronomy. (The official catalogue refers the last, I think, less justly, to the tracing of the Subject's horoscope.) Pace of the sarcophagus : K his Marriage, Hymen holding the torch, and Juno bringing husband and wife toget'ier. (The features of the bride would lead one to suppose that he married his grandmother, unless this figure is rather to be recognised as the bride's mother, with the bride to the R behind her, which the ^-eil n akes improbable.) The arrange- ment Iiighly foreshadows the mediaeval Sposalizio. Centre, the Hero, whose features have now the character of a por- trait, offers a sacrifice before setting out on a warlike ex- pedition ; he is throwing incense on an altar, while an atten- dant smites a bull, and a boy plays a double flute beside him. In the background, a temple. L, as Conqueror, in a military cloak, attended by Victory with a palm, he shows mercy to the women and children of the vanquished. L end, he is represented Hunting, and, further to the L, as in Re- tirement in Old Age, now a bearded man, seated on a magisterial chair, while attendants remove his greaves and the rest of hi > a; "-lovr, signifying a return from military to civic life. The win. design is very spirited. The running together of the separate scenes, without formal dividing lines, is highly characteristic of antique reliefs. ^RS pppi [VI. t the entire figure ship. So are the by Giovanni da r, is of very fine , representing the , from infancy to fs, as a specimen, other sarcophagi ion, Birth of the nother and nurse, k with his tutor, e, as representing iry ; and a third, mathematics and the last, I think oroscope.) Face men holding the 5 toget'ier. (The suppose that he a is rather to be e bride to the R e.) The arrange- )osalizio. Centre, aracter of a por- on a warlike ex- ir, while an atten- luble flute beside s Conqueror, in a 1 palm, he shows iquished. L end, the L, as in Re- lan, seated on a ; his greaves and from military to sd. The running mal dividing lines, VI.] THE UFFIZI, ETC 179 R wall, opposite, busts of, 45, Julius and, *47, Augustus : several others about. Compare them for age and evolution of features. L v/all, R and L of door, two more busts of Augustus. Note the features. R wall, 44, statue of Attis, erroneously restored as a bar- baric king. Head modern. 37, Pcmpeius. L wall, R and L of door, 46 *Fine bust of Livia, wife of Tiberius. 48, ♦*Marcus Agrippa, builder of the Pantheon, with powerful icserved Etruscan features. 52, Athlete. Be- side it, 51, Pan and Olympus, the latter modern. Then, R and L, busts, of which (>■> is a charming boy ♦BrJtannicus, 56, Sarcophagus with L, Phaedra and Hippolytus : R, Hip- polytus hunting the boar ; in two compartments. L, 59, Ath- lete, with vase. R, 58, A wingless Victory, with palm and wreath. R, 62, Sarcophagus, with the Rape of the Leucip- pidse by Castor and Pollux. The busts which succeed are sufficiently named on the pedestals for the passing visitor. L, 67, Athlete : note the numerous variants. R, 66, Faun, wrongly restored as a Bacchus. Beyond it, 68, sarcophagus with the Labours of Hercules on the face, the Nemean lion, hydra, boar, stag, Augean stables, etc. Notice R, 77, the foppish head of *Otho, with his frizzed wig, a fine piece of handicraft. L, good busts of Nero, Caligula, and Galba. R and L, 74, and 75, Pomona and an Athlete. (Notice replicas.) L, 78, Sarco- phagus with Tritons and Nereids, accompanied by Cupids. In 85 and others, curious Roman head-dresses. No. 71 is a charming baby Nero. 8i and 82, Urania and Ariadne. Note as we pass here from the Julian and Claudian Caesars to the later Emperors the sudden loss of aristocratic dignity, now replaced by the coarse and vulgar features of Vitellius, or the mere bourgeois capacity of ♦Vespasian. Even Titus, though better, has not the fine type of the patrician Em- perors. R, 88, Ganymede with the eagle : contrast later at the Bargello with Cellini. 90, Vestal, in the act of throiving incense : a nobly modest figure. 95, Sarcophagus represent- $ Baoai tms i8o FLORENCE ing the Calydonian boar, with the huntress Atalanta : heads mostly modern. This boar should be compared with the one on the staircase. The story ' 5 confused : read up in any book of reference under head, Meleager. Near the door of theTribuna, much restored Muse, and good Hercules resting on his club R and L of the door, two i'^ges in the evolu- tion of *Trajan. Entci the Trlbuna, which contains five celebrated 8t/ttue«, originally selected as tht finest of the collection. Ai with the pictures, however, the choice reflects rather the ti ste of the begin ng of this century than that of its end. Ti ese works are not in themselves of the first aesthetic im- poi ranee, and many of them have been restored out of all recognition. Their vogue belonged to a day before the dis- covey of the frrosi Orcfik originals, (i) *Satyr playing on Mie cj mbal, and pressing the krupezion with his feet. Only ♦Ke torso is antique. The clever head and face, the arms, and part of the feet were restored by a Renaissance sculptor, probably Michael Angelo. The expression is entirely that of Renaissance Italy, not of classical sculpture. The original has been doubtfully referred to the School of Praxiteles. (2) ♦The Wrestlers, believed to be a work of the School of Poly- cleitus. The heads, though probably antique, belong to other statues (of the School of Scopas,) and resemble those of the Children of Niobe. They are without expression, and their placidity is wholly out of accord with th. action of the vigorous struggling bodies. Many parts of the limbs are modem, and have not been correctly restored in every in- stance. (3) *The famous and over-rated Medici Venus, found in Hadrian's Villa at Tivoli in 16S0. The unpleasing pose of the L hand and of the R arm is due to the restorer. An inscription on the base (modem, but said to reproduce the original one) gives the authorship to one Cleomenes, of Athens. A sculptor of that name worked at Rome in the age of Augustus. (4) *T'ie so-called Arrotino, a Scythian grinding his knife to flay Marsyas. The subject has bcur dis- covered by means of bas-reliefs and medals. ^5) * Thu young "«sa«S3i^i^^f»lpi Bin i^Mmmesmis^e^ [VI. Atalanta : heads mpared with the [ : read up in any Near the door of i Hercules resting iges in the evolu- tive celebrated of the collection, reflects rather the n that of its end. first aesthetic im- eatored out of all lay before the dis- *Satyr playing on th his feet. Only id face, the arms, laissance sculptor, an is entirely that ture. The original of Praxiteles. (2) he School of Poly- intique, belong to nd resemble those )ut expression, and h th. action of the of the limbs are stored in every in- id Medici Venus, ). The unpleasing lue to tb«; restorer. said to reproduce one Cleomenes, of id at Rome in the rrotino, a Scythian ubject has bear dis- Is. (,5) ♦The, young VI.] THE UFFIZJ, ETC i8l Apollo, said to be wholly antique. It is probably a copy from an original by Praxiteles, and is supposed to be the handicraft of the same sculptor as the Medici Venus. Return to the Long Corridor. L, Another Sarcophagus with the labours«f Hercules. Compare with the previous one. R and L, Polyhymnia and a Mercury. Beside the latter, two stages in the evoIutioi> of Hadrian. R, 103, pleasing bust of Plotina, wife of Trajan. L, 1 10, Bacchanalian scene (Triumph of Bacchus.) The god, to the L, is drawn by a male and female centaur. In front, Ariadne is similarly drawn by panthers. Chained slaves precede them : moer.'ads and fauns accompany. R, 112, Venus and Cupid. L, 113, Venus, compare in attitude with the Medici. Beyond it. Sar- cophagus with Cupids, and another with Triton and Nereids. At the end, R and L, two ApoUos. Short Corridor. Charming little Cupids, of which 123 is very pleasing. L, Bacchante, with a panther. Centre, *36, seated Roman portrait statue. Beyond, R and L, por- trait busts of the Antonine period, betraying the faint be- ginnings of the Decadence. 133, Minerva, somewhat rigid in attitude : archaic or archaistic. L, 138, the famous ♦Thorn-extractor, a graceful statue of a boy athlete : one of many copies. In 136, etc., the various stages of Marcus Aurelius, the philosopher emperor, are interestingly indicated. 141, Beautiful candelabrum. 129, Sarcophagus with Phaethon failing into the Eridanus, represented by a river- god : close by, his sisters metamorphosed into poplars. MS. Venus stooping at the bath, a graceful small statue, like the famous one in the Vatican. The head is modern. L, 2, Mars, in basalt. Opposite, 13^, Venus with the sword. 35. **Magnificent seated portrait statue of a Roman lady, known as Agrippina. The pose and draperies are admirable. Second Long Corridor. Busts of Emperors of the De- cadence, continuously losing both in character and crafts- manship. 15s, and 156, Marsyas, the first restored by Donatello. R, 162, Nereid on a sea-horse. R, 169, Disco- bolus, probably a copy of the famous work of Myron. '*)»• '^^ % mm 183 FLORENCE [n. In the room to the L, Hail of Painters, is a fine ^tiqwe marble vase of Greek workmanship, known as the Medici vase, and with admirable reliefs of the Sacrifice of I phi- geneia, who may be seen prostrate below the statue of Artemis on the side next the windows. The next door to the L leads t the Hall of the inscrip- tions, with numerous works of sculpture, many of them of inferior mterest, but containing some masterpieces. R of the door is a pleasing *V'eniJs Genetrix, covered with a light Coan robe. L, *A priestess, with exquisite drapery. On altars to R and L, Venus Urania and ♦Mercury, the last very fine. In the centre, on an Egyptian base, *Bacchus and Ampelus, a beautiful g.ci-;-. Round the walls, inscrip- tions and reliefs, intererting mostly to the scholar. Near the entrance into the next room, 283, figure with oriental tinge, perhaps an Attis. The room beyond, Hall of the Hermaphrodite, has, 318, a colossal head known as the *Dying Alexander, — in reality, a giant of the Pergamenian school. Round the walls are a series of **fine reliefs of the Augustan period, from the altar of the Augustan Peace, erected by the great em- peror in A.D. 12, on his final pacification of the Empire. They are sufficiently explained by their labels. These noble and graceful works exhibit the simple idealism of the age of Augustus. The one which represents the members of the Claudian family is particularly beautiful. In the centre of the room, 306, repetition of the favourite statue of the Her- maphrodite, the low portion modern. 290, Seated statue of Ceres. 316, An A *inous, net one of the most pleasing representations of the subject. 308, Ganymede, so restored by Benvenuto Cellini as to be practically his own work. It would be beside my purpose to enter more fully into the contents of these rooms, but many of the sculptures (such as the superb head of Seneca or the colossal torso of a faun) descr'e thorough examination at the hands of those who desire to understand classical sculpture. Lone good Roman copies from the Greek originals of the School of Scopas. The faces and figures of all should be compared with those of the Melian Aphrodite, (Venus of Milo,) in the l.cuvre. They seem to have origin- ally occupied the pediment of a temple, with the large standing figure of Niobe herself in the centre (placed here at the R hand end of the hall). The figure opposite is sup- posed to be that of their tutor or pedagogue. The other figures declined gradually m height from the centre 1 either side, and ended in prostrate forms, like the one oppo: iw." the middle window. Long Corridor again. More portrait busts of the Deca- dence. Several good Romr.n altars with inscriptions, inferior statues, etc. Near the enii, 236, fine aacrificial aUar of the age of Augustus, dedicat 'd to his Lares, with the date in- scribed by means of the consular years — 13th of Augustus^ 1st of M. Plautus Silvanus. At the end, altered copy of the Laocoon, an antique in the Vatican at Rome, of the Rho- dian School : this variant is by Baccio Bandinelli, who considered that he had improved upon the original. Later critics ha^e not endorsed his opinion. But the original itself belongs to a late School of Greek sculpture which sacrificed plastic repose to violent action and dramatic movement. L 1 VII THE PITTI PALACE f'T^HIRD in importance among the collections of L ±. Florence must be reckoned that of the PIttI Palace. Indeed, it is probable that most people would even now regard it as first, or at least second, in rank, owing to the large number of masterpieces of the High Renaissance which it contains ; but its comparative poverty in works of the increasingly popular msusters of the Early Renaissance will doubtless make U take a less exalted place in the estimation of the coming generation. The Palazzo in which it is housed is itself historical. Designed by Brunelleschi, the architect of the Cathedral dome, it was begu.i about 1440 for Luca Plttl, the head of the great house who formed at thai date the chief rivals of the Medici. Luca conspired, however, in 1466 ag 'nst Piero de' Medici (son of Cosimo Pater Patriae and father of Lorenzo :) and, his conspiracy failing, the building remained unfinished till 1549. It th'.in came into the hands of the Medici ; and Cosimo I., completing the central block, made it thenceforth his principal residence. It has ever since ranked as the chief Grand Ducal and Royal Palace in Florence. The existing building includes several additions to Brunelleschi's design, which will be pointed out as you stand before it.] Cross the picturesque Ponte Vecchio, with its jewellers' shops, topped by the connecting passage from the Uffizi, and continue along the straight street in front till you come on the L to a huge prison-like building, which crowns a slight eminence. That is the Plttl Palace. At first sights IM i ^wg^i ' Wft). ' ww»yM'JW»M i wiMiJli;«iw.i.w.lMirtteiWilttM ' feW > < k9 T^fSSssa. 1 mm VII.] THE PITTI PALACE 185 collections of t of the Pitti it people would 1, in rank, owing igh Renaissance erty in worlcs of irly Renaissance (i place in the itself historical. i the Cathedral Itti, the head of le chief rivals of in 1466 ag 'nst riae and father of lilding remained he hands of the itral block, made has ever since [loyal Palace in several additions nted out as you ^ith its jewellers' from the Uffizi, jnt till you come which crowns a . At first sights you will probably find it just sombre and repulsive ; after many visits, its massive masonry, ts dignified architecture, its fine proportions will slowly grow upon you. The central portion alone, in three stories, represents Urunelleschi's work ; notice the huge blocks of which it is built, true Etruscan in their solidity, only worked at the edge so as to give nn increased effect of vastness and ruggedness. Origin- ally, as in most other castle-like Florentine palaces, there were no windows at all on the ground floor (save the little square openings above :) and K\ik facade must then have looked even gloomier than now ; but under the Medici Grand Dukes, Bartoiommeo Ammanati boldly introduced the round-arched windows below, — a feat which would seem almost impossible in so solid a building without endangering the stability of the entire superstructure. The wings in line with the centre were added in the 17th century ; those at an angle to it, running out towards the street, not till the 1 8th. The entrance to the Picture Gallery is in the wing to the I., through an unimposing doorway. Umbrellas and sticks must be left below. Open daily, one franc , free on Sundays. Mount the shabby stairs, and pass through the still shabbier gallery passage into the too magnificent and gorgeously decorated suite of apartments. We enter first the -^ Hall of the Iliad. (The names written over the doors are those of the next rooms, to which they give access). Here, more even than elsewhere, recollect that I do not pretend to dispense critical opinions. L of the door, as you enter, 236, Bassano. Christ in the house of Mary and Martha : Lazarus carving. In this late Venetian picture, painted in the High Renaissance style, we have still a faint reminiscence of the traditional gesture of Martha, shown long before in the Giovanni da Milano at Santa Croce. Otherwise, the picture is just a Venetian domestic interior of its date, largely painted for the sake of 1 . ^*«*Mk*'">K-«!(W;i*ilji-»Maflt4«i!*>jvi*V*»ari-fei'*- tl I -^,^;OT!*««s«Sa.*S5SSWMtt^^ w I %. ^. ^\^. ^^a?^ IMAGE EVALUATION TEST TARGET (MT-3) 1.0 I.I ■^ 1^ IIIII2.2 '^ lis lllllio 1.8 1.25 1.4 1.6 ■• 6" ► Hiotographic Sciences Corpomtion •^ ^ -u 4s \ o ?J1i^'Ft«»^^ v'.'^'*"«rfe>W*-^ v*j;fti'^v- -j-.v:^.>i':74.4/-Tl%13H - 4- k CIHM/ICMH Microfiche Series. CIHIVI/ICMH Collection de m Canadian Institute for Historical Microreproductions / institut Canadian de microreproductions hittorlques K^im i86 FLORENCE [VII. its buxom fair-haired Magdalen and its picturesque acces- sories. Observe the transformed cruciform halo. Above it, *23S, Excellent Holy Family l>y Rubens, (probably a copy.) Of course frankly Flemish and i6th century. Note how the infant St. John of Florence with his lamb is now transferred to northern art through the influence of Raphael. 232, by Sustermans, cills itself a Holy Family. In reality, good portraits of uninteresting contemporaries. 233. Pontormo's St. Antony is equally transformed from his earlier type. Over the door, affected, long-necked Madonna, with sprawling Child, by Parmigianino. Beyond the door, *229, good portrait of a lady in a red dress with green sleeves, known as La Gravida, and ascribed to Raphael. Above it, 228, half-length of Christ, by Titian, of his early period. 225, *Andrea del Sarto's Assumption is a noble example of his beautiful colouring. The Madonna in clouds, above, in a fine luminous glory, with her ring of baby angels, is a charming portrait of the artist's wife, Lucrezia, whom you will meet again in this Gallery. Below, the Apostles look up in wonder : one gazes into thfc empty sarcophagus : there are just twelve of them. Conspicuous among them is St. Thomas, in a red and blue costume, by the steps of the sepulchre, holding up his hands with some surviving remi- niscence of his earlier position, as if in expectation of the Sacra Cintola. (See the reliefs in the Cathedral and in Or San Michele, and the pictures in the Uffizi and Belle Arti.) In the foreground kneel two later spectator saints,— Nicolas of Bari, with his golden balls, and St. Margaret of Cortona, (whence it comes), the Franciscan. Such a picture as this can only fully be understood by the light cast by earlier paintings. Beyond again, 224, 223, 222, three good portraits by Ridolfo Ghirlandajo ; a Flemish artist, (perhaps Quintin Matsys ;) and Bonifacio. Over the next door, a Christ in a glory, with saints, by - ' .l-,^JjU '' ir. ' J ' ' ! l! Jf -yi^ ' -'-"- " '• [VII. picturesque acces- m halo. mily i>y Rubens, Flemish and i6th " Florence with his rough the influence loly Family. In ^temporaries. ' transformed from 1 Madonna, with if a lady in a red La Gravida, and f-length of Christ, is a noble example la in clouds, above, if baby angels, is a ucrezia, whom you the Apostles look iarcophagus : there imong them is St. y the steps of the ne surviving remi- expectation of the ithedral and in Or izi and Belle Arti.) or saints, — Nicolas irgaret of Cortona, :h a picture as this ;ht cast by earlier good portraits by (perhaps Quintin )ry, with saints, by Vll.] ! ' ,u ! ffl i j(jii.M i iiM i iJ^ i iiJ i a i iiiij^iigiiM!ii i uyajiP4 ' « ! aTO THE PITTI PALACE 187 Annibale Carracci. Very characteristic of this painter's composite manner. There are touches in it of Correggio and of many others. 219. Perugino, Madonna adoring the Child. A beautiful pictuf". 216. *Paolo Veronese, Portrait of Daniele Barbaro. End wall, Several good portraits by Paolo Veronese, Titian, and ethers. In 214, Baroccio, (a copy from Cor- reggio :) observe the complete transformation of the earlier conceptions of the Madonna and Child, St. Jerome and St. Catherine, and adoring angels. 212, Good portrait of Cosimo I. by Bronzino. 2o8.* Fra Bartolommeo. A splendid and unusually pleasing c.':ainple of his Enthroned Madonnas, with saints and angels. Our Lady sits under a canopy, most charac- teristic of this painter. The child Christ is placing a ring on the finger of St. Catherine of Siena. To the L, the most conspicuous figure is that of St. George, in attitude remini- scent of Donatello : (often called St. Michael, but he bears a martyr's palm.) To the R, stands the painter's namesake, St. Bartholomew, with his knife. Among the other saints, one can vaguely recognise Dominic with his lily, St. Thomas Aquinas, and perhaps Santa Reparata of Florence, in red and green. The angels in the foreground are highly characteristic. So is the distribution of light and shade, and the varied composition. 207. *Fine portrait of a goldsmith, by Ridolfo Ghir- landajo, formerly attributed to Leonardo — of whom it is quite worthy. Over the door, 202, Biliverti. The angel receiving the gifts of Tobias and Tobit. Is chiefly interesting as exhibit- ing the later theatrical manner. 201. **Titian's noble portrait of Cardinal Ippolito de' Medici, in Hungarian military costume, after his campaign against the Turks. A study in red. Above it, 200, copy (or replica ?) of a portrait by Titian of Philip II of Spain. R wall, 199. Granacci. Madonna and Child, with infant 'mrnmammmmimmmmm. i88 FLORENCE [VII. St. John. A good example of the later development of this Florentine subject. Above it, 198, portt^it by Velasquez. Over tlie door, 196, Paolo Veronese, St. Benedict and saints. 195, Giacomo Francia, portrait of a man, admirable in its simple severity and excellent painting. 191. Andrea del Sarto. Another Assumption of the Madonna, unfinished, closely resembling that opposite, and doubtless ordered on the strength of it. The two should be compared together. Note the similar position and costume of the St. Thomas, with his foot on the base of the sarco- phagus. The kneeling saints in the foreground are, how- ever, here two of the Apostles, and the background is different. The upward-straining faces of the spectators are full of reality. (One of the kneeling saints, in red cloak and blue vest, is Andrea's own portrait, in the character of St. Andrew.) 190. Sustermans. Excellent portrait of a Prince of Den- mark. Over the door, i86, Paolo Veronese. Baptism of Christ. We again observe the Venetian faces, and the complete transformation of earlier motives, such as the angel with the towel. Recollect what Baptisms used to be in the 14th century. The pretty Venetian in the rear is meant for St. Catherine. Near the window, 184, Andrea del Sarto's fine portrait of himself, injured. 185. **Titian. (Early work, attributed to Giorgione.) Musical concert, three fine portraits of men playing instru- ments, the middle one full of character, the hands and drapery especially admirabK The central head alone re- tains mur!. of the primitive touch ; the other two have been repainted 'with disastrous effect till all individuality is gone from them. In 237, by Rosso Rossi, the total transformation of the traditional St. Sebastian and other saints is very note- worthy. Every room contains many fine works whith I do not notice. pmms iMsimmm^sm^mmmmmmm i a^ssiis&ms '! m [vn. evelopment of this Over the door, 196, ts. 195, Giacomo its simple severity Assumption of the that opposite, and The two should be sition and costume base Oi the sarco- 'eground are, how- he background is the spectators are :s, in red cloak and »e character of St. f a Prince of Den- Baptism of Christ, and the complete the angel with the to be in the 14th ir is meant for St. to's fine portrait of cd to Giorgione.) »en playing instru- !r, the hands and al head alone re- ler two have been dividuality is gone isformation of the mts is very note- works whi1.11 ! uo l).W i ,gi il |l'. < W.»UitWB!;'« 'I M,-j !! WtfS'^ ' iyW:l ! g^ VII.] THE PITTI PALACE 189 Enter the - ' 5ala di Saturno. R of the door, as you enter, Pontormo, the Santi Coronati (see Mrs. Jameson). Over the door, **Sebastiano del Piombo. The martyr- dom of St. Agatha, whose breasts are just being seared Ny the executioners. A magnificent treatment of the nude, with the splendid colour of this Venetian painter, still visible after he had come nder the influence of Michael Angelo's style of drawing and composition. Every detail of this noble work is worthy of close attention, in spite of the in- tense painfulness of the subject. Its flesh tints are splendid. The St. Agatha is Giorgionesque : but the executioners are entirely in the style of Michael Angelo. This seems to me Sebastiano's masterpiece. It was painted for a cardinal of St. Agatha. 178. **Raphael. Madonna del Granduca, of his early Florentine period. The most exquisite picture by this master in Florence, and perhaps, with the exception of the Sposalizio at Milan, in the whole world. You cannot look too long at it. Simple, pure, and beautiful ; reminiscent of Perugino, whose type it embodies, but clearer in colour, daintier, softer. It has even a touch of his earliest Urbino manner. ■»*6iand*59. Raphael. Portraits of Angiolo and Mad- dalena Doni, also of his early Florentine period. 61 must rank among his finest portraits. It is full of thought and earnestness. The hands, hair, and expression are admir- able ; they recall Francia. In 59, the young Umbrian painter, coming fresh to Florence from the school of Peru- gino, shows distinct evidences of being influenced by Leonardo's Mona Lisa (now in the Louvre,) especially in the face and the painting of the soft and luxurious hands. These two portraits, again, you cannot look at too carefully. Do not overlook the Umbrian landscape. *I72, Andrea del Sarto. Group of saints, absurdly called the Disputk suUa Trinitk. To the R, St. Augustin (holding a crozier) is speaking with rapt eloquence : beside him mild . .■j^5Ts*^-Ik'i^-^'^' mm 190 FLORENCE [vii. St. Lawrence listens : L, St. Francis, then St. Peter Martyr (or Thomas Aquinas?) consulting the Scriptures: in the foreground, kneeling, are St. Sebastian and th< Magdalen with her box of ointment. Probably a plague picture. In the background, a Trinity. Admirable both as a bit of colour, and as an example of the way Andrea could give life to these chance assemblages. *I74, Raphael's Vision of Ezekiel. God the Father, enthroned on the mystic beasts of the Evangelists, and adored by the angel of St. Matthew. This work is full of the influence of Michael Angelo. ♦171. Raphael's portrait of Cardinal Inghirami, of his Roman period. A triumph of art over an unpicturesque subject with a bad squint. Raphael has succeeded in givir.g the intellectual and powerful character of the face, while the statesmanlike hands are rendered in the most masterful manner. The reds are marvellously managed. 165. The Madonna del Baldacchino, attributed to Raphael, and in part by him : begun in Florence before he went to Rome, and left unfinished. The composition strongly recalls Fra Bartolommeo, under whose influence Raphael was then passing. The Child, however, is extremely Raphaelesque. The Madonna is of his later Florentine manner. The throne is in the style of the Frate. To the L stand St. Peter with the keys, and St. Bruno (or I think rather St. Bernard, reading, as when Our Lady appeared to him.) To the R, St. James with his staff, and St. Augustin with the De Civitate Dei. At the foot of the throne are two dainty little angels, very like Fra Bartolommeo. How much is Raphael's own is uncertain. The flying angels at least were added afterwards, the last being copied from Raphael's own fresco in Santa Maria della Pace at Rome. Later still, one Cassana glazed it over, added the top of the canopy, and gave it a false finish. The Saint Augustin probably belongs to the finisher. 167, Giulio Romano, Apollo and the Muses, dancing. A feeble work, based on Mantegna's group in the Louvre, and spoilt in the stealing. s \ E P si cl n P J< m • "^M i - ' igui; w.g ' "' J b ' \ ' imii*m^™sismi ' mmsw^m ^sm [VK. VII.] THE PITT I PALACE 191 1 St. Peter Martyr Scriptures : in the ind th< Magdalen >lague picture. In ! both as a bit of \ndrea could give God the Father, Evangelists, and his work ia full of Inghirami, of his an unpicturesque icceeded in giving the face, while the e most masterful iged. ibuted to Raphael, before he went to on strongly recalls Raphael was then ely Raphaelesque. >e manner. The ! L stand St. Peter ather St. Bernard, him.) To the R, stin with the De e two dainty little much is Raphael's least were added phael's own fresco still, one Cassana )py, and gave it a ily belongs to the uses, dancing. A n the Louvre, and 164. * Perugino. Entombment. One of his fines* works. Yet even in this late composition, observe how the two saints near the R— Nicodemus and another to whom he is showing the three nails (now almost faded)— recall the ex- actly similar gestures in th3 great Fra Angelico in the Belle Arti, as well as the Giottino in the Uffizi (compare them.) The women beautifully painted. The head-dresses, the poses of the heads, the treatment of the dead nude, the somewhat vague and vap'd e.xpressions of the very abstract spectators, are all redolent of Perugino. Good Umbrian landscape background. Above it, 163, an Annunciation by Andrea del Sarto. Full of light and charming colour, but very typical of the change which came over later Renaissance conceptions of this subject. The angel is deliciously soft and boyish. 159. * Fra Bartolommeo. The Risen Christ, enthroned in the midst of the four Evangelists. Compare this picture with the Madonna del Baldacchino. The Evangelists, alike in figure, gesture, and robes, foreshadow the Raphael car- toons and show whence Raphael derived many of his con- ceptions. The drapery of the Christ is masterly. R wall, * 158, Raphael's fine portrait of Cardinal Bib- biena, a work full of his developed Roman manner : but considered a copy. 157. Titian. A Bacchanal, copy, in the same style as his Bacchus and Ariadne in the National Gallery. 153. Odious Carlo Dolci of Santa Rosa. 150. ♦Van Dyck. Excellent portrait of Charles land Henrietta Maria. The faces are rendered with all Van Dyck's courtly grace, and the lace is (as always with this painter) a marvel of workmanship. You can see the very stitches that are . .ot there ; the illusion is only dispelled by close inspection. Charles's face bears the character of the man— chivalrous and opinionated, false and yet honest. 151. * Raphael's JVladonna della Sedia, of his Roman period. The most popular but not the most beautiful of his Madonnas. In form, this is a Madonna with the infant St. John. Our Lady is represented by a comely and graceful 193 mm FLORENCE [vii. but by no means spiritual and somewhat insipid Roman contadina. The child is a dainty well-fed human baby, very charming, but not divine. The head-dress and shawl are pretty and prettily painted. Pure maternal love is the key- note. As art, this ia a fine work, but it does not appeal to the soul like the Madonna del Granduca opposite it. Go frequently from one to the other if you would understand ♦he difference between the great painter's Florentine and Roman manners. Compare also the face and neck of the Granduca with the Perugino in the same room, and the infant Christ in the Scdia with the baby angels in Fra Bartolommeo's Risen Christ. They throw much light upon Raphaels evolution. The soft tints and evasive drawmg of the infant St. John of Florence, on the other hand, show his increase in skill over the definiteness of the Granduca. But as he gained in knowledge, he lost in purity. The room contains many other good works to which I do not call attention. Sala di Oiove. R of the door, i8, ♦Titian's Bella, a beautiful and beauti- fully painted portrait of a calmly aristocratic Venetian lady (with rich waving hair) which should be compared with the Caterina Comaro in the Uffizi. The dress is charming. This is one of Titian's most pleasing portraits in Florence. The slashed sleeves are rendered with consummate skill. The colouring is delicious. Above it, 139. *A charming Holy Family by Rubens, where the Christ and St. John recall in beauty the portra.c of his own baby at Munich. This is a splendid bit of colour and drawing in Rubens's best smaller style. L of the door ; 64. **Fra Bartolommeo. Deposition. A noble and attractive work, with an exquisite Mater Dolorosa, and a fine figure of the Magdalen embracing the feet of Christ. The dead Saviour is admirably studied. The meaningless face of the St. John, however, somewhat mars the effect of the picture. On the same wall are two interesting Paolo Veroneses, and a fine portrait by Tintoretto. •s^smi^^msmmmamim [VII. hat insipid Roman i human baby, very ress and shawl are nal love is the key- does not appeal to ca opposite it. Go 1 would understand er's Florentine and ce and neck of the ime room, and the laby angels in Fra 3w much light upon i evasive drawmg of »ther hand, show his the Granduca. But rity. works to which I do eautiful and beauti- cratic Venetian lady I compared with the dress is charming, lortraits in Florence. 1 consummate skill. Family by Rubens, I beauty the portra.c plendid bit of colour yle. tmmeo. Deposition. an exquisite Mater dalen embracing the admirably studied. however, somewhat ig Paolo Veroneses, ■^WPHWWIitiiii i |iw i |]ui i iwj i )t i mm i» wn VII.] THE PITTI PALACE 193 End wall, two excellent Morones. 1 25, *Fra Bartolommeo's St. Mark, in a niche resembling those beneath the dome of the cathedral. (Observe in architecture these Renaissance niches.) This is a splendid colossal work, noble in form, and admirable in drapery, but a little too grandiose. It again shows whence Raphael derived many of his figures of Evangelists and Apostles. The picture was painted for the choir of San Marco, the church of the painter's own monastery. Over the door, ♦124, a beautiful Annunciation by Andrea del Sarto. Mote here, as a formal point, that the positions of the Madonna and angel, to R and l, are reversed from familiar usage. Yet observe even in this work the survival of a formal barrier (the prie-dieu) between Gabriel and Our Lady. The shrinking attitude of the Madonna, with her finger in her open book, is most charming, and the colour is of Andrea's finest. In the background, we get a reminiscence of the traditional loggia, as we do also of several other early elements. From the top of the balcony, David beholds Bathsheba bathing (somewhat publicly,) a mete excuse for the Renaissance love of the nude. The two additional angels in the background are unusual. Note the dove descending in a glory on the R. 123. Luminous Andrea del Sarto of the glorified Ma- donna, with saints. Not quite so beautiful as the last. This is a Vallombrosan picture, and the saints in the fore- ground form a familiar Vallombrosan group, San Bernardo degli Uberti, St. George, (or San Fedele ?) San Giovanni Gualberto, and St. Catherine, whose broken wheel is just visible in the foreground. The colouring is not so fine as is usual with Andrea : but the picture has had hard treatment. Lafenestre attributes the upper portion alone to Andrea. Beyond it, more good Morones. 118. Andrea del Sarto's portrait of himself and his wife, whose face you will often recognise in other works from his pencil. A beautiful picture. J 76. Hateful Domenichino of St Mary Magdalen. La- chrymose and affected in the worst style of the decadence. N ■ «*wM*«.wsa««*^«-'-' 'i(**Jp.J«i«WffU "■ 194 FLORENCE [VII. H3. Rosso. The Three Fates, long attributed to Michael Angclo. no. *Lorenzo Lotto. The Three Age» of Man. Three splendid portraits, admirable in their feeling and colouring. 109. Paris Bordone. Portrait of a lady. He has painted several stages of the same face elsewhere, I think. The dark wall between the windows has a tolerable Rubens and various works of the decadence. The 5c1a dl Marte contains, L of the door. Guercino's St. Sebastian, and Cigoli's Magdalen, chiefly interesting for comparison with earlier conceptions. Over the door, 97, Andrpa del Sarto. Another Annunci- ation, with St. Michael in attendance, holding his scales. Not so pleasing as previous ones. Beyond the door, 92. *Titian. The young man with the glove. A very noble portrait. Above it, AUori's Sacrifice of Abraham, after Sodoma. 94. Raphael's Holy Family, known as the Madonna dell' Impannata. This is a Madonna with a young St. John Baptist who closely resembles an infant Bacchus. St. Anne has beautiful draperies, and a fine strong face, well contrasted in line and colour with the fresh young skin of a girlish saint behind her. But the whole picture fails to please like his earlier works. 91. Ludicrous St. Peter weeping, by Carlo Dolci. His grief moves laughter. 96. ♦Allori. Judith with the head of Holofernes. One oi the noblest and most successful works of tl e decadence. A proud fine figure. Judith's strong dark face is flushed with passion and with her strange night's work. She looks a woman capable of such a deed — but not such stooping. Her brocade is painted with rare carefulness for its epoch. 90. Cigoli. Ecce Homo. Mannered. Other mannered works of the same period I do not notice. Above it, 89, a pleasing Bonifacio (the second) of the Rest in the Flight into Egypt. Also attributed to Paris Bordone. [Vll. long attributed to {C8 of Man. Three iling and colouring, a lady. He has slsewhcre, I think. has a tolerable The ws :nce, St. Sebastian, and for comparison with . Another Annunci- , holding his scales. young man with the m, after Sodoma. is the Madonna dell' h a young St. John nfant Bacchus. St. ine strong face, well fresh young skin of a vhole picture fails to ly Carlo Dolci. His Holofernes. One oi of tie decadence. A k face is flushed with work. She looks a t not such stooping, ulness for its epoch, id. Other mannered ce. le second) of the Rest ited to Paris Bordone. VII.] THE PTYTI PALACE 195 88 and 87. Andrea del Sarto. The story of Joseph. Confi'sed and not very pleasing. Abv /e, 86, Rubens, the Eaects of War, an allegorical picture closely resembling his Marie de Mddicis stries, from the Luxembourg, now in the Louvre. 85. **Rubens. Portrait of himseU and his brother, and Lipsius anv Grolius. One of his finest portrait pieces. Note the admirable contrast between the faces, expressions, and gestures of the two jurists and philosophers on the one hand, and of the artists and diplomatists on the other. They represent respectively scholars and men of the world thinkers and actors. Look long at the rich red sensuous lips and wistful faces of the artistic grand signiors, beside the firmer mouths, thoughtful eyes and brows, and scholarly hands of the two philosophers. These are likenesses that interpret the sitters. The bust of Seneca at the bach, the Dutch tulips, the landscape, the fur, the curtain, the books, the dog, the table-cover, all are worth notice. Do not hurry away from this picture. It is deep— going right into the nature of the men. Above it, 84. A fine Bonifacio (or Palma Vecchio), full of the spirit of the later school of Venice. R wall, 83. ♦Tintoretto (or Titian). Excellent portrait ot Luigi Cornaro. 81. ♦♦Andrea del Sarto. Madonna and Child, with St. Elizabeth and the Baptist. This is one of his most ex- quisite and finely-coloured works. His soft melting tints are nowhere better exemplified. Above it, 80. Titian. Fine portrait of the anatomist Vesalius, not well preserved. 82. ♦Van Dyck. Noble and characteristic portrait of Cardinal Bentivoglio. A gentleman to the finger ends : restrained, diplomatic. 79. The best of the replicas of Raphael's portrait of Pope Julius II, though not now considered the original. A fine realization cf the stern and hard old man. Face, beard, hands, red cap, and folds of the white robe, all painted as well as Raphael could paint them. Another portrait that shows a man's spirit. n :jS^,flBBlrt«*''«wi -^ 196 FLO RE NCR [VTI. 7J. Guido Carracci. Chiefly interesting as a late ex- ample of the siil)jc(t of the Penitent MaKk as bad as he wai in icality ; broadly painted with masterful decision. Note here also 53, by Pordrnone, a fine example of the later Venetian manner. I pasi over the Guercino, etc. 49, by Tiberio Tito, ii a pretty baby, not without interest. The R wall has several to'erable late pictures, of which 40, AUori's Hospitality of St. Julian, possesses a certain value. For the legend, see Mrs. Jameson. Beneath it are three fine half-lengths. 44. A hard but tolerably good portrait of the school of Francia. 43. *A charming portrait by Franciabigio. 42. A delicate Magdalen by Perugino, in his later manner, probably an old copy. 40, •** Raphael's portrait of Pope Leo X, with two car- dinals, a work which should be compared with his Cardinal Inghirami and his Julius II. It represents Leo In his character of art-patron. The picture shows a high point of technical skill, but is far less interesting than Raphael's earlier manner. The blending and harmonising of the reds is excellent. The fat epicure of a Pope is examining a manuscript with his celebrated magnifying glass. The car- dinals are Giulio de' Medici and Ludovico de' Rossi. Giulio Romano partly executed it. 38. Attributed to Palma Vecchio. Christ and the dis- ciples at Emmaus. A most interesting example of the transitional period in Venetian art, with recollections of Bellini and foreshadowings, or more likely reminiscences, of Titian. Window wall, works of the decadence. Ssla dl Venere. L of door, 20, * Albert Diirer's Adam, with Eve opposite. Another interesting example of the rigid northern nude, which should be compared by photographs with those in the Uffizi. It marks advance, and is worthy of the great mas- li'iji'Miit' 198 FLORENCE [VII. ter, but is still sadly lacking in grace and ideality. Perhaps a copy from the original at Madrid. Over the door, 19. Spagnoletto's unpleasing Flaying of St. Bartholomew. 140. Leonardo (or his school). Portrait, which should be compared with Raphael's Maddalena Doni, as well as with the Mona Lisa at the Louvre. Look closely at the hands. Note also the landscape background. 17. Titian. Madonna and Child, with St. Catherine and the youthful Baptist. An admirable example of Titian's treatment of these subjects. 76. * Fine murky Rembrandt of an old man : gloomily glorious. Above it, 15, a good Salvator Rosa, for those who like him. End wall. Works of the decadence : also, 14, a land- scape by Rubens, hay-making. 1 5, M. Rosselli's Triumph of David, a good theatrical work of the late period. 11, Francesco Bassano's St. Catherine rescued by the angel, full of the late Venetian feeling. Compare it with the Titian in the same room. 9, *another landscape by Rubens, with small figures of Ulysses and Nausicaa. R wall. Good pictures by various late artists. Above them, a sea piece by Salvator Rosa. Over the door, 3, Tintoretto, Venus and Vulcan, with Cupid. I, Diirer's Eve, one of the finest embodiments of the northern nude, admirable in its way, but still larking the ideality of Italian treatment. Compare with the Adam opposite and with others in the Uffizi. Again, perhaps a copy. Window wall. Several works of the Decadence, among which 23, Rustici's death of the Magdalen, is funny as repre- senting a late baroque conception of the Penitent in the Desert visited by the ange;. Now return to the Sala dell' lliade, the first you entered. The door on your R leads to the Stanza dell' Ediicazlone dl Qlove, which contains chiefly works of the 17th century. The most interesting are portraits near the window by Bronzino, 270, [VII. id ideality. Perhaps ipleasing Flaying of rait, which should be Doni, as well as with closely at the hands. ith St. Catherine and example of Titian's n old man : gloomily )r Rosa, for those who »ce : also, I4» a i&nd- A. Rosselli's Triumph the late period, ii, escued by the angel, ipare it with the Titian scape by Rubens, with I. is late artists. Above nus and Vulcan, with finest embodiments of ay, but still lacking the npare with the Adam fizi. Again, perhaps a the Decadence, among dalen, is funny as repre- of the Penitent in the ;, the first you entered. le di Qlove. 7 th century. The most idow by Bronzino. 270, THE PITT I PALACE Guido Reni's too famous Cleopatra, is an affected and man- nered picture. 272 *Andrea del Sarto's Young St. John Baptist. Once a fine work, full of later Renaissance spirit, and still admir- able in its colouring, (though spoilt by restorers) the red robe in the foreground being even now splendid, while the flesh-tints are ruined. Like the work on the same subject by Raphael in the Tribuna, it departs entirely from the earlier ascetic tradition, and represents the patron saint of Florence in the form of a beautiful semi-nude boy, finely proportioned and delicately nurtured. This is in point of fact a well-nourished noble youth, with nothing about him of the penitent or the ascetic. The camel's hair robe and the reed cross are mere vague pretences. The hand that holds the bowl is admirably modelled. 258, Good portrait by Tiberio Tinelli. 262, Henri II of France, attributed to Clouet, but surely Flemish (?). 255, Tolerable portrait by Van der Heist, not up to his usual level. Above them, good Holy Families, 256 and 254, by Fra Bartolommeo and Palma Vecchio (?). 252, Scholar of Holbein, portrait of the Due de Guise. 245, Fine, but rather uninteresting and badly used portrait, attributed to Raphael, though of doubtful authenticity, and known as La Velata. It represents the same model who reappears in the Dresden Madonna, and in the Magdalen of the St. Cecilia at Bologna, without the radiance or the rapt eyes. *243, Velasquez, good portrait of Philip IV of Spain. Many other pictures in this room are deserving of notice, but none of them call for that sort of explanation which is the chief object of the present Guide. The small room to the L, the Stanza delta Stufa, has unimportant frescoes of the Ages of Gold, Silver, Brass, and Iron, by Pietro da Cortona, and two bronze statues of Cain and Abel, after Dupr^. The door to the R leads to the Bathroom, a florid little apartment, cold, cheerless, and sadly over-decorated. Beyond it lies the :*$ 200 FLORENCE [VII, Stanza d' Ulisse, with works mostly of the later age, few of which are im- portant. Entrance wall : r of the door, 300, unuswally fine portrait of an Old Man by Salvator Rosa. 303 aiid 304 are also good pictures of their school. End wak 303, by Allori, shows the last stage of the Young St. John in the Desert. 307, Andrea del Sarto, the Madonna and Child, enthroned on clouds, with various saints, in his latest and least pleasing style, and spoilt by the restorer. In the foreground kneels St. John Baptist, balanced by the Magdalen with her box of ointment. Behind these two stand, L, St. Lawrence and St. Job (Paul the Hermit? Hilarion?), R, St. Sebastian and St. Roch. (The combination of plague-saints makes me think the nude saint is Job.) The picture has been sadly ill-used, and much of the colour in the drapery is quite unworthy of Andrea. The Madonna and Child, however, are well finished. 311, Ascribed to Titian, more probably Dosso Dossi, good por- trait of a Duke of Ferrara. Replica ol one at Modena. L wall. 1313, Tintoretto, Madonna and Child, marked by his peculiar smoky colouring and contrasted radiance. 318, Lanfranchi, St. Margaret beholding a Vision, theatrical and mannered. 321, A very unpleasing Ecce Homo by Carlo Dolci, foreshadowing later cheap ecclesiastical decor- ation. Still more unpleasing is 325, Madonna and Child. Above, 324, Van Dyck's (or Rubens's) portrait of the Duke of Buckingham, instinct with the man's vain and ineffective character, scarcely concealed by flattery of a patron. 326. Paris Bordone's fine copy of Titian's portrait of Pope Paul III, at Naples,— a harmony in red, very effectively rendered. The feeble old man with his half-open mouth and his sprawling hands sits alive before us. Note those hands well. The veins and sinews show through them in a most lifelike manner. The Stanza dl Prometeo, contains several excellent works of the earlier period. Entrance wail, L of door, 371, ♦good hard profile portrait, Vi •"riif"rtr"llllMMB|((-- [vn. jf which are im- |oo, unusually fine 303 aiid 304 are last stage of the rea del Sarto, the uds, with various tyle, and spoilt by St. John Baptist, )intment. Behind St. Job (Paul the d St. Roch. (The ink the nude saint ised, and much of y of Andrea. The 11 finished. 3". ) Dossi, good por- ,e at Modena. md Child, marked jntrasted radiance, a Vision, theatrical ig Ecce Homo by icclesiastical decor- adonna and Child, ortrait of the Duke vain and ineffective of a patron, m's portrait of Pope ed, very effectively lalf-open mouth and Note those hands jgh them in a most arlier period. hard profile portrait, ^''- VII.] THE PITTI PALACE 201 n the Lombard manner, of Beatrice d'Estc, attributed to the Umbrian, Piero della Fraucesca. 376, *Lorenzo Costa, good portrait of a Duke of Bentivoglio. Over the door, 338, School of Bellini, Madonna with St. James and St. Catherine, an excellent example of the style leading up to Titian. 341, Pinturicchio, Adoration of the Magi, where faces, figures, head-dresses, and composition are all highly characteristic of this strongly-marked and individualised Umbrian painter, (best seen in the Library at Siena.) 340, School of Perugino, (probably by the master himself,) Madonna and Child, with two ill-marked female saints. 343, **Fra Filippo Lippi, beautiful round Madonna and Child, with the pomegranate. The face of Our Lady is that of Lucrezia Buti, whom the painter married. In the background are two other episodes ; h, the Birth of the Virgin, with St. Anne in bed, and servants bringing in the usual objects ; R, the Meeting of Joachim and Anna at the Golden Gate. The round-faced boy to the extreme R is highly characteristic of Fra Filippo's manner ; so is the infant Christ. This is one of his best panel pictures, the colour brighter and warmer in tone than usual. 339, Good portrait by Tintoretto. 342, Unknown 15th cent. Florentine Madonna and Child, with the infant St. John, accompanied by two angels. 346, Zucchero, interesting chiefly cs a late and wholly altered Magdalen, nude save for her own hair, lifted from the mouth of the Sainte Baume by angels, to behold the Beatific Vision, (incorrectly described in this and in many other cases as the Assumption of the Mag- dalen.) To the R in theforeground may be seen the cave, with crucifix, skull, and other properties. Above it, 345, excel- lent Holy Family by Granacci, in one of his happier moments. Higher still, pleasing portrait by Sustermans of a Medici baby. Over the door, *347, School of Filippino Lippi, Vir- gin adoring the Child, with the infant St. John Baptist, and attendant angels, many of them with the familiar Medici features. In the background, marble balustrade with lizard and good hard landscape. The picture looks very like a Filippino, and recalls the St. Bernard of the Badia. End wall" 388, Filippino Lippi, Death of Lucretia, the 11— Mi FLORENCE story told in three episodes j not very successful. 349, Holy Family, after Filippino Lippi. Above it, 348, School of Botticelli, Madonna and Child, with infant St. John of Flor- ence, and two attendant angels. One bears a sword, the other a lily ; whence they probably represent St. Michael and St. Gabriel. The baby is ill-drawn and lifeless. St. John's arms still betray the ascetic tendency. Beneath, 353, Botticelli, portrait called I^ Bella Simonetta, a literal and unflattering cture, hard and dry, and with little of Botticelli's usual spirituality. It is well painted in its archaic way, but most honest spectators will confess it gives them little pleasure. The ascription to Botticelli is more than doubtful, and the face is not that of Giuliano de' Medici's famous mistress. 355, Luca Signorelli, Holy Family, with St. Catherine, well drawn and incisive, but deficient in colour- ing- 354i School of Lorenzo di Credi, Holy Family, characteristic in composition, but lacking the delicate touch of the master. 357, Botticelli, Madonna giving the Child to the infant St. John to kiss, a typically Botticellian (experi- mental) deviation from the ordinary models. The boy Baptist is very charming : the infant Chriit over-fed and sleepy. 365. Mariotto Albertinelli, Holy Family and angel, in his simpler early-Florentine manner, with little trace of Fra Bartolommeo's influence. 358, Ghirlandajo's Adoration of the Magi, a partial replica of his great picture in the U.Tizi, with different background and many figures omitted. The workmanship is not so fine as that of the original. This wall contains other good Madonnas by Garofalo, Boateri, and a nameless Florentine of the school of Lippi. L wall. 372, Attributed (most doubtfully) to Andrea del Castagno, portrait. 369, Excellent Ecce Homo by Pollaiolo. Over the door, 373, 15th cent. Dominican Florentine altar- piece, attributed (not very probably) to Fra Angelico ; centre, Madonna and Child : l, St. John Baptist of Flor- ence and St. Dominic : R, St. Peter Martyr with his bleed- ing head, and St. Thomas Aquinas with his open book and rays. In the cuspidi, little Annunciation. Behind, an episode of St. Dominic Preaching, and the martyrdom of riaaMaaiai^L. [VII. j [VII. cessful. 349, Holy it, 348, .'School of It St. John of Flor- bears a sword, the resent St. Michael and lifeless. St. ncy. Beneath, 353, )netta, a literal and and with little of lainted in its archaic nfess it gives them ticelli is more than iuliano de' Medici's Holy Family, with it deficient in colour- edi. Holy Family, g the delicate touch 1 giving the Child to Botticellian (experi- modelis. The boy Christ over-fed and ly Family and angel, , with little trace of lirlandajo's Adoration great picture in the lany figures omitted. of the original. This }y Garofalo, Boateri, )1 of Lippi. btfuUy) to Andrea del ;e Homo by PoUaiolo. can Florentine altar- ) to Fra Angelico ; ohn Baptist of Flor- artyr with his bleed- th his open book and ciation. Behind, an id the martyrdom of VII.] THE PITTI PALACE St. Peter Martyr. 377, Ecce Homo, by Fra Bartolommeo. Pleasing as colour, but deficient in sentiment. 379, Pon- tormo. Adoration of the Magi, only interesting for its almost Flemish grotesqueness of characterisation. It has a flavour of Teniers. Window wall, 384, PoUaiolo's St. Sebastian, a study of the mere anatomical nude, well drawn but repulsive, harsh, and uninteresting : the model a bad one. As compared with Perugino and Sodoma in the same subject, it shows the temperament of the purely scientific Renaissance artist. Several other works in this room are well worth study, but need no explanation, and can be easily discovered by the reader for himself. The Stanza del PoccettI, beyond, does not contain anything t'-.at calls for notice in this book, A long corridor leads hence, through Florentine mosaics and miniatures, (some of them excellent,) to the Stanza della Qiuatlzia, which contains admirable portraits, and a few good works ot the late period. Hondekoeter's cocks and hens, however, explain themselves. Scarselino's Birth of a Noble Infant is interesting as recalling earlier types of the Birth of the V'r- gin. Vasari's St. Jerome similarly shows us the last stage in the treatment of that familiar subject. Guido's St. Eliza- beth is rather more pleasing than most of his work. Some of the portraits by Bronzino and Alluri are also attractive in their way. The (second) Bonifazio's Finding of Christ in the Temple shows a complete breaking away from earlier tradition. Sir Peter Lel/s Cromwell, sent as a present to the Grand Duke Ferdinand II by the Protector, will interest English visitors. I leave the other works, and the cabinet in the centre, to the taste of the reader. The 5tanza dl Flora contains chiefly late woiks, of which I shall only mention Van Dyck's Repose on the Flight into Egypt. The merit of the rest can be appreciated, as good or bad, at the spec- mmmm i Ill I mm FLORENCE (vn. tator's own valuation. I will say the same of the last room, the Sala del Putti. It is given over to Salvator Rosa and the Carracci. The Boboli Qardens, behind the Pitt! Palace, aiTord several strikinsr and characteristic views of Florence. i-y-:-,,:. -^'i^n, , | l | l | II W II >j|P » " ^ " [vit. le of the last room, >alvator Rosa and litti Palace, afford \)( Florence. MMAMMimiMMMtJI VIII THE BARGELLO r'nr^HE chief Magistrate of Florence In very early times |_ X was the Podestii. This office was created in 1207, and the judicial functions were entrusted to the officer so named, who (owing to the mutual jealousy of the internal factions) had to be a foreigner, elected for six months, or later for a year, like mayors elsewhere. Even after the Guilds had introduced their commercial oligarchical system, the Podestk still retained his judicial position. In 1255 (earlier than the building of the Palazzo Vecchio) the town began to erect a castle for its magistrate, known at first as the Palazzo del Podestii, but handed over later to the chiet of the police under the Medici Grand Dukes, from whom it derives its usual modem name of the Bargello. The exist- ing Government has fitted up the interior as a museum of plastic and minor arts ; and it is therefore now officially described as the Regio Museo Nazionale. But nobody ever ca/Is it by any other name save that of the Bargello. It is one of the sights which is absolutely imperative.] Take the Via del Proconsolo, from the Piazza del Duomo. On the L as you descend is the Bargello. Stand opposite and examine the fafodt and tower. The portion that faces you is the original building (restored.) The part at the back is a little later. Open daily from 10 to 4 ; free on Sundays. It takes at least two days to see it cursorily.. The entrance hall, a fine specimen of a vaulted secular interior of its age, contains suits of armour, helmets, etc., the designs on many of which are worthy of notice. Most of them belonged to the Medici family. Also firearms, jy^f 306 FLORENCE [vni. swords, and other weapons, among which notice a splendid cannon, cast in 1638 by Cosimo Cenni, with the Head of Medusa, the Florentine lion (the Marzocco.) the Medici balls, and other devices. Last cabinet, helmet and shield of Franqois I" of France, of Milanese workmanship. Round the walls are a series of escutcheons. The room to the L, beneath the tower, contains a continuation cf the same collection. Enter the courtyard, with its central well and fine open loggia, a remarkable specimen of secular architecture of the 13th cent. Note the round arches and the columns of the •>illars. Also the escutcheons of former PodestJis which urround the court, and the effective triumphal arch on the staircase. Nowhere else in Florence do we feel ourselves so entirely transported to the city and age of Dante. The arms of the quarters of the city in the loggia have the names of the wards to which they belong inscribed below them. Note for future guidance : you will see them elsewhere. The best view of the picturesque quadrangle, with the beautiful loggia on the first floor, is obtained from the corner opposite as you enter. The works of sculpture (some of them second-rate) which surround the court are sufliciently described on their ofilicial labels. Notice those by Niccol6 di Piero Lamberti and by Piero di Giovanni Tedesco, from Or San Michele, as throw- ing light on Donatello's beginnings. Also, Giovanni da Bologna's Architecture, on a fine Renaissance base with Medici balls and feathers : and a Penitent Magdalen in the desert, where the sense of form of the i6th cent, has triumphed over the earlier asceticism which dominated the subject. Baccio Bandinelli's Adam and Eve have the feeble- ness and vapidity which pursue that ambitious but ineffective sculptor's work. Michael Angelo's *Dying Adonis, however, is a fine though confused piece of sculpture, with a noble face, and well conceived hands. Giovanni da Bologna's ♦Virtue triumphant over Vice shows the French tinge of feel* ing and the usual merits and failings of its powerful but theatrical artist. Michael Angelo's ♦Victory, unfinished as «t*- [vni. notice a splendid I with the Head of kocco.) the Medici lelmet and shield of Iknianship. Round The room to the L, Ration cf the same well and fine open architecture of the the colimms of the er Podest^s which iimphal arch on the o we feel ourselves age of Dante. The j[gia have the names cribed below them, lem elsewhere. The e, with the beautiful » the corner opposite n second-rate) which •ibed on their official iero Lamberti and by in Michele, as throw- Also, Giovanni da ;naissance base with ;nitent Magdalen in f the 1 6th cent, has which dominated the Eve have the feeble- bitious but ineffective ing Adonis, however, ilpture, with a noble }vanni da Bologna's ! French tinge of feel- i of its powerful but Victory, unfinished as Vlll.] THE DARGELLO 207 usual, is one of the figures intended for the Tomb of Julius II, of which the so-called Fettered Slaves in the Louvre were also portions. Between the two last is a handsome Renaissance doorway, with symbols of St. Mark ar ' the familiar Venetian inscription : " Peace to thee, MarK my Evangelist." The door opposite the entrance to the court gives access to two small rooms on the ground floor, with fine fragments of sculpture, mostly mediaeval in the first, and sufficiently ex- plained by their labels. First Room, over the door, a noble Gothic canopy, with Christ and saints, originally on the facade of Santa Maria Novella. Notice to the L the arms of the wool-weavers, the lamb of St. John of Florence. Centre, 90, Bacchus, perhaps by Giovanni dell' Opera. To the R of it, a fine Renaissance washhand fountain, above which are good figures by Simone Talenti. 50, 51, 53, a fine Madonna, and Saints PetLk and Paul, with their symbols, brought here from the old Porta Romana. Close to them, two mar- zocchi, or Florentine lions. I do not call attention to most of the works in this room because they are sufficiently described by their labels : but almost all should be noted and examined, particularly those of the School of Andrea Pisano. The Second Room« L wall, contains a beautiful series of ^reliefs, gravely injured, narrating the life and miracles of San Giovanni Gualberto, founder of the Vallombrosans, by Benedetto da Rovezzano. (They come from the tomb of the Saint in the monastery of San Salvi, and were recklessly destroyed by imperial soldiers during the siege of 1530.) 93, San Giovanni Gualberto delivers a monk from a demon. 95, The miracle of San Pietro Igneo, passing through the fire. loi, San Giovanni Gualberto on his bier. Faith and Charity at the sides, mourning. 104, *Translation of his relics from Passignano, with cure of the sick as they pass (an epileptic boy particularly fine.) 107, Heretics attack the monks of San Salvi. These exquisite works, Benedetto's best, (1506) deserve the closest attention. (See Perkins's Tuscan Sculptors, and Mrs. Jameson's Monastic Orders.) ao8 FLORENCE [Vlll. End wall, a noble ^mantelpiece, also by Benedetto da Rovezzano, classical in style, representing apparently Apollo, Pluto, and Jupiter (?) This is also one of the most exquisite works of Renaissance sculpture. L of it, Michael Angelo's unfinished *Bust of lirutus : the inscription explains that he had not the heart to finish it after Florence lost her freedom ; but then, he seldom finished anything. K, liandinelli's insi oid Cosimo I. R wall, 133, beautiful **Madonna and Child by Michael Angelo, an early work ; not a sacred face, but calm, matronly, and beautiful, like a high born mother. Several reliefs by Fierino da Vinci, Leonardo's nephew. 124, Masque of a Satyr, attributed without due cause to Michael Angelo : ugly and repulsive, though not without cleverness. 128, *Michael Angelo's liacchus, the pose of the figure not entirely worthy of the great sculptor : but the head and some other parts most masterly. 133, Beautiful Madonna and Child, with infant St. John Baptist of Florence, by Andrea Ferruccl. Beside it, iji, ^beautiful tabernacle, of perfect proportions and workmanship. Beneath it, good reduction of Michael Angelo's Leda. 134, Antonio Rossel- iino (?) lovely *tabemacle for the elements, with adoring angels. All the Renaissance decorative work in this room deserves the closest attention, especially the two exquisite ♦niches, on either side of the doorway, by Benedetto da Rovezzano. Baccio Bandinelli's portrait relief, 136, has rare merit for this vapid sculptor. Go out into the courtyard, and mount the Atalr«, noticing as you go the numerous escutcheons and memorial tablets of city officials and others ; pass under the triumphal arch : and enter the logf^a on the first floor, with its vaulted roof spangled with Florentine lilies. This gallery (the Verone) contains a collection of bells, many of them with fine reliefs and interesting or amusing inscriptions. Enter the ' First Hall, fitted up as a museum of the works ot Donatelio. Many of the best originals in Florence are here collected : beside [VIII. by Benedetto da lapparently Apollo, |the most exquisite Michael Angelo's 3n explains that he le lost her freedom : iBandinelli'sinsioid Child by Michael face, but calm, n mother. Several o's nephew. 124, ue cause to Michael without cleverness. se of the figure not but the head and Beautiful Madonna ist of Florence, by tutiful tabernacle, of Beneath it, good 134, Antonio Rossel- ments, with adoring /e work in this room lly the two exquisite ay, by Benedetto da lit relief, 136, has rare it the Atalr5, noticing md memorial tablets r the triumphal arch ; , with its vaulted roof gallery (the Verone) them with fine reliefs >t Donatelio. lere collected Many beside VIII.] THE BARGELLk^ ao9 them arc placed for comparison casts from Donatello's work in other cities, such as the equestrian statue of Gattamelata at I'adua, etc. Among the originals, the most important and interesting are : L wall, the Marzocco, or lion holding the Florentine lily, which long stood in front of the Falazzo Vecchio, but is now replaced by a ropy. Centre of the room, L : *the Uavid, in bronze, a fine but rather early work, when the master had not yet arrived at his final conceptions of plastic beauty. The pose is a little too self-conscious ; the young victor places his foot too proudly on the head of Goliath ; and the shepherd's hat shades the face ungracefully : but the nude is good, and the work is still most original and charming. Note how this subject of David colours Tuscan sculpture of the Renais- sance. Fine relief on Goliath's helmet— representing Victory. K, an Amorino, also in bronze, with the open mouth and pose of the hands so characteristic of the sculptor. Wall opposite the entrance ; beautiful bronze bust of a young man, with exquisite cameo of Victory. Near it, *♦ charming relief of an open-mouthed young St. John the Baptist. Close by, ^coloured bust of Niccolo da Uzzano, powerful, but unpleasantly realistic. Then, the penitent St. John Baptist in the desert, a work which should be com- pared with the wooden Magdalen of the same type in the Baptistery. Recollect that here Donatel is not aiming at pure plastic effect, — certainly not at beauty — but is endeavouring to realise an ascetic ideal in accordance with the needs and aims of sculpture. In both these St. Johns, the parted lips are highly characteristic. Compare with the plaster casts of two others, at the base of the Gattamelata statue ; also with the older type by the first R window. End wall, the original **St. George, from Or San Michele, now replaced by a copy. This is a very noble realisation of the soldier saint, the ideal of chivalry, remarkable for its mingled valour and purity. Observe how brave and bold, and yet how modest. In this work, Donatelio first knew himself. Beneath, is a lelief of St. George and the Dragon, with the exposed princess, a charming figure, looking on in the back- o aio FLORENCE [vill. ground. Thin la«t little work may well b« rompareii with the Michel Colombe in the Louvre, ai repreientative of Italian us opposed to French feeling. Compare It alto with the plaster cast beneath the Deposition. Entrance wall, David with the head of Goliath, in marble— a tine early work whose face should be compared with that of the St. George. In the attitude, which is grace- ful, there is a little too much of conscious jauntiness. Later, Don.'ilello attains to more modest rouraj^e. Close by, bust of Genevra Cavalcanti, in bronze, a successful rendering of an unattractive personaf^e. All the casts and originals in this room should be carefully compared with originals else- where in Florence. Nowhere else in the world does so good an opportunity exist for becoming acquainted with the style and spirit of this prince of early Renaissance sculpture. Compare particularly all the St. Johns, young and old : and note that some of the former are the boy ascetic in the desert, while others are just the joyous young patron of Florence. These two boyish figures, St. John Baptist and David, lie at the xooi of Renaissanr; sculpture in Tus- cany. The Second Hall, very dark, contains chiefly tapestries. The Third Hall, once the Audience Chamber of the Podesta, has a collection of bronzes, pictures, and small decorative objects (the Carrand Col'oction) impossible to enumerate in close detail, though many of them deserve the greatest attention. It was given by a French benefactor, and is quite as largely French as Florentine. Entrance wall, fragment of the School cf Taddeo Gaddi, with St. Michel the Archangel and St. Catherine. Above it, a quaint Judgment of Paris. Higher still, early r ample of the Florentine group of the Madonna with St. John the Baptist. The opposite side of the door has several interesting pictures, (Coronation of the Virgin, Christ and the Magdalen, Decollation of a Saint, and a charming triptych with Madonna and Child and Florentine saints, reminiscent or prophetic of Filippino [Vlll. b« compared with Li repreientative of lomparc it alio with ead of Goliath, in hould be compared tide, which it grace- Jauntineis. Later, Ke. Ciote by, bust ceisful rendering of sti and originals in with originals else- the world does so .'i(:(|uainted with the enaissance sculpture. young and old : and e boy ascetic in the ous young patron of St. John Daptist and '; sculpture in Tus- ns chiefly tapestries. desta, has a collection :orative objects (the merate in close detail, greatest attention. It nd is quite as largely irall, fragment of the Vlichel the Archangel It Judgment of Paris, irentine group of the The opposite side of es, (Coronation of the tecoUation of a Saint, lonna and Child and ophetic of Fllippino rni.] THE DARGF.LLO :ti Lippi.) The Noli me tangere, St. Veronica's towel, and others, are well worth notice. The flmt caae contains bronies of the Renaissance and earlier, including, end, a grotesque Old French St. George and the Dragon, with other quaint equestrian figures. On the side towards the wmdow, beautiful Rennissance bronies : Hercules .ind Antaeus, Plenty, Pomona, a Satyr, mostly by RIccio, a be.iutiful Amorino, an affected i6th cent. Venetian Fortuna, a fine Mars, Hercules, etc. I do not enumerate these, or the works on the window wall opposite them, (among which note a very ((uaint Marriage of St. Catherine,) but all deserve detailed infpection. R wall, further on, exquisite F'lcmish panels, Annunciation, Adora- tion of the Magi, Presentation, etc., etc. Among them, Hugo Van der Goes, a good Madonna. Next c««e, centre, early mosaics, Limoges, and otherwise. Fine crosier 648 ; 649, admirable San Marziale ; 650, reliquary, with the Maries at the Sepulchre. 654, Another, with saints and angels. 667, The four Evangelists with their symbols. Good crucifix. Madonnas, etc. I leave these to their labels. At the opposite side, fine German Flagellation. All need close inspection. The third case contains exquisite ivories, which must be similarly examined by the spectator in detail. L side, 175, quaint group of Mercury and Polymela, with Venis and Adonis. 164, Triumph of Love. Heneath, combs, etc., very curious : identify thei<- subjects. 1 54, Quaint Meeting of Joachim and Anna at the Golden Gate, with Stem of Jesse; French art of the 15th cent 153, Characteristic Burgundian St. Catherine, trampling on her persecutor, of a type which will be familiar to visitors to the Louvre. 97 and 98, Delicious Lombard 14th cent, diptych, with the Nativity, Annunciation, Visitation, Adoration of the Magi, and their visit to Herod. Note this closely. Beside it, 123, charming French casket, subjects amply described on labels. 99, French diptych, with scenes from the life of Christ, all obvious except the top R hand compart- ment, which has the common French subject of the Last Judgment, with Resurrection beneath and Christ enthroned MUMB 212 FLORENCE [VIII. above between angels holding the instruments of the Passion, with the Madonna and St. John (or Sainte Genevieve?) kneeling on either side of him : this is exactly like the tympanum of Notre Dame and the Sainte Chapelle. 95 r.nd 96, Similar early French diptych, including Coronation of the Virgin. Notice the regal and affected French type of Madonna. I mention a few only of these beautilul works, but the visitor should inspect and identify each separately. Opposite side, 60 and 61, early French chessmen, kings. 26, Italo-Byzantine casket, with antique subjects. Above it, 93, quaint French Annunciation. 91 and 92, French Madonnas. The type will be familiar again to visitors to Cluny and the Louvre. Beneath it, 42, exquisite early German altar- front, nth century. 24, Beautiful Byzantine 8th century figure of the Empress Irene. 19, 20, 21, Roman works of the intermediate period between the classical and the Byzantine or Romanesque art. All these should be closely studied : the Adam in Paradise, naming the beasts, is extremely luminous. Inspect also the little panels beneath them. 35, The Maries at the Sepulchre, is particularly interesting. In some of these works, such as 35, 37, and 38, we get early forms of subjects afterwards convention- alised by Christian art. Search in these for the springs of later motives. The Last Ca«e contains arms and armour. .:'v The door at the end has an early (14th cent.) coloured relief of the Madonna and Child, adored by a Podestk, in the lunette ; — the Authorities of Florence bowing to Religion. It gives access to Hall Four, the ,-1 ^; ^; ; iV; v^^ Ancient Chapel, dedicated to St. Mary Magdalen. The walls are covered with sadly damaged frescoes, now scarcely discerniMe. End wall, (with window representing St. John the Baptist,) fresco of Paradise, attributed to Giotto (more likely a pupil), like Andrea Orcagna's fresco of the same scene in the Strozzi chapel at Santa Maria .N ovella. This is interesting to most people chiefly because of the (over-restored) figure of Dante to the R of the window below. But the work itself 'k tmftrKm&i\j.m»tilt)lmui\ I'lm ifcWWrtaiMi "HBmmmem- [VIII. ents of the Passion, Sainte Genevieve ?) is exactly like the ainte Chapelle. 95 Deluding Coronation ffected French type hese beautilul works, Itify each separately. hessmen, kings. 26, subjects. Above it, 91 and 92, French again to visitors to 42, exquisite early Beautiful Byzantine e. 19, 20, 21, Roman en the classical and All these should be e, naming the beasts, le little panels beneath ulchre, is particularly , such as 35, 37, and ifterwards convention- bese for the springs of armour. r (14th cent.) coloured iored by a Podest^ in nee bowing to Religion. The walls are covered rcely discernible. End 3t. John the Baptist,) :o (more likely a pupil), he same scene in the a. This is interesting le (over-restored) iigure )w. B'U the work itself vm.] M THE BARGELLO 213 iMMa has also high artistic value. The R wall has frescoes from the Life of St. Mary Magdalen, the dedicatory saint. Only a few figures of the frescoes can now be recognised. But the series once ran thus, and can still be identified on bright days, beginning at the top to the L. (i) The Magdalen at the feast in the house of Levi : (2) Raising of Lazarus : (3) entirely gone, Magdalen at the Crucifixion : (4) the Maries at the Sepulchre: (5) Christ and the Magdalen in the Garden ; (6) the Angel feeding the Magdalen in the Cave in Provence : (7) St. Maximin bringing her the last sacrament: (8) the death of the Magdalen. (I can find no trace of the sister subject, St. Mary of Egypt, mentioned in many Guide-books : the opposite wall has the miracle of the Merchant of Marseilles, as at Santa Croce.) L of the empty space once occupied by the altar, St. Jerome in the desert. R of it, Madonna and Child, by a scholar of Ghirlandajo. The case between contains fine articles of Church furniture, including a Last Supper, with Christ washing the feet of Peter. The room also contains other interesting objects: Madonna and Child in painted wood by Dello Delli (?) : Crucifix with the lamb of St. John Baptist in the centre at the back ; and a few old mosaics. The small room beyond the chapel has an early fresco of the Madonna and Child, a good vaulted roof, and several interesting bits of early needlework, the subjects on which should be carefully noted. On the entrance wall, the angels . lifting the Magdalen in the desert. The next room, ■ ' Fifth Hall, to the R, contains on the end wall (avoid it) some ghastly illustrations of the plague, and other works of a similar c'^-'racter, in coloured wax. The centre case has ivories of later dates, some of them excellent in execution, but uninteresting for the most part in design and treatment. The best are two St. Sebastians, probably votive plague- offerings. In the centre is a fine early triptych, with saints (all easily recognised) and scenes from the Passion. A few early works at the further end of the case also deserve close w^ wr ■!«MI«« 214 FLORENCE [VIII. attention. Centre C6«e, «,'as5, which examine individually. To the R, Limoges enamels. To the L, nautilus shells, mounted as jugs and vases. Next case, ivor' works, oriental and other, which are merely ingenious «nd nothing more. The taste of most of them is execrable. Last ca«e, fine silver work. Observe in all these rooms the fine ceilings, frescoes, and internal decorations. As at Cluny, but even more so, the building itself is here one of the best parts of the museum. The next room, Sixth Hall, contains bronzes, reliefs, and statues 01 the early Renais- sance. All these deserve the closest attention. R of the door, St. John Baptist in the Desert, by Michelozzo, an early example of the comparative abandonment of the merely as- cetic ideal. Compare and bear in mind all these various Baptists : their importance is fundamental. R of the door, fine bas-relief by Bertoldo, of a battle between Romans and barbarians, inspired by the antique, and full of classical feel- ing. The Victories and nude figures to R and L are especi- ally admirable. Above it, good bust of the Duke of Urbino. Beneath, *Reliquary of St. Protus and St. Hyacinthus, by Lorenzo Ghiberti ; fine flying angels. The case, beyond, contains fine imitation antique and Renaissance statuettes. In the centre of the room, **Verrocchio's beautiful bronze David with the head of Goliath, one of its sculptor's master- pieces. The head foreshadows Leonardo : the curls are delicious : the easy assured pose may be compared or con- trasted with the Donatello and the Michael Angelo. The thin veined arms, however, (perhaps of an apprentice model) are evidently influenced by the ascetic mediaeval ideal : com- pare the figures in Verrocchio's (painted) Baptism of Christ in the Belle Arti. The whole attitude of this David, in spite of its meagre limbs, is striking and graceful. This work should be looked at in contrast with Donatello on the one hand and with Michael Angelo and Benvenuto Cellini on the other. End wall **two gilt bronze panels, the sacrifice of Isaac !m««!*wtcwisffl-f!.-V!Sia!!!«SSBiiSBS8»< [vm. line individually. nautilus shells, |ise, ivoP' works, lious ^nd nothing |-able. Last cue, |e rooms the fine Ins. As at Cluny, here one of the the early Renais- tention. R of the lichelozzo, an early t of the merely as- d all these various tal. R of the door, etween Romans and full of classical feel- R and L are especi- the Duke of Urbino. St. Hyacinthus, by The case, beyond, naissance statuettes. lio's beautiful bronze its sculptor's master- ardo : the curls are De compared or con- ichael Angelo. The an apprentice model) nediseval ideal : com- id) Baptism of Christ >fthis David, in spite graceful. This work Donatello on the one ivenuto Cellini on the the sacrifice of Isaac n<9d(^t°s0BeSNse(K3^«nE:ss^^ VIII.] mm THE BARGELLO 215 by ♦Brunelleschi and *»Ghiberti respectively. These were the panels which were sent in by the two artists as speci- ' mens of their handiwork in the competition for the Second Gates of the Baptistery in 1402. The superiority of Ghiberti's design in composition and plastic calm is very apparent. At the same time, the elements of conventional treatment common to the two scenes are worth close comparison. The positions of most of the actors and accessories are fairly con- stant. Observe the quiet strength and repose of Ghiberti, contrasted with the bustle and strain of Brunelleschi. One is like a sculptor's work, the other like an engineer's. Beneath these, Lorenzo Vecchietta's fine *recumbent statue for a tomb, in which a successful attempt is made to put greater naturalness into this type of monument. Above, good Crucifixion by Bertoldo. Wall to the R, Crucifixion, by Donatello, partly gilt. AU the attitudes in this admirable scene are worth careful notice. Observe at how much earlier a date sculpture succeeded in emancipating itself from conventional trammels than did painting. No contemporary picture has the freedom and ease of the Roman soldier nailing the feet of the Impenitent Thief ; nor of the long-haired Magdalen in the foreground to the L ; nor of the semi-nude figure with shield beyond it ; nor of St. Longinus (distinguished by his halo) with his hand to his mouth, just above the last-mentioned figure. Study closely this admirable relief. It will well repay you. The Seventh Hall beyond, contains the work in bronze of the High Renais- sance up to the point where it verges towards the Decadence. Among so many noble works as are contained in this room, it is difficult to make a selection : besides, very few of them need explanation. Note, however, the Ganymede and the eagle, attributed to Benvenuto Cellini, with its admirable ease of poise, and its perfect equilibri..in. (Compare with similar antiques in the Uffizi.) Also the Antoninus Pius, which is a successful iSth century imitation of the antique. Look at Daniele da Volterra's *Bust of Michael i mtMsr. 2l6 FLORENCE [VIU. Angelo ; and, dose beside it, Sansovino's Christ in Glory. In a glass case is Cellini's sketch in bronre for the Perseus of the Loggia dei Lanii, differing slightly in detril from the mode! finally adopted. Beside it, admirably executed but not pleasing bust of Cosimo I, a subject to try the greatest sculp- tor. Beyond, again, ♦wax model of the Perseus, differing much more markedly from the form at last adopted. Further on, **Cellini's original relief for the base of the Perseus, the Release of Andromeda, now replaced in the Loggia by a cast : a most beautiful piece of consummate metal-work. Close by, fine Venus by Giovanni da Bologna. Also, end wall, his Galatea, a successful figure. All the small works on this wall should be carefully noted. In the centre of the room, Giovanni da Bologna's celebrated *Mercury, too often copied, perhaps the lightest work in bronze ever executed. Its poise is wonderful. It seems to soar naturally. But re- productions have vulgarised it. Fine bronze candelabra and other works. I omit many fine specimens of sculpture, such as the copy of the too famous Famese bull. Do not over- look the handsome wooden ceiling. The stairs to the upper floor are in Room V, with the late ivories. Go back to it. The first apartment at which we arrive, Room I, has a fine timber roof, and is decorated with several original frescoes, those on the end wail, L, being attributed to the ever-dubious Giottino. That to the L, a fragment, probably forms part of a Joachim expelled from the Temple (?) To the R, Meeting of Joachim and Anna at the Golden Gate,— only Joachim and the two servants with the rejected offering remaining. Compare with other frescoes of corresponding scenes, and you will be able to judge of these identifications. Centre, Madonna and Child, with Florentine saints, greatly injured. The Entrance wall has beautiful Delia Robbia Madon- nas, with crowning hands, angels, and other features. Two of these are the favourite subject of the Madonna Adoring the Child. The fa:e of the **central one is inexpressibly ^ MMinaa M ali i i i wWt i iii i i i lK gi ii i*w i i i> >» i»ir > i u»a i ii [VI 1 1. Christ in Glory, e for the Perseus in detril from the executed but not he greatest sculp- Perseus, differing adopted. Further f the Perseus, the the Loggia by a mate metal-work. >logna. Also, end 11 the small works n the centre of the Mercury, too often ize ever executed, naturally. But re- ize candelabra and s of sculpture, such ull. Do not over- Room V, with the with several original ng attributed to the fragment, probably the Temple (?) To the Golden Gate, — the rejected offering :s of corresponding these identifications, intine saints, greatly Ila Robbia Madon- ther features. Two e Madonna Adoring sne is inexpressibly Vill.] THE BARGELLO 217 beautiful. Beyond the door, Madonna supporting the dead Christ, by Ghirlandajo, a fine fresco. Further on, fresco of justice, between two suitors, attributed to Rossi. Beyond the window. Madonna and draped Child, of the later School of Giotto. End wall, more Delia Robbias. Above, by Giovanni, Christ and the woman of Samaria. Beneath, by Andrea and Luca, Madonna and Child. In the earlier type, (Luca and Andrea) the figures are usually white on a blue ground : later works of the same school (Giovanni, etc.) such as the Christ and the Woman of Samaria above, are in polychrome, and less pleasing. L wall, returning, Christ and the Magdalen in the garden, of the later period. Beneath, in the predella, St. Francis receiving the stigmata (compare with pictures), the Resur- rection, and the Maries at the Tomb. Beyond the window, more Delia Robbias ; charming little ^Annunciation, good Ascension, ^Madonna adoring the Child (with delicious baby St. John of Florence,) Nativity, and a lunette of St. Augustin. After seeing these Delia Robbias, look out for similar lunettes and medallions over the doors or arcades of Florentine houses and churches (Ognissanti, Hospital of San Paolo, Innocenti, etc.). Beyond the next window, again, Madonna adoring the Child. In this room (with the next) you have the best opportunity afforded you of learning to admire and love the Delia Robbias, especially Luca. Room 11, at the far end of this one : more Delia Robbia ware, of various ages. Over the door, a florid Annunciation, not so successful, somewhat vulgar in its colouring. R of the door. Nativity, with shepherds in the background, ox and ass, little St. John of Florence, and adoring angels. Notice the inscriptions. This work exhibits the declining taste of the 1 6th century. The faces of St. John ahd the Madonna should be compared with the infinitely more beautiful works by Luca and Andrea in the previous room and in this one. Note in each case to which of the family each work is attributed. The best are by Luca, then Andrea, while with 2l8 FLORENCE [vim. IV , Giovanni tiie type degenerates. End wall, dainty taber- nacle, with angels, for holding the elements. Above it, charming Madonna. In the centre, *beautiful lunutte with delicious angels adoring the Madonna. Beneath it, good Andrea, circular Madonna. R and L, charming Lucas. To the L, debased Madonna in a circle. Window wall, opposite the door, Madonna della Misericordia, crowned, as usual, and sheltering votaries under her mantle. (Look out in future for this specialised type of Our Lady.) Between the next windows, Virgin between two saints, (Anne and Giovanni Gualberto) with donors, by Giovanni, better than his wont. Above ii. Deposition, with St. Mary Magdalen holding her box of ointment. To the L, pretty little group of the Infant Christ and the Boy Baptist, rather coarsely executed. Between the and and 3rd windows, St. Joseph, with his budded statT, and St Augustin. In the next group of subjects observe again the Boy Baptist of Florence, twice repeated, and the Ascension, with Christ in a mandorl?. The Coronation of the Virgin, beyond, has ^the Madonna by Luca, with later added angels in the worst style of the family. Between the 5th and 6th windows, rather theatrical Resurrection. Above it, equally theatrical Christ and the Magdalen. This again indicates the declin- ing taste of the i6th cent. So do the Madonna between two Saints (James, Giovanni Gualberto) and the Miracle of St. Benedict beyond it. End wall, ill-coloured and unpieasing late Nativity. Above, St. Ursula, crowned as princess and with her palm of martyrdom. The Christ and the Magdalen over the door is sadly decadent. Returning along the other wall, Piet^, unpieasing. Between ist and and windows, frieze of Christ and the Sacred Blood, and saints in niches, (Sebastian, Magdalen, Baptist, and Matthew the Evangelist with book and angel. The com- bination seems to indicate a votive plague work.) Between and and 3rd windows, more pleasing examples : Madonnas adoring and otherwise ; good St. Catherine ; dainty Boy Baptist ; and good portrait of a lady. The support of the central Madonna, by Francesco di Simone, (with the face iti^Ktsa si sssK K^ mumm "teKtmammmm^imimKlmKm' [VIII. II, dainty taber- ents. Above it, tiful lunutte with Beneath it, good charming Lucas. Window wall, jricordia, crowned, er mantle. (Look of Our Lady.) ween two saints, nors, by Giovanni, on, with St. Mary To the L, pretty Boy Baptist, rather and 3rd windows, St. Augustin. In in the Boy Baptist cension, with Christ Virgin, beyond, has 1 angels in the worst and 6th windows, it, equally theatrical ndicates the declin- e Madonna between to) and the Miracle all, ill-coloured and Ursula, crowned as >m. The Christ and ecadent. Returning g. Between ist and Sacred Blood, and alen. Baptist, and d angel. The com- jue work.) Between xamples: Madonnas therine ; dainty Boy The support of the (none, (with the face iP VIII.] THE BARGELLO 219 of Christ on St. Veronica's towel, and charming cherubs) is worth notice. In the cintro are specimens of fine Italian ware of the isth and i6th centuries. The subjects and decorations of many of these are well worth notice. Room 111, below the steps, very dark, contains tapestries and glass. On the entrance wall, three beautiful coloured Madonnas. Near the window, another. These charming works need no explanation, but should all be noticed for their truth and beauty. Now traverse again Rooms II and I, and arrive at Room IV, at the end, containing Sculpture, chiefly of the earlier Renaissance. R of the door, Orcagna (?), Music, on a beautiful twisted column, recalling those in Or San Michele. The figure is one of Orcagna's ideal representations, and very charming. Over the door, late Delia Robbia. Beyond the door, teiTa-cottas. Observe here, once more, the dominant in- fluence of the youthful St. John Baptist, who colours so much of Florentine Renaissance ideals. ^Beautiful little statuette by Michelozzo of the Boy Baptist starting for the Desert. Observe the difference between this subject and St. John in the Desert. *Statuette, by an unknown Floren- tine of the i6th cent., of the young Baptist as a recluse ; the alternative treatment. Beyond it, baby St. John, with his mouth open. Another by Rossellino, much injured. On the same wall are two Penitent St. Jeromes (note the lion), companions to the St. Johns and Magdalens \ as well as copies in terra-cotta by Niccol6 Tribolo of Michael Angelo's Night, Dawn, etc., in the New Sacristy at San Lorenzo. Note likewise a good head of *Piero de' Medici, by Verrocchio, and other portrait works. ' L wall. Below, very quaint early Christian sarcophagus (of the 4tb cent) with a slight oriental tinge in its sculpture. L compartment, Jonah cast out by the sailors. R compartment, Jonah returned to land by the whale. 'I ( 'hi 1 «? fe "MO FLORENCE [VIII. (Same subject on an ambo at Ravcllo.) Notice the corner faces, with caps recalling the Mitkra reliefs. Above, bust by Rossellino ; curious early Tuscan Crucifixi^^n, with St. John and the Madonna ; Madonna and angel ; Mndonna and Child, by Alberto d'Arnoldo ; and a quaint early relief of San Frediano of Lucca. *Good portrait bu3t by Bene- detto da Maiano. Higher up, School of Andrea Pisano, Madonna and Child, between patron saints of Florence ; L, Santa Reparata, with her red-cross flag ; R, St. John Baptist. Window wall. Sepulchral figure of a bishop, flanked on either side by niave Romanesque reliefs of Christ and St. Benedict, and the Call of Peter and Andrew. Above them, *Apostles, of the school of Andrea Pisano, R wall. *Life-like bust, by Rossellino, of Francesco Sassetti, full of character. To balance it, *bust of an unknown isth century Florentine, with thick under lip, instinct with keen penetration. Sculptor unknown. Between them, ♦*fine relief by Verrocchio, from the tomb of Fran- cesca Pitti Tomabuoni, the only one now remaining of this fine series. The treatment is thoroughly antique. The figures represent, R, the death of Francesca in childbirth, with attendants mourning and tearing their hair. To th^ extreme R, the new-bom infant. L, the child brought by its nurse to the widowed father. This is one of the earliest examples of such entirely classical and almost pagan treatment, which culminates in the frank paganism of Riccio's fine bronzes in the Louvre. Above, ♦charming Virgin and Child, of the School of Verrocchio. Another, with a curious head-dress, by Rossellino. Also three admir- able portrait-reliefs, sufficiently described on their labels. That of ^Francesco Sforza is full of character. Room V contains wor' In marble of the High Renaissance. Entrance wall, L of door : fine bust of a Florentine lady. L wall, charming little St. John, starting for the Desert, by Rossellino. Note again the marked difference of attitude between a St. John setting out and a St John in the desert. [vni. iNotice the corner liefs. Above, butt [ucitixi'^n, with St angel ; Madonna J quaint early relief (rait bu3t by Bene- |of Andrea Pisano, lints of Florence ; flag ; R, St. John ■ a bishop, flanked tliefs of Christ and id Andrew. Above a Pisano. Ilino, of Francesco ice it, *bust of an th thick under lip, unknown. Between I the tomb of Fran- ; now remaining of lughly antique. The ncesca in childbirth, ; their hair. To th' ;he child brought by This is one of the classical and almost 1 the frank paganism !, Above, *charming ^errocchio. Another, 10. Also three admir- ibed on their labels, laracter. High Renaissance. of a Florentine lady, irting for the Desert, i difTerence of attitude St. John in the desert. VIII.J THE BARGELLO 331 *Virgin and Child, by Verrocchio. Half-length portrait- statue of a lady, by the same. Relief of Faith, by Matteo Civitalc. Above, two apostles of the school of Andrea Pisano. Further on, a '^dainty bust of a child, by an unknown 15th cent. Florentine. Above it, *candela- brum, one of a pair by Benedetto da Maiano, decorative work and children in his most charming manner. Centre of wall, round relief of *the Madonna adoring the Child, by Rossellino, with shed, ox and ass, St. Joseph, shepherds, etc., and a delicious ring of baby cherubs. Beyond, young St. John, by the same, intermediate between the ascetic and later joyous treatment. ^Virgin and Child, with gilt background, by Mino da Fiesole. Near it, another, closely resembling it in type, by a scholar of Mino, in a delicate frame of pittra serena. Portrait-bust by Desiderio da Settignano. Exquisite little ^tabernacle for the elements of the Eucharist, with troops of guardian angels, somewhat marred by unpleasant perspective. Close by, Mino da Fiesole's little Cupid, fur a fountain. End wall. Numerous reliefs of the period verging on the Decadence. Crucifixion of St. Peter, by Delia Robbia, very much injured. Justice, by Benedetto da Maiano. The other works, including the Liberation of Peter, by Luca della Robbia, explam themselves or are explained by their labels. Window wall. Rather coarse early Florentine Corona- tion of Charlemagne, partly restored in plaster. Beyond it, a Tabernacle, by Mino da Fiesole, architecturally very pretty. In the centre, Michael Angelo's unfinished David (or Apollo ;) a *young St. John, by Benedetto da Maiano ; and a Bacchus, by Jacopo Sansovino, which is really its pagan Renaissance equivalent. (How readily the one passes into the other is well shown by the Leonardo in the Louvre.) Entrance wall, again, *three good portrait-busts and charming Madonna and Child, by Mino da Fiesole. The bust of •Piero de' Medici, (nearest the window) with the swollen look, is admirable and life-like. His imitation of 333 FLORENCE [VIU. the antique, in the young Marcu* Aureliui, may be com- pared with the St. John Baptist and the Bacchus. I have said little of these works, again, merely because they do not need explanation. What they most require is appreciative study. Observe in this hall the fine wooden "'""«• Room VI ,. has a good collection of seals, and some singularly ugly Gobelins tapestry. fsea^miKiOK'i' [VIIl. lus, may be com- lacchus. 1, merely because |y most require is the fine wooden ie singularly ugly 1^1 IX .' -': . OR SAN MICHELE • r T T ALF-WAY down the Via CaUaioli, on the right, as L 11 you go towards the Signoria, stood at the end of the 13th century a market or loggia of somewhat the same type as that still to be seen in che Mercato Nuovo. It was covered with a vaulted roof, supportin<-^ a granary (horreum), with a much-revered statue of Our Li dy, and another of the Archangel Michael : whence the existing name, Or San MIchele, or "Granary of St Michael." In 1350, the original loggia was altered into a church, preserving much the same shape, and with a strong vaulted roof, raised on powerful piers, so as to support the great grain loft in two stones above it. This church was in particular the Shrln« of the Trades, and, above all of the Arts and Crafts of Florenrt. It stood close to the Palazzo Vecchio, or Palace of th'; Signoria— that is to say of the Guilds which had practically usurped the government of the city. In the great plague of 1348, Florence suffered terribly. Many persons who had lost all their relatives in the pesti- lence, dying themselves, left their fortunes to a certain miraculous picture of Our Lady (by Ugolino da Siena) in Or San Michele, which was greatly venerated. After the plague, again, several survivors also made rich thank-offer- ings for their preservation to the same Madonna. The sum thus accumulated was so enormous that the Company of Or San Michele commissioned Andrea Orcagna to build with it a costly shrine ur tabernacle for the picture, which still remains one of the most splendid works of art to be seen in Florence.] «Ba JSMSSiimvi smmM ■•"!« 334 FLORENCE [IX If poitible, choose a Thursday for this excursion : it if the day of the flower-market, when the Morcato Nuovo is seen to the greatest picturesque advanta|{e. Turn out of the Via Tornabuoni, along the Via Furta Kossa, as far as the Mercato Nuovo. Observe its architecture, which, though much later in date, ( 1 5 1 4) will help you to under- stand that of Ur San Michele. Then continue on into the Via Calzaioli, and go to Or San Michele itself, which stands on your L hand, looking less like a church than a square (or rather oblong) three-storied warehouse,— as in point of fact it was, save for its ground floor. Notice, first, the beautiful architecture of this ground floor— the church proper,— and then the windows and cornices of the granary above it. Observe the conjunction of round arches with Gothic detail. Walk round it once for the general efTect. Then, return to the Via Calzaioli, to examine the niches and sculpture in detail There are three nichea at either end, K. and w., and four on each side, N. and s. The statuea in the niches were each given by one of the Guilds of craftsmen or professions. I lie arms of the various Guilds who gave them are in circles above their gifts. Begin on the E. side, to the R. ist niche, St. Luke the Evangelist, by Giovanni da Bologna (1602) : beneath it, his winged bull. Given by the Judges and Notaries: this is the latest of the series. 2r ' niche, (itself a beautiful work by Donatello, well worthy of houce,) Christ and the doubting Thomas, by Verrocchio, (i4(i3) a very characteristic example of this great though rather dry sculptor. Given by the Merchants. 3rd niche, St. John Baptist of Florence, by Ghiberti, (1414) with a robe covering his camel-hair garment. Given by the Cloth Dealers. This is the ascetic Saint in the desert Note also the little hgures between the niches, and those on the summits of the muUions in the windows. S. side. 1st niche, St. John the Evangelist, by Baccio da Montehipo, (1515.) Given by the Silk Weavers. On the niche above, and in the circle, the arms of the Guild. The 2nd niche once contained a beautiful medieval Madonna and Child, now removed to the centre ui tne church. Ob- [a. excursion : it is Morcato Nuovo ,iKc. Turn out rta Kosta, at far ihiteciure, which, Ip you to undcr- niie on into the lele itself, which a church than a warehouse,— as in )()r. Notice, first, tloor— the church ices of the granary ound arches with the general effect. line the niches and ches at either end, s. The lUtucAin Guilds of craftsmen • Guilds who gave niche, St. Luke the x>2) : beneath it, his A Notaries : this is self a beautiful work ist and the doubting laracteristic example itor. Given by the tist of Florence, by I camel-hair garment, the ascetic Saint in between the niches, ins in the windows, ngelist, by Baccio da k Weavers. On the s of the Guild. The mediicval Madonna oi tne church. Ob- IX.1 OR SAN MtCHELB aas »i serve its architecture. Above it, charming Madonna and Child, by Luca dclla Knbbia, in a dainty tabcrnucli;. 3rd niche, St. J limes, by Nanni di Uanco. Given by the Furriers. The little relief below represent: the decapitation of the Aiint : ihat above, his assumption. On either side, the arms of the Company, quartering .ne lamb of St. John liaplist. 4ih niche, St. Mark the Evangelist, by Donatello (1413). (iiven by the Joiners. Beneath his feet, liit winged lion. In each case observe the architecture of the niches. W. aide. Stand under the arcbwav which connects the church with the Guildhall of the Guild of WoolCombeis beside it. Over the shop behind you, notice the O.S.M., for Or San Michcle, which you will observe abundantly on pictures and sculpture elsewhere. The Guildhall, with its beautiful wooden canopy, has the symbol of the Guild, the lamb and flag of St. John, many times repeated. 1:^1 niche, St. Eligius (St. Eloy) the sainted blacksmith, by Nanni di Banco (a noble figure.) Given by the Farriers. Notice, in the niche, their symbol, the pincers. Beneath, relief of St. Eligius in his forge performing a famous miracle. (In order to shoe a refractory horse, he cut off its leg and then mira- culously restored it.) In the circle above, observe the pincers. 3nd niche, St. Stephen, by Donatello, in deacon's robes, holding in his hand the stone of hi!i martyrdom. Above his head, the arms of the Guild of Wool- Weavers, which gave it, repeated also higher up in the circle. 3rd niche, St. Matthew, by Ghiberti and Michelozzo, the gift of the Money-changers, whose patron he was (as he sat at the receipt of custom.) Above it, their arms. On either side, two charming figures composing an Annunciation, by Niccol6 d'Arezzo (1400.) Look up from this comer at the view of the building. N. side. 1st niche, St. George, by Donatello, (a cony, the original is in the Bargello.) Beneath it, relief of the saint killing the dragon. 2nd niche, the Quattro Santi Coronati, or Four Holy Craftsmen, (Roman builders and sculptors of the early church, martyred because they would nut make images of pagan deities. See Mrs. Jameson.) The figures , P '1 3S6 FLORENCE '■-VOL- are by Nanni di Banco. Beneath, relief of the four saints in their workshop, engaged in sculpture and masonry. In the circle above, arms of the four trades who gave them — Bricklayers, Carpenters, Smiths, and Masons, — whose im- plements may be seen in the four smaller circles — pincers, hammer, trowel, and angle. 3rd niche, St Philip, by Nanni di Banco, the gift of the Shoemakers. Their arms above it. 4th niche, St. Peter the Apostle, with keys and book. A very youthful work by Donatello, still almost Gothic in character. It forms the starting-point for his later develop- ment. Trace him hence upward. (His early works here may be compared for drapery, etc., with those of Piero di Giovanni Tedesco from this very church in the Arcade at the Bargello. With the St. George, he throws off the Gothic style, and bei;ins to feel his wings. Thence, see the Dona- tello room at the Bargello.) Above this figure, in the circle, the arms of the Butchers,— a goat rampant, by Delia Robbia. Now, enter the churcb, by the second door to the R, on the w. side. The Interior is very peculiar. It is divided by piers in the centre into two aisles or passage^, and has no regular nave, choir, or transepts. (This arangement is probably borrowed fron. the original loggia.) All the fres- coes in this church, attributed to lacopo da Casentino (Landini), but probably by many assistants, are greatly faded and little discernible. Note, however to the L as you enter, the namesake St. Michael, trampling on the dragon, with kneeling lady donor. Beneath, a curious fresco with the wild legend of the appearance of the saint on Monte Galgano. (See Mrs. Jameson.) By far the most important object in this church, however, is til's great Qothic 5hriine, by Orcagna, which faces you at the end of the R aisle as you enter. This magnificent work occupied Orcagna for ten years, and was finished in 1359. Sit down in front of it for a while, to take in its splendid architectural arrangement. It is a canopy in marble, inlaid with mosaic, gold, and lapis lazuli : and it is enriched with endless pinnacles, columns, and scatuettes, in lavish profu- V mammmmmmmmHmm ef of the four saints and masonry. In es whc gave them— Masons,— whose im- lUer circles— pincers, St. Philip, by Nanni Their arms above it. keys and book. A ;ill almost Gothic in for his later develop- (His early works here vith those of Piero di urch in the Arcade at e throws off the Gothic rhence, see the Dona- ive this figure, in the goat rampant, by Delia econd door to the R, on :culiar. It is divided by )r passage^, and has no (This urangement is al loggia.) All the fres- 3 lacopo da Casentino f assistants, are greatly however to the L as you rampling on the dragon, ,th, a curious fresco with i of the saint on Monte t in this church, however, ■cagna, which faces you at . This magnificent work and was finished in 1359- le, to take in its splendid 1 canopy in marble, inlaid : and it is enriched with scatuettes, in lavish profu- ■■■■^ .■ '■' ■";', "■ v.- ^. . •■•■...-■■•■ ■■ - ■■ ■ ^ ^ IX.] OR SAN MICHELE sion. The whole is clamped together with metal clamps ; and though shaken and rent by earthquake, it stands firm and solid in its Gothic grandeur. Study the general scheme for some time before you proceed to examine the reliefs, which bridge over the gap between Andrea Pisano and Gliiberti. They are all by Orcagna. Now, begin on the L hand side to examine in detail the sculpture of the base. The reliefs on the altar represent episodes in the history of the Madonna, with the three theological Graces between them. L hand Aide, centre, Faith. First panel, the Birth of the Virgin, represented with all the conventional details. Second panel, the Pre- sentation of the Virgin in the Temple, with the High Priest above, the Madonna (now headless) half way up the steps, St. Joachim and St. Anna on either side, and the Virgins of the Lord in attendance close by. (Compare with the fres- coes by Taddeo Gaddi and Giovanni da Milano at Santa Croce.) The piers at the angles, supporting the roof, have allegorical Virtues, after the Gothic taste of the period. Front: centre, Hope. First panel. Marriage of the Virjjin, where the attitudes of Joseph and Ma /, the budded itaflf, the angry suitor striking, the impatient suitor breaking his staff, and all the details, are conventional. Compare with the frescoes. The arrangement persists as late as the Spo/alizio by Perugino (now at Caen ; ) imitated by Raphael (in the Brera at Milan), and by Luini at Saronno. (But it did not begin with Orcagna.) Second panel, the Annuncia- tion, also with the usual conventional features. Notice C^.M., to R and L, on tb»; piers. The picture over the Altar, (to contaii- /hich this marvel- lous work was built,) was originally a Madonna and Child, with adoring angels, by Ugolino da Siena : the one which now replaces it is by Bernardo Daddi, somewhat after the fashion of the Cimabue in Santa Maria Novella, though of course with technical work in the style of the School of Giotto. Ugolino's was the mirar jious image which collected during the plague the money employed in building this Tabernacle. Lafenestre attributes the present altar-piece to *mm wmsA BfflMIWffiW 328 FLORENCE tix. Don Lorenzo Monaco : it is no part of my task to give critic4 opinions, but I confess I fail to see in it any maik of Don Lorenzo's handicraft. R Aide, centre, Charity, with her flaming crown, nursmg an infant. First panel, the Nativity, with announcement to the Shepherds. 2nd panel, the Adoration of the Magi, where the figures and positions are again conventional. Do not omit such minor features as the beautiful angels on the frame of Daddi's picture, nor the statuettes on the piers. The minor Virtues in relief below have their names inscribed upon them. At the back, below, in the centre, a door (to hold the relic.) First panel, the Presentation of Christ in the Temple, where priest, altar, fire, etc., are all conventional. Second panel, the Angel announcing the death of the Virgin. (Distinguish this subject from an Annunciation. In it, the angel bears three palms or seven stars.) The back, above, is occupied by a large relief of the Death and Assumption of the Madonna. Below, Our Lady on her bier, with Christ receiving her soul, like a new-born baby. The Apostles in attendance, with other saints, to R and L, and adoring angels. Above, the Madonna in a mandorla, with aged features, (very unusual) raised by angels. To the L, St. Thomas, with his hands raised to catch the Sacra Cintola, once held (I think) by the Madonna, but now broken oflT, with her thumb. (Perhaps it was in metal.) This is the original of the Nanni di Bvnco on the N. door of the Cathedral, where, however, the two trees to the R are replaced by a tree and a bear. Compare them. Do not rest satisfied with verifying this brief description alone, but sit long, and observe the other details, such as the candlestick angels at the corners, supported by beautiful inlaid twisted pillars, with lions and lionesses alternately on their bases. Note also in detail the exquisite decorative work of the friezes, piers, and arches ; the beautiful scallop- shells ; and tlie character of the inlay. Every portion of this gorgeous work deserves long and close study. After looking at this magnificent masterpiece of Orcagna, my task to give I in it any mark of ing crown, nursing . announcement to ition of the Magi, ^ conventional. Do itiful angels on the jettes on the piers, have their names low, in the centre, a the Presentation of tar, fire, etc., are all »gel announcing the his subject from an three palms or seven jy a large relief of the a. Below, Our Lady soul, like a new-born ifith other saints, to R :, the Madonna in a J unusual) raised by Ih his hands raised to eld (1 think) by the ,er thumb. (Perhaps it of the Nanni di B vnco here, however, the two and a bear. Compare ng this brief description other details, such as the supported by beautiful , lionesses alternately on the exquisite decorative .5 ; the beautiful scallop- inlay. Every portion of nd close study. masterpiece of Orcagna, IX.] OR SAN MICUELE 229 it may be difficult for you to interest yourself in the other works in this singular church. The corresponding place in the L aisle is filled by the Altar of St. Anne, erected in gratitude for that saint's aid in the expulsion of Walter de Brienne, Duke of Athens. The usual conventional group of St. Anne holding on her knees the Mado.ina and Child is by Francesco di San Gallo. The central arch on the L contains a niche with the wonder-working Madonna from the outside of the church, transported hither in 1781, in order to preserve it from further injury by the weather. It is a regal crowned Madonna, almost recalling the French type, and is attributed to Simone Talenti (?) Of the fres- coes, comparatively few can now be deciphered. Among the most noticeable are St. Bartholomew, with his knife, on the pier to the L of Orcagna's shrine : beneath him, a predella of the flaying of the saint Next pier, a Trinity. The little scene below can be easily recognised. Last pier on the R, St. George, which remotely suggested Donatello's treatment. Below it, the Combat with the Dragon. Last pier, centre, St. Stephen, with his stone on his head. Beneath, his martyrdom. Many of the others may be spelt out OR bright mornings. I advise yoM to sit for some time in this church, to observe its architecture and decoration, and also to familiarise your- self with the details of Orcagna's great tabernacle. % SAN MINIATO aT is not often at Florence that one reaches down to the very earliest stratum of Christian hagiology, as one so often does at Rome or Ravenna. Santa Reparata and San Zanobi, indeed, are local saints belonging to the period of the early persecutions ; but the ancient church ot Santa Reparata has given way before the progress of the cult of Our Lady to the Cathedral of Santa Maria del Fiore, while the body "f San Zanobi now reposes in a Renaissance shrine, all glorious from the hands of Lorenzo Ghiberti. At San Mlnlato del Monte, however, we do really come upon a saint of the earliest layer of Christian martyrology, still enshrined in a church of early date and of fine Romanesque architecture. Minias or Miniatus, according to the legend, was a prince of Armenia, who served Rome in the legions of Decius (about 254 A.D.). Accused of Christianity when the Emperor was encamped outside the city of Florence, on the hill which now bears his name, Miniatus confessed the truth, and was condemned to be thrown to the beasts in the amphitheatre— who of course declined to harm him. The usual varied attempts to kill him which followed, all fiailed in the usual way ; but at last he was beheaded, a fate which no saint, not even St. Denis, could ever permanently survive. From a very early period, it is probable that a church on this site covered his remains, which still exist here. The present basilica (such is its official title), a beautiful specimen of Tuscan-Romanesque architecture, dates in part from the year loio. With the group of buildings about it, forming part originally of a Benedictine monastery, it is conspicuous '*"4 X.] SAJV MINIATO 331 ne reaches down to Christian hagiology, la. Santa Reparata Its belonging to the »e ancient church ol the progress of the mta Maria del Fiore, jses in a Renaissance ^orenzo Ghiberti. At e do really come upon tian martyrology, still d of fine Romanesque irording to the legend, 1 Rome in the legions d of Christianity when he city of Florence, on Vliniatus confessed the )wn to the beasts in the cd to harm him. The hich followed, all failed beheaded, a fate which er permanently survive. sable that a church on \ still exist here. The ;le), a beautiful specimen :, dates in part from the Idings about it, forming lastery, it is conspicuous i$.'- from almost every part of the Lungarno. Choose a bright day on which to visit it. Read beforehand the legend of St. Benedict. Another saint, however, with whose history it is also necessary to be acquainted in order fully to understand San Miniato is a much later one, San Qlovannl Qualberto, the founder of Vallombrosa (985-1073). Giovanni was a member of a wealthy Florentine family. An assassin murdered his brother Hugo. By the custom of vendetta, which then universally obtained, Giovanni ought to have killed the murderer. As he mounted one Cood Friday towards San Miniato, with armed followers, he unexpectedly met the murderer, defenceless, at a turn of the road. The assassin, taken by surprise, fell at his feet and begged for mercy, for love of Christ and Our Lady. Giovanni, moved by pity, forgave him, and went on to San Miniato, where he threw himself trembling before a crucifix. Instantly, the Christ on the cross nodded his head in approval. Deeply stirred by this incident, Giovanni became a Benedictine monk in the monastery of San Miniato : but afterwards, finding the discipline too lax for him, he retired to Vallombrosa, where he founded a sterner and more ascetic order. The crucifix which performed the miracle, and many other mementoes of the saint, still remain at San Miniato. (See the beautiful legend in full in Mrs. Jameson.) Remember, therefore, three things about this church : (1) it is the church of a Benedictine monastery ; therefore it is full of pictures of St. Benedict : (2) it is the church of the eariy local Armenian martyr San Miniato, over whose body it is raised : (3) it was hallowed by its association with San Qlovanni Qualberto.] Walk or drive as far as the Porta San Niccol6. Then, take the zigzag path up the hill, as far as the Piazzale Michelangiolo, on the Viale dei Colli. From this point there is a * fine view of Florence. In the centre of the Piaz- Ue stands a copv in bronze of Michael Angelo's David (m.. the Belle Arti), origin.:lly intended to replace the marble L_ 333 FLORENCE [X. figure rerroved fron. outside the Palazzo Vecchio, but after- wards placed in its present site because the dark background, which suited the marble, destroyed the effect of the bronze copy. At its base are similar copies of Day, Night, Dawn, and Dusk from the Tombs of the Medici at San Lorenzo. The small church, among cypresses, a little further up, is attached to the Franciscan monastery of San Salvatore al Monte; it was built by Cronaca in the year 1504. Its in- ternal proportions are simple but pleasing. Above the High Altar is a Crucifixion, with St. Francis close to the Cross, and the Madonna and St. John. (The Franciscans always attach special importance to the cross and crucifix.) Over the L door is a Pietk, by Giovanni della Robbia. Notice throughout the Franciscan character of the decorations. Continue up the hill as far as the fort, erected by Michael Angelo in 1529, and defended by him for 1 1 months against the imperial troops, who besieged the town to restore the Medici. Pass in by the gate of Michael Angelo's fortress, with the Medici balls now triumphantly displayed on its doorway, and ring the bell at the door in front of you. (The custnde expects a few soldi.) Stand on the platform in front of the church, to observe the faqade and the Palace to the R of it (about 1294). The front (about 1013, restored 1401) is in the Tuscan- Romanesque style, and not unlike the Baptistery or the early part of Santa Maria Novella. Above are beautiful pilasters and inlaid work, on the gable of the nave, which is connected with the aisles by triangular half-pediments. (Compare with Santa Croce and Santa Maria Novella.) Over the principal window on the front is a too-much- restored 13th cent, mosaic, representing Christ enthroned, on a very Byzantine seat, with Our Lady to his R and San Miniato to his L, holding in his hand a problematical object wh'-h is apparently a crown (but I do not feel sure of it). Do not overlook the eagle on the top, the beautiful cornice, and the heraldic animals in the gable. Observe also the lions supporting the pillars of the upper window, with its exquisite inlaid-work. The campanile, ruinous, is of 1 524. I [x. ecchio, but after- dark batsground, feet of the bronze lay, Night, Dawn, San Lorenio. little further up, is 5an Salvatore al year 1504. Us in- g. Above the High close to the Cross, Franciscans always and crucifix.) Over lla Robbia. Notice the decorations. t, erected by Michael or 1 1 months against town to restore the lael Angelo's fortress, ntly displayed on its in front of you. (The n the platform in front and the Palace to the 401) is in the Tuscan- the Baptistery or the Above are beautiful le of the nave, which is npular half-pediments. Santa Maria Novella.) front is a too-much- iting Christ enthroned, Lady to his R and San d a problematical object [ do not feel sure of it). ,p, the beautiful cornice, able. Observe also the upper window, with its nlle, ruinous, is of 1524- X.] SAN MINI AT 233 Enter the church, which '<« in form a simple Basilica, with an Apse of the tribune, but with its Choir raised by steps above the Crypt. As it stands, it is the oldest church in Florence, save perhaps the Baptistery. Notice the beautiful side arches of the Nave, supported by columns, whose marble is unfortunately artificial. Observe also that the roof is largely supported by three arches across the Nave, borne by clustered pillars, dividing it into three main compartments. Nave, arches, and tribune are almost entirely covered with ornamental marble decoration. Notice also the inlaid floor, with the Signs of the Zodiac, and animals in pairs on either side of a tree, together with the frequent Romanesque device (once Etruscan and oriental) of two birds pecking towards a centre. (See Goblet d'Alviella's Migration of Symbols.) In the R aisle, ruined frescoes ; the first exhibits, centre, the Madonna and Child, L, St. John Baptist, St. Mark the Evangelist, ind St. Francis, R, St. John the Evangelist, St. James, and St Antony Abbot, attributed to Paolo di Stefano. Further on, groups of saints, indistinctly traceable. Among them I mak^ out St. Nicholas of Bari with his golden balls, and probably Santa Reparata. On the pier, St. Mary Magdalen, clad with her own hair, in her cave in Provence. Next her, St. Catherine, San Miniato, St. Julian, and a fourth figure with a Cross and instruments of the Passion, of which I am not certain. All these are perhaps by Spinello Aretino (?) Before mounting the steps, which lead to the raised choir, observe, in the centre, the beautiful little canopy or Chapel, erected for Piero de' Medici after a design by Michelozzo, in order to cover the famous Crucifix, which bowed its head to San Giovanni Gualberto, the founder of the Vallombrosr.n order, when he pardoned the murderer of his brother. The altar-piece is a composite picture, (attributed to Spinello Aretmo ?) with San Miniato, crowned, to the R and San Giovanni Gualberto, bearing the Crucifix, to the L. In the centre are scenes from the Passion, with an Annunciation, Ascension, etc. ^ mmtmmm msKmss ia e smsi im&mJi s m! ' mm FLORENCE I* Now. mount the steps to tj« "'*^ ^^^^^ the canopy. yo«dosothcbeaut.f« walo thecnrp^^^^ ^^ y„„, ^ at Is well as the interestmg roof of the la ^^^^ ^^ ^^^ the top otcl.e stairs, are three, ^ts^^« ^^ ^^^ ^^^ ,!„„« Magdalen and Santa Reparata wt _^ ^^^ clearly recognisable ^^J™"^^ ° ^^u i„ inlaid marble ^screen of the Choir, a most lovely ^^^^^^ «";; mosaic patterns of Ro-- J/ J^^J^t device of men in detail, and note parfculariy he q^^ ^^^ ^^^^^^ ^11 and winged monsters on "^^e' ^ Romanesque work, these figures are lovely «PJ<^^^^"»^ ^,,^ Us lectern sup- The **pulplt. raised °" J"';^ t human figure, above ported by an eagle, standing ^^^^^ beauty. AH ns a lion, is also a ^^^j'^ °^. ""^"Jd. Look into the hand- details should be carefully mspectea ^^^^^ ^,^^ craft of all this work '^'°^'\X'^;.Zos.\c, .2th cent. (?). Apse of the Tribune ^as an arly in ^^^ ^^^ very much restored 0" '388, MS., a ^.^^ ^^^ ^^^^^ ■ stiU extremely beautiful, of Chm^essj.^^ ^^^ ^^^^^ and omega on e'^*'" f^^"^ ^ ^nds the Madonna, to h,s . style of the throne, ^o h.s Rj^ ^ ^^, ^rown, as X."SanctusMi.»atus,RexErm.me^ ^^^ ^^^^^^ ^^^j,, if offering it to the Sav-- Benea\ ^^^^^^ ^^^.^^ ^^^„. Four Evangelists, with ^^^""^^ ^^,^ j^dudes cur.ous The detail of th.s ^^'^''"^^IZL The Byzantine type trees, with birds and o^er amma ^^^^^ . ^^ of the decorative adjuncts is well ^^^ ^.^^^ j^^^,,,^ under surface of the f/^ ^^J^'^as. and busts with haloes, alternately whole lenghnmandor. ^^^^^ ^^ ^^^ divided by birds P"^'"'^ . \" observe also the inlaid mosaic is the figure of the^^^^^^^^ Us windows blocked decoration of the Apse, o by translucent slabs of marble. ^^^^^ j^^^.est. ^'on the K wall of the ^ho- are Pi« - ^^^ ^.^^ ^^ ^^, ,, triSrr^^Sn. over the K altar. San loir, noticing as !hind the canopy, To your R, at ig whom St. Mary r lily are alone is the exquisite 'k in inlaid marble le. Examine these lint device of men the doorway. All Romanesque work, ith its lectern sup- human figure, above ry beauty. All its Look into the handi- ter the Choir. The nosaic, 12th cent. (?), our own time) but sing, with the Alpha Notice the Byzantine the Madonna, to his Holding his crown, as are the beasts of the marked beside them, work includes curious The Byzantine type th attention. On the ide are minor figures, i, and busts with haloes, e comer of the main bserve also the inlaid ti its windows blocked :tures of local interest. Vliniato, with his sword, ctures, the various in- Further on, saints, too Over the R altar, San X.] SAN MINI A TO 235 Giovanni Gualberto, holding his crucifix. The L altar has a late picture of San M iniato, with other saints, to whom Our Lady is appearing. On the wall beyond is a Pietk. By ihe steps, in thr L aisle, as you descend, fresco of St Jerome. Now, enter the depressed Crypt, the arrangement of which will help you to understand such later churches as St. Denis near Paris, where transepts ar,c added to this simpler Basilica. The choir is supported by small columns, mostly very ancient, with various capitals, all of which deserve notice. The much larger columns which support the roof of the Nave pass through the vaulting of the choir without bearing any of its weight. The chapel at the end, with graceful fluted columns, and frescoed vaulting, contains a High Altar, under which still rep< se the remains of San Miniato, for whose sake the church was erected. Half-way down the L aisle is the Chapel of St. James, built in 1 46 1 by Rossellino, to contain the *Tomb of Cardinal James of Portu8;al, which forms its principal object. All the sculpture is by Rossellino. The Cardinal lies on a bier, supported by charming children. Above, kneel two angels, one of whom holds a crown. Higher still. Madonna and Child, in a frame supported by flying angels. The decorative work of the base and sides is very beautiful So is that of the entrance arch, and the niches by the win- dows. Observe the mosaic floor. On the ceiling are four winged cardinal virtues by Delia Robbia. On the L wall, above the marble seat, is an Annunciation, formerly attributed to Pollaiolo, but referred by Morelli to Baldo- vinetti. The frescoe«, attributed to the Pollaioli, bat similarly assigned by Morelli to Baldovinetti, represent the Four Evangelists, accompanied by the Four Doctors of the Church, in the usual combination. Further on, in the L aisle, is a Crucifixion with various saints, amongst whom St. Benedict is conspicuous, close to the foot of the cross. Among the others are probably the Madonna and St. John, St. Stephen and Santa Reparata, St. Francis and St. Antony Abbot. Further still, Madonna i* FLORENCE [X. and Child, in a mandoria of clierubi, with R, St. Jerome and St, John Baptist i L, St. Benedict and St. I awrencr. 1 am not quite sure of all these iden:ificntions. Note the fine wooden roof of the Nave, and the frequent repetition throughout of the Florentine eagle of St. John. Gel the Sacristan to open for you the door of the *Sacristy, on the R side of the choir (fee, about 50 c). It contai'is *frescoes by Spinello Aretino, extremely appropri- ate to a Benedictine Abbey. On the roof, the four Evan- gelists with their emblems (by another hand, I think). Beneath, an admirable scries of the Miracles of St. Bene- dict. These run chionologically in a curious spiral order, the top first, then the bottom, running on one plane ; but for convenience of description, I treat them by walls. Wall facing you as you enter : above, l, St. B. leaves his father's house on horseback : R, St. B. performs the miracle of the broken dish. Below, L, Totila, King of the Cloths, comes to visit St. B. at the monastery of Monte Cassina and the saint prophesies ; R, death of St. B., whom on*; of his monks sees ascending to heaven, along a broad wa/ covered with brocade. Wall to tho R : above, L, St. B. puts on the monastic dress, and receives investiture in his cave from the monk Romano. R, St. B. receives a message from a priest inspired by God. Below, I., St. B. resuscitates a young monk, killed by the fall of a wall at Monte Cassino (note the devils) ; R, St. B. observes a young monk who leaves the church at prayer-time tempted by a devil ; he scourges the monk, and exorcises the devil. Entrance wall : above, L, St. B. mortifies the flesh by lying among thorns: R, St. B. is proclaimed prior of the monastery. Below, L, St. B. discovers water for the convent, and makes a lost axe swim on the surface ; R, St. B. sends forth St. Maurus to rescue St. Placidus, who has fallen into a river. Window wall : above, L, St. B. abandons the convent, to the joy of the rnonks, who found his discipline too severe : R, *St. B. receives Maurus and Placidus as novices from the hands of their parents. Below, L, St R. exorcises devils who prevented the removal of a stone : R, St. B. recognises Mfiaarsii&- [X. .ih R, St. Jerome , St Lawrrncu. i ns. and the frequent glc of St. John, the door of the J, about 50 c.). It extremely appropri- ,of, the four Evan- ,er hand, I think). liracles of St. Bene- curious spiral order, on one plane ; but cat them by walls. e I,, St. B. leaves his performs the miracle King of the Goths, i'ry of Monte Cassina f St. B., whom on': ol I-., along a broad wa/ R: above, L, St. B. eives investiture in his :. B. receives a message w, I, St. B. resuscitates wall at Monte Cassino es a young monk who empted by a devil ; he the devil. Entrance e flesh by lying among »rior of the monastery. the convent, and makes R, St. B. sends forth St. has fallen into a river, bandons the convent, to is discipline too severe: cidus as novices from the L, St B. exorcises devils lone : B, St. B. recognises X.] SAJV MINIATO 337 the armour-bearer whom Totila had sent to him, disguised as the king. Now that you know the subjects, follow them out in the proper order. These fme frescoes with their dignified treatment of St. Benedict and tlieir varied action, are the best specimens now remaining of Spinello's work- manship. They were restored in 1840. It you return to Florence by the steep steps which run through a cypress avenue direct to the Porta San Miniato, you will pass on your way (according to Hare) a little shrine which marks the place where San Giovanni Gualberto for- gave his brother's murderer. But I will honestly confess that though I have searched for it more than once, I have failed to find it MfffwiiniaiwiiWMMiiiwaiwiR mmB^mmmmm XI THE ETRUSCAN MUSEUM u . Ka. pver been 'lone in Italy, r r- VERY great thing that ^"/^^ Vu«:.n.. Ron- It. late or early, has been don« by Etr ^^^.^ lb(l was a half-Tuscan o P0=^. d-.^^^^^^^.„^ „,y, ^e and Etruscan blood. Her arts a ^^^^.^ j„ j^^^ even of her W-ngs. were »"PP ;7°; ^^ ^^uscan Maecenas days,heren.pirewasorgan.sedby ^^^ ^^^^.^^^ ^^^^^ and the Etruscan Sej*""'^ ; ,,„s showed themselves Etruscans -l°"« ^ ,l.m£ng Assyrian, Egyptian, and capable of f-''f"">;^;trh Roman Empire began to break Hellenic culture, ^hen tne ^^ ^^^^^^^^ g^eat- up, Florence ^^-""l/J^^f " also did in equally Etruscan ness •. art awoke the e as ^^ .^ j^^jy „.de the Pisa, Siena, and P'='^"8>^;^j^t things done ; all the famous ,ider Etruscan area were . ea th g .^^^^^^^^^^^ ,,,„ ars, poets, painters, ^^ulptors, archUe J ^^^^^^ ^^ ^^^^ and men of science were «« J por besides Tuscany Regions that had once ^"n ^^^"J'^f,^ .peaking ethnically) proper, with its outhers m Romejl P^^ ^^^^^rdy, w.th Ld Capua. Bologna wafi^uscan,^^^ ^^.^^ ^^^.^^ .^^^^^ Mantua and R*^«"f ' ^^..'r Etruscan or half-Etruscan «as founded by re ugees J "^ ^^ therefore, wh.le and half-lllyrian ^^^^^'-J^.^ZaL Etruria. to learn you are here in the capita^ «' ^^^.^^^ ^.^..^ Lmething of the arts -^ "' ^ last edition of Denms's The best book on the ^^^^^^'^ But in order to gam a Cities and Cemetenes of ^tfu ^ ^^^.^^ ^^ ^-^^^'^. tXSi :SuoTEtr««:an Museum of Flor- begin with a briet visii ^ XI.] THE ETRUSCAN MUSEUM 339 JSEUM r been done in Italy, Btrutcans. Rome ^idcd between Latin :renionies, nay, some by Etruria. In later . Etruscan Msecenas he earliest date, the i showed themselves .yrian, Egyptian, and ",mpire began to break tor of Etruscan great- d in equally Etruscan . in Italy outside the s done ; all the famous philosophers, scholars, n blood, or came from For besides Tuscany im speaking ethnically) as all Lombardy, with old : while Venice itself uscan or half-Etruscan »s you, therefore, while odern Etruria, to learn of the ancient Tuscans. I last edition of Dennis's But in order to gain a as like, I advise you to iscan Museum of Flor- ence, in the Via dolla Colonna. Open daily from lo to 4, one franc ; free on Sundays. I will give but the briefest generalised account, leaving you to pursue the subject further at your leisure if you tind it attracts you.] The First Room to the L on the Qround Floor containi very early hut-ihaped sepulchral urni from the necropolis of Vetulonia. The earliest tombs in Europe were under- ground houses (or chambered barrows) in which the dead were buried with their a.ms and goods, to lead their subter- raneous life as above ground. After burning came in, these smaller hut-shaprd urns for the ashes were substituted for real huts, the soul b'iing supposed to inhabit them as the body had inhabited the underground palaces. The cases also contain pottery of early native executiot veapons, etc., which were placed in the tomb for the use oi the spirit. The articles so buried included objects of personal adornment, bracelets, necklets, and decorative household ornaments. The Second Room contains bronzes and jewelry, mostly of somewhat later date, also from the necropolis of Vetulonia. The doorways are copied from those in the tombs. Observe throughout how the solid and massive but somewhat gloomy Tuscan type of architecture is derived from ancient Etruria, and has persisted with little change of spirit to the present day. This rojm also contains beautiful black pottery, as yet betraying little or no oriental or Greek influ- ence. In the glass case nearest the window, objects found in the tomb of a lucumo or prince at Vetulonia. The de- signs on all the metal- work in this room deserve close attention. !n the centre case, notice the exquisite gold jewelry, in miniature filagree work. The Third Roam contains objects from Vetulonia and Populonia, including stiff archaic stone mortuary figures, of about the 7th cent. These exhibit Egyptian affinities. Notice among them the early occurrence of the common oriental -.nd afterwards Tuscan design of the two birds facing one anotlier, seen at San Miniato and elsewhere. 34^ FLORENCE [XI. 349 designs ; also exquisite g«^dj^*^"'; ^any of the lamps S Populonia. Fme amphora, ^c- ^M ^V^^ ^^^ ^.^^^^^ and other terra-cotta objects m characteristic. tn the First Floor. To the R hes Mount the "^'''^^.^.^'r.^^X, to Egyptologists, the Egyptian Museum, mterestmg ^^ ^^^^^^^ As it is inferior to ^ho^e of U.e g« ^ ^^^ ,„,„erate Us especially London and Pans, objects. To the R hes ^^^3^ in the world, The Etruscan W"!^""';"; Approach it by passmg and of strictly loca ^^^''^^\^ ^fto take the vanous through the Egyptian Roo""^'/" halhm the most instrucuveorde ^^^ ,^ Hall VIU. begms f ^ ^^"^^.^^.ai pottery, of ear y splendid specimens of black M ^^^ necessary to date, with a few red ^P^Xrattention should be pad to enumerate these, but ^^""^^"^[^^^^ between the windows the beautiful group m and o" "«« » ^^ ^^i^^on to the Cult «Uh decorative figures ^^^^^^^^^^ ,^,^ sits ot» the top from sepulchral "'<>""™f "';•. „,^d works : those in case 1, Hall IX contains earW colo"jed ^ ^^^ ^^ ^^^ „.ainly of native "^^""/^^^^"^Xodels : case 111. imported in Eiruria, in imitation of oriental mo ^^^ ^^ ^^^^^ ll Corinth. The figures «.d desig ^^^^^^ ^.^^^^ ^^, deserve close attention. In tne bronze dishes. ns and decorative Hall X contains cases °/ ^^°"'^ .^^^^ ^^lue. Notice m objects, many of ^^^^^Xl^^ of a wounded ca*e 1, two winged Gen wit ^^^ ^^^^^ ^^j „ warrior, closely ^-^-f^'^l^l^^r hand suggesting the Egyptian F<='"'^«' ^"^Piet^ The same case contains ...-iv— lottery, with native Good C8t,e of corns Many of the lamps .nd case are highly qoor. To the R lies inly to Egyptologists, ^t European capitals, I not enumerate its le finest in the world, pproach it by passing s to take the various objects, and contains ^^tte,rv of early ican pottery, "• ' [t is not necessary to ntion should be paid to ,, between the windows, cial relation to the Cult rd which sits on the top the cases contain good ., placedwiththebod.es of the spirit. All come works -.those in easel, d design : case 11. made ,odels: case 111. imported designs on all of these centre, chased silver and « weapons and decorative artistic value. Notice in the body of a wounded n the one hand certain other hand suggesting the The same case contains . fine metal-work. In the XI.1 THE ETRUSCAN MUSEUM 241 i centre, magnificent fragments from Chianiano. In cases V to VII, weapons, mace, etc. In case Vili, notice exqui- site jars and mirror-frames from Telamone. Hall XI contains the best bronzes of the collection. In the centre, great bronze ^Chimaera of the 5th century, from Arezzo, considered by some experts to be of Greek workman- ship. R of the door, noble statue of ♦*Minerva, lower portion restored, also from Arezzo. To balance it, fine statue of an **Orator, admitted to be of native handicraft, and found near the Trasimene lake. Along the wall beside him, bronze figures, some of them of stiff archaic workmanship, represent- ing Tuscan chieftains and their wives, while others, later, exhibit the gradual increase of Greek influence. On the same wall, above case 5, animal figures, similarly progressing from archaic stiffness to the comparative freedom shown in the small bronze of a he-goat. In the case below, beautiful Etruscan rA^rrors, the most charming of which is one in silver with the Etruscp deities Aplu, Turms, and Tinia. Beside it, dice and other works in ivory. The small cases contain bro'".zes of various dates, similarly varying from the most ma iked archaic stiffness to perfect Greek freedom. Among the most beautiful is No. i, head of a young man, of native workmanship, belonging to the Roman period. Nos. 9, 10, II and 13, are also most interesting. The labels give the origin and age of the various figures. On the wall, smaller bronzes, many of them of great beauty. Case i, which is arranged in approximately chronological order, admirably exhibits the gradual change from "tiff early figures, with arms closely affixed to the sides, through those where the arms and legs are partially separated, to later forms in which unsymmetrical arrangement, variety of movement, and at last grace and freedom are more and more conspicuous. Retraverse Halls XI, X, and IX. Hall XII, a long corridor, contains painted vases, of Greek origin, imported into Etruria to be buried with the dead. The study of these can only be attempted by the aid of specialist works, such as Miss Jane Harrison's <7r^(?^ Vases. The earlier specimens have mostly black figures on a red Q :Mmmim*" .mm&mm^niimimt'st:!^''*^ 242 FLORET C^ [XI. g.ound; the later have ^ ^^t: or.^ ^or the ?abels sufficiently ^f^^'\'^'^Jt^^^, famous Fr.n«fol» casual visitor. In the ""traU^e ^ ^^^ ^^ ^^^ ^„^,, vase, so called from us first P°!'" A ^^^ ^n its decora- Ipt^ens of Greek fictde «U Th^ ubj .^ ^^^ ^^^^ ^^ tions are explained on th ^abel^ ^..^manship. Beyond R,are exquisite tazzas o^ ^^^ ^«. ^^^ ^^.^ , them, we come "P^^.r^^^J^d figures on a bkck ground gilt or silvered. contains the smaller Greek The First Room on t^e L con ^^^. ^^^^ ^^„,^ ar^d Roman bronzes removed from ^he Second personal study of these -'" ^^///JJ^ts, etc. Room contains the larger bronzes b ^^^^ Corridor mto Return through «^^^^3"^'^„ glass and in the prec.ous Hall XVUI. '^«"''^'";"J,2 nec^^laces, etc. In the cases, tnetals, mcluding ^^^P^^'l^^and Latin copper money, collections of heavy old Rornan an ^^ ^^ ^^,, ^^l. con- The next door to the L gwes ^^^ ^^^^^^^ ^^^o- tainiog life-sized sarcopha, for bu^^^.^^ ^^ to Dhag; for contaimng ashes atter ^.^ ^^ ^^^ S.the deceased recUnesh^^^^^^^^^^ ^^, ,,, ,,i sarcophagus, many of the poma, ^^^^ „e represented ar»d vigorous Etruscan f^atu.es^ ^^^^ ^^^^ j„ ^he.r onthA tombs as .f at a^^nquet^^ ^^^^^^j^^^.^.^.a- h.nds dishes or drinkmg vessel . Ro ^^^^^ ^^ . tions imitated from tombs. ^^ ^^^^^^^^ ,^^^ of Larthia - ^hich draw) *fine coloured ;er^^^^°^„ ^^^ ^^.^^, ,, Seiantia, from the «mete./ of ^ ^^ ^^^ ,,Her acces- this example the dress, jewelry, c represents an ties are highly chara.2ns-^^;:d,i;^ Etruscan lady, in her h^bu as s^^^^^^^^ 'the reader must be For the subjects on the ^^J^^'L^Jj^v. ./£<.«««■ deferred to Dennis's D.^-^^l^^^^^^ „f the latest Hall XXll contams sepulcnra. [XI. red on black. The and ori^'in for the e famous Francois ,r, one of the finest ibjects on its decora- ■ it, in the case to the ,rkmanship. Beyond re pictoriTl ard less esonabkckgiound. lottery, in imitation of B.C. In the opposite iny ot them originally ins the smaller Greek he Uffiri. Only close ^ value. The second ists, etc. ,e Long Corridor into ass and in the precious es, etc. In the cases, Latin copper money, cess to Hall XXI. con- rial, and smaller sarco- cremation. In most of aised, on the lid of the exhibiting well the able rhe dead are represented t and often hold in their Round the wall aredecora- be centre, under curtains .a-cotta tomb of Larthia Clusium, now Chiasi. In cushions, and ether acces- The Seure represents an .lived, in the 2nd cent B.C .hagi, the reader must be ■emeteriesofEtruna. ,1 monuments of the latest XI.] THE ETRUSCAN MUSEUM 24a and most civilised period, with subjects taken from Greek mythology sculptured on the sides. These are in most cases indic.ited on the labels. (Compare those in the Uflfizi.) Among the finest are No. 7, the Calydonian Boar ; 11, the Death of Oemomaus : 17, elc, Beneath these arcane tombs with figures holding tazzas and bearing traces of colour. Near the middle of the room, ''beautiful alabaster monument from Cometo, with Combat of Greeks and Gauls, exquisitely rendered. All the tombs in this room deserve close inspec- tion. In the centre, under curtains, **splendid sarcophagus, with painted figures of a Combat of Greeks and Amazons, This is one of the finest remaining speci.'nens of ancient painting, but is said by Dennis to be the work of a Greek artist. It comes, however, from Corneto, and is of local alabaster : the colours in parts are most fresh and vivid. Notice, near the window, several urns in which the deceased are represented as sleeping, not feasting, — this alternative conception belougiiig as a rule to a later date and almost leading up to the Christian idea. On the wall to the R are several duplicate representations of the same scenes, wliicli deserve close comparison. The most frequent subject is Polyiiices and Eteocles. . If this rapid survey of the Etruscan Museum has inter- ested you in the history and art of the ancestral Florentines and Tuscans, pursue the subject further by reading Dennis's Cities and Cemeteries of Etruria. A personal visit to one or two of the Etruscan tombs will, however, teach you more than much reading. The most accessible of these is the Tomb of the Volumnii, between Perugia and Assisi. It can be easily visited in the course of a drive from one of these towns to the other. The town walls and other remains of Volterra (Volaterras) and Populonia are in, some ways more important but less easy of access. From Rome the extremely interesting cemetery of Cometo (the ancient Tarquinil) can be easily visited. It contains a number of highly instruc- tive painted grottoes. Good Etruscan collections exist at Cortona, Perugia, and above all in the Vatican. ; •VJ-^*^''*' -i ■ xm THE RESIDUUM . , I have mentioned above "»'" ^risl^c ground. .. «f ^^.^^Ib. by Michael Angelo, '"'I'' ^^^ BrMCCd »«l»'- "' ^"„, the deficiency.! j ^ombs. A ,isi. t. >1««;^;" ^a °,o .he sacrist,. Ambrose 393 O ^"^ ^ j^^r after designs by Brune erected by Lorenzo the eia ^^^ M % Xll.] TBE RESIDUUM 245 ave mentioned above ,le the most important Me time is limited to tend to imply that the I have not yet alluded it interest, which ought, mk in the first order le Medici Tombs, by ,ty at San Lorenzo ; and ,lcl Chapel, by Maso- For 1 believe it is best !n till he has assimilated i 1 hasten now to fill "P 8 Medlcl Tombs. .riaken together. Go first ;he Sacristy. theViaCavour. Tuni L, dowrtheViaGori. Dia- iaxza, is the church of San Recollect (I) this is the Idicipalace; (2)it is dei, the Martyrdom of , Peter and St Paul le Crucifixion of St. ibute Money, in three jatherer demands the lin it ; L, Peter catches ulh ; R, he gives it to lay Florentine costume Rowing robes of Christ earlier Giottesque pre- nse improvement in the ;o Filippino Lippi, Fra ^hII ; below ; partly by , (Layard and Eastlake) n Magus challenges the re ; they accept ; Simon Paul succeed : from the paid to Pet ^', as in the res nearlv 1 the centre, leelinf naked bey are , to Masaccio. Try to lem. asolino. Preaching of St. )w of Peter (accompanied foimed. R side; jibov' ; unous nude, an epoch in Xlf.] THE RESIDUUM 249 "ll art ;) below, Masaccio, St Peter and St. John distributing alms ; at thair feet, probably, the dead body of Ananias. Thoroughly to understand these frescoes, you should previously have seen Masolino's work at Castiglione d'Olona, (best visited from Varese.) But, in any case, if you com- pare Masolino's part in these paintings with previous Giottesque art, you will recognise the distinct advance in composition and figure- painting which he made on his predecessors ; and if you then look at his far greater scholar, Masaccio, especially in the subject of the Tribute Money, you will observe how much progress that original genius made in anatomy, drawing, modelling, conception of the nude, realistic presentment, treatment of drapery, and feeling for landscape. Read all this subject up in Layard's Kugler, the same evening, and then come again next day to revisit and reconsider. The Sacristy contains a series of frescoes from the life of St Cecilia, closely coinciding in subject with those in the Ufifizi, but with a few more scenes added. I think they need no further elucidation. They have been attributed to Agnolo Gaddi or to Spinello Areiino. In the cloister (approached by a door from the R aisle) you will find a ruined ht%co by Masaccio of the Consecra- tion of this Church ; and a Madonna and Saints by Giovanni da Milano. C. The Annunziata In order fully to understand Andrea del Sarto, and to know what height can be reached by fresco, you must go to thi: Annunziata. T;>e Church of the Santissima Annunriata, in the Piazza called after it, was originally founded in 1250, at the period when the cult of the Blessed Virgin was rapidly grow- ing in depth and intensity throughout all Christendom. As it stands, however, it is mainly of the 15th to the !7ih century. Over the central door of the three in the portico is e. mosaic by Davide Ghirlandajo, with the appropriate subject of the Annunciation. The church belonged to an adjacent Servile Monastery, to which the door on the left gives access. ' X^Jtte(Wl«{ndM»n<»<l(:asing in colour. The interior of the church, with its double series of inter- communicatini; jhapels, has been so entirely modernized and covered with gewgaws as to be uninteresting. To the left, as you enter, is the vulgarized Chapel of the Vergine Annunziata, covered with a baldacchino erected in 1448, from a design by Michelozzo, and full of ugly late silver- work. It contains, behind the altar, a miraculous 13th century picture of the Madonna. The last chapel but one on the left has a good Assumption of the M,->donna in a mandorla, by Perugino : below are the Apostles, looking upward : the one in the centre is probably St. Thomas, but there is no Sacra Cintola. The angels are noteworthy. There is another Perugino, Madonna and Saints, in one of the Choir Chapels. The door to the L, in the portico, outside the church, gives access to the cloisters of the Servite Monastery, with many tombs of the order and others. In a lunette opposite you as you enter, under glass, is a **fresco of the Holy Family, by Andrea del Sarto, known as the Madonna del Sacco, and very charming. It represents the Repose on the Flight into Egypt, and takes its name from the sack of hay on which St. Joseph is seated. D. Santa TrinltiL The exterior is uninteresting. The interior is good and impressive Gothic; about 1250, attributed to Niccol6 Pisano. L aisle : 2nd chapel, copy of Raphael's (Dresden) Madonna di San Sisto. 3rd chapel. Annunciation, probably by Neri di Bicci. 4th chapel, altar-piece, Coronation of the 352 FLORENCE [XII. Virgin, Giottesque ; the laintt are named on their haloet. 5th chapel, lean wooden penitent Mii)(dalen in the deiert, by Desiderio da Settignuno, completed by Uenedetto da Majano. R alale, beginning at cl.c- bottom, ist chapel, St. Maximin brings the Eucharist to St. Mary Magdalen in the Sainic Uaume or cave. 3rd clupel, Giottetque Madonna and Child, with L, St. Andrew and St. Catherine ; K, St. Nicolas and St. Lucy, 4th chapel, closed by a screen ; excellent frescoes, much restored, probably by Don Lorenzo Monaco ; History nf the Virgin, the usual series ; L wall, above, Joachim expelled from the Temple ; below, Joachim and Anna at the Golden Gate ; ultar wall ; I., liirth of the Virgin ; K, her Presentation in the Temple ; altar-piece, certainly by Don Lorenzo, ^Annunciation ; R wall, below, Marriage of the Virgin ; above, her Death. Note also the frescoes on the vaulting. This is a good place to study Don Lorenzo ; compare these with the two similar earlier series by Taddeo Gaddi and Giovanni da Milaiio at .Santa Croce. 5th chr.pel, *inarble altar by Benedetto da Rovez- zano. In the transept, or rather, 2nd chapel K of High Altar (at the time of writing, cut off for restoration) known as the Chapel of the Sassctti, **frescoes from the life of St. Francis, by Dom. Ghirhindajo, 1485 ; subjects and grouping nearly the same as those of the GiotiDS in Santa Croce, with which compare these Renaissance adaptations. Begin at upper L compartment, and read round, (i) St. Francis quits his father's house, and renounces his inheri- tance, (a) Pope Honorius approves the Rules of the Order. (3) St. Francis offers to undergo the Ordeal of Fire before the Sultan. (4) St. Francis receiving the Stigmata ; Pisa and its Campanile in the ba (ground. (5) A local Florentine subject; St. Francis resto. 3 to life a child of the Spini family, who had fallen from a window. The scene is in front of this very church ; in the background, the Palazzo Spini (now Vieusseux's library), and the (old) Ponte Santa Trinitk. (6) Death of St. Francis. Compare this fresco in particular with the Giotto, the composition of which it closely follows. As usual, Ghirlandajo introduces numerous por- !Hl^l'->ke familiar. |nned only visit when se in Florence. works of very high epresentationsof the 1 Refectories of sup- g. We have already e) and at San Marco Jhirlandajo, almost a santi ; a notice marks dmission, daily, 25c. ; inted to have as good . The room contains n paintmg -md sculp :r is that known as the Faerza ; notice on the :i. It occupies the end istery of Sant' Onofrio, gino. It was once at- y has been assigied to y stages his fine-t work. ne of the most beauti- er Last Supper is to be onvent of Sant' Apol- e ; it is by Andrea del other works have lately is little museum offers hat able and vigorous Imission, as in the two \ndrea del Sarto at San lur little shows in close the subject beforehand, 1 the Hospital of Sunta XII.]- THE RESIDUUM 255 Maria Nuova, founded by Folco Portinari (father of Dante's Beatrice), and full of memories of the Portinari family. Then, visit the little Picture Qailery of the Hospital (the Custode at the door conducts you to it ; soc. each.) It con- tains many objects of interest, and two masterpieces. One is a ** triptych by Hugo van der Goes, the Flemish painter, produced for Tommaso Portinari, agent of the Medici at Bruges, and brought by him to Florence ; it is doubtlesu the finest Flemish work in the city. Centre, the Nativity, with St. Joseph (?) and adoring shepherds, as well as charming angels, and some exquisite irises. Every straw, every columbine, every vase in this admirable work should be minutely noticed. L wing, the donor's wife and daughter, presented by their patron saints, St. Mary Magdalen, with her alabaster box, and St. Margaret, with her dragon. R wing, the doner and his two sons, presented by St. Matthew (?) and St. Antony Abbot It deserves long and attentive study. In the next ro^m, Fra Bartolommeo and Mariotto Albertinelli, * Last Judgment, much damaged, but important as a link in a long chain of similar subjects. See in this con- nection the great fresco in the Campo Santo at Pisi, the one at Santa Maria Novella, by Orcagna, the panel here, to collate with it, and finally, Michael Angelo's marvellous moderniza- tion in the Sistine Chapel of the Vatican, which takes many points from this and the earlier representations. The rooms also contain several other interestmg pictures. The Chapter-house of the Convent cf Santa Maria Mad- dalena del PazzI (a local saint, belonging to the Pazzi family ; see Santa Croce), contains a noble **Crucifixion by Perugino, one of the finest single nicturjs in Florence. Ad- mission, daily, 250. ; free on Sunday. It is in three com- partments. Centre, Crucifixion, with Mary Magdalen, kneel- ing • L and R, the Madonna and St. Jchn, standing ; and St. Bernard and St. Benedict kneeling. The remarkable abstract- ness and isolation of Perugino's figures is nowhere more observable ; it comes out even in the three trees of the L background. The Spedale degli innocent!, or Foundling Hospital. „^ 256 FLORENCE [XII. near the Annunziata, should be visited both for Us charming babies, by Andrea della Robbia, and for its beautiful **altar- piece of the Adoration of the Magi, with St. John Baptist of Florence presenting two of the massacred Innocents, by Dom. Ghirlandajo. This is a lovely and appropriate picture, the full meaning of which you will now be in a position to understand. (The church is dedicated to the Holy In- nocents.) The lovely landscape and accessories need no i)ush. In the background, the Massacre of the Innocents, the Announcement to the Shepherds, etc. A masterpiece to study. For everything else within the town, I must hand you over to Baedeker, Hare, Miss Horner, and Lafenestre. A stray afternoon may well be devoted to the queer little church of San Leonardo in Arcetri, outside the town, on the s. side of the Arno. To reach it, cross the Ponte Vecchio, and take the second turn on your L, under an arch that spans the roadway. Then follow the steep paved way of the Via della Costa San Giorgio (which will probably reveal to you an unexpected side of Florence). The Porta San Giorgio, which pierces the old walls at the top, has a fresco of the Madonna, between St George and St. Leonard, the latter bearing the fetters which are his usual symbol : on its outer face is a good relief of St. George and the Dragon, (Note relevancy to the parishes of San Giorgio, below, and San Leonardo, above it.) Follow the road straight to the little church of San Leonardo on your L. (If closed, ring at the door of the cottage in the garden to the R of its facade.) The chief object of interest within is the pulpit, with rude reliefs of the 12th century, said to be the oldest surviv- ing pulpit-carvings, brought hither from San Pietro Scherag- gio, near the Palazzo Vecrhio. It has been suggested that these quaint old works gave hint? to Niccol6 Pisano for his far ..IS and beautiful pulpit in the Baptistery at Pisa. But it must also be remembered, _;?rj/, that these subjects already shew every trace of being conventionalised, so that in all probability many such pulpits once existed, of which Niccol6's is only the finest artistic outcome ; and, second. [XII. jth for its charming its beautiful **altar- ^h St. John Baptist kcred Innocents, by appropriate picture, be in a position to ;d to the Holy In- accessories need no ;re of the Innocents, etc. A masterpiece n, I must hand you and Lafenestre. ed to the queer little outside the town, on ossthePonteVecchio, , under an arch that steep paved way of the vill probably reveal to ce). The Porta San at the top, has a fresco t and St. Leonard, the \s usual symbol : on its eorge and the Dragon. San Giorgio, below, and he road straight to the jrL. (If closed, ring at 1 to the R of its fafade.) lin is the pulpit, with I to be the oldest surviv- rom San Pietro Scherag- las been suggested that J Niccolb Pisano for his Baptistery at Pisa. But hat these subjects already tionalised, so that in all once existed, of which ic outcome ; and, secotiJ. r* Xll.] THF ESIDUUM 357 that the figure here which most suggests (or rather fore- shadows) Niccolft (the recumbent Madonna in the Nativity) is the analogue of the very one in which that extraordinary genius most closely imitated an antique model in the Campo Santo at Pisa. We may therefore conclude that Niccol6 merely adopted a conventional series, common at his time, of which this is an early and inferior example, but that he marvellously vivified it by quasi-antique treatment of the faces, figures, draperies, and attitudes, at the same time that he immensely enriched the composition after the example of the antique sarcophagi. The series as it at present exists on this pulpit is out of chronological order, doubtless owing to incorrect putting toge*her at the transference hither. The scenes are, from L to R, Presentation in the Temple ; Baptism of Christ ; Adoration of the Magi ; Madonna rising from the stem of Jesse ; Deposition from the Cross j and Nativity. All should be closely observed as early embodi- ments of the scenes they represent. Among the older pictures in the church, the roost interest- ing are, on the same wall, the Madonna dropping the Sacra Cintola to St. Thomas, attended by St. Peter, St. Jerome, etc. ; and, on the opposite wall. Madonna with St. Leonard (holding the fetters) and other saints readily recognised. You can vary the walk, on your return, by diverging Just outside the gate and following the path which leads along the old walls, with delicious glimpses across the ravine towards the Piazzale, and re-entering the town at the Porta San Minialo. I am always grateful to a book, however inadequate, which has taught me something. Nobody could be more aware than its author of the shortcomings of this one. I shall be content if my readers find, among many faults, that it he's helped to teach them how to see FlT-ence. Others m.'.y know Floren»e more intimately : no one could love it better. INDEX Accademia delle Belle Arti, The, 88-137, Albany, Countess of, ai, 33. Albert!, Leon Battista, 35. Albertinelli, Mariotto, 154. Alexander, The Dying, 183. Alfieri, 31. Andrea del Sarto, loi, 150, 154, 186, 189, 193, 195, 199, 349-351. Annunziata, The, 349-351. Armour, Collections of, 305, 313. Arno, The, 13, 14. Arnolfo di Cambio, 19, 53. Badia, The, 353. Baptistery, The, 15, 53-63. Bargello, The, 305-333. Belle Arti, The, 17, 88-»37. Bellini, 167. Benedetto da Rovezzano, 307. Benedict, St. , 336. Benozxo Gozzoli, 85-87. Boar, Sculpture of, 177. Botticelli, 98-105, 147-149, 155- »S7. 174. 175. ^'t- 2S3- Brancacci Chapel, The, 347-349. Bronzes, Collections of, 313-316. Brunellcschi, 53, 66, 184, S15, 345. Byzantine Pictures, 108, 134. Byzantine Sculpture, 313, 334, Campanile, The, 71, 233. Cantorie, 68, 69. Capella Bardi, 37. Capella de' Pazzi, 31. Capella Peruzzi, a6. Carraud Collection, The, 310. Cathedral, The, 53-71. Cellini, Benvenuto, 131, 316. Cenacolo, The, 354. Chinisera, The, 341. Chiostro Verde, The, 45. Cimabue, 37, 109. Cima da Conegliano, 168. Correggio, 161. Cosmo Pater Patrice, 83. Cosmo de' Medici, 17. Cosmo, St., 16. Crucifix, The, 333, 333. Damian, St., 16. Dante, 14, 31, 67, 3ta. David of Donatello, The, 309. David of Michar* Angelo, The, 94. David of Verrocchio, The, 314. Delia Robbia, 34, 35, 31, 66, 68, 316-319. Dominicans, The, 16, 33, 73, 73. Don Lorenzo Monaco, 173. Donatello, 31, 30, 69, 131, 308- 3IO, 315, aas. ""6, 345, 346. Doors, Bronze, 56-61. Drawings, Collection of, 176. Duomo, The, 53-71. Direr, 159. 163, 197. Egyptian Museum, Ttie, 340. Etruscan Museum, The, 338-343. Etruscans, The, 13, 338. Fiesole, 13. Fra Angelico, 73, 74-77, 78-80, 83, 83, 107, 118-135, »49. '^SS' 174. 3SS- tL The, S3-7»- envenuto, 131, ai6. , The, 354. The, 341. Verde, The, 45. ■ 37. >09- Conegliano, 168. 0, 161. 'ater Patriae, 83. le' Medici, 17. St., 16. The, 333, 333. 1, St.. l6. 14, 31, 67. aia. jf Donatello, The, 209. )f Michae' Angelo, The, 94- of Verrocchio, The, 314. Robbia, 34, 35, 3». 66. 68, 319. licans. The. 16, 33, 72. 73- ^orenzo Monaco, 173. ;elIo, 31. 30. 69- »3»' «^- , 315, "'S' "'6, 343. 346. I, Bronze. 56-61. ings. Collection of, 176. JO, The, 53-71. r, 159, 163, 197- tian Museum. The. 340. ican Museum, The, 338-343. scans, The, 13, 238. '•*' '3- Angelico, 78, 74-77. 78-«>> , S3, 107. U8-135, 149. iSS. 4. ass- fVDEX 259 Fra Bartolommeo, 73, 81. Francis of Assisi, St. , 18. Franciscans, The, 16, 18. Franfois Vase, The, 349. French Sculpture, 311, 312. Gaddi. Agnolo, aa, a8, no, 138. Gaddi, Taddeo, 33, 31, 49, no. Gents, Collection of, 164. Gentile da Fabriano, 106, 17a. Ghiberti, 58-60, 66, 314, 315. Ghirlandajo, 40, 97, 1115, 144, :>4, aS3, 353, 356. Giorgione, 170, 171. Giotto, a6, 37, 38, 54, tto, iia, aia. Gloss, 319. Greek Vases, a^i. Guilds, The, laS, 333. Hermaphrodite, The, 18a. Holbein, i6a. Hospital of Santa Maria Nuova, 353. Ivories, Collections of, an, 313, an. Joseph, Patriarch of Constanti- nople, 37. Judith of Donatello, The, 131. Lawrence, St., 17, 344. Leor.ardo da Vinci, 144, 153, 199- Limoges Enamels, 314. Lippi, Filippino, 38, 96, 97, 98, 100, 103, 146, JSi, 153, 3n, 346, 348, 353. Loggia dei hsunzi, The, 139, 130. Lorenzo de' Medici, 17, 347. Lorenzo di Credi, 145-149, 155. Lorenzo the Magnificent, 17. Macbiavelli, 21. Madonna deUa Sedia, Tlie, 191, Mantegna, 166. Martini, Simone, 137. Masaccio, 347-349. Masolino, 347-349. ^ Medici, The, i6, 17, 73. Medici Palace, The, 84-87. Medici Tombs, The, 346. Medici Venus, The, 18a Memling, 163. Memmi, Lippo, 137. Michael Angelo, si, 94, 160. 306, 308, 332. 346. Michelozzo, 7a, 319, 333. Mino da Fiesole, a3i. MiiTors, Etruscan, 341. Niobe, Sculpture Group of, 183, Ognissanti, The, 353. Opera del Daomo, The, 68-71. Orcagna, 42, 43, 226-2'-''. Or San Michele, 223-339. Palazzo Vecchio, The, ij8, 139. Perseus of Cellini, The, X31. Perugino, 94-96, 159, 191, 255. Photographs, 50. Pisa, 14. Pisano, Andrea, 57. Pitti Palace. The, 184-204. Podesti, The, 205. PoUaiolo, 145. Portraits of Painters, 176. Pottery, 219, 240-243. Primavera, The, 99. Pulpits, 31, 334, 34s, 256. Raphael, 157-159. 189-192, 194, »9S. 197- Rembrandt, 10. Reparata, St., 17. Riccardi Palace, The, 84-87. Roman Emperors, 179. Roselli, Cosmo, 96. Rossellino, 335. Rubens, 186, 192, 195. ' 26o INDEX Rucellai Chapel, The, 35, 37. Rucellai Palace, The, 34. St George of Donatello, The, 209. San Leonardo in Arcetri, 356, 257. San Lorenzo, 244-349. San Marco, 72-87. San Miniato, 330-337. San Salvatore al Monte, 332. Santa Croce, 16, 17, 18-33. Santa Maria Maddalena dei Pazzi, ass- Santa Maria Novella, 16, 17, 33- 5'- Santa Trinity, 251-353. Santo Spirito, 353. Sarcophagi, 178, 219, 343. Satyr, Statue of a, x8o. Savonarola, 73. Sculpture at the Uffizi, i7t-i83. Sci:lpture at the Bargello, 206- 333. Seals, Collection of, aaa. Sebastiano del Piombo, 189. Sepolci-eto, The, 44. Signorelli, Luoa, 149. Signoria, The, 130-132. .Silver Work, 314. Sodoma, 153. Spanish Chajiel, The, 44-50. Spedale degli Innocenti, 256. Spinello, Arietino, 336. [44. Strozzi Chapel, The, 38, 39, 4a Strozzi Palace, The, 33, 34. Tabernacle, by Orcngna, 336- 338. Tapestry, 219, aaa. Titian, 159, 160, 165 171, 187, 188, 193, 194, 196. Uffizi, The, 128-183. Van der Goes, Hugo, 255. Vandyck, 159, 191. Velasquez, 199. Venus, The Medici, 181. Veronese, 159, 165-171. Verrocchio, loa, 130, 214, 220. Wrestlers, Statue of, 180. Butler & Tanner, The Selwood Printing Works, Frome, and London. Lura, 149- The, 130-132. rk, 314. S3- haiicl, The, 44-S°- gli Innocenli, 356. i\rietiao, 236. [44 hapel. The, 38, 39. 4^ lace, The, 33, 34- ;le, by Orcagna, 8a6- , 219, aaa. 159, 160, 165 171, 187 >3, 194, 196- he, 138-183. Goes, Hugo, 255. cz, 199. The Medici, i8x. ie, 159, 165-171- :hio, 102, 130, 214, 220. ers. Statue of, 180. k^orks, Frome, and London. i^ 'mmmmmr^m^ NOTES t J!» 1 pi NOTES I MWi f :«4iWi:-4j^s.Vjt^,»ji*iiJ6,,i,*ij.^irfi(f^^,^iT._>.^^. ,^,.^;^^^