Now it appeared a fitting thing, having brought the triumphant Caesars to
the place described above, to bring the magnanimous Medici, also, with
all their pomp, to the corner that is called the Canto de' Carnesecchi,
which is not far distant from it; as if, reverently receiving the
Caesars, as is the custom, they were come to hold high revel and to do
honour to the new-come bride, so much desired. And here, no less than in
some of the passages to follow, it will be necessary that I should be
pardoned by those who are not of our arts for describing minutely the
nature of the site and the form of the arches and other ornaments, for
the reason that it is my intention to demonstrate not less the
excellence of the hands and brushes of the craftsmen who executed the
works, than the fertility and acuteness of brain of him who was the
author of the stories and of the whole invention; and particularly
because the site in that place was perhaps more disastrous and more
difficult to accommodate than any of the others described or about to be
described. For there the street turns towards S. Maria del Fiore,
inclining to somewhat greater breadth, and comes to form the angle that
by those of our arts is called obtuse; and that was the side on the
right. Opposite, and on the left-hand side, there is a little piazza
into which two streets lead, one that comes from the great Piazza di S.
Maria Novella, and the other likewise from another piazza called the
Piazza Vecchia. In that little piazza, which is in truth very ill
proportioned, there was built over all the lower part a structure in the
form of an octagonal theatre, the doors of which were rectangular and in
the Tuscan Order; and over each of them was seen a niche between two
columns, with cornices, architraves, and other ornaments, rich and
imposing, of Doric architecture, and then, rising higher, there was
formed the third range, wherein was seen above the niches, in each
space, a compartment with most beautiful ornaments in painting. Now it
is but proper to remark that although it has been said that the doors
below were rectangular and Tuscan, nevertheless the two by which the
principal road entered and issued forth, and by which the procession was
to pass, were made in the semblance of arches, and projected for no
small distance in the manner of vestibules, one towards the entrance and
the other towards the exit, both the one and the other having been made
as rich and ornate on the outer facade as was required for the sake of
proportion.
Having thus described the general form of the whole edifice, let us come
down to the details, beginning with the front part, which presented
itself first to the eyes of passers-by and was after the manner of a
triumphal arch, as has been told, in the Corinthian Order. That arch was
seen bordered on one side and on the other by two most warlike statues
in armour, each of which, resting upon a graceful little door, was seen
likewise coming forth from the middle of a niche placed between two
well-proportioned columns. Of these statues, that which was to be seen
on the right hand represented Duke Alessandro, the son-in-law of the
most illustrious Charles V, a Prince spirited and bold, and of most
gracious manners, holding in one hand his sword, and in the other the
Ducal baton, with a motto placed at his feet, which said, on account of
his untimely death: SI FATA ASPERA RUMPAS, ALEXANDER ERIS. On the left
hand was seen, portrayed like all the others from life, the most
valorous Signor Giovanni, with the butt of a broken lance in the hand,
and likewise with his motto at his feet: ITALUM FORTISS. DUCTOR. And
since over the architraves of those four columns already described there
were placed very spacious friezes in due proportion, in the width
covered by the niches there was seen above each of the statues a
compartment between two pilasters; in that above Duke Alessandro was
seen in painting the device of a rhinoceros, used by him, with the
motto: NON BUELVO SIN VENCER; and above the statue of Signor Giovanni,
in the same fashion, his flaming thunderbolt. Above the arch in the
centre, which, being more than seven braccia in width and more than two
squares in height, gave ample room for the procession to pass, and above
the cornice and the frontispieces, there was seen seated in majestic
beauty that of the wise and valorous Duke Cosimo, the excellent father
of the fortunate bridegroom, likewise with his motto at his feet, which
said: PIETATE INSIGNIS ET ARMIS; and with a She-Wolf and a Lion on
either side of him, representing Siena and Florence, which, supported
and regarded lovingly by him, seemed to be reposing affectionately
together. That statue was seen set in the frieze, exactly in a line with
the arch, and between the pictures with the devices described; and in
that same width, above the crowning cornice, there rose on high another
painted compartment, with pilasters in due proportion, cornice, and
other embellishments, wherein with great fitness, alluding to the
election of the above-named Duke Cosimo, was seen represented the story
of the young David when he was anointed King by Samuel, with his motto:
A DOMINO FACTUM EST ISTUD. And then, above that last cornice, which was
raised a very great distance from the ground, was seen the escutcheon of
that most adventuresome family, which, large and magnificent as was
fitting, was likewise supported, with the Ducal Crown, by two Victories
also in imitation of marble; and over the principal entrance of the
arch, in the most becoming place, was the inscription, which said:
VIRTUTI FELICITATIQUE ILLUSTRISSIMAE MEDICEAE FAMILIAE, QUAE FLOS
ITALIAE, LUMEN ETRURIAE, DECUS PATRIAE SEMPER FUIT, NUNC ASCITA SIBI
CAESAREA SOBOLE CIVIBUS SECURITATEM ET OMNI SUO IMPERIO DIGNITATEM
AUXIT, GRATA PATRIA DICAT.
Entering within that arch, one found a kind of loggia, passing spacious
and long, with the vaulting above all painted and embellished with the
most bizarre and beautiful ornaments and with various devices. After
which, in two pilasters over which curved an arch, through which was the
entrance into the above-mentioned theatre, there were seen opposite to
one another two most graceful niches, as it were conjoined with that
second arch; between which niches and the arch first described there
were seen on the counterfeit walls that supported the loggia two
spacious painted compartments, the stories of which accompanied
becomingly each its statue. Of these statues, that on the right hand was
made to represent the great Cosimo, called the Elder, who, although
there had been previously in the family of the Medici many men noble and
distinguished in arms and in civil actions, was nevertheless the first
founder of its extraordinary greatness, and as it were the root of that
plant which has since grown so happily to such magnificence. In his
picture was seen painted the supreme honour conferred upon him by his
native Florence, when he was acclaimed by the public Senate as Pater
Patriae; which was declared excellently well in the inscription that was
seen below, saying:
COSMUS MEDICES, VETERE HONESTISSIMO OMNIUM SENATUS CONSULTO
RENOVATO, PARENS PATRIAE APPELLATUR.
In the upper part of the same pilaster in which was placed the niche,
there was a little picture in due proportion wherein was portrayed his
son, the magnificent Piero, father of the glorious Lorenzo, likewise
called the Elder, the one and true Maecenas of his times, and the
magnanimous preserver of the peace of Italy, whose statue was seen in
the other above-mentioned niche, corresponding to that of the Elder
Cosimo. In the little picture, which he in like manner had over his
head, was painted the portrait of his brother, the magnificent Giuliano,
the father of Pope Clement; and in the large picture, corresponding to
that of Cosimo, was the public council held by all the Italian Princes,
wherein was seen formed, by the advice of Lorenzo, that so stable and so
prudent union by which, as long as he was alive and it endured, Italy
was seen brought to the height of felicity, whereas afterwards, Lorenzo
dying and that union perishing, she was seen precipitated into such
conflagrations, calamities, and ruin; which was demonstrated no less
clearly by the inscription that was beneath, saying:
LAURENTIUS MEDICES, BELLI ET PACIS ARTIBUS EXCELLENS, DIVINO SUO
CONSILIO CONJUNCTIS ANIMIS ET OPIBUS PRINCIPUM ITALORUM ET
INGENTI ITALIAE TRANQUILLITATE PARTA, PARENS OPTIMI SAECULI
APPELLATUR.
Now, coming to the little piazza in which, as has been told, was placed
the octagonal theatre, as I shall call it, and beginning from that first
entrance to go round on the right hand, let me say that the first part
was occupied by that arch of the entrance, above which, in a frieze
corresponding in height to the third and last range of the theatre, were
seen in four ovals the portrait of Giovanni di Bicci, father of Cosimo
the Elder, and that of his son Lorenzo, brother of the same Cosimo, from
whom this fortunate branch of the Medici now reigning had its origin;
with that of Pier Francesco, son of the above-named Lorenzo, and
likewise that of another Giovanni, father of the warlike Signor Giovanni
mentioned above. In the second facade of the octagon, which was joined
to the entrance, there was seen between two most ornate columns, seated
in a great niche, with the royal staff in the hand, a figure in marble,
like all the other statues, of Caterina, the valorous Queen of France,
with all the other ornaments that are required in architecture both
lovely and heroic. And in the third range above, where, as has been
said, the painted compartments came, there was figured for her scene the
same Queen seated in majesty, who had before her two most beautiful
women in armour, one of whom, representing France, and kneeling before
her, was shown presenting to her a handsome boy adorned with a royal
crown, even as the other, who was Spain, standing, was shown in like
manner presenting to her a most lovely girl; the boy being intended for
the most Christian Charles IX, who is now revered as King of France, and
the girl the most noble Queen of Spain, wife of the excellent King
Philip. Then, about the same Caterina, were seen standing with much
reverence some other smaller boys, representing her other most gracious
little children, for whom a Fortune appeared to be holding sceptres,
crowns, and realms. And since between that niche and the arch of the
entrance, on account of the disproportion of the site, there was some
space left over, caused by the desire to make the arch not ungracefully
awry, but well-proportioned and straight, for that reason there was
placed there, as it were in a niche, a painted picture wherein by means
of a Prudence and a Liberality, who stood clasped in a close embrace, it
was shown very ingeniously with what guides the House of Medici had come
to such a height; having above them, painted in a little picture equal
in breadth to the others of the third range, a Piety humble and devout,
recognized by the stork that was beside her, round whom were seen many
little Angels that were showing to her various designs and models of the
many churches, monasteries, and convents built by that magnificent and
religious family. Now, proceeding to the third side of the octagon,
where there was the arch by which one issued from the theatre, over the
frontispiece of that arch was placed, as the heart of so many noble
members, the statue of the most excellent and amiable Prince and Spouse,
and at his feet the motto: SPES ALTERA FLORAE. In the frieze
above--meaning, as before, that this came to the height of the third
range--to correspond to the other arch, where, as has been told, four
portraits had been placed, in that part, also, were four other similar
portraits of his illustrious brothers, accommodated in a similar
manner; those, namely, of the two very reverend Cardinals, Giovanni of
revered memory and the most gracious Ferdinando, and those of the
handsome Signor Don Garzia and the amiable Signor Don Pietro. Then, to
go on to the fourth face, since the corner of the houses that are there,
not giving room for the hollow of any recess, did not permit of the
usual niche being made there, in its stead was seen accommodated with
beautiful artifice, corresponding to the niches, a very large
inscription that said:
HI, QUOS SACRA VIDES REDIMITOS TEMPORA MITRA
PONTIFICES TRIPLICI, ROMAM TOTUMQUE PIORUM
CONCILIUM REXERE PII; SED QUI PROPE FULGENT
ILLUSTRI E GENTE INSIGNES SAGULISVE TOGISVE
HEROES, CLARAM PATRIAM POPULUMQUE POTENTEM
IMPERIIS AUXERE SUIS CERTAQUE SALUTE.
NAM SEMEL ITALIAM DONARUNT AUREA SAECLA,
CONJUGIO AUGUSTO DECORANT NUNC ET MAGE FIRMANT.
Above it, in place of scene and picture, there were painted in two ovals
the two devices, one of the fortunate Duke, the Capricorn with the seven
Stars and with the motto, FIDUCIA FATI; and the other of the excellent
Prince, the Weasel, with the motto, AMAT VICTORIA CURAM. Then in the
three niches that came in the three following facades were the statues
of the three Supreme Pontiffs who have come from that family; all
rejoicing, likewise, to lend their honourable presence to so great a
festival, as if every favour human and divine, every excellence in arms,
letters, wisdom, and religion, and every kind of sovereignty, were
assembled together to vie in rendering those splendid nuptials august
and happy. Of those Pontiffs one was Pius IV, departed a short time
before to a better life, over whose head, in his picture, was seen
painted how, after the intricate disputes were ended at Trent and the
sacrosanct Council was finished, the two Cardinal Legates presented to
him its inviolable decrees; even as in that of Leo X was seen the
conference held by him with Francis I, King of France, whereby with
prudent counsel he bridled the vehemence of that bellicose and
victorious Prince, so that he did not turn all Italy upside down, as he
might perchance have done, and as he was certainly able to do; and in
that of Clement VII was the Coronation, performed by him in Bologna, of
the great Charles V. But in the last facade, which hit against the acute
angle of the houses of the Carnesecchi, by which the straight line of
that facade of the octagon was no little interrupted, nevertheless there
was made with gracious and pleasing artifice another masterly
inscription, after the likeness of the other, but curving somewhat
outwards, which said:
PONTIFICES SUMMOS MEDICUM DOMUS ALTA LEONEM,
CLEMENTEM DEINCEPS, EDIDIT INDE PIUM.
QUID TOT NUNC REFERAM INSIGNES PIETATE VEL ARMIS
MAGNANIMOSQUE DUCES EGREGIOSQUE VIROS?
GALLORUM INTER QUOS LATE REGINA REFULGET,
HAEC REGIS CONJUNX, HAEC EADEM GENITRIX.
Such, as a whole, was the interior of the theatre described above; but
although it may appear to have been described minutely enough, it is
none the less true that an infinity of other ornaments, pictures,
devices, and a thousand most bizarre and most beautiful fantasies which
were placed throughout the Doric cornices and many spaces according to
opportunity, making a very rich and gracious effect, have been omitted
as not being essential, in order not to weary the perhaps already tired
reader; and anyone who delights in such things may imagine that no part
was left without being finished with supreme mastery, consummate
judgment, and infinite loveliness. And a most pleasing and beautiful
finish was given to the highest range by the many arms that were seen
distributed there in due proportion, which were Medici and Austria for
the illustrious Prince, the bridegroom, and her Highness; Medici and
Toledo for the Duke, his father; Medici and Austria again, recognized by
the three feathers as belonging to his predecessor Alessandro; Medici
and Boulogne in Picardy for Lorenzo, Duke of Urbino; Medici and Savoy
for Duke Giuliano; Medici and Orsini for the double kinship of the Elder
Lorenzo and his son Piero; Medici and the Viper for the above-named
Giovanni, husband of Caterina Sforza; Medici and Salviati for the
glorious Signor Giovanni, his son; France and Medici for her most serene
Highness the Queen; Ferrara and Medici for the Duke, with one of the
sisters of the most excellent bridegroom; and Orsini and Medici for the
other most gentle sister, married to the illustrious Signor Paolo
Giordano, Duke of Bracciano.
It now remains for us to describe the last part of the theatre and the
exit, which, corresponding in size, in proportion, and in every other
respect to the entrance already described, there will be little labour,
I believe, in making known to the intelligent reader; save only that the
arch which formed the facade there, facing towards S. Maria del Fiore,
had been constructed, as a part less important, without statues and with
somewhat less magnificence, and in their stead there had been placed
over that arch a very large inscription, which said:
VIRTUS RARA TIBI, STIRPS ILLUSTRISSIMA, QUONDAM
CLARUM TUSCORUM DETULIT IMPERIUM;
QUOD COSMUS FORTI PRAEFUNCTUS MUNERE MARTIS
PROTULIT ET JUSTA CUM DITIONE REGIT:
NUNC EADEM MAJOR DIVINA E GENTE JOANNAM
ALLICIT IN REGNUM CONCILIATQUE TORO.
QUAE SI CRESCET ITEM VENTURA IN PROLE NEPOTES,
AUREA GENS TUSCIS EXORIETUR AGRIS.
In the two pilasters that were at the beginning of the passage, or
vestibule, as we have called it (over which pilasters rose the arch of
the exit, upon which was the statue of the illustrious bridegroom), were
seen two niches, in one of which was placed the statue of the most
gentle Giuliano, Duke of Nemours, the younger brother of Leo and
Gonfalonier of Holy Church, who had likewise in the little picture that
was above him the portrait of the magnanimous Cardinal Ippolito, his
son, and, in the picture that stretched towards the exit, the scene of
the Capitoline Theatre, dedicated to him by the Roman people in the year
1513, with an inscription to make this known, which said:
JULIANUS MEDICES EXIMIAE VIRTUTIS ET PROBITATIS ERGO SUMMIS A POP.
ROM. HONORIBUS DECORATUR, RENOVATA SPECIE ANTIQUAE DIGNITATIS AC
LAETITIAE.
In the other niche, corresponding to the first statue, and, like it,
standing and in armour, was seen the statue of Lorenzo the Younger,
Duke of Urbino, with a sword in the hand; and in the little picture
above him he had the portrait of his father Piero, and in the other
picture the scene when the general's baton was given to him with such
happy augury by his native Florence, likewise with an inscription to
explain it, which said:
LAURENTIUS MED. JUNIOR MAXIMA INVICTAE VIRTUTIS INDOLE, SUMMUM IN
RE MILITARI IMPERIUM MAXIMO SUORUM CIVIUM AMORE ET SPE
ADIPISCITUR.
OF THE CANTO ALLA PAGLIA.
At the corner which from the straw that is constantly sold there is
called the Canto alla Paglia, there was made another arch of great
beauty and not less rich and imposing than any of the others. Now it may
perchance appear to some, for the reason that all or the greater part of
those ornaments have been extolled by us as in the highest rank of
beauty and excellence of artistry, pomp, and richness, that this has
been done by reason of a certain manner of writing inclined to overmuch
praise and exaggeration. But everyone may take it as very certain that
those works, besides leaving a long way behind them all things of that
kind as were ever executed in that city, and perhaps in any other place,
were also such, and ordained with such grandeur, magnificence, and
liberality by those magnanimous Lords, and executed in such a manner by
the craftsmen, that they surpassed by a great measure every expectation,
and took away from no matter what writer all force and power to attain
with the pen to the excellence of the reality.