CHAPTER XIII_The Story of Florence

_Conclusion_

The setting of Florence is in every way worthy of the gem which it

encloses. On each side of the city and throughout its province

beautiful walks and drives lead to churches, villas and villages full

of historical interest or enriched with artistic treasures. I can here

merely indicate a very few such places.

To the north of the city rises Fiesole on its hill, of which the

historical connection with Florence has been briefly discussed in

chapter i. At its foot stands the Dominican convent, in which Fra

Giovanni, whom we know better as the Beato Angelico, took the habit of

the order, and in which both his brother, Fra Benedetto, and himself

were in turn priors. Savonarola's fellow martyr, Fra Domenico da

Pescia, was likewise prior of this house. The church contains a

Madonna by Angelico, with the background painted in by Lorenzo di

Credi (its exquisitely beautiful predella is now one of the chief

ornaments of the National Gallery of London), a Baptism of Christ by

Lorenzo di Credi, and an Adoration of the Magi designed by Andrea del

Sarto and executed by Sogliani. A little to the left is the famous

Badia di Fiesole, originally of the eleventh century, but rebuilt for

Cosimo the Elder by Filippo Brunelleschi. It was one of Cosimo's

favourite foundations; Marsilio Ficino's Platonic Academy frequently

met in the loggia with its beautiful view towards the city. In the

church, Lorenzo's second son, Giovanni, was invested with the

Cardinalate in 1492; and here, in 1516, his third son, Giuliano, Duke

of Nemours, the best of the Medici, died. On the way up to Fiesole

itself is the handsome villa Mozzi, built for Giovanni di Cosimo de'

Medici by Michelozzo. It was in this villa that the Pazzi had

originally intended to murder Lorenzo and the elder Giuliano, but

their plan was frustrated by the illness of Giuliano, which prevented

his being present.

In Fiesole itself, the remains of the Etruscan wall and the old

theatre tell of the classical Faesulae; its Tuscan Romanesque Duomo

(of the eleventh and twelfth centuries) recalls the days when the city

seemed a rival to Florence itself and was the resort of the robber

barons, who preyed upon her ever growing commerce. It contains

sculptures by Mino da Fiesole and that later Fiesolan, Andrea Ferrucci

(to whom we owe the bust of Marsilio Ficino), and a fine terracotta by

one of the Della Robbias. From the Franciscan convent, which occupies

the site of the old Roman citadel, a superb view of Florence and its

valley is obtained. From Fiesole, towards the south-east, we reach

Ponte a Mensola (also reached from the Porta alla Croce), the Mensola

of Boccaccio's _Ninfale fiesolano_, above which is Settignano, where

Desiderio was born and Michelangelo nurtured, and where Boccaccio had

a podere. The Villa Poggio Gherardo, below Settignano, shares with the

Villa Palmieri below Fiesole the distinction of being traditionally

one of those introduced into the _Decameron_.

Northwestwards of the Badia of Fiesole runs the road from Florence to

Bologna, past the village of Trespiano, some three or four miles from

the Porta San Gallo. In the twelfth century Trespiano was the northern

boundary of Florentine territory, as Galluzzo--on the way towards the

Certosa and about two miles from the Porta Romana--was its southern

limit. Cacciaguida, in _Paradiso_ xvi., refers to this as an ideal

golden time when the citizenship "saw itself pure even in the lowest

artizan." A little way north of Trespiano, on the old Bolognese road,

is the Uccellatoio--referred to in canto xv.--the first point from

which Florence is visible. Below Trespiano, at La Lastra, rather more

than two miles from the city, the exiled Bianchi and Ghibellines, with

auxiliaries from Bologna and Arezzo, assembled in that fatal July of

1304. The leaders of the Neri were absent at Perugia, and, at the

first sight of the white standards waving from the hill, terror and

consternation filled their partisans throughout the city. Had their

enterprise been better organised, the exiles would undoubtedly have

captured Florence. Seeing that they were discovered, and urged on by

their friends within the city, without waiting for the Uberti, whose

cavalry was advancing from Pistoia to their support and whose

appointed day of coming they had anticipated, Baschiera della Tosa, in

spite of the terrible heat, ordered an immediate advance upon the

Porta San Gallo. The walls of the third circle were only in part built

at that epoch, and those of the second circle still stood with their

gates. The exiles, for the most part mounted, drew up round San Marco

and the Annunziata, "with white standards spread, with garlands of

olive and drawn swords, crying _peace_," writes Dino Compagni, who was

in Florence at the time, "without doing violence or plundering anyone.

A right goodly sight was it to see them, with the sign of peace thus

arrayed. The heat was so great, that it seemed that the very air

burned." But their friends within did not stir. They forced the Porta

degli Spadai which stood at the head of the present Via dei Martelli,

but were repulsed at the Piazza San Giovanni and the Duomo, and the

sudden blazing up of a palace in the rear completed their rout. Many

fell on the way, simply from the heat, while the Neri, becoming

fierce-hearted like lions, as Compagni says, hotly pursued them,

hunting out those who had hidden themselves among the vineyards and

houses, hanging all they caught. In their flight, a little way from

Florence, the exiles met Tolosato degli Uberti hastening up with his

Ghibellines to meet them on the appointed day. Tolosato, a fierce

captain and experienced in civil war, tried in vain to rally them,

and, when all his efforts proved unavailing, returned to Pistoia

declaring that the youthful rashness of Baschiera had lost him the

city. Dante had taken no part in the affair; he had broken with his

fellow exiles in the previous year, and made a party for himself as he

tells us in the _Paradiso_.

To the west and north-west of Florence are several interesting villas

of the Medici. The Villa Medicea in Careggi, the most famous of all,

is not always accessible. It is situated in the loveliest country,

within a short walk of the tramway station of Ponte a Rifredi. Built

originally by Michelozzo for Cosimo the Elder, it was almost burned

down by a band of republican youths shortly before the siege. Here

Cosimo died, consoling his last hours with Marsilio Ficino's

Platonics; here the elder Piero lived in retirement, too shattered in

health to do more than nominally succeed his father at the head of the

State. On August 23rd 1466, there was an attempt made to murder Piero

as he was carried into Florence from Careggi in his litter. A band of

armed men, in the pay of Luca Pitti and Dietisalvi Neroni, lay in wait

for the litter on the way to the Porta Faenza; but young Lorenzo, who

was riding on in advance of his father's cortege, came across them

first, and, without appearing to take any alarm at the meeting,

secretly sent back a messenger to bid his father take another way.

Under Lorenzo himself, this villa became the centre of the

Neo-Platonic movement; and here on November 7th, the day supposed to

be the anniversary of Plato's birth and death, the famous banquet was

held at which Marsilio Ficino and the chosen spirits of the Academy

discussed and expounded the _Symposium_. Here on April 8th 1492, the

Magnifico died (see chap. iii.). In the same neighbourhood, a little

further on in the direction of Pistoia, are the villas of Petraia and

Castello (for both of which _permessi_ are given at the Pitti Palace,

together with that for Poggio a Caiano), both reminiscent of the

Medicean grand ducal family; in the latter Cosimo I. lived with his

mother, Maria Salviati, before his accession to the throne, and here

he died in 1574.

Also beyond the Porta al Prato (about an hour and a half by the

tramway from behind Santa Maria Novella), is the Villa Reale of Poggio

a Caiano, superbly situated where the Pistoian Apennines begin to rise

up from the plain. The villa was built by Giuliano da San Gallo for

Lorenzo, and the Magnifico loved it best of all his country houses. It

was here that he wrote his _Ambra_ and his _Caccia col Falcone_; in

both of these poems the beautiful scenery round plays its part. When

Pope Clement VII. sent the two boys, Ippolito and Alessandro, to

represent the Medici in Florence, Alessandro generally stayed here,

while Ippolito resided within the city in the palace in the Via Larga.

When Charles V. came to Florence in 1536 to confirm Alessandro upon

the throne, he declared that this villa "was not the building for a

private citizen." Here, too, the Grand Duke Francesco and Bianca

Cappello died, on October 19th and 20th, 1587, after entertaining the

Cardinal Ferdinando, who thus became Grand Duke; it was said that

Bianca had attempted to poison the Cardinal, and that she and her

husband had themselves eaten of the pasty that she had prepared for

him. It appears, however, that there is no reason for supposing that

their deaths were other than natural. At present the villa is a royal

country house, in which reminiscences of the Re Galantuomo clash

rather oddly with those of the Medicean Princes. All round runs a

loggia with fine views, and there are an uninteresting park and

garden. The classical portico is noteworthy, all the rest being of the

utmost simplicity.

Within the palace a large room, with a remarkably fine ceiling by

Giuliano da San Gallo, is decorated with a series of frescoes from

Roman history intended to be typical of events in the lives of Cosimo

the Elder and Lorenzo the Magnificent. Vasari says that, for a villa,

this is _la piu bella sala del mondo_. The frescoes, ordered by Pope

Leo X. and the Cardinal Giulio, under the direction of Ottaviano dei

Medici, were begun by Andrea dei Sarto, Francia Bigio and Jacopo da

Pontormo, left unfinished for more than fifty years, and then

completed by Alessandro Allori for the Grand Duke Francesco. The

Triumph of Cicero, by Francia Bigio, is supposed to typify the return

of Cosimo from exile in 1434; Caesar receiving tribute from Egypt, by

Andrea del Sarto, refers to the coming of an embassy from the Soldan

to Lorenzo in 1487, with magnificent gifts and treasures. Andrea's

fresco is full of curious beasts and birds, including the long-eared

sheep which Lorenzo naturalised in the grounds of the villa, and the

famous giraffe which the Soldan sent on this occasion and which, as Mr

Armstrong writes, "became the most popular character in Florence,"

until its death at the beginning of 1489. The Regent of France, Anne

of Beaujeu, made ineffectual overtures to Lorenzo to get him to make

her a present of the strange beast. This fresco was left unfinished

on the death of Pope Leo in 1521, and finished by Alessandro Allori in

1582. The charming mythological decorations between the windows are by

Jacopo da Pontormo. The two later frescoes by Alessandro Allori,

painted about 1580, represent Scipio in the house of Syphax and

Flamininus in Greece, which typify Lorenzo's visit to Ferrante of

Naples, in 1480, and his presence at the Diet of Cremona in 1483, on

which latter occasion, as Mr Armstrong puts it, "his good sense and

powers of expression and persuasion gave him an importance which the

military weakness of Florence denied to him in the field"--but the

result was little more than a not very honourable league of the

Italian powers against Venice. The Apples of the Hesperides, and the

rest of the mythological decorations in continuation of Pontormo's

lunette, are also Allori's. The whole has an air of regal triumph

without needless parade.

The road should be followed beyond the villa, in order to ascend to

the left to the little church among the hills. A superb view is

obtained over the plain to Florence beyond the Villa Reale lying below

us. Behind, we are already among the Apennines. A beautiful glimpse of

Prato can be seen to the left, four miles away.

Prato itself is about twelve miles from Florence. It was a gay little

town in the fifteenth century, when it witnessed "brother Lippo's

doings, up and down," and heard Messer Angelo Poliziano's musical

sighings for the love of Madonna Ippolita Leoncina. A few years later

it listened to the voice of Fra Girolamo Savonarola, and at last its

bright day of prosperity ended in the horrible sack and carnage from

the Spanish soldiery under Raimondo da Cardona in 1512. Its

Duomo--dedicated to St. Stephen and the Baptist--a Tuscan Romanesque

church completed in the Gothic style by Giovanni Pisano, with a fine

campanile built at the beginning of the fourteenth century, claims to

possess a strange and wondrous relic: nothing less than the Cintola or

Girdle of the Blessed Virgin, delivered by her--according to a pious

and poetical legend--to St. Thomas at her Assumption, and then won

back for Christendom by a native of Prato, Michele Dagonari, in the

Crusades. Be that as it may, what purports to be this relic is

exhibited on occasions in the Pulpito della Cintola on the exterior of

the Duomo, a magnificent work by Donatello and Michelozzo, in which

the former master has carved a wonderful series of dancing genii

hardly, if at all, inferior to those more famous bas-reliefs executed

a little later for the cantoria of Santa Maria del Fiore. Within, over

the entrance wall, is a picture by Ridolfo Ghirlandaio of the Madonna

giving the girdle to the Thomas who had doubted. And in the chapel on

the left (with a most beautifully worked bronze screen, with a lovely

frieze of cupids, birds and beasts--the work of Bruno Lapi and

Pasquino di Matteo, 1444-1461), the Cintola is preserved amid frescoes

by Agnolo Gaddi setting forth the life of Madonna, her granting of

Prato's treasure to St Thomas at the Assumption, and its discovery by

Michele Dagonari.

The church is rich in works of Florentine art--a pulpit by Mino da

Fiesole and Antonio Rossellino; the Madonna dell' Ulivo by Giuliano da

Maiano; frescoes said to be in part by Masolino's reputed master

Starnina in the chapel to the right of the choir. But Prato's great

artistic glory must be sought in Fra Lippo Lippi's frescoes in the

choir, painted between 1452 and 1464. These are the great achievements

of the Friar's life. On the left is the life of St. Stephen, on the

right that of the Baptist. They show very strongly the influence of

Masaccio, and make us understand why the Florentines said that the

spirit of Masaccio had entered into the body of Fra Filippo. Inferior

to Masaccio in most respects, Filippo had a feeling for facial beauty

and spiritual expression, and for a certain type of feminine grace

which we hardly find in his prototype. The wonderful figure of the

dancing girl in Herod's banquet, and again her naive bearing when she

kneels before her mother with the martyr's head, oblivious of the

horror of the spectators and merely bent upon showing us her own sweet

face, are characteristic of Lippo, as also, in another way, his

feeling for boyhood shown in the little St. John's farewell to his

parents. The Burial of St. Stephen is full of fine Florentine

portraits in the manner of the Carmine frescoes. The dignified

ecclesiastic at the head of the clergy is Carlo dei Medici, the

illegitimate son of Cosimo. On the extreme right is Lippo himself.

Carlo looks rather like a younger, more refined edition of Leo X.

It was while engaged upon these frescoes that Lippo Lippi was

commissioned by the nuns of Santa Margherita to paint a Madonna for

them, and took the opportunity of carrying off Lucrezia Buti, a

beautiful girl staying in the convent who had sat to him as the

Madonna, during one of the Cintola festivities. Lippo appears to have

been practically unfrocked at this time, but he refused the

dispensation of the Pope who wished him to marry her legally, as he

preferred to live a loose life. Between the station and the Duomo you

can see the house where they lived and where Filippino Lippi was born.

Opposite the convent of Santa Margherita is a tabernacle containing a

wonderfully beautiful fresco by Filippino, a Madonna and Child with

Angels, adored by St. Margaret and St. Catherine, St. Antony and St.

Stephen. All the faces are of the utmost loveliness, and the

Catherine especially is like a foretaste of Luini's famous fresco at

Milan. In the town picture gallery there are four pictures ascribed to

Lippo Lippi--all four of rather questionable authenticity--and one by

Filippino, a Madonna and Child with St. Stephen and the Baptist,

which, although utterly ruined, appears to be genuine. The Protomartyr

and the Precursor seem always inseparable throughout the faithful

little city of the Cintola.

Prato can likewise boast some excellent terracotta works by Andrea

della Robbia, both outside the Duomo and in the churches of Our Lady

of Good Counsel and Our Lady of the Prisons. This latter church, the

Madonna delle Carceri, reared by Giuliano da San Gallo between 1485

and 1491, is perhaps the most beautiful and most truly classical of

all Early Renaissance buildings in Tuscany.

Ten miles beyond Prato lies Pistoia, at the very foot of the

Apennines, the city of Dante's friend and correspondent, Messer Cino,

the poet of the golden haired Selvaggia, he who sang the dirge of

Caesar Henry; the centre of the fiercest faction struggles of Italian

history. It was the Florentine traditional policy to keep Pisa by

fortresses and Pistoia by factions. It lies, however, beyond the scope

of the present book, with the other Tuscan cities that owned the sway

of the great Republic. San Gemignano, that most wonderful of all the

smaller towns of Tuscany, the city of "the fair towers," of Santa Fina

and of the gayest of mediaeval poets, Messer Folgore, comes into

another volume of this series.

But it is impossible to conclude even the briefest study of Florence

without a word upon that Tuscan Earthly Paradise, the Casentino and

upper valley of the Arno, although it lies for the most part not in

the province of Florence but in that of Arezzo. It is best reached by

the diligence which runs from Pontassieve over the Consuma Pass--where

Arnaldo of Brescia, who lies in the last horrible round of Dante's

Malebolge, was burned alive for counterfeiting the golden florins of

Florence--to Stia.[57] A whole chapter of Florentine history may be

read among the mountains of the Casentino, writ large upon its castles

and monasteries. If the towers of San Gemignano give us still the

clearest extant picture of the life led by the nobles and magnates

when forced to enter the cities, we can see best in the Casentino how

they exercised their feudal sway and maintained for a while their

independence of the burgher Commune. The Casentino was ruled by the

Conti Guidi, that great clan whose four branches--the Counts of

Romena, the Counts of Porciano, the Counts of Battifolle and Poppi,

the Counts of Dovadola (to whom Bagno in Romagna and Pratovecchio here

appear to have belonged)--sprang from the four sons of Gualdrada,

Bellincion Berti's daughter. Poppi remains a superb monument of the

power and taste of these "Counts Palatine of Tuscany"; its palace on a

small scale resembles the Palazzo Vecchio of Florence. Romena and

Porciano, higher up stream, overhanging Pratovecchio and Stia, have

been immortalised by the verse and hallowed by the footsteps of Dante

Alighieri. Beneath the hill upon which Poppi stands, an old bridge

still spans the Arno, upon which the last of the Conti Guidi, the

Count Francesco, surrendered in 1440 to the Florentine commissary,

Neri Capponi. After the second expulsion of the Medici from Florence,

Piero and Giuliano for some time lurked in the Casentino, with

Bernardo Dovizi at Bibbiena.

[57] The lover of Florentine history cannot readily tear himself away

from the Casentino. The Albergo Amorosi at Bibbiena, almost at the

foot of La Verna, makes delightful headquarters. There is an excellent

_Guida illustrata del Casentino_ by C. Beni. For the Conti Guidi,

Witte's essay should be consulted; it is translated in _Witte's Essays

on Dante_ by C. M. Lawrence and P. H. Wicksteed. La Verna will be

fully dealt with in the Assisi volume of this series, so I do not

describe it here.

Throughout the Casentino Dante himself should be our guide. There is

hardly another district in Italy so intimately connected with the

divine poet; save only Florence and Ravenna, there is, perhaps, none

where we more frequently need to have recourse to the pages of the

_Divina Commedia_. With the _Inferno_ in our hands, we seek out Count

Alessandro's castle of Romena and what purports to be the Fonte

Branda, below the castle to the left, for whose waters--even to cool

the thirst of Hell--Maestro Adamo would not have given the sight of

his seducer sharing his agony. With the _Purgatorio_ we trace the

course of the Arno from where, a mere _fiumicello_, it takes its rise

in Falterona, and runs down past Porciano and Poppi to sweep away from

the Aretines, "turning aside its muzzle in disdain." There is a

tradition that Dante was imprisoned in the castle of Porciano. We know

that he was the guest of various members of the Conti Guidi at

different times during his exile; it was from one of their castles,

probably Poppi, that on March 31st and April 16th, 1311, he directed

his two terrible letters to the Florentine government and to the

Emperor Henry. It was in the Casentino, too, that he composed the

Canzone _Amor, dacche convien pur ch'io mi doglia_, "Love, since I

needs must make complaint," one of the latest and most perplexing of

his lyrics.

The battlefield of Campaldino lies beyond Poppi, on the eastern side

of the river, near the old convent and church of Certomondo, founded

some twenty or thirty years before by two of the Conti Guidi to

commemorate the great Ghibelline victory of Montaperti, but now to

witness the triumph of the Guelfs. The Aretines, under their Bishop

and Buonconte da Montefeltro, had marched up the valley along the

direction of the present railway to Bibbiena, to check the ravages of

the Florentines who, with their French allies, had made their way

through the mountains above Pratovecchio and were laying waste the

country of the Conti Guidi. It was on the Feast of St. Barnabas, 1289,

that the two armies stood face to face, and Dante riding in the

Florentine light cavalry, if the fragment of a letter preserved to us

by Leonardo Bruni be authentic, "had much dread and at the end the

greatest gladness, by reason of the varying chances of that battle."

There are no relics of the struggle to be found in Certomondo; only a

very small portion of the cloisters remains, and the church itself

contains nothing of note save an Annunciation by Neri di Bicci. But

about an hour's walk from the battlefield, perhaps a mile from the

foot of the hill on which Bibbiena stands, is a spot most sacred to

all lovers of Dante. Here the stream of the Archiano, banked with

poplars and willows, flows into the Arno; and here, at the close of

that same terrible and glorious day, Buonconte da Montefeltro died of

his wounds, gasping out the name of Mary. At evening the nightingales

are loud around the spot, but their song is less sweet then the

ineffable stanzas in the fifth canto of the _Purgatorio_ in which

Dante has raised an imperishable monument to the young Ghibelline

warrior.

But, more famous than its castles or even its Dantesque memories, the

Casentino is hallowed by its noble sanctuaries of Vallombrosa,

Camaldoli, La Verna. Less noted but still very interesting is the

Dominican church and convent of the Madonna del Sasso, just below

Bibbiena on the way towards La Verna, hallowed with memories of

Savonarola and the Piagnoni, and still a place of devout pilgrimage to

Our Lady of the Rock. There is a fine Assumption in its church,

painted by Fra Paolino from Bartolommeo's cartoon. Vallombrosa and

Camaldoli, founded respectively by Giovanni Gualberto and Romualdus,

have shared the fate of all such institutions in modern Italy.

La Verna remains undisturbed, that "harsh rock between Tiber and

Arno," as Dante calls it, where Francis "received from Christ the

final seal;" the sacred mountain from which, on that September morning

before the dawn, so bright a light of Divine Love shone forth to

rekindle the mediaeval world, that all the country seemed aflame, as

the crucified Seraph uttered the words of mystery--_Tu sei il mio

Gonfaloniere_: "Thou art my standard-bearer." To enter the precincts

of this sacred place, under the arch hewn out from between the rocks,

is like a first introduction to the spirit of the _Divina Commedia_.

"Non est in toto sanctior orbe mons."

For here, at least, is one spot left in the world, where, although

Renaissance and Reformation, Revolution and Risorgimento, have swept

round it, the Middle Ages still reign a living reality, in their

noblest aspect, with the _poverelli_ of the Seraphic Father; and the

mystical light, that shone out on the day of the Stigmata, still

burns: "while the eternal ages watch and wait."

[Illustration: FLORENCE]

TABLE OF THE MEDICI

GIOVANNI DI AVERARDO (GIOVANNI BICCI) 1360-1429, m. Piccarda Bueri.

____________|______________________(continued below)

COSIMO (Pater Patriae), 1389-1464, m. Contessina dei Bardi.

_____________________________|________________

| | |

PIERO (il Gottoso) GIOVANNI, CARLO,

1416-1469, 1424-1463, (illegitimate),

m. Lucrezia Tornabuoni. m. Ginevra degli d. 1492.

Alessandri.

___|______________________________________________

| | | |

LORENZO, GIULIANO, BIANCA, NANNINA,

(the Magnificent), 1453-1478. m. Guglielmo m. Bernardo

1449-1492, | dei Pazzi. Rucellai.

m. Clarice Orsini. |

| GIULIO (illegitimate),

| d. 1534,

| (Pope Clement VII.)

__|_____________________________________________________________

| | | | |

PIERO, GIOVANNI, GIULIANO, LUCREZIA, MADDALENA,

1471-1503, 1475-1521, (Duke of Nemours), m. Giacomo m. Franceschetto

m. Alfonsina (Pope Leo X.) 1479-1516, Salviati. Cibo.

Orsini. m. Filiberta of |

| Savoy. |

___|________________ | __|_____________

| | | | |

LORENZO, CLARICE, IPPOLITO,[58] MARIA, FRANCESCA,

(titular Duke m. Filippo (Illegitimate), m. Giovanni m. Ottaviano

of Urbino), Strozzi 1511-1535, delle Bande dei Medici.

1492-1519, (Cardinal). Nere. |

m. Madeleine de Alessandro,

la Tour d'Auvergne. d. 1605,

_|______________ (Pope Leo XI.)

| |

ALESSANDRO,[59] CATERINA,

(Illegitimate), 1519-1589,

d. 1537, m. Henri II.

m. Margherita of France.

of Austria.

[58][59] _The parentage of Ippolito and Alessandro is somewhat uncertain. The

former was probably Giuliano's son by a lady of Pesaro, the latter probably

the son of Lorenzo by a mulatto woman._

-----------continued from above

___________________

LORENZO, 1395-1440, m. Ginevra Cavalcanti.

PIERO FRANCESCO,

d. 1467 (or 1476),

m. Laudomia Acciaiuoli.

_______________|_______

| |

LORENZO, d. 1503, GIOVANNI, d. 1498,

m. Semiramide Appini. m. Caterina Sforza.

| |

PIER FRANCESCO, GIOVANNI, ("delle Bande

d. 1525, Nere"), 1498-1526,

m. Maria Soderini. m. Maria Salviati.

__|__________________________ |____________

| | | |

LORENZO, LAUDOMIA, MADDALENA, COSIMO I.

("Lorenzino" m. Piero m. Roberto (Grand Duke),

or Strozzi. Strozzi. 1519-1574,

"Lorenzaccio"), m. Eleonora of Toledo

1514-1547. (and Cammilla Martelli)

_____________________________________|_____

| | | |

FRANCESCO I., GIOVANNI, GARZIA, FERDINAND I.,

1541-1587, d. 1562. d. 1562. 1549-1609,

m. Joanna of m. Christina of

Austria (and Lorraine.

Bianca Cappello). ______|

| |

MARIA COSIMO II.,

m. Henri IV. 1590-1621,

of France m. Maria Maddalena

of Austria.

FERDINAND II.,

1610-1670.

COSIMO III.,

1642-1723.

GIOVANNI GASTONE,

1671-1737.

CHRONOLOGICAL INDEX OF ARCHITECTS, SCULPTORS & PAINTERS

(_Names of non-Italians in italics_)

ARCHITECTS AND SCULPTORS

Niccolo Pisano (circa 1206-1278), 32, 254, 349.

Fra Sisto (died 1289), 359.

Fra Ristoro da Campi (died 1283), 359.

Arnolfo di Cambio (1232?-1300 or 1310), 41, 65, 66, 146-149, 184,

205, 211, 228, 231, 242, 248, 265, 269, 274, 333, 334, 372.

Giovanni Pisano (circa 1250-after 1328), 32, 254, 416.

Giotto da Bondone. See under Painters.

Andrea Pisano (1270-1348), 65, 67, 225, 254, 255, 260-263, 408.

Fra Giovanni da Campi (died 1339), 359.

Taddeo Gaddi. See under Painters.

Fra Jacopo Talenti da Nipozzano (died 1362), 359, 366.

Nino Pisano (died 1368), 271.

Andrea Orcagna. See under Painters.

Francesco Talenti (died after 1387), 65, 67, 189, 260, 265, 266.

Pietro di Migliore (middle of fourteenth century), 196.

Alberto Arnoldi (died circa 1378), 264.

Simone di Francesco Talenti (end of fourteenth century), 156,

189, 190, 198, 203.

Benci di Cione (latter half of fourteenth century), 156, 189,

203, 216.

Neri di Fioraventi (latter half of fourteenth century) 203, 216.

Giovanni di Ambrogio (last quarter of fourteenth century), 157.

Jacopo di Piero (last quarter of fourteenth century), 157.

Piero di Giovanni Tedesco (end of Trecento), 216, 270.

Niccolo di Piero Lamberti da Arezzo (1360?-1444?), 193, 216, 263,

270, 272, 276.

Nanni di Antonio di Banco (died in 1421), 97, 190, 193, 194,

272-274, 276, 304.

Jacopo della Quercia (1371-1438), 272.

Bicci di Lorenzo. See under Painters.

Filippo Brunelleschi (1377-1446), 80, 97, 222, 237, 242, 243,

266, 269, 274, 289, 290, 291, 301, 325, 328, 347, 354, 363,

377, 389, 409.

Lorenzo Ghiberti (1378-1455), 11, 95, 97, 193, 195, 222, 232,

255-258, 275-277, 329, 363.

Bernardo Ciuffagni (1381-1457), 275, 276.

Donatello, Donate di Betto Bardi (1386-1466), 76, 80, 97, 150,

157, 190, 193-195, 209, 220, 221, 223, 232, 236, 237, 243, 253,

263, 264, 270, 272, 274, 275, 277, 280-282, 286, 363, 371, 380.

Michelozzo Michelozzi (1396-1472), 77, 80, 98, 150, 193, 242,

253, 277, 284, 302, 310, 322, 327, 377, 402, 410, 412, 416.

Luca della Robbia (1399-1482), 98, 193, 194, 195, 210, 223, 225,

243, 263, 276, 277, 281, 288, 371, 402.

Leo (Leone) Battista Alberti (1405-1472), 98, 328, 354, 359.

Bernardo Rossellino (1409-1464), 98, 235, 236, 354, 361.

Vecchietta (1410-1480), 222.

Antonio Rossellino (1427-1478), 98, 224, 371, 402, 416.

Desiderio da Settignano (1428-1464), 98, 225, 237, 243, 290, 349,

371, 410.

Antonio Pollaiuolo (1429-1498), 87, 98, 99, 167, 168, 175, 222,

224, 280, 281, 395.

Mino da Fiesole (1431-1484), 82, 98, 212, 225, 242, 410, 416.

Giuliano da Maiano (1432-1490), 98, 416.

Andrea Verrocchio (1435-1488), 11, 86, 98, 99, 150, 168, 174,

195, 222, 224, 225, 280, 281, 292, 298, 318, 329.

Matteo Civitali (1435-1501), 224, 225.

Andrea della Robbia (1435-1525), 98, 223, 325, 329, 347, 354,

355, 371, 418.

Benedetto da Maiano (1442-1497), 98, 153, 224, 225, 235, 274,

353, 365.

Bertoldo (died 1491), 101, 222, 290, 298.

Giuliano da San Gallo (1445-1516), 98, 330, 351, 389, 413, 414,

418.

Cronaca, Simone del Pollaiuolo (1457-1508), 98, 150, 230, 353,

389, 398.

Benedetto Buglione (1461-1521), 211.

Caparra, Niccolo Grosso (worker in metal, latter half of

fifteenth century), 353.

Andrea Ferrucci da Fiesole (1465-1526), 220, 274, 410.

Baccio d'Agnolo (1462-1543), 377, 389.

Giovanni della Robbia (1469-1527), 98, 223, 238, 365, 371, 398.

Andrea Sansovino (circa 1460-1529), 258.

Baccio da Montelupo (1469-1535), 194.

Benedetto da Rovezzano (1474-1552), 13, 219, 276, 349, 395.

Giovanni Francesco Rustici (1474-1554), 255, 256, 325.

Michelangelo Buonarroti (1475-1564), 2, 101, 102, 137, 138,

142-145, 151, 152, 162, 164-166, 183, 216, 219, 220, 223,

225-227, 235, 258, 266, 275, 276, 282, 289, 291-296, 298,

314, 315, 322, 339, 349, 385, 388, 397, 398, 401, 410.

Jacopo Sansovino (1486-1570), 225, 275, 326.

Baccio Bandinelli (1487-1559), 150, 152, 288.

Francesco da San Gallo (1494-1576), 198, 291, 407.

Benvenuto Cellini (1500-1571), 145, 150, 154, 157, 223, 284, 285,

349.

Raffaello di Baccio da Montelupo (1505-1566), 296.

Fra Giovanni Agnolo da Montorsoli (1506-1563), 296.

Battista del Tasso (died 1555), 200.

Bartolommeo Ammanati (1511-1592), 154, 346, 379.

Giorgio Vasari (1512-1574), 67, 87, 140, 145, 149, 151, 152, 155,

160, 172, 231, 235, 275, et passim.

Giovanni da Bologna (1524-1608), 145, 154, 157, 195, 216, 223,

301, 325.

Vincenzo Danti, (1530-1576), 216, 233, 255, 258.

Bernardo Buontalenti (1536-1608), 199, 298, 375.

PAINTERS

Fra Jacopo, worker in mosaic (working in 1225), 249.

Giovanni Cimabue (1240-1302), 66, 243, 244, 321, 361.

Andrea Tafi, worker in mosaic (1250?-1320?), 249.

Gaddo Gaddi (circa 1259-1333), 273.

Duccio di Buoninsegna (circa 1260-1339), 361.

Giotto da Bondone (1276?-1336), 32, 56, 65, 66, 67, 69, 163, 222,

238-241, 242, 259-263, 265, 274, 298, 322, 323, 361, 366, 372,

403.

Simone Martini (1283-1344), 67, 163, 366

Lippo Memmi (died 1356), 163.

Pietro and Ambrogio Lorenzetti (died circa 1348), 67, 163, 323.

Taddeo Gaddi (circa 1300-1366), 67, 189, 222, 241, 322, 341, 366.

Bernardo Daddi (died in 1350), 67, 197, 238, 404.

Giottino, Giotto di Stefano (died after 1369), 163, 226.

Puccio Capanna (flourished circa 1350), 372.

Maso di Banco (working in middle of Trecento), 226, 237.

Pietro Cavallini (died circa 1360), 323.

Giovanni da Milano (died after 1360), 67, 163, 323, 395.

Leonardo Orcagna (born before 1308), 362.

Andrea Orcagna (1308-1368), 11, 65, 68, 69, 156, 185, 189, 196,

197, 210, 224, 264, 362, 363, 366, 367, 407.

Agnolo Gaddi (died 1396), 67, 157, 163, 238, 242, 322, 416.

Cennino Cennini (end of Trecento), 226.

Spinello Aretino (1333-1410), 68, 370, 395, 402, 403.

Gherardo Starnina (1354-1408), 391, 416.

Don Lorenzo, il Monaco (1370-1425), 163, 178, 180, 308, 322, 350.

Gentile da Fabriano (1370-1450), 321, 322, 396.

Bicci di Lorenzo (1373-1452), 277, 329.

Masolino (born circa 1384, died after 1435), 99, 391-395, 416.

Masaccio (1401-1428), 74, 76, 95, 99, 102, 169, 318, 391-395,

417.

Fra Giovanni Angelico (1387-1455), 99, 167, 175, 176, 178, 181,

183, 301-304, 306-310, 315, 316, 322, 328, 356, 409.

Andrea del Castagno (1396?-1457), 99, 273, 327, 329, 335, 336.

Domenico Veneziano (died 1461), 99, 180, 236, 335, 387.

Paolo Uccello (1397-1475), 99, 163, 257, 273, 275, 366.

Fra Filippo Lippi (1406-1469), 80, 99, 170, 175, 287, 290, 316,

318-321, 333, 386, 390, 415-418.

Piero della Francesca (1415-1492), 174.

Neri di Bicci (1419-1491), 163, 396, 421.

Benozzo Gozzoli (1420-1498), 79, 87, 257, 287, 288, 316, 330.

Domenico di Michelino (working in 1461), 277.

Francesco Pesellino (1422-1457), 227, 318.

Alessio Baldovinetti (1427-1499), 163, 326, 364, 402.

Antonio Pollaiuolo. See under Sculptors.

Giovanni Bellini (circa 1428-1516), 162, 177.

Andrea Mantegna (1431-1506), 165, 168, 176, 177, 183, 365.

Andrea Verrocchio. See under Sculptors.

_Hans Memlinc_ (circa 1435-1495), 177.

Cosimo Rosselli (1439-1507), 100, 164, 326, 329, 330, 333.

Piero Pollaiuolo (1443-1496), 164, 174.

Luca Signorelli (1441-1523), 100, 164, 166, 174, 175, 320, 321,

352, 387.

_Hugo Van der Goes_ (died 1482), 330.

Pietro Vannucci, Perugino (1446-1523), 165, 167, 168, 316, 319,

321, 328, 389, 330, 336, 383.

Alessandro Filipepi, Sandro Botticelli (1447-1510), 87, 89, 94,

97, 100, 160, 168, 169, 170, 173, 174, 175, 178-181, 210, 279,

291, 317, 318, 320, 321, 352, 365, 372, 379, 395.

Domenico Ghirlandaio (1449-1494), 11, 74, 100, 101, 168, 174,

181, 242, 272, 320, 323, 324, 326, 350, 351, 363, 364, 371,

372.

Francesco Raibolini, Francia (1450-1517), 165.

David Ghirlandaio (1452-1525), 101, 364.

Sebastiano Mainardi (died 1513), 222, 242, 364.

Leonardo da Vinci (1452-1519), 66, 99, 100, 101, 137, 138, 151,

162, 169, 170, 174, 183, 256, 298, 318, 349, 386, 393.

Filippino Lippi (1457-1504), 7, 14, 94, 100, 162, 169, 172, 173,

212, 321, 352, 365, 387, 389, 392, 395, 417, 418.

Lorenzo di Credi (1459-1537), 11, 100, 101, 168, 173, 174, 175,

210, 277, 321, 409.

Piero di Cosimo (1462-1521), 100, 101, 139, 164, 170, 210, 325.

Lorenzo Costa (circa 1460-1535), 387.

Raffaellino del Garbo (1466-1524), 321, 351, 389.

Raffaellino di Carlo (1470-1516), 352, 389.

Boccaccino da Cremona (died 1518), 386.

Timoteo Viti (1469-1523), 382.

Francesco Granacci (1469-1543), 101, 173, 298, 318, 395.

_Albert Duerer_ (1471-1528), 165, 177, 324.

Mariotto Albertinelli (1474-1515), 137-139, 171, 210, 320, 323,

329, 387, 407.

Michelangelo Buonarroti. See under Architects and Sculptors.

Fra Bartolommeo (1475-1517), 137-139, 164, 167, 170-172, 183,

301-303, 307, 309, 320, 321, 323, 329, 380, 383, 384, 387.

Bernardino Luini (1475-1533), 165, 418.

Morto da Feltre (1475?-1522?), 384.

Giorgio Barbarelli, Giorgione (1477-1511), 162, 164, 167, 177,

381, 384.

Tiziano Vecelli, Titian (1477-1576), 162, 165, 167, 177, 178,

253, 380, 381, 383, 384-386, 387.

Giovanni Antonio Bazzi, Sodoma (1477-1549), 170.

Dosso Dossi (1479-1542), 162, 383.

Lorenzo Lotto (1480-1555), 384.

Francia Bigio (1482-1525), 164, 324-327, 414.

Raffaello Sanzio, Raphael (1483-1520), 138, 151, 152, 162, 164,

165, 183, 258, 321, 335, 336, 352, 381-385, 393, 394.

Ridolfo Ghirlandaio (1483-1561), 12, 153, 171, 381, 416.

Sebastiano del Piombo (1485-1547), 164, 387.

Andrea del Sarto (1486-1531), 138, 139, 142, 162, 169, 171, 182,

318, 320, 324-328, 334, 352, 381-386, 414.

Giovanni da Udine (1487-1564), 296.

Fra Paolino da Pistoia (1490-1547), 323, 412.

Giovanni Antonio Sogliani (1492-1544), 303, 409.

Giulio Romano (1492-1546), 383, 384.

Antonio Allegri da Correggio (1494-1534), 166, 167, 176, 253.

Rosso Fiorentino (1494-1541), 223, 327, 329, 384.

Jacopo da Pontormo (1494-1557), 144, 145, 172, 310, 327, 414,

415.

_Lucas Van Leyden_ (1494-1533), 165.

Angelo Bronzino (1502-1572), 82, 145, 154, 170, 171, 182, 290.

Michele di Ridolfo Ghirlandaio (1503-1577), 334, 372.

Daniele Ricciarelli, da Volterra (1509-1566), 223, 227.

Francesco Salviati (1510-1563), 153.

Giorgio Vasari. See under Architects and Sculptors.

Jacopo Robusti, Tintoretto (1518-1594), 162.

Paolo Veronese (1528-1588), 241, 381.

Taddeo Zuccheri (1529-1566), 275.

Marcello Venusti (died circa 1580), 227.

Alessandro Allori (1535-1607), 414, 415.

Bernardo Poccetti (1542-1612), 303.

Jacopo da Empoli (1554-1640), 227, 327.

Guido Reni (1575-1642), 386.

Cristofano Allori (1577-1621), 384.

_Peter Paul Rubens_ (1577-1640), 152, 162, 382, 385, 386.

Matteo Rosselli (1578-1650), 303, 386.

Artemisia Gentileschi (died 1642), 387.

Pietro da Cortona (1596-1669), 379, 380.

_Justus Sustermans_ (1597-1681), 182.

_Antony Van Dyck_ (1599-1641), 385.

_Diego Velasquez_ (1599-1660), 386.

_Rembrandt Van Ryn_ (1606-1669), 162.

Carlo Dolci (1616-1686), 352, 386.

_Peter Lely_ (1618-1680), 387.

Luca Giordano (1632-1705), 286.

GENERAL INDEX

(_Names of Artists not included_)

_Accademia delle Belle Arti_, 314-324.

Acciaiuoli, Agnolo (bishop), 369;

Agnolo (anti-Medicean), 85, 350;

Niccolo (grand seneschal), 336, 407;

Niccola (swindler), 398.

Adimari, family, 58, 203, 204.

Adimari, Boccaccio, 188, 203.

Alamanni, Luigi, 371.

Alberti, palace of the, 341;

Benedetto degli, 402;

Donato, 215, 216.

_Albizzi, Borgo degli_, 208-210.

Albizzi, Maso degli, 74, 76, 209-211, 350, 351.

Albizzi, Rinaldo degli, 74-77, 209, 346, 356.

Alighieri, family, 36, 37, 207, 208.

ALIGHIERI, DANTE, 2, 5, 6, 8, 14, 15, 16, 21, 22, 24;

his birth, 25, 32-37;

his love, 38;

at Campaldino, 39, 40;

political life, 41, 43;

priorate, 44, 45;

exile, 46, 49, 50, 53, 54;

death, 55;

on the Florentine Constitution, 59, 60, 65, 66, 69, 70, 91,

103, 112, 124, 199, 200, 203-206;

his house and family, 207, 208; 215;

in the Council of the Commune, 221;

portrait in the Bargello, 221, 222;

monument, 228, 235, 238-241, 243, 246, 248-250, 262, 274;

picture of him in the Duomo, 277-279;

portrait in the Biblioteca Riccardiana, 288;

his letters, 292, 329, 333, 340, 342, 346, 355, 361-363, 368,

379, 394, 397, 398, 405, 408, 412;

with him in the Casentino, 419-422.

Aldobrandini, Bertino, 406;

Salvestro, 228.

Alexander VI., Pope, 95, 113, 117, 123, 124.

Altoviti, palace of the, 209.

_Ambrogio, S._, 333.

Amidei, family, 19-21, 346;

tower, 346.

Ambrogini, Angelo. _See_ Poliziano.

_Annunziata, SS._, Piazza, 325;

church and convent, 40, 127, 326-328.

Antoninus, S., 10, 82, 197, 274, 301, 303, 304, 309.

_Apostoli, SS._, 13, 347.

_Appollonia, S._, 99, 335, 336.

Argenti, Filippo, 204.

Arts or Guilds, 17, 25-28, 38, 39, 42, 43, 61, 72, 73, 74, 78,

184, 189-196.

Athens, Duke of, 57, 58, 72, 149, 198, 221, 225, 226, 229, 369.

_Badia_, 127, 211-213.

Baglioni, Malatesta, 143, 360, 401, 406, 407.

Baldovinetti, tower of the, 346.

Bandini, Giovanni, 406.

_Baptistery_, 7, 11, 246-259.

Baroncelli, Bernardo, 279.

_Bardi, cappella dei_, 239;

_via dei_, 38, 376, 377.

Bardi, family, 59, 375;

Simone dei, 351.

Bargello, office of, 42 (note), 215;

former quarters of, 128, 134, 155, 215.

_Bargello, Museo Nazionale_, (Palazzo del Podesta), 214-225.

Battifolle, Counts of, 351, 419.

_Belle Donne, Via delle_, 354.

Benedict XI., Pope, 50, 304, 356, 369.

Benevento, Battle of, 25, 32, 69.

Beatrice, 36, 37, 206, 329.

Benedetto da Foiano, Fra, 359, 360.

Bellincion Berti, 16, 206.

Bella, Giano della, 42, 43, 206, 215, 371, 376.

Bello, Geri del, 208.

_Belvedere, Fortezza_, 375, 403.

_Biagio, S._ (S. Maria sopra la Porta), 28, 29, 200.

"Bianchi e Neri," Whites and Blacks, 35, 43-50, 70, 215, 216,

347, 348, 350, 351.

Bibbiena, 419-422.

_Biblioteca Laurenziana_, 102, 291, 292.

_Biblioteca Nazionale_, 160.

_Biblioteca Riccardiana_, 288.

_Bigallo_, the, 65, 264.

Bisticci, Vespasiano, 75, 81, 103, 237.

_Boboli Gardens_, 388.

Boiardo, 109.

Boniface VIII., Pope, 41, 43-46, 269, 270, 273, 274, 356.

Borgia. _See_ Alexander VI.

_Borgo degli Albizzi_ (San Piero), 208-210.

_Borgo SS. Apostoli_, 26, 37, 346, 347.

_Borgo San Frediano_, 345, 395, 396.

_Borgo San Jacopo_, 38, 375, 376.

_Borgo Ognissanti_, 342, 371, 372.

_Borgo Allegri, Via_, 66, 243, 244.

Boccaccio, 31, 32, 55, 60, 61, 69, 70, 198, 204, 213, 248, 259,

346, 347, 360, 410.

Boscoli, P. P., 140, 141.

Bracciolini, Poggio, 104, 274.

_Brancacci Chapel_, 391-395.

Browning, E. B., 244, 294, 388.

Browning, Robert, 171, 288, 319, 380, 388, 407.

Bruni, Leonardo, 103, 104, 208, 231, 236, 256, 325, 333, 421.

_Buonarroti, Casa_, 226, 227.

Buondelmonti, the, 346, 347.

Buondelmonti, Buondelmonte degli, 19-21, 342, 407.

Brunelleschi, Betto, 259.

Burlamacchi, Padre, 311.

Cacciaguida, 14, 16, 21, 49, 407, 411.

Calimala, Arte di, 26, 28, 38, 195, 200, 253, 256.

_Calimara_ (_Calimala_), 200.

Calvoli, Fulcieri da, 215.

_Calzaioli, Via_ (Corso degli Adimari), 183, 203-205.

Camaldoli, 421.

_Campanile_, 56, 67, 259-264.

Campaldino, Battle of, 39-41, 420, 421.

Cappello, Bianca, 297, 371, 413-414.

_Cappella dei Principi_, 297, 298.

_Cappella degli Spagnuoli_, 366-370.

Capponi, Agostino, 140;

Gino, 389;

Gino (Marchese), 235;

Luisa, 353;

Neri, 79, 389, 420;

Niccolo, 142, 143, 150, 377;

Piero, 116, 119, 126, 286, 340, 377, 389.

Captain of the People, 23, 27, 28, 42 (note), 155.

Carducci, Francesco, 142.

Careggi, 412, 413.

_San Carlo_ (S. Michele), 203.

_Carmine_. See _S. Maria del Carmine_.

Casentino, the, 418-422.

_Cascine_, 372, 373.

_Castagna, Torre della_, 38, 207, 208.

Castello, 413.

Catherine of Siena, S., 32, 62, 273.

Cavalcanti, family, 37, 50, 59, 203.

Cavalcanti, Guido, 36, 37, 44, 45, 187, 188, 248, 259.

Cerchi, the, 37, 43, 44, 205, 206;

palace, etc., 205;

Vieri dei, 40, 43.

Certosa di Val d'Ema, 407.

Certomondo, 421.

Charlemagne, 12, 13, 347;

Charles of Anjou, 25, 27, 28;

Charles V., Emperor, 137, 143, 404, 413;

Charles VIII. of France, 116-119, 121, 132, 224, 284, 342, 408.

Charles of Valois, 45, 46, 348, 356.

Cino da Pistoia, 418.

Compagni, Dino, 32, 53, 70, 209, 351.

"Colleges," the, 71.

_Consuma_, 419.

Conti Guidi, 206, 419, 420.

_Corbizzi Tower_ ("Corso Donati's Tower"), 40, 53, 209.

_Corsini Palace and Picture Gallery_, 352.

_Santa Croce, Piazza_, 228-230;

_Church and cloisters_, 230-243.

Diacceto, Jacopo da, 371.

Donati, the, 37, 43, 203, 206, 207;

Corso, 37, 40, 43, 44-46, 49, 50, 53, 209, 333;

Forese, 37, 333;

Gemma, 37, 207;

Gualdrada, 19;

Lucrezia, 107, 230;

Piccarda, 405, 406;

Simone, 229;

Sinibaldo, 188.

_Duomo_, (see _Santa Maria del Fiore_);

_Opera del_, 280-282.

Domenico da Pescia, F., 131-135, 151, 159, 409.

Eugenius IV., Pope, 77, 79, 310, 356.

Executore, the, 42, 62, 155.

Florence, _passim_.

Faggiuola, Uguccione della, 50, 53, 55, 56.

_Felice, S._, 388.

_Felicita, S._, 377.

Ferrante, King of Naples, 89, 93, 95.

Ferdinand III., Grand Duke, 335, 382.

Francis II., Grand Duke, 334.

Ferrucci, F., 143, 340.

Ficino, Marsilio, 81, 82, 104, 105, 108, 274, 275, 364, 409.

Fiesole, 2, 5, 6, 12, 16, 17, 409, 410.

Filipepi, Simone, 158-160, 280, 305, 308.

Foiano. See _Fra Benedetto_.

_Fortezza da Basso_, 339.

_Francesco dei Vanchetoni, S._, 371.

Frescobaldi, the, 59, 348, 375, 376;

Piazza, 347, 376.

Galileo, 182, 237, 404, 406.

_Ghibellina, Via_, 24, 225-228.

Gianni, Lapo, 1, 36, 65, 340.

Giovanni Gualberto, S., 13, 398, 422.

_Giovanni Battista, S._ See _Baptistery_.

Girolamo, Fra. _See_ Savonarola.

Girolami and Gherardini, Towers of, 346.

Gonfaloniere, the office of, 41, 42.

Gregory X., 340;

Gregory XI., 62, 65, 401.

Gonzaga, Eleonora, 167, 177, 383;

Ferrante, 143, 406.

_Guadagni, Palazzo_, 389.

Guelfs and Ghibellines, 16-18, 21-27, _et passim_.

Guido Novello, 24-27, 215.

Hawkwood, John (Giovanni Aguto), 73, 273.

Henry IV., 16;

Henry VI., 19;

Henry VII., 54, 55, 333, 369, Emperors.

Hildebrand, Pope Gregory VII., 13.

Hugh, or Hugo, Margrave of Tuscany, 14, 211.

_Impruneta_, 407.

_Innocenti, Santa Maria degli_, 326.

_Innocenti, Spedale degli_, 325.

Interminelli, Castruccio (Castracani) degli, 55, 56, 396.

Julius II., Pope, 117, 136, 138, 165, 385.

John XXIII., Pope, 75, 253.

_Jacopo in Ripoli, S._, 371.

_Jacopo Oltrarno, S._, 376.

Ladislaus, King of Naples, 75.

_Lambertesca, Via_, 37, 346.

Lamberti, family, 23.

Lamberti, Mosca degli, 20, 22.

Landini, Cristoforo, 105, 364.

Landucci, Luca, 118, 122, 123, 128, 134, 205, 348, 390, 396.

Lane, Arte della, 28, 38, 72, 193, 195, 199, 262, 265.

La Lastra, affair of, 411, 412.

_Leonardo in Arcetri, S._, 404.

_Lorenzo, San, Piazza_, 288;

_Basilica_, 289, 290;

_Sagrestia Vecchia_, 290, 291;

_cloisters and Biblioteca_, 291, 292;

_Sagrestia Nuova_, 292-296;

_Cappella dei Principi_, 297.

St Louis IX. of France, 239, 240.

_Lungarno_, 340-345.

Latini, Brunetto, 6, 36.

Latino, Cardinal, 355, 356.

Leo X., Pope. See _Dei Medici, Giovanni di Lorenzo_.

Leopold I. and II., Grand Dukes, 335.

_Loggia dei Lanzi_, 65, 156-160.

_Loggia di San Paolo_, 354.

Machiavelli, Niccolo, 35, 59, 89, 91, 109, 137, 141, 142, 204,

235, 377, 378.

_Malcontenti, Via dei_, 243, 244.

Manetti, Giannozzo, 104, 274.

Manfredi, 24, 25.

Mannelli, the, 375.

_Marco, S._, 81, 82, 93;

the church of 298-302;

the convent, 302-313.