School_ is represented by 47 paintings, of which the most
noteworthy are by Fabres, 679 the poet Alfieri, and 689 the Countess of
Albany, wife of, firstly, Prince Charles, the young Pretender, and
afterwards of Alfieri. Gagneraux, 690 A Lion-hunt. Mignard, 670 Madame
do Grignan and her Mother, and 688, Madame de Sévigné. N. Poussin, 680
Theseus before his Mother. Rigaud, 684 Portrait of Bossuet.
Florence: Uffizi Gallery.—Room of Gems.
_The Room of
Gems_ has six upright glass cases, in which are exposed to view
statuettes, vases, cups, caskets, and a variety of ornaments made of
lapis lazuli, rock crystal, jasper, agate, aqua marina, turquoise, and
gold. In the second glass case is the most valuable article,
a casket of rock crystal, with twenty-four events from the life of
Christ engraved upon it by Valerio Belli, by order of Clement VII., who
presented it to Catherine of Medicis as a wedding present. The Room of
Gems opens into the south or connecting corridor, painted in fresco by
Ulivelli, Chiavistelli, and Tonelli. The most remarkable sculptures here
are 129 reliefs on a sarcophagus, representing the Fall of Phaeton into
the Eridanus (the river Po), with the Transformation of his Sisters into
Poplar Trees; and the races in the Circus Maximus of Rome; 137 Round
altar with reliefs representing the Sacrifice of Iphigenia; 145 Youth
extracting a Thorn, a replica of the more famous statue in the
Vatican; 145 Venus Anadyomene; 146 Nymph. (The key of the W.Cs. is kept
in the little office in the corner of this corridor).
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Florence: Uffizi Gallery—The Venetian School.
West Corridor and rooms. Rows of Roman statues stand on both
sides, and the walls are covered with Italian paintings of a much later
date than those in the eastern corridor. The first two rooms contain the
Venetian
School, represented by 82 paintings, and the next four contain
portraits of artists, nearly all by themselves. The room behind the
Venetian school contains a collection of 80,000 medals and coins. The 82
pictures which illustrate the _Venetian School_ are by twenty-five
great masters, T. Bassano, G. Bellini, P. Bordone, C. Caliari,
D. Campagnole, Giorgione, L. Lotto, A. Maganza, Moretto,
Morone, G. Muziano, Padovanino, Palma (both), Pini, Porta, Savoldo,
A. Schiavone, Tinelli, Tintoretto, Tiziano, P. Veneziano, C.
Veronese, P. Veronese, A. Vicentino. At the head of all stands the
immortal Tiziano. His finest portraits are those of the Duchess (599)
and of the Duke of Urbino (605), Francesco della Rovere I.; of
“Flora,” called his Mistress (626); of Giovanni, father of
Cosimo I. (614); and of Sansovino (596). Also by Tiziano, 633, Holy
Family; 609 Battle between the Venetians and Austrians; 648 Catherine
Cornaro, Queen of Cyprus; and 618 Sketch of Virgin and Child for his
celebrated picture in Sta. Maria at Venice. P. Veronese, 589
Martyrdom of St. Justina; 596 Esther before Ahasuerus, and 636 The
Crucifixion. Tintoretto, 617 The Marriage in Cana.
Florence: Uffizi Gallery—
Portraits of Artists.
In the next two rooms are Portraits of Artists of all nations,
from the 15th cent. to the present time. In a niche is the statue (338)
of Card. Leopoldo de’ Medici, and in the middle of the hall the
celebrated Medici Vase (339), with the sacrifice of Iphigenia in
relief, by a Greek sculptor. Cardinal Leopold, brother of the Grand Duke
Ferdinand, founded this collection in the 17th cent., and left it with
200 portraits; now it has about 500. Among the most remarkable
are—288 Raphael, by himself, in 1506, when 23; 225 Van Dyck; 228
Rubens; 232 Holbein; 292 Leonardo da Vinci; 384 Tiziano; 378 Tintoretto;
374, 384, and 459 Annibale Caracci; 368 Antonio Caracci; 403 Guido Reni;
546 Sir Joshua Reynolds; 465 Thomas Murray. The door adjoining the hall
of portraits of painters opens into the long series of corridors and
stairs leading to the Pitti
Gallery. See page 243. Sala delle Iscrizione.—The walls
are covered with Greek and Roman inscriptions, arranged in 12 divisions
according to the subject. In this room are also some very interesting
ancient sculptures. Among others (315) the Torso of a Faun. _Cabinet
of the Hermaphrodite._—The most important piece of sculpture
here is 306 Hermaphrodite reclining on a lion’s skin, a valuable
Greek work; 318 Bust of Alexander the Great in suffering. _Cabinet of
Cameos._—A very
242
precious collection of ancient and modern cameos, statuettes, and
enamels, including those presented by Sir William Currie in 1863.
Florence: Uffizi Gallery—The Hall of
Niobe.
_Sala del Baroccio._—Against the walls are beautiful
tables in pietradura or Florentine mosaic, and one in the centre of the
room by Jacopo Antella, in 1615, from designs of Ligozzi. This hall
contains 172 pictures, chiefly by Italian artists. The great picture in
size and merit is 169, by Baroccio, The Madonna del Popolo or “The
Virgin interceding with her Son;” 163 is Susterman’s portrait of
Galileo; 191, by Sassoferrato, a Madonna; 207, one of Carlo Dolce’s
best works, “St. Galla Placida.” Sala della Niobe.—The hall
of Niobe was built in 1774, by the Grand Duke Pietro Leopoldo, for the
famous statues supposed to have been by Scopas or Praxiteles, and found
near the Porta S. Paolo at Rome in 1583, representing Niobe and her
children struck by thunderbolts from Apollo. They constitute one of the
finest and most powerful groups in the world, but stationed as they are
round the cold, flat, white wall of an oblong saloon, each on his
separate pedestal, the illusion of design and composition is not only
destroyed but individual criticism invited, a test all of them
cannot bear. It is believed that originally they formed a group on the
pediment of a temple. Niobe is rather large, nearly nine heads high, but
the child she protects is without a fault in form. This group is of one
piece of marble. All the others are in single figures. But the soul and
source of all that is interesting in these statues is the wonderful
figure of the wounded and dying youth, represented lying on his back,
his legs just crossing each other, the left hand reclining on his
breast, and his right arm slightly raised. As a statue, it commands the
highest admiration, and as a chaste and powerful picture of death, the
keenest sympathy. Behind the statue of Niobe is a very large picture by
Rubens—Henri IV. at the battle of Ivry—a performance of
wonderful spirit, but unfinished; and opposite it, 147 The entry of
Henri IV. into Paris; 144 Van Dyck, a portrait; 152 Honthorst,
Fortune-teller.
Florence: Uffizi Gallery—The Hall of Bronzes.
_Sala dei
Bronzi._—In two rooms; among these ancient bronzes the most
remarkable are the bronze heads of Sophocles and Homer, and the Torso
428 found near Leghorn—a torso is the trunk of a statue that has
lost the arms and legs; 426 The head of a horse; 424 The figure of a
youth, 5 feet in height, called the Idolino, found at Pesaro in
1530. The pedestal is attributed to Ghiberti. A tablet containing a
list of the Roman Decurions, dated a.d. 223. _Galleria Feroni._—In this room
are arranged the pictures bequeathed by the Marchese Leopoldo Feroni, of
which the best are, an Angel with a Lily, by C.
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Dolce; A Butcher’s Shop, by Teniers the younger; and a Holy Family, by
B. Schidone. Outside, in the corridor, is 131, Portrait of Pasquali
Paoli, the Corsican patriot, by Richard Cosway; and 110 and 113,
Landscapes, by Agostina Tassi, the master of Claude Lorraine.
Florence. The Way from the Uffizi to the Pitti Galleries.
The Connecting Galleries.
Between the Uffizi and Pitti Galleries is a series of passages and
stairs finished in 1564, and opened on the occasion of the marriage of
Francesco de’ Medici with Joanna of Austria, of whom the statue of
“Abundance” in the Boboli gardens is supposed to be a likeness. The
walls of the stairs and corridors on the Uffizi side of the Arno are
covered with a rich and valuable collection of engravings, constituting
a complete history of the art from the 15th cent. to the present time.
The corridor on the Ponte Vecchio crossing the Arno is occupied
with a glorious collection of drawings by the great masters. The first
part of the corridor on the south side of the Arno contains numerous
portraits of the Medicean family, and then follows (on the long passage
behind the Via Guicciardini) a vast collection of tapestry,
executed in the 16th and 17th cent. in Paris and Florence. The best are
those representing the festivities at the marriages of Henry II.
with Catherine de’ Medici, and of Henry IV. with Maria de’ Medici,
executed in 1560 after designs by Orlay. From the tapestry gallery a
short stair ascends to a room hung with pictures painted in chiaroscuro,
or in one colour, by several of the old painters. From this another
short stair leads to the long narrow gallery on the wall of the Boboli
gardens. This gallery is hung with water-colour drawings, by Bartolommeo
Ligozzi, in 1695, representing with wonderful truthfulness, figures of
birds, fishes, and plants. To these illustrations of natural history
succeeds a series of miniature paintings of scenes in the life of our
Lord. Now we come to the common stone stair leading upwards to the Pitti
Gallery, and downwards to the door fronting the Piazza Pitti, and next
the gate leading into the Boboli gardens. At the top of the stair is a
large vestibule, with a window looking into the gardens. The names of
the Sale and Stanze (Halls and Rooms) are on the catalogues. Each room
is provided with two of these catalogues, one in Italian and another in
French. The halls are painted in fresco, and adorned with statuary and
rich tables of Florentine mosaic.
Florence: Pitti Gallery. Halls of Saturn and Jupiter.
The Pitti Gallery.
The vestibule opens into the _Sala dell’ Illiado_, painted by
Sabatelli in 1837, and having in the centre a statue of “Charity,” by
Bartolini.
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Nos. 191 and 225 are Assumptions, by Andrea del Sarto, and 184 is his
Portrait, painted by himself. No. 185, a Concert, is a remarkable
picture, and one of the few existing by Giorgione. Tiziano is
represented by some of his best portraits:—No. 200,
Philip II. of Spain; 201, Cardinal Ippolito de’ Medici; 215,
Portrait; and 228, the Head of Jesus. 208, the Madonna del Trono, by
Fra. Bartolommeo. 219, P. Perugino, Adoration of the Child Jesus. 188,
S. Rosa, his own Portrait; and 218, Warrior. 190, Sustermans,
a Prince of Denmark. 224, Rod. Ghirlandaio, Portrait of a Lady.
230, Parmigianino, the Madonna col lungo Collo. 235, Rubens, Holy
Family. 286, Bassano, House of Martha.
_Sala di
Saturno._—The frescoes on the ceiling are by Pietro da
Cortona. The gems of this room may be considered:—151, Portrait of
Pope Julius II.; and 165, the Madonna del Baldacchino, by Raphael.
The others by Raphael are the Portraits of (158) Card. Bibbiena; and of
(171) Inghirami and (174) the Vision of Ezekiel. 150, Charles I. of
England and Henrietta Maria, by Van Dyck. 164, a Deposition, by
Perugino.
_Sala di
Giove._—Ceiling painted by P. da Cortona. In the centre of
the room statue of “Victory,” by Consani, and at the sides five Tables
in Florentine mosaic. The most remarkable picture in this, the Saloon of
Jupiter, is 113, the Three Parcæ, or Fates, by Michael Angelo. Then
follow Nos. 118, Andrea del Sarto and Wife; and 124, an Annunciation, by
A. del Sarto. No. 133 is a Battle-piece, by Salvator Rosa. In the
lower corner, right hand, is his own Portrait, with the initials
S. A. R. O. No. 140, an exquisitely finished Portrait of
G. Benci, by Leonardo da Vinci. 139, Holy Family, by Rubens.
Florence: Pitti Gallery—Halls of Mars and Apollo.
_Sala di
Marte._—Frescoes and decorations by Cortona. Raphael,
Rubens, Van Dyck, and A. del Sarto, have in this room some beautiful
paintings. The gem is (79) the Madonna della Sedia (chair), by Raphael.
94 is a Holy Family, also by him—called the “Impannata” or cloth
window. No. 81, Holy Family; and 87 and 88, Story of Joseph, by A. del
Sarto. 82, Card. Bentivoglio, by Van Dyck. No. 86, Peace and War, by
Rubens. 96, Judith, by C. Allori.
_Sala di Prometeo._—The Mosaic Table in this room, by
Giorgi, occupied him fourteen years. 338, Madonna, by Fra. Filippo
Lippi.
_Sala di
Apollo._—Raphael has three portraits in this room:—59
and 61, M. and A. Doni; and 63, Leo X. Tiziano has some fine
works:—No. 67, a Magdalene, shows his power in colour; and
54, Aretino, the poet, is one of his best portraits. 40, Madonna, by
Murillo. 58, by
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A. del Sarto, Descent from the Cross, one of his best works. 64, the
same subject admirably treated by Fra. Bartolommeo.
_Sala di Venere_ (Venus).—Painted by Cortona. Nos. 4 and
15 are two most charming Sea-pieces, by Salvator Rosa. No. 18, La Bella
Donna, by Tiziano. No. 27, Jesus appearing to Peter, by L. Cardi
(Il Cigoli).
_Galleria Poccetti._—Painted by Poccetti. Bust of Napoleon
by Canova. Small corridor, or Corridor of the Columns, with two columns
in oriental alabaster, and the walls hung with Florentine mosaics, and
admirably executed miniatures in water-colours and oil, collected by
Card. Leopold. No. 4, In glass cases are displayed valuable articles in
ivory, amber, rock-crystal, and precious stones.
_Stanza della Giustizia._—Painted by Fedi. The beautiful
ebony cabinet was used by Card. Leopold. The most interesting picture in
this room is 408, Portrait of Oliver Cromwell, painted from life by Sir
Peter Lely, by request of Ferdinand II. of Tuscany.
Florence: Pitti Gallery—Rooms of Flora, Ullisse, Giove.
_Stanza di
Flora._—In the centre is the famous Venus by Canova, called
also the Venus Italica from its having been intended to replace the
Venus de’ Medici, when that still more famous statue was carried off to
Paris, where it remained fifteen years. No. 415, Ferdinand II., by
Sustermans. 416 and 421, Landscapes, by Poussin. 423, Adoration of the
Shepherds, by Tiziano.
_Stanza dei Putti._—Painted by Morini. No. 470 is a large
picture by Sal. Rosa, called the Philosopher’s Forest—Diogenes
throwing away his drinking-cup. No. 465, Landscape, by Ruysdael.
_Stanza d’
Ullisse._—Painted by Martellini. No. 324 is a fine portrait
by Rubens of the favourite of James I., George Villiers, Duke of
Buckingham, assassinated by Felton in 1628. No. 289, Madonna, by
Ligozzi. 297, Paul III., by Bordone. 306 and 312, Landscapes, by
Sal. Rosa.
_Stanza del Bagno._—This, the bath-room, is tastefully
fitted up with a mosaic pavement. Four handsome columns in verd antique,
and four marble statues, by Insom and Bongiovanni.
_Stanza dell’
educazione di Giove._—Painted by Catani. 266, the Madonna
del Granduca, by Raphael, is one of the finest pictures in the Pitti
Gallery. 245 is attributed to Raphael. 243, Philip IV. of Spain by
Velasquez. 248, a “Descent” by Tintoretto. 256, Holy Family by Fra.
Bartolommeo.
_Stanza della Stufa._—The frescoes on the walls,
representing the Four Ages of Man, are by Cortona, from sketches by the
nephew of Michael
246
Angelo. The frescoes on the ceiling, representing the Virtues, are by
Rosselli, in 1622. Among the treasures of this room are four antique
statues in niches, a column of green porphyry, bearing a porcelain
vase with a likeness of Napoleon I., and two justly celebrated
bronze statues of Cain and Abel, modelled by Dupré of Siena, and cast by
Papi in 1849.
Florence: Boboli Gardens.
The Boboli Gardens.
Now either return to the Uffizi by the very long galleries or descend
to the foot of the stairs, and when outside, turn to the left and pass
through the gate leading into the Boboli Gardens, open on Thursdays and
feast-days. Permission to enter on other days is easily obtained at the
office of the Minestero della Casa, under the south corner of the
corridor. The gardens are laid out in a stiff style. Clumps of oleanders
and oleasters among ilexes, laurels, pines, yews, and cypresses,
encircled by tall myrtle hedges, make the grounds in many parts more
like a labyrinth than a garden. Near the entrance is an artificial
grotto, with, in front, a group by V. Rossi, and a Venus by
G. Bologna; and in the four corners unfinished statues by Michael
Angelo, intended for the monument of Julius II. at Rome, and
presented to Cosmo I. by L. Buonarotti. Opposite the palace is
the Amphitheatre; within the centre a granite obelisk and a large
granite basin from Egypt, but brought to Florence from Rome. Beyond the
palace, near the Porta Romana, is the Piazzale del Lago, with groups in
marble by G. Bologna. In the flower-garden “del Cavaliere,” are two
more fountains, with monkeys in bronze, by the same artist, and a small
villa, from the top of which there is a fine view (entrance 25c.) On the
highest part of the gardens, facing the palace, is a colossal statue of
Dovizia (Abundance), commenced by Bologna, and finished by his pupil
Dacca.
Florence: Pitti Palace.
THE PITTI
PALACE was begun by Luca Pitti, a Florentine merchant, in
1436, from designs by Brunelleschi. In 1549 the still unfinished
building was purchased by the Medici, who advanced it considerably, but
not till quite recently was this vast pile finished. The façade is 659
feet in length, 148 feet in height, and the total surface occupied by
the building 35,231 yards. Bart. Ammanati added the wings, and enclosed
the beautiful court opposite the middle entrance with Doric, Ionic, and
Corinthian columns, and placed at the extremity the pretty grotto
covered in with Roman mosaic, supported on 16 columns, and ornamented
with statues in marble and porphyry, and small trees and satyrs in
bronze. To the right of the court is the Royal
247
Chapel. Above the altar is an ivory crucifix by G. Bologna. At the
end of the portico, to the left, a door opens into the court, in
which is the entrance into the room containing the splendid
_Collection of Plate_ by Benvenuto Cellini and Maso Finiguerra, and
ivories by Bologna and Donatello. Zumbo, the famous artist in wax, has
likewise some of his works here. The state apartments are sumptuously
furnished.
Florence: Tribuna Galileo—Museum of Natural History.
Nearly opposite the Pitti palace, at No. 16 Via Guicciardini, is the
house in which Machiavelli lived and died in 1527. A little farther
up the Via Romana, in the house No. 19, is the
Museo di Storia Naturale,
in the second floor, and the Museo Galileo in the first floor. Both
open on Thursdays and Saturdays, from 10 to nearly 3. In the vestibule
is an old terrestrial globe, black with age, 3 feet in diameter,
probably by Ignazio Dante, a famous astronomer, brought to Florence
by Cosmo I. He died in 1586. Upstairs is the Museo, or
Tribuna di Galileo.* Explanatory catalogues in Italian and French are on the
table. The statue of him is by A. Costoli. In the niche to the
right are his telescopes, of which the lower one was constructed by
himself, and by which he discovered the satellites of Jupiter. In the
niche on the left are his compasses and magnet. The other philosophical
instruments belonged to the Accademia del Cimento, instituted in 1657
and dissolved in 1667. It held its meetings in the palace of Prince
Leopold de’ Medici. All around are beautiful frescoes, illustrating
scenes in the life of Galileo. Among the relics is the forefinger of
Galileo, taken from the body when it was removed to its present
resting-place in the church of Santa Croce. In the second storey is the
excellent and comprehensive Museum of Natural History. The collections
are admirably arranged, and in good condition. The botanical department
contains the herbariums of Andrea Cesalpino, which he is supposed to
have collected about the year 1563; of P. A. Micheli, collected
about the year 1725; of Central Italy, by Parlatore, commenced in 1842;
of Labillardière, who accompanied La Perouse in his expedition to New
Holland; of R. Desfontaines, the master of De Candolle; and of the
Englishman, P. B. Webb, who bequeathed his herbarium to this
248
museum.
Florence: Anatomical
Preparations in Wax.
But the most wonderful objects in the museum are the anatomical
preparations in wax, chiefly by Clemente Sasini and his assistants,
under the direction of Tommaso Bonicoli, 1775 to 1791. Like the great
works of the great painters, they are executed with the most minute care
and truthfulness to nature, whether it be the magnified anatomy of the
cuttle-fish or of the silkworm, or the life-like representation of the
most delicate organs of the human body. They are contained in twelve
rooms, entered from the shell department, by the door lettered
“Ittiologia,” opening into the Zootomia.
*
The word tribune is used in Florence to designate any large niche. But
the real meaning of the word “Tribuna” is the semicircular cavity at the
extremity of a Roman basilica, where the judges sat. In the early ages
of the church some of these buildings were given to the Christians for
public worship, who still retained their secular name, and worshipped in
them without consecration.
Florence: House of Galileo.
The House of Galileo,
at the head of the Via Romana, is the Porta Romana, the city gate by
which, in 1536, Charles V. and Pope Leo X. entered Florence.
An omnibus runs between it and the Piazza del Duomo. At the outer side
there is a cab stand, which is likewise the starting-place of the
omnibus for the Certosa (see page
250). Immediately outside the Porta commence three broad roads—the
lowest is called the Via Senese and leads to the Certosa; the centre
one, bordered with tall cypresses, is the Via del Poggio Imperiale;
while to the left is the Viale Machiaveli, the first of a series of
magnificent boulevards (viali) leading to that noble terrace the Piazza
Michelangiolo. Let us first ascend the Via del Poggio to the Royal
Villa, formerly the property of the Medicis, now the Instituto della
Annunziata, a boarding-school for girls. From it ascend by the Via
del Pian di Giullari, and when at the top of it take the road to the
right leading directly to the village of Arcetri, containing the house
in which Galileo spent the last years of his life, and in which when
blind, and 74 years of age, he was visited by Milton. Galileo was born
in 1564, at Pisa, and died in 1642. The house, a plain building, is
indicated by a bust and tablet on the wall towards the street. The steep
little road to the left leads up to the farmhouse in which is the Tower
(Torre del
Gallo) from which Galileo made his astronomical observations. It
contains several relics of the great astronomer—a telescope,
table, and chairs, a bust of him taken after death (il piu antico
che si conosca), a pen-and-ink sketch of him on marble by
Salvatelli, a smaller portrait of him by P. Leoni, 1624. From
the farmhouse
249
a steep narrow road leads down to the Boulevards between the Piazza
Michelangiolo and the Porta Romana.
Florence: Piazzale Michelangiolo. San Miniato.
The Piazzale Michelangiolo.
There is no place about Florence which affords such an agreeable walk
or drive as to the Piazzale Michelangiolo and the church of
S. Miniato. They are situated on a hill on the left bank of the
Arno, two bridges higher up the river than the Uffizi, and are
distinctly seen from the Lung’ Arno. The nearest way to approach them on
foot is, having crossed the Ponte alle Grazie (the first bridge above
the Ponte Vecchio), walk up the left bank of the Arno, passing the
Piazza containing the fine marble monument to Prince Nicholas Demidoff,
by L. Bartolini, in 1835, and continue the walk up the river till
arrival at a square tower in the Piazza della Molina, whence commence
the ascent by the stairs and road the Viale dei Colli. Or approach it
from the Porta Romana by the fine avenues the Viali Machiavelli and
Galileo, bordered by trees and handsome villas, disclosing as they wind
round the steep sides of the hills a succession of ever-varying views.
The Piazzale Michelangiolo is a splendid terrace, 165 feet above the
Arno, commanding a grand prospect, and adorned with five statues in
bronze, copies by C. Papi of Michael Angelo’s famous works. To the
right is the Viale Michelangiolo, the carriage road leading down to the
Barriera San Niccolo, opposite the suspension-bridge (Ponte Sospenso).
Above the Piazzale, by the convent church of San Salvatore del Monte
(built in 1504 by Cronaca), is the Basilica of San Miniato, one of the
earliest (1013) as well as one of the most perfect structures in the
Byzantine style. Internally it is 165 feet long by 70 wide, and is
divided longitudinally into aisles by pillars of classical design. The
façade is faulty. The tower was erected in 1519. The floor of the nave
is considerably under the level of the chancel, which terminates in a
semi-dome, covered with mosaics executed in 1247, and of the same kind
as those of St. Mark’s at Venice. Behind the altar are five small
windows of thin slabs of Pavonazzo marble. Between the stairs leading up
to the chancel is the chapel constructed in 1448 by Michelozzi. Here lie
the remains of Gualberto, the founder of the church and of the order of
Vallombrosa. In the centre of the north aisle is the chapel of Cardinal
Ximenes (died 1459). The monument is by B. Rossellino, and the
beautiful terra-cottas on the ceiling by Luca della Robbia. On the south
side is the Sacristy (built in 1387), exquisitely painted in fresco by
Spinello Aretino, representing scenes in the life of St. Benedict. In
250
the centre of the nave is a curious piece of Byzantine pavement,
executed in 1207. Below the chancel is the crypt, supported on 38 marble
columns, several being prolongations of those above. Under the altar is
the tomb of San Miniato. From the terraces of the adjoining cemetery
there are splendid views of Florence and of the valley of the Arno.
Florence: The Certosa.
The Certosa.
From outside the Porta Romano a small diligence starts every hour, at
the hour, passing by the Carthusian Monastery of the Certosa, 3¼ miles
distant; fare, ½ fr. Passengers alight at the great wall enclosing the
grounds at the commencement of the small by-road to the right, leading
up to the top of the circular hill on which the convent is picturesquely
situated. It was erected by Niccolo Acciaiola in the 14th cent., and is
now the property of the State, who retain in it some twenty-three friars
of the order to take charge of the church, chapels, and buildings. At
the entrance-gate is the pharmacy, where the liqueurs made in the
convent can be bought and tasted. Their Chartreuse cordial is not equal
to that made in France, but the Alkermis is of good quality. Fee to see
the convent, ½ fr. At the top of the stair leading up to the church is a
fresco by Empoli. The church, paved with marble in the cinque-cento
style, has some good stalls (1590), and over the marble altar a fresco
by Poccetti. Right hand, chapel with frescoes by Masari on the walls,
and on roof by Poccetti and his school. From S. aisle pass to chapel of
S. Maria, in the shape of a Greek cross. Here is a curious Trinity
of the Giotti school. Descend to the Cappella di Tobia, with the
mausoleum of the founder, by Orcagna (1360), and three monumental slabs
over the tombs of his father, sister, and son. Next, a narrow
cloister with eight small windows, with vignette paintings by Udine,
1560; Cappella del Capitolo, having for the reredos a Crucifixion by
Albertinelli, and in the centre of floor the mausoleum of Buonafede by
Stogallo, 1545; then the Camere di Pio Sesto, his sitting-room, and
bedroom. He was a prisoner here nine months. Beautiful views are
obtained from various parts. In passing through the villages women may
be seen plaiting straw—a standard occupation in Tuscany.
Florence: Bello Sguardo. Monte Oliveto.
Views.—From the Porta Romana
commences also the road to the Bello Sguardo and to Monte Oliveto (about
a mile distant), both commanding splendid views of the city, of the
valley of the Arno, and of the surrounding mountains. Immediately
outside the Porta turn to the right, and walk by the side of the city
wall by the Via Petrarcha till the second road on the left, the Via de
Casone, by which continue
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to ascend till a road is reached on the left lettered, Via di Bello
Sguardo. By it ascend to the next on the left, the Via dell’ Ombrellino,
where at the house No. 1 ring the bell. The view is from the
pavilion of this house; fee, ½ fr. To go from this to Monte
Oliveto descend to the Via di Bello Sguardo, and from a house
with a high railing turn to the right by the “Via di Monte Oliveto Per
S. Vito,” and descend to a large gateway and house on the left
hand. At this house ask for the key of the Monte Oliveto, then walk
forward past the old convent, now a military hospital, to the top of the
knoll crowned with cypresses, and behold the view. Now descend by the
Via di Monte Oliveto, which, at the foot of the hill, enters the Via
Pisana opposite house No. 82, near the Porta S. Frediano, whence an
omnibus runs to the Piazza della Signoria. If preferred, the tour may be
commenced at this end, taking the omnibus from the Piazza to the
Porta.
Florence: Santo Spirito.
Santo Spirito and
Santa Maria del Carmine.—By referring to the plan it
will be observed that a very short way north from the Pitti Palace are
two churches, the Santa Maria del Carmine, containing the famous
frescoes of Masaccio (b. 1402, d. 1429), and of Filippino
Lippi (b. 1457, d. 1504), and the church of Santo Spirito, in
which Luther preached as an Augustinian friar when on his way to Rome.
The present church of the S. Spirito was commenced in 1446 by
F. Brunelleschi, destroyed by fire in 1470, and rebuilt in 1488
according to Brunelleschi’s design. The belfry, which is of admirable
proportions, was erected by B. d’Agnolo. The church is 315 ft. long, and
191 at the transept, and is placed from south to north. The arches of
the aisles rest on 47 pilasters and 35 columns, each of one piece of
pietra-serena, brought from the quarries of Fiesole. Around the church
are 38 semicircular chapels, ornamented with pictures by Alessandro
Allori, Fra. Bartolommeo, Sandro Botticelli, Franciabigio, Raff. del
Garbio, Rodolfo Ghirlandaio, Giotto, Filippino Lippi, Ant. Pollaiolo,
and Cosimo Rosselli. Among the best of these are, in the choir, 12th
chapel from entrance to church, a Madonna by Lippi. In left
transept, 19th and 20th chapels, Martyrs, and The Adulteress, by Allori.
22d chapel, an Annunciation, by Botticelli. Among the sculptures the
most remarkable work is in the 2d chapel, right hand on entering,
a Pieta, by Baccio Bigio, a copy of the group by Michael
Angelo in St. Peter’s, Rome. The proportions of the dead body of our
Lord are admirable, and the ribs, loins, and pectoral muscles skilfully
marked. Before the choir is a screen erected in 1599, composed of bronze
and rich marbles, and although rather out of place, full of beautiful
details.
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The high altar, under a ciborium or canopy supported on four columns of
rare porphyry, is decorated with statuettes and candelabra by Giovanni
Caccini. A door in the west aisle opens into the sacristy, the
joint work of San Gallo and Pollaiolo, by whom it was finished in 1490.
In the sacristy a door to the right opens into the cloisters, by
A. Parigi, adorned with frescoes by Perugino, Ulivelli, and
Cascetti.
Florence: Santa Maria del Carmine. Brancacci Chapel.
The church Del Carmine was erected in 1475,
destroyed by fire in 1771, and rebuilt in 1788 by Ruggieri and
Mannaconi. Among the parts which escaped destruction in 1771 was the
Brancacci
chapel, at the end of the western or right transept, covered
with valuable frescoes, in 12 compartments, by Masaccio, Lippi, and
Masolino da Panicale. The four principal subjects are (left wall)
“Christ directing St. Peter to take a coin from a fish’s mouth to pay
the tribute,” by Masaccio, whose portrait is given in the last apostle
to the right; “the Restoration to Life of the Emperor’s Nephew,” painted
by Filippino Lippi and Masaccio. On the right wall are— “St. Peter
raising Tabitha,” by Masolino; “the Crucifixion of St. Peter;” and “St.
Paul before the Proconsul,” by Filippino Lippi. These frescoes are said
to have been studied by Perugino, Raffaelo, Leonardo da Vinci, and
Michael Angelo. Of the eight small subjects, “The Expulsion of Adam and
Eve,” and “St. Peter and St. John Healing the Sick by means of their
Shadows,” on the left wall; “St. Peter Baptising,” and “St. Peter
Distributing Alms,” on the right wall, are all by Masaccio. “The Visit
of St. Paul to St. Peter in Prison,” on the left wall, and “the
Deliverance of St. Peter from Prison,” on the right wall, are by Lippi.
“Adam and Eve under the Tree of Knowledge,” and “St. Peter Healing the
Cripple,” are ascribed by some to Masolino, by others to Masaccio. In
the opposite arm of the transept is the Corsini chapel, with large
marble alti-relievi by Foggini, and frescoes on the ceiling by Luca
Giordano. In a chapel in the sacristy are some frescoes discovered in
1858, attributed to Spinello Aretino, but also, and with more
probability, to Agnolo Gaddi, representing scenes in the life of St.
Cecilia. The old church contained frescoes by Giotto, some fragments of
which, removed the year before the fire, are now in the Royal
Institution, Liverpool.
The Duomo, 252.
The Campanile, 255.
The Baptistery, 256.
Il Bigallo, 257.
San Michele, 257.
Santa Croce, 258.
The National Museum, 261.
La Badia, 263.
The House of Michael
Angelo, 263.
Florence: Cathedral—Dome—Ascent.
The Duomo, or Cathedral Church of Santa Maria
del Fiore was commenced by Arnolfo di Cambio, and the foundation-stone
laid on
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the 8th of September 1298, under the auspices of the first papal legate
ever sent to Florence, Cardinal Pietro Valeriani. Arnolfo died in 1310.
In 1330 Giotto was appointed master-builder, who, assisted by Andrea
Pisano, continued the work according to Arnolfo’s design. Giotto died in
1337. To Giotto succeeded Francisco Talenti, Taddeo Gaddi, and Andrea
Orcagna. In 1421 Filippo Brunelleschi commenced the dome, and
completed it in all its essential parts before his death, which took
place in 1446. In 1469 Andrea Verrochio added to the dome the copper
ball and cross. The dome, built without timber centrings, consists of
two vast vaults, an interior and an exterior, both supported by strong
ribs at the right angles, and surrounded at the base by a strong iron
chain. From the floor to the top of the dome the height is 300 feet, the
lantern 52 more, and to the top of the cross other 35. The total height
therefore is, from the floor to the top of the cross, 387 feet. The
circumference of the dome is 466 feet. Three galleries are carried round
the drum. The first is reached by 153 steps; the next by 62 steps more;
and the third, which runs round the top of the drum and the base of the
dome, by other 65 steps. The appearance of the church from the first and
third galleries is most striking. Outside the third gallery commences
the cornice gallery of the dome. From this part 180 steps (between the
two vaults) lead to the top of the cupola. From the top of the cupola to
the ball the ascent is made up through the lantern by
32 vertical bronze steps, and 13 steps in marble, and 23 in wood. The
number of steps, therefore, from the floor into the ball is 528; the
only difficult part being the vertical bronze bear-like ladder in the
lantern, which is not worth ascending, as little can be seen (and that
little with difficulty) from an aperture in the ball. But the view from
the gallery at the top of the dome is truly magnificent. Florence and
neighbourhood lie stretched out below like on a map, and as the
clearness of the Italian air admits of the smallest objects being seen
distinctly, the traveller should visit this gallery as early as
possible, to gain, by the assistance of the plan (page 234), a practical acquaintance with the
topography of the city. To the N.E., by the Piazza Cavour and the stream
Mugnone, is Fiesole, 3 miles distant, on an eminence (see page 276). To the west of the town, on the Arno, is the
Cascine or Park, and the small hill with the clump of trees, on the
other side of the river, is the Monte Oliveto (page 250). To the S.E., on
the other side of the Arno, are the Piazzale Michelangiolo and San Miniato (page 249), while a good piece
beyond is the Torre del Gallo
(page 248). West from the Piazzale are the Boboli Gardens and
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the Pitti Palace. Fee to ascend tower, 1 fr. Attendant to be found
in south sacristy.
The length of the cathedral is 556 feet, and of the transept 342
feet. The breadth, including the aisles, is 132½ feet, and the
superficial area 84,802 feet, or about 6000 feet less than the area
occupied by Cologne cathedral. In 1860 Victor Emmanuel laid the
foundation-stone of the gorgeous new façade, coated, like the whole
exterior of the church, with polished white marble, and dark magnesian
serpentine disposed in chastely ornamented panelling, an arrangement
often met with in the churches of Italy.
In the interior, four arches of enormous span run down each side of
the nave to the choir, which expands with unrivalled majesty under the
magnificent dome. Walk in and behold its beautiful proportions. Do not
struggle to perceive by means of the dim light the few relatively
unimportant statues and pictures, or the intricate designs on the marble
pavement by Agnolo, San Gallo, and Michael Angelo, but go at once and
stand below the second greatest dome in the world, shaped like the
narrow end of an egg, or more correctly, in the form of an elongated
octagonal elipsoid, resting on six massive piers ornamented with statues
of eight of the apostles, by Bandini, Donatello, Bandinelli, and
Sansovini. The octagonal balustrade is by Baccio d’Agnolo, and the
reliefs on the panels by Bandinelli. The fresco on the roof represents
the Judgment Day. The upper portion is by G. Vasari, in 1572, and
the rest by Federigo Zucchero, known in England by his portraits of
Queen Elizabeth. The drum of the dome is lighted by seven circular
windows, which, as well as the three over the main entrance, and the
twenty-seven long windows in the choir, were the work of Domenico Livi
da Gambassi, Bernardo de’ Vetri, and others, from 1434 to 1460. Behind
the altar is the last work of Michael Angelo (when eighty-one years of
age), an _unfinished Pieta_, a heroic group, large but not
colossal, composed of four figures, those of our Saviour, the Virgin
Mary, Joseph, and an Angel. The interest of the piece lies in the
melancholy but placid countenance of the Redeemer, and the inclination
of the head lacerated by the crown of thorns.
Florence: Michael Angelo’s last Work.
The Mask, Michael Angelo’s first work, is in the sixth room of the
National Museum, along with some other works of the great sculptor. His
greatest productions are in the Sagrestia Nuova, see page 266. The reliefs in
terra-cotta, over the elegant bronze gates of the sacristies, are
considered amongst the best works of Lucca della Robbia. On the pier at
the N.E. end of the nave is the statue of St. James, by Sansovino; and
just behind it, on
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the wall, is a painting by Domenico di Michelino, in 1465, representing
Dante (holding in his hands a copy of his poems), with a view of
Florence in the background, the only monument the Republic raised to him
they had so unjustly banished. In the north transept, covered by the
wooden floor, just under the iron bar, is the gnomen and meridian line,
formed by P. Toscanelli in 1408, and repaired by A. Ximines in
1756. The line drawn on the true pavement, under the present boarded
floor, runs in a direction nearly at right angles to the nave (the nave
being nearly east and west). It is only about 30 feet long, and receives
the image of the sun, at and near the solstice, in June and July; at
other seasons the image is lost on the sides of the cupola. The short
diameter of the image in July is about 36 inches. The height of the
aperture, through which the ray enters by a window of the cupolina, is
277 feet 4 inches, 9.68 lines French measure; so that, as the
inscription states, it is the greatest gnomen existing.
Florence:
Cathedral—Monuments—Campanile.
Among the most interesting monuments in the church are: at the main
entrance, an equestrian portrait, by Uccello, of Sir John Hawkwood,
a captain in the army of the Florentine Republic, who died at
Florence in 1394. The mosaic, representing the coronation of the Virgin,
is by Gaddo Gaddi. At the west end of the south aisle is the marble
monument and portrait of Filippo Brunelleschi, by his pupil, And.
Cavalcanti. The third monument from the door is to Giotto, by Majano.
The beautiful water-stoup in front is by Giotto. Opposite the southern
entrance, in front of the Casa dei Canonici, are the statues, in a
sitting posture, of Arnolfo di Cambio and Brunelleschi, by Luigi
Pampaloni, in 1830. To the right of Arnolfo’s statue, at house No. 29,
is a stone in the wall, bearing the words “Sasso di Dante,” because on
it the poet used to sit watching the progress of the cathedral from its
commencement till 1301, when he was compelled to leave the city.
At the southern entrance is the Campanile del Duomo, designed and
commenced by Giotto in 1334, and finished by Taddeo Gaddi. This
dove-coloured marble gem of architecture, of admirable proportions and
beautiful workmanship, towers 276 feet up into the air, by four storeys
of elegant windows, and terminates in a grand square cornice projecting
from the summit, from which, according to Giotto’s plan, a spire of
94½ feet was to have risen. The niches are peopled with statues of
apostles, saints, and philosophers, and the panels with Scripture
subjects in bold relief, by Donatello, Giovanni Bartolo, Andrea Pisano,
Niccolo Aretino, Lucca della Robbia, Giottino and N. di Bartolo. Ascent
by 414 steps. Fee, ½ franc each visitor.
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Florence: The Baptistery—Gates.
Adjoining the cathedral is the church of San
Giovanni, the baptistery of the city, founded in 6th cent., and
repaired and restored in 1293 by Arnolfo di Cambio. It is an octagonal
building, 94 ft. in diameter, covered by a cupola and lantern built in
1550. Three celebrated bronze gates, of
admirable workmanship, give access to it. The gate on the S. side
(fronting the Via Calzaioli) was modelled by And. Pisano, and, after
twenty-two years of incessant labour, cast and gilt in 1330. The
architrave, ornamented with foliage, was added by Lor. Ghiberti in 1446,
and the group at the top, representing the Beheading of John, by V.
Danti, in 1571—a work full of expression. The N. gate is by
Lorenzo Ghiberti, commenced by him when twenty-one, and finished
(modelled and cast) when forty-one, in the year 1424. It is in twenty
compartments, representing scenes from the life of Christ. The three
statues above, and the ornaments, are by Rustici, 1511,
a fellow-pupil of Michael Angelo, and friend of L. da Vinci. At the
eastern end, facing the cathedral, is the bronze gate which Michael
Angelo said was worthy to form the entrance into Paradise. This marvel
of art was commenced by Lorenzo Ghiberti in 1425, cast in 1439, and
finished, with the exception of the lower reliefs, in 1456, when
Ghiberti died, and left the remainder to be completed by his pupils,
among whom were the brothers Pollaioli. It is in ten compartments,
representing as many scenes from the Old Testament. In grouping,
drawing, grace, and beauty, the figures are truly admirable. The
perspective is well sustained; the distant objects being done in low,
the nearer objects in middle, and those close upon the eye in high
relief. Over the gate is the Baptism of Christ, by Sansovino, who, when
he died, in 1529, had finished only the modelling; but Danti, in 1560,
produced it in marble. The Angels, executed nearly a century afterwards,
are by Spinazzi, also from Sansovino’s model.
Florence: The
Baptistery—Altar.
The interior of the Baptistery rests on syenite columns and marble
pilasters with gilded capitals. Above them is a triforium, with frescoes
of saints on a gold ground painted on the panels. The roof and the
soffit of the arch over the altar are covered with mosaics representing
the Judgment Day, by Tafi, Torrita, and G. Gaddie, 13th cent. To
the right of the altar is the monumental tomb of Pope John XXIII.
(d. 1419), by Donatello and Michelozzi. To the left is the font,
placed here in 1658, and attributed to G. Pisano. The silver altar
of the Baptistery is kept in the “Uffizio del Comitate per la facciata
del Duomo” (behind the east end of the cathedral), where it can be seen
any day from 9 to 12, for 10 sous. It was constructed, during a long
series of
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years from 1316, by the most eminent artists of the time, and represents
in bold relief the story of John the Baptist. It weighs 335 lbs., is 12
ft. long by nearly 4 ft. high. The silver statue of St. John, made in
1452, weighs 14½ lbs., and cross 140 lbs.
Florence: The Bigallo. Or San
Michele.
Opposite the Baptistery, at the corner of the Via Calzaioli, is the
very beautiful little arcade or loggia of the Bigallo, attributed to
Orcagna, enclosed with iron gates by F. Petrucci. The oratory
contains an image of the Virgin by A. Arnoldo, 1359; and a
predella, with paintings, by Ghirlandaio.
Or San Michele.
Nearly in the centre of the Via Calzaioli, between the Piazzas del
Duomo and della Signoria, is the Or San Michele, built at first
of undressed stone, by Arnolfo di Cambio in 1282, for a granary or
horreum. Having been destroyed by fire in 1304, it was rebuilt in 1337
under the direction of Taddeo Gaddi, the chief architect of the
commonwealth. To Gaddi succeeded And. Orcagna, who received orders to
transform the lower part (the loggia) into a church. In 1569 the upper
storey was converted into government offices. Round the building, in
deep niches, are statues in simple attitudes and of noble dignified
forms, the result of a decree that each trade should bear the expense of
furnishing one statue, which should be the protector and supporter of
its own profession. St. Luke, by John of Bologna (good specimen of his
style), was executed at the expense of the lawyers. Our Lord and St.
Thomas, by Verrochio, for the mercantile tribunal. John the Baptist, by
L. Ghiberti, for the guild of foreign wool-merchants. St. Peter, by
Donatello, for the butchers. John the Evangelist, by Montelupo, under a
graceful canopy of Robbia-ware, for the silk manufacturers. St. George,
by Donatello, his noblest work, for the armourers. St. James, by
N. Banco, for the tanners and furriers. St. Mark, by Donatello, for
the flax-dealers. West front, St. Eloy, by Banco, for the blacksmiths
and farriers. St. Stephen, by L. Ghiberti, for the wool-merchants.
St. Matthew, by L. Ghiberti and Michelozzo, for the stockbrokers
and money-changers. Statues of four canonised sculptors, by Banco, for
the builders and carpenters. St. Philip, by Banco, for the hosiers. And
inside the church, to the left of the altar of St. Anne, a Madonna,
by Simone da Fiesola, for the physicians and apothecaries. These statues
are considered the finest works of the ancient Florentine school. Over
the niches are the arms of the respective trades, under graceful
canopies.
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In the interior the most remarkable object is the canopied high
altar, by Orcagna, otherwise called Cionis, with Ugolino’s sacred
picture of the Madonna. Inscribed on the altar is “Andreas Cionis pictor
Florentinus hujus oratorii archimagister extitit, 1359.” It is
ornamented with Scripture histories in relief on marble, the different
pieces being fixed together by pins of bronze run in with lead. The
small but beautiful stained glass windows do not admit sufficient light
into the church. Behind San Michele, in the Mercato Nuovo, is an
admirable copy, by Pietro Tacca, of the celebrated Boar, adapted no less
admirably to a Fountain.
Florence: Santa Croce.
Santa Croce.
South-east from the fountain, in the Piazza della Signoria, by the
narrow street the Borgo dei Greci, is the Piazza Santa Croce, with, in
the centre, the fine marble statue of Dante, 16½ feet high, by Enrico
Pazzi. It and the new façade of the church were inaugurated in 1865, on
the 600th anniversary of the birthday of the poet. The church of Santa
Croce was commenced by Arnolfo di Cambio in 1297, to whom succeeded
Giotto in 1344. The façade, although only recently finished, is
according to the old design of S. Pollaiolo (d. 1509), and
owes its erection in a very great measure to the liberality of an
English gentleman, the late Francis Sloane, who died at Florence in
1871. The interior is divided into a nave and two aisles by seven acute
Gothic arches. The pilasters, supporting columns as well as the roof,
are of rude work, while the side chapels are not inclosed, but spread
out on the walls of the aisles, an arrangement which greatly favours the
display of the magnificent monuments erected in this church. The entire
length from west to east is 385 feet, and from north to south at the
transepts 128 feet.
Florence: Santa Croce—Michael
Angelo—Dante—Macchiavelli.
Over the principal entrance, in the interior, is the statue of St.
Louis, Bishop of Toulouse (d. 1297), the last work executed by
Donatello. In the right or south aisle, commencing from the main
entrance, after 1st altar, lies the monument and resting-place of Michael
Angelo, who died at Rome in 1563, in his 89th year. The monument was
designed by G. Vasari, and executed by three pupils of Michael
Angelo. The bust, considered an excellent likeness, is by
B. Lorenzione, one of the three. Next follows the great marble
monument by S. Ricci, in 1828, to the memory of Dante, who died when in
exile at Ravenna in 1321, in the 56th year of his age; and 3d,
a monument to the poet Vit. Alfieri (d. 1803), by Canova, in
1809, and one of his best works. Opposite this monument is an
elaborately wrought pulpit, by B. da Majano, in 1470. 4th.
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Monument and resting-place of Macchiavelli (d. 1527), by Spinazzi,
in 1778. The originator of this monument was Lord Cowper, who, in 1707,
raised a subscription for the medallion. Then follow a fresco of St.
John and St. Francis, by A. Castagno, and an Annunciation in stone
by Donatello;
Florence: Santa Croce—Ketterick—
Countess of Albany.
and opposite it, on the floor, is the tombstone of John Ketterick,
Bishop of Exeter, who died at Florence in 1419, when on a mission from
Henry V. of England to the Pope. Then follow the monument to
L. Bruni (d. 1444), by B. Rossellini. The Virgin, above,
is by A. Verrochio, the master of Leonardo da Vinci. The tomb of
P. A. Micheli, and the mausoleum of Leop. Nobili, by Leop.
Veneziani. Turning to the right by the monument to Neri Corsini (died in
London, 1859), and a slab on the ground, with an inscription by
Boccaccio, in honour of the poet Berberino (14th cent.), we enter the
Chapel of the Castellani, with frescoes by Starnini (the ablest pupil of
Giotto), and reredos by Vasari. Over the altar is a crucifix, by Giotto;
at each side sarcophagi of the Castellani; and statues of St. Bernard
and St. Francis, by L. della Robbia. To the left is the monument to the
Countess of
Albany, widow of the young Pretender, died at Florence January 29,
1824; age, 72 years, 4 months, and 9 days. After the chapel of the
Countess of Albany follows the Baroncelli or Guigni chapel, with reredos
painting by Giotto, frescoes by T. Gaddi, and a Pietà by
Bandinelli.
A handsome door by the side of the Baroncelli chapel opens into the
cloisters. In the cloister, the first door left hand opens into the
sacristy, built by the Peruzzi family in the 14th cent. Separated from
the sacristy by an iron railing is the Rinuccini chapel, with frescoes
and altars by Giovanni da Milano (1379), a favourite pupil of
T. Gaddi. The reredos painting is by T. Gaddi, 1375. At the
extremity of the cloister is the Cappella del Noviziato. At the entrance
is a shrine by Mino da Fiesole, and opposite it, and also over the
altar, admirable specimens of L. Robbia’s terra-cotta work. The
large relief is considered one of Robbia’s masterpieces. The small door
to the right of the altar leads to the room where the remains of Galileo
were kept many years after his death (in 1642). There are also two
mausoleums—one to a young American girl, Fauveau; and another
attributed to Donatello, both executed with much expression.
Florence: Santa Croce—Giotto’s Frescoes.
Returning to the church, we have, in the first chapel (right)
frescoes of the Giotto school, and an Assumption by Allori. Second
chapel, frescoes by Gio. da Giovanni. In the third, the Bonaparte
chapel, is, to the left, the monument by Pampaloni, 1839, to the memory
of the wife of Joseph Bonaparte; and, to the left, another to the memory
of their daughter, Julie Clary Bonaparte (d. 1845). The fourth, or
the first to the right of the high altar, is the Peruzzi chapel, with
reredos
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by A. del Sarto. On the walls Giotto’s best frescoes, representing the
stories of St. John the Apostle and of John the Baptist. Fifth, the
Bardi chapel. The painting on the altar, representing S. Francesco,
is by Cimabue. The frescoes are by Giotto, and represent the life and
death of San Francesco.
_Chapels of the Choir._—Over the high altar, painting by
Andrea Orcagna. The walls and ceiling are covered with frescoes by
Agnolo Gaddi, representing the legend of the finding of the cross, and
the life of St. Francis. The five following chapels are not of much
importance, excepting the third, in the north transept, painted in
fresco by Luigi Sabatelli. The sixth is the Niccolini chapel, with
frescoes on the roof, painted in the 17th cent. by Baldassarre
Franceschini, surnamed _il Volterrano_. This chapel contains five
mediocre statues by Francavilla, and two large paintings on wood by
Alessandro Allori, and is also richly decorated with beautiful marbles.
In the adjoining chapel, belonging to the Bardi family, is a crucifix by
Donatello, one of his earliest and best works, yet not equal to that of
his rival Brunelleschi in S.
Maria Novella (page 267). After the Bardi chapel follow the Zamoyska
mausoleum, with a painted reredos by Ligozzi, and the monument to the
composer Luigi Cherubini (d. 1842), by Fantacchiotti.
Florence: Santa Croce—Galileo—
Bartolini’s Last Work.
Having arrived at the fine monument to Luigi, at the east corner of the
north aisle, to avoid confusion it is better to return to the main
entrance, and walk up the north aisle, commencing with the monument and
resting-place of
Galileo Galilei,
who died in the village of Arcetri (p. 248), in 1642. Over the cenotaph is his
bust, and a representation of his first telescope. Then follows the
monument to Pompeio Josephi, a jurist; 3d, to G. Lani (1770),
by Spinazzi,—on the column before this monument is a Pietà by
A. Bronzino; 4th, to Angelus Tavantus, sarcophagus below flat
pyramid; 5th, to Vitt. Fossombroni, by L. Bartolini, 1846; 6th, to
Karolus Marzupinus, the learned secretary of the Florentine Republic, by
D. Settignano, 1450; 7th, to Antoni Cocchio, 1773; and 8th, to
_Raffællo Morghen_, the illustrious Neapolitan engraver,
a beautiful monument, by Fantacchiotti. Fronting it, on the column,
is the monument to L. B. Alberti, the last work of Bartolini.
To the south of the façade a large doorway gives access to the
cloisters, around a spacious open court. At the far end, within this
enclosure, is the chapel of the Pazzi, one of Brunelleschi’s best works.
To
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the right of the entrance into the cloisters is a building containing
the refectory, with a Last Supper, by Giotto, and above it a Crucifixion
and Tree of Jesse. In the smaller refectory, adorned with a fine fresco
of Gio. di Giovanni, the Inquisition held its tribunals from 1284-1782.
The doorkeeper at the gates has the keys of the Pazzi chapel and of the
refectory. In the centre of the enclosure is a statue by Bandinelli
which originally stood on the high altar of the Duomo.
Florence: National Museum.
The National Museum or Bargello.
At the southern end of the Via del Proconsolo, and between the
Piazzas Sta. Croce and Signoria, is the National Museum, in the
Palazzo del Podestà, built in the 13th cent. by Lapo Tedesco and two
Dominican friars, Fra. Sisto and Fra. Ristoro. It bore various names,
according to the functions of the different dignities who occupied it.
When, in the 17th cent., it was converted into a prison and became the
seat of the head of the police, it was called the Bargello. In 1864 it
was chosen for the National Museum. Open from 10 till 3.30, 1 fr.
Free on feast-days. The walls of the court are ornamented with the
escutcheons of 204 Podestas (chief magistrates). The rooms on the ground
floor are filled chiefly with armour, among which are a bronze cannon
cast in 1636, and Donatello’s seated lion, the Marzocco, or the
Arms of Florence, a seated lion supporting a shield with its
left paw. Ascend to the first floor by the _outside_ staircase in
the court. It was built by Agnolo Gaddi. At the top, in the vestibule,
are two bells, one cast in 1228 by Bart. Pisano, and the other by Cenni
in 1670.
Florence: National Museum.—Sculpture—Michael
Angelo—Bologna—Cellini.
_First
saloon._—All labelled. Principal objects—By _Michael
Angelo_, Wounded Apollo, Bacchus and Satyr, Dying Adonis, and an
unfinished group of Victory. Donatello, David with the head of Goliath.
G. da
Bologna, Virtue conquering Vice. A beautiful series of reliefs,
illustrating Music and its effects, chiefly by L. Robbia and
Donatello. _Second room._—Furniture and glass ware. Wax group
by Zumbo. _Third hall_, the audience chamber of the
Podestà.—Majolica, porcelain, and enamelled ware. _Fourth
hall_, originally a chapel, but afterwards the room in which
prisoners under sentence of death were confined. The frescoes are
chiefly by Giotto, 1301. Among the portraits on the fresco of the east
wall, representing heaven, are those of Dante, and of his master
Brunetto Latini. The St. Jerome and the Madonna are thought to be by
Ghirlandaio. In the adjoining Sacristy are two frescoes, one of which is
thought to be by Cimabue and the other by Gaddi. Those who wish to see
them must request the door to be opened. _Fifth_
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_saloon._—Two triptychs by Orcagna. Works in ivory and rock
crystal by Cellini, Bologna, and N. Pisano. Wood carving
by Gibbons. (In this saloon is the stair up to the second floor.)
_Saloons 6 and 7._—Sculptures by the best Italian
artists of the 15th cent., all labelled. Among them may be noted, in the
sixth saloon, Donatello’s David, in the centre. In the seventh, in the
centre, a Child by Donatello. The famous _Mercury_, by
Bologna. David, by Verrochio. On the wall, a bronze table by
Pollaiolo, representing the Crucifixion, and two bas-reliefs, the one on
the right by Ghiberti, and the other on the left by Brunelleschi,
prepared for the competition for the doors of the Baptistery of
Florence, won by Ghiberti. Next, a fine ornament by Donatello. At
the beginning of the third wall is a large bas-relief by V. Dante,
representing the Brazen Serpent in the Desert; and below it, another
representing a Battle, by Bertoldo. These are followed by a cabinet full
of sketches by the best artists of the 15th and 16th cents. After these,
the famous bust of Cosmo of Medicis in Armour, by Benvenuto Cellini, and
his model in bronze of the Perseus, under the loggia. Ascend now to the
second floor by the stair in the fifth room. 1st room.—Portraits
in fresco by A. Castagno (1450), transferred to canvas a few years
ago: viz. Uberti, Acciaoli, Dante, Petrarch, and Boccaccio. Stained
glass by Marcilla, 1470-1537. 2d room on the right.—Fine display
of glazed terra-cotta work by Luca and Andrea Robbia. Stained glass
window by Giovanni da Udini. 3d room (tower).—Tapestry 17th cent.
4th room (on the left of the entrance).—French tapestry and
collection of coins. In the next two rooms, 5 and 6, are the
Masterpieces of Mediæval Sculpture, which formerly stood in the
galleries of the Uffizi. Room 5, in centre, John the Baptist, by
Donatello. On the wall, in relief, by B. da Rovezzano, 1507, the
Translation of St. Gualberto, on white marble, mutilated. Room 6, in the
centre, St. John by Benedetto da Maiano. Young Bacchus, by Sansovino.
Apollo, by Michael Angelo. On end wall, the Death of St. Peter, by
L. Robbia. By Michael Angelo, the Virgin, Jesus, and St. John
(unfinished); the famous Mask of a Satyr (executed in his 15th year);
Martyrdom of St. Andrew (unfinished); and Bust of Brutus. Window wall,
bust of Battista Sforza, and a Holy Family, by Mino da Fiesole. Entrance
wall, Leda, by Michael Angelo. By Mina da Fiesole, a Madonna and a
bust of Piero dei Medici. Left wall, by Rossellino, a Madonna and a
St. John. Faith, by Civitale, 1484, one of his best works. Five children
supporting festoons, by Quercia, 1150, one of his best; and a Madonna,
by Verrochio.
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Florence: La Badia. House of Michael Angelo.
At the end of the Via Proconsolo, and opposite the National Museum,
is La
Badia, founded by Willa, in 978, for the Black Benedictines;
rebuilt in 1284 by Arnolfo di Lapo; and again, in part, in 1625 by
Segaloni. The church, in the form of a Greek cross, has some good
monuments and pictures. The Campanile was built about 1330. The handsome
door is by Benedetto da Rovezzano, 1495. The second monument to the
right of the entrance is to Gianozzo Pandolfini, by Ferrucci in 1457. On
the adjoining altar are beautiful reliefs by Maiano, 1442 to 1497. In
the north transept is the mausoleum of the Gonfalonier Bernardo Giugni,
d. (1466), by Mino da Fiesole. In the south transept is the mausoleum of
Count Ugo of Tuscany (d. 1000). Above is an Assumption, by
G. Vasari, and in the Cappella de’ Bianchi, a Madonna
appearing to St. Bernard, by F. Lippi.
A little way east from the National Museum, at No. 64 Via Ghibellina,
is the house of Michael Angelo Buonarrotti,
a plain building, containing a collection of paintings, sculptures,
and sundry objects connected with Michael Angelo, bequeathed to the care
of the State by the last member of the family, Cosmo Buonarrotti, in
1858. The gallery is open to the public on Mondays and Thursdays, from 9
to 3. Catalogue in Italian or French, ½ fr. The collection is contained
in seven rooms, some very small. In the centre of the first room is a
small bust of Michael Angelo, and Nos. 1, 2, and 3 portraits of him at
different ages. No. 14, Battle of Hercules, and No. 17, Madonna, both in
relief, by Michael Angelo. Nos. 11, 13, 15, and 16 are glazed
terra-cotta figures by the Robbias, displaying admirably the fine
delicate surface of the enamel peculiar to their productions. Amongst
those who have distinguished themselves in the manufactory of
earthenware is Luca della Robbia, a Florentine goldsmith and
statuary, born in 1388. He made heads and human figures in relief, and
architectural ornaments of glazed earthenware, terra-cotta invetriata.
The colours are white, blue, green, brown, and yellow. The art of making
these glazed earthen figures invented by Luca was taught by him to his
brothers Ottaviano and Agostino, and was afterwards practised by his
nephew Andrea. The rooms to the left contain drawings and plans of
Michael Angelo, many being the original sketches of his greatest works.
First room right, the principal room of all, contains the statue of
Michael Angelo in a sitting posture, by Novelli; and around the room
sixteen pictures illustrating scenes in his life. The lower six are in
grisaille. The ceiling is painted in fresco. The next or fourth room
contains the family history, illustrated by twenty-one fresco paintings.
In the small cabinet off this room are, among other things,
a two-edged sword with the
264
Buonarrotti arms. In the fifth room, No. 74, Michael Angelo,
a Madonna in relief, on marble. 77, a cast in bronze of 74, by
Jean Bologna, by whom is also 81, a bust of Michael Angelo. Sixth
room (the Library), large frescoes, representing the eminent men of
Italy. In the seventh chamber, and in the small room off, are Etruscan
antiquities.
San Giovannino, 264.
San Lorenzo, 264.
The Mortuary Chapel.
The Sagrestia Nuova, 265.
Biblioteca Laurentiana.
Etruscan and Egyptian Museum, 267.
Santa Maria Novella, 267.
Spezeria, 268.
See Plan, near station.
Florence: San Lorenzo. Road to the Sagrestia Nuova.
North from the baptistery, at the end of the Via de Martelli, and
next the Palazzo Riccardi (see
page 275), is the Church of San Giovannino, rebuilt in the 16th
cent., with frescoes representing scenes in the life of Christ, by
Passignano, Barbieri, Bronzino, Tito, Corradi, and Ligozzi. A few
yards west from San Giovannino is San Lorenzo,
considered in the earlier periods of the Republic the metropolitan
church of Florence. Its existence is traced as far back as the year 393,
when it was consecrated by St. Ambrose. In 1059 it was rebuilt and
consecrated by Pope Nicholas II. Having been destroyed by fire in
1417, during a festival given by the Guelphs of Arezzo and the Guelphs
of Florence, it was again rebuilt by Brunelleschi and Michael Angelo,
and finished by Antonio Manetti in 1461. It is constructed in the form
of a T, 400 feet long from east to west, and 170 from north to south.
The aisles are lofty, and separated from the nave by 14 Corinthian
columns. The two pulpits are adorned with subjects from Scripture, in
relief, by Donatello and his pupil Bertoldo. The cupola is painted by
Meucci. At the north transept is a monument in white marble by
Thorwaldsen to Pietro Benvenuto, the painter of the cupola of the
mortuary chapel. In the south transept is a monument to the memory of a
daughter of General Moltke. A slab at the foot of the high altar
bears the title and age of Cosmo I., but his remains repose in a
black and white marble tomb in the subterranean church. Those pressed
for time should, on arriving at the main or eastern entrance of St.
Lorenzo, turn down to the left by that narrow busy street the Via del
Canto de’ Nelli, to the large folding-doors under the west end or apse
of San Lorenzo,
Florence: Underground Chapel—
Mortuary Chapel.
which gives access to the burial chapel, “Dei Principi,” of the Medici
family, and to the still more famous chapel called the _Sagrestia
Nuova_. Both open on Sundays from 10, on Mondays from 12, and every
other day from 9 to 3. Having entered the crypt, ascend the stair to the
left, which leads into the mortuary chapel.
265
Guides offer their assistance, but they are of no use, as the sacristan
alone can unlock the doors. The Mortuary Chapel is octagonal, and covered
with polished marbles and other shining stones, glowing with brilliant
harmony of colour, yet chaste and simple. The splendid hues are
continued on the ceiling under the dome by the masterly frescoes of
P. Benvenuti, painted in 1835. In each of six of the sides is a
monument to a member of the Medicean family, from Cosmo I. to
Cosmo III. (d. 1723), whose son, G. Gastone
(d. 1736), has his memorial slab behind the altar in the crypt or
lower church downstairs, where repose the remains of Donatello near
those of his patron Cosmo I., as well as those of 35 other members
of this once powerful family, which gave three popes to the Church of
Rome, two queens to France, and reigned 250 years over the sixteen
cities of Tuscany, whose escutcheons in beautiful mosaic are set in
panels round the mortuary chapel, below the granite mausoleums of these
princes. The Cappella dei Principi was designed by G. de Medici, and
built by M. Nigetti in 1604, for Ferdinand I., Duke of
Tuscany, to receive the “great stone” which Joseph of Arimathea rolled
“to the door of the sepulchre” of our Lord; and which had been promised
him by the Emir Focardino, governor of Jerusalem. The Emir not having
fulfilled his promise, Ferdinand adopted the intention of his
predecessor, Cosmo I., and had it converted into the burial chapel
of the Medicean family.
Florence: Sagrestia Nuova.
From this chapel a short narrow passage leads to the Sagrestia
Nuova, or the Cappella dei Depositi, containing the monuments and
mortal remains of Giuliano, Duke of Nemours, and brother of Pope Leo X.;
and of their nephew Lorenzo, Duke of Urbino, and father of Catherine of
Medicis; these two monuments, with the statue of Moses at Rome, are the
greatest works of Michael Angelo. The plan of the edifice was conceived
by Pope Leo, but the design and execution were entrusted in 1521 to
Michael Angelo. The interior is disappointing. A formal square
chapel, with walls partly encrusted with whitish marble, supported by
two tiers of Corinthian pilasters of that cold grey stone called pietra
dura, and pierced with doors and windows arranged in the same tame, flat
style. To the right on entering is the grand monument of Giuliano. He is
represented in a sitting posture, with his left hand gloved and raised.
The bent forefinger touches the upper lip, which seems to yield to the
pressure. The helmet throws a deep shade on the countenance. The two
statues reclining on the urn represent Day and Night. Day is little more
than blocked, yet most magnificent. To have done more would have
weakened the striking effect of the whole, which is
266
heightened by what is left to the imagination. Night is finely imagined.
The attitude is beautiful, mournful, and full of the most touching
expression—the drooping head and the supporting hand are
unrivalled in the arts. Opposite is the monument of the nephew. The
attitude of Lorenzo is marked by such a cast of deep melancholy brooding
as to have acquired for it the title of “il pensiero.” Beneath are the
personifications of Evening and Dawn. Twilight is represented by a
superb manly figure, reclining and looking down; the breadth of chest
and the fine balance of the sunk shoulder are masterly, while the right
limb, which is finished, is incomparable. The Aurora is a female figure
of exquisite proportions. In its serene countenance a spring of thought,
an awakening principle, seems to breathe life into the face of stone, as
if preparing it to open its eyes with the rising day. In front of the
altar is a striking but unfinished Madonna, by Michael Angelo. On the
right is a statue of San Cosmo, by Montorsoli, a pupil of Michael
Angelo’s, and on the left Santo Damiano, by Montelupo.
Florence: Bibliotheca Laurentiana.
A door in the middle of the south aisle of the church of
S. Lorenzo leads into the cloister, whence ascend the staircase, by
Vasari, to the Bibliotheca Mediceo-Laurentiana. The
books are kept in desks. Open from 9 to 3. Closed on feast-days. Fee,
1 fr. This library was founded by Cosmo in 1444. Amongst the
remarkable manuscripts there is one of Virgil of the 4th cent. in Roman
capitals, not very different in form from the letters on ancient Roman
marbles; it is on vellum, of the size of a small quarto, with notes; the
notes written in the 5th cent. by the Consul Turcius Rufus Apronianus,
as his signature attests. This is one of the most ancient legible
manuscript books in Europe of which the period is authentic. The
manuscript of Virgil, in the Vatican library, with paintings, was said
to be of the 4th cent., of the time of Constantine. The manuscripts of
the middle ages, instead of being in Roman capitals, are written in
letters resembling in some degree the small Roman printed letter now in
use; and, at a still later period, they are in a running hand. This
library also possesses the celebrated manuscript of the Pandects,
supposed to be of the time of Justinian, in the 6th cent., written in
capital letters, which vary a little from the capitals on ancient Roman
marbles; it is on vellum, of the size of a large folio book; it was
brought from Pisa, and Cosmo I. caused an edition to be printed
from it by Lelio Torelli. A Tacitus, of the 11th cent. is in a
running letter. The library contains 8000 volumes of manuscripts. Many
of them are chained to the desks.
Florence: Etruscan Museum.
Between S. Lorenzo and San Maria Novella in the Via Faenza, No.
267
144, is the Etruscan and Egyptian Museum. Open from 9
to 4. Fee, 1 fr. Free on Sundays.
_First Room_, The vases stand round the room in glass cases. The
earliest are in the first case to the right. Next, case 11, is the
entrance to an Etruscan tomb, which in its main features resembles that
in which our Lord lay. From the frescoes, which are copies of the
original on the tomb near Orvieto, it will be observed that the
Etruscans seem to have treated death as a feast, to which the spirits
were invited by the gods. _Second Room_, In the centre is the vase
of Peleus, or vase of François, by whom it was discovered in 1845 near
Chiusi. It is supposed to have been modelled by Ergatimos, and painted
by Clitias. _Third Room_, Minor objects. _First Octagon Room_,
Beautiful gold ornaments, beads, and glass bowls. Etruscan coins. From
this room a corridor extends to a similar room, in which is a beautiful
bronze statue of Pallas Athene with the ægis, and some fine Etruscan
mirrors. _Fourth Room_, In the centre stands the Chimæra, one of
the celebrated statues of antiquity. _Fifth Room right_, Armour.
_Sixth Room_, Etruscan sculpture. Both of the gems of the
collection are in this room—_The Orator_, a bronze
statue above life size, discovered near Lake Thrasymene; and an
_Etruscan Sarcophagus_, which lay nearly 2000 years buried in the
earth, and is supposed to have been made about 300 years b.c. From this we enter, by a passage covered with
inscriptions, into the Egyptian Museum. _First Room_, In the
centre, a Scythian war-chariot (the only specimen known), and by
the side of it the remains of the Egyptian soldier who probably captured
the chariot in battle. _Second Room_, The most interesting object
here is the fresco of the _Last Supper, by Raphael_, in 1505, when
only twenty-two. On the border of St. Thomas’s dress are the date and
name. In the last great hall are sarcophagi, reliefs, statues, obelisks,
idols, mummies, portraits, and tabernacles.
Florence: Santa Maria Novella—Rucellai Chapel.
Close to the railway station, and a short way west from the cathedral
and S. Lorenzo, is the church of Santa
Maria Novella, facing the piazza of the same name, adorned with
two large obelisks of Serravezza Mischio marble, crowned with Florentine
lilies in bronze, by G. Bologna, 1608.
This church, standing south and north, was commenced in 1221 and
finished in 1371. The façade was designed by L. Alberti, and
erected at the expense of G. Rucellai, whose name is inscribed on
the frieze, “Joannes Orcellarius, 1470.” Affixed to it are gnomonic
instruments, made by Ignazio Dante in 1573. In the interior, the fresco
over the principal door is after the Lippi school. The crucifix is by a
pupil
268
of Giotto, Puccio Capanna. On the wall to the right of the door is a
remarkable fresco, a Trinity, by Masaccio; opposite is a fresco
attributed to Gaddi. But the most interesting objects are all at the
northern or apsidial end of the church. At the extremity of the east or
right transept, up some steps, is the Rucellai Chapel. On the reredos of the
altar is the Madonna painted by Cimabue, considered his masterpiece.
Florence: S. Maria Novella—
Ghirlandaio—Brunelleschi.
The walls of the chancel, or recess occupied by the high altar, are
covered with exquisite paintings in fresco by D. Ghirlandaio,
nearly all representing scenes from Scripture. The stalls are by
B. d’Agnola, and the windows by G. Fiorentino. In the chapel
on the left, or west from this, the Cappella Gondi, is the famous wooden
_Crucifix by Brunelleschi_.
A curtain is before it. At the end of the W. transept, up some
steps, is the Strozzi chapel, with frescoes by A. Orcagna and his
brother Nardo, representing the Day of Judgment, Heaven, and Hell. The
open door at the foot of the steps leads into the sacristy, where,
immediately on one side of the door, is a beautiful terra-cotta basin,
by L. Robbia; and, on the other side, one of marble by
G. Fortini. A large door in the west, or left aisle, opens
into the cloister called the Chiostro Verde, because the frescoes on the
walls, by Paolo Uccello, 1390-1470, and Dello Delli, 1401, are painted
in green. Here the keeper, for a few sous, opens the door leading into
the Cappella degli Spagnuoli, designated thus from having been used by
the attendants of Eleonora de Toledo, wife of Cosmo I. The ceiling
and the left wall are covered with admirably conceived and executed
frescoes by Taddeo Gaddi, while those on the right wall are by Simone
Memmi. Adjoining is the Chiostro Grande, ornamented with 52 frescoes, by
Cigoli, Allori, Tito, Poccetti, and other artists of the 15th and 16th
cent., illustrative of the history of the Dominicans, with views of
Florence in the background.
Florence: Spezeria.
At No. 16 Via della Scala is the entrance to the _Spezeria_, or
pharmacy of the convent, long noted for its perfumes, as well as for a
red liquor called Alkermes, a specialty of Florence, resembling in
taste the liqueur made at the Chartreuse, near Grenoble, only sweeter.
It is also made and sold at the Certosa (see page 250). The chapel contains some
beautiful frescoes, illustrative of the last hours of our Saviour, by
Spinello Aretino.
The Santissima Annunziata, 268.
San Marco, 270.
Picture-Gallery of San Marco, 270.
Academy of Fine Arts, 271.
Galleria dei Lavori in Pietre Dure,
273.
North-east side of Plan.
Florence. The Annunziata—Narthex Frescoes.
From the N.E. end of the Cathedral the street, the Via dei Servi,
leads straight to the Piazza and Church of the _Santissima
Annunziata_
269
the only church in Florence open the whole day. All the others close at
12; but most of them re-open about 2 or 3 p.m. On the right side of the Piazza is the Spedale
degli Innocenti, a foundling hospital designed by Brunelleschi, and
ornamented in 1470, by Andrea della Robbia, with pretty terra-cotta
figures over the columns of the arcade. In the centre of the square is
an equestrian statue of the Grand Duke Ferdinand I., by Bologna, in
1608, and two bronze fountains by Pietro Tacca. The Church of the
Annunziata was built in 1250 by the Order of the Servi di Maria. At
the entrance is a narthex or vestibule decorated with admirable
frescoes, protected by glass. To the right, on entering, an Assumption
by Il Rosso, 1515; then follow a Visitation, by J. Pontormo, 1516,
pupil of A. del Sarto; a Marriage of the Virgin, by Franciabigio,
1513; a Birth of the Virgin, by Andrea del Sarto, as also the next
picture, an Adoration of the Magi, both among his greatest works;
a Nativity by A. Baldovinetti. The next five are by A. del
Sarto; Children being Healed by touching the Dress of the Servite
Filippo Benizzi; a Dead Child recalled to life by touching the Bier
of Filippo; the Cure of a Woman possessed of a Demon; Men destroyed by
Lightning who had insulted Filippo. He parts his Cloak with a Beggar. By
Rosselli: Filippo assumes the habit of the Order. In the narthex is also
the tomb of Andrea del Sarto (died 1606), with bust by Caccini.
The design of the interior of the church is by Ant. da S. Gallo.
Gherardo Silvani added the marble decorations. The pictures between the
windows are almost all by C. Ulivelli. On each side of the aisle
are five chapels, and at the termination of the aisle are two short
transepts and a circular tribuna designed by Alberti, covered with a
cupola painted by B. Franceschini and Ulivelli. In the right
transept is the tomb of Bandinelli, with a Pieta by himself. Immediately
behind the high altar, adorned with a ciborium or canopy by
B. Agnolo (1543), is the Cappella del Soccorso, with the tomb of
Gian Bologna (d. 1608), who constructed this chapel for himself,
and ornamented it with some of his best works. Under the organ in the
second chapel is an Assumption by Perugino. In the third chapel is a
Crucifixion by Stradano, his best work. In the fourth, a copy of
Michael Angelo’s “Judgment Day,” by Allori. Next it, and to the left of
the main entrance, is the chapel and shrine of the _Annunziata_,
built in 1445, by Michelozzi, and lighted by forty-one silver lamps and
one gold lamp glittering among costly polished stones. Over the altar is
an Annunciation in fresco by Pietro Cavallini (d. 1364), said to
have been done by angels.
Florence: The Annunziata—
Sacred Picture.
This picture is shown only once a year; but a duplicate
270
of it, also by Cavallini, is in San Marco, on the wall to the right on
entering. Over the altar is an “Ecce Homo,” by An. del Sarto, in silver.
Adjoining is the cloister built by S. Pollaiolo. Over the door
opening into the church is a “Holy Family,” by A. del Sarto,
a production in the highest style of excellence, called the Madonna
del Saco, as Joseph is seen in the background seated on a sack. The
other fresco paintings in the cloister are by Poccetti,
A. Mascagni, M. Rosselli, and V. Salimbeni (1542-1650), all
displaying rich colouring without gaudiness. In this cloister is also
the chapel of _St. Luke_, with the fresco of “St. Luke painting the
Virgin,” over the altar, is by Vasari, while those on the walls are by
Bronzino, Pontormo, and Santi di Tito.
Florence: San Marco—Picture-Gallery.
By referring to the plan, it will be observed that near to the
Annunziata are the Academy of Fine Arts and the Church of
S. Marco (standing from S.W. to N.E.) We shall commence
with _San Marco_, erected in 1290, and enlarged in 1427 by
Michelozzi. Interior.—Over central door a “Crucifixion” by Giotto.
First altar right, Thomas Aquinas before the Cross by S. di Tito, and an
Annunciation by P. Cavallini (covered). Second altar, Madonna and
Saints, Fra. Bartolommeo. Third, Madonna. Here a small door opens into
the sacristy built by Michelozzi, with statue of Christ by Novelli, and
of S. Antonino by Montorsoli. To the left of the high altar is the
Chapel of the Sacrament, with paintings by Tito, Empoli, Poccetti, and
Passignano. In the left transept is the chapel of S. Antonino, with
frescoes by Passignano in his best style, and a painting by Bronzino.
Between the second and third altars on this the left side of the church,
are the graves of the scholar Pico della Mirandola, d. 1494; the
poet Girolano Benivieni, d. 1542; and of Poliziano, d. 1494,
tutor to the sons of Lorenzo the Magnificent. To the right of the main
entrance is the Convent, now the _Picture-Gallery_, of St. Mark. Open from
10 to 3. Fee, 1 fr. Sundays free. During the 15th and 16th cent.
this convent had for its superiors the good Bishop Antonino
(d. 1459), Fra. Angelico Fiesole (d. 1455), Fra. Girolamo
Savonarola, the great preacher and martyr (1498), and Fra. Bartolommeo
della Porta (d. 1517), the best collection of whose works is in
this convent. Among the very fine frescoes are—On the door of the
church, left hand wall, “St. Peter, martyr, with his hand on his mouth,”
B. Angelico. On the end or S.E. wall, “Crucifixion,” with St.
Dominic, B. Angelico. The door in the wall opposite the church
opens into the refectory, with a fresco representing Angels bringing
food to St. Dominic, by Sogliani (d. 1544), pupil of L. Credi.
Above is a “Crucifixion” by Fra. Bartolommeo. The door in
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the south corner of the east wall opens into the chapter-house, with a
large fresco of the Crucifixion by B. Angelico. A very famous
work. The crucifix on the left is by B. Montelupo, and the other by
his son. The door in the middle of the east wall gives access to the
picture-gallery in the upper storey. At the foot of this stair is a
grand picture, a Last Supper (Cenacolo) by Ghirlandaio, who has
dressed the company in the costume of the brotherhood. From this ascend
to the first floor to what were the cells or rooms of the monks, ranged
on each side of a narrow passage ornamented with paintings in fresco. At
the head of the stair is a very beautiful Annunciation by Fra. Angelico,
and also by him, on the opposite wall, a St. Dominic embracing the
Cross. Opposite the Crucifixion is the best of the corridors. The cells
of the right corridor are ornamented with frescoes, principally by Fra.
Benedetto, and those of the left principally by his more famous brother,
Fra. Angelico. Next the staircase we have the library. Second room,
banners used for Dante’s festival in 1865. Next, two frescoes by
Benedetto. In the last two rooms, one a little higher than the other,
Cosmo de’ Medici (Pater Patriæ) used frequently to reside. His portrait
is by Pontormo, “The Jesus of Nazareth” is by Fra. Bartolommeo, and the
beautiful fresco by Angelico. In the cell opposite is a Crucifixion by
Angelico. In the third room, painted on wood by Angelico, are an
“Adoration” and an “Annunciation.” In the fourth, also by him, other two
famous pictures on wood, the _Madonna della Stella_ and the
_Coronation of Mary_. Turning to the right we find all the cells
(as far as that of Savonarola), with paintings by Fra. Benedetto or some
pupil of Angelico. In the middle of this corridor is the beautiful
Madonna enthroned, an admirable work of B. Angelico. At the end, in
a kind of chapel, are two Madonnas on the wall by Fra. Bartolomeo:
a Virgin in _terra invetriata_, by L. della Robbia; the bust
of Savonarola, full of expression, modelled by Bastianini; and a sketch
of the bust of Benivieni by Bastianini. In the two little cells at the
side, in which dwelt Savonarola, are preserved some manuscripts,
a crucifix, and other objects which belonged to him; as also his
portrait painted by Fra. Bartolommeo, and a view of the Piazza della
Signoria, with the burning of Savonarola and his companions. Proceeding
along the corridor, in which there are no cells on the right for some
distance, we come to more frescoes by Benedetto, the best being a
“Coronation” in the third cell.
Academy of the Fine Arts.
At the south-west corner of the Piazza San Marco, at No. 34 Via
Ricasoli, is the entrance to the Academy of Fine Arts. Open from 9 till
3. Fee, 1 fr. Sundays, free. The principal door is by Paoletti.
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In the vestibule are reliefs and busts of contemporary artists by L.
della Robbia. In the cloister are bas-reliefs by the brother and nephew
of Robbia, and Bologna’s models for his statues of Virtue and Vice, and
of the Rape of the Sabines. A corridor, containing statues in
stucco, to the right of the main entrance, leads to the library. Midway,
left hand, a door opens into the principal gallery, the hall of the
large pictures, with 124 paintings, by the following artists:
M. Albertinelli, A. Allori, B. Angelico, Spinello Aretino,
Fra. Bartolommeo, Biliverti, F. Boschi, Botticelli, Brina,
Bronzino, Buffalmaccio, Calabrese, A. Castagno, Cigoli, Cimabue,
Credi, Curradi, C. Dolci, I. Empoli, Gen. da Fabriano, A. and
T. Gaddi, R. del Garbo, Ghirlandaio, Giotto, Ligozzi, Fra.
F. Lippi, Aur. Lomi, Masaccio, Giov. da Milano, Monaco, S. P.
Nelli, L. di Niccolo, D. Passignani, Perugino, F. Pesellino,
Fra. P. da Pistoia, Poccetti, Fr. Poppi, C. Rosselli, A. Sacchi, A.
del Sarto, L. Signorelli, G. A. Sogliani, A. Squazelli,
Santi di Tito, Vasari, Veracini, Verrochio, Vignali. In No. 43, the
Baptism of Christ, by Verrochio, the angel to the right of the spectator
was painted by Leonardo da Vinci when he was twenty-three years old. No.
115, by Cigoli, St. Francis. It is said that in order to obtain the
unearthly expression of the face the painter kept a poor pilgrim for
many hours without food, until he fainted from hunger. This room is
followed by a chamber communicating with the Tribune, built in
1875, for the celebrated statue of _David_, sculptured by Michael
Angelo when 28 years of age. It was brought here in 1873 from the Piazza
della Signoria, where it had stood 369 years. From the library a door
opens into the Hall of Ancient Pictures, containing sixty paintings. The
artists of a large number are unknown. The others are by
B. Angelico, S. Aretino, M. Arezzo, A. Baldovinetti,
B. Berlinghieri, Neri di Bicci, Sim. da Bologna,
S. Botticelli, P. di Buonaguida, A. Ceraiolo, D. Ghirlandaio,
Bicci di Lorenzo, G. Pacchiarotto, and Signorelli. In the hall of
the small pictures there are seventy-one paintings, by artists already
named, the most important being Fra. and B. Angelico, who, with
Sandro Botticelli, Francesco Granacci, Luca Signorelli, and Lorenzo di
Credi, are better represented here than anywhere else. The most
remarkable are 41, “The Day of Judgment,” by Fra. Angelico. 13,
A “Nativity,” by L. di Credi; and 18, Portraits of two
Vallombrosian friars, by Raphael or Perugino. Beyond this is a
collection of original designs in a room called the Sala dei Cartoni. 2
and 5 are by Raphael. 6, Correggio. 3 and 12, Ben. Poccetti. 1, 4, 9,
10, 11, 18, and 22, Fra. Bartolommeo. 19, Bronzino. 7, 8, and 20, F.
Barroccio. 24, Credi, and 23, Carlo Cignani.
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From the vestibule a staircase leads up to the Galleria dei Quadri
Moderni, a collection of 160 modern paintings, distributed in six
rooms. The custodian of the academy keeps the keys of the Cloister dello
Scalzo, No. 69 Via Cavour, adorned with fourteen frescoes by A. del
Sarto, and two by his friend Franciabigio, in chiaroscuro, during 1517
to 1526, illustrative of the life of John the Baptist. They are not in a
good state of preservation.
Florence: Mosaics. Galleria dei Lavori in
Pietre Dure.
Adjoining the Accademia delle belle Arti, at No. 82 Via degli Alfani,
is the entrance into the Galleria dei Lavori in Pietre Dure, open from
10 to 3 daily. Entrance free. Rooms 1, 2, and 3 contain, in glass cases,
specimens of all the minerals and rocks used in Florence in the
manufacture of mosaics. They are numbered, and accompanied with
explanatory catalogues. They consist chiefly of varieties of marble and
alabaster, agates of different shades, chalcedony, jasper, lapis lazuli,
and red porphyry. The large room contains the finished mosaics, all for
sale, at prices from £80 upwards. Mosaics are made and sold in numerous
establishments throughout the city, but the best and most artistic are
sold here.
The Palaces of Florence.
The palaces of Florence are great square edifices of a grand and
gloomy aspect, built of dark blue stones (pietra forte) measuring from 3
to 4 feet. The bases, to the height of from 20 to 30 feet, consist
of coarsely chiselled rubble work, which lessens the baldness, and
contributes character and effect to the from 200 to 300 feet of plain
wall. At intervals are strong bronze banner-rings and torch-sockets,
while at each corner is a curiously-shaped lamp of wrought-iron. Near
the main entrance there is generally a niche, with an opening called a
“cantina,” just large enough to allow a quart bottle to pass through,
whence various articles of food are transmitted into the house. Those
that sell by retail the oil and wine from their estates have painted
over this niche “Vino é Olio.” The empty bottle, with the money, having
been passed through, it reappears shortly after full. The windows of the
first range are generally 10 feet from the ground, and are grated and
barred like those of a prison. Under the eaves runs a deep cornice with
bold projecting soffits. The roofs of the palaces, as well as those of
the smallest houses, are of a low pitch, and covered with tiles of two
different forms—a flat tile with ledges on the side, and a tile
nearly semi-cylindrical and tapering upwards, which thus covers the
interstice between the ledges of the flat tiles. The entrance to the
palaces is by a high arched massive gateway, giving access to a court
surrounded by
274
an arcade or loggia, whence massive stone staircases lead up to the
highest storeys. The lofty ceilings of the principal rooms are
decorated, and the beams though displayed, are carved, painted, and
gilded, and contribute to the grandeur of the whole. The floors are of
thin bricks, either laid flat or edgeways in the herring-bone or
_spina di pesce_ fashion. As in Genoa, several of the palaces
contain collections of works of art open to the public on certain days.
Florence: Palazzo Vecchio.
Of these the best are—first, the Palazzo Vecchio, in the
Piazza della Signoria, erected in 1218 by Arnolfo di Lapo. It is
surmounted by a noble antique tower 305 feet high, commanding an
excellent view of Florence. The entrance is through a superb but gloomy
court, surrounded by an arcade on massive columns, by Michelozzi,
substituted for those of Arnoldo in 1434. They are 8 feet in
circumference, and of admirable proportions. In the centre is a neat
little fountain by Andrea Verocchio, intended originally for the Villa
Careggi. Having traversed this court, ascend first stair left hand, and
keep turning to the left the length of the first storey, where take
first door right, which opens into the great hall or council chamber,
170 feet long by 77 broad, built in 1495, but altered by Vasari in 1540,
who also added the frescoes on the walls and oil-painting on the ceiling
illustrative of events in the history of Florence. Now ascend to the
second storey, where enter the ante-room to the left, the Sala de’
Gigli, with a grand but injured fresco by Ghirlandaio in 1482. The
lintel of the door in this room opening into the next, the Sala
d’Udienza, is by Benedetto da Majano. On one of the leaves of the door
is a linear drawing of Dante, and on the other one of Petrarch. The Sala
d’Udienza is painted in fresco by Salviati, illustrative of Roman
history. It communicates with the Cappella S. Bernardo, beautifully
painted in imitation of mosaic by R. Ghirlandaio. Near the chapel
of St. Bernard (sometimes approached by the four rooms of Eleanora de
Toledo, painted by Stradan of Bruges, and at other times by a narrow
passage), is a small chapel beautifully painted by Bronzino, and an
adjoining chamber painted by Poccetti.
Florence: Dante’s House.
North from the palace, by the Via dei Magazzini, is the Via
S. Martino, in which is a house with a marble slab over the
door, bearing the following inscription: “In questa casa degli Alighieri
nacque il Divino Poeta.” —_Dante._ He was married to Gemma in
S. Martino, a humble little church close by, in the Via dei
Magazzini. The Beatrice of Dante (like Petrarch’s Laura) lived in
the Palazzo Salviati, in the Via del Proconsolo. She married Giovanni
delle Bande Nere, and became the mother of Cosmo I.
275
Florence. Palazzo Strozzi, Corsini, Riccardi.
In the Via Tornabuoni is the Palazzo Strozzi, open on Wednesdays
from 11 to 1. It was built in 1489 from designs by Majano. The ironwork,
rings, and lanterns are by Grosso di Ferrara, 1510. The picture-gallery
on the first floor is contained in four large rooms elegantly and
comfortably furnished. In each room there is a list of the paintings on
a card. The two most remarkable are—Portrait of one of the
ladies Strozzi by Leonardo da Vinci; and another of one of the children,
“La Puttina,” by Tiziano. Between the Strozzi Palace and the Arno is the
Piazza S. Trinità. In it, opposite the Hotel du Nord, is a column
of Oriental granite from the baths of Antoninus, presented to
Cosmo I. by Pius IV. A short way down the Arno (see plan), at
No. 10 Lungarno Corsini, is the Palazzo Corsini, built (1618-56) by
G. Silvani, staircase by Ferri. The collection of paintings,
contained in twelve rooms, may be visited on Tuesdays, Thursdays, and
Saturdays from 10 till 2. Entrance by No. 7 Via Parione.
Next to the church S.
Giovannino (see p. 264), at No. 1 Via Cavour, is the Prefettura
della Provincia di Firenze, formerly the Palazzo
Riccardi, 300 feet long by 90 in height. This, the cradle of the
Medicean family, was erected in 1431, after the design of Michelozzi, by
Cosmo Pater Patriae, and continued to be the residence of the Medici
till 1540, when it was abandoned for the Palazzo Vecchio. The first row
of large windows was opened by Michael Angelo; for originally the base,
rising to 30 feet, presented one unbroken space, varied only by the
projection of the vast and rudely chiselled stones of which it is
composed. In the court below the corridor are statues and busts, and the
sarcophagi which were formerly outside the baptistery, and a curtain
beautifully sculptured in stone over one of the arches. Upstairs are the
Biblioteca Riccardi, a picture-gallery, and a small chapel covered
with most charming frescoes by Benozzo Gozzoli 1400-1478, painted by
lamplight, as the chapel at that time had no window. Palace open from
12.30 till 2.
Down the Arno, beyond the Ponte alla Carraia (see plan), is the
Church of Ognissanti. In the chapel next the door of the sacristy repose
the remains of Amerigo Vespucci, who gave his name to America. In the
centre of the nave are frescoes by Ghirlandaio and Botticelli. The
frescoes in the cloisters illustrating the life of St. Francis are by
Giovanni and Ligozzi. The Last Supper, in the refectory, is by
Ghirlandaio. A little way up the street called the Borgo Ognissanti
is the Hospital S. Giovanni di Dio, founded
by Amerigo Vespucci; while the house in which he lived and died stood on
the site of the present No. 21 Borgo Ognissanti.
276
Park of Florence. Villa Careggi. Palazzo Torrigiani.
At the west end of the town, near the Porta Prato, is the Cascine or Park of
Florence, on the right or north hank of the Arno, much frequented in the
afternoon. An omnibus runs every 10 minutes between the Porta Prato and
the Piazza della Signoria. Opposite the Cascine is the hill Monte Oliveto, page 251. Nearly two miles
north from the railway station by the Romito road is the Villa
Careggi, built by Michelozzi for Cosmo Pater Patriae, in which
he died on August 1, 1464, as also Lorenzo the Magnificent, on the 8th
of April 1492. At the Ponte alle Grazie, the first bridge above the
Ponte Vecchio, is the Palazzo Torrigiani, built by Baccio
d’Agnolo, containing a valuable collection of paintings, accompanied
with catalogues. Open daily excepting Saturdays and Sundays.
Fiesole.
At the east side of the town, by the Via Alfieri or
Pinti, is the Protestant cemetery, between the Boulevards Eugenio
and Amedeo, the latter leading northwards to the Piazza Cavour with the
Porta S. Gallo. From this Porta commences the road to the Etrurian
city of Faesula, the modern _Fiesole_, 3 miles from Florence,
and about 600 feet above it, on the summit of a ridge composed of a
dark-coloured sandstone. Rail to Fiesole. Carriage there and back, 8 to
10 fr. From the Porta S. Gallo it is an easy walk of about 2½
miles. See the excellent map of the environs (Dintorni) of Florence,
published by the “Istituto Topografico Militare,” 1 fr. Beyond the
Porta S. Gallo take the road leading up the left or east bank of
the Mugnone for about 1 mile, as far as the Villa Palmieri, where,
in 1348, Boccaccio wrote his Decameron. From this the road ascends
between walls about 1 mile more to the Church and Convent of
S. Domenico, in which Beato Angelico was one of the monks. The
church contains an Annunciation by Empoli; a Baptism of Christ by
Credi; a St. Francis by Cigoli; and in the choir a Virgin with
Saints by B. Angelico. Near S. Domenico is the Villa Landore,
which was occupied for many years by Walter Savage Landor. The road
striking off to the left or towards the Mugnone, leads to the venerable
abbey of La Badia di Fiesole, rebuilt in 1462 by Brunelleschi. The road
from St. Domenico to Fiesole is rather steep, and passes, at about
two-thirds of the way, the beautiful old mansion with terraced gardens
called the Villa Mozzi or Spence, once a favourite residence of Lorenzo
il Magnifico, and the place in which the Pazzi conspiracy was formed in
1478. A short way beyond, the road enters the Piazza of
_Fiesole_ (pop. 11,500. _Inns:_ Locanda
277
Firenze; Trattoria l’Aurora), famous for views and stone-quarries. One
side of the Piazza is occupied by the Cathedral, dedicated to St.
Romulus, commenced in 1028, and in form resembling S Miniato. To the
right of the high altar is the mausoleum of Bishop Salutati, and a
marble tabernacle by Mino da Fiesole in 1465. The frescoes on the
ceiling of the chancel are by Ferrucci; and the statue of St. Romulus in
a sitting posture by Luca della Robbia or his nephew. In a garden behind
the church are the remains of a Roman theatre. The road passing this
garden leads to the ruins of the ancient walls, formed of huge
uncemented blocks, not parallel, but of different sizes, and some of
them indented into each other. Fronting the Cathedral is the
commencement of a little stony road leading up to the terrace of a
Franciscan convent, commanding a glorious view, and to the church of
S. Alessandro, with columns of Cipollino marble.
S. Salvi—Vencigliato—Settignano.
S.
Salvi. Vencigliato. Settignano.—1¼ mile east from the
Porta S. Croce, by the road following the railway, is
S. Salvi, containing a Last Supper, by A. del Sarto, in the
refectory. From S. Salvi northwards to the Via Settignano, which
follow for 1½ mile eastwards, then take the road to the left going
northwards, and crossing the Mensola above its union with the
Frassinaia, is the Castle
of Vencigliato, founded in the 10th cent., 5 miles
north-east from the Porta S. Croce, and situated on the summit of a
hill commanding a splendid view. In 1860 it was restored at the expense
of an Englishman, Temple Leader. 1¼ mile east from the part of
Settignano road, whence the Vencigliato road ramifies, is Settignano, the birthplace of
Michael Angelo.
Straw-plaiting gives employment to numerous females around Florence.
The wheat used is sown in March, and is cut before the grain is ripe.
The straw is then divided into pieces from 6 to 8 inches long, and
exposed for sale in the markets in small bunches. In this state it is
bought by the plaiters, who in their turn expose for sale yards of
plaited straw to the hatters.
The vin ordinaire given at the restaurants of Florence is principally
the Vino Monteferrata, which, when two or three years old, resembles an
inferior dry claret. In Savoy and Tuscany large flat cakes are made of
ground chestnuts. They are sold hot, have a sweetish taste, and are very
nourishing to those who can digest them.
Excursion to Vallombrosa, Camaldoli, and
Alvernia to the east of Florence. (See Map on page
199.)
To Vallombrosa. Take rail to Pontassieve, 13 miles east from Florence, pop. 11,000.
_Inn:_ Italia; where hire coach for Pelago,
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6 miles east. Fare, 6 fr. Pelago (pop. 2000). _Inn:_ Buon
Cuore; whence mule, 5 fr., guide, 2 fr., to Vallombrosa,
8 miles south. Or coach as far as Tosi, about 5½ miles from Pelago,
and the rest by mule or on foot. At Pontassieve a carriage for two at 12
fr. per day, or for four at 20 fr. per day, may be hired for visiting
the three sanctuaries. Having visited Vallombrosa, return to Pelago, and
proceed to Bibbiena, 15 miles east, by the Consuma, Borgo alla Collina,
and Poppi, 4 miles from Bibbiena. From Bibbiena mules or horses
must be hired for Alvernia, 2 hours distant. From Alvernia a fatiguing
path leads to Camaldoli, in about 6 hours. The better plan is to go to
Camaldoli from Bibbiena, distant 4 miles northwards from
Bibbiena.
Vallombrosa.
A little beyond Pelago the road to Vallombrosa begins to ascend the
Apennines, disclosing in the ascent many charming views of hills crowned
with villas, and mountains covered with evergreen oaks, intermingled
with bare perpendicular cliffs, and roaring torrents tumbling from the
crags. _Vallombrosa_
is situated 2980 feet above the sea, on the side of Mt. Protomagno,
which rises 2340 feet higher. Although the scenery does not agree
altogether with Milton’s description in _Paradise Lost_, book iv.
lines 131-159, it possesses that charming loveliness which inspired the
divine poet with the ideas conveyed in these lines. The steep acclivity
is clothed with a “woody theatre” of stateliest chestnuts, oaks, firs,
and beeches, which in ranks ascend, waving one above the other, shade
above shade; or hang from the very brows of precipices, whose verdant
sides are with thicket overgrown, grotesque, and wild. “Higher than
their tops” an occasional glade breaks the uniformity of the sylvan
scene, while on the summit expands a wide grassy down with enamelled
colours mixed, from which there is a “prospect large” over foliaged
hills, and the wild, bleak, sterile mountains of Camaldoli and Alvernia.
The church and convent were erected in 1637. The latter is now occupied
partly by a forestry school and partly by an inn. Nearly 300 feet
higher, by a winding path, is Il Paradisino, a little hermitage
romantically situated on a projecting rock commanding a grand view. The
scagliola decorations in the chapel were by an Englishman, Father
Hugford, who excelled in various branches of natural philosophy,
and in the art of imitating marble by that composition called scagliola.
He died in the last century. The ascent to the summit of the Protomagno
occupies 1 hour; guide 2 fr. The road to Camaldoli winds round the
mountain that shelters Vallombrosa on the north side, and then descends
into the Val d’Arno Inferiore. On a knoll, encircled with trees in the
middle of the plain, is the noble now ruined castle of Romena, and
behind it the villages of Poppi and Bibbiena.
Camaldoli. Sacro Eremo. Alvernia.
The abbey of _Camaldoli_, founded by S. Romualdo,
a Calabrian anchorite, in 1046, is situated on the torrent Giogana,
in a valley surrounded by high mountains. About 2 miles above the
monastery, on a hill to the north, by a zig-zag path through the forest,
is Il Sacro Eremo,
the hermitage of the convent. The church is neat, and possesses an
Annunciation in relief by Robbia. From the culminating point of the
ridge, the Prato al Soglio, is one of the finest views in this part of
Italy.
279
About 14 miles from Camaldoli, on Mons Alvernus, a lofty
rock towering above the neighbouring eminences, and split into
numberless pinnacles of fantastic forms, full of grottoes and galleries
hollowed out by nature, is situated the convent of _Alvernia_, founded by St. Francis in 1213, and
inhabited by about 110 monks. From the church a covered gallery leads to
the cave with the chapel of the Stemmate, in which St. Francis is said
to have received, imprinted on his body, marks similar to those produced
on Jesus Christ by the crucifixion. From Camaldoli and from Alvernia
return to Bibbiena, where the diligence may be taken to Arezzo, pop.
12,000, whence rail either to Rome, 141 miles south, or to Florence, 54
miles north-west. The drive from Pontassieve to Florence, by the Arno,
is very beautiful.
Florence is 291 m. S.E. from Turin by
Pistoja, Bologna, Modena, Parma, Piacenza, and Alessandria. Time by
quick trains, 13 hrs. 1st class, 52 frs. 95 c.; 2d class, 37 frs. 5 c.
See Black’s _South France_, East half, page
233.
(Paragraph shown as printed.)
Florence is 196½ m. N. from Rome by Arezzo, Terontola, Chiusi,
Orvieto, and Orte. 8 hrs. by quick train. 1st class, 34 frs. 30 c.; 2d
class, 23 frs. 55 c. Florence is 60¼ m. E. from Leghorn by Empoli,
Pontedera, and Pisa. 2 hrs. 20 min. by quick train. 1st class, 10 frs.
45 c.; 2d class, 7 frs. 15 c. See the “Indicatore Ufficiale.” To
the price given in the Indicatore the amount of the tax has to be
added.
Busalla. Novi.
Genoa to Turin by Alessandria and Asti.
Distance, 103½ m. N.W. Time by quick trains, 4¼ hrs. Map, page 199.
Genoa.—The train after traversing the first tunnel
emerges at the busy populous suburb of Sampierdarena, 1¼ m. W. from
Genoa and 2½ m. E. from Sestri-Ponente. The rail now turns northward and
ascends the valley of the impetuous torrent of the Polcevera, traversing
six tunnels. Having passed Rivarolo, Bolzaneto, and Pontedecimo, the
train arrives at Busalla,
14¼ m. N. from Genoa and 89¼ m. S. from Turin. Busalla is
situated on the culminating part of the line (1192 ft.), on the crest
which divides the basin of the Adriatic from the Gulf of Genoa. Here
also the gradients of the line are highest, being about 1 in 28½ or 35
in 1000. The longest tunnel on the line, the Galleria dei Giovi, 3390
yards, is just before arriving at Busalla. It perforates calcareous
schists, and is ventilated by 14 shafts. The scenery, which has been
hitherto very picturesque, becomes tame after traversing the last tunnel
at Arquata, 26 m. N. from Genoa, in the narrow valley of the
Scrivia. 33½ m. N. from Genoa, and 70 m. S. from Turin, is
Novi, H. La Sirena,
a town of 11,000 inhabitants, situated among hills; where, in
August 15, 1799, a great battle took
280
place between the French under Joubert and the Austrians and Russians
under Suwarrow, when the former were defeated and their general killed.
Novi is 60 m. S.W. from Milan by Tortana, Voghera, and
Pavia.
Alessandria.
47¼ m. N. from Genoa and 56¼ m. S.E. from Turin is Alessandria, pop. 30,000,
234¼ m. N.W. from Florence by Piacenza, Parma, Modena, Bologna, and
Pistoja. See Black’s _South France_, East half. See map, page 199.
At the Alessandria station hot coffee and chocolate are always ready.
_Hotels:_ L’Universo; Italia; Europa. Alessandria received its name
in compliment to Pope Alexander III. The citadel, capable of
holding 50,000 men, was built in 1728. The cathedral has a façade in the
modern taste, with granite columns; in the interior is a colossal statue
of St. Joseph by Parodi. The other churches are the Madonna di Loreto
and S. Lorenzo. The Ghilino palace, now belonging to the crown, was
designed by the elder Alfieri. Two great fairs are held annually at
Alessandria—one in April, the other in October. In the
neighbourhood is the village of Marengo, near which took place (June
1800) the battle between the French and the Austrians that was first
lost by Bonaparte and afterwards won by Desaix and Kellermann. From
Alessandria the train ascends the valley of the Tanaro, passing the
minor stations of Solero, Felizzano, Cerro, and Annone; then at
34¾ m. E. from Turin, and 68¾ m. N.W. from Genoa, arrives
at
Asti.
Asti (the _Hasta Pampeia_,
or Pompey’s Market, of the Latins), a place of 18,000 inhabitants.
H. Leone d’Oro. Celebrated for its sparking wines, both red and
white. The cathedral is a large and fine Gothic structure (1348). The
adjacent church of S. Giovanni is built upon a basilica, of which
the existing part is borne by monolithic columns with capitals bearing
Christian symbols, 6th cent. Near Porta Alessandria is the small
Baptistery of San Pietro, 11th cent., resting on short columns with
square capitals. Alfieri, the poet, was born here, in a palace built by
his uncle, who was a count and an architect. He died in 1803. The
tertiary strata of the neighbourhood are very rich in fossils. Loop-line
from Asti to Milan in 3½ hrs.
From Asti the train descends by Villafranca, where there is a viaduct
over the Standvasso, about 100 ft. above the stream. Farther W., at
Trofarello, is the junction with the loop-lines to Savona, 82½ m. S. (page 183), and to Cuneo, 46½ m. S.W. (page 183).
Five miles S. from Turin is Moncalieri. On the hill-side, overlooking
the town, is the large royal palace in which Victor Emmanuel I.
died in 1823.
For Turin, see Black’s _South France_, East half. Loop-line
to Pinerolo, 23½ m. S.W., and to Torre-Pellice, 10½ m. farther
west, in the Waldensian valleys. See Black’s _South France_, East
half.
Paragraph shown as printed.
Italy and the Alps: Itineraries
Italy and the Alps: Maps
Italy and the Alps: Text
General Index
ITINERARY
(pages 281–end)
PARIS to TURIN
281
PARIS to MODANE
281
Aix-les-Bains to Geneva by Annecy
286
Modane to Turin
291
Bussoleno to Susa
291
Turin to Torre-Pellice by
Pinerolo
305
Torre-Pellice to Mont-Dauphin by the Col de la
Croix
306
Perosa
to Mont-Dauphin by the Col d’Abriés
307
Perosa to
Cesanne by the Col de Sestrières
307
Saluzzo to Mont Dauphin by the Col de la
Traversette
308
Cuneo
to Barcelonnette (_see_ Barcelonnette to Cuneo)
341
TURIN to FLORENCE by
Piacenza, Parma, Modena and Bologna
309
St.
Pierre d’Albigny to Courmayeur by the Little Saint Bernard
320
PARIS to MODANE by
Lyons, Voiron and Grenoble. This is the route to take to visit the
Grande Chartreuse and the picturesque valleys about the formidable group
of the Ecrin mountains
322
Grenoble to
Sassenage
327
Grenoble to Briançon by
Bourg d’Oisans and the Col de Lautaret. A grand mountain road
328
Bourg
d’Oisans to La Berarde, at the
base of the Ecrin group, by Vosc and St. Christophe
329
Briançon to Mt. Pelvoux by La Bessée and the Val
Louise
333,
345
Briançon to
Oulx by Mt. Genèvre and Cesanne
333
Grenoble to Corps by La
Mure (map, p. 27).
From Corps another diligence proceeds to Gap (p. 340). From Corps the pilgrimage is made to
N. D. de la Salette
333
Goncelin to
Allevard-les-Bains
336
MARSEILLES to GRENOBLE
by Gardanne, Aix, St. Auban, Sisteron, Serres, Veynes, Aspres, Clelles
and Claix (map,
p. 27)
338
St. Auban to
Digne
339
Digne to Barcelonnette by La Javie and Seyne (map, p. 304)
339
Digne to Barcelonnette by Draix, Colmars and
Allos
339
VEYNES to MONT DAUPHIN-GUILLESTRE
station, 51 miles N.E. by rail. Both of these towns are at the French
end of several of the important passes between France and Italy
340
Gap to
Barcelonnette
341
Barcelonnette to Cuneo (map, p. 27)
341
Gap to
Grenoble by Corps (map, p. 304)
342
Mont-Dauphin to Saluzzo (map,
p. 304)
344
Paris to Lyons by Saint Etienne (map, p. 27)
346
Paris to
Lyons by Tarare (map, p. 27)
348
Lyons to
Clermont-Ferrand by Montbrison (map, p. 27)
349
Paris to Marseilles by Clermont-Ferrand and Nîmes
(see map on fly-leaf)
351
Moulins to the
Baths of Bourbon-l’Archambault by Souvigny and
Saint Menoux (map,
p. 1)
356
Moulins to the
Baths of Bourbon-Lancy by
Dompierre and Gilly. Beyond Gilly is Paray-le-Monial (p. 27, map p. 1)
357
St.
Germain-des-Fossés to Vichy
359
Clermont-Ferrand to Brive by Laqueuille
376
Laqueuille to
the Baths of Mont-Dore and Bourboule
377
Mont-Dore
to Issoire by the Baths of St. Nectaire
385
A diligence runs between St. Nectaire and the Coude railway station.
MAPS AND PLANS
(pages 281–end)
page
Bologna, Plan of
316
Mont Cenis railway, Plan of
291
This plan shows the railway from St. Pierre-d’Albigny to Turin by Modane
and Susa. Rail from St. Pierre to Albertville; whence coach-road to
Courmayeur by Moutiers, Bourg-St. Maurice, Seez and the Little St.
Bernard. Coach road from Albertville to Annecy on Lake Annecy.
Mont-Dore and Bourboule, Map of environs
378
The French and Italian Waldensian valleys, with the
mountain-passes between them
304
Turin, Plan of
293
Vichy, Plan of
359
281
Paris to Turin and the Italian Riviera.
By Fontainebleau, Joigny, Dijon, Macon, Bourg,
Ambérieux, Culoz, Aix-les-Bains, Chambery, Modane, and Mont Cenis. The continuation of this line
southwards from Turin extends to Genoa by Alessandria (page
279).
Part First.—Paris to
Modane, 431 miles. Time by the Rapide, 13 hrs. 36 min. Part
Second.—Modane to Turin, 58½
miles. Time by Express, 3 hrs. 27 min.
_Time-tables._—In England, see under “London to Turin” in the
Continental Time-tables of the London, Chatham, and Dover Railway, which
Company give through tickets. In Paris, start from the station of the
Chemins de Fer de Paris à Lyon. At the bookstall buy one of their
Time-tables, 40 c. The best resting-places are Dijon, Macon, and
Chambery. For the whole route consult the Sketch Map on the fly-leaf. For the
northern part, between Paris and Macon, see map, page 1; and from Macon to Turin, map, page 26.