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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 254

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 255

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 257

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. 259

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 260

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 261

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_ 262

_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 271

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. 272

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.

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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, 278

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_,