Part 14

Eight years later the palace witnessed yet more splendid entertainments in honour of the marriage of Ferdinando’s eldest son Cosimo with Maria Maddalena of Austria, and but a few months afterwards Ferdinando died, and his body lay in state in the large hall of the palace.

During the brief reign of Cosimo II., Giulio Parigi, according to Baldinucci, added to Palazzo Pitti on either side “by a design of regal magnificence.” He increased Brunelleschi’s façade from seven windows to thirteen; and his son, Alfonso, who succeeded him as chief architect under Ferdinando II., again lengthened the palace by two large windows on the ground floor on either side and five on the first, in which state it remained for more than a hundred years, as can be seen in the engraving by Zocchi, done in 1746. It was fortunate that so clever and resourceful a man as Alfonso Parigi was court architect, for Baldinucci tells us that “about 1640 the façade of the oldest part of the Palazzo Pitti, from the second floor upwards, was seen to be out of the perpendicular, inclining towards the Piazza more than 8 inches. This might have been very serious had not Alfonso with talent, knowledge and prompt courage, suggested a radical and efficacious remedy, and effected it by drawing back the colossal wall, faced with huge rustic stones, to its original place; securing it in such manner that it might never again present so alarming a spectacle, and he did it in this way. First he bored the wall of the façade in as many places as were needful for placing certain large iron ties made on purpose by Pietro Zaballi, a famous worker in iron of that time; these were secured with the usual bars, only very big and strong, which afterwards were hidden under the stone facing. He passed the ties under the floors and walls of the passages and rooms of the said second floor, and at the extremities of these same ties, at the back of the building, he placed the wonderful instruments furnished with screws invented by himself. With these, by means of certain levers, first one and then another was tightened and pulled, so that this great force was exercised little by little, and always equally. Thus almost insensibly, with the labour of but few men, the great wall returned to its place, and to insure it for ever from any new danger the ties were clenched also in the courtyard.”

About the same time Ferdinando II. ordered Pietro da Cortona and his scholar Ciro Ferri to fresco the five large rooms on the first floor of the Palace (now part of the picture gallery). “Each room,” Inghirami tells us, “was distinguished by the name of a planet, and alluded to the five principal virtues of his father, the Grand Duke Cosimo II. The first, called Venus, signified benignity; the second, Apollo, stood for splendour; the third, Mars, for strong government; the fourth, Jupiter, for regal majesty and the recompense of merit; the fifth, Saturn, signified prudence and profound knowledge. In such guise the painter united mythology with history. The merit of these inventions is due to Michelangelo Buonarroti, a writer of much merit, surnamed the ‘Younger,’ to distinguish him from the famous artist of this name, who was his uncle.” In these rooms the Grand Duke hung his favourite pictures, and ordered the director Puccini to bring several back from the Uffizi, which had at various times been removed from the Pitti. Among these were the Madonna della Seggiola, and the portrait of Leo X. by Raphael. The beautiful Madonna del Granduca, also by Raphael, was bought by the Grand Duke for 300 zecchins, and the fine pictures inherited by his wife Vittoria della Rovere from her father, the Duke of Urbino, increased the treasures of the gallery, which may be said to have been begun by Ferdinando II.

John Evelyn, who was in Florence in 1644, evidently thought the lengthening of the Palazzo Pitti an improvement, as he writes in his diary that it had been “of late greatly beautified by Cosimo with huge stones of the Doric, Ionic, and Corinthian orders, with a terrace at each side having rustic uncut balustrades, with a fountain that ends in a cascade seen from the great gate, and so forming a vista to the gardens. Nothing is more admirable than the vacant staircase, marbles, statues, urns, pictures, court, grotto, and waterworks. In the quadrangle is a huge jetto of water in a volto of four faces, with noble statues at each square, especially the Diana of porphyry above the grotto. We were here showed a prodigious great loadstone. The garden has every variety, hills, dales, rocks, groves, aviaries, vivaries, fountains, especially one of five jettos, the middle basin being one of the longest stones I ever saw. Here is everything to make such a paradise delightful. In the garden I saw a rose grafted on an orange-tree. There was much topiary-work, and columns in architecture about the hedges. The Duke has added an ample laboratory, over against which stands a fort on a hill, where they told us his treasure is kept. In this palace the Duke ordinarily resides, living with his Swiss guards, after the frugal Italian way, and even selling what he can spare of his wines, at the cellar under his very house, wicker bottles dangling over even the chief entrance into the Palace, serving for a vintner’s bush.”

In honour of the visit of the Princess Anna de’ Medici with her husband, the Archduke Ferdinand of Austria and his two brothers, and of the Duke of Mantua and his wife, who was a Medici, splendid festivals were given in the Palazzo Pitti, while a ballet on horseback, led by Cosimo, the youthful heir to the throne, was performed in the amphitheatre in the Boboli gardens by fifty-two cavaliers magnificently dressed and mounted on well-broken horses. Little did the spectators think that the young prince, who made his barb curvet so proudly, would become an odious bigot and the laughing-stock of Europe, on account of his dissensions with his wife, Marguerite Louise of Orleans. The old palace has witnessed many strange scenes, but few stranger than that of a French princess amusing herself by tickling her cook. Vincenzio Martinelli, in letters written in Italian chiefly to English friends, and published in London in 1758, gives a curious description of the tom-boy games of Marguerite Louise. “Cosimo had obliged the Grand Duchess to send back to France all the gentlemen and ladies of her court, and only one Frenchman, a cook, remained. The Grand Duke gave himself up to devotion and solitude and governed his family, as he did his state, like Tiberius, and allowed his wife no amusement save a small concert for two or three hours every evening. The Grand Duchess, who was very young, found these concerts monotonous, or perhaps, being born in France, did not care for Italian music, so as a diversion she used to send for her French cook, who came with his long apron and white cap, just as he was dressed for cooking the dinner. Now this cook either dreaded, or pretended to dread, being tickled, and the princess, aware of his weakness, took great pleasure in tickling him, while he made all those contortions, screams and cries proper to people who cannot bear to be tickled. Thus the princess tickled the cook, and he defended himself, shouting and running from one side of the room to the other, which made her laugh immoderately. When tired of such romps she would take a pillow from her bed and belabour the cook on the face and on the body, whilst he, shouting aloud, hid himself now under, now on, the very bed of the princess, where she continued to beat him, until tired out with laughing and beating she sank exhausted into a chair. While these games were going on the musicians stopped their music, and as soon as the princess sat down they recommenced. This noble amusement continued for some time before the Grand Duke knew of it; but one evening it happened that the cook was very drunk, and therefore shouted louder than usual, and the Grand Duke, whose apartments were five or six rooms distant from those of the Grand Duchess, heard the noise and went to discover the cause. As he entered the room the Grand Duchess was just beating her cook with a pillow on the grand-ducal bed, and the Prince, horrified at so novel a sight, instantly condemned the cook to the galleys (but I believe he was eventually pardoned), and scolding the lady with the utmost severity, with a bearing more princely than marital, he forbad her ever again to indulge in such conduct. The princess resented being thus taken to task in the presence of the musicians, perchance with less consideration than she thought due to her high rank, and was exceedingly angry. After passing the whole night in fury and in tears she determined to return to France, and sent one of her gentlemen to the Grand Duke to inform him of her resolution. He, who desired nothing better, as he feared his family might multiply like that of Priam, coldly replied that the Grand Duchess had better reflect on the consequences of such a step, which he would in no way oppose.” It ended by the Grand Duchess returning to France, leaving two sons and a daughter, who were the last of the great house of Medici.

After the death of Giovan Gastone in 1738, last surviving son of Cosimo III., Tuscany was given by the treaty of Vienna to Francesco, Duke of Lorraine, husband of the Empress Maria Theresa of Austria, in exchange for his hereditary estates which were ceded to France. Tuscany was then governed by regents, and of one of these, Marshal Botta, Sir Horace Mann writes to his friend Walpole: “He has made sad work in the Palazzo, and in the garden. His arrangement of the pictures is to make it depend, first upon the freshness of the gilding upon the frames, and then upon the position of the figures in each picture, which figures must not turn their back to the throne. Luther and Calvin, by Giordano, were turned out with a most pious contempt, as not worthy to stand in the presence of so orthodox a prince as is coming here. His mother (Maria Theresa) will not permit any picture to hang in her apartment that shows either a naked leg or arm. This ill agrees with the Medici taste, or the collection they have left. Imagine that grave matron (Maria Theresa) running the gauntlet through the gallery. Ah! quelle horreur!... A famous picture, by Titian, was turned out of the room where the canopy is, because the figure almost turned its back to it, and none are to be admitted there but such as respectfully present their faces to it. The picture of Luther and Calvin was dismissed with a Catholick fury, and, I fear, will find no better place than in that horrid ill-painted room of Hell, at the end of the apartment, that the young prince may see how the enemies of the Church ought to be treated. You will think I exaggerate, but what I have said is literally and ludicrously true. Botta tells the Florentines who criticise his operations, that he knows more of architecture and painting than Andrea del Sarto, or their ancestors who invented their Tuscan Order. Such are his occupations, for as to government, _célà va son train_. Nobody interferes, and nothing can be taxed higher than it is.... The farmers of the revenue, though Tuscans, are more rigorous than the receivers or collectors used to be under the Medici, who were indulgent to their subjects, and spent their revenues amongst them. This will not be the case for some time, though a young prince is coming, for the emperor will still have the principal share.”[57]

Botta had been busy for some time arranging the Palazzo Pitti, which had been untenanted since the death, in January, 1743, of the Princess Palatine, last of the Medici. Like all her family she had artistic tastes, and the Dutch pictures now in the Uffizi were collected by her and left to Tuscany. Huge pier glasses and Rococo furniture were bought to furnish the empty rooms on the first floor (where now the picture gallery is), “but,” writes Mann, “everything is calculated for the Meridian of Germany--nay, of Muscovy. Stoves and chimneys in every room. For the furniture the _gout_ is not less Gothick.”

A few days after the marriage of Leopoldo of Austria with Maria Louisa of Spain, his father died suddenly at Innsbruck, and the fate of Tuscany was changed. The Emperor Joseph II. ordered his brother Leopoldo to be proclaimed Grand Duke, instead of Regent, and Mann writes, “The Florentines seem very sensible of their good fortune in having a prince again to live among them, after thirty years’ bondage under unexperienced Lorrain ministers and others, so little fit and desirous to contribute to their welfare.”...

Though Marshal Botta made “sad work” inside the palace, he employed a good architect, G. Ruggeri, for the outside, who in 1764 began the great loggiata, or projecting colonnade, at the north end of the façade, where now is the entrance to the picture gallery. To him is also due the credit of taking advantage of the steep slope to create the bastion or terrace, but of a different shape from what we now see. The corresponding bastion on the opposite side was added by the Grand Duke Leopoldo I. in 1783 under G. Paoletti, who also designed and half finished the Palazzina della Meridiana, an adjunct to the Palazzo Pitti on the garden side, where he cleverly took advantage of the lie of the land to make the entrance on a level with the second floor of the great palace.

The Palazzo Pitti had already been despoiled of many of its valuable contents accumulated by the Medici, and Leopoldo I. though an able administrator and lawgiver, must have been sadly lacking in taste, as during his reign many of the fine old ceilings were abolished in favour of sham vaults made of lath and plaster. On succeeding his brother as Emperor of Austria in 1790, his second son, Ferdinando, was made Grand Duke of Tuscany, and when General Napoleon Bonaparte came to Florence in 1796, Ferdinando III. asked him to dine, and received him with almost royal honours. Not long afterwards General Sérurier occupied Lucca, where he levied a tax of seven millions, and a few days later he requested the Grand Duke of Tuscany to supply him with the same amount--but as a loan. Convinced that it would never be repaid and unwilling to burthen his people with heavy taxes, Ferdinando III. emptied the coffers of the state, took the reserve of silver bars from the mint and, to make up the sum, melted down a quantity of gold vases and plate which he collected from the various grand ducal villas, and from the Palazzo Pitti.

Three years later the French troops entered Florence with General Gaulthier at their head. He dismounted at the Palazzo Riccardi, and immediately sent a company of soldiers with colours flying and band playing to mount guard at the royal palace. At eight o’clock next morning the Commissary-General for Tuscany, M. Reinhard, drove to the Palazzo Pitti and presented his credentials from the Directoire to the Grand Duke Ferdinando, with an order that he was to leave Tuscany at once. The Grand Duke met him on the threshold, received the letter, turned on his heel and re-entered the palace without saying a word. The night was spent in hurried preparations for departure, and before sunrise next morning a sad little procession of court coaches left the Palazzo Pitti. That afternoon a tree of liberty was set up in the Piazza Sta. Croce, and another in the Piazza Sta. Maria Novella, amid the shouts of half drunken French soldiers.[58]

A new kingdom--Etruria--was then created by Napoleon and bestowed on Don Lodovico of Bourbon, son of the Duke of Parma, married to a daughter of Charles IV. of Spain. The bridegroom and bride went to Paris, and were received by the First Consul and his wife Josephine with great honour. They became so intimate that the young King of Etruria lost his shyness, and amused the court after dinner by turning somersaults and playing leap-frog with the officers. Murat, the brilliant husband of Caroline Bonaparte, Napoleon’s favourite sister, went to Florence in January, 1801, to prepare for the sovereigns of the new Kingdom of Etruria, which the Tuscans declined to believe in. Every Friday, when the _fattori_, country priests and peasants, came in to the market at Florence (as they do to this day), they looked to see if the arms of Ferdinando III. were still above the portal of the Palazzo Vecchio, and returned home declaring that the King of Etruria was an invention of the French, in order to remain a little longer in “la bella Firenze.”

The manner of proclaiming the King was original and worthy of his reputation for turning somersaults. On the evening of the 28th July came news that the sovereigns were at Parma on their way to Florence. A serenade was immediately improvised, and Murat was greeted with shouts of “_Viva la Francia, Viva Giovacchino_,” to which he answered, “_Viva l’Etruria, Viva il Re d’Etruria_.” He then went to the Pergola, where the favourite Nunziatina Pastori was dancing in a ballet called the “Kingdom of Terpsichore.” As he entered the royal box she improvised a new _pas_ (no doubt already carefully rehearsed beforehand), and bounded on to the stage holding three cards, on which something was written which she carefully concealed from the public and from her companion, a well-known dancer named Berti, who represented Mercury. Mercury chased Terpsichore and when at last he caught her, she drew a dart from his belt and threw it at the cards she had let fall in her flight. Escaping from Mercury, she seized the card pierced with his dart and showed it to the house. On it was written _Viva Lodovico I. Re d’Etruria_ in large letters. She was greeted with tremendous applause and Murat exclaimed, “Qu’elle est charmante, la petite Nunziatine, qu’elle est jolie; c’est touchant, n’est ce pas, cette façon d’annoncer l’arrivée du Roi d’Etrurie.”

At last, on the 10th August, the King and Queen entered Florence in great state, and greeted their new subjects from the balcony of the Palazzo Pitti. Soon afterwards Murat and his beautiful wife left with an immense suite for Bologna, to the delight of the Florentines who hoped to be delivered from the French occupation which was eating up the country.

The young sovereigns found an exhausted treasury and an impoverished peasantry, and were forced to make a loan of 800,000 francs at the enormous interest of 37 per cent., to pay which they pledged the revenues of the post-office and the custom house. Lodovico had never been strong. He died in May, 1802, leaving Maria Louisa Regent, who presented the little King to his subjects from a window of the Palazzo Pitti. In the autumn Pauline Bonaparte and her husband, Prince Borghese, came to Florence, and nothing was spoken of but the beauty and grace of the woman of whom Canova declared “that her figure, the shape of her skull, and the way her head was set on her shoulders, had never been equalled since the days of Diana and Calypso.” The Queen of Etruria received her with royal honours, and memoirs of that time describe her entrance into the throne room as a wonderful sight. Dressed in flowing white robes and covered from head to foot with jewels, Pauline slowly walked, or rather glided, towards fat little Maria Louisa who, weighed down by a heavy black velvet dress, looked anything but royal. In 1807 the Emperor Napoleon curtly signified to the Queen that Etruria had ceased to exist, and now formed part of the French Empire. Her prayers and entreaties were in vain, and on the 10th December again a sad little procession left the palace, escorted by French cavalry.

General Menou, who now governed Tuscany, made himself ridiculous by his passion for an awkward and vulgar dancer, to whom, when at last convinced that dancing was not her strong point, he had singing lessons given in his apartments in the Pitti palace, at which he assisted. He ostentatiously attended mass and affected great deference to the clergy, but his conversion to Islam in Egypt, where he had changed his name to Abdallah and married a Turkish lady, Zebedeeh el-Bahouad, had made too great a sensation for his new-born piety to have much effect.

The Emperor’s sister Elisa, married to Felix Baciocchi, who was already Princess of Piombino, was created Grand Duchess of Tuscany in March, 1809. She despatched her favourite equerry, Cenami, to Florence with orders to turn General Menou and his mistress out of the Palazzo Pitti, and prepare for her arrival. But with Napoleonic impulsiveness she left Lucca the following evening with her husband, escorted by a few French soldiers, and at daybreak entered the Palazzo Pitti. The shutters were thrown open and Elisa walked proudly through the magnificent rooms which were now to be her home. An officer was sent to order a salvo of twenty-one cannon to be fired as an intimation to her astonished subjects of her arrival. That evening she went in state to the Pergola and was vociferously cheered. Her likeness to the Emperor was remarkable, and she held herself majestically. “Of all our three sisters,” said Joseph Bonaparte, “Elisa was the one who, morally and physically, most resembled Napoleon.”

Elisa soon won the hearts of the people, but many of the aristocracy and the higher bourgeosie, encouraged by the clergy, held aloof. She was much annoyed at the position held by the Countess of Albany, who was treated as the widow of a royal personage, and openly professed Alfieri’s sentiments about France and encouraged seditious language at her house. So Elisa privately obtained from Fouché, then head of the police, an order of banishment against the Countess, and charged General Menou to tell her of the decree, and to express the sorrow and astonishment of the Grand Duchess at so stringent a measure. Menou suggested to the Countess to ask for an audience, which was arranged with some difficulty as she insisted on being received as the widow of the King of England. She drove up to the Palazzo Pitti in her state coach, and was conducted through a suite of rooms into a small boudoir where Elisa, under pretence of sudden indisposition, lay in bed. She only saluted the Countess, in return for her formal curtseys, by an inclination of the head, and after listening to her with assumed interest and sympathy brusquely exclaimed, “Why, dear Countess, was Alfieri so declared an enemy of France?” “You show me that he was perfectly right,” answered the Countess of Albany, rising, and turning her back on the Grand Duchess, she walked out of the room without another word. Two days later she was exiled, and all Florence took her part. A magnificent _fête_ was given at the Pitti palace to celebrate the victory of Wagram. The gardens were illuminated and a balloon, in the shape of the imperial eagle holding a thunderbolt, was sent up; but the court of the Grand Duchess was forsaken, and the common people amused themselves by making a cock drunk and hunting it through the streets.