Notes to Susan and Joanna
Horner, Walks in Florence
1 Catiline's
general was long encamped near Fiesole. See Cicero,
Speech i., and
Sallust.
2
Tierce or none – Tierce (Terza) is the first division of the
Canonical
Day – six to nine; Nones (None) the third, from twelve to
three in the
afternoon. The bells of the Badia rang these hours,
and they measured
the day. – See Longfellow's Dante.
3
Florence, within
her ancient boundary,
From which she
taketh still
her Tierce and Nones,
Abode in quiet,
temperate
and chaste.
No golden chain she
had,
nor coronal,
Nor ladies shod
with sandal
shoon, nor girdle
That caught the eye
more
than the person did.
.....
Nor yet surpassed
had Montemalo
been
By your
Uccellatojo, which
surpassed
Shall in its
downfall be,
as in its rise.
Longfellow's
Translation.
4
So likewise did the ancestors
of those
Who evermore when
vacant
is your church
Fatten by staying in
consistory.
Longfellow's
Translation.
5
I'll tell thee a
thing incredible but true:
One entered the
small circuit
by a gate
Which from the
della Pera
took its name."
Longfellow's
Translation.
6 See
Captain Henry Napier's "Florentine History."
7
The Order of the Camaldoli was a branch of the Benedictines,
founded by
San Romualdo in 1077, with the idea of reforming the lives of
the Benedictines.
The parent monastery is situated in the Apennines in the
Casentino, and
the name Camaldoli was derived from the land on which it was
built, Campo-Maldoli
– Field of Maldoli. See "Legends of Monastic Orders," by
Mrs. Jameson.
8
See Notes by Count Luigi Passerini to the romance of "Marietta
de' Ricci,"
by Agostino Ademollo.
9
A braccia is nearly twenty-three inches.
10
A new façade has been commenced this year (1872).
[Handwritten
comment by this book's owner, Ellen Orton, says: "The
scaffolding was still
up and the façade covered by canvas in 1880 when I was last in
Florence.]
11
For an account of this queen's romantic marriage, see
Muratori, "Scriptores
ital.;" aus des "Paulus Diakonus Geschichte der Longbarden,"
iii buch,
p. 66, ?bersetzt von Dr. Otto Abel; aus die
"Geschicht-schreiber des Deutschen
Vorzeit, in Deutsche Bearbeitung herausgegeben," von G. H.
Pertz, J. Grimm,
K. Lachmann, L. Ranke, K. Ritter.
12
See Lord Lindsay's "Christian Art," vol. i. p. 32.
13
Beneath the arcade of the Cortile of the Bargello are the arms
of the Sestiere
and Quartiere of the City. In the arms of the Quartiere
of San Giovanni,
as well as in those of the Duomo, the Baptistery is
represented as it then
appeared.
14
This story of Bocaccio is thus explained in a Florentine
treatise on the
game of calcio (foot-ball), published in 1688.
15
Arnolfo di Cambio, or Lapo, was the son of one Cambio of
Colle, a city
south of Florence, and the pupil of Lapo, an architect
probably from the
Valteline. Lapo introduced a German element in the style
of Italian
buildings. He built the Castle of the Counts Guidi at
Poppi in the
Casentino, and subsequently the Palazzo del Podestà or
Bargello
of Florence; also the Church of San Francesco at Assisi. - See
Vasari,
latest edition, with notes by the Cavaliere Milanesi:
Arnolfo di
Lapo.
16 List
of subjects on the Southern Gates, executed by Andrea Pisano:
1. The Angel announces
the birth of the Baptist to Zacharias.
2. Zacharias struck dumb.
3. The visitation of
Elizabeth
to Mary.
4. Birth of John the
Baptist.
5. Zacharias writes the
name, John.
6. John departs for the
Wilderness.
7. John preaches to the
Pharisees.
8. John preaches to the
people.
9. John baptizes in the
Jordan.
10. Baptism of our
Saviour.
11. John reproves Herod.
12. John led to prison.
13. John questioned by the
Jews.
14. John announces the
Advent of
Christ.
15. The daughter of
Herodias asks
for John's head.
16. The beheadal of John.
17. Herod at supper
receives the
head of John.
18. The daughter of
Herodias presents
John's head to her mother.
19. The disciples obtain
the head
of John.
20. The disciples bury the
body.
17 List
of subjects on the Northern Gates, by Lorenzo Ghiberti:
1. The Annunciation
2. The Birth of the
Saviour
3. The Adoration of the
Magi
4. The Dispute with the
Doctors
5. John baptizing the
Saviour
6. The Temptation
7. Christ drives the
sellers from
the Temple
8. The Apostles on the
Lake
9. The Transfiguration
10. The Raising of Lazarus
11. The Entrance into
Jerusalem
12. The Supper with the
Apostles
13. The Garden of
Gethsemane
14. Judas kissing Jesus
15. Christ bound to the
Pillar
16. Christ before Pilate
17. Christ bearing his
Cross
18. The Crucifixion
19. The Resurrection
20. The Descent of the
Holy Ghost
18 List
of subjects on the Eastern Gates, by Lorenzo Ghiberti: -
1. Creation of Adam and
Eve
2. History of Cain and
Abel
3. Noah
4. Abraham and Isaac
5. Jacob and Esau
6. History of Joseph
7. Moses on Mount Sinai
8. Joshua before Jericho
9. David and Goliath
10. Solomon and the Queen
of Sheba
19 Sir
Charles Eastlake's "Literature of the Fine Arts."
20
Pisa spoiled the columns
with fire,
Hence Florentines were
called blind.
21 These
have all been recently removed.
22
Ah! Angels and Archangels
with Thrones,
Cherubim, Seraphim and
Princedoms,
Virtues, Powers and
Dominations,
Ye who are nearest my
Lord;
Pray to him that I may
find favour
To pursue that which I
have begun
To his praise, salutation
and reverence;
And to the peace and
honour of
the Commune of Florence.
23 See
"History of Christian Art" by Lord Lindsay.
24
To me less ample seemed
they not, nor greater
Than those that in my
beautiful
St. John
Are fashioned for the
Place of
the Baptizers,
And one of which, not many
years
ago,
I broke for some one, who
was drowning
in it.
Be this a seal, all men to
undeceive.
Longfellow's
Translation.
25 See
"Storia Fiorentina di Dino Compagni," lib. Ii. P. 33.
Fir., 1728.
26 Arnolfo
di Cambio is sometimes confounded with Arnolfo de' Lapi, who
repaired the
Baptistery.
27
San Michele Visdomini, Vià de' Servi. See Introduction,
part
ii.
28
See Crowe and Cavalcaselle, "History of Italian Painting,"
vol. Iii. P.
185. Cavalcaselle cites Ces. Guasti, "Archivio Storico,
Nuova Serie,"
vol. Xvii., part i. Florence, 1863.
29
Some of these statues of very mediocre merit, are at the foot
of the avenue
leading to the Poggio Imperiale, outside the Porta Romana;
others are in
the Cortile or Court of the Riccardi Palace, and others in the
Bargello.
The statue of Boniface VIII., under whose auspices the
cathedral was founded,
is preserved in the Orto Rucellai or Oricellai, gardens once
frequented
by the Medici and the members of the Platonic Academy.
30
See "Handbook of Architecture," by James Fergusson, vol. ii.
p. 739.
31
See "Legendary Art," by Mrs. Jameson, p. 12.
32
The bear is the badge of the kings of Spain. It is
possible that
some scion of the royal house had contributed to the expense
of this part
of the Cathedral.
33
See "History of Italian Art." Crowe and
Cavalcaselle. Vol.
ii. p. 189.
34
See "Donatello, seine Zeit und Schule," by Dr. Hans Semper, p.
24
35
Ibid., p. 12
36
Ibid., p. 23.
37
The mole cricket, an insect well known in Italy. A
custom exists
of catching them on Ascension Day, and confining them in
little reed cages.
They are supposed to be typical of human life, and that the
longer the
grilli can be kept alive, the longer will be the life of its
owner.
The custom dates from old Etruscan and Greek times. The
reed cages
are figured on the walls of Pompeian houses, and the Sicilian
Greek poet,
Theocritus, alludes to them. Annually still, on
Ascension Day, whole
families may be seen flocking to the Cascine at Florence, and
after securing
their prisoners, they sit down on the grass and partake of the
merenda
or luncheon.
38
See "Annals of St. Paul's," by the Rev. H. H. Milman, late
dean of St.
Paul's.
39
See Harford's "Life of Michael Angelo," vol. ii. p. 91: -
I will maker sister
dome
Larger; yes, but not
more
beautiful.
40 See
Lord Lindsay's "Christian Art," vol. ii. p. 250. The
subjects are
-
Western Face. - First stage
of
society, patriarchal.
1. Creation of Adam.
2. Creation
of Eve. 3. Adam delving and Eve spinning. 4.
Tubal, the father
of such as dwelt in tents, and such as have cattle, sitting at
the door
of his tent, his sheep around him, accompanied by his
watch-dog.
5. Tubal, the inventor of the harp and organ. 6. Tubal
Cain, the
instructor of every artificer in brass and iron. 7. Noah
intoxicated.
Southern Face. - Second
stage of
society. The state or nation.
1. Astronomy. 2.
Housebuilding.
3. The invention of pottery and medicine. 4. A man on
horseback,
typical of the energy of the male sex. 5. A woman
weaving, expressive
of female domesticity. 6. Legislation. An old man,
seated in
a raised niche, delivering a book of laws to a man kneeling
before him;
two others sit to the right and left as his assessors.
7. Dædalus
flying to typify the dispersion of nations.
Eastern Face. - Discovery
and subdual
of the East, with the introduction of the new law of
Christianity.
1. Colonisation,
represented
by three figures in a boat rowing. 2. Hercules with his
club, standing
over Antæus dead at his feet, indicating subduing the
earth.
3. A man ploughing with oxen, representing agriculture.
4. A man
in a waggon or chariot, perhaps to express extreme earthly
prosperity and
luxury. 5. The lamb bearing the cross. [The last
on this face,
and remainder on northern face, represent development of
imagination and
reason.] 6. Architecture by Giotto. An old man at
a desk holding
a pair of compasses.
Northern Face. -
1. Sculpture by
Giotto.
2. Painting. 3. Grammar. 4.
Philosophy. 5. Poetry.
6. The exact sciences. 7. Music. An old man
deducing the laws
of harmony by listening to the sounds of a bar of iron, as he
strikes it
with a hammer. Most of the are early compositions by
Luca della Robbia.
41
See James Fergusson's "Handbook of Architecture," vol. ii. p.
789.
42
See "Seven Lamps of Architecture," by John Ruskin. "The
Lamp of Beauty."
43 This
portrait was originally executed in fresco, but has since been
transferred
to canvas, in which operation it sustained much damage.
See Crowe
and Cavalcaselle, vol. ii. p. 291.
44
See Crowe and Cavalcaselle.
45
Henry died near Sienna, and his body was carried to Pisa,
where this same
Tino di Camaino was commissioned to make his monument.
46 See
the observations of Mr. John Bell, a brother of the celebrated
anatomist,
Sir Charles Bell. Mr. Bell was, during his short life,
hardly less
remarkable for genius than his brother. "Observations on
Italy,"
by the late John Bell. 1825.
47
Georgin, Georgin, you ought
to be accused -
Giorgin committed the sin,
Presumptuously he was the
first
To paint the cupola;
And the Florentine people
Will never cease to mourn
Until perhaps some day it
may be
covered with whitewash.
48 See
"Marietta de' Ricci," note by Luigi Passerini, vol. iii. p.
964; and "Tuscan
Sculptors," by C. Perkins, vol. iii. p 211.
49 See
Vasari, "Vite dei Pittori," vol. v. pp. 166-170.
50 In
order to obtain leave to see these choral books, application
must be made
to the Director of the Opera del Duomo.
51
One of these banners is still preserved in the Sacristy of
Sta. Maria Novella.
52
See "Curiosità Storico Artistiche Fiorentine," by Luigi
Passerini.
53
This fresco, besides those which still remain outside the
building, is
generally attributed to Pietro Chellini; this belief arose
from a passage
in the "Archives of the Commissary," lib. X. p. 8. But
Count Luigi
Passerini considers this an error, and that the only paintings
which can
in reality be attributed to Chellini are the decorations round
the elegant
windows above the Loggia and Oratory. (See "Curisoità
Storico
Artistiche Fiorentine.")
54
See Mrs. Jameson, "Sacred and Legendary Art."
55
During a period of bad taste, the arches of the Loggia were
filled in with
brick and mortar; and it was due to the praiseworthy exertions
of the late
Marchese Paolo Feroni, Director of the Uffizi Gallery, and
president of
the Fine Arts in Florence, that this building was restored to
its original
condition, and that many other improvements, or rather
restorations, were
effected.
56
The Marchese Carlo Torrigiani died on the 11th of April, 1865,
at the age
of fifty-four, after a short illness, contracted while
fulfilling his duty
as a Giornante of the Misericordia.
57 "Il
Diavolo e il Vento," Ballata di F. dall' Ongaro.
58
See Napier's "Florentine History," vol. ii. pp. 385, 386.0
59
Ugo della Stufa was Gonfalonier of Florence during the plague,
1417-1420.
The name appears to have been derived from the stoves for
heating the Baths,
which in Roman times were supplied with water from the
Mugnone, whit its
course lay in this direction.
60 See
"Tuscan Sculptors," by Charles Perkins, vol. iii. p. 154.
61
"Esortazione alla Virginità."
62 His
history is beautifully related by Mrs. Jameson in her
"Legendary Art,"
p. 320.
63
Not the church attached to the Archbishop's Palace in the
Piazza dell'
Olio, but that which formerly existed on the site of the
present Cathedral,
as mentioned in a preceding chapter.
64
Now Villa Sloane, lately the property of the deceased
Cavaliere Francis
Sloane, whose munificent contributions for the erection of the
façade
of Santa Croce have entitled him to the gratitude of
Florentine citizens.
65
The story of the destruction of San Lorenzo by fire in 1423 is
not authentic.
66 Giovanni
de' Bicci, son of Salvestro dei Medici, and descended from
Giovanni di
Bernardino dei Medici, who managed the purchase of Lucca from
Mastino della
Scala. (See chapter on Piazza del Duomo.)
67
There is a monumental slab to the memory of Rustico Marignolli
near the
entrance to the cloister from the Piazza, with the date
1249. Rustico
belonged to the Guelphic party, and fell in battle with the
Ghibellines,
who were led by a natural son of the Emperor Frederic
II. (See Gino
Capponi, "Storia della Republica di Firenze.")
68
These reliquaries are now in the gem-room of the Uffizi
Gallery.
69 See
"Savonarola and His Times," by Pasquale Villari, translated
from the Italian
by Leonard Horner, vol. ii. p. 132.
70
See Cicognara, "Stor. Del Scult.," lib. v. cap. iii.
71
See "Crowe and Cavalcaselle," vol. iii. p. 348.
72
"Christian Art," Lord Lindsay, vol. ii. p. 302.
73
See "Legendary Art," Mrs. Jameson. "Legend of St.
Nicholas."
74
The subjects on these ambones are as follows, commencing with
the ambone
on the southern side of the nave, and proceeding from left to
right:
- Christ before Pilate; Christ before Caiaphas;
Crucifixion and Descent
from the Cross; the Entombment; the Flagellation - St. John;
the Agony
in the Garden. Northern ambone: - Descent of the Holy
Spirit; A Combat;
St. Luke - Christ mocked; the Marys at the Door of the
Sepulchre; the Descent
into Limbo; the Resurrection; the Appearance to Mary and the
Apostles.
75
Mr. Charles Heath Wilson, who was present, from whom we have
received these
details, remarked that one of the cheek-bones of Alessandro
bore traces
of a stab - a further confirmation that the skeleton belonged
to the murdered
man. This discovery attests the correctness of Vasari's
statement.
(See "Vite dei Pittori," vol. xii. p. 208.)
76
Night in so sweet an attitude
beheld
Asleep, was by an angel
sculptured
In this stone; and
sleeping, is
alive;
Waken her, doubter; she
will speak
to thee.
77
Welcome is sleep, more
welcome sleep of stone
Whilst crime and shame
continue
in the land;
My happy fortune, not to
see or
hear;
Waken me not - in mercy,
whisper
low.
78 See
"Tuscan Sculptors,"; vol. ii. p. 98.
79
See "Notizie Storiche dei Lavori in Pietra Dura da Antonio
Zobi."
Firenze, 1853.
80 See
"Gius Pubblico Popolare dei Toscani," by the Cavaliere
Commendatore S.
Peruzzi.
81
See Champfleury, "Les Chats, Histoire, Mœurs, Observations,"
p. 19.
82
See Bargello, part ii. p. 248, and "Life of Michael Angelo,"
by Charles
Heath Wilson, p. 306.
83
See Vasari's "Lives of the Painters," vol. vi. Pp. 164, 246.
84
Vasari's "Lives of the Painters," vol. vi. P. 258. The
visitor to
the Laurentian Library is advised to take with him the sixth
volume of
Vasari's work, where he will find a catalogue of the
illuminated works,
p. 243.
85
See "Firenze ed Banchieri Fiorentini," by S. Peruzzi.
86
The Old Market provides
food for all the world,
And carries off the prize
from
every other piazza.
87
Such is the grandeur
of this market
That it has four
churches
at the four corners,
And at every corner
are two
streets.
88
Physicians dwelt around
for every ill,
And here were linen
cloths, and
flax merchants,
Pork vendors, and
apothecaries.
89
And here in my opinion
is the finest market
For the best meat.
90
Here on one side
are the poulterers
Well furnished at
all seasons
With hares, and
boars, and
kids,
With pheasants,
starlings,
pigeons,
And all other birds.
91
And here is always
the great exchanges,
And many
money-changers may
be counted,
Since their
merchandise is
most demanded;
Such as lenders and
dealers
in old articles,
Tables of
ready-money, and
dice-players,
Of every sort, that each
may carry
on his trade.
92
There never was so
noble a garden
As that presented by
the
old market,
Which feasts the
eyes and
taste of the Florentines.
93 Three
new markets are already designed, and in the process of
erection, so that
in the course of a few years this old market-place, with its
historical
reminiscences, may be destroyed.
94
See Chapter on the Baptistery.
95
And him of Nerli, and him
of Vecchio,
Contented with their
simple suits
of buff;
And with their spindle and
the
flax, the dames.
In those ancient days the
great families
were satisfied with a simple attire, and wore their leathern
jerkins without
scarlet or cloth cloaks over them.
96
The eleventh, the
dealers in second-hand articles and
The flaxen-cloth
sellers
Who together make
one art.
97 See
"Florentine History," by Captain Henry Napier, vol. iv. pp.
434-439.
98
See "Florentine History," by Capt. H. Napier, vol. v. pp.
11,12.
99
The horrible fire broke
forth, and destroyed, advancing hither;
But the Holy Image was
able to
stay it at this spot.
100 See
"Latin Christianity," H. H. Milman, vol. iii. p 436.
Also vol. i.
chap. xiii. of this work.
101 The
Della Lunas were originally apothecaries, and took their name
from the
emblem of the apothecaries. They were among the first
families, and
had their dwellings round a piazzetta in the Mercato Vecchio.
102 See
"Storia della Pittura."
103
This information has been derived from a memoir written by the
Venetian
poet Tommaseo, once a contributor to the Anthologia, and the
author of
the obnoxious article on Pausanias.
104
See chapter on Baptistery.
105 See
chapter vi., Piazza del Duomo.
106
A Lombard convent in the Modenese territory, to which
Charlemagne contributed.
See "Opere di Tiraboschi."
107
San Piero Scheraggio, the second largest church in Florence,
which formerly
existed on the site of the present Gallery of Uffizi.
108
Gonfalonier, literally standard-bearer, an important office
during the
Republic, equivalent to mayor or chief magistrate of the city,
and still
in use.
109
The gate of Sta. Maria, Por San Maria, in the district
inhabited by the
Guild of Silk.
110
The Director of the Fine Arts in Florence (1870) proposes to
place a copy
of Donatello's St. George in the niche to which the statue
properly belongs,
and to remove the original for safety to the Museum of the
Bargello.
111
See "History of Painting in Italy," by Crowe and Cavalcaselle,
vol. ii.
chap. x. p. 280.
112
See "Tuscan Sculptors," by Charles Perkins. Appendix to
chap. v.
113
See Vasari, "Vite dei Pittori," vol. iii. p. 38, and
"Donatello, seine
Zeit und Schule," by Dr. Hans Semper. 1870.
114
This statue was recently removed for the second time to the
niche of the
Apothecaries, on the southern front.
115
The name beccaio, for "butcher," is probably derived
from the kid
- becco, - "goat" - being the meat chiefly eaten in
those times.
116
See Napier's "Florentine History," vol. iv. p. 49.
117
The Casentino, a district situated near the source of the
Arno. A
picture of the Madonna and Saints by this master still exists
in San Tommaso,
Mercato Vecchio. See preceding chapter.
118 This
relief is supposed to represent the angel warning Mary to fly
into Egypt;
but the aged appearance of the Virgin makes this explanation
impossible.
119 The
original poem may be read in the National Library.
120
"Tamburo of the Esecutore," a box to receive public
accusations.
121 See
Mr. John Bell's "Notes on Italy."
122 This
bust is now preserved in the Museum of the Bargello.
123 See
"Vita di Benvenuto," 8vo., vol. i. p. 279.
124
The corner of the Via de' Banchi and the Via Panzani.
125
The Infangati, a Ghibelline family allied with the Uberti,
whose houses
stood on the opposite of the piazza. The reader will
recollect that
Mangia degli Infangati suffered death with one of the Uberti
in the garden
of San Michele.
126 See
Mr. John Bell's "Notes on Italy."
127 Henrietta
Louisa, Countess of Pomfret, and Frances, Countess of
Hertford, were ladies
of the bedchamber to Queen Caroline, wife of George II.
128
The Accademia della Crusca now has its meetings in the Convent
of San Marco.
129
"Vita di Benvenuto Cellini," vol. ii. p. 246. 8vo.
130 In
the Royal Library of Berlin, there is another copy of the
"Greek Anthology,"
the first of four works printed in Florence with Greek
capitals.
This collection of Greek poetry was made by a physician at
Urbino, and
the copy now in Berlin was once in the possession of Lorenzo
de' Medici.
131
See Introductory Chapter, Part II.
132
See Napier's "Florentine History," vol. i. p. 30.
133
The Palazzo Vecchio appears in the compartment of the fresco
where Honorius
grants the rules of the Order to St. Francis.
134
See preceding chapter, p. 230.
135 See
Life of St. Barbara, "Legendary Art," by Mrs. Jameson.
136
See Macchiavelli, "Storie Fiorentine," lib. Quart., p. 200;
also "The History
of the Commonwealth of Florence," by T. A. Trollope, vol. iii.
p. 62.
137
See "Curiosità Storico Artistiche Fiorentine," del Conte Luigi
Passerini.
138 Ringhiera,
or "rostrum," a word derived from arringara - "to harrangue."
139
See illustration at the beginning of this chapter.
140
In the Sala del Orologio, within the Palazzo Vecchio, there is
a grotesque
Marzocco, a cast of an old monument, in which the lion's paw
rests on a
human head. At Cutigliano, a small town in the
Apennines, above Pistoia,
there is an equally grotesque Marzocco on a pillar in front of
the town-hall;
the lion's paw in this monument also rests on a human head.
141
I bear a crown worthy
of my country,
In order that all
should
maintain liberty.
142 The
wax model, the design for this statue, is preserved in his
house, Casa
Buonarotti, Via Ghibellina.
143
See Harford's "Life of Michael Angelo," vol. i. p. 224.
144 This
statue has been removed to the Academy.
145
See page 130.
146
See Rumohr, "Ricerche Italiane," vol. ii. pp. 303, 304.
147
This orrery is now in the Museum of Natural Science in the Via
Romana.
148
The gnomon in the Cathedral and the astrolabe on the façade of
Sta.
Maria Novella are also by Fra Ignazio Danti.
149 Gerard
Mercator was born in the Low Countries in 1512, and died at
Guisburg in
1594, where a monument has been recently erected to his
memory.
150 Vasari
mentions some lovely putti supporting festoons, and a statue
of the youthful
St. John in the centre, none of which remain in their original
position.
No traces remain of the putti; but a small St. John in the
Uffizi Gallery,
which has been attributed to Donatello, has been lately
recognised as the
work of Benedetto da Majano, and appears to be the missing
statue.
Vasari, vol. v. p. 130.
151 See
Vasari, "Vite dei Pittori," vol. v. p. 135.
152
See former chapter, Or San Michele.
153
See Gem Room, Uffizi Gallery.
154 For
this story, see chap. ii. on Baptistery.
155 This
picture is now in the Gallery of the Uffizi.
156
See "Or San Michele," chap. xii.
157
See "Cicerone" of Burkhardt, p. 60.
158
See illustration at the beginning of this chapter.
159
See "Piazza del Duomo e del Battisterio," chap. vi.
160 The
true history of the Pazzi differs from the tradition.
One Pazzo or
Paccio (abbreviations of Jacopo) Ganieri led the Tuscan
contingent in the
Second Crusade, and gained possession of Damietta, for which
feat he and
his descendants were allowed a mural crown in their coat of
arms.
161 See
"Cavalcaselle," vol. iii. p. 500.
162
Each one that bears
the beautiful escutcheon
Of the great Baron,
whose
renown and name
The festival of
Thomas keepeth
fresh.
Longfellow's
Translation.
163 Florentine
churches are seldom placed east and west.
164 This
has been removed and placed over the entrance to the
Badia. See anti,
p. 309.
165
The portrait of Bernardo del Nero, by Leonardo da Vinci, is in
the Torrigiani
Gallery.
166 See
"Storia della Republica di Firenze di Gino Capponi," vol. ii.
p. 233.
167
See "Or San Michele," chap. xii. vol. i.
168
"If thou shouldst questioned
be, who else was there,
Thou hast beside
thee him
of Beccaria,
Of whom the gorget
Florence
slit asunder."
Longfellow's
Translation.
169
"As on the right hand to
ascend the mount
Where seated is the
Church
that lordeth
O'er the
well-guided, above
the Rubaconte."
Longfellow's
Translation
170 These
houses were demolished in order to widen the bridge, and the
chapel was
transferred to one of the adjoining houses of the Alberti.
171
See "Discorso sopra il Giuoco di Calcio - Memoria del
Calcio." Fiorentino,
1688.
172
This flood is recorded in a Latin inscription on a tablet on
the Ponte
Vecchio.
173
Cardinal Matteo d' Acquasparta is mentioned by Dante in his
"Paradiso,"
as having relaxed some of the severities of the Franciscan
Order. - Paradiso,
canto xii. v. 124.
174 This
church is known as Michael Angelo's Bella Villanella, from its
simplicity
and beautiful proportions. The design was by Cronaca;
but as he was
only eleven years of age when Quaratesi died - 1466 - San
Salvador was
not built until many years after the death of the founder.
175 The
Commendatore Françesco Sloane, an active and generous
benefactor
of Florence, died at his villa of Careggi, October, 1871.
176
See "Cicerone von Jacob Burkhardt," 1860, p. 143.
177 "Purgatorio,"
canto ix., v. 134.
178 See
"Crowe and Cavalcaselle," vol. ii. p. 53.
179
In the Bargello is a fine bust of Pietro Mellini by Benedetto
da Majano.
180
See life of this saint in Mrs. Jameson's "Monastic Orders."
181
See Vasari, "Vite dei Pittori - Donatello."
182
See "I Poeti Italiani Moderni," with English Notes and
Biographical Notices,
by Louisa A. Merivale, pp. 1-3.
183
"And to these marbles
Vittorio often came
to be
inspired;
Irate with all his
country's
gods, he wandered mute
Where most deserted
in the
Arno,
With longing eyes
beholding
land and sky;
And when no living
sight
could soothe his care,
Here the austere man
rested,
and on his face was seen
The palour of death
and hope.
With these great
spirits
he immortal dwells'
The patriot's ardour
vibrates
in his bones."
184
When I beheld
Where rests the body
of that
great man
Who, humbling the
pride of
rulers,
Strips of their
leaves their
laurels, and reveals
The tears and blood
which
drop from them," &c.
185 "Italy,
Italy!
thou on whom Fate
The hapless gift of
beauty
has bestowed
A fatal dowry of
unceasing
woes!
Thou bearest
suffering written
on thy brow.
"Ah! hadst thou been
less lovely or more strong,
Or had they feared
thee more
or loved thee less
Who, basking in thy
beauty's
rays, seem
To dissolve, yet to
a mortal
combat challenge thee,
"Thou wouldst not then see
pouring from the Alps
Torrents of armed
men, nor
Gallic hordes
Drink of the
blood-stained
waters of the Po;
"Nor wouldst thou see thy
sons girt with a sword
And use their arm
to help
a stranger's cause -
Conquering or
conquered -
ever still to serve."
185
Ellen Orton, the original owner of the copy of Walks in
Florence
from which this electronic edition was prepared, made the
following note
in 1880 apropos of this quotation:
"Italia, o Italia,
thou who hast
The fatal gift of
beauty…"
Childe Harold
186 See
“Tuscan Sculptors,” Perkins.
187
See "Crowe and Cavalcaselle," vol. i. p. 364.
188
See Lord Lindsay's "Christian Arts," vol. ii. p. 240.
189
A picture representing this scene is in the gallery of the
Marchese Gino
Capponi.
190
See Napier's "Florentine History," vol. v. p. 499.
191
See “Crowe and Cavalcaselle,” vol. i. p. 469.
192
See “Cavalcaselle,” vol. i. p. 306.
193
See “Cavalcaselle,” vol. i. p. 299.
194 See
“Crowe and Cavalcaselle,” vol. i. p. 308.
195
See “Crowe and Cavalcaselle,” vol. i. p. 454.
196
The modern bust and monument to the Florentine sculptor
Bartolini are worthy
of notice.
197
But there I was alone,
where every one
Consented to the
laying waste
of Florence,
He who defended her
with
open face."
Longfellow's
Translation
198 Note
handwritten in pencil by the book’s original owner, Ellen
Orton, in 1880:
“Very well restored & very quaint & interesting.”
199
See “Crowe and Cavalcaselle,” vol. ii. p. 6.
200 See
“Christian Art,” Lord Lindsay, vol. ii. P. 279; also, “Crowe
and Cavalcaselle,”
vol. i. p. 412.
201
“Christian Art,” Lord Lindsay, vol. ii. P. 282.
202
“Grateful ‘twill be to
me, if thou content me
Both with thy name
and with
you destiny?”
“I was a Virgin Sister in
the world,
And if thy mind
doth contemplate
me well,
The being more
fair will
not conceal me from thee;
But thou shalt
recognize
I am Piccarda
Who, stationed
here among
these other blessed,
Myself am blessed
in the
lowest sphere.”
Longfellow’s
Translation.
203 The
philanthropist, the Marchese Carlo Torrigiani, took especial
interest in
the welfare of this institution, and left money for the supply
of good
beds for the inmates.
204
See “Der Cicerone,” pp. 158-170.
205 See
“Life of Michael Angelo,” by Hermann Grimm.
206
“Storia del Commercio e dei Banchieri di Firenze,” dal
Commendatore Simone
Peruzzi, p. 471.
207
This book's original owner, Ellen Orton, who visited Florence
in May 1880,
has added the following note: "There is a curious arcade
or covered
passage near the church."
208
See Kugler, "German and Dutch Art," p. 80. Also, Lord
Lindsay, "Christian
Art," vol. iii., pp. 310-317.
209
See "Legends of Monastic Orders," by Mrs. Jameson, p. 31.
210
See "Crowe and Cavalcaselle," vol. ii. p. 183.
211 See
Bargello, part ii.
212
See Mrs. Jameson, "Legends of the Monastic Orders," p. 475.
213 This
art seems to have been successfully practised by the
Cictercian Order.
The fine glass in the choir of Lichfield Cathedral was brought
from a Cistercian
nunnery near Liège.
214
See "Crowe and Cavalcaselle," vol. iii. p. 416, and Vasari,
"Vite dei Pittori,"
vol. vii. P. 191.
215
The Perseus is under the Loggia de' Lanzi.
216
The oldest botanical garden is at Padua, and next to that is
the garden
at Pisa.
217 See
Mrs. Jameson's "Monastic Orders."
218
See "Christian Art," Lord Lindsay, vol. i. p. 13.
219
See "Crowe and Cavalcaselle," vol. ii. p. 375.
220 The
decree of beatification did not confer the privilege of being
invoked as
an intercessor and portrayed in the churches; it was merely a
declaration
that the person so distinguished had passed a holy life, and
had been received
into bliss – beato, "blessed."
221
See "Crowe and Cavalcaselle," vol. iii. pp. 546-550.
222
"Le Bellezze della Città di Firenze da M. Francesco Bocchi, da
M.
Giovanni Cinelli ampliate ed accresciute." Firenze:
1677.
223
Francis I. and his wife Bianca Capello died within a few hours
of one another
at Poggio a Cajano, in 1587.
224 See
Vasari, "vite dei Pittori," vol. iv. P. 106.
225 The
monument of Leonardo Aretino is in Sta. Croce.
226 An
institution in the Via della Scala was converted into the
convent of San
Martino, but remained long in possession of a fine piece of
Robbia ware,
representing swaddled infants, which is now in the Bargello.
227 See
illustration at the beginning of this chapter.
228 Jacopo
da Lentino, or "the Notary," was a Sicilian poet who
flourished about 1250,
in the later days of the Emperor Frederick II. See notes
to "Dante,"
Longfellow. P. 431
229
But say if him I
here behold who forth
Evoked the
new-invented
rhymes, beginning
'Ladies that have
intelligence
of Love?'
And I to him:
'One
am I who, whenever
Love doth inspire
me, note,
and in that measure
Which he within me
dictates,
singing go.'
'O brother, now I
see,' he
said, 'the knot
Which me, the
Notary, and
Guittone held
Short of the sweet
new style
that now I hear.
I do perceive full
clearly
how your pens
Go closely
following after
him who dictates,
Which with our own,
forsooth,
came not to pass;
And he who sets
himself to
go beyond,
No difference sees
from
one style to another.'
And, as if
satisfied, he
held his peace.
Longfellow's
Translation.
230
"Thus many ancients with
Guittone did;
From cry to cry
still giving
him applause,
Until the truth has
conquered
with most persons."
See
Longfellow's translation
and notes.
231 Two
of the finest pictures, by Lorenzo Monaco and by Bernardo
Mainardi, have
been transported to the Gallery of the Uffizi, 1877.
232 The
Cnque Lampade formed the subject of tales by Sacchetti and
Boccaccio.
233 See
above at p. 140 [of the print edition]. Also Bryant's
"Dictionary
of Painters and Engravers."
234 The
original owner of the book from which this ebook is prepared,
Ellen Orton,
made the following note regarding her visit to the Medici
Chapel in Palazzo
Medici-Riccardi in May 1880: "The custode has a curious
apparatus,
a lamp at the end of a long pole which throws a light on the
upper parts
of the fresco."
235
"O thou vain glory of the
human powers,
Ho little green upon
thy
summit lingers
If 't be not
followed by
an age of grossness!
In painting, Cimabue
thought that
he
Should hold the
field, now
Giotto has the cry,
So that the other's
fame
is growing dim."
Longfellow's
Translation.
236 The
original owner of the book from which this ebook is prepared,
Ellen Orton,
noted that "There is a covered Fra Bartolommeo in San Marco,
'Madonna and
Saints'. Unfortunately I was not able to get it
uncovered."
237 Giuliano
di San Gallo rebuilt this church, and thus obtained the name
of San Gallo.
238
Among the recent alterations in Florence a splendid market has
been constructed
in this immediate neighbourhood.
239 See
"Piazza del Duomo."
240
See Vasari, "vite de' Pittori," vol. viii. pp 117-120.
241
See Crowe and Cavalcaselle," vol. iii. p. 538.
242 See
"Crowe and Cavalcaselle," vol. i. p. 555.
243
The large Raffaelle in this room is the celebrated old
Rinuccini copy,
by a Fleming, of the Canigiani Holy Family, now at
Munich. The Cherubim
in the original (probably painted sketchily as those in the
Madonna di
S. Sisto) were effaced in cleaning. Those in this copy
are evidently
a late addition. See Passavant, "Rafael von Urbino,"
vol. ii. p.
70, and C. von Rumohr, "Italienische Forschungen," iii. § 65,
244
The Pope then reigning was Nicholas III.
245
Possibly the son of Giovan Maria Ciocchi, a Florentine painter
of the seventeenth
century.
246
This is still usual in the church of San Zenone at Verona,
where the ascent
to the choir is by a numerous flight of steps.
247
Ellen Orton's comment: "A picture which I took a great
liking for."
248 See
"Crowe and Cavalcaselle," vol. i. p. 543.
249
"Genealogia e Storia della Famiglia Ricasoli" – Luigi
Passerini, 1860.
250
See "Crowe and Cavalcaselle," vol. i. p. 204.
251
See also "Crowe and Cavalcaselle," vol. ii. p. 448.
252
See "Sacred and Legendary Art," by Mrs. Jameson, p. 150.
253
See chapter on Sta. Croce.
254 Ellen
Orton, original owner of the book from which this etext is
prepared, noted
from her visit in May 1880: "The Orcagna frescos are
difficult to
see. The Chapel is so narrow that one can hardly get far
enough off
the frescoes to focus them with opera glasses."
255
See vol. i. of this work, "Bigallo and Misericordia."
256
Bull – bolla, stamped or sealed document.
257 See
"Crowe and Cavalcaselle:" Life of Paolo Uccello.
258
See "Mornings in Florence – The Golden Gate," by John Ruskin.
259
Cavalcaselle considers these frescos overpraised, and that
they are all
by one hand, probably a scholar of the Siennese school who
painted the
fresco of San Ranieri in the Campo Santo of Pisa, possibly a
certain Andrea
di Florentia. See "Crowe and Cavalcaselle," vol. i. p.
376; vol.
ii. p. 89.
260 See
Lord Lindsay's "Christian Art," vol. iii. p. 30.
261
Arius, born in Libya in the fourth century, died 336;
Sabellius, born in
the Ptolemaid, was condemned by the Alexandrian Council, 261;
Averrhoes,
born at Cordova, in Spain, in the twelfth century, died in
Morocco, 1198.
262
Cavalcaselle throws great doubts on the authenticity of these
portraits.
See "Crowe and Cavalcaselle," vol. ii. p. 86.
263 These
frescos are now in the Castle of Vincigliata, belonging to Mr.
Temple Leader.
264 These
pictures were formerly in the ancient Fransoni Palace of
Genoa. See
Guide by Carlo Giuseppa Rath, 1780.
265 This
book's original owner, Ellen Orton, who visited Florence in
May 1880, noted
in the book: "My window at the Washington looked into
the Borg' Ogni
Santi. I shall never forget my first morning in
Florence, Sunday,
and being awoke at 4:00 am by the rush of feet in the street
beneath me
hurrying to early mass, whilst the bells of the Ogni Santi
were so melodious
that one could hardly believe one's self out of Heaven."
An 1889
edition of the Baedeker for Northern Italy names (on page 374)
the Hôtel
de Florence & Washington, Lungarno Am. Vespucci 6.
266
See "Crowe and Cavalcaselle," vol. ii. p. 464.
267
Ibid., vol. ii. p. 415-420.
268
Ibid., vol. i. p. 453.
269
See "Crowe and Cavalcaselle," vol. i. p. 365-395.
270
See Crowe and Cavalcaselle," vol. ii. p. 464.
271
Whoever desires to have news of the other world, let him come
to the Bridge
of the Carraia, on the Calends of May.
272
Ellen Orton, the original owner of the book from which this
ebook was prepared,
noted of her visit to Florence in May 1880: My Hotel
Washington was
below the bridge Alla Carraia on the Lung' Arno."
273
Ellen Orton remarks that in May 1880 "This is where some good
jewellers
and mosaic shops are."
274
Ellen Orton: "I crossed it [Ponte Vecchio] several times
for Taddeo's
sake."
275
See Fantozzi, "Pianta Geometrica di Firenze," p. 233.
276
This tale is preserved in a MS. In the Peruzzi family, who
were partners
with the Bardi in the bank of Bardi and Peruzzo.
277
..."I am Vanni Fucci
Beast, and Pistoia was my
worthy
den,
So low am I put down,
because I
robbed
The sacristy of the fair
ornaments."
Longfellow's
Translation.
278 The
Marchese Carlo Torrigiani, already mentioned for his
philanthropy, was
grandson to the Marchese Pietro Guadagni.
279
Ellen Orton noted: "Two of this series much repainted
were exhibited
at the Old Masters, Burlington House."
280
See "Decameron" of Boccaccio, vol. iii. p. 387. Also
Poetical Works
of John Dryden, Esq., "Theodore and Honoria."
281
See Badia, pp. 313-314.
282 A
copy, supposed to have been made by Michele Ghirlandaio from
the Raffaelle
in the Bridgewater Collection. See "Cavalcaselle," vol.
iii. p. 532.
283
See "Crowe and Cavalcaselle," vol. iii. p. 102. A
faithful engraving
from this picture may be seen in Rosini's "Storia Tavola,"
xxxviii.
284
"The Gourd." See. Vol. i. chap. Iii.
285
This picture was engraved for Mrs. Jameson's work on
"Legendary Art."
286
See "Legendary Art," p. 381.
287
See Macchiavelli, "Storie Fiorentine," lib. Iii. p. 80.
288 See
"Marietta de' Ricci," vol. ii. pp. 144-151.
289
The night that Piero Soderini
died,
His soul passed onwards to
the
mouth of Hell,
When Pluto cried, 'You
foolish
soul, begone!
What, Hell for you?
Go, with
the babes, to Limbo.'
290 See
"Crowe and Cavalcaselle," vol. ii. p. 397.
291
See "Crowe and Cavalcaselle," vol. ii. p. 441.
292
See "Savonarola and his Times," by Pasquale Villari,
translated by Leonard
Horner, vol. i. p. 226.
293
See "Savonarola and his Times," &c. vol. ii. p. 93.
294
See "Crowe and Cavalcaselle," vol. iii. p. 417.
295
See "Crowe and Cavalcaselle," vol. i. p. 472.
296
See Mrs. Jameson, "Legends of the Monastic Orders," p. 429.
297
Two heads from this fresco were long in possession of the poet
Samuel Rogers,
Esq., and are now in the National Gallery of London.
[Ellen Orton,
this book's original owner, noted that she had seen these at
the National
Gallery, and at that time (c. 1880) they were in Room 7.]
298
See "Memoirs of the Early Italian painters," by Mrs. Jameson.
299
See "Memoirs of the Italian Painters," by Mrs. Jameson.
300
See "Savonarola and his times," by Pasquale Villari,
translated by Leonard
Horner, Esq., vol. i. p. 219.
301
This building has been recently (1874) destroyed by fire.
302 Since
the above was written, Hiram Powers departed this life on the
28th June,
1873, and on the 30th his remains were laid in the Protestant
cemetery
of Florence. This eminent sculptor was not only a man of
great and
original genius and upright character, but, like his
contemporary, our
own John Gibson, he united to a singular degree that clear
comprehension
and modesty which are so generally characteristic of the
highest order
of mind. The tall, dignified figure of the noble old
man, his keen
eye and pleasant smile, will long be missed by those who have
had the privilege
of seeing and knowing Hiram Powers in his studio in Florence.
303
"and high taxation," notes Ellen Orton, the book's original
owner in 1880.
304
The Tuscan Morpheus gently moves along,
With
poppies and with lettuce garlands crowned,
Eager
for immmortality he drains
Our
pockets and the Marshes.
In courts of law and taxes
feels his way,
And whilst in sleep
he drowns
his people's sense,
Whene'er he dreams
to imitate
his grandsire
He rasps the
crust.
FLORENCE IN SEPIA CD
GENERAL INDEX:
ELIZABETH BARRETT BROWNING: Embroidering
of Pomegranates: Elizabeth Barrett Browning's Courtship
||
Casa
Guidi italiano/English
|| Elizabeth
Barrett Browning and Aurora Leigh ||
Elizabeth
Barrett Browning's Florence: || Preface
italiano/English || Poetry
italiano/English || Laurel
Garland: Women of the Risorgimento ||
Death
and the Emperor in the Poetry of Dante, Browning, Dickinson
and Stevens||
Enrico
Nencioni on Elizabeth Barrett Browning italiano ||
THE ENGLISH CEMETERY IN FLORENCE:
Tuoni
di silenzio bianco/ Thunders of White Silence
italiano/English ||
The
English Cemetery, Piazzale Donatello, Florence: ||
Il
Cimitero degli Inglesi italiano
||
Cemetery
I Tombs A-E || Cemetery
II Tombs D-L || Cemetery
III Tombs M-Z ||
FLORENCE IN SEPIA: Florence
I. Santa Trinita to Santa Croce ||
Florence
I Appendix. The Uffizi ||
Florence
II. North-Eastern Quarter || Florence
III. Oltr'Arno || Other
Tuscan Cities in Sepia ||
Italy
in Sepia || Elizabeth
Barrett Browning's Florence || Susan
and Joanna Horner, Walks in Florence|| Sophia
Peabody Hawthorne, Notes in Florence||
Francesca
Alexander || Augustus
J.C. Hare, Florence
||
Augustus
Hare, Edwardian Travel Writer || Florence's
Libraries and Museums || Museums
Thoughts||
AGNES MASON, C.H.F.: Agnes
Mason, C.H.F., Anglican Mother Foundress ||
Agnes
Mason's Patron Saints || Saints
Cecilia and Agnes || Augustus
Hare, Edwardian Travel Writer || Holmhurst
St Mary || I
fratelli Alinari: Florentine Photographers] ||
Portfolio||
Florin: Non-Profit Guide to Commerce in
Florence
||
Maps
of Florence
