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Notes to Susan and Joanna Horner, Walks in
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.
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
By your Uccellatojo,
Shall in its downfall
be, as in its rise.
So likewise did
the ancestors of those
Who evermore when
vacant is your church
Fatten by staying in
thee a thing incredible but true:
See Captain Henry Napier's "Florentine History."
One entered the small
circuit by a gate
Which from the della
Pera took its name."
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.
See Notes by Count Luigi Passerini to the romance of "Marietta
de' Ricci," by Agostino Ademollo.
A braccia is nearly twenty-three inches.
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.]
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.
See Lord Lindsay's "Christian Art," vol. i. p. 32.
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.
This story of Bocaccio is thus explained in a Florentine
treatise on the game of calcio (foot-ball), published in 1688.
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
16 List of subjects on the Southern Gates, executed
by Andrea Pisano:
1. The Angel
announces the birth of the Baptist to Zacharias.
List of subjects on the Northern Gates, by Lorenzo Ghiberti:
2. Zacharias struck dumb.
3. The visitation of
Elizabeth to Mary.
4. Birth of John the
5. Zacharias writes the
6. John departs for the
7. John preaches to the
8. John preaches to the
9. John baptizes in the
10. Baptism of our Saviour.
11. John reproves Herod.
12. John led to prison.
13. John questioned by the
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
18 List of subjects on the Eastern Gates, by
Lorenzo Ghiberti: -
2. The Birth of the Saviour
3. The Adoration of the Magi
4. The Dispute with the
5. John baptizing the
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
12. The Supper with the
13. The Garden of Gethsemane
14. Judas kissing Jesus
15. Christ bound to the
16. Christ before Pilate
17. Christ bearing his Cross
18. The Crucifixion
19. The Resurrection
20. The Descent of the Holy
1. Creation of
Adam and Eve
Sir Charles Eastlake's "Literature of the Fine Arts."
2. History of Cain and Abel
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
Pisa spoiled the
columns with fire,
These have all been recently removed.
Hence Florentines were
Ah! Angels and
Archangels with Thrones,
See "History of Christian Art" by Lord Lindsay.
Cherubim, Seraphim and
Virtues, Powers and
Ye who are nearest my Lord;
Pray to him that I may find
To pursue that which I have
To his praise, salutation
And to the peace and honour
of the Commune of Florence.
To me less ample
seemed they not, nor greater
See "Storia Fiorentina di Dino Compagni," lib. Ii. P. 33.
Than those that in my
beautiful St. John
Are fashioned for the Place
of the Baptizers,
And one of which, not many
I broke for some one, who
was drowning in it.
Be this a seal, all men to
26 Arnolfo di Cambio is sometimes confounded with
Arnolfo de' Lapi, who repaired the Baptistery.
San Michele Visdomini, Vià de' Servi. See Introduction,
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.
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
See "Handbook of Architecture," by James Fergusson, vol. ii. p.
See "Legendary Art," by Mrs. Jameson, p. 12.
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.
See "History of Italian Art." Crowe and
Cavalcaselle. Vol. ii. p. 189.
See "Donatello, seine Zeit und Schule," by Dr. Hans Semper, p.
Ibid., p. 12
Ibid., p. 23.
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.
See "Annals of St. Paul's," by the Rev. H. H. Milman, late dean
of St. Paul's.
See Harford's "Life of Michael Angelo," vol. ii. p. 91: -
I will maker
See Lord Lindsay's "Christian Art," vol. ii. p. 250. The
subjects are -
Larger; yes, but not
Western Face. - First stage of
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
Eastern Face. - Discovery and
subdual of the East, with the introduction of the new law of
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
See James Fergusson's "Handbook of Architecture," vol. ii. p.
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.
See Crowe and Cavalcaselle.
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.
you ought to be accused -
See "Marietta de' Ricci," note by Luigi Passerini, vol. iii. p.
964; and "Tuscan Sculptors," by C. Perkins, vol. iii. p 211.
Giorgin committed the sin,
Presumptuously he was the
To paint the cupola;
And the Florentine people
Will never cease to mourn
Until perhaps some day it
may be covered with whitewash.
49 See Vasari, "Vite dei Pittori," vol. v. pp.
50 In order to obtain leave to see these choral
books, application must be made to the Director of the Opera del
One of these banners is still preserved in the Sacristy of Sta.
See "Curiosità Storico Artistiche Fiorentine," by Luigi
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.")
See Mrs. Jameson, "Sacred and Legendary Art."
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.
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'
See Napier's "Florentine History," vol. ii. pp. 385, 386.0
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
60 See "Tuscan Sculptors," by Charles Perkins, vol.
iii. p. 154.
"Esortazione alla Virginità."
62 His history is beautifully related by Mrs.
Jameson in her "Legendary Art," p. 320.
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.
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.
The story of the destruction of San Lorenzo by fire in 1423 is
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.)
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.")
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.
See Cicognara, "Stor. Del Scult.," lib. v. cap. iii.
See "Crowe and Cavalcaselle," vol. iii. p. 348.
"Christian Art," Lord Lindsay, vol. ii. p. 302.
See "Legendary Art," Mrs. Jameson. "Legend of St.
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.
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.)
Night in so sweet
an attitude beheld
Asleep, was by an angel
In this stone; and sleeping,
Waken her, doubter; she will
speak to thee.
Welcome is sleep,
more welcome sleep of stone
See "Tuscan Sculptors,"; vol. ii. p. 98.
Whilst crime and shame
continue in the land;
My happy fortune, not to see
Waken me not - in mercy,
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.
See Champfleury, "Les Chats, Histoire, Mœurs, Observations," p.
See Bargello, part ii. p. 248, and "Life of Michael Angelo," by
Charles Heath Wilson, p. 306.
See Vasari's "Lives of the Painters," vol. vi. Pp. 164, 246.
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.
See "Firenze ed Banchieri Fiorentini," by S. Peruzzi.
The Old Market
provides food for all the world,
And carries off the prize
from every other piazza.
Such is the
grandeur of this market
That it has four
churches at the four corners,
And at every corner
are two streets.
around for every ill,
And here were linen cloths,
and flax merchants,
Pork vendors, and
And here in my
opinion is the finest market
For the best meat.
Here on one
side are the poulterers
Well furnished at all
With hares, and boars,
And all other birds.
And here is
always the great exchanges,
money-changers may be counted,
merchandise is most demanded;
Such as lenders and
dealers in old articles,
Tables of ready-money,
Of every sort, that each may
carry on his trade.
was so noble a garden
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
As that presented by
the old market,
Which feasts the eyes
and taste of the Florentines.
See Chapter on the Baptistery.
And him of Nerli,
and him of Vecchio,
In those ancient days the
great families were satisfied with a simple attire, and wore
their leathern jerkins without scarlet or cloth cloaks over
Contented with their simple
suits of buff;
And with their spindle and
the flax, the dames.
eleventh, the dealers in second-hand articles and
See "Florentine History," by Captain Henry Napier, vol. iv. pp.
Who together make one
See "Florentine History," by Capt. H. Napier, vol. v. pp. 11,12.
The horrible fire
broke forth, and destroyed, advancing hither;
100 See "Latin Christianity," H. H. Milman, vol.
iii. p 436. Also vol. i. chap. xiii. of this work.
But the Holy Image was able
to stay it at this spot.
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
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.
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.
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
120 "Tamburo of the Esecutore," a box to receive
121 See Mr. John Bell's "Notes on Italy."
122 This bust is now preserved in the Museum of the
123 See "Vita di Benvenuto," 8vo., vol. i. p. 279.
124 The corner of the Via de' Banchi and the Via
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
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.
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.
133 The Palazzo Vecchio appears in the compartment
of the fresco where Honorius grants the rules of the Order to
134 See preceding chapter, p. 230.
135 See Life of St. Barbara, "Legendary Art," by
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
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
I bear a
crown worthy of my country,
142 The wax model, the design for this statue, is
preserved in his house, Casa Buonarotti, Via Ghibellina.
In order that all
should maintain liberty.
143 See Harford's "Life of Michael Angelo," vol. i.
144 This statue has been removed to the Academy.
145 See page 130.
146 See Rumohr, "Ricerche Italiane," vol. ii. pp.
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
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
156 See "Or San Michele," chap. xii.
157 See "Cicerone" of Burkhardt, p. 60.
158 See illustration at the beginning of this
159 See "Piazza del Duomo e del Battisterio," chap.
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.
that bears the beautiful escutcheon
163 Florentine churches are seldom placed east and
Of the great Baron,
whose renown and name
The festival of Thomas
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.
"If thou shouldst
questioned be, who else was there,
Thou hast beside thee
him of Beccaria,
Of whom the gorget
Florence slit asunder."
"As on the right
hand to ascend the mount
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.
Where seated is the
Church that lordeth
O'er the well-guided,
above the Rubaconte."
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.
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,
176 See "Cicerone von Jacob Burkhardt," 1860, p.
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
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.
"And to these
Vittorio often came to
Irate with all his
country's gods, he wandered mute
Where most deserted in
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
With these great
spirits he immortal dwells'
The patriot's ardour
vibrates in his bones."
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.
Italy! thou on whom Fate
The hapless gift of
beauty has bestowed
A fatal dowry of
Thou bearest suffering
written on thy brow.
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 -
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, thou who hast
186 See “Tuscan Sculptors,” Perkins.
The fatal gift of
187 See "Crowe and Cavalcaselle," vol. i. p. 364.
188 See Lord Lindsay's "Christian Arts," vol. ii.
189 A picture representing this scene is in the
gallery of the Marchese Gino Capponi.
190 See Napier's "Florentine History," vol. v. p.
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.
But there I
was alone, where every one
198 Note handwritten in pencil by the book’s
original owner, Ellen Orton, in 1880: “Very well restored
& very quaint & interesting.”
Consented to the
laying waste of Florence,
He who defended her
with open face."
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.
be to me, if thou content me
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
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.”
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
208 See Kugler, "German and Dutch Art," p.
80. Also, Lord Lindsay, "Christian Art," vol. iii., pp.
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.
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.
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.
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
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
But say if
him I here behold who forth
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.
ancients with Guittone did;
231 Two of the finest pictures, by Lorenzo Monaco
and by Bernardo Mainardi, have been transported to the Gallery
of the Uffizi, 1877.
From cry to cry still
giving him applause,
Until the truth has
conquered with most persons."
Longfellow's translation and notes.
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
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."
"O thou vain glory
of the human powers,
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."
Ho little green upon
thy summit lingers
If 't be not followed
by an age of grossness!
In painting, Cimabue thought
Should hold the field,
now Giotto has the cry,
So that the other's
fame is growing dim."
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
239 See "Piazza del Duomo."
240 See Vasari, "vite de' Pittori," vol. viii. pp
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. §
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
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.
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
256 Bull – bolla, stamped or sealed document.
257 See "Crowe and Cavalcaselle:" Life of
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.
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
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.
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
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,"
276 This tale is preserved in a MS. In the Peruzzi
family, who were partners with the Bardi in the bank of Bardi
..."I am Vanni
278 The Marchese Carlo Torrigiani, already mentioned
for his philanthropy, was grandson to the Marchese Pietro
Beast, and Pistoia was my
So low am I put down,
because I robbed
The sacristy of the fair
279 Ellen Orton noted: "Two of this series
much repainted were exhibited at the Old Masters, Burlington
280 See "Decameron" of Boccaccio, vol. iii. p.
387. Also Poetical Works of John Dryden, Esq., "Theodore
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.
The night that
Piero Soderini died,
290 See "Crowe and Cavalcaselle," vol. ii. p. 397.
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.'
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
299 See "Memoirs of the Italian Painters," by Mrs.
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
with lettuce garlands crowned,
In courts of law
and taxes feels his way,
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