Lives of the most Eminent Painters Sculptors and Architects, Vol. 10 (of 10) / Bronzino to Vasari, & General Index.

by Giorgio Vasari

Of the Canto alla Paglia.

At the corner which from the straw that is constantly sold there is called the Canto alla Paglia, there was made another arch of great beauty and not less rich and imposing than any of the others. Now it may perchance appear to some, for the reason that all or the greater part of those ornaments have been extolled by us as in the highest rank of beauty and excellence of artistry, pomp, and richness, that this has been done by reason of a certain manner of writing inclined to overmuch praise and exaggeration. But everyone may take it as very certain that those works, besides leaving a long way behind them all things of that kind as were ever executed in that city, and perhaps in any other place, were also such, and ordained with such grandeur, magnificence, and liberality by those magnanimous Lords, and executed in such a manner by the craftsmen, that they surpassed by a great measure every expectation, and took away from no matter what writer all force and power to attain with the pen to the excellence of the reality.

Now, to return, I say that in that place—in that part, namely, where the street that leads from the Archbishop's Palace into the Borgo S. Lorenzo, dividing the above-named Strada della Paglia, forms a perfect crossing of the ways, was made the ornament already mentioned, much after the likeness of the ancient four-fronted Temple of Janus; and, for the reason that from there the Cathedral Church could be seen, it was ordained by those truly religious Princes that it should be dedicated to sacrosanct Religion, in which how eminent all Tuscany, and Florence in particular, has been at all times, I do not believe that it is necessary for me to take much pains to demonstrate. And therein the intention was that since Florence had brought with her, as was told at the beginning, as her handmaids and companions, to give the first welcome to the new bride, some of the virtues or attributes that had raised her to greatness, and in which she could well vaunt herself, the intention, I say, was to show that there also, for a no less necessary office, she had left Religion, that she, awaiting the bride, might in a certain manner introduce her into the vast and most ornate church so near at hand. That arch, then, which was in a very broad street, as has been told, was seen formed of four very ornate façades, the first of which presented itself to the eyes of one going in the direction of the Carnesecchi, and another, following the limb of the cross, faced towards S. Giovanni and the Duomo of S. Maria del Fiore, leaving two other façades on the cross-limb of the cross, one of which looked towards S. Lorenzo and the other towards the Archbishop's Palace. And now, to describe in order and with as much clearness as may be possible the composition and the beauty of the whole, I say—beginning again with the front part, to which that at the back was wholly similar in the composition of the ornaments, without failing in any point—that in the centre of the wide street was seen the very broad entrance of the arch, which rose to a beautifully proportioned height, and on either side of it were seen two immense niches bordered by two similar Corinthian columns, all painted with sacred books, mitres, thuribles, chalices, and other sacerdotal instruments, in place of trophies and spoils. Above these, and above the regular cornices and friezes, which projected somewhat further outwards than those which came over the arch in the centre, but were exactly equal to them in height, was seen another cornice, as of a door or window, curving between the one column and the other in a quarter-round, which, seeming to form a separate niche, made an effect as graceful and lovely as could well be imagined. Above that last cornice, then, rose a frieze of a height and magnificence in accord with the proportions of so great a beginning, with certain great consoles, carved and overlaid with gold, which came exactly in perpendicular lines with the columns already described; and upon them rested another magnificent and very ornate cornice, with four very large candelabra likewise overlaid with gold and, like all the columns, bases, capitals, cornices, architraves, and every other thing, picked out with various carvings and colours, and also standing in line with the great consoles and the columns above described. Now in the centre, springing above the said consoles, two cornices were seen rising, and little by little forming an angle, and finally uniting as a frontispiece, over which, upon a very rich and beautiful base, was seated an immense statue with a Cross in the hand, representing the most holy Christian Religion, at whose feet, one on either side of her, were seen two other similar statues which seemed to be lying upon the cornice of the above-named frontispiece, one of which, that on the right hand, with three children about her, represented Charity, and the other Hope. Then in the space, or, to speak more precisely, in the angle of the frontispiece, there was seen as the principal device of that arch the ancient Labarum with the Cross, and with the motto, IN HOC VINCES, sent to Constantine; beneath which was seen set with beautiful grace a very large escutcheon of the Medici with three Papal crowns, in keeping with the idea of Religion, for the three Pontiffs whom she has had from that house. And on the first level cornice, on either side, was seen a statue corresponding to the niche already described which came between the two columns; one of which, that on the right hand, was a most beautiful young woman in full armour, with the spear and shield, such as Minerva used to be represented in ancient times, save that in place of the head of Medusa there was seen a great red cross on her breast, which caused her to be recognized with ease as the new Order of S. Stephen, founded so devoutly by our glorious and magnanimous Duke. The other on the left hand was seen all adorned with sacerdotal and civil vestments in place of arms, and with a great cross in the hand in place of a spear; and these, towering over the whole structure in most beautiful accord with the others, made a very imposing and marvellous effect. Next, in the frieze that came between that last cornice and the architrave that rested upon the columns, where according to the order of the composition there came three compartments, were seen painted the three kinds of true religion that have been from the creation of the world down to the present day. In the first of these, which came on the right hand beneath the armed statue, was seen painted that kind of religion which reigned in the time of natural law, in those few who had it true and good, although they had not a perfect knowledge of God, wherefore there was seen figured Melchizedek offering bread and wine and other fruits of the earth. Even so, in the picture on the left hand, which came in like manner beneath the statue of peaceful Religion, was seen the other religion, ordained by God through the hands of Moses, and more perfect than the first, but all so veiled with images and figures, that these did not permit the final and perfect clearness of Divine worship to be fully revealed; to signify which there were seen Moses and Aaron sacrificing the Paschal Lamb to God. But in the central picture, which came exactly beneath the large and above-described statues of Religion, Charity, and Hope, and over the principal arch, and which in proportion with the greater space was much larger, there was seen figured an altar, and upon it a Chalice with the Host, which is the true and evangelic Sacrifice; about which were seen some figures kneeling, and over it a Holy Spirit in the midst of many little Angels, who were holding in their hands a scroll in which was written, IN SPIRITU ET VERITATE; so that it appeared that they were repeating those words in song, Spiritus meaning all that concerns the sacrifice natural and corporeal, and Veritas all that appertains to the legal; which was all by way of image and figure. Beneath the whole scene was a most beautiful inscription, which, supported by two other Angels, rested on the cornice of the central arch, saying:

VERÆ RELIGIONI, QUÆ VIRTUTUM OMNIUM FUNDAMENTUM, PUBLICARUM RERUM FIRMAMENTUM, PRIVATARUM ORNAMENTUM, ET HUMANÆ TOTIUS VITÆ LUMEN CONTINET, ETRURIA SEMPER DUX ET MAGISTRA ILLIUS HABITA, ET EADEM NUNC ANTIQUA ET SUA PROPRIA LAUDE MAXIME FLORENS, LIBENTISSIME CONSECRAVIT.

But coming to the lower part, and returning to the niche which came on the right hand, between the two columns and beneath the armed Religion, and which, although in painting, by reason of the chiaroscuro appeared as if in relief; there, I say, was seen the statue of our present most pious Duke in the habit of a Knight of S. Stephen, with the cross in his hand, and with the following inscription, which had the appearance of real carving, over his head and above the niche, saying:

COSMUS MEDIC. FLOREN. ET SENAR. DUX II, SACRAM D. STEPHANI MILITIAM CHRISTIANÆ PIETATIS ET BELLICÆ VIRTUTIS DOMICILIUM FUNDAVIT, ANNO MDLXI.

Even as on the base of the same niche, between the two pedestals of the columns, which were fashioned in the Corinthian proportions, there was seen painted the Taking of Damiata, achieved by the prowess of the valiant knights of Florence; as it were auguring for those his new knights similar glory and valour. And in the lunette or semi-circle which came above the two columns, there was seen his private and particular escutcheon of balls, which, by the red cross that was added to it with beautiful grace, made it clearly manifest that it was that of the Grand Master and Chief of the Order.

Now, for the public and universal satisfaction, and in order to revive the memory of those who, born in that city or that province, became illustrious for integrity of character and for sanctity of life, and founders of some revered Order, and also to kindle the minds of all beholders to imitation of their goodness and perfection, it was thought right and proper, since there had been placed on the right hand, as has been related, the statue of the Duke, founder of the holy military Order of S. Stephen, to set on the other side that of S. Giovanni Gualberto, who was likewise a knight of the household, according to the custom of those times, and the first founder and father of the Order of Vallombrosa. Most fittingly, even as the Duke was beneath the armed statue, in like manner he was seen standing beneath the sacerdotal statue of Religion, in the habit of a knight, pardoning his enemy; having in the frontispiece over the niche a similar escutcheon of the Medici, with three Cardinal's hats, and on the base the story of the miracle that took place at Badia di Settimo, when the friar, by the command of the above-named S. Giovanni Gualberto, to the confusion of the heretics and simonists, passed with his benediction and with a cross in his hand through the midst of a raging fire; with the inscription likewise in a little tablet above him, which made all that manifest, saying:

JOANNES GUALBERTUS, EQUES NOBILISS. FLOREN., VALLIS UMBROSÆ FAMILIÆ AUCTOR FUIT, ANNO MLXI.

With which was terminated that most ornate and beautiful principal façade.

Entering beneath the arch, one saw there a passing spacious loggia, or passage, or vestibule, whichever we may choose to call it; and in exactly the same manner were seen formed the three other entrances, which, being joined together at the intersection of the two streets, left in the centre a space about eight braccia square. There the four arches rose to the height of those without, and the pendentives curved in the manner of a vault as if a little cupola were to spring over them; but when these had reached the cornice curving right round, at the point where the vault of the cupola would have had to begin to rise, there sprang a gallery of gilded balusters, above which was seen a choir of most beautiful Angels, dancing most gracefully in a ring and singing in sweetest harmony; while for greater grace, and to the end that there might be light everywhere beneath the arch, in place of a cupola there was left the free and open sky. And in the spaces or spandrels, whichever they may be called, of the four angles, which of necessity, narrow at their springing, opened out as they rose nearer to the cornice in accordance with the curve of the arch, were painted with no less grace in four rounds the four beasts mystically imagined by Ezekiel and by John the Divine for the four writers of the holy Evangel. But to return to the first of those four loggie or vestibules, as we have called them; the vaults there were seen distributed with very graceful and lovely divisions, and all adorned and painted with various little scenes and with the arms and devices of those religious Orders which were above or beside them, and in whose service, principally, they were there. Thus on the façade of that first one on the right hand, which was joined to the Duke's niche, there was seen painted in a spacious picture the same Duke giving the habit to his knights, with those observances and ceremonies that are customary with them; in the most distant part, which represented Pisa, could be perceived the noble building of their palace, church, and hospital, and on the base, in an inscription for the explanation of the scene, could be read these words:

COSMUS MED. FLOR. ET SENAR. DUX II, EQUITIBUS SUIS DIVINO CONSILIO CREATIS MAGNIFICE PIEQUE INSIGNIA ET SEDEM PRÆBET LARGEQUE REBUS OMNIBUS INSTRUIT.

Even as in the other on the opposite side, attached to the niche of S. Giovanni Gualberto, was seen how that same Saint founded his first and principal monastery in the midst of the wildest forests; with an inscription likewise on the base, which said:

S. JO. GUALBERTUS IN VALLOMBROSIANO MONTE, AB INTERVENTORIBUS ET ILLECEBRIS OMNIBUS REMOTO LOCO, DOMICILIUM PONIT SACRIS SUIS SODALIBUS.

Now, having despatched the front façade, and passing to that at the back, and describing it in the same manner, the less to hinder a clear understanding, we shall say, as has also been said before, that in height, in size, in the compartments, in the columns, and, finally, in every other ornament, it corresponded completely to that already described, save that whereas the first had on the highest summit in the centre the three great statues described above, Religion, Charity, and Hope, the other had in place of these only a most beautiful altar all composed and adorned after the ancient use, upon which, even as one reads of Vesta, was seen burning a very bright flame. On the right hand, towards S. Giovanni, there was seen standing a great statue in becoming vestments and gazing intently on Heaven, representing the Contemplative Life, which came exactly in a perpendicular line over the great niche between the two columns, as has been described in the other façade; and on the other side another great statue like it, but very active, with the arms bare and with the head crowned with flowers, representing the Active Life; in which statues were comprised very fittingly all the qualities that appertain to the Christian Religion. In the frieze between the one cornice and the other, which corresponded to that of the other part, and which was likewise divided into three compartments, there were seen in the largest, which was in the centre, three men in Roman dress presenting twelve little children to some old and venerable Tuscans, to the end that these, being instructed by them in their religion, might demonstrate in what repute the Tuscan religion was held in ancient times among the Romans and all other nations: with a motto to explain this, taken from that perfect law of Cicero, which said: ETRURIA PRINCIPES DISCIPLINAM DOCETO. Beneath which was the inscription, similar and corresponding to that already given from the other façade, which said:

FRUGIBUS INVENTIS DOCTÆ CELEBRANTUR ATHENÆ,
ROMA FEROX ARMIS IMPERIOQUE POTENS.
AT NOSTRA HÆC MITIS PROVINCIA ETRURIA RITU
DIVINO ET CULTU NOBILIORE DEI,
UNAM QUAM PERHIBENT ARTES TENUISSE PIANDI
NUMINIS, ET RITUS EDOCUISSE SACROS;
NUNC EADEM SEDES VERÆ EST PIETATIS, ET ILLI
HOS NUMQUAM TITULOS AUFERET ULLA DIES.

In one of the two smaller pictures, that which came on the right hand, since it is thought that the ancient religion of the Gentiles (which not without reason was placed on the west) is divided into two parts, and consists, above all, of augury and sacrifice, there was seen painted according to that use an ancient priest who with marvellous solicitude was standing all intent on considering the entrails of the animals sacrificed, which were placed before him in a great basin by the ministers of the sacrifice; and in the other picture an augur like him with the crooked lituus in the hand, drawing in the sky the regions proper for taking auguries from certain birds that were shown flying above.

Now, descending lower, and coming to the niches; in that, I say, which was on the right hand, was seen S. Romualdo, who in this our country, a land set apart, as it were, by Nature for religion and sanctity, founded on the wild Apennine mountains the holy Hermitage of Camaldoli, whence that Order had its origin and name; with the inscription over the niche, which said:

ROMUALDUS IN HAC NOSTRA PLENA SANCTITATIS TERRA, CAMALDULENSIUM ORDINEM COLLOCAVIT ANNO MXII.

And on the base the story of the sleeping hermit who saw in a dream the staircase similar to that of Jacob, which, passing beyond the clouds, ascended even to Heaven. On the façade which was joined to the niche, and which passed, as was said of the other, under the vestibule, was seen painted the building of the above-named hermitage in that wild place, carried out with marvellous care and magnificence; with the inscription, which in explanation said:

SANCTUS ROMUALDUS IN CAMALDULENSI SYLVESTRI LOCO, DIVINITUS SIBI OSTENSO ET DIVINÆ CONTEMPLATIONI APTISSIMO, SUO GRAVISSIMO COLLEGIO SEDES QUIETISSIMAS EXTRUIT.

In the niche on the left hand was seen the Blessed Filippo Benizi, one of our citizens, who was little less than the founder of the Servite Order, and without a doubt its first ordinator; and he, although he was accompanied by seven other noble Florentines, the one niche not being large enough to contain them all, was placed therein alone, as the most worthy; with the inscription above, which said:

PHILIPPUS BENITIUS CIVIS NOSTER INSTITUIT ET REBUS OMNIBUS ORNAVIT SERVORUM FAMILIAM, ANNO MCCLXXXV.

With the story of the Annunciation, likewise, on the base, wherein was the Virgin supported by many little Angels, with one among them who was shown scattering a beautiful vase of flowers over a vast multitude that stood there in supplication; representing the innumerable graces that are seen bestowed daily by her intercession on the faithful who with devout zeal commend themselves to her. In the other scene, in the great picture that came in the passage below, were the same S. Filippo and the seven above-mentioned noble citizens throwing off the civil habit of Florence and assuming that of the Servite Order, and shown all occupied with directing the building of their beautiful monastery, which is now to be seen in Florence, but was then without the city, and the venerable and most ornate Church of the Annunziata, so celebrated throughout the whole world for innumerable miracles, which has been ever since the head of that Order; with the inscription, which said:

SEPTEM NOBILES CIVES NOSTRI IN SACELLO NOSTRÆ URBIS, TOTO NUNC ORBE RELIGIONIS ET SANCTITATIS FAMA CLARISSIMO, SE TOTOS RELIGIONI DEDUNT ET SEMINA JACIUNT ORDINIS SERVORUM D. MARIÆ VIRG.

There remain the two façades which formed as it were arms, as has been told, to the straight limb of the cross. These were smaller than those already described, which was caused by the narrowness of the two streets that begin there; wherefore, since less space came to be left for the magnificence of the work, in order consequently not to depart from the due proportion of height in their much smaller size, with much judgment the arch which gave passage there had on either side not a niche but a single column; over which rose a frieze in due proportion, in the centre of which was a painted picture that crowned the ornamentation of that façade, but not without an infinity of such other embellishments, devices, and pictures as were thought to be proper in such a place. Now, that whole structure being dedicated to the glory and power of the true Religion and to the memory of her glorious victories, they chose the two most noble and most important victories, won over two most powerful and particular adversaries, human wisdom namely, under which are comprised philosophers and heretics, and worldly power: and on the part facing towards the Archbishop's Palace was seen depicted how S. Peter and S. Paul and the other Apostles, filled with the divine spirit, disputed with a great number of philosophers and many others full of human wisdom, some of whom, those most confused, were seen throwing away or tearing up the books that they held in their hands, and others, such as Dionysius the Areopagite, Justinus, Pantænus, and the like, were coming towards them, all humble and devout, in token of having recognized and accepted the Evangelic truth; with the motto in explanation of this, which said: NON EST SAPIENTIA, NON EST PRUDENTIA. In the other scene towards the Archbishop's Palace, on the other side from the first, were seen the same S. Peter and S. Paul and the others in the presence of Nero and many of his armed satellites, boldly and freely preaching the truth of the Evangel; with the motto—NON EST FORTITUDO, NON EST POTENTIA, referring to that which follows in Solomon, whence the motto is taken—CONTRA DOMINUM. Of the façades which came under the two vaults of those two arches, in one, on the side towards the Archbishop's Palace, was seen the Blessed Giovanni Colombini, an honoured citizen of Siena, making a beginning with the Company of the Ingesuati by throwing off the citizen's habit on the Campo di Siena and assuming that of a miserable beggar, and giving the same habit to many who with great zeal were demanding it from him; with the inscription, which said:

ORIGO COLLEGII PAUPERUM, QUI AB JESU COGNOMEN ACCEPERUNT; CUJUS ORDINIS PRINCEPS FUIT JOANNES COLOMBINUS, DOMO SENENSIS, ANNO MCCCLI.

And in the other, on the opposite side, were seen other gentlemen, likewise of Siena, before Guido Pietramalesco, Bishop of Arezzo, to whom a commission had been given by the Pope that he should inquire into their lives; and they were all intent on making manifest to him the wish and desire that they had to create the Order of Monte Oliveto, which was seen approved by that Bishop, exhorting them to put into execution the building of that vast and most holy monastery, which they erected afterwards at Monte Oliveto in the district of Siena, and of which they were shown to have brought thither a model; with the inscription, which said:

INSTITUITUR SACER ORDO MONACORUM QUI AB OLIVETO MONTE NOMINATUR, AUCTORIBUS NOBILIBUS CIVIBUS SENENSIBUS, ANNO MCCCXIX.

On the side towards S. Lorenzo was seen the building of the most famous Oratory of La Vernia, at the expense in great part of the devout Counts Guidi, at that time lords of that country, and by the agency of the glorious S. Francis, who, moved by the solitude of the place, made his way thither, and was visited there by Our Lord the Crucified Jesus Christ and marked with the Stigmata; with the inscription that explained all this, saying:

ASPERRIMUM AGRI NOSTRI MONTEM DIVUS FRANCISCUS ELEGIT, IN QUO SUMMO ARDORE DOMINI NOSTRI SALUTAREM NECEM CONTEMPLARETUR, ISQUE NOTIS PLAGARUM IN CORPORE IPSIUS EXPRESSIS DIVINITUS CONSERVATUR.

Even as on the opposite side was seen the Celebration held in Florence of the Council under Eugenius IV, when the Greek Church, so long at discord with the Latin, was reunited with her, and the true Faith, it may be said, was restored to her pristine clearness and purity; which was likewise made manifest by the inscription, saying:

NUMINE DEI OPTIMI MAX. ET SINGULARI CIVIUM NOSTRORUM RELIGIONIS STUDIO, ELIGITUR URBS NOSTRA IN QUA GRÆCIA, AMPLISSIMUM MEMBRUM A CHRISTIANA PIETATE DISJUNCTUM, RELIQUO ECCLESIÆ CORPORI CONJUNGERETUR.