Of the Canto de' Carnesecchi.
Now it appeared a fitting thing, having brought the triumphant Cæsars to the place described above, to bring the magnanimous Medici, also, with all their pomp, to the corner that is called the Canto de' Carnesecchi, which is not far distant from it; as if, reverently receiving the Cæsars, as is the custom, they were come to hold high revel and to do honour to the new-come bride, so much desired. And here, no less than in some of the passages to follow, it will be necessary that I should be pardoned by those who are not of our arts for describing minutely the nature of the site and the form of the arches and other ornaments, for the reason that it is my intention to demonstrate not less the excellence of the hands and brushes of the craftsmen who executed the works, than the fertility and acuteness of brain of him who was the author of the stories and of the whole invention; and particularly because the site in that place was perhaps more disastrous and more difficult to accommodate than any of the others described or about to be described. For there the street turns towards S. Maria del Fiore, inclining to somewhat greater breadth, and comes to form the angle that by those of our arts is called obtuse; and that was the side on the right. Opposite, and on the left-hand side, there is a little piazza into which two streets lead, one that comes from the great Piazza di S. Maria Novella, and the other likewise from another piazza called the Piazza Vecchia. In that little piazza, which is in truth very ill proportioned, there was built over all the lower part a structure in the form of an octagonal theatre, the doors of which were rectangular and in the Tuscan Order; and over each of them was seen a niche between two columns, with cornices, architraves, and other ornaments, rich and imposing, of Doric architecture, and then, rising higher, there was formed the third range, wherein was seen above the niches, in each space, a compartment with most beautiful ornaments in painting. Now it is but proper to remark that although it has been said that the doors below were rectangular and Tuscan, nevertheless the two by which the principal road entered and issued forth, and by which the procession was to pass, were made in the semblance of arches, and projected for no small distance in the manner of vestibules, one towards the entrance and the other towards the exit, both the one and the other having been made as rich and ornate on the outer façade as was required for the sake of proportion.
Having thus described the general form of the whole edifice, let us come down to the details, beginning with the front part, which presented itself first to the eyes of passers-by and was after the manner of a triumphal arch, as has been told, in the Corinthian Order. That arch was seen bordered on one side and on the other by two most warlike statues in armour, each of which, resting upon a graceful little door, was seen likewise coming forth from the middle of a niche placed between two well-proportioned columns. Of these statues, that which was to be seen on the right hand represented Duke Alessandro, the son-in-law of the most illustrious Charles V, a Prince spirited and bold, and of most gracious manners, holding in one hand his sword, and in the other the Ducal baton, with a motto placed at his feet, which said, on account of his untimely death: SI FATA ASPERA RUMPAS, ALEXANDER ERIS. On the left hand was seen, portrayed like all the others from life, the most valorous Signor Giovanni, with the butt of a broken lance in the hand, and likewise with his motto at his feet: ITALUM FORTISS. DUCTOR. And since over the architraves of those four columns already described there were placed very spacious friezes in due proportion, in the width covered by the niches there was seen above each of the statues a compartment between two pilasters; in that above Duke Alessandro was seen in painting the device of a rhinoceros, used by him, with the motto: NON BUELVO SIN VENCER; and above the statue of Signor Giovanni, in the same fashion, his flaming thunderbolt. Above the arch in the centre, which, being more than seven braccia in width and more than two squares in height, gave ample room for the procession to pass, and above the cornice and the frontispieces, there was seen seated in majestic beauty that of the wise and valorous Duke Cosimo, the excellent father of the fortunate bridegroom, likewise with his motto at his feet, which said: PIETATE INSIGNIS ET ARMIS; and with a She-Wolf and a Lion on either side of him, representing Siena and Florence, which, supported and regarded lovingly by him, seemed to be reposing affectionately together. That statue was seen set in the frieze, exactly in a line with the arch, and between the pictures with the devices described; and in that same width, above the crowning cornice, there rose on high another painted compartment, with pilasters in due proportion, cornice, and other embellishments, wherein with great fitness, alluding to the election of the above-named Duke Cosimo, was seen represented the story of the young David when he was anointed King by Samuel, with his motto: A DOMINO FACTUM EST ISTUD. And then, above that last cornice, which was raised a very great distance from the ground, was seen the escutcheon of that most adventuresome family, which, large and magnificent as was fitting, was likewise supported, with the Ducal Crown, by two Victories also in imitation of marble; and over the principal entrance of the arch, in the most becoming place, was the inscription, which said:
VIRTUTI FELICITATIQUE ILLUSTRISSIMÆ MEDICEÆ FAMILIÆ, QUÆ FLOS ITALIÆ, LUMEN ETRURIÆ, DECUS PATRIÆ SEMPER FUIT, NUNC ASCITA SIBI CÆSAREA SOBOLE CIVIBUS SECURITATEM ET OMNI SUO IMPERIO DIGNITATEM AUXIT, GRATA PATRIA DICAT.
Entering within that arch, one found a kind of loggia, passing spacious and long, with the vaulting above all painted and embellished with the most bizarre and beautiful ornaments and with various devices. After which, in two pilasters over which curved an arch, through which was the entrance into the above-mentioned theatre, there were seen opposite to one another two most graceful niches, as it were conjoined with that second arch; between which niches and the arch first described there were seen on the counterfeit walls that supported the loggia two spacious painted compartments, the stories of which accompanied becomingly each its statue. Of these statues, that on the right hand was made to represent the great Cosimo, called the Elder, who, although there had been previously in the family of the Medici many men noble and distinguished in arms and in civil actions, was nevertheless the first founder of its extraordinary greatness, and as it were the root of that plant which has since grown so happily to such magnificence. In his picture was seen painted the supreme honour conferred upon him by his native Florence, when he was acclaimed by the public Senate as Pater Patriæ; which was declared excellently well in the inscription that was seen below, saying:
COSMUS MEDICES, VETERE HONESTISSIMO OMNIUM SENATUS CONSULTO RENOVATO, PARENS PATRIÆ APPELLATUR.
In the upper part of the same pilaster in which was placed the niche, there was a little picture in due proportion wherein was portrayed his son, the magnificent Piero, father of the glorious Lorenzo, likewise called the Elder, the one and true Mæcenas of his times, and the magnanimous preserver of the peace of Italy, whose statue was seen in the other above-mentioned niche, corresponding to that of the Elder Cosimo. In the little picture, which he in like manner had over his head, was painted the portrait of his brother, the magnificent Giuliano, the father of Pope Clement; and in the large picture, corresponding to that of Cosimo, was the public council held by all the Italian Princes, wherein was seen formed, by the advice of Lorenzo, that so stable and so prudent union by which, as long as he was alive and it endured, Italy was seen brought to the height of felicity, whereas afterwards, Lorenzo dying and that union perishing, she was seen precipitated into such conflagrations, calamities, and ruin; which was demonstrated no less clearly by the inscription that was beneath, saying:
LAURENTIUS MEDICES, BELLI ET PACIS ARTIBUS EXCELLENS, DIVINO SUO CONSILIO CONJUNCTIS ANIMIS ET OPIBUS PRINCIPUM ITALORUM ET INGENTI ITALIÆ TRANQUILLITATE PARTA, PARENS OPTIMI SÆCULI APPELLATUR.
Now, coming to the little piazza in which, as has been told, was placed the octagonal theatre, as I shall call it, and beginning from that first entrance to go round on the right hand, let me say that the first part was occupied by that arch of the entrance, above which, in a frieze corresponding in height to the third and last range of the theatre, were seen in four ovals the portrait of Giovanni di Bicci, father of Cosimo the Elder, and that of his son Lorenzo, brother of the same Cosimo, from whom this fortunate branch of the Medici now reigning had its origin; with that of Pier Francesco, son of the above-named Lorenzo, and likewise that of another Giovanni, father of the warlike Signor Giovanni mentioned above. In the second façade of the octagon, which was joined to the entrance, there was seen between two most ornate columns, seated in a great niche, with the royal staff in the hand, a figure in marble, like all the other statues, of Caterina, the valorous Queen of France, with all the other ornaments that are required in architecture both lovely and heroic. And in the third range above, where, as has been said, the painted compartments came, there was figured for her scene the same Queen seated in majesty, who had before her two most beautiful women in armour, one of whom, representing France, and kneeling before her, was shown presenting to her a handsome boy adorned with a royal crown, even as the other, who was Spain, standing, was shown in like manner presenting to her a most lovely girl; the boy being intended for the most Christian Charles IX, who is now revered as King of France, and the girl the most noble Queen of Spain, wife of the excellent King Philip. Then, about the same Caterina, were seen standing with much reverence some other smaller boys, representing her other most gracious little children, for whom a Fortune appeared to be holding sceptres, crowns, and realms. And since between that niche and the arch of the entrance, on account of the disproportion of the site, there was some space left over, caused by the desire to make the arch not ungracefully awry, but well-proportioned and straight, for that reason there was placed there, as it were in a niche, a painted picture wherein by means of a Prudence and a Liberality, who stood clasped in a close embrace, it was shown very ingeniously with what guides the House of Medici had come to such a height; having above them, painted in a little picture equal in breadth to the others of the third range, a Piety humble and devout, recognized by the stork that was beside her, round whom were seen many little Angels that were showing to her various designs and models of the many churches, monasteries, and convents built by that magnificent and religious family. Now, proceeding to the third side of the octagon, where there was the arch by which one issued from the theatre, over the frontispiece of that arch was placed, as the heart of so many noble members, the statue of the most excellent and amiable Prince and Spouse, and at his feet the motto: SPES ALTERA FLORÆ. In the frieze above—meaning, as before, that this came to the height of the third range—to correspond to the other arch, where, as has been told, four portraits had been placed, in that part, also, were four other similar portraits of his illustrious brothers, accommodated in a similar manner; those, namely, of the two very reverend Cardinals, Giovanni of revered memory and the most gracious Ferdinando, and those of the handsome Signor Don Garzia and the amiable Signor Don Pietro. Then, to go on to the fourth face, since the corner of the houses that are there, not giving room for the hollow of any recess, did not permit of the usual niche being made there, in its stead was seen accommodated with beautiful artifice, corresponding to the niches, a very large inscription that said:
HI, QUOS SACRA VIDES REDIMITOS TEMPORA MITRA
PONTIFICES TRIPLICI, ROMAM TOTUMQUE PIORUM
CONCILIUM REXERE PII; SED QUI PROPE FULGENT
ILLUSTRI E GENTE INSIGNES SAGULISVE TOGISVE
HEROES, CLARAM PATRIAM POPULUMQUE POTENTEM
IMPERIIS AUXERE SUIS CERTAQUE SALUTE.
NAM SEMEL ITALIAM DONARUNT AUREA SÆCLA,
CONJUGIO AUGUSTO DECORANT NUNC ET MAGE FIRMANT.
Above it, in place of scene and picture, there were painted in two ovals the two devices, one of the fortunate Duke, the Capricorn with the seven Stars and with the motto, FIDUCIA FATI; and the other of the excellent Prince, the Weasel, with the motto, AMAT VICTORIA CURAM. Then in the three niches that came in the three following façades were the statues of the three Supreme Pontiffs who have come from that family; all rejoicing, likewise, to lend their honourable presence to so great a festival, as if every favour human and divine, every excellence in arms, letters, wisdom, and religion, and every kind of sovereignty, were assembled together to vie in rendering those splendid nuptials august and happy. Of those Pontiffs one was Pius IV, departed a short time before to a better life, over whose head, in his picture, was seen painted how, after the intricate disputes were ended at Trent and the sacrosanct Council was finished, the two Cardinal Legates presented to him its inviolable decrees; even as in that of Leo X was seen the conference held by him with Francis I, King of France, whereby with prudent counsel he bridled the vehemence of that bellicose and victorious Prince, so that he did not turn all Italy upside down, as he might perchance have done, and as he was certainly able to do; and in that of Clement VII was the Coronation, performed by him in Bologna, of the great Charles V. But in the last façade, which hit against the acute angle of the houses of the Carnesecchi, by which the straight line of that façade of the octagon was no little interrupted, nevertheless there was made with gracious and pleasing artifice another masterly inscription, after the likeness of the other, but curving somewhat outwards, which said:
PONTIFICES SUMMOS MEDICUM DOMUS ALTA LEONEM,
CLEMENTEM DEINCEPS, EDIDIT INDE PIUM.
QUID TOT NUNC REFERAM INSIGNES PIETATE VEL ARMIS
MAGNANIMOSQUE DUCES EGREGIOSQUE VIROS?
GALLORUM INTER QUOS LATE REGINA REFULGET,
HÆC REGIS CONJUNX, HÆC EADEM GENITRIX.
Such, as a whole, was the interior of the theatre described above; but although it may appear to have been described minutely enough, it is none the less true that an infinity of other ornaments, pictures, devices, and a thousand most bizarre and most beautiful fantasies which were placed throughout the Doric cornices and many spaces according to opportunity, making a very rich and gracious effect, have been omitted as not being essential, in order not to weary the perhaps already tired reader; and anyone who delights in such things may imagine that no part was left without being finished with supreme mastery, consummate judgment, and infinite loveliness. And a most pleasing and beautiful finish was given to the highest range by the many arms that were seen distributed there in due proportion, which were Medici and Austria for the illustrious Prince, the bridegroom, and her Highness; Medici and Toledo for the Duke, his father; Medici and Austria again, recognized by the three feathers as belonging to his predecessor Alessandro; Medici and Boulogne in Picardy for Lorenzo, Duke of Urbino; Medici and Savoy for Duke Giuliano; Medici and Orsini for the double kinship of the Elder Lorenzo and his son Piero; Medici and the Viper for the above-named Giovanni, husband of Caterina Sforza; Medici and Salviati for the glorious Signor Giovanni, his son; France and Medici for her most serene Highness the Queen; Ferrara and Medici for the Duke, with one of the sisters of the most excellent bridegroom; and Orsini and Medici for the other most gentle sister, married to the illustrious Signor Paolo Giordano, Duke of Bracciano.
It now remains for us to describe the last part of the theatre and the exit, which, corresponding in size, in proportion, and in every other respect to the entrance already described, there will be little labour, I believe, in making known to the intelligent reader; save only that the arch which formed the façade there, facing towards S. Maria del Fiore, had been constructed, as a part less important, without statues and with somewhat less magnificence, and in their stead there had been placed over that arch a very large inscription, which said:
VIRTUS RARA TIBI, STIRPS ILLUSTRISSIMA, QUONDAM
CLARUM TUSCORUM DETULIT IMPERIUM;
QUOD COSMUS FORTI PRÆFUNCTUS MUNERE MARTIS
PROTULIT ET JUSTA CUM DITIONE REGIT:
NUNC EADEM MAJOR DIVINA E GENTE JOANNAM
ALLICIT IN REGNUM CONCILIATQUE TORO.
QUÆ SI CRESCET ITEM VENTURA IN PROLE NEPOTES,
AUREA GENS TUSCIS EXORIETUR AGRIS.
In the two pilasters that were at the beginning of the passage, or vestibule, as we have called it (over which pilasters rose the arch of the exit, upon which was the statue of the illustrious bridegroom), were seen two niches, in one of which was placed the statue of the most gentle Giuliano, Duke of Nemours, the younger brother of Leo and Gonfalonier of Holy Church, who had likewise in the little picture that was above him the portrait of the magnanimous Cardinal Ippolito, his son, and, in the picture that stretched towards the exit, the scene of the Capitoline Theatre, dedicated to him by the Roman people in the year 1513, with an inscription to make this known, which said:
JULIANUS MEDICES EXIMIÆ VIRTUTIS ET PROBITATIS ERGO SUMMIS A POP. ROM. HONORIBUS DECORATUR, RENOVATA SPECIE ANTIQUÆ DIGNITATIS AC LÆTITIÆ.
In the other niche, corresponding to the first statue, and, like it, standing and in armour, was seen the statue of Lorenzo the Younger, Duke of Urbino, with a sword in the hand; and in the little picture above him he had the portrait of his father Piero, and in the other picture the scene when the general's baton was given to him with such happy augury by his native Florence, likewise with an inscription to explain it, which said:
LAURENTIUS MED. JUNIOR MAXIMA INVICTÆ VIRTUTIS INDOLE, SUMMUM IN RE MILITARI IMPERIUM MAXIMO SUORUM CIVIUM AMORE ET SPE ADIPISCITUR.