Of the Palazzo degli Spini.
And to the end that no part of either dominion might be left without being present at those happy nuptials, at the Ponte a S. Trinita and also at the Palazzo degli Spini, which is to be seen at the beginning of that bridge, there was the fourth ornament, of an architecture not less magnificent in composition, and consisting of a head-piece with three façades, one of which, turning to face towards the Ponte alla Carraia, became joined to that in the centre, which was somewhat bent and likewise attached to that which in like manner turned to face towards the Palazzo degli Spini and S. Trinita; whence it appeared to have been contrived principally for the point of view both from the one street and from the other, insomuch that both from the one and from the other it presented itself complete to the eyes of all beholders—a thing of singular artifice for him who well considers it, which rendered that street, which is in itself as imposing and magnificent as any other that is to be found in Florence, even more imposing and more beautiful than could be believed. In the façade that came in the centre, there had been formed upon a great base two Giants, immense and most superb to behold, supported by two great monsters and by other extravagant fishes that appeared to be swimming in the sea, and accompanied by two sea-nymphs. These represented, one the great Ocean and the other the Tyrrhenian Sea, and, half reclining, they appeared to be seeking to present to the most illustrious pair, with a certain affectionate liberality, not only many most beautiful branches of coral and immense shells of mother-of-pearl, and others of their sea-riches that they held in their hands, but also new islands, new lands, and new dominions, which were seen led thither in their train. Behind them, making that whole ornament lovely and imposing, were seen rising little by little, from their socles that rested upon the base, two vast half-columns, upon which rested cornice, frieze, and architrave, leaving behind the Sea-Gods already described, almost in the form of a triumphal arch, a very spacious square; and over the two columns and the architrave rose two very well-formed pilasters covered with creepers, from which sprang two cornices, forming at the summit a superb and very bold frontispiece, at the top of which, and above the creepers of the pilasters already described, were seen placed three very large vases of gold, all filled to overflowing with thousands and thousands of different riches of the sea; and in the space that remained between the architrave and the point of the frontispiece, there was seen lying with rare dignity a masterly figure of a Nymph, representing Tethys, or Amphitrite, Goddess and Queen of the Sea, who with a very grave gesture was presenting as the principal crown of that place a rostral crown, such as was generally given to the victors in naval battles, with her motto, VINCE MARI, and as it were adding that which follows: JAM TERRA TUA EST. Even as in the picture and the façade behind the Giants, in a very large niche that had the appearance of a real and natural cavern or grotto, there was painted among many other monsters of the sea the Proteus of Virgil's Georgics, bound by Aristæus, who, pointing with his finger towards the verses written above him, appeared to wish to announce in prophecy to the well-united pair good fortune, victories, and triumphs in maritime affairs, saying:
Germana adveniet felici cum alite virgo,
Flora, tibi, adveniet soboles Augusta, Hymenei
Cui pulcher Juvenis jungatur fœdere certo
Regius Italiæ columen, bona quanta sequentur
Conjugium? Pater Arne tibi, et tibi Florida Mater,
Gloria quanta aderit? Protheum nil postera fallunt.
And since, as has been told, this façade of the cavern stood between the two other façades, one of which was turned towards S. Trinita and the other towards the Ponte alla Carraia, both these, which were of the same size and height, were likewise bordered in a similar manner by two similar half-columns, which in like manner supported their architrave, frieze, and cornice in a quarter-round, upon which, both on the one side and on the other, were seen three statues of boys on three pedestals, who were upholding certain very rich festoons of gold, composed in a most masterly fashion of conches, shells, coral, sword-grass, and sea-weed, by which a no less graceful finish was given to the whole structure.
But to return to the space of the façade which, turning from the straight, was supported against the Palazzo degli Spini. In it was seen, painted in chiaroscuro, a Nymph all unadorned and little less than nude, placed between many new kinds of animals, who stood for the new land of Peru, with the other new West Indies, discovered and ruled for the most part under the auspices of the most fortunate House of Austria. She was turned towards a figure of Jesus Christ Our Lord, who, painted all luminous in a Cross in the air (alluding to the four exceeding bright stars which form the semblance of a Cross, newly discovered among those peoples), appeared in the manner of a Sun piercing some thick clouds with most resplendent rays, for which she seemed in a certain sense to be rendering much thanks to that house, in that by their means she was seen converted to the Divine worship and to the true Christian Religion, with the verses written below:
Di tibi pro meritis tantis, Augusta propago,
Præmia digna ferant, quæ vinctam mille catenis
Heu duris solvis, quæ clarum cernere solem
E tenebris tantis et Christum noscere donas.
Even as on the base which supported that whole façade, and which, although on a level with that of the Giants, yet did not like that one project outwards, there was seen, painted as it were by way of allegory, the fable of Andromeda delivered by Perseus from the cruel Monster of the sea. And in that which, turning, faced towards the Arno and the Ponte alla Carraia, there was seen in like manner painted the small but famous Island of Elba, in the form of an armed warrior seated upon a great rock, with the Trident in her right hand, having on one side of her a little boy who was seen sporting playfully with a dolphin, and on the other side another like him, who was upholding an anchor, with many galleys that were shown circling about her port, which was painted there. At her feet, on her base, and corresponding in like manner to the façade painted above, was seen likewise the fable that is given by Strabo, when he relates that the Argonauts, returning from the acquisition of the Golden Fleece, and arriving with Medea in Elba, raised altars there and made sacrifice to Jove upon them; perhaps foreseeing or auguring that at another time our present glorious Duke, being as it were of their company by virtue of the Order of the Golden Fleece, was to fortify that island and to safeguard distressed mariners, thus reviving their ancient and glorious memory. Which was expressed excellently well by the four verses written there in a suitable place, saying:
Evenere olim Heroes qui littore in isto
Magnanimi votis petiere. En Ilva potentis
Auspiciis Cosmi multa munita opera ac vi;
Pacatum pelagus securi currite nautæ.
But the most beautiful effect, the most bizarre, the most fantastic, and the most ornate—besides the various devices and trophies, and Arion, who was riding pleasantly through the sea on the back of the swimming dolphin—came from an innumerable quantity of extravagant fishes of the sea, Nereids, and Tritons, which were distributed among the friezes, pedestals, and bases, and wherever a space or the beauty of the place required them. Even as at the foot of the great base of the Giants there was another gracious effect in the form of a most beautiful Siren seated upon the head of a very large fish, from whose mouth at times, at the turning of a key, not without laughter among the expectant bystanders, a rushing jet of water was seen pouring upon such as were too eager to drink the white and red wine that flowed in abundance from the breasts of the Siren into a very capacious and most ornate basin. And since the bend of the façade where Elba was painted was the first thing to strike the eyes of those who came, as did the procession, from the Ponte alla Carraia along the Arno towards the Palazzo degli Spini, it seemed good to the inventor to hide the ugliness of the scaffolding and woodwork that were necessarily placed behind, by raising to the same height another new façade similar to the three described, which might, as it did, render that whole vista most festive and ornate. And in it, within a large oval, it appeared to him that it was well to place the principal device, embracing the whole conception of the structure; and to that end, therefore, there was seen figured a great Neptune on his usual Car, with the usual Trident, as he is described by Virgil, chasing away the troublesome winds, and using as a motto the very same words, MATURATE FUGAM; as if he wished to promise to the fortunate pair happiness, peace, and tranquillity in his realm.