The South of France—East Half

by C. B. Black

At Florence the Arno is crossed by six bridges. One of these, the Ponte Vecchio, differs from all the rest in having shops on each side. By referring to the plan it will be observed that the road to the Pitti Palace with the Boboli gardens, commences at the south end of this bridge; while, at the northern end, commences the Via Por S. Maria, leading to the [Piazza della Signoria]. From the north-west corner of the Piazza della Signoria a fine broad street, the Via Calzaioli, leads to the Piazza del Duomo; from the eastern corner the street called the Borgo de’ Greci leads into the [Piazza Santa Croce]. It is of great importance to understand the relative position of these three squares. The chief feature of the Piazza della Signoria is the [Palazzo Vecchio], a fine specimen of the Florentine castles of the Middle Ages (page 274). On either side of the main entrance are the terminal statues of Baucis and Philemon, by Bandinelli, and in front the colossal group of Hercules and Cacus, also by him. Opposite is the spacious Gothic arcade called the [Loggia dell’ Orcagna], from the name of the architect, or dei Lanzi, from the name of the watchman who formerly guarded the building. It was usual in the early period of the Republic to provide a space near the government-house where the people

could meet and take part in public affairs; and for this purpose this open gallery was built opposite the Palazzo Vecchio about the year 1376. Five steps, running along the front, lead up to the platform, covered by a vaulted roof, supported on four arches, resting on three columns terminating in beautiful capitals of the Corinthian order. Two shaggy lions, in Cipollino marble, ornament the entrance. The lion on the left is by F. Vacca, 17th cent.; the other, on the right, as well as the six statues of Sabine priestesses, along the inner wall, beautiful in attitude and drapery, are antiques, and were brought from the Villa Medici in Rome in 1788. In front, under each arch, stand three separate groups, by celebrated masters of the 16th cent. To the right is the Rape of the Sabines, by G. Bologna, in 1583. Originally this group was intended to represent Youth, Manhood, and Old Age. To the left the statue in bronze of Perseus, with the head of the sorceress Medusa, by B. Cellini. The posture is fine, and full of power and animation, but the head and body of the Medusa are represented streaming with blood with a revolting exaggeration. Also left, Judith and Holofernes in bronze, by Donatello. Behind Perseus is the Rape of Polixena, a marble group, by Pio Fedi, in 1864. In the centre is an antique group supposed to represent Ajax dragging the body of Patrocles—restored by S. Ricci. Next it is the marble group, by G. Bologna, representing Hercules slaying the Centaur. In this Piazza is also the Fountain of Neptune, by Ammanati (pupil of Bandinelli), 1571. It is crowded with nymphs and satyrs, presided over by a statue of Neptune (19½ feet high) in a car drawn by four horses. Adjoining is a superb equestrian statue of Cosmo, by Bologna. The horse is admirable. To the left of the statue is the Palazzo Uguccione (considered to have been designed by Raphael), built in 1551. Adjoining the Loggia dei Lanzi are the extensive buildings “degli Uffizi,” the great storehouse of art treasures. On both sides of the Piazza, along the basement floor, extends a wide and lofty colonnade, by Vasari (1560-74), ornamented with 24 statues of the most eminent Italians. On the same side as the Loggia is the Post-Office (Reale Poste). [ Florence: National Library.] On the opposite side, at the second door from the end, is the entrance to the Galleria degli Uffizi, and six doors farther down, the entrance to the Biblioteca Nazionale, with about 250,000 vols. and 14,000 MSS. Open from 9 to 4. Any book may be had for consultation in the reading-room by writing the name on a slip of paper. The National Library was formed in 1864 by the union of the Palatine Library collected by the Medici with the Magliabecchian Library collected by Antonio Magliabechi in 1700. The arch at the S. end of the colonnade leads to the river Arno and the Ponte Vecchio.

PLAN of the UFFIZI & PITTI GALLERIES

[ Galleria degli Uffizi.]

Open daily from 10 to 3. Fee, 1 fr. each. Sundays, free. W.C.’s near the portrait rooms; key with the keepers in the corner of the southern gallery. In the top storey of the Uffizi buildings is the famous collection of paintings, statues, and antiquities, united with a similar collection in the Pitti Palace, by long galleries which cross the Arno by the Ponte Vecchio, and extend along the street Via Guicciardini, by the tops of the houses. The payment of a franc admits to both collections, and the visitor may commence at either end; either from the second door left hand, under the Uffizi colonnade, or from the door at the N.E. corner of the Pitti Palace, next to the iron gate opening into the Boboli gardens. But the easiest plan is to commence with the Uffizi, and to descend towards the Pitti gallery by the stair at the top of the western gallery. The only part of the way in which it is possible to go wrong, is where (after having passed through the gallery of birds, fishes, and plants, admirably drawn in 1695 by Bart. Legozzi, and a small room with a few beautiful miniature paintings representing scenes in the life of our Lord,) we come to a common stone staircase, which, to enter the Pitti galleries, ascend, but to go out, descend. Downstairs, outside, are the Piazza Pitti and the entrance to the Boboli gardens.

[ Florence: Uffizi Gallery—Vestibules—Corridors.]

Entering the Uffizi by the second doorway under the colonnade, those who wish to save themselves the fatigue of the 126 steps up to the galleries may, for a franc, be carried up in a lift. In the first vestibule are Roman statues and bas-reliefs representing festivals and sacrifices, and busts of Lorenzo the Magnificent, Cosmo I., Francis I., and of others of the Medici. Second vestibule, more Roman statuary, and an inimitable Greek figure of a wild boar; the whole expressing admirably the growling ire kindling in an irritated animal. Two exquisite wolf-dogs, bold, spirited, and true to nature. The horse, said to have belonged to the Niobes group, does not bear close examination.

[We now enter the eastern corridor], 178 yards long, with the ceiling painted in arabesques by Poccetti. Ranged on both sides are valuable specimens of ancient statuary, and of Roman busts of emperors and members of the imperial family, Augusti et Augustæ. On the walls is hung a valuable and interesting series of pictures, beginning with the stiff gilded Byzantine style of the infancy of the art, as No. 1, a Madonna by Andrea Rico di Candia (1102), and advancing gradually by No. 2, St. Cecilia, by Cimabue, 130 years later. A marked improvement in colour and grouping is seen in No. 6, Christ in Gethsemane,

by Giotto, pupil of Cimabue. No. 17 is a beautiful triptych by Fra. Angelico; No. 24 a Madonna by Credi; No. 29 a Battlepiece by P. Uccello; and No. 61 a Crucifixion by Lippi.