The South of France—East Half

by C. B. Black

North from the baptistery, at the end of the Via de Martelli, and next the [Palazzo Riccardi] (see page 275), is the Church of [San Giovannino], rebuilt in the 16th cent., with frescoes representing scenes in the life of Christ, by Passignano, Barbieri, Bronzino, Tito, Corradi, and Ligozzi. A few yards west from San Giovannino is [San Lorenzo], considered in the earlier periods of the Republic the metropolitan church of Florence. Its existence is traced as far back as the year 393, when it was consecrated by St. Ambrose. In 1059 it was rebuilt and consecrated by Pope Nicholas II. Having been destroyed by fire in 1417, during a festival given by the Guelphs of Arezzo and the Guelphs of Florence, it was again rebuilt by Brunelleschi and Michael Angelo, and finished by Antonio Manetti in 1461. It is constructed in the form of a T, 400 feet long from east to west, and 170 from north to south. The aisles are lofty, and separated from the nave by 14 Corinthian columns. The two pulpits are adorned with subjects from Scripture, in relief, by Donatello and his pupil Bertoldo. The cupola is painted by Meucci. At the north transept is a monument in white marble by Thorwaldsen to Pietro Benvenuto, the painter of the cupola of the mortuary chapel. In the south transept is a monument to the memory of a daughter of General Moltke. A slab at the foot of the high altar bears the title and age of Cosmo I., but his remains repose in a black and white marble tomb in the subterranean church. [Those pressed for time] should, on arriving at the main or eastern entrance of St. Lorenzo, turn down to the left by that narrow busy street the Via del Canto de’ Nelli, to the large folding-doors under the west end or apse of San Lorenzo, [ Florence: Underground Chapel—
Mortuary Chapel.] which gives access to the burial chapel, “Dei Principi,” of the Medici family, and to the still more famous chapel called the Sagrestia Nuova. Both open on Sundays from 10, on Mondays from 12, and every other day from 9 to 3. Having entered the crypt, ascend the stair to the left, which leads into the mortuary chapel.

Guides offer their assistance, but they are of no use, as the sacristan alone can unlock the doors. The [Mortuary Chapel] is octagonal, and covered with polished marbles and other shining stones, glowing with brilliant harmony of colour, yet chaste and simple. The splendid hues are continued on the ceiling under the dome by the masterly frescoes of P. Benvenuti, painted in 1835. In each of six of the sides is a monument to a member of the Medicean family, from Cosmo I. to Cosmo III. (d. 1723), whose son, G. Gastone (d. 1736), has his memorial slab behind the altar in the crypt or lower church downstairs, where repose the remains of Donatello near those of his patron Cosmo I., as well as those of 35 other members of this once powerful family, which gave three popes to the Church of Rome, two queens to France, and reigned 250 years over the sixteen cities of Tuscany, whose escutcheons in beautiful mosaic are set in panels round the mortuary chapel, below the granite mausoleums of these princes. The Cappella dei Principi was designed by G. de Medici, and built by M. Nigetti in 1604, for Ferdinand I., Duke of Tuscany, to receive the “great stone” which Joseph of Arimathea rolled “to the door of the sepulchre” of our Lord; and which had been promised him by the Emir Focardino, governor of Jerusalem. The Emir not having fulfilled his promise, Ferdinand adopted the intention of his predecessor, Cosmo I., and had it converted into the burial chapel of the Medicean family. [ Florence: Sagrestia Nuova.] From this chapel a short narrow passage leads to the Sagrestia Nuova, or the Cappella dei Depositi, containing the monuments and mortal remains of Giuliano, Duke of Nemours, and brother of Pope Leo X.; and of their nephew Lorenzo, Duke of Urbino, and father of Catherine of Medicis; these two monuments, with the statue of Moses at Rome, are the greatest works of Michael Angelo. The plan of the edifice was conceived by Pope Leo, but the design and execution were entrusted in 1521 to Michael Angelo. The interior is disappointing. A formal square chapel, with walls partly encrusted with whitish marble, supported by two tiers of Corinthian pilasters of that cold grey stone called pietra dura, and pierced with doors and windows arranged in the same tame, flat style. To the right on entering is the grand monument of Giuliano. He is represented in a sitting posture, with his left hand gloved and raised. The bent forefinger touches the upper lip, which seems to yield to the pressure. The helmet throws a deep shade on the countenance. The two statues reclining on the urn represent Day and Night. Day is little more than blocked, yet most magnificent. To have done more would have weakened the striking effect of the whole, which is

heightened by what is left to the imagination. Night is finely imagined. The attitude is beautiful, mournful, and full of the most touching expression—the drooping head and the supporting hand are unrivalled in the arts. Opposite is the monument of the nephew. The attitude of Lorenzo is marked by such a cast of deep melancholy brooding as to have acquired for it the title of “il pensiero.” Beneath are the personifications of Evening and Dawn. Twilight is represented by a superb manly figure, reclining and looking down; the breadth of chest and the fine balance of the sunk shoulder are masterly, while the right limb, which is finished, is incomparable. The Aurora is a female figure of exquisite proportions. In its serene countenance a spring of thought, an awakening principle, seems to breathe life into the face of stone, as if preparing it to open its eyes with the rising day. In front of the altar is a striking but unfinished Madonna, by Michael Angelo. On the right is a statue of San Cosmo, by Montorsoli, a pupil of Michael Angelo’s, and on the left Santo Damiano, by Montelupo.

Florence: Bibliotheca Laurentiana.

A door in the middle of the south aisle of the church of S. Lorenzo leads into the cloister, whence ascend the staircase, by Vasari, to the [Bibliotheca Mediceo-Laurentiana]. The books are kept in desks. Open from 9 to 3. Closed on feast-days. Fee, 1 fr. This library was founded by Cosmo in 1444. Amongst the remarkable manuscripts there is one of Virgil of the 4th cent. in Roman capitals, not very different in form from the letters on ancient Roman marbles; it is on vellum, of the size of a small quarto, with notes; the notes written in the 5th cent. by the Consul Turcius Rufus Apronianus, as his signature attests. This is one of the most ancient legible manuscript books in Europe of which the period is authentic. The manuscript of Virgil, in the Vatican library, with paintings, was said to be of the 4th cent., of the time of Constantine. The manuscripts of the middle ages, instead of being in Roman capitals, are written in letters resembling in some degree the small Roman printed letter now in use; and, at a still later period, they are in a running hand. This library also possesses the celebrated manuscript of the Pandects, supposed to be of the time of Justinian, in the 6th cent., written in capital letters, which vary a little from the capitals on ancient Roman marbles; it is on vellum, of the size of a large folio book; it was brought from Pisa, and Cosmo I. caused an edition to be printed from it by Lelio Torelli. A Tacitus, of the 11th cent. is in a running letter. The library contains 8000 volumes of manuscripts. Many of them are chained to the desks.

Florence: Etruscan Museum.

Between S. Lorenzo and San Maria Novella in the Via Faenza, No.

144, is the [Etruscan and Egyptian Museum]. Open from 9 to 4. Fee, 1 fr. Free on Sundays.

First Room, The vases stand round the room in glass cases. The earliest are in the first case to the right. Next, case 11, is the entrance to an Etruscan tomb, which in its main features resembles that in which our Lord lay. From the frescoes, which are copies of the original on the tomb near Orvieto, it will be observed that the Etruscans seem to have treated death as a feast, to which the spirits were invited by the gods. Second Room, In the centre is the vase of Peleus, or vase of François, by whom it was discovered in 1845 near Chiusi. It is supposed to have been modelled by Ergatimos, and painted by Clitias. Third Room, Minor objects. First Octagon Room, Beautiful gold ornaments, beads, and glass bowls. Etruscan coins. From this room a corridor extends to a similar room, in which is a beautiful bronze statue of Pallas Athene with the ægis, and some fine Etruscan mirrors. Fourth Room, In the centre stands the Chimæra, one of the celebrated statues of antiquity. Fifth Room right, Armour. Sixth Room, Etruscan sculpture. Both of the gems of the collection are in this room—The Orator, a bronze statue above life size, discovered near Lake Thrasymene; and an Etruscan Sarcophagus, which lay nearly 2000 years buried in the earth, and is supposed to have been made about 300 years B.C. From this we enter, by a passage covered with inscriptions, into the Egyptian Museum. First Room, In the centre, a Scythian war-chariot (the only specimen known), and by the side of it the remains of the Egyptian soldier who probably captured the chariot in battle. Second Room, The most interesting object here is the fresco of the Last Supper, by Raphael, in 1505, when only twenty-two. On the border of St. Thomas’s dress are the date and name. In the last great hall are sarcophagi, reliefs, statues, obelisks, idols, mummies, portraits, and tabernacles.

Florence: Santa Maria Novella—Rucellai Chapel.