The palaces of Florence are great square edifices of a grand and gloomy aspect, built of dark blue stones (pietra forte) measuring from 3 to 4 feet. The bases, to the height of from 20 to 30 feet, consist of coarsely chiselled rubble work, which lessens the baldness, and contributes character and effect to the from 200 to 300 feet of plain wall. At intervals are strong bronze banner-rings and torch-sockets, while at each corner is a curiously-shaped lamp of wrought-iron. Near the main entrance there is generally a niche, with an opening called a “cantina,” just large enough to allow a quart bottle to pass through, whence various articles of food are transmitted into the house. Those that sell by retail the oil and wine from their estates have painted over this niche “Vino é Olio.” The empty bottle, with the money, having been passed through, it reappears shortly after full. The windows of the first range are generally 10 feet from the ground, and are grated and barred like those of a prison. Under the eaves runs a deep cornice with bold projecting soffits. The roofs of the palaces, as well as those of the smallest houses, are of a low pitch, and covered with tiles of two different forms—a flat tile with ledges on the side, and a tile nearly semi-cylindrical and tapering upwards, which thus covers the interstice between the ledges of the flat tiles. The entrance to the palaces is by a high arched massive gateway, giving access to a court surrounded by
an arcade or loggia, whence massive stone staircases lead up to the highest storeys. The lofty ceilings of the principal rooms are decorated, and the beams though displayed, are carved, painted, and gilded, and contribute to the grandeur of the whole. The floors are of thin bricks, either laid flat or edgeways in the herring-bone or spina di pesce fashion. As in Genoa, several of the palaces contain collections of works of art open to the public on certain days. [ Florence: Palazzo Vecchio.] Of these the best are—first, the Palazzo Vecchio, in the Piazza della Signoria, erected in 1218 by Arnolfo di Lapo. It is surmounted by a noble antique tower 305 feet high, commanding an excellent view of Florence. The entrance is through a superb but gloomy court, surrounded by an arcade on massive columns, by Michelozzi, substituted for those of Arnoldo in 1434. They are 8 feet in circumference, and of admirable proportions. In the centre is a neat little fountain by Andrea Verocchio, intended originally for the Villa Careggi. Having traversed this court, ascend first stair left hand, and keep turning to the left the length of the first storey, where take first door right, which opens into the great hall or council chamber, 170 feet long by 77 broad, built in 1495, but altered by Vasari in 1540, who also added the frescoes on the walls and oil-painting on the ceiling illustrative of events in the history of Florence. Now ascend to the second storey, where enter the ante-room to the left, the Sala de’ Gigli, with a grand but injured fresco by Ghirlandaio in 1482. The lintel of the door in this room opening into the next, the Sala d’Udienza, is by Benedetto da Majano. On one of the leaves of the door is a linear drawing of Dante, and on the other one of Petrarch. The Sala d’Udienza is painted in fresco by Salviati, illustrative of Roman history. It communicates with the Cappella S. Bernardo, beautifully painted in imitation of mosaic by R. Ghirlandaio. Near the chapel of St. Bernard (sometimes approached by the four rooms of Eleanora de Toledo, painted by Stradan of Bruges, and at other times by a narrow passage), is a small chapel beautifully painted by Bronzino, and an adjoining chamber painted by Poccetti.
Florence: Dante’s House.
North from the palace, by the Via dei Magazzini, is the [Via S. Martino], in which is a house with a marble slab over the door, bearing the following inscription: “In questa casa degli Alighieri nacque il Divino Poeta.” —Dante. He was married to Gemma in S. Martino, a humble little church close by, in the Via dei Magazzini. The Beatrice of Dante (like Petrarch’s Laura) lived in the Palazzo Salviati, in the Via del Proconsolo. She married Giovanni delle Bande Nere, and became the mother of Cosmo I.
Florence. Palazzo Strozzi, Corsini, Riccardi.
In the Via Tornabuoni is the [Palazzo Strozzi], open on Wednesdays from 11 to 1. It was built in 1489 from designs by Majano. The ironwork, rings, and lanterns are by Grosso di Ferrara, 1510. The picture-gallery on the first floor is contained in four large rooms elegantly and comfortably furnished. In each room there is a list of the paintings on a card. The two most remarkable are—Portrait of one of the ladies Strozzi by Leonardo da Vinci; and another of one of the children, “La Puttina,” by Tiziano. Between the Strozzi Palace and the Arno is the Piazza S. Trinità. In it, opposite the Hotel du Nord, is a column of Oriental granite from the baths of Antoninus, presented to Cosmo I. by Pius IV. A short way down the Arno (see plan), at No. 10 Lungarno Corsini, is the [Palazzo Corsini], built (1618-56) by G. Silvani, staircase by Ferri. The collection of paintings, contained in twelve rooms, may be visited on Tuesdays, Thursdays, and Saturdays from 10 till 2. Entrance by No. 7 Via Parione.
Next to the church [S. Giovannino] (see p. 264), at No. 1 Via Cavour, is the Prefettura della Provincia di Firenze, formerly the [Palazzo Riccardi], 300 feet long by 90 in height. This, the cradle of the Medicean family, was erected in 1431, after the design of Michelozzi, by Cosmo Pater Patriae, and continued to be the residence of the Medici till 1540, when it was abandoned for the Palazzo Vecchio. The first row of large windows was opened by Michael Angelo; for originally the base, rising to 30 feet, presented one unbroken space, varied only by the projection of the vast and rudely chiselled stones of which it is composed. In the court below the corridor are statues and busts, and the sarcophagi which were formerly outside the baptistery, and a curtain beautifully sculptured in stone over one of the arches. Upstairs are the Biblioteca Riccardi, a picture-gallery, and a small chapel covered with most charming frescoes by Benozzo Gozzoli 1400-1478, painted by lamplight, as the chapel at that time had no window. Palace open from 12.30 till 2.
Down the Arno, beyond the Ponte alla Carraia (see plan), is the Church of Ognissanti. In the chapel next the door of the sacristy repose the remains of Amerigo Vespucci, who gave his name to America. In the centre of the nave are frescoes by Ghirlandaio and Botticelli. The frescoes in the cloisters illustrating the life of St. Francis are by Giovanni and Ligozzi. The Last Supper, in the refectory, is by Ghirlandaio. A little way up the street called the Borgo Ognissanti is the [Hospital S. Giovanni di Dio], founded by Amerigo Vespucci; while the house in which he lived and died stood on the site of the present No. 21 Borgo Ognissanti.
Park of Florence. Villa Careggi. Palazzo Torrigiani.
At the west end of the town, near the [Porta Prato], is the Cascine or Park of Florence, on the right or north hank of the Arno, much frequented in the afternoon. An omnibus runs every 10 minutes between the Porta Prato and the Piazza della Signoria. Opposite the Cascine is the hill [Monte Oliveto], page 251. Nearly two miles north from the railway station by the Romito road is the [Villa Careggi], built by Michelozzi for Cosmo Pater Patriae, in which he died on August 1, 1464, as also Lorenzo the Magnificent, on the 8th of April 1492. At the Ponte alle Grazie, the first bridge above the Ponte Vecchio, is the [Palazzo Torrigiani], built by Baccio d’Agnolo, containing a valuable collection of paintings, accompanied with catalogues. Open daily excepting Saturdays and Sundays.