Old Continental Towns

by Walter M. Gallichan

San Marco is now a repository of works of art. It was the monastery of Savonarola, and the edifice is haunted with the spirit of the zealous reformer. The fine frescoes by Fra Angelico adorn the cloisters, and in the chapter house is his “Crucifixion,” one of the largest of the friar’s pictures.

Three of the cells were inhabited at different times by Savonarola, and contain memorials of the pious ascetic, a coat of penance, a crucifix, and religious volumes.

Sir Martin Conway writes, in “Early Tuscan Art”: “In Savonarola’s cell there hangs a relic of no small interest—the handiwork of Fra Angelico himself. It is stowed away in so dark a corner that one can hardly see it. Eyes accustomed to the gloom discover a small picture of the crucified Christ, painted on a simple piece of white stuff. When the great preacher mounted the pulpit, this banner was borne before him. In those impassioned appeals of his, that electrified for a time the people of Florence, collected in crowded silence within the vast area of the newly finished cathedral, it was to this very symbol of his faith that he was wont to point, whereon are written the now faded words, Nos predicamus Christum crucifixum.”

In the church of San Marco are the tombs of Sant Antonino and the learned Pico della Mirandola.

Among the other churches of note is Santa Trinita, originally an example of the art of Niccolo Pisano, but it has been modernised. It contains a monument by Luca della Robbia, and some splendid mural paintings, depicting the career of St Francis, by Ghirlando. There are more paintings by this master in the Franciscan church of Ognissanti.

Santa Croce is a great burial-place, rich in monuments of illustrious Florentines. Michael Angelo’s tomb is here, and near to it is the resting-place of Galileo. A monument to Dante, the tomb of Alfieri, by Canova, the memorials of Machiavelli, Aretino, Cherubino, and many others are in this building. My necessarily scanty description of the splendours of this church are offered with an apology for want of fuller space to describe them.

Donatello’s “Crucifixion” is in the north transept, and the Capella Peruzzi and the Capella Bardi are decorated with frescoes by Giotto. Agnolo Gaddi’s paintings are in the choir. Reluctantly, one leaves this great treasure-house. A mere catalogue of its works of art would fill pages.

We have glanced at two of the palaces. Let us now visit the stern Palazzo Vecchio, once the Senate House of the city. The building dates from the thirteenth century, and was the home of the Medici. Verrochio’s fountain beautifies one of the courts. Inside the palazzo are mural paintings by Ghirlando.

Another of the interesting buildings is the Bargello, an important museum. Michael Angelo’s “Dying Adonis” and “Victory” are in the court, and there are more works of the great artist within. Dante lectured in one of the halls of the Bargello. Benvenuto Cellini’s design for “Perseus” is in one of the rooms, and there are reliefs by Della Robbia.

The Riccardi Palace is redolent with memories of Lorenzo. It stands in the Piazza San Lorenzo, and in the same square is the church named after him, containing some very beautiful monuments. Donatello was buried here, and a stone marks the grave of Cosimo de Medici. Lippo Lippi’s “Annunciation,” and Michael Angelo’s works are the glories of this church. The New Sacristy contains Angelo’s “Day and Night” over the tomb of Giuliano Medici, and that of Lorenzo de Medici adorned with statues of “Dawn and Twilight.” These are among the most magnificent examples of Michael Angelo’s statuary.