In the Uffizi Gallery, which is "a complete exemplification of the progress and development of art," there is an octagonal room, called the Tribune, which contains perhaps the richest aggregation of masterpieces in the world. Sculpture is represented by the Venus de Medici, the Young Apollo, The Wrestlers, The Grinder, and The Dancing Faun; and painting by no less remarkable pictures. In addition to these, the things that stand out in one's memory in connection with Florence are Cellini's "Perseus," Ghiberti's "Doors," Michael Angelo's "David" and his "Lorenzo de Medici," Brunelleschi's "Dome," and last, but not least, Giotto's "Tower," "the model and mirror of perfect architecture," of which John Ruskin says: "The characteristics of Power and Beauty occur more or less in different buildings—some in one and some in another. But all together, all in their highest possible relative degrees, they exist, as far as I know, only in one building in the world—the Campanile of Giotto at Florence." For the proper appreciation of almost any other great production of art some education in art is necessary, but any one can see the transcendant beauty of Giotto's "Tower." Untutored as we are in these matters, we never wearied of looking at it.
In the freshness of its undimmed splendor, there is nothing in Florence to compare with the Medici Chapel. It is still unfinished, but has cost up to the present time three million five hundred thousand dollars. It is probably the most magnificent mausoleum in the world. "The walls are covered with costly marbles, inlaid with precious stones—a gorgeous mosaic of the richest material."
The Reformer before the Reformation.
But, after all, the thing that lays deepest hold of us in Florence is the story of Savonarola, Harbinger of the Reformation and Martyr for the Truth. That little cell in the Monastery of San Marco, where he once lived, and where his manuscript sermons, his annotated books and his wooden crucifix are still shown; those fearful dungeons in the Palazzo Vecchio, where the greatest man of his age endured his forty days' imprisonment, and lay during the intervals of torture, and spent his last hours on earth; and the bustling Piazza Della Signoria, which witnessed the triumphant tragedy of May 23, 1498—Florence has nothing else so impressive as these. We visit them with subdued hearts and reverent spirits. "On the 22nd of May, 1498, it was announced to Savonarola and his friends, Domenico and Maruffi, that they were to be executed by five the next morning; our heroic preacher was thoroughly resigned to his share of the doom, saying to Domenico, 'Knowest thou not it is not permitted to a man to choose the mode of his own death?' The three friends partook of the sacrament of the Holy Supper, administered by Savonarola. He said, 'We shall soon be there, where we can sing with David, "Behold how good and how pleasant it is for brethren to dwell together in unity!"' They were then taken to the tribunal, where they were divested of all their priestly decorations, during which the bishop took Savonarola by the hand, saying, 'Thus I exclude thee from the church militant and triumphant.' 'From the church militant thou mayest,' exclaimed Savonarola, 'but from the church triumphant thou canst not; that does not belong to thee.'... The last that was beheld of him was his hand uplifted as if to bless the people; the last that was heard of him, 'My Saviour, though innocent, willingly died for my sins, and should I not willingly give up this poor body out of love to him?' The cinders of the bodies of the martyred friars were carted away, and thrown into the river Arno." But—
"The Avon to the Severn runs,
The Severn to the sea;
And Wycliffe's dust shall spread abroad,
Wide as the waters be."
What the principles of Wycliffe have done for England, the principles of Savonarola may yet do for Italy. At any rate, his work for Italy is not done yet.
December 19, 1902.