Lives of the Most Eminent Painters Sculptors and Architects Part 3

And to the end that no part of either dominion might be left without being present at those happy nuptials, at the Ponte a S. Trinita and also at the Palazzo degli Spini, which is to be seen at the beginning of that bridge, there was the fourth ornament, of an architecture not less magnificent in composition, and consisting of a head-piece with three facades, one of which, turning to face towards the Ponte alla Carraia, became joined to that in the centre, which was somewhat bent and likewise attached to that which in like manner turned to face towards the Palazzo degli Spini and S. Trinita; whence it appeared to have been contrived princ.i.p.ally for the point of view both from the one street and from the other, insomuch that both from the one and from the other it presented itself complete to the eyes of all beholders--a thing of singular artifice for him who well considers it, which rendered that street, which is in itself as imposing and magnificent as any other that is to be found in Florence, even more imposing and more beautiful than could be believed. In the facade that came in the centre, there had been formed upon a great base two Giants, immense and most superb to behold, supported by two great monsters and by other extravagant fishes that appeared to be swimming in the sea, and accompanied by two sea-nymphs.

These represented, one the great Ocean and the other the Tyrrhenian Sea, and, half reclining, they appeared to be seeking to present to the most ill.u.s.trious pair, with a certain affectionate liberality, not only many most beautiful branches of coral and immense sh.e.l.ls of mother-of-pearl, and others of their sea-riches that they held in their hands, but also new islands, new lands, and new dominions, which were seen led thither in their train. Behind them, making that whole ornament lovely and imposing, were seen rising little by little, from their socles that rested upon the base, two vast half-columns, upon which rested cornice, frieze, and architrave, leaving behind the Sea-G.o.ds already described, almost in the form of a triumphal arch, a very s.p.a.cious square; and over the two columns and the architrave rose two very well-formed pilasters covered with creepers, from which sprang two cornices, forming at the summit a superb and very bold frontispiece, at the top of which, and above the creepers of the pilasters already described, were seen placed three very large vases of gold, all filled to overflowing with thousands and thousands of different riches of the sea; and in the s.p.a.ce that remained between the architrave and the point of the frontispiece, there was seen lying with rare dignity a masterly figure of a Nymph, representing Tethys, or Amphitrite, G.o.ddess and Queen of the Sea, who with a very grave gesture was presenting as the princ.i.p.al crown of that place a rostral crown, such as was generally given to the victors in naval battles, with her motto, VINCE MARI, and as it were adding that which follows: JAM TERRA TUA EST. Even as in the picture and the facade behind the Giants, in a very large niche that had the appearance of a real and natural cavern or grotto, there was painted among many other monsters of the sea the Proteus of Virgil's Georgics, bound by Aristaeus, who, pointing with his finger towards the verses written above him, appeared to wish to announce in prophecy to the well-united pair good fortune, victories, and triumphs in maritime affairs, saying:

Germana adveniet felici c.u.m alite virgo, Flora, tibi, adveniet soboles Augusta, Hymenei Cui pulcher Juvenis jungatur foedere certo Regius Italiae columen, bona quanta sequentur Conjugium? Pater Arne tibi, et tibi Florida Mater, Gloria quanta aderit? Protheum nil postera fallunt.

And since, as has been told, this facade of the cavern stood between the two other facades, one of which was turned towards S. Trinita and the other towards the Ponte alla Carraia, both these, which were of the same size and height, were likewise bordered in a similar manner by two similar half-columns, which in like manner supported their architrave, frieze, and cornice in a quarter-round, upon which, both on the one side and on the other, were seen three statues of boys on three pedestals, who were upholding certain very rich festoons of gold, composed in a most masterly fashion of conches, sh.e.l.ls, coral, sword-gra.s.s, and sea-weed, by which a no less graceful finish was given to the whole structure.

But to return to the s.p.a.ce of the facade which, turning from the straight, was supported against the Palazzo degli Spini. In it was seen, painted in chiaroscuro, a Nymph all unadorned and little less than nude, placed between many new kinds of animals, who stood for the new land of Peru, with the other new West Indies, discovered and ruled for the most part under the auspices of the most fortunate House of Austria. She was turned towards a figure of Jesus Christ Our Lord, who, painted all luminous in a Cross in the air (alluding to the four exceeding bright stars which form the semblance of a Cross, newly discovered among those peoples), appeared in the manner of a Sun piercing some thick clouds with most resplendent rays, for which she seemed in a certain sense to be rendering much thanks to that house, in that by their means she was seen converted to the Divine worship and to the true Christian Religion, with the verses written below:

Di tibi pro meritis tantis, Augusta propago, Praemia digna ferant, quae vinctam mille catenis Heu duris solvis, quae clarum cernere solem E tenebris tantis et Christum noscere donas.

Even as on the base which supported that whole facade, and which, although on a level with that of the Giants, yet did not like that one project outwards, there was seen, painted as it were by way of allegory, the fable of Andromeda delivered by Perseus from the cruel Monster of the sea. And in that which, turning, faced towards the Arno and the Ponte alla Carraia, there was seen in like manner painted the small but famous Island of Elba, in the form of an armed warrior seated upon a great rock, with the Trident in her right hand, having on one side of her a little boy who was seen sporting playfully with a dolphin, and on the other side another like him, who was upholding an anchor, with many galleys that were shown circling about her port, which was painted there. At her feet, on her base, and corresponding in like manner to the facade painted above, was seen likewise the fable that is given by Strabo, when he relates that the Argonauts, returning from the acquisition of the Golden Fleece, and arriving with Medea in Elba, raised altars there and made sacrifice to Jove upon them; perhaps foreseeing or auguring that at another time our present glorious Duke, being as it were of their company by virtue of the Order of the Golden Fleece, was to fortify that island and to safeguard distressed mariners, thus reviving their ancient and glorious memory. Which was expressed excellently well by the four verses written there in a suitable place, saying:

Evenere olim Heroes qui littore in isto Magnanimi votis petiere. En Ilva potentis Auspiciis Cosmi multa munita opera ac vi; Pacatum pelagus securi currite nautae.

But the most beautiful effect, the most bizarre, the most fantastic, and the most ornate--besides the various devices and trophies, and Arion, who was riding pleasantly through the sea on the back of the swimming dolphin--came from an innumerable quant.i.ty of extravagant fishes of the sea, Nereids, and Tritons, which were distributed among the friezes, pedestals, and bases, and wherever a s.p.a.ce or the beauty of the place required them. Even as at the foot of the great base of the Giants there was another gracious effect in the form of a most beautiful Siren seated upon the head of a very large fish, from whose mouth at times, at the turning of a key, not without laughter among the expectant bystanders, a rushing jet of water was seen pouring upon such as were too eager to drink the white and red wine that flowed in abundance from the b.r.e.a.s.t.s of the Siren into a very capacious and most ornate basin. And since the bend of the facade where Elba was painted was the first thing to strike the eyes of those who came, as did the procession, from the Ponte alla Carraia along the Arno towards the Palazzo degli Spini, it seemed good to the inventor to hide the ugliness of the scaffolding and woodwork that were necessarily placed behind, by raising to the same height another new facade similar to the three described, which might, as it did, render that whole vista most festive and ornate. And in it, within a large oval, it appeared to him that it was well to place the princ.i.p.al device, embracing the whole conception of the structure; and to that end, therefore, there was seen figured a great Neptune on his usual Car, with the usual Trident, as he is described by Virgil, chasing away the troublesome winds, and using as a motto the very same words, MATURATE FUGAM; as if he wished to promise to the fortunate pair happiness, peace, and tranquillity in his realm.

OF THE COLUMN.

Opposite to the graceful Palace of the Bartolini there had been erected a short time before, as a more stable and enduring ornament, not without singular ingenuity, that ancient and immense column of oriental granite which had been taken from the Baths of Antoninus in Rome, and granted by Pius IV to our glorious Duke, and by him conveyed, although at no little expense, to Florence, and magnanimously presented to her as a courteous gift for her public adornment. Upon that column, over its beautiful capital, which had, like the base, the appearance of bronze, and which is now being made of real bronze, there was placed a statue (of clay, indeed, but in the colour of porphyry, because even so it is to be), very large and very excellent, of a woman in full armour, with a helmet on the head, and representing, by the sword in the right hand and by the scales in the left, an incorruptible and most valorous Justice.

OF THE CANTO DE' TORNAQUINCI.

The sixth ornament was erected at the Canto de' Tornaquinci; and here I must note a thing which would appear incredible to one who had not seen it--namely, that this ornament was so magnificent, so rich in pomp, and fashioned with so much art and grandeur, that, although it was conjoined with the superb Palace of the Strozzi, which is such as to make the greatest things appear as nothing, and although on a site altogether disastrous by reason of the uneven ends of the streets that run together there, and certain other inconvenient circ.u.mstances, nevertheless such was the excellence of the craftsman, and so well conceived the manner of the work, that it seemed as if all those difficulties had been brought together there for the purpose of rendering it the more admirable and the more beautiful; that most lovely palace being so well accompanied by the richness of the ornaments, the height of the arches, the grandeur of the columns, all intertwined with arms and trophies, and the great statues that towered over the summit of the whole structure, that anyone would have judged that neither that ornament required any other accompaniment than that of such a palace, nor such a palace required any other ornament. And to the end that all may be the better understood, and in order to show more clearly and distinctly in what manner the work was constructed, it is necessary that some measure of pardon should be granted to us by those who are not of our arts, if for the sake of those who delight in them we proceed, more minutely than might appear proper to the others, to describe the nature of the sites and the forms of the arches; and this in order to demonstrate how n.o.ble intellects accommodate ornaments to places and inventions to sites with grace and beauty. We must relate, then, that since the street which runs from the Column to the Tornaquinci is, as everyone knows, very wide, and since it was necessary to pa.s.s from there into the street of the Tornabuoni, which by its narrowness brought it about that the eyes of those thus pa.s.sing fell for the most part on the not very ornate Tower of the Tornaquinci, which occupies more than half the street, it was thought expedient, in order to obviate that difficulty and to make the effect more pleasing, to construct in the width of the above-named street, in a Composite Order, two arches divided by a most ornate column, one of which gave free pa.s.sage to the procession, which proceeded through the said street of the Tornabuoni, and the other, concealing the view of the tower, appeared, by virtue of an ingenious prospect-scene that was painted there, to lead into another street similar to the said street of the Tornabuoni, wherein with most pleasing illusion were seen not only the houses and windows adorned with tapestries and full of men and women who were all intent on gazing at the spectacle, but also the gracious sight of a most lovely maiden on a white palfrey, accompanied by certain grooms, who appeared to be coming from there towards those approaching, insomuch that both on the day of the procession and all the time afterwards that she remained there, she roused in more than one person, by a gracious deception, a desire either to go to meet her or to wait until she should have pa.s.sed. These two arches, besides the above-mentioned column that divided them, were bordered by other columns of the same size, which supported architraves, friezes, and cornices; and over each arch was seen a lovely ornament in the form of a most beautiful picture, in which were seen painted, likewise in chiaroscuro, the stories of which we shall speak in a short time. The whole work was crowned above by an immense cornice with ornaments corresponding to the loveliness, grandeur, and magnificence of the rest, upon which, then, stood the statues, which, although they were at a height of a good twenty-five braccia from the level of the ground, nevertheless were wrought with such proportion that the height did not take away any of their grace, nor the distance any of the effect of any detail of their adornment and beauty. There stood in the same manner, as it were as wings to those two main arches, on the one side and on the other, two other arches, one of which, attached to the Palace of the Strozzi, and leading to the above-mentioned Tower of the Tornaquinci, gave pa.s.sage to those who wished to turn towards the Mercato Vecchio, even as the other, placed on the other side, did the same service to those who might desire to go towards the street called La Vigna; wherefore the Via di S.

Trinita, which, as has been told, is so broad, terminating thus in the four arches described, came to present such loveliness and a view so beautiful and so heroic, that it appeared impossible to afford greater satisfaction to the eyes of the spectators. And this was the front part, composed, as has been described, of four arches; of two main arches, namely, one false, and one real, which led into the Via de' Tornabuoni, and of two others at the sides, in the manner of wings, which were turned towards the two cross-streets. Now since, entering into the said street of the Tornabuoni on the left side, beside the Vigna, there debouches (as everyone knows) the Strada di S. Sisto, which likewise of necessity strikes the flank of the same Tower of the Tornaquinci, it was made to appear, in order to hide the same ugliness in a similar manner with the same illusion of a similar prospect-scene, that that side also pa.s.sed into a similar street of various houses placed in the same way, with an ingenious view of a very ornate fountain overflowing with crystal-clear waters, from which a woman with a child was represented as drawing some, so that one who was at no great distance would certainly have declared that she was real and by no means simulated. Now these four arches--to return to those in front--were supported and divided by five columns adorned in the manner described, forming as it were a rectangular piazza; and in a line with each of those columns, above the final cornice and the summit of the edifice, there was a most beautiful seat, while in the same manner four others were placed over the centre of each arch, which in all came to the number of nine. In eight of these was seen seated in each a statue of most imposing appearance, some shown in armour, some in the garb of peace, and others in the imperator's paludament, according to the characters of those who were portrayed in them; and in place of the ninth seat and the ninth statue, above the column in the centre, was seen placed an immense escutcheon, supported by two great Victories with the Imperial Crown of the House of Austria, to which that structure was dedicated; which was made manifest by a very large epitaph, which was seen placed with much grace and beauty below the escutcheon, saying:

VIRTUTI FELICITATIQUE INVICTISSIMae DOMUS AUSTRIae, MAJESTATIQUE TOT ET TANTORUM IMPERATORUM AC REGUM, QUI IN IPSA FLORUERUNT ET NUNC MAXIME FLORENT, FLORENTIA AUGUSTO CONJUGIO PARTICEPS ILLIUS FELICITATIS, GRATO PIOQUE ANIMO DICAT.

The intention had been, after bringing to those most splendid nuptials the Province of Austria, with her cities and rivers and with her ocean-sea, and after having caused her to be received by Tuscany with her cities, the Arno, and the Tyrrhenian Sea, as has been related, to bring then her great and glorious Caesars, all magnificent in adornment and pomp, as is the general custom in taking part in nuptials; as if they, having conducted thither with them the ill.u.s.trious bride, were come before to have the first meeting of kinsmen with the House of Medici, and to prove of what stock, and how glorious, was the n.o.ble virgin that they sought to present to them. And so, of the eight above-mentioned statues placed upon the eight seats, representing eight Emperors of that august house, there was seen on the right hand of the above-named escutcheon, over the arch through which the procession pa.s.sed, that of Maximilian II, the present magnanimous and excellent Emperor, and brother of the bride; below whom, in a very s.p.a.cious picture, there was seen painted with most beautiful invention his marvellous a.s.sumption to the Empire, himself being seated in the midst of the Electors, both spiritual and temporal, the first being recognized--besides their long vestments--by a Faith that was to be seen at their feet, and the others by a Hope in a like position. In the air, also, over his head, were seen certain little Angels that seemed to be chasing many malign spirits out of certain thick and dark clouds; these being intended either to suggest the hope which is felt that at some time, in that all-conquering and most constant nation, men will contrive to dissipate and clear away the clouds of those many disturbances that have occurred there in matters of religion, and restore her to her pristine purity and serenity of tranquil concord; or rather, that in that act all dissensions had flown away, and showing how marvellously, and with what unanimous consent of all Germany, amid that great variety of minds and religions, that a.s.sumption had taken place, which was explained by the words that were placed above, saying:

MAXIMILIa.n.u.s II SALUTATUR IMP. MAGNO CONSENSU GERMANORUM, ATQUE INGENTI Laet.i.tIA BONORUM OMNIUM, ET CHRISTIANae PIETATIS FELICITATE.

Then, next to the statue of the said Maximilian, in a place corresponding to the column at the corner, was seen that of the truly invincible Charles V; even as over the arch of that wing, which commanded the Via della Vigna, there was that of the second Albert, a man of most resolute valour, although he reigned but a short time. Above the column at the head was placed that of the great Rudolph, who, the first of that name, was also the first to introduce into that most n.o.ble house the Imperial dignity, and the first to enrich her with the great Archduchy of Austria; when, having reverted to the Empire for lack of a successor, he invested with it the first Albert, his son, whence the House of Austria has since taken its name. All which, in memory of an event so important, was seen painted in a most beautiful manner in the frieze above that arch, with an inscription at the foot that said:

RODULPHUS PRIMUS EX HAC FAMILIA IMP. ALBERTUM PRIMUM AUSTRIae PRINc.i.p.aTU DONAT.

But to return to the part on the left, beginning with the same place in the centre; beside the escutcheon, and over the false arch that covered the Tower of the Tornaquinci, was seen the statue of the most devout Ferdinand, father of the bride, beneath whose feet was seen painted the valorous resistance made by his efforts in the year 1529 in the defence of Vienna against the terrible a.s.sault of the Turks; demonstrated by the inscription written above, which said:

FERDINANDUS PRIMUS IMP., INGENTIBUS COPIIS TURCORUM c.u.m REGE IPSORUM PULSIS, VIENNAM n.o.bILEM URBEM FORTISSIME FELICISSIMEQUE DEFENDIT.

Even as at the corner there was the statue of the first and most renowned Maximilian, and over the arch that inclined towards the Palace of the Strozzi that of the pacific Frederick, father of that same Maximilian, leaning against an olive-trunk. Above the last column, which was attached to the above-named Palace of the Strozzi, was seen that of the first Albert mentioned above, who, as has been told, was first invested by his father Rudolph with the sovereignty of Austria, and gave to that most n.o.ble house the arms that are still to be seen at the present day. Those arms used formerly to be five little larks on a gold ground, whereas the new arms, which, as everyone may see, are all red with a white band that divides them, are said to have been introduced by him in that form because, as was seen painted there in a great picture beneath his feet, he found himself not otherwise in that most b.l.o.o.d.y battle fought by him with Adolf, who had been first deposed from the Imperial throne, when the said Albert was seen to slay Adolf valorously with his own hand and to win from him the Spolia Opima; and since, save for the middle of his person, which was white on account of his armour, over all the rest he found himself on that day all stained and dabbled with blood, he ordained that in memory of that his arms should be painted in the same manner both of form and colour, and that they should be preserved gloriously after him by his successors in that house; and beneath the picture, as with the others, there was to be read a similar inscription that said:

ALBERTUS I IMP. ADOLPHUM, CUI LEGIBUS IMPERIUM ABROGATUM FUERAT, MAGNO PROELIO VINCIT ET SPOLIA OPIMA REFERT.

And since each of the eight above-mentioned Emperors, besides the arms common to their whole house, also used during his lifetime arms private and peculiar to himself, for that reason, in order to make it more manifest to the beholders which Emperor each of the statues represented, there were also placed beneath their feet, on most beautiful shields, the particular arms that each, as has been told, had borne. All which, together with some pleasing and well-accommodated little scenes that were painted on the pedestals, made a magnificent, heroic, and very ornate effect; even as not less was done, on the columns and in all the parts where ornaments could be suitably placed, in addition to trophies and the arms, by the Crosses of S. Andrew, the Fusils, and the Pillars of Hercules, with the motto, PLUS ULTRA, the princ.i.p.al device of that arch, and many others like it used by the men of that Imperial family.

Such, then, was the princ.i.p.al view which presented itself to those who chose to pa.s.s by the direct way with the procession; but for those who came from the opposite direction, from the Via de' Tornabuoni towards the Tornaquinci, there appeared, with an ornamentation perhaps not less lovely, in so far as the narrowness of the street permitted, a similar spectacle arranged in due proportion. For on that side, which we will call the back, there was formed, as it were, another structure similar to that already described, save that on account of the narrowness of the street, whereas the first was seen composed of four arches, the other was of three only; one of which being joined with friezes and cornices to that upon which, as has been told, was placed the statue of the second Maximilian, now Emperor, and thus making it double, and another likewise attached to the above-described prospect-scene which concealed the tower, brought it about that the third, leaving also behind it a little quadrangular piazza, remained as the last for one coming with the procession, and appeared as the first for one approaching, on the contrary, from the street of the Tornabuoni; and upon that last, which was in the same form as those described, even as upon them were the Emperors, so upon it were seen towering, but standing on their feet, the two Kings Philip, one the father and the other the son of the great Charles V, the first Philip, namely, and also the second, so filled with liberality and justice, whom at the present day we honour as the great and puissant King of so many most n.o.ble realms. Between him and the statue of his grandfather there was seen painted in the circ.u.mambient frieze that same Philip II seated in majesty, and standing before him a tall woman in armour, recognized by the white cross that she had on the breast as being Malta, delivered by him through the valour of the most ill.u.s.trious Lord Don Garzia di Toledo, who was portrayed there, from the siege of the Turks; and she appeared to be seeking, as one grateful for that great service, to offer to him the obsidional crown of dog's gra.s.s, which was made manifest by the inscription written beneath, which said:

MELITA, EREPTA E FAUCIBUS IMMANISSIMORUM HOSTIUM STUDIO ET AUXILIIS PIISSIMI REGIS PHILIPPI, CONSERVATOREM SUUM CORONA GRAMINEA DONAT.

And to the end that the part turned towards the Strada della Vigna might have likewise some adornment, it was thought a fitting thing to declare the conception of the whole vast structure by a great inscription between the final cornice, where the statues stood, and the arch, which was a large s.p.a.ce, saying:

IMPERIO LATE FULGENTES ASPICE REGES; AUSTRIACA HOS OMNES EDIDIT ALTA DOMUS.

HIS INVICTA FUIT VIRTUS, HIS CUNCTA SUBACTA, HIS DOMITA EST TELLUS, SERVIT ET OCEa.n.u.s.

Even as was done in the same manner and for the same reason towards the Mercato Vecchio, in another inscription, saying:

IMPERIIS GENS NATA BONIS ET NATA TRIUMPHIS, QUAM GENUS E COELO DUCERE NEMO NEGET; TUQUE NITENS GERMEN DIVINae STIRPIS ETRUSCIS TRADITUM AGRIS NITIDIS, UT SOLA CULTA BEES; SI MIHI CONTINGAT VESTRO DE SEMINE FRUCTUM CARPERE ET IN NATIS CERNERE DETUR AVOS, O FORTUNATAM! VERO TUNC NOMINE FLORENS URBS FERAR, IN QUAM FORS CONGERAT OMNE BONUM.

OF THE CANTO DE' CARNESECCHI.

Now it appeared a fitting thing, having brought the triumphant Caesars to the place described above, to bring the magnanimous Medici, also, with all their pomp, to the corner that is called the Canto de' Carnesecchi, which is not far distant from it; as if, reverently receiving the Caesars, as is the custom, they were come to hold high revel and to do honour to the new-come bride, so much desired. And here, no less than in some of the pa.s.sages to follow, it will be necessary that I should be pardoned by those who are not of our arts for describing minutely the nature of the site and the form of the arches and other ornaments, for the reason that it is my intention to demonstrate not less the excellence of the hands and brushes of the craftsmen who executed the works, than the fertility and acuteness of brain of him who was the author of the stories and of the whole invention; and particularly because the site in that place was perhaps more disastrous and more difficult to accommodate than any of the others described or about to be described. For there the street turns towards S. Maria del Fiore, inclining to somewhat greater breadth, and comes to form the angle that by those of our arts is called obtuse; and that was the side on the right. Opposite, and on the left-hand side, there is a little piazza into which two streets lead, one that comes from the great Piazza di S.

Maria Novella, and the other likewise from another piazza called the Piazza Vecchia. In that little piazza, which is in truth very ill proportioned, there was built over all the lower part a structure in the form of an octagonal theatre, the doors of which were rectangular and in the Tuscan Order; and over each of them was seen a niche between two columns, with cornices, architraves, and other ornaments, rich and imposing, of Doric architecture, and then, rising higher, there was formed the third range, wherein was seen above the niches, in each s.p.a.ce, a compartment with most beautiful ornaments in painting. Now it is but proper to remark that although it has been said that the doors below were rectangular and Tuscan, nevertheless the two by which the princ.i.p.al road entered and issued forth, and by which the procession was to pa.s.s, were made in the semblance of arches, and projected for no small distance in the manner of vestibules, one towards the entrance and the other towards the exit, both the one and the other having been made as rich and ornate on the outer facade as was required for the sake of proportion.

Having thus described the general form of the whole edifice, let us come down to the details, beginning with the front part, which presented itself first to the eyes of pa.s.sers-by and was after the manner of a triumphal arch, as has been told, in the Corinthian Order. That arch was seen bordered on one side and on the other by two most warlike statues in armour, each of which, resting upon a graceful little door, was seen likewise coming forth from the middle of a niche placed between two well-proportioned columns. Of these statues, that which was to be seen on the right hand represented Duke Alessandro, the son-in-law of the most ill.u.s.trious Charles V, a Prince spirited and bold, and of most gracious manners, holding in one hand his sword, and in the other the Ducal baton, with a motto placed at his feet, which said, on account of his untimely death: SI FATA ASPERA RUMPAS, ALEXANDER ERIS. On the left hand was seen, portrayed like all the others from life, the most valorous Signor Giovanni, with the b.u.t.t of a broken lance in the hand, and likewise with his motto at his feet: ITALUM FORTISS. DUCTOR. And since over the architraves of those four columns already described there were placed very s.p.a.cious friezes in due proportion, in the width covered by the niches there was seen above each of the statues a compartment between two pilasters; in that above Duke Alessandro was seen in painting the device of a rhinoceros, used by him, with the motto: NON BUELVO SIN VENCER; and above the statue of Signor Giovanni, in the same fashion, his flaming thunderbolt. Above the arch in the centre, which, being more than seven braccia in width and more than two squares in height, gave ample room for the procession to pa.s.s, and above the cornice and the frontispieces, there was seen seated in majestic beauty that of the wise and valorous Duke Cosimo, the excellent father of the fortunate bridegroom, likewise with his motto at his feet, which said: PIETATE INSIGNIS ET ARMIS; and with a She-Wolf and a Lion on either side of him, representing Siena and Florence, which, supported and regarded lovingly by him, seemed to be reposing affectionately together. That statue was seen set in the frieze, exactly in a line with the arch, and between the pictures with the devices described; and in that same width, above the crowning cornice, there rose on high another painted compartment, with pilasters in due proportion, cornice, and other embellishments, wherein with great fitness, alluding to the election of the above-named Duke Cosimo, was seen represented the story of the young David when he was anointed King by Samuel, with his motto: A DOMINO FACTUM EST ISTUD. And then, above that last cornice, which was raised a very great distance from the ground, was seen the escutcheon of that most adventuresome family, which, large and magnificent as was fitting, was likewise supported, with the Ducal Crown, by two Victories also in imitation of marble; and over the princ.i.p.al entrance of the arch, in the most becoming place, was the inscription, which said:

VIRTUTI FELICITATIQUE ILl.u.s.tRISSIMae MEDICEae FAMILIae, QUae FLOS ITALIae, LUMEN ETRURIae, DECUS PATRIae SEMPER FUIT, NUNC ASCITA SIBI CaeSAREA SOBOLE CIVIBUS SECURITATEM ET OMNI SUO IMPERIO DIGNITATEM AUXIT, GRATA PATRIA DICAT.

Entering within that arch, one found a kind of loggia, pa.s.sing s.p.a.cious and long, with the vaulting above all painted and embellished with the most bizarre and beautiful ornaments and with various devices. After which, in two pilasters over which curved an arch, through which was the entrance into the above-mentioned theatre, there were seen opposite to one another two most graceful niches, as it were conjoined with that second arch; between which niches and the arch first described there were seen on the counterfeit walls that supported the loggia two s.p.a.cious painted compartments, the stories of which accompanied becomingly each its statue. Of these statues, that on the right hand was made to represent the great Cosimo, called the Elder, who, although there had been previously in the family of the Medici many men n.o.ble and distinguished in arms and in civil actions, was nevertheless the first founder of its extraordinary greatness, and as it were the root of that plant which has since grown so happily to such magnificence. In his picture was seen painted the supreme honour conferred upon him by his native Florence, when he was acclaimed by the public Senate as Pater Patriae; which was declared excellently well in the inscription that was seen below, saying:

COSMUS MEDICES, VETERE HONESTISSIMO OMNIUM SENATUS CONSULTO RENOVATO, PARENS PATRIae APPELLATUR.

In the upper part of the same pilaster in which was placed the niche, there was a little picture in due proportion wherein was portrayed his son, the magnificent Piero, father of the glorious Lorenzo, likewise called the Elder, the one and true Maecenas of his times, and the magnanimous preserver of the peace of Italy, whose statue was seen in the other above-mentioned niche, corresponding to that of the Elder Cosimo. In the little picture, which he in like manner had over his head, was painted the portrait of his brother, the magnificent Giuliano, the father of Pope Clement; and in the large picture, corresponding to that of Cosimo, was the public council held by all the Italian Princes, wherein was seen formed, by the advice of Lorenzo, that so stable and so prudent union by which, as long as he was alive and it endured, Italy was seen brought to the height of felicity, whereas afterwards, Lorenzo dying and that union perishing, she was seen precipitated into such conflagrations, calamities, and ruin; which was demonstrated no less clearly by the inscription that was beneath, saying:

LAURENTIUS MEDICES, BELLI ET PACIS ARTIBUS EXCELLENS, DIVINO SUO CONSILIO CONJUNCTIS ANIMIS ET OPIBUS PRINCIPUM ITALORUM ET INGENTI ITALIae TRANQUILLITATE PARTA, PARENS OPTIMI SaeCULI APPELLATUR.

Now, coming to the little piazza in which, as has been told, was placed the octagonal theatre, as I shall call it, and beginning from that first entrance to go round on the right hand, let me say that the first part was occupied by that arch of the entrance, above which, in a frieze corresponding in height to the third and last range of the theatre, were seen in four ovals the portrait of Giovanni di Bicci, father of Cosimo the Elder, and that of his son Lorenzo, brother of the same Cosimo, from whom this fortunate branch of the Medici now reigning had its origin; with that of Pier Francesco, son of the above-named Lorenzo, and likewise that of another Giovanni, father of the warlike Signor Giovanni mentioned above. In the second facade of the octagon, which was joined to the entrance, there was seen between two most ornate columns, seated in a great niche, with the royal staff in the hand, a figure in marble, like all the other statues, of Caterina, the valorous Queen of France, with all the other ornaments that are required in architecture both lovely and heroic. And in the third range above, where, as has been said, the painted compartments came, there was figured for her scene the same Queen seated in majesty, who had before her two most beautiful women in armour, one of whom, representing France, and kneeling before her, was shown presenting to her a handsome boy adorned with a royal crown, even as the other, who was Spain, standing, was shown in like manner presenting to her a most lovely girl; the boy being intended for the most Christian Charles IX, who is now revered as King of France, and the girl the most n.o.ble Queen of Spain, wife of the excellent King Philip. Then, about the same Caterina, were seen standing with much reverence some other smaller boys, representing her other most gracious little children, for whom a Fortune appeared to be holding sceptres, crowns, and realms. And since between that niche and the arch of the entrance, on account of the disproportion of the site, there was some s.p.a.ce left over, caused by the desire to make the arch not ungracefully awry, but well-proportioned and straight, for that reason there was placed there, as it were in a niche, a painted picture wherein by means of a Prudence and a Liberality, who stood clasped in a close embrace, it was shown very ingeniously with what guides the House of Medici had come to such a height; having above them, painted in a little picture equal in breadth to the others of the third range, a Piety humble and devout, recognized by the stork that was beside her, round whom were seen many little Angels that were showing to her various designs and models of the many churches, monasteries, and convents built by that magnificent and religious family. Now, proceeding to the third side of the octagon, where there was the arch by which one issued from the theatre, over the frontispiece of that arch was placed, as the heart of so many n.o.ble members, the statue of the most excellent and amiable Prince and Spouse, and at his feet the motto: SPES ALTERA FLORae. In the frieze above--meaning, as before, that this came to the height of the third range--to correspond to the other arch, where, as has been told, four portraits had been placed, in that part, also, were four other similar portraits of his ill.u.s.trious brothers, accommodated in a similar manner; those, namely, of the two very reverend Cardinals, Giovanni of revered memory and the most gracious Ferdinando, and those of the handsome Signor Don Garzia and the amiable Signor Don Pietro. Then, to go on to the fourth face, since the corner of the houses that are there, not giving room for the hollow of any recess, did not permit of the usual niche being made there, in its stead was seen accommodated with beautiful artifice, corresponding to the niches, a very large inscription that said:

HI, QUOS SACRA VIDES REDIMITOS TEMPORA MITRA PONTIFICES TRIPLICI, ROMAM TOTUMQUE PIORUM CONCILIUM REXERE PII; SED QUI PROPE FULGENT ILl.u.s.tRI E GENTE INSIGNES SAGULISVE TOGISVE HEROES, CLARAM PATRIAM POPULUMQUE POTENTEM IMPERIIS AUXERE SUIS CERTAQUE SALUTE.

NAM SEMEL ITALIAM DONARUNT AUREA SaeCLA, CONJUGIO AUGUSTO DECORANT NUNC ET MAGE FIRMANT.

Above it, in place of scene and picture, there were painted in two ovals the two devices, one of the fortunate Duke, the Capricorn with the seven Stars and with the motto, FIDUCIA FATI; and the other of the excellent Prince, the Weasel, with the motto, AMAT VICTORIA CURAM. Then in the three niches that came in the three following facades were the statues of the three Supreme Pontiffs who have come from that family; all rejoicing, likewise, to lend their honourable presence to so great a festival, as if every favour human and divine, every excellence in arms, letters, wisdom, and religion, and every kind of sovereignty, were a.s.sembled together to vie in rendering those splendid nuptials august and happy. Of those Pontiffs one was Pius IV, departed a short time before to a better life, over whose head, in his picture, was seen painted how, after the intricate disputes were ended at Trent and the sacrosanct Council was finished, the two Cardinal Legates presented to him its inviolable decrees; even as in that of Leo X was seen the conference held by him with Francis I, King of France, whereby with prudent counsel he bridled the vehemence of that bellicose and victorious Prince, so that he did not turn all Italy upside down, as he might perchance have done, and as he was certainly able to do; and in that of Clement VII was the Coronation, performed by him in Bologna, of the great Charles V. But in the last facade, which hit against the acute angle of the houses of the Carnesecchi, by which the straight line of that facade of the octagon was no little interrupted, nevertheless there was made with gracious and pleasing artifice another masterly inscription, after the likeness of the other, but curving somewhat outwards, which said:

PONTIFICES SUMMOS MEDIc.u.m DOMUS ALTA LEONEM, CLEMENTEM DEINCEPS, EDIDIT INDE PIUM.

QUID TOT NUNC REFERAM INSIGNES PIETATE VEL ARMIS MAGNANIMOSQUE DUCES EGREGIOSQUE VIROS?

GALLORUM INTER QUOS LATE REGINA REFULGET, HaeC REGIS CONJUNX, HaeC EADEM GENITRIX.

Such, as a whole, was the interior of the theatre described above; but although it may appear to have been described minutely enough, it is none the less true that an infinity of other ornaments, pictures, devices, and a thousand most bizarre and most beautiful fantasies which were placed throughout the Doric cornices and many s.p.a.ces according to opportunity, making a very rich and gracious effect, have been omitted as not being essential, in order not to weary the perhaps already tired reader; and anyone who delights in such things may imagine that no part was left without being finished with supreme mastery, consummate judgment, and infinite loveliness. And a most pleasing and beautiful finish was given to the highest range by the many arms that were seen distributed there in due proportion, which were Medici and Austria for the ill.u.s.trious Prince, the bridegroom, and her Highness; Medici and Toledo for the Duke, his father; Medici and Austria again, recognized by the three feathers as belonging to his predecessor Alessandro; Medici and Boulogne in Picardy for Lorenzo, Duke of Urbino; Medici and Savoy for Duke Giuliano; Medici and Orsini for the double kinship of the Elder Lorenzo and his son Piero; Medici and the Viper for the above-named Giovanni, husband of Caterina Sforza; Medici and Salviati for the glorious Signor Giovanni, his son; France and Medici for her most serene Highness the Queen; Ferrara and Medici for the Duke, with one of the sisters of the most excellent bridegroom; and Orsini and Medici for the other most gentle sister, married to the ill.u.s.trious Signor Paolo Giordano, Duke of Bracciano.

It now remains for us to describe the last part of the theatre and the exit, which, corresponding in size, in proportion, and in every other respect to the entrance already described, there will be little labour, I believe, in making known to the intelligent reader; save only that the arch which formed the facade there, facing towards S. Maria del Fiore, had been constructed, as a part less important, without statues and with somewhat less magnificence, and in their stead there had been placed over that arch a very large inscription, which said:

VIRTUS RARA TIBI, STIRPS ILl.u.s.tRISSIMA, QUONDAM CLARUM TUSCORUM DETULIT IMPERIUM; QUOD COSMUS FORTI PRaeFUNCTUS MUNERE MARTIS PROTULIT ET JUSTA c.u.m DITIONE REGIT: NUNC EADEM MAJOR DIVINA E GENTE JOANNAM ALLICIT IN REGNUM CONCILIATQUE TORO.

QUae SI CRESCET ITEM VENTURA IN PROLE NEPOTES, AUREA GENS TUSCIS EXORIETUR AGRIS.

In the two pilasters that were at the beginning of the pa.s.sage, or vestibule, as we have called it (over which pilasters rose the arch of the exit, upon which was the statue of the ill.u.s.trious bridegroom), were seen two niches, in one of which was placed the statue of the most gentle Giuliano, Duke of Nemours, the younger brother of Leo and Gonfalonier of Holy Church, who had likewise in the little picture that was above him the portrait of the magnanimous Cardinal Ippolito, his son, and, in the picture that stretched towards the exit, the scene of the Capitoline Theatre, dedicated to him by the Roman people in the year 1513, with an inscription to make this known, which said:

JULIa.n.u.s MEDICES EXIMIae VIRTUTIS ET PROBITATIS ERGO SUMMIS A POP.