The Story of Florence Part 9

If Dante mourns, there wheresoe'er he be, That such high fancies of a soul so proud Should be laid open to the vulgar crowd, (As, touching my Discourse, I'm told by thee),

This were my grievous pain; and certainly My proper blame should not be disavow'd; Though hereof somewhat, I declare aloud Were due to others, not alone to me.

False hopes, true poverty, and therewithal The blinded judgment of a host of friends, And their entreaties, made that I did thus.

But of all this there is no gain at all Unto the thankless souls with whose base ends Nothing agrees that's great or generous.

[Ill.u.s.tration: ARMS OF THE SESTO DI SAN PIERO]

CHAPTER VII

_From the Bargello past Santa Croce_

"Non ha l'ottimo artista alcun concetto, ch'un marmo solo in se non circonscriva col suo soverchio; e solo a quello arriva la man che ubbidisce all'intelletto."

--_Michelangelo Buonarroti._

Even as the Palazzo Vecchio or Palace of the Priors is essentially the monument of the _Secondo Popolo_, so the Palazzo del Podesta or Palace of the Commune belongs to the _Primo Popolo_; it was commenced in 1255, in that first great triumph of the democracy, although mainly finished towards the middle of the following century. Here sat the Podesta, with his a.s.sessors and retainers, whom he brought with him to Florence--himself always an alien n.o.ble. Originally he was the chief officer of the Republic, for the six months during which he held office, led the burgher forces in war, and acted as chief justice in peace; but he gradually sunk in popular estimation before the more democratic Captain of the People (who was himself, it will be remembered, normally an alien Guelf n.o.ble). A little later, both Podesta and Captain were eclipsed by the Gonfaloniere of Justice. In the fifteenth century the Podesta was still the president of the chief civil and criminal court of the city, and his office was only finally abolished during the Gonfalonierate of Piero Soderini at the beginning of the Cinquecento. Under the Medicean grand dukes the Bargello, or chief of police, resided here--hence the present name of the palace; and it is well to repeat, once for all, that when the Bargello, or Court of the Bargello, is mentioned in Florentine history--in grim tales of torture and executions and the like--it is not this building, but the residence of the Executore of Justice, now incorporated into the Palazzo Vecchio, that is usually meant.

It was in this Palace of the Podesta, however, that Guido Novello resided and ruled the city in the name of King Manfred, during the short period of Ghibelline tyranny that followed Montaperti, 1260-1266, and which the Via Ghibellina, first opened by him, recalls.

The Palace was broken into by the populace in 1295, just before the fall of Giano della Bella, because a Lombard Podesta had unjustly acquitted Corso Donati for the death of a burgher at the hands of his riotous retainers. Here, too, was Cante dei Gabbrielli of Gubbio installed by Charles of Valois, in November 1301, and from its gates issued the Crier of the Republic that summoned Dante Alighieri and his companions in misfortune to appear before the Podesta's court. In one of those dark vaulted rooms on the ground floor, now full of a choice collection of mediaeval arms and armour, Cante's successor, Fulcieri da Calvoli, tortured those of the Bianchi who fell into his cruel hands.

"He sells their flesh while it is still alive," says Dante in the _Purgatorio_, "then slayeth them like a worn out brute: many doth he deprive of life, and himself of honour." Some died under the torments, others were beheaded.

"Messer Donato Alberti," writes Dino Compagni, "mounted vilely upon an a.s.s, in a peasant's smock, was brought before the Podesta. And when he saw him, he asked him: 'Are you Messer Donato Alberti?' He replied: 'I am Donato. Would that Andrea da Cerreto were here before us, and Niccola Acciaioli, and Baldo d'Aguglione, and Jacopo da Certaldo, who have destroyed Florence.'[34] Then he was fastened to the rope and the cord adjusted to the pulley, and so they let him stay; and the windows and doors of the Palace were opened, and many citizens called in under other pretexts, that they might see him tortured and derided."

[34] These were the burghers and lawyers of the black faction, the Podesta's allies and friends. This was in the spring of 1303.

In the rising of the Ciompi, July 1378, the palace was forced to surrender to the insurgents after an a.s.sault of two hours. They let the Podesta escape, but burnt all books and papers, especially those of the hated Arte della Lana. At night as many as the palace could hold quartered themselves here.

[Ill.u.s.tration: BARGELLO COURTYARD AND STAIRCASE]

The beautiful court and stairway, surrounded by statues and armorial bearings, the ascent guarded by the symbolical lion of Florence and leading to an open loggia, is the work of Benci di Cione and Neri di Fioraventi, 1333-1345. The palace is now the National Museum of Sculpture and kindred arts and crafts. Keeping to the left, round the court itself, we see a marble St. Luke by Niccol di Piero Lamberti, of the end of the fourteenth century, from the niche of the Judges and Notaries at Or San Michele; a magnificent sixteenth century portalantern in beaten iron; the old marble St. John Evangelist, contemporaneous with the St. Luke, and probably by Piero di Giovanni Tedesco, from the niche of the Arte della Seta at Or San Michele; some allegorical statues by Giovanni da Bologna and Vincenzo Danti, in rather unsuccessful imitation of Michelangelo; a dying Adonis, questionably ascribed to Michelangelo. And, finally (numbered 18), there stands Michelangelo's so-called "Victory," the triumph of the ideal over outworn tyranny and superst.i.tion; a radiant youth, but worn and exhausted by the struggle, rising triumphantly over a shape of gigantic eld, so roughly hewn as to seem lost in the mist from which the young hero has gloriously freed himself.[35]

[35] Such, at least, seems the more obvious interpretation; but there is a certain sensuality and cruelty about the victor's expression, which, together with the fact that the vanquished undoubtedly has something of Michelangelo's own features, lead us to suspect that the master's sympathies were with the lost cause.

Also on the ground floor, to the left, are two rooms full of statuary.

The first contains nothing important, save perhaps the Madonna and Child with St. Peter and St. Paul, formerly above the Porta Romana. In the second room, a series of bas-reliefs by Benedetto da Rovezzano, begun in 1511 and terribly mutilated by the imperial soldiery during the siege, represent scenes connected with the life and miracles of St. Giovanni Gualberto, including the famous trial of Peter Igneus, who, in order to convict the Bishop of Florence of simony, pa.s.sed unharmed through the ordeal of fire. Here is the unfinished bust of Brutus (111) by Michelangelo, one of his latest works, and a significant expression of the state of the man's heart, when he was forced to rear sumptuous monuments for the new tyrants who had overthrown his beloved Republic. Then a chimney-piece by Benedetto da Rovezzano from the Casa Borgherini, one of the most sumptuous pieces of domestic furniture of the Renaissance; a very beautiful tondo of the Madonna and Child with the little St. John (123) by Michelangelo, made for Bartolommeo Pitti early in the Cinquecento; the mask of a grinning faun with gap-teeth, traditionally shown as the head struck out by the boy Michelangelo in his first visit to the Medici Gardens, when he attracted the attention of Lorenzo the Magnificent--but probably a comparatively modern work suggested by Vasari's story; a sketch in marble for the martyrdom of St. Andrew, supposed to be a juvenile work of Michelangelo's, but also doubtful. Here too is Michelangelo's drunken Bacchus (128), an exquisitely-modelled intoxicated vine-crowned youth, behind whom a sly little satyr lurks, nibbling grapes. It is one of the master's earliest works, very carefully and delicately finished, executed during his first visit to Rome, for Messer Jacopo Galli, probably about 1497. Of this statue Ruskin wrote, while it was still in the Uffizi: "The white la.s.situde of joyous limbs, panther-like, yet pa.s.sive, fainting with their own delight, that gleam among the Pagan formalisms of the Uffizi, far away, separating themselves in their l.u.s.trous lightness as the waves of an Alpine torrent do by their dancing from the dead stones, though the stones be as white as they." Sh.e.l.ley, on the contrary, found it "most revolting," "the idea of the deity of Bacchus in the conception of a Catholic." Near it is a tondo of the Virgin and Child with the Baptist, by Andrea Ferrucci.

At the top of the picturesque and richly ornamented staircase, to the right of the loggia on the first floor, opens a great vaulted hall, where the works of Donatello, casts and originals, surround a cast of his great equestrian monument to Gattamelata at Padua--a hall of such n.o.ble proportions that even Gattamelata looks insignificant, where he sits his war-horse between the Cross of the People and the Lily of the Commune. Here the general council of the Commune met--the only council (besides the special council of the Podesta) in which the magnates could sit and vote, and it was here, on July 6th, 1295, that Dante Alighieri first entered public life; he spoke in support of the modifications of the Ordinances of Justice--which may have very probably been a few months before he definitely a.s.sociated himself with the People by matriculating in the Arte dei Medici e Speziali.

Among the casts and copies that fill this room, there are several original and splendid works of Donatello; the Marzocco, or symbolical lion of Florence protecting the shield of the Commune, which was formerly in front of the Palace of the Priors; the bronze David, full of Donatello's delight in the exuberance of youthful manhood just budding; the San Giovannino or little St. John; the marble David, inferior to the bronze, but heralding Michelangelo; the bronze bust of a youth, called the son of Gattamelata; Love trampling upon a snake (bronze); St. George in marble from Or San Michele, an idealised condottiere of the Quattrocento; St. John the Baptist from the Baptistery; and a bronze relief of the Crucifixion. The coloured bust is now believed by many critics to be neither the portrait of Niccol da Uzzano nor by Donatello; it is possibly a Roman hero by some sculptor of the Seicento.

The next room is the audience chamber of the Podesta. Besides the Cross and the Lilies on the windows, its walls and roof are covered with the gold lion on azure ground, the arms of the Duke of Athens.

They were cancelled by decree of the Republic in 1343, and renewed in 1861; as a patriotically worded tablet on the left, under the window, explains. Opening out of this is the famous Chapel of the Podesta--famous for the frescoes on its walls--once a prison. From out of these terribly ruined frescoes stands the figure of Dante (stands out, alas, because completely repainted--a mere _rifacimento_ with hardly a trace of the original work left) in what was once a _Paradiso_; the dim figures on either side are said to represent Brunette Latini and either Corso Donati or Guido Cavalcanti. In spite of a very pleasant fable, it is absolutely certain that this is not a contemporaneous portrait of Dante (although it may be regarded as an authentic likeness, to some extent) and was not painted by Giotto; the frescoes were executed by some later follower of Giotto (possibly by Taddeo Gaddi, who painted the lost portraits of Dante and Guido in Santa Croce) after 1345. The two paintings below on either side, Madonna and Child and St. Jerome, are votive pictures commissioned by pious Podestas in 1490 and 1491, the former by Sebastiano Mainardi, the brother-in-law of Domenico Ghirlandaio.

The third room contains small bronze works by Tuscan masters of the Quattrocento. In the centre, Verrocchio's David (22), cast for Lorenzo dei Medici, one of the masterpieces of the fifteenth century. Here are the famous trial plates for the great compet.i.tion for the second bronze gates of the Baptistery, announced in 1401, the Sacrifice of Abraham, by Brunelleschi and Ghiberti respectively; the grace and harmony of Ghiberti's composition (12) contrast strongly with the force, almost violence, the dramatic action and movement of Brunelleschi's (13). Ghiberti's, unlike his rival's, is in one single piece; but, until lately, there has been a tendency to underrate the excellence of Brunelleschi's relief. Here, too, are Ghiberti's reliquary of St. Hyacinth, executed in 1428, with two beautiful floating Angels (21); several bas-reliefs by Bertoldo, Donatello's pupil and successor; the effigy of Marino Soccino, a lawyer of Siena, by the Sienese sculptor Il Vecchietta (16); and, in a gla.s.s case, Orpheus by Bertoldo, Hercules and Antaeus by Antonio Pollaiuolo, and Love on a Scallop Sh.e.l.l by Donatello. The following room contains mostly bronzes by later masters, especially Cellini, Giovanni da Bologna, Vincenzo Danti. The most noteworthy of its contents are Daniele Ricciarelli's striking bust of Michelangelo (37); Cellini's bronze sketch for Perseus (38), his bronze bust of Duke Cosimo I.

(39), his wax model for Perseus (40), the liberation of Andromeda, from the pedestal of the statue in the Loggia dei Lanzi (42); and above all, Giovanni da Bologna's flying Mercury (82), showing what exceedingly beautiful mythological work could still be produced when the golden days of the Renaissance were over. It was cast in 1565, and, like many of the best bronzes of this epoch, was originally placed on a fountain in one of the Medicean villas.

On the second floor, first a long room with seals, etc., guarded by Rosso's frescoed Justice. Here, and in the room on the left, is a most wonderful array of the works in enamelled terra cotta of the Della Robbias--Luca and Andrea, followed by Giovanni and their imitators. In the best work of Luca and Andrea--and there is much of their very best and most perfect work in these two rooms--religious devotion received its highest and most perfect expression in sculpture. Their Madonnas, Annunciations, Nativities and the like, are the sculptural counterpart to Angelico's divinest paintings, though never quite attaining to his spiritual insight and supra-sensible gaze upon life. Andrea's work is more pictorial in treatment than Luca's, has less vigour and even at times a perceptible trace of sentimentality; but in sheer beauty his very best creations do not yield to those of his great master and uncle. Both Luca and Andrea kept to the simple blue and white--in the best part of their work--and surrounded their Madonnas with exquisite festoons of fruit and leaves: "wrought them," in Pater's words, "into all sorts of marvellous frames and garlands, giving them their natural colours, only subdued a little, a little paler than nature."

To the right of the first Della Robbia room, are two more rooms full of statuary, and one with a collection of medals, including that commemorating Savonarola's Vision of the Sword of the Lord. In the first room--taking merely the more important--we may see Music, wrongly ascribed to Orcagna, probably earlier (139); bust of Charles VIII. of France (164), author uncertain; bust in terra cotta of a young warrior, by Antonio Pollaiuolo (161), as grandly insolent and confident as any of Signorelli's savage youths in the Orvieto frescoes. Also, bust of Matteo Palmieri, the humanist and suspected heretic, by Antonio Rossellino (160); bust of Pietro Mellini by Benedetto da Maiano (153); portrait of a young lady, by Matteo Civitali of Lucca (142); a long relief (146) ascribed to Verrocchio and representing the death of a lady of the Tornabuoni family in child-birth, which Sh.e.l.ley greatly admired and described at length, under the impression that he was studying a genuine antique: "It is altogether an admirable piece," he says, "quite in the spirit of Terence." The uncompromising realism of the male portraiture of the fifteenth and early sixteenth centuries is fully ill.u.s.trated in this room, and there is at the same time a peculiar tenderness and winsomeness in representing young girls, which is exceedingly attractive.

In the next room there are many excellent portraits of this kind, named and unnamed. Of more important works, we should notice the San Giovannino by Antonio Rossellino, and a tondo by the same master representing the Adoration of the Shepherds; Andrea Verrocchio's Madonna and Child; Verrocchio's Lady with the Bouquet (181), with those exquisite hands of which Gabriele D'Annunzio has almost wearied the readers of his _Gioconda_; by Matteo Civitali of Lucca, Faith gazing ecstatically upon the Sacrament. By Mino da Fiesole are a Madonna and Child, and several portrait busts--of the elder Piero dei Medici (234) and his brother Giovanni di Cosimo (236), and of Rinaldo della Luna. We should also notice the statues of Christ and three Apostles, of the school of Andrea Pisano; portrait of a girl by Desiderio da Settignano; two bas-reliefs by Luca della Robbia, representing the Liberation and Crucifixion of St. Peter, early works executed for a chapel in the Duomo; two sixteenth century busts, representing the younger Giuliano dei Medici and Giovanni delle Bande Nere; and, also, a curious fourteenth century group (222) apparently representing the coronation of an emperor by the Pope's legate.

In the centre of the room are St. John Baptist by Benedetto da Maiano; Bacchus, by Jacopo Sansovino; and Michelangelo's second David (224), frequently miscalled Apollo, made for Baccio Valori after the siege of Florence, and pathetically different from the gigantic David of his youth, which had been chiselled more than a quarter of a century before, in all the pa.s.sing glory of the Republican restoration.

When the Duke of Athens made himself tyrant of Florence, King Robert urged him to take up his abode in this palace, as Charles of Calabria had done, and leave the Palace of the People to the Priors. The advice was not taken, and, when the rising broke out, the palace was easily captured, before the Duke and his adherents in the Palazzo Vecchio were forced to surrender. Pa.s.sing along the Via Ghibellina, we presently come on the right to what was originally the _Stinche_, a prison for n.o.bles, _in qua carcerentur et custodiantur magnates_, so called from a castle of the Cavalcanti captured by the Neri in 1304, from which the prisoners were imprisoned here: it is now a part of the Teatro Pagliano. Later it became the place of captivity of the lowest criminals, and a first point of attack in risings of the populace. It contains, in a lunette on the stairs, a contemporary fresco representing the expulsion of the Duke of Athens on St. Anne's Day, 1343. St. Anne is giving the banners of the People and of the Commune to a group of stern Republican warriors, while with one hand she indicates the Palace of the Priors, fortified with the tyrant's towers and battlements. By its side rises a great throne, from which the Duke is shrinking in terror from the Angel of the wrath of G.o.d; a broken sword lies at his feet; the banner of Brienne lies dishonoured in the dust, with the scales of justice that he profaned and the book of the law that he outraged. In so solemn and chastened a spirit could the artists of the Trecento conceive of their Republic's deliverance. The fresco was probably painted by either Giottino or Maso di Banco; it was once wrongly ascribed to Cennino Cennini, who wrote the _Treatise on Painting_, which was the approved text-book in the studios and workshops of the earlier masters.

Further down the Via Ghibellina is the Casa Buonarroti, which once belonged to Michelangelo, and was bequeathed by his family to the city. It is entirely got up as a museum now, and not in the least suggestive of the great artist's life, though a tiny little study and a few letters and other relics are shown. There are, however, a certain number of his drawings here, including a design for the facade of San Lorenzo, which is of very questionable authenticity, and a Madonna. Two of his earliest works in marble are preserved here, executed at that epoch of his youth when he frequented the house and garden of Lorenzo the Magnificent. One is a bas-relief of the Madonna and Child--somewhat in the manner of Donatello--with two Angels at the top of a ladder. The other is a struggle of the Centaurs and Lapithae, a subject suggested to the boy by Angelo Poliziano, full of motion and vigour and wonderfully modelled. Vasari says, "To whoso considers this work, it does not seem from the hand of a youth, but from that of an accomplished and past master in these studies, and experienced in the art." The former is in the fifth room, the latter in the antechamber.

There are also two models for the great David; a bust of the master in bronze by Ricciarelli, and his portrait by his pupil, Marcello Venusti. A predella representing the legend of St. Nicholas is by Francesco Pesellino, whose works are rare. In the third room (among the later allegories and scenes from the master's life) is a large picture supposed to have been painted by Jacopo da Empoli from a cartoon by Michelangelo, representing the Holy Family with the four Evangelists; it is a peculiarly unattractive work. The cartoon, ascribed to Michelangelo, is in the British Museum; and I would suggest that it was originally not a religious picture at all, but an allegory of Charity. The cross in the little Baptist's hand does not occur in the cartoon.

Almost at the end of the Via Ghibellina are the Prisons which occupy the site of the famous convent of _Le Murate_. In this convent Caterina Sforza, the dethroned Lady of Forl and mother of Giovanni delle Bande Nere, ended her days in 1509. Here the d.u.c.h.essina, or "Little d.u.c.h.ess," as Caterina dei Medici was called, was placed by the Signoria after the expulsion of the Medici in 1527, in order to prevent Pope Clement VII. from using her for the purpose of a political marriage which might endanger the city. They seem to have feared especially the Prince of Orange. The result was that the convent became a centre of Medicean intrigue; and the Signoria, when the siege commenced, sent Salvestro Aldobrandini to take her away.

When Salvestro arrived, after he had been kept waiting for some time, the little d.u.c.h.ess came to the grill of the parlour, dressed as a nun, and said that she intended to take the habit and stay for ever "with these my reverend mothers." According to Varchi, the poor little girl--she was barely eleven years old, had lost both parents in the year of her birth, and was practically alone in the city where the cruellest threats had been uttered against her--was terribly frightened and cried bitterly, "not knowing to what glory and felicity her life had been reserved by G.o.d and the Heavens." But Messer Salvestro and Messer Antonio de' Nerli did all they could to comfort and rea.s.sure her, and took her to the convent of Santa Lucia in the Via di San Gallo; "in which monastery," says Nardi, "she was received and treated with the same maternal love by those nuns, until the end of the war."

In the centre of the oblong Piazza di Santa Croce rises the statue and monument of Dante Alighieri, erected on the occasion of the sixth centenary of his birth, in those glowing early days of the first completion of Italian unity; at its back stand the great Gothic church and convent, which Arnolfo di Cambio commenced for the Franciscans in 1294, while Dante was still in Florence--the year before he entered political life.

The great Piazza was a centre of festivities and stirring Florentine life, and has witnessed many historical scenes, in old times and in new, from the tournaments and jousts of the Middle Ages and early Renaissance to the penitential processions of the victims of the Inquisition in the days of the Medicean Grand Dukes, from the preaching of San Bernardino of Siena to the missionary labours of the Jesuit Segneri. On Christmas Day, 1301, Niccol dei Cerchi was pa.s.sing through this Piazza with a few friends on horseback on his way to his farm and mill--for that was hardly a happy Christmas for Guelfs of the white faction in Florence--while a friar was preaching in the open air, announcing the birth of Christ to the crowd; when Simone Donati with a band of mounted retainers gave chase, and, when he overtook him, killed him. In the scuffle Simone himself received a mortal wound, of which he died the same night. "Although it was a just judgment," writes Villani, "yet was it held a great loss, for the said Simone was the most accomplished and virtuous squire in Florence, and of the greatest promise, and he was all the hope of his father, Messer Corso." It was in the convent of Santa Croce that the Duke of Athens took up his abode in 1342, with much parade of religious simplicity, when about to seize upon the lordship of Florence; here, on that fateful September 8th, he a.s.sembled his followers and adherents in the Piazza, whence they marched to the Parliament at the Palazzo Vecchio, where he was proclaimed Signor of Florence for life. But in the following year, when he attempted to celebrate Easter with great pomp and luxury, and held grand jousts in this same Piazza for many days, the people sullenly held aloof and very few citizens entered the lists.

Most gorgeous and altogether successful was the tournament given here by Lorenzo dei Medici in 1467, to celebrate his approaching marriage with Clarice Orsini, when he jousted against all comers in honour of the lady of his sonnets and odes, Lucrezia Donati. There was not much serious tilting about it, but a magnificent display of rich costumes and precious jewelled caps and helmets, and a glorious procession which must have been a positive feast of colour. "To follow the custom," writes Lorenzo himself, "and do like others, I gave a tournament on the Piazza Santa Croce at great cost and with much magnificence; I find that about 10,000 ducats were spent on it.

Although I was not a very vigorous warrior, nor a hard hitter, the first prize was adjudged to me, a helmet inlaid with silver and a figure of Mars as the crest."[36] He sent a long account of the proceedings to his future bride, who answered: "I am glad that you are successful in what gives you pleasure, and that my prayer is heard, for I have no other wish than to see you happy." Luca Pulci, the luckless brother of Luigi, wrote a dull poem on the not very inspiring theme. A few years later, at the end of January 1478, a less sumptuous entertainment of the same sort was given by Giuliano dei Medici; and it was apparently on this occasion that Poliziano commenced his famous stanzas in honour of Giuliano and his lady love, Simonetta,--stanzas which were interrupted by the daggers of the Pazzi and their accomplices. It was no longer time for soft song or courtly sport when prelates and n.o.bles were hanging from the palace windows, and the thunders of the Papal interdict were about to burst over the city and her rulers.

[36] Quoted in Mr Armstrong's _Lorenzo de' Medici_.

Entering the Church through the unpleasing modern facade (which is, however, said to have followed the design of Cronaca himself, the architect of the exceedingly graceful convent of San Salvadore al Monte on the other side of the river), we catch a glow of colour from the east end, from the stained gla.s.s and frescoes in the choir. The vast and s.p.a.cious nave of Arnolfo--like his Palazzo Vecchio, partly spoiled by Vasari--ends rather abruptly in the line of ten chapels with, in the midst of them, one very high recess which represents the apse and choir, thus giving the whole the T shape which we find in the Italian Gothic churches which were reared for the friars preachers and friars minor. The somewhat unsightly appearance, which many churches of this kind present in Italy, is due to the fact that Arnolfo and his school intended every inch of wall to be covered with significant fresco paintings, and this coloured decoration was seldom completely carried out, or has perished in the course of time. Fergusson remarks that "an Italian Church without its coloured decoration is only a framed canvas without harmony or meaning."

Santa Croce is, in the words of the late Dean of Westminster, "the recognised shrine of Italian genius." On the pavement beneath our feet, outstretched on their tombstones, lie effigies of grave Florentine citizens, friars of note, prelates, scholars, warriors; in their robes of state or of daily life, in the Franciscan garb or in armour, with arms folded across their b.r.e.a.s.t.s, or still clasping the books they loved and wrote (in this way the humanists, such as Leonardo Bruni, were laid out in state after death); the knights have their swords by their sides, which they had wielded in defence of the Republic, and their hands clasped in prayer. Here they lie, waiting the resurrection. Has any echo of the Risorgimento reached them? In their long sleep, have they dreamed aught of the movement that has led Florence to raise tablets to the names of Cavour and Mazzini upon these walls? The tombs on the floor of the nave are mostly of the fourteenth and fifteenth centuries; the second from the central door is that of Galileo dei Galilei, like the other scholars lying with his hands folded across the book on his breast, the ancestor of the immortal astronomer: "This Galileo of the Galilei was, in his time, the head of philosophy and medicine; who also in the highest magistracy loved the Republic marvellously." About the middle of the nave is the tomb of John Catrick, Bishop of Exeter, who had come to Florence on an emba.s.sy from Henry V. of England to Pope Martin V., in 1419. But those on the floor at the end of the right aisle and in the short right transept are the earliest and most interesting to the lover of early Florentine history; notice, for instance, the knightly tomb of a warrior of the great Ghibelline house of the Ubaldini, dated 1358, at the foot of the steps to the chapel at the end of the right transept; and there is a similar one, only less fine, on the opposite side. Larger and more pretentious tombs and monuments of more recent date, to the heroes of Italian life and thought, pa.s.s in series along the side walls of the whole church, between the altars of the south and north (right and left) aisles.

[Ill.u.s.tration: SANTA CROCE]

Over the central door, below the window whose stained gla.s.s is said to have been designed by Ghiberti, is Donatello's bronze statue of King Robert's canonised brother, the Franciscan Bishop St. Louis of Toulouse. This St. Louis, the patron saint of the Parte Guelfa, had been ordered by the captains of the Party for their niche at San Michele in Orto, from which he was irreverently banished shortly after the restoration of Cosimo dei Medici, when the Parte Guelfa was forced to surrender its niche. On the left of the entrance should be noticed with grat.i.tude the tomb of the historian of the Florentine Republic, the Italian patriot, Gino Capponi.

In the right aisle are the tomb and monument of Michelangelo, designed by Giorgio Vasari; on the pillar opposite to it, over the holy water stoop, a beautiful Madonna and Child in marble by Bernardo Rossellino, beneath which lies Francesco Nori, who was murdered whilst defending Lorenzo dei Medici in the Pazzi conspiracy; the comparatively modern monument to Dante, whose bones rest at Ravenna and for whom Michelangelo had offered in vain to raise a worthy sepulchre. Two sonnets by the great sculptor supply to some extent in verse what he was not suffered to do in marble: I quote the finer of the two, from Addington Symonds' excellent translation:--

From Heaven his spirit came, and, robed in clay, The realms of justice and of mercy trod: Then rose a living man to gaze on G.o.d, That he might make the truth as clear as day.

For that pure star, that brightened with its ray The undeserving nest where I was born, The whole wide world would be a prize to scorn: None but his Maker can due guerdon pay.

I speak of Dante, whose high work remains Unknown, unhonoured by that thankless brood Who only to just men deny their wage.

Were I but he! Born for like lingering pains, Against his exile coupled with his good I'd gladly change the world's best heritage.

Then comes Canova's monument to Vittorio Alfieri, the great tragic dramatist of Italy (died 1803); followed by an eighteenth century monument to Machiavelli (died 1527), and the tomb of Padre Lanzi, the Jesuit historian of Italian art. The pulpit by a pillar in the nave is considered the most beautiful pulpit in Italy, and is, perhaps, Benedetto da Maiano's finest work; the bas-reliefs in marble represent scenes from the life of St. Francis and the martyrdom of some of his friars, with figures of the virtues below. Beyond Padre Lanzi's grave, over the tomb of the learned Franciscan Fra Benedetto Cavalcanti, are two exceedingly powerful figures of saints in fresco, the Baptist and St. Francis; they have been ascribed to various painters, but are almost certainly the work of Domenico Veneziano, and closely resemble the figures of the same saints in his undoubtedly genuine picture in the Sala di Lorenzo Monaco in the Uffizi. The adjacent Annunciation by Donatello, in _pietra serena_, was also made for the Cavalcanti; its fine Renaissance architectural setting is likewise Donatello's work. Above it are four lovely wooden Putti, who seem embracing each other for fear of tumbling off from their height; originally there were six, and the other two are preserved in the convent. M. Reymond has shown that this Annunciation is not an early work of the master's, as Vasari and others state, but is of the same style and period as the Cantoria of the Duomo, about 1435. Lastly, at the end of the right aisle is the splendid tomb of Leonardo Bruni (died 1444), secretary of the Republic, translator of Plato, historian of Florence, biographer of Dante,--the outstretched rec.u.mbent figure of the grand old humanist, watched over by Mary and her Babe with the Angels, by Bernardo Rossellino. A worthy monument to a n.o.ble soul, whose memory is dear to every lover of Dante. Yet we may, not without advantage, contrast it with the simpler Gothic sepulchres on the floor of the transepts,--the marble slabs that cover the bones of the old Florentines who, in war and peace, did the deeds of which Leonardo and his kind wrote.

The tombs and monuments in the left aisle are less interesting.

Opposite Leonardo Bruni's tomb is that of his successor, Carlo Marsuppini, called Carlo Aretino (died 1453), by Desiderio da Settignano; he was a good Greek scholar, a fluent orator and a professed Pagan, but accomplished no literary work of any value; utterly inferior as a man and as an author to Leonardo, he has an even more gorgeous tomb. In this aisle there are modern monuments to Vespasiano Bisticci and Donatello; and, opposite to Michelangelo's tomb, that of Galileo himself (died 1642), with traces of old fourteenth century frescoes round it, which may, perhaps, symbolise for us the fleeting phantoms of mediaeval thought fading away before the advance of science.

In the central chapel of the left or northern transept is the famous wooden Crucifix by Donatello, which gave rise to the fraternal contest between him and Brunelleschi. Brunelleschi told his friend that he had put upon his cross a contadino and not a figure like that of Christ.