June 28th. -- Yesterday afternoon, J---- and I went to a horse-race, which took place in the Corso and contiguous line of streets, in further celebration of the Feast of St. John. A crowd of people was already collected, all along the line of the proposed race, as early as six o'clock; and there were a great many carriages driving amid the throng, -- open barouches
mostly, -- in which the beauty and gentility of Florence were freely displayed. It was a repetition of the scene in the Corso at Rome, at Carnival time, with out the masks, the fun, and the confetti. The Grand Duke and Duchess, and the court, likewise made their appearance in as many as seven or eight coaches-and-six, each with a coachman, three footmen, and a postillion in the royal livery, and attended by a troop of horsemen in scarlet coats and cocked hats. I did not particularly notice the Grand Duke himself; but, in the carriage behind him, there sat only a lady, who favoured the people along the street with a constant succession of bows, repeated at such short intervals, and so quickly, as to be little more than nods -- therefore not particularly graceful or majestic. Having the good fortune to be favoured with one of these nods, I lifted my hat in response, and may therefore claim a bowing acquaintance with the Grand Duchess. She is a Bourbon of the Naples family, and was a pale, handsome woman, of princely aspect enough. The crowd evinced no enthusiasm, nor the slightest feeling of any kind, in acknowledgment of the presence of their rulers; and, indeed, I think I never saw a crowd so well-behaved; that is, with so few salient points, so little ebullition, so absolutely tame, as this Florentine one. After all, and much contrary to my expectations, an American crowd has incomparably more life than any other; and meeting on any casual occasion, it will talk, laugh, roar, and be diversified with a thousand characteristic incidents and gleams and shadows, that you see nothing of here. The people seems to have no part even in its own gatherings. It comes together merely as a mass of spectators, and must not so much as amuse itself by any activity of mind.
The race, which was the attraction that drew us all together, turned out a very pitiful affair. When we had waited till nearly dusk, the street being thronged quite across, insomuch that it seemed impossible that it should be cleared as a race-course, there came suddenly from every throat a quick, sharp exclamation, combining into a general shout. Immediately the crowd pressed back on each side of the street; a moment afterwards, there was a rapid pattering of hoofs over the earth with which the pavement was strewn, and I saw the head and back of a horse rushing past. A few seconds more, and another horse followed; and at another little interval, a third. This was all that we had waited for; all that I saw, or anybody else, except those who stood on the utmost verge of the course, at the risk of being trampled down and killed. Two men were killed in this way on Thursday, and certainly human life was never spent for a poorer object. The spectators at the windows, to be sure, having the horses in sight for a longer time, might get a little more enjoyment out of the affair. By-the-bye, the most picturesque aspect of the scene was the life given to it by the many faces -- some of them fair ones -- that looked out from window and balcony, all along the curving line of lofty palaces and edifices, between which the race course lay; and from nearly every window, and over every balcony, was flung a silken texture, or cloth of brilliant hue, or piece of tapestry or carpet, or what ever adornment of the kind could be had, so as to dress up the street in gala attire. But the Feast of St. John, like the Carnival, is but a meagre semblance of festivity, kept alive factitiously, and dying a lingering death of centuries. It takes the exuberant mind and heart of a people to keep its holidays alive.
I do not know whether there be any populace in Florence, but I saw none that I recognised as such, on this occason. All the people were respectably dressed and perfectly well-behaved; and soldiers and priests were scattered abundantly among the throng. On my way home, I saw the Teatro Goldoni, which is in our own street, lighted up for a representation this Sunday evening. It shocked my New England prejudices a little.
This forenoon, my wife and I went to the church of Santa Croce, the great monumental deposit of Florentine worthies. The piazza before it is a wide, gravelled square, where the liberty of Florence, if it really ever had any genuine liberty, came into existence some hundreds of years ago, by the people's taking its own rights into its hands, and putting its own immediate will in execution. The piazza has not much appearance of antiquity, except that the facade of one of the houses is quite covered with ancient frescoes, a good deal faded and obliterated, yet with traces enough of old glory to show that the colours must have been well laid on.
The front of the church, the foundation of which was laid six centuries ago, is still waiting for its casing of marble, and I suppose will wait for ever, though a carpenter's staging is now erected before it, as if with the purpose of doing something.
The interior is spacious, the length of the church being between four and five hundred feet. There is a nave, roofed with wooden cross-beams, lighted by a clerestory, and supported on each side by seven great pointed arches, which rest upon octagonal pillars.
The octagon seems to be a favourite shape in Florence. These pillars were clad in yellow and scarlet damask, in honour of the Feast of St. John. The aisles, on each side of the nave, are lighted with high and somewhat narrow windows of painted glass, the effect of which, however, is much diminished by the flood of common daylight that comes in through the windows of the clerestory. It is like admitting too much of the light of reason and worldly intelligence into the mind, instead of illuminating it wholly through a religious medium. The many-hued saints and angels lose their mysterious effulgence, when we get white light enough, and find we see all the better without their help.
The main pavement of the church is brickwork; but it is inlaid with many sepulchral slabs of marble, on some of which knightly or priestly figures are sculptured in bas-relief. In both of the side-aisles there are saintly shrines, alternating with mural monuments, some of which record names as illustrious as any in the world. As you enter, the first monument on your right is that of Michel Angelo, occupying the ancient burial site of his family. The general design is a heavy sarcophagus of coloured marble, with the figures of Sculpture, Painting, and Architecture as mourners, and Michel Angelo's bust above, the whole assuming a pyramidal form. You pass a shrine, within its framework of marble pillars and a pediment, and come next to Dante's monument, a modern work, with likewise its sarcophagus, and some huge, cold images weeping and sprawling over it, and an unimpressive statue of Dante sitting above.
Another shrine intervenes, and next you see the tomb of Alfieri, erected to his memory by the Countess of Albany, who pays, out of a woman's love, the honour which his country owed him. Her own monument is in one of the chapels of the transept.
Passing the next shrine you see the tomb of Macchiavelli, which I think was constructed not many years after his death. The rest of the monuments, on this side of the church, commemorate people of less than world-wide fame; and though the opposite side has likewise a monument alternating with each shrine, I remember only the names of Raphael Morghem and of Galileo. The tomb of the latter is over against that of Michel Angelo, being the first large tomb on the left hand wall as you enter the church. It has the usual heavy sarcophagus, surmounted by a bust of Galileo, in the habit of his time, and is, of course, duly provided with mourners in the shape of Science or Astronomy, or some such cold-hearted people. I wish every sculptor might be at once imprisoned for life who shall hereafter chisel an allegoric figure; and as for those who have sculptured them heretofore, let them be kept in purgatory till the marble shall have crumbled away. It is especially absurd to assign to this frozen sisterhood of the allegoric family the office of weeping for the dead, inasmuch as they have incomparably less feeling than a lump of ice, which might contrive to shed a tear if the sun shone on it. But they seem to let themselves out, like the hired mourners of an English funeral, for the very reason that, having no interest in the dead person, nor any affections or emotions whatever, it costs them no wear and tear of heart.
All round both transepts of the church there is a series of chapels, into most of which we went, and generally found an inscrutably dark picture over the altar, and often a marble bust or two, or perhaps a mediaeval statue of a saint or a modern monumental bas-relief in marble, as white as new-fallen snow. A chapel of the Bonapartes is here, containing memorials of two female members of the family. In several chapels, moreover, there were some of those distressing frescoes by Giotto, Cimabue, or their compeers, which, whenever I see them -- poor, faded relics, looking as if the devil had been rubbing and scrubbing them for centuries, in spite against the saints my heart sinks and my stomach sickens. There is no other despondency like this; it is a new shade of human misery, akin to the physical disease that comes from dry-rot in a wall. These frescoes are to a church what dreary, old remembrances are to a mind; the drearier because they were once bright: Hope fading into Disappointment, Joy into Grief, and festal splendour passing into funereal duskiness, and saddening you all the more by the grim identity that you find to exist between gay things and sorrowful ones. Only wait long enough, and they turn out to be the very same.
All the time we were in the church some great religious ceremony had been going forward; the organ playing and the white-robed priests bowing, gesticulating, and making Latin prayers at the high altar, where at least a hundred wax tapers were burning in constellations. Everybody knelt, except ourselves, yet seemed not to be troubled by the echoes of our passing footsteps, nor to require that we should pray along with them. They consider us already lost irrevocably, no doubt, and therefore right enough in taking no heed of their devotions; not but what we take so much heed, however, as to give the smallest possible disturbance. By-and-by we sat down in the nave of the church, till the ceremony should be concluded; and then my wife left me to go in quest of yet another chapel, where either Cimabue or Giotto, or both, have left some of their now ghastly decorations. While she was gone I threw my eyes about the church, and came to the conclusion that, in spite of its antiquity, its size, its architecture, its painted windows, its tombs of great men, and all the reverence and interest that broods over them, it is not an impressive edifice. Any little Norman church in England would impress me as much, and more. There is something, I do not know what, but it is in the region of the heart, rather than in the intellect, that Italian architecture, of whatever age or style, never seems to reach.
Leaving the Santa Croce, we went next in quest of the Riccardi Palace. On our way, in the rear of the grand ducal piazza, we passed by the Bargello, formerly the palace of the Podesta of Florence, and now converted into a prison. It is an immense square edifice of dark stone, with a tall, lank tower rising high above it at one corner. Two stone lions, symbols of the city, lash their tails and glare at the passers-by; and all over the front of the building windows are scattered irregularly, and grated with rusty iron bars; also there are many square holes, which probably admit a little light and a breath or two of air into prisoners' cells. It is a very ugly edifice, but looks antique, and as if a vast deal of history might have been transacted within it, or have beaten, like fierce blasts, against its dark, massive walls, since the thirteenth century. When I first saw the city it struck me that there were few marks of antiquity in Florence; but I am now inclined to think otherwise, although the bright Italian atmosphere, and the general squareness and monotony of the Italian architecture, have their effect in apparently modernising everything. But everywhere we see the ponderous Tuscan basements that never can decay, and which will look, five hundred years hence, as they look now; and one often passes beneath an abbreviated remnant of what was once a lofty tower, perhaps three hundred feet high, such as used to be numerous in Florence when each noble of the city had his own warfare to wage; and there are patches of sculpture that look old on houses, the modern stucco of which causes them to look almost new. Here and there an unmistakable antiquity stands in its own impressive shadow; the church of San Michele, for instance, once a market, but which grew to be a church by some inherent fitness and inevitable consecration. It has not the least the aspect of a church, being high and square, like a mediaeval palace; but deep and high niches are let into its walls, within which stand great statues of saints, masterpieces of Donatello, and other sculptors of that age, before sculpture began to be congealed by the influence of Greek art.
The Riccardi Palace is at the corner of the Via Larga. It was built by the first Cosmo di Medici, the old banker, more than four centuries ago, and was long the home of the ignoble race of princes which he left behind him. It looks fit to be still the home of a princely race, being nowise dilapidated nor decayed externally, nor likely to be so, its high Tuscan basement being as solid as a ledge of rock, and its upper portion not much less so, though smoothed into another order of stately architecture. Entering its court from the Via Larga, we found our selves beneath a pillared arcade, passing round the court like a cloister; and on the walls of the palace, under this succession of arches, were statues, basreliefs and sarcophagi, in which, first, dead Pagans had slept, and then dead Christians, before the sculptured coffins were brought hither to adorn the palace of the Medici. In the most prominent place was a Latin inscription of great length and breadth, chiefly in praise of old Cosmo and his deeds and wisdom. This mansion gives the visitor a stately notion of the life of a commercial man in the days when merchants were princes; not that it seems to be so wonderfully extensive, nor so very grand, for I suppose there are a dozen Roman palaces that excel it in both these particulars. Still, we cannot but be conscious that it must have been, in some sense, a great man who thought of founding a homestead like this, and was capable of filling it with his personality, as the hand fills a glove. It has been found spacious enough, since Cosmo's time, for an emperor and a pope and a king, all of whom have been guests in this house. After being the family mansion of the Medici for nearly two centuries it was sold to the Riccardis, but was subsequently bought of them by the Government, and it is now occupied by public offices and societies.
After sufficiently examining the court and its antiquities, we ascended a noble staircase that passes, by broad flights and square turns, to the region above the basement. Here the palace is cut up and portioned off into little rooms and passages, and everywhere there were desks, inkstands, and men, with pens in their fingers or behind their ears. We were shown into a little antique chapel, quite covered with frescoes in the Giotto style, but painted by a certain Gonzoli. They were in pretty good preservation, and, in fact, I am wrong in comparing them to Giotto's works, inasmuch as there must have been nearly two hundred years between the two artists. The chapel was furnished with curiously-carved old chairs, and looked surprisingly venerable within its little precinct.
We were next guided into the grand gallery, a hall of respectable size, with a frescoed ceiling, on which is represented the blue sky, and various members of the Medici family ascending through it by the help of angelic personages, who seem only to have waited for their society to be perfectly happy. At least, this was the meaning, so far as I could make it out. Along one side of the gallery were oil pictures on looking-glasses, rather good than otherwise; but Rome, with her palaces and villas, takes the splendour out of all this sort of thing elsewhere.
On our way home, and on our own side of the Ponte Vecchio, we passed the Palazzo Guicciardini, the ancient residence of the historian of Italy, who was a politic statesman of his day, and probably as cruel and unprincipled as any of those whose deeds he has recorded. Opposite, across the narrow way, stands the house of Macchiavelli, who was his friend, and, I should judge, an honester man than he. The house is distinguished by a marble tablet, let into the wall, commemorative of Macchiavelli, but has nothing antique or picturesque about it, being in a contiguous line with other smooth-faced and stuccoed edifices.
mostly, -- in which the beauty and gentility of Florence were freely displayed. It was a repetition of the scene in the Corso at Rome, at Carnival time, with out the masks, the fun, and the confetti. The Grand Duke and Duchess, and the court, likewise made their appearance in as many as seven or eight coaches-and-six, each with a coachman, three footmen, and a postillion in the royal livery, and attended by a troop of horsemen in scarlet coats and cocked hats. I did not particularly notice the Grand Duke himself; but, in the carriage behind him, there sat only a lady, who favoured the people along the street with a constant succession of bows, repeated at such short intervals, and so quickly, as to be little more than nods -- therefore not particularly graceful or majestic. Having the good fortune to be favoured with one of these nods, I lifted my hat in response, and may therefore claim a bowing acquaintance with the Grand Duchess. She is a Bourbon of the Naples family, and was a pale, handsome woman, of princely aspect enough. The crowd evinced no enthusiasm, nor the slightest feeling of any kind, in acknowledgment of the presence of their rulers; and, indeed, I think I never saw a crowd so well-behaved; that is, with so few salient points, so little ebullition, so absolutely tame, as this Florentine one. After all, and much contrary to my expectations, an American crowd has incomparably more life than any other; and meeting on any casual occasion, it will talk, laugh, roar, and be diversified with a thousand characteristic incidents and gleams and shadows, that you see nothing of here. The people seems to have no part even in its own gatherings. It comes together merely as a mass of spectators, and must not so much as amuse itself by any activity of mind.
The race, which was the attraction that drew us all together, turned out a very pitiful affair. When we had waited till nearly dusk, the street being thronged quite across, insomuch that it seemed impossible that it should be cleared as a race-course, there came suddenly from every throat a quick, sharp exclamation, combining into a general shout. Immediately the crowd pressed back on each side of the street; a moment afterwards, there was a rapid pattering of hoofs over the earth with which the pavement was strewn, and I saw the head and back of a horse rushing past. A few seconds more, and another horse followed; and at another little interval, a third. This was all that we had waited for; all that I saw, or anybody else, except those who stood on the utmost verge of the course, at the risk of being trampled down and killed. Two men were killed in this way on Thursday, and certainly human life was never spent for a poorer object. The spectators at the windows, to be sure, having the horses in sight for a longer time, might get a little more enjoyment out of the affair. By-the-bye, the most picturesque aspect of the scene was the life given to it by the many faces -- some of them fair ones -- that looked out from window and balcony, all along the curving line of lofty palaces and edifices, between which the race course lay; and from nearly every window, and over every balcony, was flung a silken texture, or cloth of brilliant hue, or piece of tapestry or carpet, or what ever adornment of the kind could be had, so as to dress up the street in gala attire. But the Feast of St. John, like the Carnival, is but a meagre semblance of festivity, kept alive factitiously, and dying a lingering death of centuries. It takes the exuberant mind and heart of a people to keep its holidays alive.
I do not know whether there be any populace in Florence, but I saw none that I recognised as such, on this occason. All the people were respectably dressed and perfectly well-behaved; and soldiers and priests were scattered abundantly among the throng. On my way home, I saw the Teatro Goldoni, which is in our own street, lighted up for a representation this Sunday evening. It shocked my New England prejudices a little.
This forenoon, my wife and I went to the church of Santa Croce, the great monumental deposit of Florentine worthies. The piazza before it is a wide, gravelled square, where the liberty of Florence, if it really ever had any genuine liberty, came into existence some hundreds of years ago, by the people's taking its own rights into its hands, and putting its own immediate will in execution. The piazza has not much appearance of antiquity, except that the facade of one of the houses is quite covered with ancient frescoes, a good deal faded and obliterated, yet with traces enough of old glory to show that the colours must have been well laid on.
The front of the church, the foundation of which was laid six centuries ago, is still waiting for its casing of marble, and I suppose will wait for ever, though a carpenter's staging is now erected before it, as if with the purpose of doing something.
The interior is spacious, the length of the church being between four and five hundred feet. There is a nave, roofed with wooden cross-beams, lighted by a clerestory, and supported on each side by seven great pointed arches, which rest upon octagonal pillars.
The octagon seems to be a favourite shape in Florence. These pillars were clad in yellow and scarlet damask, in honour of the Feast of St. John. The aisles, on each side of the nave, are lighted with high and somewhat narrow windows of painted glass, the effect of which, however, is much diminished by the flood of common daylight that comes in through the windows of the clerestory. It is like admitting too much of the light of reason and worldly intelligence into the mind, instead of illuminating it wholly through a religious medium. The many-hued saints and angels lose their mysterious effulgence, when we get white light enough, and find we see all the better without their help.
The main pavement of the church is brickwork; but it is inlaid with many sepulchral slabs of marble, on some of which knightly or priestly figures are sculptured in bas-relief. In both of the side-aisles there are saintly shrines, alternating with mural monuments, some of which record names as illustrious as any in the world. As you enter, the first monument on your right is that of Michel Angelo, occupying the ancient burial site of his family. The general design is a heavy sarcophagus of coloured marble, with the figures of Sculpture, Painting, and Architecture as mourners, and Michel Angelo's bust above, the whole assuming a pyramidal form. You pass a shrine, within its framework of marble pillars and a pediment, and come next to Dante's monument, a modern work, with likewise its sarcophagus, and some huge, cold images weeping and sprawling over it, and an unimpressive statue of Dante sitting above.
Another shrine intervenes, and next you see the tomb of Alfieri, erected to his memory by the Countess of Albany, who pays, out of a woman's love, the honour which his country owed him. Her own monument is in one of the chapels of the transept.
Passing the next shrine you see the tomb of Macchiavelli, which I think was constructed not many years after his death. The rest of the monuments, on this side of the church, commemorate people of less than world-wide fame; and though the opposite side has likewise a monument alternating with each shrine, I remember only the names of Raphael Morghem and of Galileo. The tomb of the latter is over against that of Michel Angelo, being the first large tomb on the left hand wall as you enter the church. It has the usual heavy sarcophagus, surmounted by a bust of Galileo, in the habit of his time, and is, of course, duly provided with mourners in the shape of Science or Astronomy, or some such cold-hearted people. I wish every sculptor might be at once imprisoned for life who shall hereafter chisel an allegoric figure; and as for those who have sculptured them heretofore, let them be kept in purgatory till the marble shall have crumbled away. It is especially absurd to assign to this frozen sisterhood of the allegoric family the office of weeping for the dead, inasmuch as they have incomparably less feeling than a lump of ice, which might contrive to shed a tear if the sun shone on it. But they seem to let themselves out, like the hired mourners of an English funeral, for the very reason that, having no interest in the dead person, nor any affections or emotions whatever, it costs them no wear and tear of heart.
All round both transepts of the church there is a series of chapels, into most of which we went, and generally found an inscrutably dark picture over the altar, and often a marble bust or two, or perhaps a mediaeval statue of a saint or a modern monumental bas-relief in marble, as white as new-fallen snow. A chapel of the Bonapartes is here, containing memorials of two female members of the family. In several chapels, moreover, there were some of those distressing frescoes by Giotto, Cimabue, or their compeers, which, whenever I see them -- poor, faded relics, looking as if the devil had been rubbing and scrubbing them for centuries, in spite against the saints my heart sinks and my stomach sickens. There is no other despondency like this; it is a new shade of human misery, akin to the physical disease that comes from dry-rot in a wall. These frescoes are to a church what dreary, old remembrances are to a mind; the drearier because they were once bright: Hope fading into Disappointment, Joy into Grief, and festal splendour passing into funereal duskiness, and saddening you all the more by the grim identity that you find to exist between gay things and sorrowful ones. Only wait long enough, and they turn out to be the very same.
All the time we were in the church some great religious ceremony had been going forward; the organ playing and the white-robed priests bowing, gesticulating, and making Latin prayers at the high altar, where at least a hundred wax tapers were burning in constellations. Everybody knelt, except ourselves, yet seemed not to be troubled by the echoes of our passing footsteps, nor to require that we should pray along with them. They consider us already lost irrevocably, no doubt, and therefore right enough in taking no heed of their devotions; not but what we take so much heed, however, as to give the smallest possible disturbance. By-and-by we sat down in the nave of the church, till the ceremony should be concluded; and then my wife left me to go in quest of yet another chapel, where either Cimabue or Giotto, or both, have left some of their now ghastly decorations. While she was gone I threw my eyes about the church, and came to the conclusion that, in spite of its antiquity, its size, its architecture, its painted windows, its tombs of great men, and all the reverence and interest that broods over them, it is not an impressive edifice. Any little Norman church in England would impress me as much, and more. There is something, I do not know what, but it is in the region of the heart, rather than in the intellect, that Italian architecture, of whatever age or style, never seems to reach.
Leaving the Santa Croce, we went next in quest of the Riccardi Palace. On our way, in the rear of the grand ducal piazza, we passed by the Bargello, formerly the palace of the Podesta of Florence, and now converted into a prison. It is an immense square edifice of dark stone, with a tall, lank tower rising high above it at one corner. Two stone lions, symbols of the city, lash their tails and glare at the passers-by; and all over the front of the building windows are scattered irregularly, and grated with rusty iron bars; also there are many square holes, which probably admit a little light and a breath or two of air into prisoners' cells. It is a very ugly edifice, but looks antique, and as if a vast deal of history might have been transacted within it, or have beaten, like fierce blasts, against its dark, massive walls, since the thirteenth century. When I first saw the city it struck me that there were few marks of antiquity in Florence; but I am now inclined to think otherwise, although the bright Italian atmosphere, and the general squareness and monotony of the Italian architecture, have their effect in apparently modernising everything. But everywhere we see the ponderous Tuscan basements that never can decay, and which will look, five hundred years hence, as they look now; and one often passes beneath an abbreviated remnant of what was once a lofty tower, perhaps three hundred feet high, such as used to be numerous in Florence when each noble of the city had his own warfare to wage; and there are patches of sculpture that look old on houses, the modern stucco of which causes them to look almost new. Here and there an unmistakable antiquity stands in its own impressive shadow; the church of San Michele, for instance, once a market, but which grew to be a church by some inherent fitness and inevitable consecration. It has not the least the aspect of a church, being high and square, like a mediaeval palace; but deep and high niches are let into its walls, within which stand great statues of saints, masterpieces of Donatello, and other sculptors of that age, before sculpture began to be congealed by the influence of Greek art.
The Riccardi Palace is at the corner of the Via Larga. It was built by the first Cosmo di Medici, the old banker, more than four centuries ago, and was long the home of the ignoble race of princes which he left behind him. It looks fit to be still the home of a princely race, being nowise dilapidated nor decayed externally, nor likely to be so, its high Tuscan basement being as solid as a ledge of rock, and its upper portion not much less so, though smoothed into another order of stately architecture. Entering its court from the Via Larga, we found our selves beneath a pillared arcade, passing round the court like a cloister; and on the walls of the palace, under this succession of arches, were statues, basreliefs and sarcophagi, in which, first, dead Pagans had slept, and then dead Christians, before the sculptured coffins were brought hither to adorn the palace of the Medici. In the most prominent place was a Latin inscription of great length and breadth, chiefly in praise of old Cosmo and his deeds and wisdom. This mansion gives the visitor a stately notion of the life of a commercial man in the days when merchants were princes; not that it seems to be so wonderfully extensive, nor so very grand, for I suppose there are a dozen Roman palaces that excel it in both these particulars. Still, we cannot but be conscious that it must have been, in some sense, a great man who thought of founding a homestead like this, and was capable of filling it with his personality, as the hand fills a glove. It has been found spacious enough, since Cosmo's time, for an emperor and a pope and a king, all of whom have been guests in this house. After being the family mansion of the Medici for nearly two centuries it was sold to the Riccardis, but was subsequently bought of them by the Government, and it is now occupied by public offices and societies.
After sufficiently examining the court and its antiquities, we ascended a noble staircase that passes, by broad flights and square turns, to the region above the basement. Here the palace is cut up and portioned off into little rooms and passages, and everywhere there were desks, inkstands, and men, with pens in their fingers or behind their ears. We were shown into a little antique chapel, quite covered with frescoes in the Giotto style, but painted by a certain Gonzoli. They were in pretty good preservation, and, in fact, I am wrong in comparing them to Giotto's works, inasmuch as there must have been nearly two hundred years between the two artists. The chapel was furnished with curiously-carved old chairs, and looked surprisingly venerable within its little precinct.
We were next guided into the grand gallery, a hall of respectable size, with a frescoed ceiling, on which is represented the blue sky, and various members of the Medici family ascending through it by the help of angelic personages, who seem only to have waited for their society to be perfectly happy. At least, this was the meaning, so far as I could make it out. Along one side of the gallery were oil pictures on looking-glasses, rather good than otherwise; but Rome, with her palaces and villas, takes the splendour out of all this sort of thing elsewhere.
On our way home, and on our own side of the Ponte Vecchio, we passed the Palazzo Guicciardini, the ancient residence of the historian of Italy, who was a politic statesman of his day, and probably as cruel and unprincipled as any of those whose deeds he has recorded. Opposite, across the narrow way, stands the house of Macchiavelli, who was his friend, and, I should judge, an honester man than he. The house is distinguished by a marble tablet, let into the wall, commemorative of Macchiavelli, but has nothing antique or picturesque about it, being in a contiguous line with other smooth-faced and stuccoed edifices.
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