In the David room are also the extremely interesting rival bronze reliefs of Abraham sacrificing Isaac, which were made by Ghiberti and Brunelleschi as trials of skill to see which would win the commission to design the new gates of the Baptistery, as I have told earlier in this book. Six compet.i.tors entered for the contest; but Ghiberti's and Brunelleschi's efforts were alone considered seriously. A comparison of these two reliefs proves that Ghiberti, at any rate, had a finer sense of grouping. He filled the s.p.a.ce at his disposal more easily and his hand was more fluent; but there is a very engaging vivacity in the other work, the realistic details of which are so arresting as to make one regret that Brunelleschi had for sculpture so little time. In S. Maria Novella is that crucifix in wood which he carved for his friend Donatello, but his only other sculptured work in Florence is the door of his beautiful Pazzi chapel in the cloisters of S. Croce. Of Ghiberti's Baptistery gates I have said more elsewhere. Enough here to add that the episode of Abraham and Isaac does not occur in them.

This little room also has a Ca.s.sa Reliquiaria by Ghiberti, below a fine relief by Bertoldo, Michelangelo's master in sculpture, representing a battle between the Romans and the Barbarians; cases of exquisite bronzes; the head, in bronze (No. 25), of an old placid, shrewd woman, executed from a death-mask, which the photographers call Contessina de' Bardi, wife of Cosimo de' Medici, by Donatello, but which cannot be so, since the sculptor died first; heads of Apollo and two babies, over the Ghiberti and Brunelleschi compet.i.tion reliefs; a crucifixion by Bertoldo; a row of babies representing the triumph of Bacchus; and below these a case of medals and plaquettes, every one a masterpiece.

The next room, Sala VII, is apportioned chiefly between Cellini and Gian or Giovanni da Bologna, the two sculptors who dominate the Loggia de' Lanzi. Here we may see models for Cellini's Perseus in bronze and wax and also for the relief of the rescue of Andromeda, under the statue; his Cosimo I, with the wart (omitted by Bandinelli in the head downstairs, which pairs with Michelangelo's Brutus); and various smaller works. But personally I find that Cellini will not do in such near proximity to Donatello, Verrocchio, and their gentle followers. He was, of course, far later. He was not born (in 1500) until Donatello had been dead thirty-four years, Mino da Fiesole sixteen years, Desiderio da Settignano thirty-six years, and Verrocchio twelve years. He thus did not begin to work until the finer impulses of the Renaissance were exhausted. Giovanni da Bologna, although he, it is true, was even later (1524-1608), I find more sympathetic; while Landor boldly proclaimed him superior to Michelangelo. His "Mercury,"

in the middle of the room, which one sees counterfeited in all the statuary shops of Florence, is truly very nearly light as air. If ever bronze floated, this figure does. His cherubs and dolphins are very skilful and merry; his turkey and eagle and other animals indicate that he had humility. John of Bologna is best known at Florence by his Rape of the Sabines and Hercules and Nessus in the Loggia de'

Lanzi; but the Boboli gardens have a fine group of Ocea.n.u.s and river G.o.ds by him in the midst of a lake. Before leaving this room look at the relief of Christ in glory (No. 35), to the left of the door, by Jacopo Sansovino, a rival of Michelangelo, which is most admirable, and at the case of bronze animals by Pietro Tacca, John of Bologna's pupil, who made the famous boar (a copy of an ancient marble) at the Mercato Nuovo and the reliefs for the pediment of the statue of Cosimo I (by his master) in the Piazza della Signoria. But I believe that the most beautiful thing in this room is the bronze figure for the tomb of Mariano Sozzino by Lorenzo di Pietro.

Before we look at the della Robbias, which are in the two large rooms upstairs, let us finish with the marble and terra-cotta statuary in the two smaller rooms to the left as one pa.s.ses through the first della Robbia room. In the first of them, corresponding to the room with Verrocchio's David downstairs, we find Verrocchio again, with a bust of Piero di Lorenzo de' Medici (whom Botticelli painted in the Uffizi holding a medal in his hand) and a most exquisite Madonna and Child in terra-cotta from S. Maria Nuova. (This is on a hinge, for better light, but the official skies will fall if you touch it.) Here also is the bust of a young warrior by Antonio Pollaiuolo (1429-1498) who was Verrocchio's closest rival and one of Ghiberti's a.s.sistants for the second Baptistery doors. His greatest work is at Rome, but this bust is indescribably charming, and the softness of the boy's contours is almost of life. It is sometimes called Giuliano de'

Medici. Other beautiful objects in the room are the terra-cotta Madonna and Child by Andrea Sansovino (1460-1529), Pollaiuolo's pupil, which is as radiant although not so domestically lovely as Verrocchio's; the bust by Benedetto da Maiano (1442-1497) of Pietro Mellini, that shrewd and wrinkled patron of the Church who presented to S. Croce the famous pulpit by this sculptor; an ancient lady, by the door, in coloured terra-cotta, who is thought to represent Monna Tessa, the nurse of Dante's Beatrice; and certain other works by that delightful and prolific person Ignoto Fiorentino, who here, and in the next room, which we now enter, is at his best.

This next priceless room is chiefly memorable for Verrocchio and Mino da Fiesole. We come to Verrocchio at once, on the left, where his relief of the death of Francesca Pitti Tornabuoni (on a tiny bed only half as long as herself) may be seen. This poor lady, who died in childbirth, was the wife of Giovanni Tornabuoni, and he it was who employed Ghirlandaio to make the frescoes in the choir of S. Maria Novella. (I ought, however, to state that Miss Cruttwell, in her monograph on Verrocchio, questions both the subject and the artist.) Close by we have two more works by Verrocchio--No. 180, a marble relief of the Madonna and Child, the Madonna's dress fastened by the prettiest of brooches, and She herself possessing a dainty sad head and the long fingers that Verrocchio so favoured, which we find again in the famous "Gentildonna" (No. 181) next it--that Florentine lady with flowers in her bosom, whose contours are so exquisite and who has such pretty shoulders.

Near by is the little eager S. John the Baptist as a boy by Antonio Rossellino (1427-1478), and on the next wall the same sculptor's circular relief of the Madonna adoring, in a border of cherubs.

In the middle is the masterpiece of Jacopo Sansovino (1486-1570): a Bacchus, so strangely like a genuine antique, full of Greek lightness and grace. And then we come back to the wall in which the door is, and find more works from the delicate hand of Mino da Fiesole, whom we in London are fortunate in being able to study as near home as at the Victoria and Albert Museum. Of Mino I have said more both at the Badia and at Fiesole. But here I might remark again that he was born in 1431 and died in 1484, and was the favourite pupil of Desiderio da Settignano, who was in his turn the favourite pupil of Donatello.

In the little church of S. Ambrogio we have seen a tablet to the memory of Mino, who lies there, not far from the grave of Verrocchio, whom he most nearly approached in feeling, although their ideal type of woman differed in everything save the slenderness of the fingers. The Bargello has both busts and reliefs by him, all distinguished and sensitive and marked by Mino's profound refinement. The Madonna and Child in No. 232 are peculiarly beautiful and notable both for high relief and shallow relief, and the Child in No. 193 is even more charming. For delicacy and vivacity in marble portraiture it would be impossible to surpa.s.s the head of Rinaldo della Luna; and the two Medicis are wonderfully real. Everything in Mino's work is thoughtful and exquisite, while the unusual type of face which so attracted him gives him freshness too.

This room and that next it ill.u.s.trate the wealth of fine sculptors which Florence had in the fifteenth century, for the works by the unknown hands are in some cases hardly less beautiful and masterly than those by the known. Look, for example, at the fleur-de-lis over the door; at the Madonna and Child next it, on the right; at the girl's head next to that; at the baby girl at the other end of the room; and at the older boy and his pendant. But one does not need to come here to form an idea of the wealth of good sculpture. The streets alone are full of it. Every palace has beautiful stone-work and an escutcheon which often only a master could execute--as Donatello devised that for the Palazzo Pazzi in the Borgo degli Albizzi. On the great staircase of the Bargello, for example, are numbers of coats of arms that could not be more beautifully designed and incised.

In the room leading from that which is memorable for Pollaiuolo's youth in armour is a collection of medals by all the best medallists, beginning, in the first case, with Pisanello. Here are his Sigismondo Malatesta, the tyrant of Rimini, and Isotta his wife; here also is a portrait of Leon Battista Alberti, who designed and worked on the cathedral of Rimini as well as upon S. Maria Novella in Florence. On the other side of this case is the medal commemorating the Pazzi conspiracy. In other cases are pretty Italian ladies, such as Julia Astalla, Lucrezia Tornabuoni, with her hair in curls just as in Ghirlandaio's frescoes, Costanza Rucellai, Leonora Altoviti, Maria Poliziano, and Maria de' Mucini.

And so we come to the della Robbias, without whose joyous, radiant art Florence would be only half as beautiful as she is. Of these exquisite artists Luca, the uncle, born in 1400, was by far the greatest. Andrea, his nephew, born in 1435, came next, and then Giovanni. Luca seems to have been a serious, quiet man who would probably have made sculpture not much below his friend Donatello's had not he chanced on the discovery of a means of colouring and glazing terra-cotta. Examples of this craft are seen all over Florence both within doors and out, as the pages of this book indicate, but at the Bargello is the greatest number of small pieces gathered together. I do not say there is anything here more notable than the Annunciation attributed to Andrea at the Spedale degli Innocenti, while of course, for most people, his putti on the facade of that building are the della Robbia symbol; nor is there anything finer than Luca's work at Impruneta; but as a collection of sweetness and gentle domestic beauty these Bargello reliefs are unequalled, both in character and in volume. Here you see what one might call Roman Catholic art--that is, the art which at once gives pleasure to simple souls and symbolizes benevolence and safety--carried out to its highest power. Tenderness, happiness, and purity are equally suggested by every relief here. Had Luca and Andrea been entrusted with the creation of the world it would be a paradise. And, as it is, it seems to me impossible but that they left the world sweeter than they found it. Such examples of affection and solicitude as they were continually bringing to the popular vision must have engendered kindness.

I have noted as especially beautiful in the first room Nos. 4, 6, 12, 23, by Andrea; and 10 and 21, by Luca. These, by the way, are the Bargello ascriptions, but the experts do not always agree. Herr Bode, for example, who has studied the della Robbias with pa.s.sionate thoroughness, gives the famous head of the boy, which is in reproduction one of the best-known works of plastic art, to Luca; but the Bargello director says Andrea. In Herr Bode's fascinating monograph, "Florentine Sculptors of the Renaissance," he goes very carefully into the differences between the uncle and the nephew, master and pupil. In all the groups, for example, he says that Luca places the Child on the Madonna's left arm, Andrea on the right. In the second room I have marked particularly Nos. 21, 28, and 31, by Luca, 28 being a deeper relief than usual, and the Madonna not adoring but holding and delighting in one of the most adorable of Babies. Observe in the reproduction of this relief in this volume-- how the Mother's fingers sink into the child's flesh. Luca was the first sculptor to notice that. No. 31 is the lovely Madonna of the Rose Bower. But nothing gives me more pleasure than the boy's head of which I have just spoken, attributed to Andrea and also reproduced here. The "Giovane Donna" which pairs with it has extraordinary charm and delicacy too. I have marked also, by Andrea, Nos. 71 and 76. Giovanni della Robbia's best is perhaps No. 15, in the other room.

One curious thing that one notes about della Robbia pottery is its inability to travel. It was made for the church and it should remain there. Even in the Bargello, where there is an ancient environment, it loses half its charm; while in an English museum it becomes hard and cold. But in a church to which the poor carry their troubles, with a dim light and a little incense, it is perfect, far beyond painting in its tenderness and symbolic value. I speak of course of the Madonnas and altar-pieces. When the della Robbias worked for the open air--as in the facade of the Children's Hospital, or at the Certosa, or in the Loggia di San Paolo, opposite S. Maria Novella, where one may see the beautiful meeting of S. Francis and S. Dominic, by Andrea--they seem, in Italy, to have fitness enough; but it would not do to transplant any of these reliefs to an English facade. There was once, I might add, in Florence a Via della Robbia, but it is now the Via n.a.z.ionale. I suppose this injustice to the great potters came about in the eighteen-sixties, when popular political enthusiasm led to every kind of similar re-naming.

In the room leading out of the second della Robbia room is a collection of vestments and brocades bequeathed by Baron Giulio Franchetti, where you may see, dating from as far back as the sixth century, designs that for beauty and splendour and durability put to shame most of the stuffs now woven; but the top floor of the Museo Archeologico in the Via della Colonna is the chief home in Florence of such treasures.

There are other beautiful things in the Bargello of which I have said nothing--a gallery of mediaeval bells most exquisitely designed, from famous steeples; cases of carved ivory; and many of such treasures as one sees at the Cluny in Paris. But it is for its courtyard and for the Renaissance sculpture that one goes to the Bargello, and returns again and again to the Bargello, and it is for these that one remembers it.

On returning to London the first duty of every one who has drunk deep of delight in the Bargello is to visit that too much neglected treasure-house of our own, the Victoria and Albert Museum at South Kensington. There may be nothing at South Kensington as fine as the Bargello's finest, but it is a priceless collection and is superior to the Bargello in one respect at any rate, for it has a relief attributed to Leonardo. Here also is an adorable Madonna and laughing Child, beyond anything in Florence for sheer gaiety if not mischief, which the South Kensington authorities call a Rossellino but Herr Bode a Desiderio da Settignano. The room is rich too in Donatello and in Verrocchio, and altogether it makes a perfect footnote to the Bargello. It also has within call learned gentlemen who can give intimate information about the exhibits, which the Bargello badly lacks. The Louvre and the Kaiser Friedrich Museum in Berlin--but particularly the Kaiser Friedrich since Herr Bode, who has such a pa.s.sion for this period, became its director--have priceless treasures, and in Paris I have had the privilege of seeing the little but exquisite collection formed by M. Gustave Dreyfus, dominated by that mirthful Italian child which the Bargello authorities consider to be by Donatello, but Herr Bode gives to Desiderio. At the Louvre, in galleries on the ground floor gained through the Egyptian sculpture section and opened very capriciously, may be seen the finest of the prisoners from Michelangelo's tomb for Pope Julius; Donatello's youthful Baptist; a Madonna and Children by Agostino di Duccio, whom we saw at the Museum of the Cathedral; an early coloured terra-cotta by Luca della Robbia, and No. 316, a terra-cotta Madonna and Child without ascription, which looks very like Rossellino.

In addition to originals there are at South Kensington casts of many of the Bargello's most valuable possessions, such as Donatello's and Verrocchio's Davids, Donatello's Baptist and many heads, Mino da Fiesole's best Madonna, Pollaiuolo's Young Warrior, and so forth; so that to loiter there is most attractively to recapture something of the Florentine feeling.

CHAPTER XV

S. Croce

An historic piazza--Marble facades--Florence's Westminster Abbey--Galileo's ancestor and Ruskin--Benedetto's pulpit--Michelangelo's tomb--A fond lady--Donatello's Annunciation--Giotto's frescoes--S. Francis--Donatello magnanimous--The gifted Alberti--Desiderio's great tomb--The sacristy--The Medici chapel--The Pazzi chapel--Old Jacopo desecrated--A Restoration.

The piazza S. Croce now belongs to children. The church is at one end, bizarre buildings are on either side, the Dante statue is in the middle, and harsh gravel covers the ground. Everywhere are children, all dirty, and all rather squalid and mostly bow-legged, showing that they were of the wrong age to take their first steps on Holy Sat.u.r.day at noon. The long brown building on the right, as we face S. Croce, is a seventeenth-century palazzo. For the rest, the architecture is chiefly notable for green shutters.

The frigid and florid Dante memorial, which was unveiled in 1865 on the six hundredth anniversary of the poet's birthday, looks gloomily upon what once was a scene of splendour and animation, for in 1469 Piero de' Medici devised here a tournament in honour of the betrothal of Lorenzo to Clarice Orsini. The Queen of the tournament was Lucrezia Donati, and she awarded the first prize to Lorenzo. The tournament cost 10,000 gold florins and was very splendid, Verrocchio and other artists being called in to design costumes, and it is thought that Pollaiuolo's terra-cotta of the Young Warrior in the Bargello represents the comely Giuliano de' Medici as he appeared in his armour in the lists. The piazza was the scene also of that famous tournament given by Lorenzo de' Medici for Giuliano in 1474, of which the beautiful Simonetta was the Queen of Beauty, and to which, as I have said elsewhere, we owe Botticelli's two most famous pictures. Difficult to reconstruct in the Piazza any of those glories to-day.

The new facade of S. Croce, endowed not long since by an Englishman, has been much abused, but it is not so bad. As the front of so beautiful and wonderful a church it may be inadequate, but as a structure of black and white marble it will do. To my mind nothing satisfactory can now be done in this medium, which, unless it is centuries old, is always harsh and cuts the sky like a knife, instead of resting against it as architecture should. But when it is old, as at S. Miniato, it is right.

S. Croce is the Westminster Abbey of Florence. Michelangelo lies here, Machiavelli lies here, Galileo lies here; and here Giotto painted, Donatello carved, and Brunelleschi planned. Although outside the church is disappointing, within it is the most beautiful in Florence. It has the boldest arches, the best light at all seasons, the most attractive floor--of gentle red--and an apse almost wholly made of coloured gla.s.s. Not a little of its charm comes from the delicate pa.s.sage-way that runs the whole course of the church high up on the yellow walls. It also has the finest circular window in Florence, over the main entrance, a "Deposition" by Ghiberti.

The lightness was indeed once so intense that no fewer than twenty-two windows had to be closed. The circular window over the altar upon which a new roof seems to be intruding is in reality the interloper: the roof is the original one, and the window was cut later, in defiance of good architecture, by Vasari, who, since he was a pupil of Michelangelo, should have known better. To him was entrusted the restoration of the church in the middle of the sixteenth century.

The original architect of the modern S. Croce was the same Arnolfo di Cambio, or Lapo, who began the Duomo. He had some right to be chosen since his father, Jacopo, or Lapo, a German, was the builder of the most famous of all the Franciscan churches--that at a.s.sisi, which was begun while S. Francis was still living. And Giotto, who painted in that church his most famous frescoes, depicting scenes in the life of S. Francis, succeeded Arnolfo here, as at the Duomo, with equal fitness. Arnolfo began S. Croce in 1294, the year that the building of the Duomo was decided upon, as a reply to the new Dominican Church of S. Maria Novella, and to his German origin is probably due the Northern impression which the interiors both of S. Croce and the Duomo convey.

The first thing to examine in S. Croce is the floor-tomb, close to the centre door, upon which Ruskin wrote one of his most characteristic pa.s.sages. The tomb is of an ancestor of Galileo (who lies close by, but beneath a florid monument), and it represents a mediaeval scholarly figure with folded hands. Ruskin writes: "That worn face is still a perfect portrait of the old man, though like one struck out at a venture, with a few rough touches of a master's chisel. And that falling drapery of his cap is, in its few lines, faultless, and subtle beyond description. And now, here is a simple but most useful test of your capacity for understanding Florentine sculpture or painting. If you can see that the lines of that cap are both right, and lovely; that the choice of the folds is exquisite in its ornamental relations of line; and that the softness and ease of them is complete,--though only sketched with a few dark touches,--then you can understand Giotto's drawing, and Botticelli's; Donatello's carving and Luca's. But if you see nothing in this sculpture, you will see nothing in theirs, of theirs. Where they choose to imitate flesh, or silk, or to play any vulgar modern trick with marble--(and they often do)--whatever, in a word, is French, or American, or c.o.c.kney, in their work, you can see; but what is Florentine, and for ever great--unless you can see also the beauty of this old man in his citizen's cap,--you will see never."

The pa.s.sage is in "Mornings in Florence," which begins with S. Croce and should be read by every one visiting the city. And here let me advise another companion for this church: a little dark enthusiast, in a black skull cap, named Alfred Branconi, who is usually to be found just inside the doors, but may be secured as a guide by a postcard to the church. Signor Branconi knows S. Croce and he loves it, and he has the further qualifications of knowing all Florence too and speaking excellent English, which he taught himself.

The S. Croce pulpit, which is by Benedetto da Maiano, is a satisfying thing, accomplished both in proportions and workmanship, with panels ill.u.s.trating scenes in the life of S. Francis. These are all most gently and persuasively done, influenced, of course, by the Baptistery doors, but individual too, and full of a kindred sweetness and liveliness. The scenes are the "Confirmation of the Franciscan Order"

(the best, I think); the "Burning of the Books"; the "Stigmata,"

which we shall see again in the church, in fresco, for here we are all dedicated to the saint of a.s.sisi, not yet having come upon the stern S. Dominic, the ruler at S. Marco and S. Maria Novella; the "Death of S. Francis," very real and touching, which we shall also see again; and the execution of certain Franciscans. Benedetto, who was also an architect and made the plan of the Strozzi palace, was so unwilling that anything should mar the scheme of his pulpit, that after strengthening this pillar with the greatest care and thoroughness, he hollowed it and placed the stairs inside.

The first tomb on the right, close to this pulpit, is Michelangelo's, a ma.s.s of allegory, designed by his friend Vasari, the author of the "Lives of the Artists," the reading of which is perhaps the best preparation for the understanding of Florence. "If life pleases us,"

Michelangelo once said, "we ought not to be grieved by death, which comes from the same Giver." Michelangelo had intended the Pieta, now in the Duomo, to stand above his grave; but Vasari, who had a little of the Pepys in his nature, thought to do him greater honour by this ornateness. The artist was laid to his rest in 1564, but not before his body was exhumed, by his nephew, at Rome, where the great man had died, and a series of elaborate ceremonies had been performed, which Vasari, who is here trustworthy enough, describes minutely. All the artists in Florence vied in celebrating the dead master in memorial paintings for his catafalque and its surroundings, which have now perished; but probably the loss is not great, except as an example of homage, for that was a bad period. How bad it was may be a little gauged by Vasari's tributory tomb and his window over the high altar.

Opposite Michelangelo's tomb, on the pillar, is the pretty but rather Victorian "Madonna del Latte," surrounded by angels, by Bernardo Rossellino (1409-1464), brother of the author of the great tomb at S. Miniato. This pretty relief was commissioned as a family memorial by that Francesco Nori, the close friend of Lorenzo de' Medici, who was killed in the Duomo during the Pazzi conspiracy in his effort to save Lorenzo from the a.s.sa.s.sins.

The tomb of Alfieri, the dramatist, to which we now come, was erected at the cost of his mistress, the Countess of Albany, who herself sat to Canova for the figure of bereaved Italy. This curious and unfortunate woman became, at the age of nineteen, the wife of the Young Pretender, twenty-seven years after the '45, and led a miserable existence with him (due chiefly to his depravity, but a little, she always held, to the circ.u.mstance that they chose Good Friday for their wedding day) until Alfieri fell in love with her and offered his protection. Together she and the poet remained, apparently contented with each other and received by society, even by the English Royal family, until Alfieri died, in 1803, when after exclaiming that she had lost all--"consolations, support, society, all, all!"--and establishing this handsome memorial, she selected the French artist Fabre to fill the aching void in her fifty-years-old heart; and Fabre not only filled it until her death in 1824, but became the heir of all that had been bequeathed to her by both the Stuart and Alfieri. Such was the Countess of Albany, to whom human affection was so necessary. She herself is buried close by, in the chapel of the Castellani.

Mrs. Piozzi, in her "Glimpses of Italian Society," mentions seeing in Florence in 1785 the unhappy Pretender. Though old and sickly, he went much into society, sported the English arms and livery, and wore the garter.

Other tombs in the right aisle are those of Machiavelli, the statesman and author of "The Prince," and Rossini, the composer of "William Tell," who died in Paris in 1868, but was brought here for burial. These tombs are modern and of no artistic value, but there is near them a fine fifteenth-century example in the monument by Bernardo Rossellino to another statesman and author, Leonardo Bruni, known as Aretino, who wrote the lives of Dante and Petrarch and a Latin history of Florence, a copy of which was placed on his heart at his funeral. This tomb is considered to be Rossellino's masterpiece; but there is one opposite by another hand which dwarfs it.

There is also a work of sculpture near it, in the same wall, which draws away the eyes--Donatello's "Annunciation". The experts now think this to belong to the sculptor's middle period, but Vasari thought it earlier, and makes it the work which had most influence in establishing his reputation; while according to the archives it was placed in the church before Donatello was living. Vasari ought to be better informed upon this point than usual, since it was he who was employed in the sixteenth century to renovate S. Croce, at which time the chapel for whose altar the relief was made--that of the Cavalcanti family--was removed. The relief now stands unrelated to anything. Every detail of it should be examined; but Alfred Branconi will see to that. The stone is the grey pietra serena of Fiesole, and Donatello has plentifully, but not too plentifully, lightened it with gold, which is exactly what all artists who used this medium for sculpture should have done. By a pleasant tactful touch the designer of the modern Donatello monument in S. Lorenzo has followed the master's lead.

Almost everything of Donatello's that one sees is in turn the best; but standing before this lovely work one is more than commonly conscious of being in the presence of a wonderful creator. The Virgin is wholly unlike any other woman, and She is surprising and modern even for Donatello with his vast range. The charming terra-cotta boys above are almost without doubt from the same hand, but they cannot have been made for this monument.

To the della Robbias we come in the Castellani chapel in the right transept, which has two full-length statues by either Luca or Andrea, in the gentle glazed medium, of S. Francis and S. Bernard, quite different from anything we have seen or shall see, because isolated. The other full-size figures by these masters--such as those at Impruneta--are placed against the wall. The S. Bernard, on the left as one enters the chapel, is far the finer. It surely must be one of the most beautiful male draped figures in the world.

The next chapel, at the end of the transept, was once enriched by Giotto frescoes, but they no longer exist. There are, however, an interesting but restored series of scenes in the life of the Virgin by Taddeo Gaddi, Giotto's G.o.dson; a Madonna ascending to heaven, by Mainardi, who was Ghirlandaio's pupil, and so satisfactory a one that he was rewarded by the hand of his master's sister; and a pretty piece of Gothic sculpture with the Christ Child upon it. Hereabouts, I may remark, we have continually to be walking over floor-tombs, now ruined beyond hope, their ruin being perhaps the cause of a protecting rail being placed round the others; although a floor-tomb should have, I think, a little wearing from the feet of worshippers, just to soften the lines. Those at the Certosa are, for example, far too sharp and clean.

Let us complete the round of the church before we examine the sacristy, and go now to the two chapels, where Giotto may be found at his best, although restored too, on this side of the high altar. The Peruzzi chapel has scenes from the lives of the two S. Johns, the Baptist, and the Evangelist: all rather too thoroughly re-painted, although following Giotto's groundwork closely enough to retain much of their interest and value. And here once again one should consult the "Mornings in Florence," where the wilful discerning enthusiast is, like his revered subject, also at his best. Giotto's thoughtfulness could not be better ill.u.s.trated than in S. Croce. One sees him, as ever, thinking of everything: not a very remarkable attribute of the fresco painter since then, but very remarkable then, when any kind of facile saintliness sufficed. Signor Bianchi, who found these paintings under the whitewash in 1853, and restored them, overdid his part, there is no doubt; but as I have said, their interest is unharmed, and it is that which one so delights in. Look, for instance, at the att.i.tude of Drusiana, suddenly twitched by S. John back again into this vale of tears, while her bier is on its way to the cemetery outside the pretty city. "Am I really to live again?" she so plainly says to the inexorable miracle-worker. The dancing of Herodias'

daughter, which offered Giotto less scope, is original too--original not because it came so early, but because Giotto's mind was original and innovating and creative. The musician is charming. The last scene of all is a delightful blend of religious fervour and reality: the miraculous ascent from the tomb, through an elegant Florentine loggia, to everlasting glory, in a blaze of gold, and Christ and an apostle leaning out of heaven with outstretched hands to pull the saint in, as into a boat. Such a Christ as that could not but be believed in.

In the next chapel, the Bardi, we find Giotto at work on a life of S. Francis, and here again Ruskin is essential. It was a task which, since this church was the great effort of the Florentine Franciscans, would put an artist upon his mettle, and Giotto set the chosen incidents before the observers with the discretion and skill of the great biographer that he was, and not only that, but the great a.s.sisi decorator that he was. No choice could have been better at any time in the history of art. Giotto chose the following scenes, one or two of which coincide with those on Benedetto da Maiano's pulpit, which came of course many years later: the "Confirmation of the Rules of the Franciscans," "S. Francis before the Sultan and the Magi," "S. Francis Sick and Appearing to the Bishop of a.s.sisi," "S. Francis Fleeing from His Father's House and His Reception by the Bishop of a.s.sisi," and the "Death of S. Francis". Giotto's a.s.sisi frescoes, which preceded these, antic.i.p.ate them; but in some cases these are considered to be better, although in others not so good. It is generally agreed that the death scene is the best. Note the characteristic touch by which Giotto makes one of the monks at the head of the bed look up at the precise moment when the saint dies, seeing him being received into heaven. According to Vasari, one of the two monks (on the extreme left, as I suppose) is Giotto's portrait of the architect of the church, Amolfo. The altar picture, consisting of many more scenes in the life of S. Francis, is often attributed to Cimabue, Giotto's master, but probably is by another hand. In one of these scenes the saint is found preaching to what must be the most attentive birds on record. The figures on the ceiling represent Poverty, Chast.i.ty, and Obedience, which all Franciscans are pledged to observe. The gla.s.s is coeval with the building, which has been described as the most perfect Gothic chapel in existence.

The founder of this chapel was Ridolfo de' Bardi, whose family early in the fourteenth century bade fair to become as powerful as the Medici, and by the same means, their business being banking and money-lending, in a.s.sociation with the founders of the adjoining chapel, the Peruzzi. Ridolfo's father died in 1310, and his son, who had become a Franciscan, in 1327; and the chapel was built, and Giotto probably painted the frescoes, soon after the father's death. Both the Bardi and Peruzzi were brought low by our King Edward III, who borrowed from them money with which to fight the French, at Crecy and Poitiers, and omitted to repay it.

The chapels in the left transept are less interesting, except perhaps to students of painting in its early days. In the chapel at the end we find Donatello's wooden crucifix which led to that friendly rivalry on the part of Brunelleschi, the story of which is one of the best in all Vasari. Donatello, having finished this wooden crucifix, and being unusually satisfied with it, asked Brunelleschi's opinion, confidently expecting praise. But Brunelleschi, who was sufficiently close a friend to say what he thought, replied that the type was too rough and common: it was not Christ but a peasant. Christ, of course, was a peasant; but by peasant Brunelleschi meant a stupid, dull man. Donatello, chagrined, had recourse to what has always been a popular retort to critics, and challenged him to make a better. Brunelleschi took it very quietly: he said nothing in reply, but secretly for many months, in the intervals of his architecture, worked at his own version, and then one day, when it was finished, invited Donatello to dinner, stopping at the Mercato Vecchio to get some eggs and other things. These he gave Donatello to carry, and sent him on before him to the studio, where the crucifix was standing unveiled. When Brunelleschi arrived he found the eggs scattered and broken on the floor and Donatello before his carving in an ecstasy of admiration. "But what are we going to have for dinner?" the host inquired. "Dinner!" said Donatello; "I've had all the dinner I require. To thee it is given to carve Christs: to me only peasants." No one should forget this pretty story, either here or at S. Maria Novella, where Brunelleschi's crucifix now is.

The flexible Siena iron grille of this end chapel dates from 1335. Note its ivy border.

On entering the left aisle we find the tombs of Cherubini, the composer, Raphael Morghen, the engraver, and that curious example of the Florentine universalist, whose figure we saw under the Uffizi, Leon Battista Alberti (1405-1472), architect, painter, author, mathematician, scholar, conversationalist, aristocrat, and friend of princes. His chief work in Florence is the Rucellai palace and the facade of S. Maria Novella, but he was greater as an influence than creator, and his manuals on architecture, painting, and the study of perspective helped to bring the arts to perfection. It is at Rimini that he was perhaps most wonderful. Lorenzo de' Medici greatly valued his society, and he was a leader in the Platonic Academy. But the most human achievement to his credit is his powerful plea for using the vernacular in literature, rather than concealing one's best thoughts, as was fashionable before his protest, in Latin. So much for Alberti's intellectual side. Physically he was remarkable too, and one of his accomplishments was to jump over a man standing upright, while he was also able to throw a coin on to the highest tower, even, I suppose, the Campanile, and ride any horse, however wild. At the Bargello may be seen Alberti's portrait, on a medal designed by Pisanello. The old medals are indeed the best authority for the lineaments of the great men of the Renaissance, better far than paint. At South Kensington thousands may be seen, either in the original or in reproduction.

In the right aisle we saw Bernardo Rossellino's tomb of Leonardo Bruni; in the left is that of Bruni's successor as Secretary of State, Carlo Marsuppini, by Desiderio da Settignano, which is high among the most beautiful monuments that exist. "Faine, faine!" says Alfred Branconi, with his black eyes dimmed; and this though he has seen it every day for years and explained its beauties in the same words. Everything about it is beautiful, as the photograph which I give in this volume will help the reader to believe: proportions, figures, and tracery; but I still consider Mino's monument to Ugo in the Badia the finest Florentine example of the gentler memorial style, as contrasted with the severe Michelangelesque manner. Mino, it must be remembered, was Desiderio's pupil, as Desiderio was Donatello's. Note how Desiderio, by an inspiration, opened the leaf-work at each side of the sarcophagus and instantly the great solid ma.s.s of marble became light, almost buoyant. Never can a few strokes of the chisel have had so transforming an effect. There is some doubt as to whether the boys are just where the sculptor set them, and the upper ones with their garlands are thought to be a later addition; but we are never likely to know. The returned visitor from Florence will like to be reminded that, as of so many others of the best Florentine sculptures, there is a cast of this at South Kensington.

The last tomb of the highest importance in the church is that of Galileo, the astronomer, who died in 1642; but it is not interesting as a work of art. In the centre of the church is a floor-tomb by Ghiberti, with a bronze figure of a famous Franciscan, Francesco Sansoni da Brescia.