by Grant Allen
To the left of the empty space once occupied by the altar, is St. Jerome in the desert; right of it, Madonna and Child, by a scholar of Ghirlandajo. The case between contains fine articles of church furniture, including a Last Supper, with Christ washing the feet of Peter. The room also contains other interesting objects: Madonna and Child in painted wood by Dello Delli (?); a crucifix with the lamb of St. John the Baptist in the centre at the back; and a few old mosaics.
The small room beyond the chapel has an early fresco of the Madonna and Child, a good vaulted roof, and several interesting bits of early needlework, the subjects on which should be carefully noted. On the entrance wall, the angels lifting the Magdalen in the desert.
The next room, the Fifth Hall, to the right, contains on the end wall (avoid it) some ghastly illustrations of the plague, and other works of a similar character, in coloured wax. The centre case has ivories of later dates, some of them excellent in execution, but uninteresting for the most part in design and treatment. The best are two St. Sebastians, probably votive plague-offerings. In the centre is a fine early triptych, with saints (all easily recognised) and scenes from the Passion. A few early works at the farther end of the case also deserve close attention. In the centre case are glass objects, which examine individually. To the right are Limoges enamels; to the left, nautilus shells, mounted as jugs and vases. In the next case are ivory works, Oriental and other, which are merely ingenious and nothing more. The taste of most of them is execrable. In the last case is fine silver work. Observe in all these rooms the fine ceilings, frescoes, and internal decorations. As at Cluny, but even more so, the building itself is here one of the best parts of the museum.
The next room, the Sixth Hall, contains bronzes, reliefs, and statues of the early Renaissance. All these deserve the closest attention. To the right of the door is a St. John the Baptist in the Desert, by Michelozzo, an early example of the comparative abandonment of the merely ascetic ideal. Compare and bear in mind all these various Baptists: their importance is fundamental. Right of the door is also a fine bas-relief by Bertoldo, of a battle between Romans and barbarians, inspired by the antique, and full of classical feeling. The Victories and nude figures to right and left are especially admirable. Above it is a good bust of the Duke of Urbino; beneath, a reliquary of St. Protus and St. Hyacinthus, by Lorenzo Ghiberti; fine flying angels. The case, beyond, contains fine imitation antique and Renaissance statuettes. In the centre of the room, is * *Verrocchio’s beautiful bronze David with the head of Goliath, one of its sculptor’s masterpieces. The head foreshadows Leonardo; the curls are delicious; the easy assured pose may be compared or contrasted with the Donatello and the Michael Angelo. The thin veined arms, however, — perhaps of an apprentice model, — are evidently influenced by the ascetic mediæval ideal: compare the figures in Verrocchio’s (painted) Baptism of Christ in the Belle Arti. The whole attitude of this David, in spite of its meagre limbs, is striking and graceful. This work should be looked at in contrast with Donatello on the one hand and with Michael Angelo and Benvenuto Cellini on the other.
On the end wall are * *two gilt bronze panels, the sacrifice of Isaac by *Brunelleschi and * *Ghiberti respectively. These were the panels which were sent in by the two artists as specimens of their handiwork in the competition for the Second Gates of the Baptistery in 1402. The superiority of Ghiberti’s design in composition and plastic calm is very apparent. At the same time, the elements of conventional treatment common to the two scenes are worth close comparison. The positions of most of the actors and accessories are fairly constant. Observe the quiet strength and repose of Ghiberti, contrasted with the bustle and strain of Brunelleschi. One is like a sculptor’s work, the other like an engineer’s.
Beneath these is Lorenzo Vecchietta’s fine *recumbent statue for a tomb, in which a successful attempt is made to put greater naturalness into this type of monument. Above is a good Crucifixion by Bertoldo.
On the wall to the right is a Crucifixion, by Donatello, partly gilt. All the attitudes in this admirable scene are worth careful notice. Observe at how much earlier a date sculpture succeeded in emancipating itself from conventional trammels than did painting. No contemporary picture has the freedom and ease of the Roman soldier nailing the feet of the Impenitent Thief nor of the long-haired Magdalen in the foreground to the left, nor of the semi-nude figure with shield beyond it; nor of St. Longinus (distinguished by his halo) with his hand to his mouth, just above the last-mentioned figure. Study closely this admirable relief. It will well repay you.
The Seventh Hall, beyond, contains the work in bronze of the High Renaissance up to the point where it verges toward the Decadence. Among so many noble works as are contained in this room, it is difficult to make a selection: besides, very few of them need explanation. Note, however, the Ganymede and the eagle, attributed to Benvenuto Cellini, with its admirable ease of poise, and its perfect equilibrium. (Compare with similar antiques in the Uffizi.) Also the Antoninus Pius, which is a successful fifteenth century imitation of the antique. Look at Daniele da Volterra’s *bust of Michael Angelo; and, close beside it, Sansovino’s Christ in Glory. In a glass case is Cellini’s sketch in bronze for the Perseus of the Loggia dei Lanzi, differing slightly in detail from the model finally adopted. Beside it is an admirably executed but not pleasing bust of Cosimo I., a subject to try the greatest sculptor. Beyond, again, is a *wax model of the Perseus, differing much more markedly from the form at last adopted; further on, * *Cellini’s original relief for the base of the Perseus, the Release of Andromeda, now replaced in the Loggia by a cast: a most beautiful piece of consummate metal work. Close by is a fine Venus by Giovanni da Bologna; also on the end wall his Galatea, a successful figure. All the small works on this wall should be carefully noted. In the centre of the room, Giovanni da Bologna’s celebrated *Mercury, too often copied, perhaps the lightest work in bronze ever executed. Its poise is wonderful. It seems to soar naturally. But reproductions have vulgarised it. Fine bronze candelabra and other works. I omit many fine specimens of sculpture, such as the copy of the too famous Farnese bull. Do not overlook the handsome wooden ceiling.
The stairs to the upper floor are in Room V., with the late ivories. Go back to it.
The first department at which we arrive, Room I., has a fine timber roof, and is decorated with several original frescoes, those on the end wall, left, being attributed to the ever dubious Giottino. That to the left, a fragment, probably forms part of a Joachim expelled from the Temple (?). To the right is a Meeting of Joachim and Anna at the Golden Gate, — only Joachim and the two servants with the rejected offering remaining. Compare with other frescoes of corresponding scenes, and you will be able to judge of these identifications. In the centre is a Madonna and Child, with Florentine saints, greatly injured.
GIOVANNI DA BOLOGNA. — MERCURY.
The entrance wall has beautiful Della Robbia Madonnas, with crowning hands, angels, and other features. Two of these are the favourite subject of the Madonna Adoring the Child. The face of the * *central one is inexpressibly beautiful. Beyond the door is a Madonna supporting the dead Christ, by Ghirlandajo, a fine fresco; further on a fresco of Justice, between two suitors, attributed to Rossi; beyond the window a Madonna and draped Child, of the later School of Giotto.
On the end wall are more Della Robbias; above, by Giovanni, Christ and the woman of Samaria; beneath, by Andrea and Luca, Madonna and Child. In the earlier type (Luca and Andrea) the figures are usually white on a blue ground: later works of the same school (Giovanni, etc.), such as the Christ and the Woman of Samaria above, are in polychrome, and less pleasing.
On the left wall, returning, are Christ and the Magdalen in the garden, of the later period; beneath, in the predella, St. Francis receiving the stigmata (compare with pictures), the Resurrection, and the Maries at the Tomb. Beyond the window are more Della Robbias; a charming little Annunciation, good Ascension, a Madonna adoring the Child (with delicious baby St. John of Florence), a Nativity,
and a lunette of St. Augustin. After seeing these Della Robbias, look out for similar lunettes and medallions over the doors or arcades of Florentine houses and churches (Ognissanti, Hospital of San Paolo, Innocenti, etc.). Beyond the next window, again, is a Madonna adoring the Child. In this room (with the next) you have the best opportunity afforded you of learning to admire and love the Della Robbias, especially Luca.
LUCA DELLA ROBBIA. — MADONNA.
Room II., at the far end of this one, contains more Della Robbia ware, of various ages; over the door a florid Annunciation, not so successful, somewhat vulgar in its colouring; right of the door, a Nativity, with shepherds in the background, ox and ass, little St. John of Florence, and adoring angels. Notice the inscriptions. This work exhibits the declining taste of the sixteenth century. The faces of St. John and the Madonna should be compared with the infinitely more beautiful works by Luca and Andrea in the previous room and in this one. Note in each case to which of the family each work is attributed. The best are by Luca, then Andrea, while with Giovanni the type degenerates. At the end wall is a dainty tabernacle, with angels, for holding the elements; above it a charming Madonna; in the centre, a *beautiful lunette with delicious angels adoring the Madonna. Beneath it is a good Andrea, circular Madonna; right and left, charming Lucas. To the left is a debased Madonna in a circle. On the window wall, opposite the door, is a Madonna della Misericordia, crowned as usual, and sheltering votaries under her mantle. (Look out in future for this specialised type of Our Lady.) Between the next windows is a Virgin between two saints (Anne and Giovanni Gualberto), with donors, by Giovanni, better than his wont; above it a Deposition with St. Mary Magdalen holding her box of ointment; to the left, a pretty little group of the infant Christ and the boy Baptist, rather coarsely executed. Between the second and third windows are St. Joseph, with his budded staff, and St. Augustin. In the next group of subjects observe again the boy Baptist of Florence, twice repeated, and the Ascension, with Christ in a mandorla. The Coronation of the Virgin, beyond, has *the Madonna by Luca, with later added angels in the worst style of the family. Between the fifth and sixth windows is a rather theatrical Resurrection; above it, an equally theatrical Christ and the Magdalen. This again indicates the declining taste of the sixteenth century. So do the Madonna between two saints (James, Giovanni Gualberto), and the Miracle of St. Benedict beyond it. On the end wall is an ill-coloured and unpleasing late Nativity; above, St. Ursula, crowned as princess and with her palm of martyrdom. The Christ and the Magdalen over the door is sadly decadent. Returning along the other wall an unpleasing Pietà is passed. Between the first and second windows is a frieze of Christ and the Sacred Blood, and saints in niches, Sebastian, Magdalen, Baptist, and Matthew the Evangelist with book and angel. The combination seems to indicate a votive plague work.
Between the second and third windows are more pleasing examples: Madonnas adoring and otherwise; a good St. Catherine; dainty boy Baptist; and a good portrait of a lady. The support of the central Madonna, by Francesco di Simone (with the face of Christ on St. Veronica’s towel, and charming cherubs), is worth notice. In the centre are specimens of fine Italian ware of the fifteenth and sixteenth centuries. The subjects and decorations of many of these are well worth notice.
Room III., below the steps, very dark, contains tapestries and glass. On the entrance wall are three beautiful coloured Madonnas; near the window, another. These charming works need no explanation, but should all be noticed for their truth and beauty.
Now traverse again Rooms II. and I., and arrive at Room IV., at the end, containing sculpture, chiefly of the earlier Renaissance.
To the right of the door is an Orcagna (?), Music, on a beautiful twisted column, recalling those in Or San Michele. The figure is one of Orcagna’s ideal representations, and very charming.
Over the door is a late Della Robbia; beyond the door are terra-cottas. Observe here, once more, the dominant influence of the youthful St. John the Baptist, who colours so much of Florentine Renaissance ideals. Here is a *beautiful little statuette by Michelozzo of the boy Baptist starting for the desert. Observe the difference between this subject and St. John in the desert. Then there is a *statuette, by an unknown Florentine of the sixteenth century, of the young Baptist as a recluse; the alternative treatment; beyond it, a baby St. John, with his mouth open; another by Rossellino, much injured. On the same wall are two Penitent St. Jeromes (note the lion), companions to the St. Johns and Magdalens; as well as copies in terra-cotta by Niccolò Tribolo of Michael Angelo’s Night, Dawn, etc., in the New Sacristy at San Lorenzo. Note likewise a good head of *Piero de’ Medici, by Verrocchio, and other portrait works.
By the left wall is a very quaint early Christian sarcophagus (of the fourth century), with a slight Oriental tinge in its sculpture; in the left compartment is Jonah cast out by the sailors; in the right compartment, Jonah returned to land by the whale. The same subject occurs on an ambo at Ravello. Notice the corner faces, with caps recalling the Mithra reliefs. Above is a bust by Rossellino; a curious early Tuscan Crucifixion, with St. John and Madonna; Madonna and angel; Madonna and Child, by Alberto d’Arnoldo; and a quaint early relief of San Frediano of Lucca. Here also is a *good portrait-bust by Benedetto da Majano; higher up, a picture of the school of Andrea Pisano, Madonna and Child, between patron saints of Florence; on the left, Santa Reparata, with her red-cross flag; on the right, St. John the Baptist.
On the window wall is a sepulchral figure of a bishop, flanked on either side by naïve Romanesque reliefs of Christ and St. Benedict, and the Call of Peter and Andrew; above them, the *Apostles, of the school of Andrea Pisano.
On the right wall is a *lifelike bust, by Rossellino, of Francesco Sassetti, full of character; to balance it, a *bust of an unknown fifteenth century Florentine, with thick under lip, instinct with keen penetration; the sculptor unknown. Between them is a * *fine relief by Verrocchio, from the tomb of Francesca Pitti Tornabuoni, the only one now remaining of this fine series. The treatment is thoroughly antique. The figures represent: on the right, the death of Francesca in childbirth, with attendants mourning and tearing their hair; to the extreme right, the new-born infant; on the left, the child brought by its nurse to the widowed father. This is one of the earliest examples of such entirely classical and almost pagan treatment, which culminates in the frank paganism of Riccio’s fine bronzes in the Louvre. Above is a *charming Virgin and Child, of the School of Verrocchio. Another, with a curious head-dress, by Rossellino. Also three admirable portrait-reliefs, sufficiently described on their labels. That of *Francesca Sforza is full of character.
VERROCHIO. — VIRGIN AND CHILD.
Room V. contains works in marble of the High Renaissance. On the entrance wall, left of the door, is a fine bust of a Florentine lady. By the left wall is a charming little St. John, starting for the desert, by Rossellino. Note again the marked difference of attitude between a St. John setting out and a St. John in the desert. On the same wall are a *Virgin and Child, by Verrocchio; a half-length portrait-statue of a lady, by the same; a relief of Faith, by Matteo Civitale; above, two apostles of the school of Andrea Pisano, and farther on, a *dainty bust of a child, by an unknown fifteenth century Florentine. Above it is a candelabrum, one of a pair by Benedetto da Majano, decorative work and children in his most charming manner. In the centre of the wall is a round relief of *the Madonna adoring the Child, by Rossellino, with shed, ox, and ass, St. Joseph, shepherds, etc., and a delicious ring of baby cherubs; beyond, a young St. John, by the same, intermediate between the ascetic and later joyous treatment. A *Virgin and Child, with gilt background, by Mino da Fiesole, has near it another, closely resembling it in type, by a scholar of Mino, in a delicate frame of pietra serena. A portrait-bust by Desiderio da Settignano, an exquisite little *tabernacle for the elements of the Eucharist, with troops of guardian angels, somewhat marred by unpleasant perspective, and, close by, Mino da Fiesole’s little Cupid, for a fountain, are also by this wall.
On th
e end wall are numerous reliefs of the period verging on the Decadence; a Crucifixion of St. Peter, by Della Robbia, very much injured; and a Justice, by Benedetto da Majano. The other works, including the Liberation of Peter, by Luca della Robbia, explain themselves or are explained by their labels.
By the window wall is a rather coarse early Florentine Coronation of Charlemagne, partly restored in plaster. Beyond it, a Tabernacle by Mino da Fiesole, architecturally very pretty; and in the centre, Michael Angelo’s unfinished David (or Apollo); a *young St. John, by Benedetto da Majano; and a Bacchus, by Jacopo Sansovino, which is really its pagan Renaissance equivalent. (How readily the one passes into the other is well shown by the Leonardo in the Louvre.)
By the entrance wall, again, are *three good portrait-busts and a charming Madonna and Child, by Mino da Fiesole. The bust of *Piero de’ Medici (nearest the window), with the swollen look, is admirable and lifelike. His imitation of the antique, in the young Marcus Aurelius, may be compared with the St. John the Baptist and the Bacchus.
I have said little of these works, again, merely because they do not need explanation. What they most require is appreciative study. Observe in this hall the fine wooden ceiling.
