Volume 10 — OF THE ACADEMICIANS DESCRIPTION OF THE FESTIVE PREPARATIONS FOR THE NUPTIALS OF THE PRINCE DON FRANCESCO OF TUSCANY

Description of the Porta al Prato

We will describe, then, with the greatest clearness and brevity that may be permitted by the abundance of our material, how the intention in all these decorations was to represent by the vast number of pictures and sculptures, as if in life, all those ceremonies, effects, and pomps that appeared to be proper to the reception and the nuptials of so great a Princess, forming of them poetically and ingeniously a whole so well proportioned, that with judgment and grace it might achieve the result designed. First of all, therefore, at the Gate that is called the Porta al Prato, by which her Highness was to enter the city, there was built with dimensions truly heroic, which well showed ancient Rome risen again in her beloved daughter Florence, a vast, most ornate, and very ingeniously composed ante-port of Ionic architecture, which, surpassing by a good measure the height of the walls, which are there very lofty, presented a marvellous and most superb view not only to those entering the city, but even at a distance of several miles. And this arch was dedicated to Florence, who—standing between two figures, as it were her beloved companions, of Fidelity and Affection, virtues which she has always shown towards her Lords—in the form of a young and most beautiful woman, smiling and all adorned with flowers, had been set, as was her due, in the most important and most honourable place, nearest to the Gate, as if she sought to receive, introduce, and accompany her new Lady; having brought with her, as it were as her minister and companion, and as the symbol of those of her sons who in the art of war, among other arts, have rendered her illustrious, Mars, their leader and master, and in a certain sense the first father of Florence herself, in that under his auspices and by martial men, who were descended from Mars, was made her first foundation. His statue, dread and terrible, could be seen on the right in the part farthest from her, sword in hand, as if he sought to use it in the service of his new Lady; he likewise having as it were brought with him to accompany his Florence, in a very large and very beautiful canvas painted in chiaroscuro that was beneath his feet (very similar to the whitest marble, as were all the other works that were in these decorations), some of the men of that invincible Martian Legion so dear to the first and second Cæsar, her first founders, and some of those born from her, who afterwards followed her discipline so gloriously. Many of these could be seen issuing full of gladness from his temple, which is now dedicated to S. John in the name of the Christian religion; and in the farthest distance were placed those who were thought to have had a name only for bodily valour, in the central space those others who had become famous by their counsel and industry, such as commissaries or proveditors (to call them by their Venetian name), and in the front part nearest to the eye, in the most honourable places, as being the most worthy of honour, were painted the captains of armies and those who had acquired illustrious renown and immortal fame by valour of the body and mind together. Among these, as the first and perhaps the most honourable, could be seen on horseback, like many others, the glorious Signor Giovanni de' Medici portrayed from life, that rare master of Italian military discipline, and the illustrious father of the great Cosimo whom we honour as our excellent and most valorous Duke; and with him Filippo Spano, terror of the barbarous Turks, and M. Farinata degli Uberti, great-hearted saviour of his native Florence. There, also, was M. Buonaguisa della Pressa, who, at the head of the valiant youth of Florence, winning the first and glorious mural crown at Damiata, acquired so great a name; and the Admiral Federigo Folchi, Knight of Rhodes, who with his two sons and eight nephews performed so many deeds of prowess against the Saracens. There were M. Nanni Strozzi, M. Manno Donati, Meo Altoviti, and Bernardo Ubaldini, called Della Carda, father of Federigo, Duke of Urbino, that most excellent captain of our times. There, likewise, was the Great Constable, M. Niccola Acciaiuoli, he who it may be said preserved for Queen Joanna and King Louis, his Sovereigns, the troubled kingdom of Naples, and who always bore himself both there and in Sicily with such loyalty and valour. There were another Giovanni de' Medici and Giovanni Bisdomini, most illustrious in the wars with the Visconti, and the unfortunate but valorous Francesco Ferrucci; and among those more ancient were M. Forese Adimari, M. Corso Donati, M. Vieri de' Cerchi, M. Bindaccio da Ricasoli, and M. Luca da Panzano. Among the commissaries, not less faithfully portrayed from life, could be seen there Gino Capponi, with Neri his son, and Piero his grand-nephew, he who, tearing so boldly the insolent proposals of Charles VIII, King of France, to his immortal honour, caused the voice of a Capon (Cappon), as the witty poet said so well, to sound so nobly among so many Cocks (Galli). There were Bernardetto de' Medici, Luca di Maso degli Albizzi, Tommaso di M. Guido, now called Del Palagio, Piero Vettori, so celebrated in the wars with the Aragonese, and the so greatly and so rightly renowned Antonio Giacomini, with M. Antonio Ridolfi and many others of this and other orders, who would make too long a story. All these appeared to be filled with joy that they had raised their country to such a height, auguring for her, in the coming of that new Lady, increase, felicity, and greatness; which was expressed excellently well in the four verses that were to be seen written on the architrave above:

Not less gladness could be seen in the beautiful statue of one of the nine Muses, which was placed as a complement opposite to that of Mars, nor less, again, in the figures of the men of science in the painted canvas that was to be seen at her feet, of the same size and likewise as the complement of the men of Mars opposite, by which it was sought to signify that even as the men of war, so also the men of learning, of whom Florence had always a great abundance and in no way less renowned (in that, as all men admit, it was there that learning began to revive), had likewise been brought by Florence under the guidance of their Muse to receive and honour the noble bride. Which Muse, clad in a womanly, graceful, and seemly habit, with a book in the right hand and a flute in the left, seemed with a certain loving expression to wish to invite all beholders to apply their minds to true virtue; and on the canvas beneath her, executed, like all the others, in chiaroscuro, could be seen painted a great and rich Temple of Minerva, whose statue crowned with olive, with the shield of the Gorgon (as is customary), was placed without; and before the temple and at the sides, within an enclosure of balusters made as it were for a promenade, could be seen a great throng of grave and solemn men, who, although all rejoicing and making merry, yet retained in their aspect a certain something of the venerable, and these, also, were portrayed from life. For Theology and Sanctity there was the famous Fra Antonino, Archbishop of Florence, for whom a little Angel was holding the episcopal mitre, and with him was seen Giovanni Domenici, first Friar and then Cardinal; and with them Don Ambrogio, General of Camaldoli, and M. Ruberto de' Bardi, Maestro Luigi Marsili, Maestro Leonardo Dati, and many others. Even so, in another part—and these were the Philosophers—were seen the Platonist M. Marsilio Ficino, M. Francesco Cattani da Diacceto, M. Francesco Verini the elder, and M. Donato Acciaiuoli; and for Law there were, with the great Accursio, Francesco his son, M. Lorenzo Ridolfi, M. Dino Rossoni di Mugello, and M. Forese da Rabatta. The Physicians, also, had their portraits; and among them Maestro Taddeo Dino and Tommaso del Garbo, with Maestro Torrigian Valori and Maestro Niccolò Falcucci, had the first places. Nor did the Mathematicians, likewise, fail to be painted there; and of these, besides the ancient Guido Bonatto, were seen Maestro Paolo del Pozzo and the very acute, ingenious, and noble Leon Batista Alberti, and with them Antonio Manetti and Lorenzo della Volpaia, he by whose hand we have that first and marvellous clock of the planets, the wonder of our age, which is now to be seen in the guardaroba of our most excellent Duke. For Navigation, also, there was Amerigo Vespucci, most experienced and most fortunate of men, in that so great a part of the world, having been discovered by him, retains because of him the name of America. For Learning, various and elegant, there was Messer Agnolo Poliziano, to whom how much is owed by the Latin and Tuscan tongues, which began to revive in him, I believe is sufficiently well known to all the world. With him were Pietro Crinito, Giannozzo Manetti, Francesco Pucci, Bartolommeo Fonzio, Alessandro de' Pazzi, and Messer Marcello Vergilio Adriani, father of the most ingenious and most learned M. Giovan Battista, now called Il Marcellino, who is still living and giving public lectures with so much honour in our Florentine University, and who at the commission of their illustrious Excellencies has been writing anew the History of Florence; and there were also M. Cristofano Landini, M. Coluccio Salutati, and Ser Brunetto Latini, the master of Dante. Nor were there wanting certain Poets who had written in Latin, such as Claudian, and among the more modern Carlo Marsuppini and Zanobi Strada. Of the Historians, then, were seen M. Francesco Guicciardini, Niccolò Macchiavelli, M. Leonardo Bruni, M. Poggio, Matteo Palmieri, and, among the earliest, Giovanni and Matteo Villani and the very ancient Ricordano Malespini. All these, or the greater part, for the satisfaction of all beholders, had each his name or that of his most famous works marked on the scrolls or on the covers of the books that they held, placed there as if by chance; and with all of them, as with the men of war, to demonstrate what they were come there to do, the four verses that were painted on the architrave, as with the others, made it clearly manifest, saying:

Next, beside the statue of Mars, and somewhat nearer to that of Florence—and here it must be noted with what singular art and judgment every least thing was distributed, in that, the intention being to accompany Florence with six Deities, so to speak, for the potency of whom she could right well vaunt herself, the two hitherto described, Mars and the Muse, because other cities could perhaps no less than she lay claim to them, as being the least peculiar to her, were placed less near to her than the others; and so for the spacious vestibule or passage, as it were, formed before the gate by the four statues to follow, the two already described were used as wings or head-pieces, being placed at the entrance, one turned towards the Castle and the other towards the Arno, but the next two, which formed the beginning of the vestibule, for the reason that they are shared by her with few other cities, came to be placed somewhat nearer to her, even as the last two, because they are entirely peculiar to her and shared with no other city, or, to speak more exactly, because no other can compare with her in them (and may this be said without offence to any other Tuscan people, which, when it shall have a Dante, a Petrarca, and a Boccaccio to put forward, may perchance be able to come into dispute with her), were placed in close proximity to her, and nearer than any of the others—now, to go back, I say that beside the statue of Mars had been placed a Ceres, Goddess of Cultivation and of the fields, not less beautiful and good to look upon than the others; which pursuit, how useful it is and how worthy of honour for a well-ordered city, was taught in ancient times by Rome, who had enrolled all her nobility among the rustic tribes, as Cato testifies, besides many others, calling it the nerve of that most puissant Republic, and as Pliny affirms no less strongly when he says that the fields had been tilled by the hands of Imperatores, and that it may be believed that earth rejoiced to be ploughed by the laureate share and by the triumphant ploughman. That Ceres was crowned, as is customary, with ears of various kinds of corn, having in the right hand a sickle and in the left a bunch of similar ears. Now, how much Florence can vaunt herself in this respect, whoever may be in any doubt of it may enlighten himself by regarding her most ornate and highly cultivated neighbourhood, for, leaving on one side the vast number of most superb and commodious palaces that may be seen dispersed over its surface, it is such that Florence, although among the most beautiful cities of which we have any knowledge she might be said to carry off the palm, yet remains by a great measure vanquished and surpassed by it, insomuch that it may rightly claim the title of the garden of Europe; not to speak of its fertility, as to which, although it is for the most part mountainous and not very large, nevertheless the diligence that is used in it is such, that it not only feeds bountifully its own vast population and the infinite multitude of strangers who flock to it, but very often gives courteous succour to other lands both near and far. In the canvas (to return to our subject) which was to be seen in like fashion beneath her statue, in the same manner and of the same size, the excellent painter had figured a most beautiful little landscape adorned with an infinite variety of trees, in the most distant part of which was seen an ancient and very ornate little temple dedicated to Ceres, in which, since it was open and raised upon colonnades, could be perceived many who were offering religious sacrifices. On the other side, in a part somewhat more solitary, Nymphs of the chase could be seen standing about a shady and most limpid fount, gazing as it were in marvel and offering to the new bride of those pleasures and delights that are found in their pursuits, in which Tuscany is perhaps not inferior to any other part of Italy. In another part, with many countrymen bringing various animals both wild and domestic, were seen also many country-girls, young and beautiful, and adorned in a thousand rustic but graceful manners, and likewise come—weaving the while garlands of flowers and bearing various fruits—to see and honour their Lady. And the verses which were over this scene as with the others, taken from Virgil, to the great glory of Tuscany, ran thus:

Next, opposite to the above-described statue of Ceres, was seen that of Industry; and I do not speak merely of that industry which is seen used by many in many places in matters of commerce, but of a certain particular excellence and ingenious virtue which the men of Florence employ in everything to which they deign to apply themselves, on which account many, and in particular the Poet of supreme judgment (and rightly, as is evident), give them the title of Industrious. How great a benefit this industry has been to Florence, and in what great account it has always been held by her, is seen from this, that upon it she formed her body corporate, decreeing that none could become one of her citizens who was not entered under the name of some Guild, and thus recognizing that by that industry she had risen to no small power and greatness. Now Industry was figured as a woman in a light and easy habit, holding a sceptre, at the head of which was a hand with an eye in the centre of the palm, and with two little wings, whereby with the sceptre there was achieved a certain sort of resemblance to the Caduceus of Mercury; and in the canvas that was beneath her, as with the other statues, was seen a vast and most ornate portico or forum, very similar to the place where our merchants resort to transact their business, called the Mercato Nuovo, which was made even clearer by the boy that was to be seen striking the hours on one of the walls. And on one side, their particular Gods having been ingeniously placed there (in one part, namely, the statue of Fortune seated on a wheel, and in another part Mercury with the Caduceus and with a purse in the hand), were seen assembled many of the most noble artificers, those, namely, who exercise their arts with perhaps greater excellence in Florence than in any other place; and of such, with their wares in their hands, as if they were seeking to offer them to the incoming Princess, some were to be seen with cloth of gold or of silk, some with the finest draperies, and others with most beautiful and marvellous embroideries, and all with expressions of joy. Even so, in another part, some were seen in various costumes trafficking as they walked, and others of lower degree with various most beautiful wood-carvings and works in tarsia, and some again with balls, masks, and rattles, and other childish things, all in the same manner showing the same gladness and contentment. All which, and the advantage of these things, and the profit and glory that have come from them to Florence, was made manifest by the four verses that were placed above them, as with the others, saying:

Of the two last Deities or Virtues, seeing that, as we have said, by reason of the number and excellence in them of her sons they are so peculiar to Florence that she may well consider herself glorious in them beyond any other city, there was placed on the right hand, next to the statue of Ceres, that of Apollo, representing that Tuscan Apollo who infuses Tuscan verse in Tuscan poets. Under his feet, as in the other canvases, there was painted on the summit of a most lovely mountain, recognized as that of Helicon by the horse Pegasus, a very spacious and beautiful meadow, in the centre of which rose the sacred Fount of Aganippe, likewise recognized by the nine Muses, who stood around it in pleasant converse, and with them, and in the shade of the verdant laurels with which the whole mount was covered, were seen various poets in various guise seated or discoursing as they walked, or singing to the sound of the lyre, while a multitude of little Loves were playing above the laurels, some of them shooting arrows, and some appeared to be throwing down crowns of laurel. Of these poets, in the most honourable place were seen the profound Dante, the gracious Petrarca, and the fecund Boccaccio, who with smiling aspect appeared to be promising to the incoming Lady, since a subject so noble had not fallen to them, to infuse in the intellects of Florence such virtue that they would be able to sing worthily of her; to which with the exemplar of their writings, if only there may be found one able to imitate them, they have opened a broad and easy way. Near them, as if discoursing with them, and all, like the rest, portrayed from life, were seen M. Cino da Pistoia, Montemagno, Guido Cavalcanti, Guittone d'Arezzo, and Dante da Maiano, who lived in the same age and were poets passing gracious for those times. In another part were Monsignor Giovanni della Casa, Luigi Alamanni, and Lodovico Martelli, with Vincenzio at some distance from him, and with them Messer Giovanni Rucellai, the writer of the tragedies, and Girolamo Benivieni; among whom, if he had not been living at that time, a well-merited place would have been given also to the portrait of M. Benedetto Varchi, who shortly afterwards made his way to a better life. In another part, again, were seen Franco Sacchetti, who wrote the three hundred Novelle, and other men, who, although at the present day they have no great renown, yet, because in their times they made no small advance in romances, were judged to be not unworthy of that place—Luigi Pulci, with his brothers Bernardo and Luca, and also Ceo and Altissimo. Berni, also, the inventor and father (and excellent father) of Tuscan burlesque poetry, with Burchiello, with Antonio Alamanni, and with Unico Accolti (who were standing apart), appeared to be showing no less joy than any of the others; while Arno, leaning in his usual manner on his Lion, with two children that were crowning him with laurel, and Mugnone, known by the Nymph that stood over him crowned with stars, with the moon on her brow, in allusion to the daughters of Atlas, and representing Fiesole, appeared likewise to be expressing the same gladness and contentment. All which conception described above was explained excellently well by the four verses that were placed in the architrave, as with the others, which ran thus:

Opposite to this, placed on the left hand, and perhaps not less peculiar to the Florentine genius than the last-named, was seen the statue of Design, the father of painting, sculpture, and architecture, who, if not born in Florence, as may be seen in the past writings, may be said to have been born again there, and nourished and grown as in his own nest. He was figured by a statue wholly nude, with three similar heads for the three arts that he embraces, each holding in the hand some instrument, but without any distinction; and in the canvas that was beneath him was seen painted a vast courtyard, for the adornment of which were placed in various manners a great quantity of statues and of pictures in painting, both ancient and modern, which could be seen in process of being designed and copied by divers masters in divers ways. In one part was being prepared an anatomical study, and many could be seen observing it, and likewise drawing, very intently. Others, again, considering the fabric and rules of architecture, appeared to be seeking to measure certain things with great minuteness, the while that the divine Michelagnolo Buonarroti, prince and monarch of them all, with the three circlets in his hand (his ancient device), making signs to Andrea del Sarto, Leonardo da Vinci, Pontormo, Rosso, Perino del Vaga, Francesco Salviati, Antonio da San Gallo, and Rustici, who were gathered with great reverence about him, was pointing out with supreme gladness the pompous entrance of the noble Lady. The ancient Cimabue, standing in another part, was doing as it were the same service to certain others, at whom Giotto appeared to be smiling, having taken from him, as Dante said so well, the field of painting which he thought to hold; and Giotto had with him, besides the Gaddi, Buffalmacco and Benozzo, with many others of that age. In another part, again, placed in another fashion and all rejoicing as they conversed, were seen those who conferred such benefits on art, and to whom these new masters owed so much; the great Donatello, Filippo di Ser Brunellesco, Lorenzo Ghiberti, Fra Filippo, the excellent Masaccio, Desiderio, and Verrocchio, with many others, portrayed from life, whom, since I have spoken of them in the previous books, I will pass by without saying more about them, thus avoiding the tedium that might come upon my readers by repetition. Who they were, and what they were come thither to do, was explained, as with the others, by four verses written above them:

Now in the base of all these six vast and most beautiful canvases was seen painted a gracious throng of children, each occupying himself in the profession appropriate to the canvas placed above, who, besides the adornment, were seen to be demonstrating with great accuracy with what beginnings one arrived at the perfection of the men painted above; even as with much judgment and singular art the same canvases were also divided and adorned by round and very tall columns and by pilasters, and by various ornaments of trophies all in keeping with the subjects to which they were near. But, above all, graceful and lovely in appearance were the ten devices, or, to speak more precisely, the ten reverses (as it were) of medals, partly long established in the city and partly newly introduced, which were painted in the compartments over the columns, serving to divide the statues already described, and accompanying very appropriately their inventions; the first of which was the Deduction of a Colony, represented by a bull and a cow together in a yoke, and behind them the ploughman with the head veiled, as the ancient Augurs are depicted, with the crooked lituus in the hand, and with a motto, which said: COL. JUL. FLORENTIA. The second—and this is very ancient in the city, and the one wherewith public papers are generally sealed—was Hercules with the Club and with the skin of the Nemæan Lion, but without any motto. The third was the horse Pegasus, which with the hind feet was smiting the urn held by Arno, in the manner that is told of the Fount of Helicon; whence were issuing waters in abundance, which formed a river, crystal-clear, that was all covered with swans; but this, also, was without any motto. So, likewise, was the fourth, which was composed of a Mercury with the Caduceus in the hand, the purse, and the cock, such as is seen in many ancient cornelians. But the fifth, in accord with that Affection which, as was said at the beginning, was given to Florence as a companion, was a young woman receiving a crown of laurel from two figures, one on either side of her, which, clad in the military paludament and likewise crowned with laurel, appeared to be Consuls or Imperatores; with words that ran: GLORIA POP. FLOREN. So also the sixth, in like manner in accord with Fidelity, likewise the companion of Florence, was also figured by a woman seated, with an altar near her, upon which she was seen to be laying one of her hands, and with the other uplifted, holding the second finger raised in the manner wherein one generally sees an oath taken, she was seen to declare her intention with the inscription: FIDES. POP. FLOR. This, also, did the picture of the seventh, without any inscription; which was the two horns of plenty filled with ears of corn intertwined together. And the eighth, likewise without any inscription, did the same with the three Arts of Painting, Sculpture, and Architecture, which, after the manner of the three Graces, with hands linked to denote the interdependence of one art with another, were placed no less gracefully than the others upon a base in which was seen carved a Capricorn. And so, also, did the ninth (placed more towards the Arno), which was the usual Florence with her Lion beside her, to whom various boughs of laurel were offered by certain persons standing around her, as it were showing themselves grateful for the benefits received from her, in that there, as has been told, letters began to revive. And the tenth and last did the same with its inscription that ran thus, TRIBU SCAPTIA, written upon a shield held by a Lion; which tribe was that of Augustus, her founder, and the one in which in ancient times Florence used to be enrolled.

But the finest ornament—besides the beautiful shields on which were the arms of their Excellencies, both the one and the other, and of the most illustrious Princess, and the device of the city, and besides the great Ducal crown of gold, which Florence was in the act of presenting—was the principal device, set over all the shields, and placed there in allusion to the city; which was composed of two halcyons making their nest in the sea at the beginning of winter. This was made clear by the part of the Zodiac that was painted there, wherein the Sun was seen at the point of entering into the Sign of Capricorn, with a motto that said, HOC FIDUNT, signifying that even as the halcyons, by the grace of Nature, at the time when the Sun is entering into the said Sign of Capricorn, which renders the sea smooth and tranquil, are able to make their nests there in security (whence such days are called "halcyon days"), so also Florence, with Capricorn in the ascendant, which is therefore the ancient and most honourable device of her excellent Duke, is able in whatever season the world may bring her to flourish in the greatest felicity and peace, as she does right well. And all this, with all the other conceptions given above, was declared in great part by the inscription which, addressed to the exalted bride, was written appropriately in a most ornate and beautiful place, saying:

INGREDERE URBEM FELICISSIMO CONJUGIO FACTAM TUAM, AUGUSTISSIMA VIRGO, FIDE, INGENIIS, ET OMNI LAUDE PRÆSTANTEM; OPTATAQUE PRÆSENTIA TUA, ET EXIMIA VIRTUTE, SPERATAQUE FECUNDITATE, OPTIMORUM PRINCIPUM PATERNAM ET AVITAM CLARITATEM, FIDELISSIMORUM CIVIUM LÆTITIAM, FLORENTIS URBIS GLORIAM ET FELICITATEM AUGE.

Of the Entrance to Borg' Ognissanti.

Proceeding, then, towards Borg' Ognissanti, a street, as everyone knows, most beautiful, spacious, and straight, there were at the entrance two very large colossal figures, one representing Austria, as a young woman in full armour after the antique, with a sceptre in the hand, signifying her military power as embodied in the Imperial dignity, which now has its residence in that nation and appears to be entirely concentrated there; and the other representing Tuscany, apparelled in religious vestments and with the sacerdotal lituus in the hand, which in like manner demonstrated the excellence that the Tuscan nation has always displayed from the most ancient times in the Divine cult, insomuch that even at the present day it is seen that the Pontiffs and the Holy Roman Church have chosen to establish their principal seat in Tuscany. Each of these had at her side a nude and gracious little Angel, one of whom was seen guarding the Imperial crown, and the other the crown that the Pontiffs are wont to use; and one figure was shown offering her hand most lovingly to the other, almost as if Austria, with her most noble cities (which were depicted under various images in the vast canvas that was as an ornament and head-piece, at the entrance to that street, facing towards the Porta al Prato), wished to signify that she was come parentally to take part in the rejoicings and festivities in honour of the illustrious bridal pair, and to meet and embrace her beloved Tuscany, thus in a certain sort uniting together the two most mighty powers, the spiritual and the temporal. All which was declared excellently well in the six verses that were written in a suitable place, saying:

Even as on the other side Tuscany, having yielded the first place at the first Gate to Florence, her Lady and her Queen, was seen with an aspect all full of joy at receiving so great a Princess; having likewise in company with her, in a similar painted canvas beside her, Fiesole, Pisa, Siena, and Arezzo, with the most famous of her other cities, and with the Ombrone, the Arbia, the Serchio, and the Chiana, all depicted in various forms according to custom; and expressing her contentment in the six following verses, written in a way similar to the others, and in a suitable place:

Of the Ponte alla Carraia.

And to the end that the splendid nuptials might be celebrated with all the most favourable auspices, at the Palazzo de' Ricasoli, which, as everyone knows, is situated at the beginning of the Ponte alla Carraia, there was erected in the Doric Order of composition the third ornament, dedicated to Hymen, their God; and this consisted—in addition to a head-piece of singular beauty, on which the eyes of all who came through Borg' Ognissanti feasted with marvellous delight—of two very lofty and most magnificent portals, between which it stood, and over one of these, which gave access to those passing into the street called La Vigna, was placed with much judgment the statue of Venus Genetrix, perhaps alluding to the House of the Cæsars, which had its origin from Venus, or perchance auguring generation and fecundity for the bridal pair; with a motto taken from the Epithalamium of Theocritus, saying:

And over the other, giving access along the bank of the Arno, through which the procession passed, was the statue of the Nurse Latona, perchance to ward off sterility or the jealous interference of Juno, and likewise with a motto that ran:

As a complement to these, executed with singular artistry, upon a great base attached to one of the portals, there was seen on one side, as it were newly issued from the water, and in the form of a most beautiful giant with a garland of lilies, the River Arno, who, as if he wished to give an example of nuptial bliss, was locked in embrace with his Sieve, who had likewise a garland of leaves and apples; which apples, alluding to the balls of the Medici, of which they were the origin, would have been rosy, if the colour had been in keeping with the white marble. And Arno, all rejoicing, was shown speaking to his new Lady in the manner expressed by the following verses:

And on the other side, as a complement to Arno, on a similar base attached in a similar way to the other portal (the two being turned, as it were, like wings one towards the other), and almost in the same form, were seen the Danube and the Drava likewise in a close embrace, and, even as the others had the Lion, so they had the Eagle as emblem and support; and these, crowned also with roses and with a thousand varieties of little flowers, were shown speaking to Florence, even as the others were speaking to themselves, the following verses:

Then at the summit of the head-piece, in the place of honour, and with a close resemblance to the whitest marble, was seen the statue of the young Hymen, with a garland of flowering marjoram and the torch and veil, and at his feet this inscription: BONI CONJUGATOR AMORIS. On one side of him was Love, who lay all languid under one of his flanks; and on the other side was Conjugal Fidelity, who was holding one arm supported under the other; which was all so pleasing, so full of charm, so beautiful, and so well distributed before the eyes of all beholders, that in truth it is not to be expressed in words. As the principal crown of that ornament—for on them all there was placed a principal crown and a principal device—there were formed in the hands of the Hymen described above two garlands of the same marjoram that crowned his head, which, as he held them, he appeared to be about to present to the happy pair. But most lovely and beautiful of all, and best executed, were the three spacious pictures, separated by double columns, into which the whole of that vast façade was divided, placed with supreme beauty at the feet of Hymen; for in them were depicted all the advantages, all the delights, and all the desirable things that are generally found in nuptials; those displeasing and vexatious being driven away from them with a certain subtle grace. And thus in one of these, that in the centre namely, were seen the Three Graces painted in the manner that is customary, all full of joy and gladness, who appeared to be singing with a certain soft harmony the verses written over them, saying:

These had on one side, forming as it were a choir about them, and coupled becomingly together, Youth and Delight, and Beauty with Contentment in her embrace, and on the other side, in like fashion, Gladness with Play, and Fecundity with Repose, all in attitudes most graceful and in keeping with their characters, and so well distinguished by the able painter, that they could be recognized with ease. In the picture that was on the right of that one, there were seen, besides Love and Fidelity, the same Gladness, Contentment, Delight, and Repose, with lighted torches in their hands, who were chasing from the world and banishing to the nethermost abyss Jealousy, Contention, Affliction, Sorrow, Lamentation, Deceit, Sterility, and other vexatious and displeasing things of that kind, which are wont so often to disturb the minds of human creatures. And in the other, on the left hand, were seen the same Graces in company with Juno, Venus, Concord, Love, Fecundity, Sleep, Pasithea, and Thalassius, setting the genial bed in order with those ancient religious ceremonies of torches, incense, garlands, and flowers, which were customary; of which last a number of little Loves, playing in their flight, were scattering no small quantity over the bed. Above these, then, were two other pictures distributed in very beautiful compartments, one on either side of the statue of Hymen, and somewhat smaller than those described; in one of which, in imitation of the ancient custom so well described by Catullus, was seen the illustrious Princess portrayed from life in the midst of a gracious little company of most beautiful maidens in virginal dress, all crowned with flowers, and with lighted torches in their hands, who were pointing towards the Evening Star, which was seen appearing, and, as if set in motion by them, seemed in a certain gracious manner to move and to advance towards Hymen; with the motto: O DIGNA CONJUNCTA VIRO. Even as in the other picture, on the other side, was seen the excellent Prince in the midst of many young men likewise crowned with garlands and burning with love, not less eager than the maidens in lighting the nuptial torches, and pointing no less towards the newly-appeared star, and giving signs, in advancing towards it, of equal or even greater desire; likewise with a motto that said: O TÆDIS FELICIBUS AUCTE. Above these, arranged in a very graceful manner, there was seen as the principal device, which, as has been told, was placed over all the arches, a gilded chain all composed of marriage-rings with their stones, which, hanging down from Heaven, appeared to be sustaining this terrestrial World; alluding in a certain sense to the Homeric Chain of Jove, and signifying that by virtue of nuptials, the heavenly causes being wedded with terrestrial matter, Nature and the aforesaid terrestrial World are preserved and rendered as it were eternal; with a motto that said: NATURA SEQUITUR CUPIDE. And then a quantity of little Angels and Loves, all gracious and merry, and all set in fitting places, were seen dispersed among the bases, the pilasters, the festoons, and the other ornaments, which were without number; and all, with a certain gladness, appeared to be either scattering flowers and garlands, or sweetly singing the following ode, from among the spaces between the double columns that divided, as has been told, the great pictures and the great façade, which was arranged in a lovely and gracious manner:

Of the Palazzo degli Spini.

And to the end that no part of either dominion might be left without being present at those happy nuptials, at the Ponte a S. Trinita and also at the Palazzo degli Spini, which is to be seen at the beginning of that bridge, there was the fourth ornament, of an architecture not less magnificent in composition, and consisting of a head-piece with three façades, one of which, turning to face towards the Ponte alla Carraia, became joined to that in the centre, which was somewhat bent and likewise attached to that which in like manner turned to face towards the Palazzo degli Spini and S. Trinita; whence it appeared to have been contrived principally for the point of view both from the one street and from the other, insomuch that both from the one and from the other it presented itself complete to the eyes of all beholders—a thing of singular artifice for him who well considers it, which rendered that street, which is in itself as imposing and magnificent as any other that is to be found in Florence, even more imposing and more beautiful than could be believed. In the façade that came in the centre, there had been formed upon a great base two Giants, immense and most superb to behold, supported by two great monsters and by other extravagant fishes that appeared to be swimming in the sea, and accompanied by two sea-nymphs. These represented, one the great Ocean and the other the Tyrrhenian Sea, and, half reclining, they appeared to be seeking to present to the most illustrious pair, with a certain affectionate liberality, not only many most beautiful branches of coral and immense shells of mother-of-pearl, and others of their sea-riches that they held in their hands, but also new islands, new lands, and new dominions, which were seen led thither in their train. Behind them, making that whole ornament lovely and imposing, were seen rising little by little, from their socles that rested upon the base, two vast half-columns, upon which rested cornice, frieze, and architrave, leaving behind the Sea-Gods already described, almost in the form of a triumphal arch, a very spacious square; and over the two columns and the architrave rose two very well-formed pilasters covered with creepers, from which sprang two cornices, forming at the summit a superb and very bold frontispiece, at the top of which, and above the creepers of the pilasters already described, were seen placed three very large vases of gold, all filled to overflowing with thousands and thousands of different riches of the sea; and in the space that remained between the architrave and the point of the frontispiece, there was seen lying with rare dignity a masterly figure of a Nymph, representing Tethys, or Amphitrite, Goddess and Queen of the Sea, who with a very grave gesture was presenting as the principal crown of that place a rostral crown, such as was generally given to the victors in naval battles, with her motto, VINCE MARI, and as it were adding that which follows: JAM TERRA TUA EST. Even as in the picture and the façade behind the Giants, in a very large niche that had the appearance of a real and natural cavern or grotto, there was painted among many other monsters of the sea the Proteus of Virgil's Georgics, bound by Aristæus, who, pointing with his finger towards the verses written above him, appeared to wish to announce in prophecy to the well-united pair good fortune, victories, and triumphs in maritime affairs, saying:

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

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

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

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

Of the Column.

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