Volume 10 — Of the Canto de' Carnesecchi.

Now it appeared a fitting thing, having brought the triumphant Cæsars to the place described above, to bring the magnanimous Medici, also, with all their pomp, to the corner that is called the Canto de' Carnesecchi, which is not far distant from it; as if, reverently receiving the Cæsars, as is the custom, they were come to hold high revel and to do honour to the new-come bride, so much desired. And here, no less than in some of the passages to follow, it will be necessary that I should be pardoned by those who are not of our arts for describing minutely the nature of the site and the form of the arches and other ornaments, for the reason that it is my intention to demonstrate not less the excellence of the hands and brushes of the craftsmen who executed the works, than the fertility and acuteness of brain of him who was the author of the stories and of the whole invention; and particularly because the site in that place was perhaps more disastrous and more difficult to accommodate than any of the others described or about to be described. For there the street turns towards S. Maria del Fiore, inclining to somewhat greater breadth, and comes to form the angle that by those of our arts is called obtuse; and that was the side on the right. Opposite, and on the left-hand side, there is a little piazza into which two streets lead, one that comes from the great Piazza di S. Maria Novella, and the other likewise from another piazza called the Piazza Vecchia. In that little piazza, which is in truth very ill proportioned, there was built over all the lower part a structure in the form of an octagonal theatre, the doors of which were rectangular and in the Tuscan Order; and over each of them was seen a niche between two columns, with cornices, architraves, and other ornaments, rich and imposing, of Doric architecture, and then, rising higher, there was formed the third range, wherein was seen above the niches, in each space, a compartment with most beautiful ornaments in painting. Now it is but proper to remark that although it has been said that the doors below were rectangular and Tuscan, nevertheless the two by which the principal road entered and issued forth, and by which the procession was to pass, were made in the semblance of arches, and projected for no small distance in the manner of vestibules, one towards the entrance and the other towards the exit, both the one and the other having been made as rich and ornate on the outer façade as was required for the sake of proportion.

Having thus described the general form of the whole edifice, let us come down to the details, beginning with the front part, which presented itself first to the eyes of passers-by and was after the manner of a triumphal arch, as has been told, in the Corinthian Order. That arch was seen bordered on one side and on the other by two most warlike statues in armour, each of which, resting upon a graceful little door, was seen likewise coming forth from the middle of a niche placed between two well-proportioned columns. Of these statues, that which was to be seen on the right hand represented Duke Alessandro, the son-in-law of the most illustrious Charles V, a Prince spirited and bold, and of most gracious manners, holding in one hand his sword, and in the other the Ducal baton, with a motto placed at his feet, which said, on account of his untimely death: SI FATA ASPERA RUMPAS, ALEXANDER ERIS. On the left hand was seen, portrayed like all the others from life, the most valorous Signor Giovanni, with the butt of a broken lance in the hand, and likewise with his motto at his feet: ITALUM FORTISS. DUCTOR. And since over the architraves of those four columns already described there were placed very spacious friezes in due proportion, in the width covered by the niches there was seen above each of the statues a compartment between two pilasters; in that above Duke Alessandro was seen in painting the device of a rhinoceros, used by him, with the motto: NON BUELVO SIN VENCER; and above the statue of Signor Giovanni, in the same fashion, his flaming thunderbolt. Above the arch in the centre, which, being more than seven braccia in width and more than two squares in height, gave ample room for the procession to pass, and above the cornice and the frontispieces, there was seen seated in majestic beauty that of the wise and valorous Duke Cosimo, the excellent father of the fortunate bridegroom, likewise with his motto at his feet, which said: PIETATE INSIGNIS ET ARMIS; and with a She-Wolf and a Lion on either side of him, representing Siena and Florence, which, supported and regarded lovingly by him, seemed to be reposing affectionately together. That statue was seen set in the frieze, exactly in a line with the arch, and between the pictures with the devices described; and in that same width, above the crowning cornice, there rose on high another painted compartment, with pilasters in due proportion, cornice, and other embellishments, wherein with great fitness, alluding to the election of the above-named Duke Cosimo, was seen represented the story of the young David when he was anointed King by Samuel, with his motto: A DOMINO FACTUM EST ISTUD. And then, above that last cornice, which was raised a very great distance from the ground, was seen the escutcheon of that most adventuresome family, which, large and magnificent as was fitting, was likewise supported, with the Ducal Crown, by two Victories also in imitation of marble; and over the principal entrance of the arch, in the most becoming place, was the inscription, which said:

VIRTUTI FELICITATIQUE ILLUSTRISSIMÆ MEDICEÆ FAMILIÆ, QUÆ FLOS ITALIÆ, LUMEN ETRURIÆ, DECUS PATRIÆ SEMPER FUIT, NUNC ASCITA SIBI CÆSAREA SOBOLE CIVIBUS SECURITATEM ET OMNI SUO IMPERIO DIGNITATEM AUXIT, GRATA PATRIA DICAT.

Entering within that arch, one found a kind of loggia, passing spacious and long, with the vaulting above all painted and embellished with the most bizarre and beautiful ornaments and with various devices. After which, in two pilasters over which curved an arch, through which was the entrance into the above-mentioned theatre, there were seen opposite to one another two most graceful niches, as it were conjoined with that second arch; between which niches and the arch first described there were seen on the counterfeit walls that supported the loggia two spacious painted compartments, the stories of which accompanied becomingly each its statue. Of these statues, that on the right hand was made to represent the great Cosimo, called the Elder, who, although there had been previously in the family of the Medici many men noble and distinguished in arms and in civil actions, was nevertheless the first founder of its extraordinary greatness, and as it were the root of that plant which has since grown so happily to such magnificence. In his picture was seen painted the supreme honour conferred upon him by his native Florence, when he was acclaimed by the public Senate as Pater Patriæ; which was declared excellently well in the inscription that was seen below, saying:

COSMUS MEDICES, VETERE HONESTISSIMO OMNIUM SENATUS CONSULTO RENOVATO, PARENS PATRIÆ APPELLATUR.

In the upper part of the same pilaster in which was placed the niche, there was a little picture in due proportion wherein was portrayed his son, the magnificent Piero, father of the glorious Lorenzo, likewise called the Elder, the one and true Mæcenas of his times, and the magnanimous preserver of the peace of Italy, whose statue was seen in the other above-mentioned niche, corresponding to that of the Elder Cosimo. In the little picture, which he in like manner had over his head, was painted the portrait of his brother, the magnificent Giuliano, the father of Pope Clement; and in the large picture, corresponding to that of Cosimo, was the public council held by all the Italian Princes, wherein was seen formed, by the advice of Lorenzo, that so stable and so prudent union by which, as long as he was alive and it endured, Italy was seen brought to the height of felicity, whereas afterwards, Lorenzo dying and that union perishing, she was seen precipitated into such conflagrations, calamities, and ruin; which was demonstrated no less clearly by the inscription that was beneath, saying:

LAURENTIUS MEDICES, BELLI ET PACIS ARTIBUS EXCELLENS, DIVINO SUO CONSILIO CONJUNCTIS ANIMIS ET OPIBUS PRINCIPUM ITALORUM ET INGENTI ITALIÆ TRANQUILLITATE PARTA, PARENS OPTIMI SÆCULI APPELLATUR.

Now, coming to the little piazza in which, as has been told, was placed the octagonal theatre, as I shall call it, and beginning from that first entrance to go round on the right hand, let me say that the first part was occupied by that arch of the entrance, above which, in a frieze corresponding in height to the third and last range of the theatre, were seen in four ovals the portrait of Giovanni di Bicci, father of Cosimo the Elder, and that of his son Lorenzo, brother of the same Cosimo, from whom this fortunate branch of the Medici now reigning had its origin; with that of Pier Francesco, son of the above-named Lorenzo, and likewise that of another Giovanni, father of the warlike Signor Giovanni mentioned above. In the second façade of the octagon, which was joined to the entrance, there was seen between two most ornate columns, seated in a great niche, with the royal staff in the hand, a figure in marble, like all the other statues, of Caterina, the valorous Queen of France, with all the other ornaments that are required in architecture both lovely and heroic. And in the third range above, where, as has been said, the painted compartments came, there was figured for her scene the same Queen seated in majesty, who had before her two most beautiful women in armour, one of whom, representing France, and kneeling before her, was shown presenting to her a handsome boy adorned with a royal crown, even as the other, who was Spain, standing, was shown in like manner presenting to her a most lovely girl; the boy being intended for the most Christian Charles IX, who is now revered as King of France, and the girl the most noble Queen of Spain, wife of the excellent King Philip. Then, about the same Caterina, were seen standing with much reverence some other smaller boys, representing her other most gracious little children, for whom a Fortune appeared to be holding sceptres, crowns, and realms. And since between that niche and the arch of the entrance, on account of the disproportion of the site, there was some space left over, caused by the desire to make the arch not ungracefully awry, but well-proportioned and straight, for that reason there was placed there, as it were in a niche, a painted picture wherein by means of a Prudence and a Liberality, who stood clasped in a close embrace, it was shown very ingeniously with what guides the House of Medici had come to such a height; having above them, painted in a little picture equal in breadth to the others of the third range, a Piety humble and devout, recognized by the stork that was beside her, round whom were seen many little Angels that were showing to her various designs and models of the many churches, monasteries, and convents built by that magnificent and religious family. Now, proceeding to the third side of the octagon, where there was the arch by which one issued from the theatre, over the frontispiece of that arch was placed, as the heart of so many noble members, the statue of the most excellent and amiable Prince and Spouse, and at his feet the motto: SPES ALTERA FLORÆ. In the frieze above—meaning, as before, that this came to the height of the third range—to correspond to the other arch, where, as has been told, four portraits had been placed, in that part, also, were four other similar portraits of his illustrious brothers, accommodated in a similar manner; those, namely, of the two very reverend Cardinals, Giovanni of revered memory and the most gracious Ferdinando, and those of the handsome Signor Don Garzia and the amiable Signor Don Pietro. Then, to go on to the fourth face, since the corner of the houses that are there, not giving room for the hollow of any recess, did not permit of the usual niche being made there, in its stead was seen accommodated with beautiful artifice, corresponding to the niches, a very large inscription that said:

Above it, in place of scene and picture, there were painted in two ovals the two devices, one of the fortunate Duke, the Capricorn with the seven Stars and with the motto, FIDUCIA FATI; and the other of the excellent Prince, the Weasel, with the motto, AMAT VICTORIA CURAM. Then in the three niches that came in the three following façades were the statues of the three Supreme Pontiffs who have come from that family; all rejoicing, likewise, to lend their honourable presence to so great a festival, as if every favour human and divine, every excellence in arms, letters, wisdom, and religion, and every kind of sovereignty, were assembled together to vie in rendering those splendid nuptials august and happy. Of those Pontiffs one was Pius IV, departed a short time before to a better life, over whose head, in his picture, was seen painted how, after the intricate disputes were ended at Trent and the sacrosanct Council was finished, the two Cardinal Legates presented to him its inviolable decrees; even as in that of Leo X was seen the conference held by him with Francis I, King of France, whereby with prudent counsel he bridled the vehemence of that bellicose and victorious Prince, so that he did not turn all Italy upside down, as he might perchance have done, and as he was certainly able to do; and in that of Clement VII was the Coronation, performed by him in Bologna, of the great Charles V. But in the last façade, which hit against the acute angle of the houses of the Carnesecchi, by which the straight line of that façade of the octagon was no little interrupted, nevertheless there was made with gracious and pleasing artifice another masterly inscription, after the likeness of the other, but curving somewhat outwards, which said:

Such, as a whole, was the interior of the theatre described above; but although it may appear to have been described minutely enough, it is none the less true that an infinity of other ornaments, pictures, devices, and a thousand most bizarre and most beautiful fantasies which were placed throughout the Doric cornices and many spaces according to opportunity, making a very rich and gracious effect, have been omitted as not being essential, in order not to weary the perhaps already tired reader; and anyone who delights in such things may imagine that no part was left without being finished with supreme mastery, consummate judgment, and infinite loveliness. And a most pleasing and beautiful finish was given to the highest range by the many arms that were seen distributed there in due proportion, which were Medici and Austria for the illustrious Prince, the bridegroom, and her Highness; Medici and Toledo for the Duke, his father; Medici and Austria again, recognized by the three feathers as belonging to his predecessor Alessandro; Medici and Boulogne in Picardy for Lorenzo, Duke of Urbino; Medici and Savoy for Duke Giuliano; Medici and Orsini for the double kinship of the Elder Lorenzo and his son Piero; Medici and the Viper for the above-named Giovanni, husband of Caterina Sforza; Medici and Salviati for the glorious Signor Giovanni, his son; France and Medici for her most serene Highness the Queen; Ferrara and Medici for the Duke, with one of the sisters of the most excellent bridegroom; and Orsini and Medici for the other most gentle sister, married to the illustrious Signor Paolo Giordano, Duke of Bracciano.

It now remains for us to describe the last part of the theatre and the exit, which, corresponding in size, in proportion, and in every other respect to the entrance already described, there will be little labour, I believe, in making known to the intelligent reader; save only that the arch which formed the façade there, facing towards S. Maria del Fiore, had been constructed, as a part less important, without statues and with somewhat less magnificence, and in their stead there had been placed over that arch a very large inscription, which said:

In the two pilasters that were at the beginning of the passage, or vestibule, as we have called it (over which pilasters rose the arch of the exit, upon which was the statue of the illustrious bridegroom), were seen two niches, in one of which was placed the statue of the most gentle Giuliano, Duke of Nemours, the younger brother of Leo and Gonfalonier of Holy Church, who had likewise in the little picture that was above him the portrait of the magnanimous Cardinal Ippolito, his son, and, in the picture that stretched towards the exit, the scene of the Capitoline Theatre, dedicated to him by the Roman people in the year 1513, with an inscription to make this known, which said:

JULIANUS MEDICES EXIMIÆ VIRTUTIS ET PROBITATIS ERGO SUMMIS A POP. ROM. HONORIBUS DECORATUR, RENOVATA SPECIE ANTIQUÆ DIGNITATIS AC LÆTITIÆ.

In the other niche, corresponding to the first statue, and, like it, standing and in armour, was seen the statue of Lorenzo the Younger, Duke of Urbino, with a sword in the hand; and in the little picture above him he had the portrait of his father Piero, and in the other picture the scene when the general's baton was given to him with such happy augury by his native Florence, likewise with an inscription to explain it, which said:

LAURENTIUS MED. JUNIOR MAXIMA INVICTÆ VIRTUTIS INDOLE, SUMMUM IN RE MILITARI IMPERIUM MAXIMO SUORUM CIVIUM AMORE ET SPE ADIPISCITUR.

Of the Canto alla Paglia.

At the corner which from the straw that is constantly sold there is called the Canto alla Paglia, there was made another arch of great beauty and not less rich and imposing than any of the others. Now it may perchance appear to some, for the reason that all or the greater part of those ornaments have been extolled by us as in the highest rank of beauty and excellence of artistry, pomp, and richness, that this has been done by reason of a certain manner of writing inclined to overmuch praise and exaggeration. But everyone may take it as very certain that those works, besides leaving a long way behind them all things of that kind as were ever executed in that city, and perhaps in any other place, were also such, and ordained with such grandeur, magnificence, and liberality by those magnanimous Lords, and executed in such a manner by the craftsmen, that they surpassed by a great measure every expectation, and took away from no matter what writer all force and power to attain with the pen to the excellence of the reality.

Now, to return, I say that in that place—in that part, namely, where the street that leads from the Archbishop's Palace into the Borgo S. Lorenzo, dividing the above-named Strada della Paglia, forms a perfect crossing of the ways, was made the ornament already mentioned, much after the likeness of the ancient four-fronted Temple of Janus; and, for the reason that from there the Cathedral Church could be seen, it was ordained by those truly religious Princes that it should be dedicated to sacrosanct Religion, in which how eminent all Tuscany, and Florence in particular, has been at all times, I do not believe that it is necessary for me to take much pains to demonstrate. And therein the intention was that since Florence had brought with her, as was told at the beginning, as her handmaids and companions, to give the first welcome to the new bride, some of the virtues or attributes that had raised her to greatness, and in which she could well vaunt herself, the intention, I say, was to show that there also, for a no less necessary office, she had left Religion, that she, awaiting the bride, might in a certain manner introduce her into the vast and most ornate church so near at hand. That arch, then, which was in a very broad street, as has been told, was seen formed of four very ornate façades, the first of which presented itself to the eyes of one going in the direction of the Carnesecchi, and another, following the limb of the cross, faced towards S. Giovanni and the Duomo of S. Maria del Fiore, leaving two other façades on the cross-limb of the cross, one of which looked towards S. Lorenzo and the other towards the Archbishop's Palace. And now, to describe in order and with as much clearness as may be possible the composition and the beauty of the whole, I say—beginning again with the front part, to which that at the back was wholly similar in the composition of the ornaments, without failing in any point—that in the centre of the wide street was seen the very broad entrance of the arch, which rose to a beautifully proportioned height, and on either side of it were seen two immense niches bordered by two similar Corinthian columns, all painted with sacred books, mitres, thuribles, chalices, and other sacerdotal instruments, in place of trophies and spoils. Above these, and above the regular cornices and friezes, which projected somewhat further outwards than those which came over the arch in the centre, but were exactly equal to them in height, was seen another cornice, as of a door or window, curving between the one column and the other in a quarter-round, which, seeming to form a separate niche, made an effect as graceful and lovely as could well be imagined. Above that last cornice, then, rose a frieze of a height and magnificence in accord with the proportions of so great a beginning, with certain great consoles, carved and overlaid with gold, which came exactly in perpendicular lines with the columns already described; and upon them rested another magnificent and very ornate cornice, with four very large candelabra likewise overlaid with gold and, like all the columns, bases, capitals, cornices, architraves, and every other thing, picked out with various carvings and colours, and also standing in line with the great consoles and the columns above described. Now in the centre, springing above the said consoles, two cornices were seen rising, and little by little forming an angle, and finally uniting as a frontispiece, over which, upon a very rich and beautiful base, was seated an immense statue with a Cross in the hand, representing the most holy Christian Religion, at whose feet, one on either side of her, were seen two other similar statues which seemed to be lying upon the cornice of the above-named frontispiece, one of which, that on the right hand, with three children about her, represented Charity, and the other Hope. Then in the space, or, to speak more precisely, in the angle of the frontispiece, there was seen as the principal device of that arch the ancient Labarum with the Cross, and with the motto, IN HOC VINCES, sent to Constantine; beneath which was seen set with beautiful grace a very large escutcheon of the Medici with three Papal crowns, in keeping with the idea of Religion, for the three Pontiffs whom she has had from that house. And on the first level cornice, on either side, was seen a statue corresponding to the niche already described which came between the two columns; one of which, that on the right hand, was a most beautiful young woman in full armour, with the spear and shield, such as Minerva used to be represented in ancient times, save that in place of the head of Medusa there was seen a great red cross on her breast, which caused her to be recognized with ease as the new Order of S. Stephen, founded so devoutly by our glorious and magnanimous Duke. The other on the left hand was seen all adorned with sacerdotal and civil vestments in place of arms, and with a great cross in the hand in place of a spear; and these, towering over the whole structure in most beautiful accord with the others, made a very imposing and marvellous effect. Next, in the frieze that came between that last cornice and the architrave that rested upon the columns, where according to the order of the composition there came three compartments, were seen painted the three kinds of true religion that have been from the creation of the world down to the present day. In the first of these, which came on the right hand beneath the armed statue, was seen painted that kind of religion which reigned in the time of natural law, in those few who had it true and good, although they had not a perfect knowledge of God, wherefore there was seen figured Melchizedek offering bread and wine and other fruits of the earth. Even so, in the picture on the left hand, which came in like manner beneath the statue of peaceful Religion, was seen the other religion, ordained by God through the hands of Moses, and more perfect than the first, but all so veiled with images and figures, that these did not permit the final and perfect clearness of Divine worship to be fully revealed; to signify which there were seen Moses and Aaron sacrificing the Paschal Lamb to God. But in the central picture, which came exactly beneath the large and above-described statues of Religion, Charity, and Hope, and over the principal arch, and which in proportion with the greater space was much larger, there was seen figured an altar, and upon it a Chalice with the Host, which is the true and evangelic Sacrifice; about which were seen some figures kneeling, and over it a Holy Spirit in the midst of many little Angels, who were holding in their hands a scroll in which was written, IN SPIRITU ET VERITATE; so that it appeared that they were repeating those words in song, Spiritus meaning all that concerns the sacrifice natural and corporeal, and Veritas all that appertains to the legal; which was all by way of image and figure. Beneath the whole scene was a most beautiful inscription, which, supported by two other Angels, rested on the cornice of the central arch, saying:

VERÆ RELIGIONI, QUÆ VIRTUTUM OMNIUM FUNDAMENTUM, PUBLICARUM RERUM FIRMAMENTUM, PRIVATARUM ORNAMENTUM, ET HUMANÆ TOTIUS VITÆ LUMEN CONTINET, ETRURIA SEMPER DUX ET MAGISTRA ILLIUS HABITA, ET EADEM NUNC ANTIQUA ET SUA PROPRIA LAUDE MAXIME FLORENS, LIBENTISSIME CONSECRAVIT.

But coming to the lower part, and returning to the niche which came on the right hand, between the two columns and beneath the armed Religion, and which, although in painting, by reason of the chiaroscuro appeared as if in relief; there, I say, was seen the statue of our present most pious Duke in the habit of a Knight of S. Stephen, with the cross in his hand, and with the following inscription, which had the appearance of real carving, over his head and above the niche, saying:

COSMUS MEDIC. FLOREN. ET SENAR. DUX II, SACRAM D. STEPHANI MILITIAM CHRISTIANÆ PIETATIS ET BELLICÆ VIRTUTIS DOMICILIUM FUNDAVIT, ANNO MDLXI.

Even as on the base of the same niche, between the two pedestals of the columns, which were fashioned in the Corinthian proportions, there was seen painted the Taking of Damiata, achieved by the prowess of the valiant knights of Florence; as it were auguring for those his new knights similar glory and valour. And in the lunette or semi-circle which came above the two columns, there was seen his private and particular escutcheon of balls, which, by the red cross that was added to it with beautiful grace, made it clearly manifest that it was that of the Grand Master and Chief of the Order.

Now, for the public and universal satisfaction, and in order to revive the memory of those who, born in that city or that province, became illustrious for integrity of character and for sanctity of life, and founders of some revered Order, and also to kindle the minds of all beholders to imitation of their goodness and perfection, it was thought right and proper, since there had been placed on the right hand, as has been related, the statue of the Duke, founder of the holy military Order of S. Stephen, to set on the other side that of S. Giovanni Gualberto, who was likewise a knight of the household, according to the custom of those times, and the first founder and father of the Order of Vallombrosa. Most fittingly, even as the Duke was beneath the armed statue, in like manner he was seen standing beneath the sacerdotal statue of Religion, in the habit of a knight, pardoning his enemy; having in the frontispiece over the niche a similar escutcheon of the Medici, with three Cardinal's hats, and on the base the story of the miracle that took place at Badia di Settimo, when the friar, by the command of the above-named S. Giovanni Gualberto, to the confusion of the heretics and simonists, passed with his benediction and with a cross in his hand through the midst of a raging fire; with the inscription likewise in a little tablet above him, which made all that manifest, saying:

JOANNES GUALBERTUS, EQUES NOBILISS. FLOREN., VALLIS UMBROSÆ FAMILIÆ AUCTOR FUIT, ANNO MLXI.

With which was terminated that most ornate and beautiful principal façade.

Entering beneath the arch, one saw there a passing spacious loggia, or passage, or vestibule, whichever we may choose to call it; and in exactly the same manner were seen formed the three other entrances, which, being joined together at the intersection of the two streets, left in the centre a space about eight braccia square. There the four arches rose to the height of those without, and the pendentives curved in the manner of a vault as if a little cupola were to spring over them; but when these had reached the cornice curving right round, at the point where the vault of the cupola would have had to begin to rise, there sprang a gallery of gilded balusters, above which was seen a choir of most beautiful Angels, dancing most gracefully in a ring and singing in sweetest harmony; while for greater grace, and to the end that there might be light everywhere beneath the arch, in place of a cupola there was left the free and open sky. And in the spaces or spandrels, whichever they may be called, of the four angles, which of necessity, narrow at their springing, opened out as they rose nearer to the cornice in accordance with the curve of the arch, were painted with no less grace in four rounds the four beasts mystically imagined by Ezekiel and by John the Divine for the four writers of the holy Evangel. But to return to the first of those four loggie or vestibules, as we have called them; the vaults there were seen distributed with very graceful and lovely divisions, and all adorned and painted with various little scenes and with the arms and devices of those religious Orders which were above or beside them, and in whose service, principally, they were there. Thus on the façade of that first one on the right hand, which was joined to the Duke's niche, there was seen painted in a spacious picture the same Duke giving the habit to his knights, with those observances and ceremonies that are customary with them; in the most distant part, which represented Pisa, could be perceived the noble building of their palace, church, and hospital, and on the base, in an inscription for the explanation of the scene, could be read these words:

COSMUS MED. FLOR. ET SENAR. DUX II, EQUITIBUS SUIS DIVINO CONSILIO CREATIS MAGNIFICE PIEQUE INSIGNIA ET SEDEM PRÆBET LARGEQUE REBUS OMNIBUS INSTRUIT.

Even as in the other on the opposite side, attached to the niche of S. Giovanni Gualberto, was seen how that same Saint founded his first and principal monastery in the midst of the wildest forests; with an inscription likewise on the base, which said:

S. JO. GUALBERTUS IN VALLOMBROSIANO MONTE, AB INTERVENTORIBUS ET ILLECEBRIS OMNIBUS REMOTO LOCO, DOMICILIUM PONIT SACRIS SUIS SODALIBUS.

Now, having despatched the front façade, and passing to that at the back, and describing it in the same manner, the less to hinder a clear understanding, we shall say, as has also been said before, that in height, in size, in the compartments, in the columns, and, finally, in every other ornament, it corresponded completely to that already described, save that whereas the first had on the highest summit in the centre the three great statues described above, Religion, Charity, and Hope, the other had in place of these only a most beautiful altar all composed and adorned after the ancient use, upon which, even as one reads of Vesta, was seen burning a very bright flame. On the right hand, towards S. Giovanni, there was seen standing a great statue in becoming vestments and gazing intently on Heaven, representing the Contemplative Life, which came exactly in a perpendicular line over the great niche between the two columns, as has been described in the other façade; and on the other side another great statue like it, but very active, with the arms bare and with the head crowned with flowers, representing the Active Life; in which statues were comprised very fittingly all the qualities that appertain to the Christian Religion. In the frieze between the one cornice and the other, which corresponded to that of the other part, and which was likewise divided into three compartments, there were seen in the largest, which was in the centre, three men in Roman dress presenting twelve little children to some old and venerable Tuscans, to the end that these, being instructed by them in their religion, might demonstrate in what repute the Tuscan religion was held in ancient times among the Romans and all other nations: with a motto to explain this, taken from that perfect law of Cicero, which said: ETRURIA PRINCIPES DISCIPLINAM DOCETO. Beneath which was the inscription, similar and corresponding to that already given from the other façade, which said:

In one of the two smaller pictures, that which came on the right hand, since it is thought that the ancient religion of the Gentiles (which not without reason was placed on the west) is divided into two parts, and consists, above all, of augury and sacrifice, there was seen painted according to that use an ancient priest who with marvellous solicitude was standing all intent on considering the entrails of the animals sacrificed, which were placed before him in a great basin by the ministers of the sacrifice; and in the other picture an augur like him with the crooked lituus in the hand, drawing in the sky the regions proper for taking auguries from certain birds that were shown flying above.

Now, descending lower, and coming to the niches; in that, I say, which was on the right hand, was seen S. Romualdo, who in this our country, a land set apart, as it were, by Nature for religion and sanctity, founded on the wild Apennine mountains the holy Hermitage of Camaldoli, whence that Order had its origin and name; with the inscription over the niche, which said:

ROMUALDUS IN HAC NOSTRA PLENA SANCTITATIS TERRA, CAMALDULENSIUM ORDINEM COLLOCAVIT ANNO MXII.

And on the base the story of the sleeping hermit who saw in a dream the staircase similar to that of Jacob, which, passing beyond the clouds, ascended even to Heaven. On the façade which was joined to the niche, and which passed, as was said of the other, under the vestibule, was seen painted the building of the above-named hermitage in that wild place, carried out with marvellous care and magnificence; with the inscription, which in explanation said:

SANCTUS ROMUALDUS IN CAMALDULENSI SYLVESTRI LOCO, DIVINITUS SIBI OSTENSO ET DIVINÆ CONTEMPLATIONI APTISSIMO, SUO GRAVISSIMO COLLEGIO SEDES QUIETISSIMAS EXTRUIT.

In the niche on the left hand was seen the Blessed Filippo Benizi, one of our citizens, who was little less than the founder of the Servite Order, and without a doubt its first ordinator; and he, although he was accompanied by seven other noble Florentines, the one niche not being large enough to contain them all, was placed therein alone, as the most worthy; with the inscription above, which said:

PHILIPPUS BENITIUS CIVIS NOSTER INSTITUIT ET REBUS OMNIBUS ORNAVIT SERVORUM FAMILIAM, ANNO MCCLXXXV.

With the story of the Annunciation, likewise, on the base, wherein was the Virgin supported by many little Angels, with one among them who was shown scattering a beautiful vase of flowers over a vast multitude that stood there in supplication; representing the innumerable graces that are seen bestowed daily by her intercession on the faithful who with devout zeal commend themselves to her. In the other scene, in the great picture that came in the passage below, were the same S. Filippo and the seven above-mentioned noble citizens throwing off the civil habit of Florence and assuming that of the Servite Order, and shown all occupied with directing the building of their beautiful monastery, which is now to be seen in Florence, but was then without the city, and the venerable and most ornate Church of the Annunziata, so celebrated throughout the whole world for innumerable miracles, which has been ever since the head of that Order; with the inscription, which said:

SEPTEM NOBILES CIVES NOSTRI IN SACELLO NOSTRÆ URBIS, TOTO NUNC ORBE RELIGIONIS ET SANCTITATIS FAMA CLARISSIMO, SE TOTOS RELIGIONI DEDUNT ET SEMINA JACIUNT ORDINIS SERVORUM D. MARIÆ VIRG.

There remain the two façades which formed as it were arms, as has been told, to the straight limb of the cross. These were smaller than those already described, which was caused by the narrowness of the two streets that begin there; wherefore, since less space came to be left for the magnificence of the work, in order consequently not to depart from the due proportion of height in their much smaller size, with much judgment the arch which gave passage there had on either side not a niche but a single column; over which rose a frieze in due proportion, in the centre of which was a painted picture that crowned the ornamentation of that façade, but not without an infinity of such other embellishments, devices, and pictures as were thought to be proper in such a place. Now, that whole structure being dedicated to the glory and power of the true Religion and to the memory of her glorious victories, they chose the two most noble and most important victories, won over two most powerful and particular adversaries, human wisdom namely, under which are comprised philosophers and heretics, and worldly power: and on the part facing towards the Archbishop's Palace was seen depicted how S. Peter and S. Paul and the other Apostles, filled with the divine spirit, disputed with a great number of philosophers and many others full of human wisdom, some of whom, those most confused, were seen throwing away or tearing up the books that they held in their hands, and others, such as Dionysius the Areopagite, Justinus, Pantænus, and the like, were coming towards them, all humble and devout, in token of having recognized and accepted the Evangelic truth; with the motto in explanation of this, which said: NON EST SAPIENTIA, NON EST PRUDENTIA. In the other scene towards the Archbishop's Palace, on the other side from the first, were seen the same S. Peter and S. Paul and the others in the presence of Nero and many of his armed satellites, boldly and freely preaching the truth of the Evangel; with the motto—NON EST FORTITUDO, NON EST POTENTIA, referring to that which follows in Solomon, whence the motto is taken—CONTRA DOMINUM. Of the façades which came under the two vaults of those two arches, in one, on the side towards the Archbishop's Palace, was seen the Blessed Giovanni Colombini, an honoured citizen of Siena, making a beginning with the Company of the Ingesuati by throwing off the citizen's habit on the Campo di Siena and assuming that of a miserable beggar, and giving the same habit to many who with great zeal were demanding it from him; with the inscription, which said:

ORIGO COLLEGII PAUPERUM, QUI AB JESU COGNOMEN ACCEPERUNT; CUJUS ORDINIS PRINCEPS FUIT JOANNES COLOMBINUS, DOMO SENENSIS, ANNO MCCCLI.

And in the other, on the opposite side, were seen other gentlemen, likewise of Siena, before Guido Pietramalesco, Bishop of Arezzo, to whom a commission had been given by the Pope that he should inquire into their lives; and they were all intent on making manifest to him the wish and desire that they had to create the Order of Monte Oliveto, which was seen approved by that Bishop, exhorting them to put into execution the building of that vast and most holy monastery, which they erected afterwards at Monte Oliveto in the district of Siena, and of which they were shown to have brought thither a model; with the inscription, which said:

INSTITUITUR SACER ORDO MONACORUM QUI AB OLIVETO MONTE NOMINATUR, AUCTORIBUS NOBILIBUS CIVIBUS SENENSIBUS, ANNO MCCCXIX.

On the side towards S. Lorenzo was seen the building of the most famous Oratory of La Vernia, at the expense in great part of the devout Counts Guidi, at that time lords of that country, and by the agency of the glorious S. Francis, who, moved by the solitude of the place, made his way thither, and was visited there by Our Lord the Crucified Jesus Christ and marked with the Stigmata; with the inscription that explained all this, saying:

ASPERRIMUM AGRI NOSTRI MONTEM DIVUS FRANCISCUS ELEGIT, IN QUO SUMMO ARDORE DOMINI NOSTRI SALUTAREM NECEM CONTEMPLARETUR, ISQUE NOTIS PLAGARUM IN CORPORE IPSIUS EXPRESSIS DIVINITUS CONSERVATUR.

Even as on the opposite side was seen the Celebration held in Florence of the Council under Eugenius IV, when the Greek Church, so long at discord with the Latin, was reunited with her, and the true Faith, it may be said, was restored to her pristine clearness and purity; which was likewise made manifest by the inscription, saying:

NUMINE DEI OPTIMI MAX. ET SINGULARI CIVIUM NOSTRORUM RELIGIONIS STUDIO, ELIGITUR URBS NOSTRA IN QUA GRÆCIA, AMPLISSIMUM MEMBRUM A CHRISTIANA PIETATE DISJUNCTUM, RELIQUO ECCLESIÆ CORPORI CONJUNGERETUR.

Of S. Maria del Fiore.

As for the Cathedral Church, the central Duomo of the city, although it is in itself stupendous and most ornate, nevertheless, since the new Lady was to halt there, met by all the clergy, as she did, it was thought well to embellish it with all possible pomp and show of religion, and with lights, festoons, shields, and a vast and very well distributed quantity of banners. At the principal door, in particular, there was made in the Ionic Order of composition a marvellous and most graceful ornament, in which, in addition to the rest, which was in truth excellently well conceived, rich and rare beyond all else appeared ten little stories of the actions of the glorious Mother of Our Lord Jesus Christ, executed in low-relief, which, since they were judged by all who saw them to be of admirable artistry, it is hoped that some day they may be seen in bronze in competition with the marvellous and stupendous gates of the Temple of S. Giovanni, and even, as in a more favoured age, more pleasing and more beautiful; but at that time, although of clay, they were seen all overlaid with gold, and were let in a graceful pattern of compartments into the wooden door, which likewise had the appearance of gold. Above which, besides an immense escutcheon of the Medici with the Papal Keys and Crown, supported by Operation and Grace, were seen painted in a very beautiful canvas all the tutelary Saints of the city, who, turned towards a Madonna and the Child that she was holding in her arms, appeared to be praying to her for the welfare and felicity of Florence; even as over all, as the principal device, and with most lovely invention, was seen a little ship which, with the aid of a favourable wind, appeared to be speeding with full sail towards a most tranquil port, signifying that Christian actions are in need of the divine grace, but that it is also necessary on our part to add to them, as not being passive, good disposition and activity. Which was likewise made clearly manifest by the motto, which said, Σὺν Θεῷ; and even more by the very short inscription that was seen beneath, saying:

CONFIRMA HOC DEUS QUOD OPERATUS ES IN NOBIS.

Of the Horse.

On the Piazza di S. Pulinari, not in connection with the tribunal that was near there, but to the end that the great space between the Duomo and the next arch might not remain empty, although the street is very beautiful, there was made with marvellous artistry and subtle invention the figure of an immense, very excellent, very fiery and well-executed horse, more than nine braccia in height, which was rearing up on the hind-legs; and upon it was seen a young hero in full armour and in aspect all filled with valour, who had just wounded to death with his spear, the butt of which was seen at his feet, a vast monster that was stretched all limp beneath his horse, and already he had laid his hand on a glittering sword, as if about to smite him again, and seemed to marvel to what straits the monster had been reduced by the first blow. That hero represented the true Herculean Virtue, which, as Dante said so well, chased through every town and banished to Hell the dissipatrix of kingdoms and republics, the mother of discord, injury, rapine, and injustice, that evil power, finally, that is commonly called Vice or Fraud, hidden under the form of a woman young and fair, but with a great scorpion's tail; and, slaying her, he seemed to have restored the city to the tranquillity and peace in which she is seen at the present day, thanks to her excellent Lords, reposing and flourishing so happily. Which was demonstrated in a manner no less masterly by the device, placed fittingly on the great base, in which, in the centre of an open temple supported by many columns, upon a sacred altar, was seen the Egyptian Ibis, which was shown tearing with the beak and with the claws some serpents that were wound round its legs; with a motto that said aptly: PRÆMIA DIGNA.

Of the Borgo de' Greci.

Even so, also, at the corner of the Borgo de' Greci, to the end that in the turn that was made in going towards the Dogana, the eyes might have something on which to feast with delight, it was thought well to form a little closed arch of Doric architecture, dedicating it to Public Merriment; which was demonstrated by the statue of a woman crowned with a garland and all joyous and smiling, which was in the principal place, with a motto in explanation, saying: HILARITAS P.P. FLORENT. Below her, in the midst of many grotesques and many graceful little stories of Bacchus, were seen two most charming little Satyrs, which with two skins that they held on their shoulders were pouring into a very beautiful fountain, as was done in the other, white and red wine; and as in the other the fish, so in this one two swans that were under the boys, played a trick on him who drank too much by means of jets of water that at times spurted with force from the vase; with a graceful motto that said: ABITE LYMPHÆ VINI PERNICIES. Above and around the large statue were seen many others, both Satyrs and Bacchanals, who, shown in a thousand pleasing ways drinking, dancing, singing, and playing all those pranks that the drunken are wont to play, seemed as if chanting the motto written above them:

NUNC EST BIBENDUM, NUNC PEDE LIBERO PULSANDA TELLUS.

Of the Arch of the Dogana.

It appeared, among the many prerogatives, excellences, and graces with which fair Florence adorned herself, distributing them over various places, as has been shown, to receive and accompany her illustrious Princess, it appeared, I say, that the sole sovereign and head of them all, Civil Virtue or Prudence, queen and mistress of the art of ruling and governing well peoples and states, had been passed over up to this point without receiving any attention; as to which Prudence, although to the great praise and glory of Florence it could be demonstrated amply in many of her children in past times, nevertheless, having at the present time in her most excellent Lords the most recent, the most true, and without a doubt the most splendid example that has ever been seen in her up to our own day, it was thought that their magnanimous actions were best fitted to express and demonstrate that virtue. And with what good reason, and how clearly without any taint of adulation, but only by the grateful minds of the best citizens, this honour was paid to them, anyone who is not possessed by blind envy (by whose venomous bite whoever has ruled at any time has always been molested), may judge with ease, looking not only at the pure and upright government of their happily adventuresome State and at its preservation among difficulties, but also at its memorable, ample, and glorious increase, brought about certainly not less by the infinite fortitude, constancy, patience, and vigilance of its most prudent Duke, than by the benign favour of prosperous Fortune. All which came to be expressed excellently well in the inscription set with most beautiful grace in a fitting place, embracing the whole conception of the whole ornament, and saying:

REBUS URBANIS CONSTITUTIS, FINIB. IMPERII PROPAGATIS, RE MILITARI ORNATA, PACE UBIQUE PARTA, CIVITATIS IMPERIIQUE DIGNITATE AUCTA, MEMOR TANTORUM BENEFICIORUM PATRIA PRUDENTIÆ DUCIS OPT. DEDICAVIT.

At the entrance of the public and ducal Piazza, then, and attached on one side to the public and ducal Palace, and on the other to those buildings in which salt is distributed to the people, there was dedicated well and fittingly to that same Civil Virtue or Prudence an arch marvellous and grand beyond all the others, similar and conforming in every part, although more lofty and more magnificent, to that of Religion already described, which was placed on the Canto alla Paglia. In that arch, above four vast Corinthian columns, in the midst of which space was left for the procession to pass, and above the usual architrave, cornice, and frieze of projections—as was said of the other—divided into three compartments, and upon a second great cornice that crowned the whole work, there was seen in grave and heroic majesty, seated in the semblance of a Queen with a sceptre in the right hand and resting the left on a great globe, an immense woman adorned with a royal crown, who could be recognized with ease as being that Civil Virtue. There remained below, between one column and another, as much space as accommodated without difficulty a deep and spacious niche, in each of which was demonstrated very aptly of what other virtues that Civil Virtue is composed; and, rightly giving the first place to the military virtues, there was seen in the niche on the right hand, with heroic and most beautiful composition, the statue of Fortitude, the first principle of all magnanimous and generous actions, even as on the left hand in like manner was seen placed that of Constancy, who best guides and executes them. And since between the frontispieces of the two niches and the cornice that went right round there was left some space, to the end that the whole might be adorned, there were counterfeited there two rounds in the colour of bronze, in one of which was depicted with a fine fleet of galleys and other ships the diligence and solicitude of our most shrewd Duke in maritime affairs, and in the other, as is often found in ancient medals, was seen the same Duke going around on horseback to visit his fortunate States and to provide for their wants. Next, over the crowning cornice, where, as has been told, the masterly statue of Civil Prudence was seated, continuing to show of what parts she is composed, and exactly in a line with the Fortitude already described, and separated from her by some magnificent vases, was seen Vigilance, so necessary in every human action; even as above Constancy was seen in like manner Patience, and I do not speak of that patience to which meek minds, tolerating injuries, have given the name of virtue, but of that which won so much honour for the ancient Fabius Maximus, and which, awaiting opportune moments with prudence and mature reflection, and void of all rash vehemence, executes every action with reason and advantage. In the three pictures, then, into which, as was said, the frieze was divided, and which were separated by medallions and pilasters that sprang in a line with the columns and extended with supreme beauty as far as the great cornice; in that in the centre, which came above the portal of the arch and beneath the Sovereign Prudence, was seen painted the generous Duke with prudent and loving counsel handing over to the worthy Prince the whole government of his spacious States, which was expressed by a sceptre upon a stork, which he was shown offering to his son, and it was being accepted with great reverence by the obedient Prince; with a motto that said: REGET PATRIIS VIRTUTIBUS. Even as in that on the right hand was seen the same most valiant Duke with courageous resolution sending forth his people, and the first fort of Siena occupied by them—no slight cause, probably, of their victory in that war. And in that on the left hand, in like manner, was painted his joyful entry into that most noble city after the winning of the victory. But behind the great statue of Sovereign Prudence—and in this alone was that front part dissimilar to the Arch of Religion—was seen raised on high a base beautifully twined with cartouches and square, although at the foot, not without infinite grace, it was something wider than at the top; upon which, reviving the ancient use, was seen a most beautiful triumphal chariot drawn by four marvellous coursers, not inferior, perchance, to any of the ancient in beauty and grandeur. In that chariot was seen held suspended in the air by two lovely little Angels the principal crown of the arch, composed of civic oak, and, in the likeness of that of the first Augustus, attached to two tails of Capricorns; with the same motto that was once used with it by him, saying: OB CIVES SERVATOS. And in the spaces that remained between the pictures, statues, columns, and niches, all was filled up with richness and grace by an infinite wealth of Victories, Anchors, Tortoises with the Sail, Diamonds, Capricorns, and other suchlike devices of those magnanimous Lords.

Now, passing to the part at the back, facing towards the Piazza, which we must describe as being in every way similar to the front, excepting that in place of the statue of Sovereign Prudence, there was seen in a large oval corresponding to the great pedestal that supported the great chariot described above, which, with ingenious artifice, after the passing of the procession, was turned in a moment towards the Piazza; there was seen, I say, as the principal device of the arch, a celestial Capricorn with its stars, which was shown holding with the paws a royal sceptre with an eye at the top, such as it is said that the ancient and most just Osiris used once to carry, with the ancient motto about it, saying: NULLUM NUMEN ABEST; as if adding, as the first author said: SI SIT PRUDENTIA. In the lower part, we have to relate as a beginning—because that façade was made to represent the actions of peace, which are perhaps no less necessary to the human race—that in the niche on the right hand, as with those of the other façade already described, there was seen placed a statue of a woman, representing Reward or Remuneration, and called Grace, such as wise Princes are wont to confer for meritorious works upon men of excellence and worth, even as on the left hand, in a threatening aspect, with a sword in the hand, in the figure of Nemesis, was seen Punishment, for the vicious and criminal; with which figures were comprised the two principal pillars of Justice, without both which no State ever had stability or firmness, or was anything but imperfect and maimed. In the two ovals, then, always corresponding to those of the other façade, and like them also counterfeited in bronze, in one were seen the fortifications executed with much forethought in many places by the prudent Duke, and in the other his marvellous care and diligence in achieving the common peace of Italy, as has been seen in many of his actions, but particularly at that moment when by his agency was extinguished the terrible and so dangerous conflagration fanned with little prudence by one who should rather have assured the public welfare of the Christian people; which was represented by various Fetiales, altars, and other suchlike instruments of peace, and by the words customary in medals placed over them, saying: PAX AUGUSTA. Over these, and over the two above-described statues of the niches, similar to those of the other side, were seen on the right hand Facility and on the left Temperance or Goodness, as we would rather call her; signifying by the first an external courtesy and affability in deigning to listen and hearken and answer graciously to everyone, which keeps the people marvellously well contented, and by the other that temperate and benign nature which renders the Prince amiable and loving with his confidants and intimates, and with his subjects easy and gracious. In the frieze, corresponding to that of the front part, and like it divided into three pictures, was likewise seen in that of the centre, as the thing of most importance, the conclusion of the happy marriage contracted between the most illustrious Prince and the most serene Queen Joanna of Austria, with so much satisfaction and benefit to his fortunate people, and bringing peace and repose to everyone; with a motto saying: FAUSTO CUM SIDERE. Even as in another, on the right hand, was seen the loving Duke holding by the hand the excellent Duchess Leonora, his consort, a woman of virile and admirable worth and wisdom, with whom while she was alive he was joined by such a love, that they could well be called the bright mirror of conjugal fidelity. On the left hand was seen the same gracious Duke listening with marvellous courtesy, as he has been wont always to do, to many who were shown seeking to speak with him. And such was all that part which faced towards the Piazza.

Beneath the spacious arch and within the wide passage through which the procession passed, on one of the walls that supported the vaulting, was seen painted the glorious Duke in the midst of many venerable old men, with whom he was taking counsel, and he appeared to be giving to many various laws and statutes written on divers sheets, signifying the innumerable laws so wisely amended or newly decreed by him; with the motto: LEGIBUS EMENDES. Even as in the other, demonstrating his most useful resolve to set in order and increase his valorous militia, was seen the same valiant Duke standing upon a military tribune and engaged in addressing a great multitude of soldiers who stood around him, as we see in many ancient medals; with a motto above him that said: ARMIS TUTERIS. And so on the great vault, which was divided into six compartments, there was seen in each of these, in place of the rosettes that are generally put there, a device, or, to speak more correctly, the reverse of a medal in keeping with the two above-described scenes of the walls. In one of these were painted various curule chairs with various consular fasces, and in another a woman with the balance, representing Equity; these two being intended to signify that just laws must always unite with the severity of the supreme power the equity of the discerning judge. The next two were concerned with military life, demonstrating the virtues of soldiers and the fidelity incumbent on them; for the first of these things there was seen painted a woman armed in the ancient fashion, and for the other many soldiers who, laying one hand upon an altar, were shown presenting the other to their captain. In the two that remained, representing the just and desired fruits of all these fatigues, namely, Victory, the whole was seen fully expressed, as is customary, by the figures of two women, one standing in one of the pictures upon a great chariot, and the other in the other picture upon a great ship's beak; and both were seen holding in one of the hands a branch of glorious palm, and in the other a verdant crown of triumphal laurel. And in the encircling frieze that ran right round the vaulting, the front and the back, there followed the third part of the motto already begun, saying: MORIBUS ORNES.

Of the Piazza, and of the Neptune.

Next, all the most noble magistrates of the city, distributing themselves one by one over the whole circuit of the great Piazza, each with his customary devices and with very rich tapestries divided evenly by most graceful pilasters, had rendered it all magnificently imposing and ornate; and there in those days great care and diligence were devoted to hastening the erecting in its place, at the beginning of the Ringhiera, of that Giant in the finest white marble, so marvellous and so stupendous in grandeur, in beauty, and in every part, which is still to be seen there at the present day; although it had been ordained as a permanent and enduring ornament. That Giant is known by the trident that he has in the hand, by the crown of pine, and by the Tritons that are at his feet, sounding their trumpets, to be Neptune, God of the sea; and, riding in a graceful car adorned with various products of the sea and two ascendant Signs, Capricorn for the Duke and Aries for the Prince, and drawn by four Sea-horses, he appears in the guise of a benign protector to be promising tranquillity, felicity, and victory in the affairs of the sea. At the foot of this, in order to establish it more securely and more richly, there was made at that time in a no less beautiful manner an immense and most lovely octagonal fountain, gracefully supported by some Satyrs, who, holding in their hands little baskets of various wild fruits and prickly shells of chestnuts, and divided by some little scenes in low-relief and by some festoons in which were interspersed sea-shells, crabs, and other suchlike things, seemed as they danced to be expressing great joy in their new Lady; even as with no less joy and no less grace there were seen lying on the sides of the four principal faces of the fountain, likewise with certain great shells in their hands and with some children in their arms, two nude women and two most beautiful youths, who in a certain gracious attitude, as if they were on the sea-shore, appeared to be playing and sporting gracefully with some dolphins that were there, likewise in low-relief.

Of the Door of the Palace.

Now, having caused the serene Princess to be received, as has been told in the beginning of this description, by Florence, accompanied by the followers of Mars, of the Muses, of Ceres, of Industry, and of Tuscan Poetry and Design, and then triumphant Austria by Tuscany, and the Drava by Arno, and Ocean by the Tyrrhenian Sea, with Hymen promising her happy and prosperous nuptials, and the parental meeting of her august and glorious Emperors with the illustrious Medici, and then all passing through the Arch of Sacrosanct Religion and fulfilling and accomplishing their vows at the Cathedral Church, and having seen Heroic Virtue in triumph over Vice, and with what public rejoicing her entry was celebrated by Civil Virtue, and how, finally, she was welcomed by the magistrates of the city, with Neptune promising her a tranquil sea, it was determined judiciously to bring her at the last into the port of peaceful Security, who was seen figured over the door of the Ducal Palace, in a place marvellously appropriate, in the form of a very tall, most beautiful, and most joyous woman crowned with laurel and olive, who was shown seated in an easy attitude upon a stable pedestal and leaning against a great column; demonstrating by means of her the desired end of all human affairs, deservedly acquired for Florence, and in consequence for the happy bride, by the sciences, arts, and virtues of which we have spoken above, but particularly by her most prudent and most fortunate Lords, who had prepared to receive and accommodate her there as in a place secure beyond all others, wherein she might enjoy unceasingly in glory and splendour the benefits human and divine displayed before her in the ornaments that she had passed; which was explained very aptly both by the inscription that came with most beautiful grace over the door, saying:

INGREDERE OPTIMIS AUSPICIIS FORTUNATAS ÆDES TUAS AUGUSTA VIRGO, ET PRÆSTANTISSIMI SPONSI AMORE, CLARISS. DUCIS SAPIENTIA, CUM BONIS OMNIBUS DELICIISQUE SUMMA ANIMI SECURITATE DIU FELIX ET LÆTA PERFRUERE, ET DIVINÆ TUÆ VIRTUTIS, SUAVITATIS, FECUNDITATIS FRUCTIBUS PUBLICAM HILARITATEM CONFIRMA.

And also by the principal device, which was seen painted in a great oval in the highest part, over the statue of Security already described; and this was the military Eagle of the Roman Legions upon a laureate staff, which was shown to have been planted firmly in the earth by the hand of the standard-bearer; with the motto of such happy augury from Livy, from whom the whole device is taken, saying: HIC MANEBIMUS OPTUME. The ornament of the door, which was attached to the wall, was contrived in such a manner, and conceived so well, that it would serve excellently well if at any time, in order to adorn the simple but magnificent roughness of past ages, it were determined to build it in marble or some other finer stone as more stable and enduring, and more in keeping with our more cultured age. Beginning with the lowest part, I say, upon two great pedestals that rested on the level of the ground and stood one on either side of the true door of the Palace, were seen two immense captives, one male, representing Fury, and one female, with vipers and horned snakes for hair, representing Discord, his companion; which, as it were vanquished, subjugated, and bound with chains, and held down by the Ionic capital and by the architrave, frieze, and cornice that pressed upon them from above, seemed in a certain sort to be unable to breathe by reason of the great weight, revealing only too well in their faces, which were most beautiful in their ugliness, Anger, Rage, Venom, Violence, and Fraud, their peculiar and natural passions. Above that cornice was seen formed a frontispiece, in which was placed a very rich and very large escutcheon of the Duke, bordered by the usual Fleece, with the Ducal Mazzocchio supported by two very beautiful boys. And lest this single ornament, which exactly covered the jambs of the true door, might have a poor effect in so great a palace, it was thought right to place on either side of it four half-columns set two on one side and two on the other, which, coming to the same height, and furnished with the same cornice and architrave, should form a quarter-round which the other frontispiece, pointed but rectilinear, might embrace, with its projections and with all its appurtenances set in the proper places. And above this was formed a very beautiful base, where there was seen the above-described statue of Security, set in position, as has been told, with most beautiful grace. But to return to the four half-columns below; for the sake of greater magnificence, beauty, and proportion, I say, there had been left so much space at either side, between column and column, that there was ample room for a large and beautiful picture painted there in place of a niche. In one of these, that which was placed nearest to the divine statue of the gentle David, were seen in the forms of three women, who were shown full of joy advancing to meet their desired Lady, Nature, with her towers on her head, as is customary, and with her many breasts, signifying the happy multitude of her inhabitants, and Concord with the Caduceus in her hand, even as in the third was seen figured Minerva, the inventress and mistress of the liberal arts and of civil and refined customs. In the other, which faced towards the proud statue of Hercules, was seen Amaltheia, with the usual horn of plenty, overflowing with fruits and flowers, in her arms, and at her feet the corn-measure brimming and adorned with ears of corn, signifying the abundance and fertility of the earth; there, also, was Peace crowned with flowered and fruitful olive, with a branch of the same in the hand, and finally there was seen, with an aspect grave and venerable, Majesty or Reputation; demonstrating ingeniously with all these things how in well-ordered cities, abundant in men, copious in riches, adorned by arts, filled with sciences, and illustrious in majesty and reputation, one lives happily and in peace, quietness, and contentment. Then in line with the four half-columns already described, above the cornice and frieze of each, was seen fixed in a manner no less beautiful a socle with a pedestal in proportion, upon which rested some statues; and since the two in the centre embraced also the width of the two terminals described, upon each of these were placed two statues embracing one another—Virtue, namely, who was shown holding Fortune in a strait and loving embrace, with a motto on the base saying, VIRTUTEM FORTUNA SEQUETUR; as if to demonstrate that, whatever many may say, where virtue is fortune is never wanting; and upon the other Fatigue or Diligence, who in like manner was shown in the act of embracing Victory, with a motto at her feet saying: AMAT VICTORIA CURAM. And above the half-columns that were at the extremities, and upon which the pedestals were narrower, adorning each of them with a single statue, on one there was seen Eternity as she is figured by the ancients, with the heads of Janus in her hands, and with the motto, NEC FINES NEC TEMPORA; and on the other Fame figured in the usual manner, likewise with a motto saying: TERMINAT ASTRIS. Between one and the other of these, there was placed with ornate and beautiful composition, so as to have the above-named escutcheon of the Duke exactly in the middle, on the right hand that of the most excellent Prince and Princess, and on the other that which the city has been accustomed to use from ancient times.

Of the Court of the Palace.

I thought, when I first resolved to write, that it would take much less work to bring me to the end of the description given above, but the abundance of the inventions, the magnificence of the things done, and the desire to satisfy the curiosity of craftsmen, for whose particular benefit, as has been told, this description is written, have in some way, I know not how, carried me to a length which might perchance appear to some to be excessive, but which is nevertheless necessary for one who proposes to render everything distinct and clear. But now that I find myself past the first part of my labours, although I hope to treat with more brevity, and with perhaps no less pleasure for my readers, the remainder of the description of the spectacles that were held, in which, no less than the liberality of our magnanimous Lords, and no less than the lively dexterity of the ingenious inventors, there appeared rare and excellent the industry and art of the same craftsmen, yet it should not be thought a thing beside the mark or altogether unworthy of consideration, if, before going any further, we say something of the aspect of the city while the festivities for the nuptials were being prepared and after they were finished, for the reason that in the city, to the infinite entertainment of all beholders, were seen many streets redecorated both within and without, the Ducal Palace (as will be described) embellished with extraordinary rapidity, the fabric of the long corridor (which leads from that Palace to that of the Pitti) flying, as it were, with wings, the column, the fountain, and all the arches described above springing in a certain sense out of the ground, and all the other festive preparations in progress, but in particular the comedy, which was to appear first, and the two grand masquerades, which had need of most labour, and, finally, all the other things being prepared according to the time at which they were to be represented, some quickly and others more slowly; the two Lords, Duke and Prince, after the manner of the ancient Ædiles, having distributed them between themselves, and having undertaken to execute each his part in generous emulation. Nor was less solicitude or less rivalry seen among the gentlemen and ladies of the city, and among the strangers, of whom a vast number had flocked thither from all Italy, vying one with another in the pomp of vestments, and not less in their own than in the liveries of their attendants, male and female, in festivals private and public, and in the sumptuous banquets that were given in constant succession, now in one place and now in another; so that there could be seen at one and the same moment leisure, festivity, delight, spending, and pomp, and also commerce, industry, patience, labour, and grateful gain, with which all the craftsmen named above were filled, all working their effect in liberal measure.

Now, to come to the court of the Ducal Palace, into which one entered by the door already described; in order not to pass it by without saying anything about it, we must relate that, although it seemed dark and inconvenient, and almost incapable of receiving any kind of ornamentation, nevertheless with marvellous novelty and with incredible rapidity it was carried to that perfection of beauty and loveliness in which it may be seen by everyone at the present day. In addition to the graceful fountain of hardest porphyry that is placed in the centre, and the lovely boy that pours water into it from the dolphin held in his arms, in an instant the nine columns were fluted and shaped in a most beautiful manner in the Corinthian Order, which surround the square court named above, and which support on one side the encircling loggie constructed very roughly of hard-stone, according to the custom of those times; overlaying the ground of those columns almost entirely with gold, and filling them with most graceful foliage over the flutings, and shaping their bases and capitals together according to the good ancient custom. Within the loggie, the vaults of which were all filled and adorned with most bizarre and extravagant grotesques, there were seen represented, as in many medallions made for the same purpose, some of the glorious deeds of the magnanimous Duke, which—if smaller things may be compared with greater—I have considered often in my own mind to be so similar to those of the first Octavianus Augustus, that it would be difficult to find any greater resemblance; for the reason that—not to mention that both the one and the other were born under one and the same ascendant of Capricorn, and not to mention that both were raised almost unexpectedly to the sovereignty at the same immature age, and not to speak of the most important victories gained both by the one and by the other in the first days of August, and of their having similar constitutions and natures in their private and intimate lives, and of their singular affection for their wives, save that in his children, in the election to the principality, and perhaps in many other things, I believe that our fortunate Duke might be esteemed more blessed than Augustus—is there not seen both in the one and in the other a most ardent and most extraordinary desire to build and embellish, and to contrive that others should build and embellish? Insomuch that, if the first said that he found Rome built of bricks and left her built of solid stone, the second will be able to say not less truthfully that he received Florence already of stone, indeed, ornate and beautiful, but leaves her to his successors by a great measure more ornate and more beautiful, increased and magnified by every kind of convenient, lovely, and magnificent adornment.

To represent these matters, in each lunette of the above-named loggie there was seen an oval accommodated with suitable ornaments, and with singular grace; in one of which there could be seen the fortification of Porto Ferrajo in Elba, a work of such importance, with many ships and galleys that were shown lying there in safety, and the glorious building of the city in the same place, called after its founder Cosmopolis; with a motto within the oval, saying: ILVA RENASCENS; and another in the encircling scroll, which said: TUSCORUM ET LIGURUM SECURITATI. Even as in the second was seen that most useful and handsome building wherein the greater part of the most noble magistrates are to be accommodated, which is being erected by his command opposite to the Mint, and which may be seen already carried near completion; and over it stretches that long and convenient corridor of which mention has been made above, built with extraordinary rapidity in these days by order of the same Duke; likewise with a motto that said: PUBLICÆ COMMODITATI. And so, also, in the third was seen Concord, with the usual horn of plenty in the left hand, and with an ancient military ensign in the right, at whose feet a Lion and a She-Wolf, the well-known emblems of Florence and Siena, were shown lying in peaceful tranquillity; with a motto suited to the matter, and saying: ETRURIA PACATA. In the fourth was seen depicted the above-described oriental column of granite, with Justice on the summit, which under his happy sceptre may well be said to be preserved inviolate and impartial; with a motto saying: JUSTITIA VICTRIX. Even as in the fifth was seen a ferocious bull with both the horns broken, intended to signify, as has been told already of the Achelous, the straightening of the River Arno in many places, carried out with such advantage by the Duke; with the motto: IMMINUTUS CREVIT. In the sixth, then, was seen that most superb palace which was begun formerly by M. Luca Pitti with a magnificence so marvellous in a private citizen, and with truly regal spirit and grandeur, and which at the present day our most magnanimous Duke is causing with incomparable artistry and care to be not only carried to completion, but also to be increased and beautified in a glorious and marvellous manner, with architecture heroic and stupendous, and also with very large and very choice gardens full of most abundant fountains, and with a vast quantity of most noble statues, ancient and modern, which he has caused to be collected from all over the world; which was explained by the motto, saying: PULCHRIORA LATENT. In the seventh, within a great door, were seen many books arranged in various manners, with a motto in the scroll, saying, PUBLICÆ UTILITATI; intended to signify the glorious solicitude shown by many of the Medici family, and particularly by our most liberal Duke, in collecting and preserving with such diligence a marvellous quantity of the rarest books in every tongue, recently placed in the beautiful Library of S. Lorenzo, which was begun by Clement VII and finished by his Excellency. Even as in the eighth, under the figure of two hands that appeared to become more firmly bound together the more they strove to undo a certain knot, there was denoted the abdication lovingly performed by him in favour of the most amiable Prince, and how difficult, or, we should rather say, how impossible it is for one who has once set himself to the government of a State, to disengage himself; which was explained by the motto, saying: EXPLICANDO IMPLICATUR. In the ninth was seen the above-described Fountain of the Piazza, with that rare statue of Neptune, and with the motto, OPTABILIOR QUO MELIOR; signifying not only the adornment of the immense statue and fountain named above, but also the profit and advantage that will accrue in a short time to the city from the waters that the Duke is constantly engaged in bringing to her. In the tenth, then, was seen the magnanimous creation of the new Order of S. Stephen, represented by the figure of the same Duke in armour, who was shown offering a sword with one hand over an altar to an armed knight, and with the other one of their crosses; with a motto saying: VICTOR VINCITUR. And in the eleventh, likewise under the figure of the same Duke, who was addressing many soldiers according to the ancient custom, there was represented the militia so well ordained and preserved by him in his valorous companies; with a motto that explained it, saying: RES MILITARIS CONSTITUTA. In the twelfth, with the sole words, MUNITA TUSCIA, and without any further representation, were demonstrated the many fortifications made by our most prudent Duke in the most important places in the State; adding in the scroll, with fine morality: SINE JUSTITIA IMMUNITA. Even as in the thirteenth, in like manner without any other representation, there could be read, SICCATIS MARITIMIS PALUDIBUS; as may be seen to his infinite glory in many places, but above all in the fertile country of Pisa. And in order not to pass over completely in silence the praise due to him for having brought back and restored so gloriously to his native Florence the artillery and the ensigns lost at other times, in the fourteenth and last were seen some soldiers returning to him laden with these, all dancing and joyful; with a motto in explanation, which said: SIGNIS RECEPTIS. And then, for the satisfaction of the strangers, and particularly the many German lords who had come thither in vast numbers in honour of her Highness, with the most excellent Duke of Bavaria, the younger, her kinsman, there were seen under the above-described lunettes, beautifully distributed in compartments and depicted with all the appearance of reality, many of the principal cities of Austria, Bohemia, Hungary, the Tyrol, and the other States subject to her august brother.

Of the Hall, and of the Comedy.

Now, ascending by the most commodious staircase to the Great Hall, where the principal and most important festivities and the principal banquet of the nuptials were celebrated (forbearing to speak of the magnificent and stupendous ceiling, marvellous in the variety and multitude of the rare historical paintings, and marvellous also in the ingenuity of the inventions, in the richness of the partitions, and in the infinite quantity of gold with which the whole is seen to shine, but most marvellous in that it has been executed in an incredibly short time by the industry of a single painter; and treating of the other things pertaining only to this place), I must say that truly I do not believe that in these our parts we have any information of any other hall that is larger or more lofty; but to find one more beautiful, more rich, more ornate, or arranged with more convenience than that hall as it was seen on the day when the comedy was performed, that I believe would be absolutely impossible. For, in addition to the immense walls, on which with graceful partitions, and not without poetical invention, were seen portrayed from the reality the principal squares of the most noble cities of Tuscany, and in addition to the vast and most lovely canvas painted with various animals hunted and taken in various ways, which, upheld by a great cornice, and concealing the prospect-scene, served so well as one of the end-walls, that the Great Hall appeared to have its due proportions, such, in addition, and so well arranged, were the tiers of seats that ran right round, and so lovely on that day the sight of the handsome ladies who had been invited there in great numbers from among the most beautiful, the most noble, and the richest, and of the many lords, chevaliers, and other gentlemen who had been accommodated above them and throughout the rest of the room, that without a doubt, when the fantastic lights were lit, at the fall of the canvas described above, the luminous prospect-scene being revealed, it appeared in truth as if Paradise with all the Choirs of the Angels had been thrown open at that instant; which illusion was increased marvellously by a very soft, full, and masterly concert of instruments and voices, which very soon afterwards was heard to come forth from that direction. In that prospect-scene the most distant part was made to recede most ingeniously along the line of the bridge, terminating in the end of the street that is called the Via Maggio, and in the nearest part was represented the beautiful street of S. Trinita; and when the eyes of the spectators had been allowed to sate themselves for some time with that and the many other marvellous things, the desired and welcome beginning was made with the first interlude of the comedy, which was taken, like all the others, from that touching story of Psyche and Cupid so delicately narrated by Apuleius in his Golden Ass. From it were taken the parts that appeared the most important, and these were accommodated with the greatest possible dexterity to the comedy, so that, having made, as it were, an ingenious composition from the one fable and the other, it might appear that what the Gods did in the fable of the interludes was done also by mankind in the fable of the comedy, as if constrained by a superior power. In the hollow sky of the above-named prospect-scene, which opened out all of a sudden, there was seen to appear another sky contrived with great artifice, from which was seen issuing little by little a white and very naturally counterfeited cloud, upon which, with an effect of singular beauty, a gilded and jewelled car appeared to be resting, recognized as that of Venus, because it was drawn by two snow-white swans, and in it, as its mistress and guide, could be perceived likewise that most beautiful Goddess, wholly nude and crowned with roses and myrtle, seated with great majesty and holding the reins. She had in her company the three Graces, likewise recognized by their being shown wholly nude, by their blonde tresses, which fell all loose over their shoulders, and even more by the manner in which they were standing linked hand to hand; and also the four Hours, who had the wings all painted after the likeness of butterflies, and, not without reason, were distinguished in certain particulars according to the four seasons of the year. Thus one of them, who had the head and the buskins all adorned with various little flowers, and the dress of changing colours, was intended to represent the varied and flowering Spring; even as the second, with the garland and the buskins woven of pale ears of corn, and the yellow draperies wherewith she was adorned, was intended to signify the heat of Summer, and the third, representing Autumn, and all clothed in red draperies, signifying the maturity of fruits, was seen likewise all covered and adorned with those same fruits, vine-leaves, and grapes; and the fourth and last, who represented the white and snowy Winter, besides her dress of turquoise-blue all sprinkled with flakes of snow, had the hair and the buskins likewise covered with similar snow, hoar-frost, and ice. And all, as followers and handmaidens of Venus, being grouped around the car on the same cloud with singular artistry and most beautiful composition, were seen—leaving behind them Jove, Juno, Saturn, Mars, Mercury, and the other Gods, from whom appeared to be issuing the soft harmony described above—to sink gradually with most beautiful grace towards the earth, and by their coming to fill the scene and the whole hall with a thousand sweet and precious odours; while from another part, with an aspect no less gracious, but appearing to walk on earth, was seen to come the nude and winged Cupid, likewise accompanied by those four Passions that seem so often to be wont to disturb his unrestful kingdom; Hope, namely, all clothed in green, with a little flowering branch on the head; Fear, recognized, in addition to his pale garment, by the rabbits that he had on his hair and his buskins; Joy, likewise clothed in white and orange and a thousand glad colours, and with a plant of flowering borage on the hair, and Sorrow, all in black and in aspect all weeping and sad; of whom, as his ministers, one carried the bow, another the quiver and the arrows, another the nets, and yet another the lighted torch. And while the above-described Hours and Graces, having descended from the cloud, went slowly towards their mother's car, now arrived on earth, and, having grouped themselves reverently in a most graceful choir around the lovely Venus, seemed all intent on singing in harmony with her, she, turning towards her son with rare and infinite grace, and making manifest to him the cause of her displeasure, when those in Heaven were silent, sang the two following stanzas, the first of the ballad, saying:

Which being finished, and each of her handmaidens having returned to her own place, while they kept continually throwing down various delicate and lovely garlands of flowers upon the assembled spectators, the cloud and the car, as if the beautiful guide had satisfied her desire, were seen to move slowly and to go back towards the heaven; and when they had arrived there, and the heaven was closed again in an instant, without a single sign remaining from which one might have guessed by which part the cloud and so many other things had come forth and returned, everyone, it appeared, was left all amazed with a sort of novel and pleasing marvel. But the obedient Cupid, while that was being done, making a sign, as it were, to his mother that her command would be fulfilled, and crossing the stage, continued—with his companions, who were presenting him his arms, and who, likewise singing, kept in harmony with him—the following stanza, the last, saying:

And he, also, as he sang this, kept shooting arrows, many and various, at those listening to him, whereby he gave reason to believe that the lovers who were about to perform their parts, stung, as it were, by them, were giving birth to the comedy about to follow.

Second Interlude.

The first act being finished, and Cupid having been taken in his own snare—at the moment when he thought to take the lovely Psyche—by reason of her infinite beauty, it became necessary to represent those mysterious voices which, as may be read in the fable, had been intended by him to serve her; and so there was seen to issue by one of the four passages that had been left on the stage for the use of the performers, first a little Cupid who was carrying in his arms what seemed to be a graceful swan, with which, since it concealed an excellent bass-viol, while he appeared to be diverting himself with a wand of marsh-grass that served him as a bow, he proceeded to play most sweet airs. After him, four others were seen to come at one and the same moment by the four passages of the stage already described; by one the amorous Zephyr, all merry and smiling, who had wings, garments, and buskins woven of various flowers; by another Music, known by the tuning instrument that she had on the head, by her rich dress covered with her various instruments and with various scrolls wherein were marked all her notes and all her times, and even more because she likewise was seen playing with most sweet harmony upon a great and beautiful lyra-viol; and by the other two, also, Play and Laughter were seen to appear in the form of two little Cupids, playing and laughing. After these, while they were going on their way to their destined places, four other Cupids were seen to issue by the same passages, in the same guise, and at the same time, and to proceed likewise to play most graciously on four most ornate lutes; and after them four other similar little Cupids, two of whom, with fruits in their hands, were seen playing together, and two seemed to be seeking to shoot one another in the breast with their bows and arrows, in a quaint and playful fashion. All these gathered in a graceful circle, and, singing in most harmonious concert the following madrigal, with the lutes and with many other instruments concealed within the scenery accompanying the voices, they appeared to make this whole conception manifest enough, saying: