A Wanderer in Florence

o and Mic

ty-Donatello again-The palace of the dead Grand Dukes-Costly intarsia-Michelangelo's sacristy-A weary Titan's life-The

e make it unique. Yet it is a cool scene of noble grey arches, and the ceiling is very happily picked out with gol

na, is a house which contains some rough plans by a master hand for this fa?ade, drawn some four hundred years ago-the hand of none other than Michelangelo, whose scheme was to make it not only a wonder of architecture but a wonder also of st

the church one sees the great walls of the courtyard of what is now the Riccardi palace, but was in the great days the Medici palace; and at the corner, fac

ce of Brunelleschi, who is responsible for the interior as we now see it, and would, had he lived, have completed the fa?ade. After Giovanni came Cosimo, who also devoted great sums to the glory of this church, not only assisting Brunelleschi with his work but inducing Donatello to lavish his genius upon

illustrious patron and friend only two and a half years, declining gently into the grave, and his body was brought here in December, 1466. A monument to his memory was erected in the church in 1896. Piero (the Gouty), who survived until 1469, lies close by, his bronze monument, with that of his brother, being that between the sacristy and the adjoining chape

a is in the left aisle, in its original place; the two bronze pulpits are in the nave. These have a double interest as being not only Donatello's work but his latest work. They were incomplete at his death, and were finished by his pupil Bertoldo (1410-1491), and since, as we shall see, Bertoldo became the master of Michelangelo, when he was a lad of fifteen and Bertoldo an old man of eighty, these pulpits may be said to form a link between the two great S. Lorenzo sculptors. How fine and free

ello's favourite pupil. The S. Lorenzo ciborium is wholly charming, although there is a "Deposition" upon it; the little Boy is adorable; but one sees it with the greatest difficulty owing to the crowded state of the altar and the dim light. The altar picture in the

forgets him altogether. Yet the S. Lorenzo sacristy is one of the few perfect things in the world. What most people, however, remember is its tombs, its doors, and its reliefs; the proportions escape them. I think its shallow easy dome beyond description beautiful. Brun

s unlikely that Cosimo would ask any one else than one of these two friends of his to carry out a commission so near his heart. The table is part of the scheme and not a chance covering. I think the porphyry centre ought to be movable, so that the beautiful flying figures on the sarcophagus could be seen. But Donatello's most striking achievement here is the bro

he four low reliefs in the spandrels, which it is so difficult to discern but which photographs prove to be wonderful scenes in the life of S. John the Evangelist-so like, as one peers up at them, plastic Piranesis, with the

acristy. Here is contrast, indeed: the sacristy, austere and classic, and the chapel a very exhibition building of floridity and coloured ornateness, dating from the seventeenth century and not finished yet. In paying the necessary fee to see these

of lire. Ever since 1888 has the floor been in progress, and there are many years' work yet. An enthusiastic custodian gave me a list of the stones which were used in the designs of the coats of arms of Tuscan cities, of which that of Fiesole is the most attractive:-Sicily jasper, French jasper, Tuscany jasper, petrifie

hose ladies, buried in their wonderful clothes. We shall see Eleanor of Toledo, wife of Cosimo I, in Bronzino's famous picture at the Uffizi, in an amazing brocaded dress: it is that dress in which she reposes beneath us! They had their jewels too, and each Grand Duke his crown and sceptre; but these, with one or two exceptions

e Clement VII. Brunelleschi's design for the Old Sacristy was followed but made more severe. This, one would feel to be the very home of dead princes even if there

grey lines to help the eye, and this soaring so boldly to its lantern, with its rigid device of dwindling squares. The odd thing

ardo da Vinci was twenty-three years old, and Raphael was not yet born. Lorenzo the Magnificent had been on what was virtually the throne of Florence since 1469 and was a young man of twenty-six. For foster-mother the child had the wife of a stone-mason at Settignano, whither the family soon moved, and Michelangelo used to say that it was with her milk that he imbibed the stone-cutting art. It was from the air too, for Settignano's principal industry was sculpture. The village being only t

ently there in thoroughness, while he was good for the boy too in spirit, having a large way with him. The first work of Ghirlandaio which the boy saw in the making was the beautiful "Adoration of the Magi," in the Church of the Spedale degli Innocenti, completed in 1488, and the S. Maria Novella frescoes, and it is reasonable to

ion, and not only had Lorenzo the Magnificent gathered together there many of those masterpieces of ancient sculpture which we shall see at the Uffizi, but Bertoldo, the aged head of this informal school, was the possessor of a private collection of Donatellos and other Renaissance work of extra

lowed the gums and cheeks a little in sympathy. Lorenzo was so pleased with his quickness and skill that he received him into his house as the companion of his three sons: of Piero, who was so soon and so disastrously to succeed his father, but was now a high-spirited youth; of Giovanni, who, as Pope Leo X many years after, was to give Michelangelo t

he was assiduous in studying Masaccio's frescoes at the church of the Carmine across the river, which had become a school of painting. It was there

n to the youth, the spirit had passed. Piero, who succeeded his father, had none of his ability or sagacity, and in two years was a refugee from the city, while t

nished. Michelangelo remained only a brief time and then went to Rome, where he made his first Pietà, at which he was working during the trial and execution of Savonarola, who

e-eminence as a sculptor. Other commissions for statues poured in, and in 1504 he was invited to design a cartoon for the Palazzo Vecchio, to accompany one by Leonardo, and a studio was given him in the Via Guelfa for the purpose. This cartoon, when fin

ars, and of which more is said in the chapter on the Accademia, where we see so many vestiges of it both in marble and plaster. But I might remark here that this vain and capricious pontiff, whose pride and indecision robbed the world of no

rch, S. Lorenzo, where we now are. As we know, the scheme was not carried out, but in 1520 the Pope substituted another and more attractive one: namely, a chapel to contain the tombs not only of his father the Magnificent, and his uncle, who had been murdered in the Duomo many years before, but also his nephew Piero de' Medici, Duke of Urbino, who had just died, in 1519, and his younger brother (and Michelangelo's early pl

ject, but wished not only to add tombs of himself and Pope Leo X, but also to build a library for the Laurentian collection, which Michelangelo must design. A little later he had decided that he would prefer to lie in the choir of the church, and Leo X with him, and instead therefore of tombs Michelangelo might merely make a colossal statue of him to stand in the piazza before the church. The sculptor's temper had not been improved by

harles V and Pope Clement VII the city was attacked, and Michelangelo was called away from Clement's sacristy to fortify Florence against Clement's soldiers. Part of his ramparts at S. Miniato still remain, and he strengthened all the gates; but, feeling himself slighted and hating the whole affair, he suddenly disappeared. One sto

the pacific work was taken up once more after the martial interregnum, and in a desultory way he was busy at it, always secretly and moodily, u

s considered most original in Rodin's work, is among the best of Michelangelo's statuary. Much speculation has been indulged in as to the meaning of the symbolism of these tombs, and having no theory of my own to offer, I am glad to borrow Mr. Gerald S. Davies' summary from his monograph on Michelangelo. The figure of Giuliano typifies energy and leadership in repose; while the man on his tomb typifies Day and the woman Night, or the man Action and the woman the sleep and rest that produce Action. The figure of Lorenzo typifies Contemp

m are monuments to two common-place descendants to thrill the soul. The disparity is in itself monumental. That Michelangelo's Madonna and Child are on the slab which covers the dust of Lorenzo and his brother is a chance. The saints on either side are S. Cosimo and S. Damian, the patron saints of old Cosimo de' Medici, and are by Michelangelo's assistants. The Madonna was intended for the altar of the sacristy. Into this work the sculptor put

that in Michelangelo's sacristy disillusionment

coffin, crumbling away, and photographs of the skulls of the two brothers: Giuliano's with one of Fran

e for ever, settled in Rome, the Laurentian library was only begun, and he had little interest in it. He never saw it again. At Rome his time was fully occupied in painting the "Last Judgment" in the Sixtine Chapel, and in various architectural works. But Florence at any rate

ighty-nine, and his body was brought to Florence and buried am

a heritage in 1858. It is perhaps the best example of the rapacity of the Florentines; for notwithstanding that it was left freely in this way a lira is charged for admission. The house contains more collateral curiosities, as they might be called, than those in the direct line; but there are architectural drawings from the wonderful hand, colour drawings of a Madonna, a few studies, and two early piec

ntity of prints and drawings illu

y are free. Brunelleschi is again the architect, and from the loggia at the entrance to the library you see most acceptably the whole of his cathedral dome and half of Giotto's tower

h the library is so rich, and the rich red wood ceiling. Vasari, Michelangelo's pupil and friend and the biographer to whom we are so much indebted, carried on the work. His scheme of windows has been upset on the side opposite the cloisters by the recent addition of a rotunda leading from the main room. If ever rectangular windows were more exquisitely and nobly proportioned I should

hed treasures, the Virgil of the fourth or fifth century, was even carried to Paris by Napoleon and not returned until the great year of restoration, 1816. Among the holograph MSS. is Cellini's "Autobiography". The library, in time, after bein

it has long since been dropped. If you look at Mr. Hewlett's "Earthwork out of