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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..c1bab05 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #52619 (https://www.gutenberg.org/ebooks/52619) diff --git a/old/52619-8.txt b/old/52619-8.txt deleted file mode 100644 index ce2bc19..0000000 --- a/old/52619-8.txt +++ /dev/null @@ -1,3810 +0,0 @@ -Project Gutenberg's The Medici Balls, by Anna R. Sheldon and M. Moyca Newell - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Medici Balls - Seven little journeys in Tuscany - -Author: Anna R. Sheldon - M. Moyca Newell - -Release Date: July 22, 2016 [EBook #52619] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MEDICI BALLS *** - - - - -Produced by Clarity, Jane Robins and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - - - - - - - - - - -THE MEDICI BALLS - - - - -[Illustration: - - BENOZZO GOZZOLI PINX ANDERSON PH. - - Lorenzo de' Medici -] - - - - - The Medici Balls - - SEVEN LITTLE JOURNEYS - IN TUSCANY - - ANNA R. SHELDON - M. MOYCA NEWELL - - _OVER ONE HUNDRED ILLUSTRATIONS_ - - CHARTERHOUSE PRESS - - NEW YORK - 1904 - - - - - COPYRIGHT, 1904, BY - M. M. NEWELL - - _ALL RIGHTS RESERVED_ - - SCHLUETER - PRINTING - COMPANY - NEW YORK - - - - - _To_ - - Frances Cecilia Newell - - WE DEDICATE THIS BOOK - - - - -PREFATORY NOTE - - -[Illustration] - -Why the Medici family assumed the well-known device of red balls on a -field of gold, is one of the vexed questions of heraldic history. Some -hold that as the saints, Cosmo and Damian, who appear so often in the -votive pictures of the Medici, were also patron saints of medicine -and surgery, and because the name of the family signifies physicians, -the balls may suggest pills (_palle_). Others think that a cluster of -balls, formerly the sign of money-lenders, was adopted as a device by -Giovanni de' Medici, founder of the greater branch of the illustrious -house, who as a banker attained great wealth and influence. As the -Medici identified themselves with the trading interests and government -of Florence, and were connected with several noble Florentine families, -their coat of arms became familiar throughout all that extensive -territory subject to Florence in the fifteenth century. With its varied -number of balls, or quartered with other arms, as charged with the -royal lily of France, or surmounted by the keys of St. Peter and a -pontiff's tiara, it greets the traveller at every turn, not only on -palaces and city gates, but on illuminated manuscripts and choir books, -on the covers of medięval ledgers, and terra-cotta wine jars. - -Thus the title of "Medici Balls" has been given to the following record -of seven little journeys in Tuscany by the authors, who in all their -travels, even in lanes and modest farm-houses, have found themselves -under the ęgis of the powerful banker-princes of Florence. The shield, -bearing seven red balls on a field of gold, represents the arms of -Piero de' Medici, and the period when Medicean supremacy was at its -height; in the sequence of balls employed by the various members of -the family, it serves to connect the eight balls displayed on the arms -of Cosimo, Pater Patrię, the munificent financier, with the six balls -of Lorenzo the Magnificent, in whom the glory and renown of the family -culminated. - - - - -CONTENTS - - - PAGE - - THE MUGELLO 3 - - PRATO: A MEDIĘVAL JOURNEY 45 - - CHIANTI AND THE IMPRUNETA 73 - - CASTRUCCIO CASTRACANE, LORD OF LUCCA 101 - - PISTOJA, "CITY OF CINO" 123 - - A SUNDAY AMONG THE HILLS OF BRANCOLI 163 - - BARGA AND THE VALLEY OF GARFAGNANA 199 - - - - -LIST OF ILLUSTRATIONS - - - Lorenzo de' Medici. _Photogravure_ _Frontispiece_ - - From "Procession of the Magi," Riccardi Palace, Florence. - By Benozzo Gozzoli. - - PAGE - Della Robbia Frieze 3 - - Badia a Settimo 4 - - Straw Plaiters, Mugnone Valley 7 - - A Loggia, Piero a Sieve 9 - - Palazzo Pubblico, Scarperia 11 - - The Main Street, Scarperia 13 - - Madonna and Child, Chapel of the Sacred Girdle, Duomo, Prato. - By Giovanni Pisano 15 - - Ancient Campanile della Pieve, Borgo San Lorenzo 20 - - Torraccia Romanelli, Borgo San Lorenzo 21 - - A Farm-house, Mugello 22 - - Ponte d'Elsa, Mugello 23 - - Hill of Vespignano, Mugello 24 - - Round Tower of Vespignano, Mugello 26 - - Joachim Returning to the Sheepfold, Arena Chapel, Padua. - By Giotto 29 - - From the Walls of Scarperia 31 - - A Country Road, Scarperia 32 - - Detail of Bronze Grille. Chapel of the Sacred Girdle, Prato 33 - - Portrait of Bianca Cappello, Uffizi, Florence. - By Alessandro Allori 37 - - Coats of Arms of the Ubaldini and Vichio 40 - - The Procession of the Magi, Riccardi Palace, Florence. - By Benozzo Gozzoli 43 - - Ornamental Band, Della Robbia 45 - - The Campanile, Prato. By Giovanni Pisano 46 - - Detail, Procession of the Magi, Riccardi Palace, Florence. - By Benozzo Gozzoli 47 - - Arcades "Where Hang the Copper and Woolen Goods," Prato 50 - - The Fortress, Prato 51 - - The Cathedral of Prato 53 - - Garden Belonging to Lorenzo's Favorite Villa, Poggio a Caiano 56 - - Erroneously entitled in the book as "Villa of Petraia." - - External Pulpit, Cathedral, Prato. By Donatello 57 - - Madonna and Child, with Saints, Lunette Over Central Door, - Duomo, Prato. By Andrea Della Robbia 61 - - Lucrezia Tornabuoni, Wife of Lorenzo Il Magnifico. Wearing the - Marsyas Jewel of the Medici. By Botticelli 65 - - Coat of Arms of Prato 68 - - Detail of Frieze. S. Maria Delle Carceri, Prato. - By Andrea Della Robbia 69 - - The Piazza, Greve, Chianti 73 - - Ponte Falciano, Chianti 74 - - Ponte Capello, River Greve 75 - - Vitigliano, Chianti 76 - - Old Watch-Tower, Chianti 77 - - Panzano from a Distance, Chianti 78 - - S. Leolino a Flacciano, Pieve di Panzano, Chianti 79 - - A Villa in Panzano, Chianti 81 - - Old Wine Jar, Chianti 83 - - A Peasant of Chianti 85 - - The Stately Cypress 87 - - A Country Road, Chianti 89 - - Piazza, Impruneta 90 - - A Street, Impruneta 91 - - Predella to Tabernacle, Chapel of the Holy - Cross, Impruneta. By Luca della Robbia 93 - - Adoring Angels, Impruneta. By Luca della Robbia 95 - - Coat of Arms, Courtyard, Palazzo Cenami, Lucca 99 - - Della Robbia Ornament 101 - - Apse End and Campanile, San Andrea, Serravalle 103 - - The Rocca of Castruccio, Serravalle 104 - - Olive Trees 105 - - Iron Lantern, Palazzo Baroni, Lucca 107 - - Monument of General Bartolommeo Colleoni, Venice. - By A. Verrocchio 108 - - Moat of Castle Sarzanella, Sarzana 109 - - Monument of General Gattamelata, Padua. By Donatello 111 - - Statue of John Hawkwood, Cathedral, Florence. - By Paolo Uccello 112 - - Madonna and Child, with Two Saints, Castelfranco. - By Giorgione 115 - - Portrait of a Young Florentine, Royal Gallery, Berlin. - By Botticelli 116 - - Stemma of Serravalle 118 - - Medici Shield, Ospedale del Ceppo, Pistoja. Della Robbia 121 - - Viale dell'Arcadia, Pistoja 123 - - Shield of Pistoja, Supported by Bears 124 - - Piazza del Duomo, Pistoja 125 - - Coat of Arms, Pistoja. By Verrocchio 129 - - Bronze Candelabra, Duomo, Pistoja 132 - - Head of Filippo Tedici, Pistoja 133 - - Campanile, from Via Ripa del Sale, Pistoja 137 - - Loggia, Ospedale del Ceppo, Pistoja 141 - - Coat of Arms of Hospital, Pistoja. Della Robbia 145 - - Healing the Sick, Detail of Frieze, Ospedale del Ceppo, - Pistoja. By Giovanni della Robbia 149 - - Via Abbi Pazienza 152 - - Coronation of the Virgin, Ospedale del Ceppo, Pistoja. - By Benedetto Buglione 153 - - Adoration of the Magi, S. Andrea, Pistoja 155 - - Monument of Cardinal Forteguerra, S. Cecilia, Rome. - By Mino da Fiesole 157 - - Virgin and Child, with Saints, Cathedral, Lucca. - By Fra Bartolommeo 161 - - Bastions of San Colombo, Lucca 163 - - Old City Wall and Moat, Lucca 164 - - Tomb of Ilaria del Carretto, Cathedral, Lucca. - By Jacopo della Quercia 165 - - On the Ramparts, Lucca 168 - - San Frediano, Lucca 169 - - S. Frediano, from the Guinigi Tower, Lucca 171 - - A "Grey Tower" 173 - - Ponte a Moriano, Serchio River 175 - - An Old Stone Bridge 177 - - Bridge Over the Serchio 178 - - Church of Santa Maria e San Giorgio, Brancoli 179 - - San Lorenzo, Brancoli 181 - - Interior of Santa Maria e San Giorgio, Brancoli 183 - - Holy-water Stoup, Santa Maria e San Giorgio, Brancoli 186 - - Baptismal Font, Santa Maria e San Giorgio, Brancoli 187 - - Detail of Pulpit, Santa Maria e San Giorgio, Brancoli 189 - - Detail of Pulpit, Santa Maria e San Giorgio, Brancoli 190 - - Pulpit, Santa Maria e San Giorgio, Brancoli 191 - - Three Coats of Arms, Lucca 194 - - St. George and the Dragon, Brancoli. By Andrea and - Giovanni della Robbia 195 - - Sarzanella 199 - - Bridge at Vinchiana 200 - - "The Devil's Bridge," Borgo a Mozzano 201 - - Bagni di Lucca 203 - - Parish Church, Loppia 204 - - The Cathedral, Barga 205 - - Door of the Cathedral, Barga 208 - - Interior of the Cathedral, Barga 211 - - Pulpit in Cathedral, Barga 215 - - Adoration of the Magi, Pulpit, Cathedral, Barga 219 - - Tabernacle in Cathedral, Barga, Della Robbia School 223 - - Assumption of the Virgin, Church of the Capuchins, Barga. - By Giovanni della Robbia 227 - - "Violet-eyed Tuscan Oxen" 229 - - Trappings on Horse of Lorenzo de' Medici 230 - - - - -THE MUGELLO - - - - -[Illustration] - -THE MUGELLO - - -[Illustration] - -Every year Italy is thronged with thousands of travellers who are -thoroughly familiar with the larger cities of Tuscany: Florence, Lucca, -Siena, and Leghorn are crowded with visitors, while Florence has -practically become the Italian home of English and American wanderers; -they not only fill hotels, pensions, and apartments, but occupy many of -the villas on neighbouring hillsides. Fiesole's terraces are converted -into tea-gardens, and resound with Anglo-Saxon chaffer for straw fans -and baskets. San Miniato, with its incomparable view of the city, also -caters to the universal cry for "the cup that cheers," which outrivals -in popularity the noble old Tuscan-Romanesque church hard by. Trim -Americans are met at every turn; Settignano, Bello-Sguardo, Marignano, -Badia a Settimo, and the rest, are frequent haunts; and the padrona -of the vine-covered terrace at Majano, where stone-cutters are wont -to sit about rude stone tables and drink their wine, has learned the -"afternoon tea" secret for the _gentili forestieri_, who walk out -from Florence to enjoy the charming view. Convenient tram lines run -to the more distant and choicest places, and whoever demands more -retired ways may board one of those nondescript vehicles, by courtesy -called "diligence," which are seen on every country road leading from -Florence, making their way through pretty valleys and hill towns. -The Tuscan diligence is an institution in its way, though not always -inviting in appearance; usually covered with dust, its brown canvas -curtains strapped down, excluding all air and views, and "full up" -to bursting with all sorts and conditions of humanity and luggage. -However, one is always sure of the most respectful and obliging driver, -smiling and kindly travelling companions, and no end of interesting -chat and story at the cost of a few centesimi. Thus the country distant -from the usual railway lines is every year becoming more and more -familiar and appreciated, although there are still many delightful -"untrodden ways" known but to the few, who are good pedestrians or -devoted lovers of nature and "dear country places." Follow up any of -the Tuscan rivers--through the Val d'Ema, Val di Pesa, Val d'Elsa, or -the valleys of the Mugnone, Sieve, Bisenzio, and Ombrone, every one an -affluent of the Arno--and you will find a pathway of delight, a real -progress through a world of exquisite colour, form, and fragrance. Yet -it is not easy to turn away from Florence and wander off in pastures -new; like a siren, she holds us in willing thraldom by the infinite -variety of charms so potent that all the world beyond her warm, grey -walls becomes vague and unreal. - -[Illustration: _M. M. Newell_ - -BADIA A SETTIMO] - -But suddenly, on a crisp spring morning, a quick turn from a narrow -street gives us a vision of the hills, olive-grey, brown, and -purple--hills with the Apennine heights beyond. The spell is broken, -our hearts burn for the "spring running," and, as in old Chaucer's -day, "Then longen folk to go on pilgrimage." We have the old poet's -authority that England's Spring came in April, but to us in Tuscany -this year she appeared by the middle of January, and has never for a -day turned her face, coming safely through the "ides of March," even -to the end of April in almost continuous sunshine and ever-increasing -bloom. Blackthorn, almond, and fruit trees, daisies and daffodils, -violets and roses, rival each other in bewildering loveliness wherever -the eye may turn; out of city gates the paths lie luringly open to -hillsides clad with ilex and magnolia, to hidden valleys, and the -snow-clad Apennines beyond Vallombrosa. - -[Illustration: _M. M. Newell_ - -STRAW PLAITERS IN THE MUGNONE] - -We yearn for unbroken space with no dome but the blue above, no tower -but the stately cypress; our resolution is quickly taken to climb -out of Val d'Arno, and slip over yonder delectable heights into the -Mugello. Diligence and tram are too slow for our patience; therefore, -at the easy hour of nine, on a clear, sunny morning, we leave the city -by the Florence and Faenza railway, run through the pretty valley of -the Mugnone, pass the stone-quarries close under the northern flank of -steep Fiesole, discover a world of beauty unknown to us before, dash in -and out of tunnels, catching flying glimpses of a broken countryside, -grey-walled towns, and bosky slopes; thus pushing northward for half a -dozen miles, where the line loops back toward the south, and gives us -once more, and from a greater height, the charming view of Fiesole's -northern slope. Now the railroad rises rapidly by well-built viaducts, -galleries, and tunnels to Vaglia, only nine miles from Florence, as -the crow flies, then passes swiftly over the ridge which separates the -valleys of the Arno and Mugnone from the Mugello region. - -There are no more views of populous Fiesole; we are in a new world, -over which Mr. Ruskin feels justified in making lament. After expanding -with his customary word-painting upon the view from Fiesole over Val -d'Arno, he continues thus: "The traveller passes the Fiesolan ridge, -and all is changed. The country is on a sudden lonely. Here and there, -indeed, are scattered houses of a farm grouped gracefully upon the -hillsides; here and there the fragment of a tower upon a distant rock; -but neither gardens nor flowers nor glittering palaces exist." To us, -however, the scene is charming; the still distant valley spreads out -broad and fertile to the sun, well-watered by the Sieve and its many -tributaries, or _torrenti_, all of which hasten to lose themselves -later in the Arno, just within the western boundary of the Casentino. -Surrounding the happy valley rises a cordon of mountains belonging to -the Central Apennine range--among them Monte Giove, 3,255 feet above -sea-level, and Monte Morello, 3,065 feet. The latter peak is clearly -seen from Florence, and in its varied moods is regarded as a natural -weather bureau by the people, who are fond of repeating the old -saying, "Take your umbrella when Monte Morello puts on his cap." - -[Illustration: _M. M. Newell_ - -A LOGGIA, PIERO A SIEVE] - -Descending the narrow pass of Carza, the train reaches Piero a Sieve, -where we leave it to pursue its way through a most picturesque country, -over the mountains to Faenza, while we explore the quaint little -hamlet of Piero a Sieve, which clings by grey walls and terraces to the -side of a steep hill, crowning which are the massive fortifications -of San Martino. We climb to the fortress, take a snap-shot at one of -the loggias, where the group of ever-busy women in bright skirts and -kerchiefs would make a delightful picture in water-colour, have a look -at the parish church, with its so-called Della Robbia font, and then -proceed on our way to Scarperia, three miles to the northwest, which is -our destination. - -[Illustration: _Alinari_ - -PALAZZO PUBBLICO, SCARPERIA] - -After judicious bargaining at the station with drivers of a varied -assortment of country vehicles, we are cleverly packed into two small, -rattling, rather clumsy but very comfortable carts, one drawn by a -phenomenally brisk donkey, and away we bowl toward the towers of -Scarperia. Somehow the sunshine and exhilarating air incites us into -rebellion against Mr. Ruskin's opinion that the scene is "only a grey -extent of mountain ground, tufted irregularly with ilex and olive, a -scene not sublime, for its forms are subdued and low; not desolate, for -its valleys are full of sown fields and tended pastures; not rich nor -lovely, but sunburnt and sorrowful." - -[Illustration: _M. M. Newell_ - -THE MAIN STREET, SCARPERIA] - -For us a golden touch is laid on everything; we love the plain of -olive orchards and vineyards and peaceful fields; the large, white, -violet-eyed Tuscan oxen driven by kindly faced peasants; even the -donkey is a nonesuch, and we wax poetic over the greenest of green -patches of grain in vineyards, the rows of lopped elm-trees married -to the vines, which are festooned from trunk to trunk. Along the -way we meet the country doctor, riding madly in his cart drawn by -a quick-stepping pony. Another Dr. Antonio, we say, ready in case -of accident to invent and furnish us anything from bathing-machines -and coffee-pots, instruction in botany and art, to a serenade, or -making butter to accompany the good bread of Scarperia, unbaked loaves -of which we see carried into the town on a long board over a man's -shoulder. - -But now we are rattling up the main street of Scarperia, the donkey -trying his best to get ahead, and it is high time to speak like a -guide-book, though no account we have found condescends to give the -population of the place, which is the way every well-regulated book -should begin. Murray's description is summed up in half a dozen lines, -as follows: "Scarperia was built in 1306 by the Commune of Florence to -curb the pride of the Ubaldini and other rebels of the Mugello. The -parish church has some fine cloisters. In the Palazzo Vecchio there are -interesting frescoes. There is a large industry of scissors." This is -all. - -[Illustration: _Alinari_ - - _Giovanni Pisano_ - -MADONNA AND CHILD OF THE SACRED GIRDLE - -DUOMO, PRATO] - -We hasten to buy scissors, also the ubiquitous postal card, visit the -cloisters, which are really good, and then hang about the old Palazzo, -which would alone make the town interesting. Its tower, or campanile, -is remarkably fine, simpler and a thought more serious, perhaps, but -hardly less beautiful, than its more famous sister of the Palazzo -Vecchio, Florence; and the good people of Scarperia proudly declare -that it was at least designed by the same master hand--that of Arnolfo -di Cambio. It rises gracefully as a lily on its grey stalk, dominating -the clustering red roofs below and peering at us over the cloister -roof, as if to say, "We belonged together in those stirring medięval -days when municipal life had two centres: the Palazzo Pubblico and the -Duomo--Civil Government and the Church." The faēade of the old palace -is a mad eruption of various coats of arms, or _stemmi_, carved in -stone or formed in reliefs of glazed terra-cotta, and no less than -fourteen of these are products of the Della Robbia atelier, bearing -the devices of great families of Tuscany; and here, if we were wise -in heraldry, might the whole history of the Mugello be set forth as -it transpired in those adventurous days before its rebels had been -curbed! Prominent and oft-repeated among these _stemmi_ is the Medici -shield emblazoned with its balls, or pills, suggesting the traditional -origin of that famous house and proud device. The story runs that, when -Charlemagne made his historic descent upon Italy, among his followers -was a certain brave and noble knight named Avérard Medici, who, amid -the Apennines, encountered and challenged to mortal combat a mighty -giant called Mugello, who ruled with a high and cruel hand all this -portion of Italy. After a long and furious battle the giant was done -to death, and Avérard, as victor, took possession, not only of his -arms and personal goods, but all the lands under his sway--that is, -the territory bearing his name to this day. What is more, the six -dents on Avérard's golden buckler, which had been made by the furious -blows of Mugello's iron-spiked club, became the Medici device. There -is historical evidence that an early Medici settled in this region and -possessed great estates and castles, to which he very shrewdly retired -whenever his enemies in Florence became too troublesome. There is also -proof that while Cosimo, "father of his country," beautified Florence -with noble villas, palaces, and churches, he did not neglect the cradle -of his race, but built in the Mugello the two convents of the Bosco and -of St. Francis. - -We enter the old palace through a stately atrium, or vestibule; the -walls are covered with coats of arms and faded frescoes, and beyond is -a pleasant little court open to the sky, but serving the municipality -to-day no further than as a chicken enclosure. Then we ascend the broad -stone stairway to the municipal offices; the faded frescoes of Our -Lady and saints in the anteroom are doubtless good, and deserve more -attention than we give them; but our eyes are enthralled by the superb -view from the window of the river-laced plain and encircling mountains. - -After lunch at the modest _albergo_, where kindly faces and willing -service more than compensate for an indifferent cuisine, we set forth -for a long drive of exploration through the Mugello. Our carriage, -"the calash," is apparently an institution of Scarperia, and is such a -pleasant surprise that we heartily commend it to all fellow travellers. -It is a rather light, well-hung, smart-looking vehicle, something -between a victoria and landau in shape, with comfortable seats which -easily accommodate our party of five. It is drawn by a pair of glossy -chestnut roadsters unvexed by checking-straps or throat-chains, and -stepping off freely at a brisk, even trot, which they maintain steadily -during the entire drive of thirty miles. Our handsome young driver is -in keeping with his equipage--kind and skilful with his horses, and -courteous in answering our many questions. Thus we drive all the sunny -afternoon through the fertile and well-tilled valley, over the best of -roads, passing comfortable farm-houses, orchards, and vineyards, where -the peasants are busy trimming and tying the vines or turning the earth -with awkward, primitive spades. We cross and recross the river Sieve -over picturesque stone bridges half hidden by birches and elms. - -[Illustration: ANCIENT CAMPANILE DELLA PIEVE BORGO S. LORENZO] - -Our first halt is at Borgo San Lorenzo, chief town, or capital, of -the Mugello, situated on the Sieve, also on the direct railway line -to Faenza, and containing about three thousand inhabitants. While -lacking, one cannot tell why, the charm of Scarperia, the town has -its attractions, notably two noble and well-preserved gateways, -several towers, and many a cluster of rich-coloured, irregular roofs. -Especially interesting is the lofty Antico Campanile della Pieve--a -battered veteran keeping its time-honoured watch and ward over the -Sieve valley, its sides showing many a scar and patch, and its simple, -conical roof, like an old cap pulled low over its sleepless eyes. - -[Illustration: TORRACCIA ROMANELLI, BORGO S. LORENZO] - -We enter the town through the fifteenth century gateway, its battered -watch-tower speaking volumes of that olden time when Mugello's -rebels worked their stark will along these narrow thoroughfares. The -substantial, old Palazzo del Podestą, minus a tower, looks somewhat -meekly forth on its ancient square, or piazza, as it has done for -centuries. Its faēade is hung thick with the shields of turbulent -lords, ten of whom called on the Della Robbia art to set forth their -emblems here, also to fashion glazed terra-cotta Madonnas for the -churches of St. Catherine and St. Stephen, hard by. - -[Illustration: A FARM-HOUSE, MUGELLO] - -[Illustration: PONTE D'ELSA, MUGELLO] - -We can stop but a few moments at Borgo San Lorenzo, and soon -drive on, past a little shrine at the street corner and under the -battlemented tower called Torraccia Romanelli, to our country roads -once more. Outside the walls the country assumes a more broken and -hilly appearance, fewer cultivated fields, and more pasture where a -few sheep graze; irregular farm-houses of rough, grey stone, with -loggias and sloping roofs of red tiles, set amidst scattering trees, -many of them cypress, dark and rusty as an outworn mourning coat. The -accompanying picture shows a representative house of the country, and -we are told that this one had its little romance and love's young -dream. It is a wrinkled old woman you see trudging down the hillside -to fill her copper bucket at the stream; but in yonder corner loggia -is a sparkling-eyed young _contadina_, some pretty Tessa, who as she -spins her flax is thinking of a handsome and dashing young Florentine -who often finds his way to the farm-house, which belongs to his -uncle's country villa hard by. A bit farther on we reach the pretty -double-arched bridge Ponte d'Elsa, the very one, our driver says, where -Cimabue met the shepherd boy Giotto; and here too, nibbling the scanty -grass along the roadside, are surely the descendants of Giotto's sheep, -even the new-born lamb looking quite medięval. - -[Illustration: _M. M. Newell_ - -HILL OF VESPIGNANO, MUCELLO] - -The hill of Vespignano, Giotto's birthplace, is much too steep for the -chestnuts and calash; moreover, we are only too glad of an excuse for -walking up the pretty path cut into the hillside, bordered by trees -hung with ivy, and leading to a serried rank of young cypresses, ranged -together like a black watch on the crest of the hill, as if to guard -the modest stone building, which tradition says is the very house where -the artist Giotto was born. Even for a shepherd's dwelling, the house -is small and uninteresting, which naturally flings a suspicion over -its verity; nevertheless, the spirit which actuates the preservation -of all historical sites and relics by the Italian government cannot -be too highly commended. The house is converted into a meagre museum, -and kept in good order on estates at present belonging to the Villa -Capriani-Cateni, the various buildings of which cover the crest of a -considerable height and possess a noble outlook into the near hills, -which are now taking on a hazy blue mystery in the afternoon light. -A large portion of the villa is of modern architecture, plain and -dignified, but the massive, square battlemented tower at one corner is -of quite an early date, perhaps the thirteenth century, while not far -away is the ruined prison-house of ruddy grey stones and brickwork, -with a picturesque round tower, presumably of a still earlier time, and -reminding one of the ancient towers still found in parts of Ireland. -The whole pile speaks eloquently of a long residence on this hilltop -of a people whose wants were few, their tastes stern and simple as -the mighty Apennines which encircled them. A fine-looking old man is -weaving an osier basket as he sits on the terrace in the shadow of the -old tower. He answers all our questions with quiet courtesy; but upon -our offering him a fee, as we have learned is generally expected, it is -gently but firmly declined, and we walk away somewhat abashed, thinking -of the varied influences which surrounded young Giotto amid such -pastoral scenes and such kindly, self-respecting people. He certainly -must have carried much of the experience and knowledge of his shepherd -life into his art. - -[Illustration: _M. M. Newell_ - -ROUND TOWER, VESPIGNANO] - -In the Arena Chapel, Padua, one of the finest of the frescoes is -that of Joachim returning to the sheepfold, where Giotto shows his -intimate knowledge of a shepherd's surroundings and animal forms, but -particularly of the characteristics of sheep, giving to each one an -individuality which only a close observer could have done. There is the -same quality in one of the sculptures on his tower in Florence, where -the puppy, with an absurd expression of anxious responsibility, is -guarding the sheep. - -As the shadows lengthen and the mountains are gleaming in purple and -gold, we return to Scarperia for the night, and enjoy such sleep in the -clean, coarse, homespun linen on our beds, as only a day in the brisk -open air can give. - -The morrow is Sunday, and the old Piazza, between church and palace, -is filled with the people coming and going to mass, and to chaffer -with the pedlar displaying his wares on a little cart, consisting of -a slender stock of kerchiefs, stuffs, bright toys, and various homely -utensils, which he cries as lustily as another Autolycus: - - "Will you buy any tape, - Or lace for your cape, - My dainty duck, my dear-a? - Come, buy of me! come buy, come buy!" - -Both men and women have good faces, with that kindly responsive and -patient expression characteristic of the Italian peasants; they are -interested in everything, particularly in the _forestieri_, who in -their turn enjoy the groups of women and children in gay kerchiefs -and gowns, making a pretty picture in the old grey square. We walk -through the narrow streets, sit on the city walls which still partially -surround the town, and look down on the pretty road overhung with -trees, where the trailing-footed, white oxen slowly come and go, placid -and restful. - -[Illustration: - - _Alinari_ _Giotto_ - -JOACHIM RETURNING TO THE SHEEPFOLD, ARENA CHAPEL, PADUA] - -We follow the _contadini_ out of the old city gate on the road to -St. Agatha's Church, lying between vineyards where the young grain is -now pushing its green spears through the brown earth--for spring is -later here than in Val d'Arno--and olive orchards, where clouds of -silver-grey leaves quiver and shine in the light. - -[Illustration: - - _M. M. Newell._ - -FROM THE WALLS OF SCARPERIA] - -[Illustration: - - _M. M. Newell_ - -A COUNTRY ROAD, SCARPERIA] - -[Illustration: - - _Alinari_ - -DETAIL OF THE GRILLE - -CHAPEL OF THE SACRED GIRDLE, CATHEDRAL, PRATO] - -Taking another road, we saunter on a mile or so to the Villa Tolomei, -belonging to an old Tuscan family, whose arms are a gold band with -three green vine leaves on a blue field, and above a red label with -the three gold lilies of Anjou. The grounds are pleasant, though -somewhat neglected, but the prospect looking toward the mountains -is entrancing; and the walk back toward Scarperia gives us a continual -view of the fine campanile. By this time all the rebel blood of -the Mugello is burning in our veins, and we demand a drive back to -Florence; no railroads and tunnels for us if we must leave these "dear -country places." We long to push eastward, only three paltry miles -away, up to the very crests of the Apennines, where all the rivers -hasten joyfully to the Adriatic. But not to-day may we follow fancy's -lead eastward along curving Ronco's flowing stream, but again, with -chestnuts and calash, are constrained to hold our way along the river -bank, returning over the road to Piero a Sieve--was it only yesterday -that we first knew it?--and strike at once into the famous old highway -leading from Bologna to Florence, as it has done almost since the -beginning of the Christian era. What a thoroughfare it has been! What -mighty personages have trod this path with high hopes, burning spirits, -and breaking hearts! - - "There is a joy in every spot made known in times of old, - New to the feet, although each tale a hundred times be told." - -What hordes of barbarians and armies of haughty kings have swept this -way; what great pageants and devout pilgrimages! We remember that one -of Gian Galeazzo, Duke of Milan in 1471, when, accompanied by his -wife, Bona of Savoy, in accomplishment of a vow, he made a pilgrimage -to Florence in unparalleled splendour. There were twelve palanquins of -cloth of gold borne on the backs of mules over the Apennines, preceded -by fifty palfreys for the Duchess and her ladies when they preferred -the saddle; fifty horses for the Duke and his gentlemen; five hundred -foot-soldiers, one hundred mounted men-at-arms; fifty body-servants in -livery of silk and silver, fifty huntsmen holding dogs in leash, fifty -with falcon on wrist, each bird valued at two hundred golden florins, -etc., etc. With all this pomp the train descended into the Val d'Arno, -proceeded to Florence, and were received at the Medici palace in Via -Larga, now the Cavour. When we reach Vaglia, again we struggle with -the temptation to turn aside for the delightful walk of five miles -to Bivigliano and find the Della Robbia Madonna and Saints (from the -atelier) at the parish church of St. Romola, thence a mile farther to -the foot of Monte Senario, 2,700 feet high, which overlooks us all the -way. But we hold to our course, and after a few miles and a stiff walk -of half an hour we mount to Pratolino, 1,512 feet, the highest point -we touch, lying just below Monte Senario, and commanding an extensive -view on every side. Near the village is the celebrated Villa of -Pratolino, built originally in 1570 by Duke Francesco de' Medici for -the reception of his wife, the beautiful and notorious Bianca Cappello. -It was surrounded by noble gardens and terraces, and because of its -superb situation became the favorite residence of the luxury-loving -Duchess. The property is now owned by the Prince Demidoff, but nothing -remains of the original villa except a colossal crouching figure, -personifying the Apennines, which is ascribed to John of Bologna. - -[Illustration: _Alinari_ - - _Alessandro Allori_ - -PORTRAIT OF BIANCA CAPPELLO - -UFFIZI, FLORENCE] - -Our Mugello excursion is over; we are slipping through the Mugnone -and down into Val d'Arno. First Fiesole welcomes us; then the dear, -familiar towers of Florence, the fairest city in the world; only a -poet can convey the charm of this exquisite scene. "Few travellers can -forget," says Mr. Ruskin, "the peculiar landscape of this district of -the Apennines. As they ascend the hill which rises from Florence to -the lowest peak in the ridge of Fiesole they pass continually beneath -the walls of villas bright in perfect luxury and beside cypress hedges -inclosing fair terraced gardens, where masses of oleander and magnolia, -motionless as leaves in a picture, inlay alternately upon the blue sky -their branching lightness of pale-rose color and deep-green breadth of -shade, studded with walls of gleaming silver; and shining at intervals -through the framework of rich leaf and rubied flower the far-away -bends of the Arno beneath its slopes of olive, and the purple peaks of -the Carrara mountains tossing themselves against the western distance, -where the streak of motionless clouds hover over the Pisan sea." - -[Illustration: UBALDINI] - -[Illustration: VICCHIO] - - - - -PRATO: - -A MEDIĘVAL JOURNEY - -[Illustration: _Alinari_ - - _Benozzo Gozzoli_ - -THE PROCESSION OF THE MAGI - -CHAPEL OF THE RICCARDI PALACE, FLORENCE] - - - - -[Illustration] - -PRATO: A MEDIĘVAL JOURNEY - - -[Illustration] - -Thrice had we been in Florence and never seen Prato, only twelve miles -away. Many times had we noted in passing where the waters of her -little river, the Bisenzio, join the Arno, and wished to follow its -banks through the plain to the city whose fortunes and history are -so identified with those of Florence. There was no good reason for -not going to Prato; there are several ways of doing it--by diligence, -tram, or steam; and Murray declares that half a day will suffice to -see the town. So one hot day we took the plunge, boarded the tram, -first having provided a bountiful luncheon, for of course the inns -would be impossible. We can not recommend that tram ride. The line -passes through a flat, dusty country, the service is unpardonably slow -and tedious, and we were smothered in dust and very cross. But let us -hasten to say that the journey itself was our only disappointment; all -discomfort vanished with our arrival. We were charmed with our first -glimpse of the city, and found the Albergo Giardino so good that we -were obliged to apologize for bringing a luncheon and supplement it -generously from the hotel _menu_. Temper restored and at peace with -all the world, we set forth to prove Herr Baedeker's statement that -a visit to Prato is "indispensable to those who desire to acquaint -themselves thoroughly with the early Renaissance style of Florence;" -for which same thorough acquaintance we had allowed ourselves four -hours, forsooth! The Prato of to-day has, of course, its praiseworthy -modern enterprise and industries: the women are picturesquely busy at -every street corner with straw plaiting, there is a good trade in -woolen cloths, and the bright red caps (_calabarsi_), made here are -greatly demanded in the Levant; in side streets we come upon shops hung -with gleaming copper vessels of every sort and shape, and the sound -of the coppersmith's hammer rings out merrily on the clear air. It is -said that the people have a reputation for rudeness and turbulence, -but what can you expect from a town which, having made the good fight -for freedom, lost its independence and its identity in that of another -city, that was once captured by the redoubtable Castruccio, and, to -crown all disaster, was from 1512, for twenty-two years, made to suffer -all the atrocities that Spanish cruelty could devise? After all, the -City of the Meadow (_prato_) is in no sense a modern town; its ancient -walls are still intact; the castle, if fallen from its high estate as -a citadel, is still a delight to all the snap-shotting fraternity; and -if the streets are no longer gay with ruffling _bravos_ in their fine -attire, the ancient palaces of the Commune and Pretorio still hold -their own in point of noble architecture and as venerable centres of -justice and good government. - -[Illustration: _M.M. Newell_ - - _Giov. Pisano_ - -THE CAMPANILE, PRATO] - -[Illustration: _Alinari_ - - _Benozzo Gozzoli_ - -DETAIL OF THE PROCESSION OF THE MAGI - -CHAPEL OF THE RICCARDI PALACE, FLORENCE] - -[Illustration: _M. M. Newell_ - -ARCADES WHERE HANG THE COPPER AND WOOLEN GOODS] - -Very different, indeed, must it have been in the fourteenth and -fifteenth centuries, when Prato was in the zenith of her wealth and -pride, when Donatello and Fra Lippo Lippi, Mino da Fiesole, and the -Pisani were busy there, and all the world was running to see their -work; crowned heads and critics, humble aspirants and cavalcades of -brilliantly attired Florentines were arriving daily to admire and -criticize the new art. The jaded tourist of to-day, if a true lover -of nature and history, thinks yearningly of the medięval journeyings -over these roads; of the humble enthusiast making his way on foot, -and of gay trains of mounted nobles riding leisurely through these -regions of delight. Benozzo Gozzoli has shown us how it was done in -his noble fresco "Procession of the Magi," painted on the walls of -the Riccardi Palace to commemorate the visit of the Eastern Emperor, -John Palęologos, in 1439, who, according to an inscription in the -Duomo of Prato, made an excursion thither from Florence accompanied -by the illustrious Bessarion and a suite of six hundred cavaliers -magnificently appointed. The "three kings" in the fresco are -represented by the Emperor, the patriarch Joseph, and the young Lorenzo -de' Medici, who are surrounded by theologians and scribes, attended -by a train of cardinals, bishops, and nobles, with their servants and -horses, in splendid array. The painted scene is full of the vigour -and freshness of spring--of that spring when men awoke to the force -and meaning of human existence, "freedom of thought, beauty of the -world, and goodness of youth and strength and love and life." Those gay -young cavaliers prancing over the plain, exuberant with their new joy -in nature, colour, and splendour of dress, are equally keen in their -intellectual freshness; every man is a poet, Lorenzo de' Medici himself -the "most typical poet of his century," and their every verse rings -with the burden, "Gather ye rosebuds while ye may." - -[Illustration: _M. M. Newell_ - -THE FORTRESS] - - "I went a roaming, maidens, one bright day, - In a green garden in mid month of May. - - Violets and lilies grew on every side - Mid the green grass, and young flowers wonderful, - Golden and white and red and azure-eyed; - Toward which I stretched my hands, eager to pull - Plenty to make my fair curls beautiful, - To crown my rippling curls with garlands gay. - - I went a roaming, maidens, one bright day, - In a green garden in mid month of May." - -[Illustration: _Alinari_ - -THE CATHEDRAL OF PRATO] - -Like Benozzo Gozzoli's train, we would sweep gaily from the court of -the old Medicean palace into Via Larga, pass through the Piazza del -Duomo, invoking the protection of Santa Maria del Fiore, cross the -ample square of Santa Maria Novella, and so come to Porta al Prato, -leading out to the plain, blue at this time of the year with the small -Tuscan lily which gave Florence her device. Then, as now, we would -pass through a busy suburb, or _borgo_, clustering about the gate, and -take our way over the plain, thick set with little hamlets, vineyards, -and orchards, and having always at our right hand the fair Tuscan -hills, hung with blooming gardens and starred with shining villas. -There is many a shrine or church along the way well worth a brief -halt, and such a leisurely ride may easily include a short visit and -refreshment at many of the Medici villas in the vicinity--at Careggi, -finest of them all, first occupied by Cosimo, Pater Patrię, rebuilt -by Michelozzo, and where Lorenzo would, at a later day, gather about -him the scholars, artists, and singers of that rich time; here also -tradition places that improbable scene between Savonarola and Lorenzo -at the time of his death. The grand old tower of Petraia next lifts -its crown above a bosky hillside; this villa, now the Royal Villa, was -the work of Brunelleschi, and may well be visited for the sake of its -noble gardens and rare trees--among them an oak four hundred years old. -It is said that Poggio a Caiano, somewhat farther on, was Lorenzo's -favorite villa; earlier it belonged to the notorious Pistojese family, -the Cancellieri, who boasted among their members eighteen knights -with golden spurs, and whose quarrels originated the widespread feuds -of the _Bianchi_ and _Neri_. Lorenzo loved the place, and called his -favorite architect, Giuliano Giamberti, whom he had fondly nicknamed -"San Gallo," to build his villa; the plain exterior is broken only by -a fine classic portico, while the pride of the villa is the great hall -with its beautiful barrel roof--a creation which Lorenzo had declared -San Gallo could never accomplish. Later this architect built the little -church of the Madonna delle Carceri[1] at Prato--"perhaps," says our -critic, "the gem of the Laurentian age of architecture," and certainly -"classical principles have never been employed with more sympathy and -more originality." - -[Illustration: _M. M. Newell_ - -GARDEN BELONGING TO THE ROYAL VILLA OF PETRAIA] - -[Illustration: _Alinari_ _Donatello_ - -EXTERNAL PULPIT, CATHEDRAL, PRATO] - -[Illustration: _Alinari_ - - Andrea della Robbia, 1489 - -MADONNA AND CHILD, WITH SAINTS - -LUNETTE OVER CENTRAL DOOR OF THE DUOMO, PRATO] - -Thus filling a memorable day, we should come at eventide, as the -setting sun sifts its gold on olive-clad hills, to Prato on the -Bisenzio, where even an emperor might study with interest the -civilization of the West during the "age of the despots," and its -reawakening in learning and art. He would also enjoy the hospitality, -for which the city was noted when Florentine nobles made Prato their -frequent residence and enriched their palaces there with every form of -art and luxury, for which that time was celebrated. Prato, we find, -has her tradition honouring her above all other cities in the world, -and about which centres much of her importance in art. The story runs -something like this: When the Blessed Virgin disappeared from earth, -it seems that St. Thomas, father of skeptics, could not believe that -she had been caught up into heaven, as everybody knows who looks at -Italian paintings. The Virgin, to convince him, dropped from the clouds -her girdle (_cintola_), which St. Thomas faithfully cherished while -he lived. After his death the holy relic descended in course of time -to a Greek priest. All this happened in the Holy Land, to which, in -1096, journeyed a certain Michael of Prato, who, being an Italian, was -presumably a handsome man with a silver tongue, won the love of the -aforesaid Greek priest's daughter, who brought the _sacra cintola_ as -part of her dowry. Michael returned with his bride to Prato, where -they lived the rest of their lives, and treasured the precious relic -with the greatest reverence and care. Eventually it was transferred -to the cathedral, where it is kept in a chest sculptured by Giovanni -Pisano, and the keys thereof jealously guarded by the Bishop of the -Diocese and worshipful Syndic of the City of Prato. The people hold -the relic in the profoundest reverence; five times during the year it -is, with great ceremony, publicly exhibited, until about the tradition -has gathered a religious cult, to which many of the noblest works of -art in the Duomo directly refer. The Duomo alone stands for seven -centuries of art (though little remains of the earliest church, built -in the eighth century), and, like its noble campanile, is the work of -Giovanni Pisano. It is built of alternate bands of fine limestone and -the dark green serpentine from neighboring Monte Ferrato.[2] On the -northwest corner of the church is the external pulpit of Donatello, -"Prince of Humanists," supported by Michelozzo's bronze capital. The -pulpit is adorned with seven reliefs of dancing figures, "half-childish -and half-mythical," with musical instruments. From this pulpit, if -it chance to be May Day or Easter, we may witness the picturesque -ceremony of exhibiting the _sacra cintola_ to the devout people in -gala dress, kneeling in the piazza below. We enter the Duomo under -Andrea della Robbia's lunette of the Madonna and Child, attended by -St. Stephen and St. Laurence, the whole surrounded by a wreath of -cherubs' heads; this relief, among the many Della Robbias in various -churches and oratories of Prato, is the only one executed by Andrea's -hand, and is a beautiful and serious work in the master's late manner. -The interior of the church is in the form of a Latin cross, its roof -supported by columns of serpentine; at the left is the chapel of the -Sacra Cintola, surrounded by a fine bronze grille or screen, wrought by -Bruno di Ser Lapo at Lorenzo's order. It is a masterpiece of graceful -designs, circles, quatrefoils, wreaths, and acanthus leaves, among -which appear tiny figures of cherubs supporting the arms of Prato--a -shield powdered with the lilies of Anjou. Over the screen hang thirteen -silver lamps of antique form, kept ever alight before the altar, where -stands the charming Madonna by Giovanni Pisano and the sculptured ark -or chest containing the sacred girdle. On the walls is Angelo Gaddi's -painted story of the life and death of the Virgin and the gift of -her girdle to St. Thomas. The same subject, splendidly painted by -Ridolfo Ghirlandaio, hangs over the great west door. In the nave, -amid all this richness of colour, Mino da Fiesole's beautiful marble -pulpit shines out with its delicately sculptured reliefs, supported -on serpent-tailed sphinxes. Foremost, however, among the treasures of -the Duomo, are Fra Lippo Lippi's frescoes in the choir, considered -his most important work. Nothing, perhaps, puts one so fully in touch -with fifteenth-century men and art as the career of this vigorous and -prolific artist, a true son of the Renaissance, who, while he paints -sweet-faced Madonnas, dimpled children, and holy saints on monastery -walls, follows his own pleasures and trolls out his careless love -song: - - "Who am I? - Why, one, sir, who is lodging with a friend - Three streets off--he's a certain ... how d'ye call-- - Master--a ... Cosimo of the Medici, - In the house that caps the corner. * * * - - * * * * * - - "And I've been three weeks shut within my mew - A-painting for the great man, saints and saints - And saints again. * * * - - * * * * * - - "I painted a St. Laurence six months since - At Prato, splashed the fresco in fine style." - - -_Song_ - - "Flower o' the broom, - Take away love and our earth is a tomb!" - - * * * * * - -[Illustration: _Braun, Clement et Cie._ - - _Botticelli_ - -LUCREZIA TORNABUONI, WIFE OF LORENZO IL MAGNIFICO - -WEARING THE MARSYAS JEWEL OF THE MEDICI] - -Our allotted "four hours" for Prato have come to an end, leaving many -beautiful things unseen; the pleasant cloisters of San Francesco, the -perfect Renaissance church of Santa Maria delle Carceri, and many -others, must be left to that indefinite "next time." We hasten to the -train, stopping only a moment at the shrine on the corner of Via S. -Margherita, which contains Filippino Lippi's Madonna, where we murmur -our thanks for a happy visit and make solemn vows to come soon again. - -[Illustration: STEMMA, PRATO] - -[Illustration: _Alinari_ - - _A. della Robbia_ - -DETAIL OF FRIEZE - -S. MARIA DELLE CARCERI, PRATO] - -FOOTNOTES: - -[Footnote 1: E. Armstrong, M.A., _Lorenzo de' Medici_, p. 437. B. -Berenson, _The Study and Criticism of Italian Art_. Second series. "A -Word for Renaissance Churches."] - -[Footnote 2: The quarries of serpentine (verde di Prato) near Prato -have been worked from a very early period. Their present output is -valued at £1,000 per annum.--From _The British Diplomatic and Consular -Report_, No. 570, 1901.] - - - - -CHIANTI AND THE IMPRUNETA - - - - -[Illustration] - -CHIANTI AND THE IMPRUNETA - - -[Illustration] - -We made our first home in Florence with our good friend Signora -V---- and her daughter. Our rooms were on the second _piano_, which -meant three flights of uncompromising stone stairs, but once at the -top our windows overlooked the piazza on one side, a pretty garden -on the other, and gave us plenty of sunshine; moreover, we had a -loggia, a very different matter from a balcony or gallery both in name -and character, and from which we got charming views of the distant -hills. Within was every creature comfort--not luxury, perhaps, but -cleanliness, order, refinement, and an excellent table with two -servants, merry-faced Dina and kindly Annunziatina, to serve and pet -us, to identify our wants and interests as their most pleasurable -duty, and teach us to say that Tuscan cookery and Tuscan servants, at -their best, cannot be equaled the world over. The relation between -the Italian family and servants is in many cases almost ideal: there -is complete understanding and freedom of speech; the mistress talks -and consults with the maid, and she, in turn, depends on her mistress -as on a mother, and yet neither forgets her place or dignity. As for -food, where will one find such sweet, tender vegetables, such crisp -salads, and macaroni served in a dozen different ways, each better -than the other? For the first month every dish brought to the table -was a mystery and delightful surprise. How could one have lived half -a century and never known _fritto misto_, or the changes that may be -rung on rice or corn meal? What a far different object the _pomidoro_ -is in Tuscany from the tomato of commerce in Boston! Then, who ever -can measure the capacities of chestnuts? As for meats, if variety is -limited, certainly the methods of cooking are legion, and one never -seems cloyed with the Tuscan chicken; oil and cheese are delicious. -For tea Italians care nothing, and their coffee leaves much to be -desired; but who would drink either, or even the questionable water -of Val d'Arno, when pure wine may be had for the asking? Tuscan wine -certainly "needs no bush," but there are so many degrees, even of the -boasted Chianti, that only the wise may be sure of the best. At our -signora's we had the most delicious wine, both white and red, and, mark -you, without extra charge. "It is Chianti," she said, when we asked -its name. "But," we urged, "all the wine of Tuscany is Chianti, _non -č vero_?" "Quite the contrary," was her answer, "it is only produced -in a certain limited region on the hillsides of Chianti; we must take -you some day to our vineyard in the true Chianti hills, where this wine -was made." That happy day came in April, when the Tuscan spring was in -its fullest bloom. We took a steam tram at the Porta Romano, which, as -its name indicates, opens on the old Roman road to Siena, and at once -began our climb into the hill country. Three miles from the gate, where -the little rivers Ema and Greve join, we passed near the Certosa, more -like a fortress than a monastery, seated so imposingly on its lofty -hill; then our road led along the banks of the Greve till we reach -the village of the same name, which is the chief town of the Chianti -region. It was a beautiful ride, trending southeastward, and by many a -turn and loop, affording views of glens, valleys, and hills, grey stone -bridges, castles, villas, and churches. At Greve a carriage was waiting -for those who wished to ride; others preferred the steep, breezy walk -over the hills that separate Greve from Val di Pesa, from which we saw -Florence in her Val d'Arno, twenty miles away. All along the road were -ruins of ancient castles and piers of bridges, which once defined the -marches between Siena and Florence, held only by constant war-fare; but -now the crumbling towers keep watch and ward over peaceful olive groves -and unmolested vineyards. - -[Illustration: _L. C. Dexter_ - -PONTE FALCIANO, CHIANTI] - -[Illustration: _L. C. Dexter_ - -PONTE CAPELLO. ALONG THE RIVER GREVE, CHIANTI] - -[Illustration: _M. S. Nixon_ - -VITIGLIANO, CHIANTI] - -[Illustration: _M. M. Newell_ - -OLD WATCH-TOWER, CHIANTI] - -[Illustration: _M. M. Newell_ - -PANZANO FROM A DISTANCE, CHIANTI] - -[Illustration: _L. C. Dexter_ - -S. LEOLINO A FLACCIANO. PIEVE DI PANZANO, CHIANTI] - -Morning wears on toward midday before we get a distant view of Panzano, -a warm, grey tangle of towers and red roofs, looking calm and friendly -enough in the sunshine, with groves and vineyards at its feet, but once -doubtless given over to the dread clamour of war. A little farther on -is the parish church, Pieve di S. Leolino, with its pleasant loggia and -weather-beaten bell-tower. Within are two Della Robbias, a ciborium, -and a tabernacle from the atelier, and not far away is the country -villa, of Count Viviani della Robbia, the present representative of the -illustrious family of artists. - -[Illustration: _L. C. Dexter_ - -A VILLA IN PANZANO, CHIANTI] - -Thus we approach the _podere_, or farm, in the very midst of the -Chianti district, and can easily understand the charm it has for our -host, and the reason he so often puts aside his books and walks over -the hills from Florence to this charming spot, which has for over a -century belonged in his family. "It is admirable land for the grape," -we are told, "and the constituents of the soil most favourable for -producing the best wine in the world, if it were only properly enriched -and our methods of cultivation somewhat modernized; as it is, we must -send our wine in casks to the French, who turn it into Bordeaux, and -export it at very large prices." In spite of such obstacles, the fact -remains that Italy is the first wine-growing country in the world, but -ranks only third in wine exportation, although in the year 1902 she -exported wine in casks to the value of over seven million dollars. We -received a cordial welcome at our host's modest red villa, in and about -which was a stir of preparation--glimpses of cheery faces and savoury -odours escaping from the kitchen, all indicative of a _festa_. We were -urged to taste delicious home-made cordial, and to admire our host's -two treasures--the chair in which Garibaldi sat when he visited the -villa, and an interesting wine-jar, or amphora, of elegant shape, with -a decorated band and the Medici shield, bearing the seven _palle_, also -an inscription. We then walked about the _podere_, or farm, through -which runs the Roman road, and would have made advances to the noble -white Tuscan watch-dog had we not been warned of danger. We visited -the substantial grey stone house of the _contadino_, or farmer, hard -by the villa, where it has sheltered members of the same family for -generations; the grandmother, evidently mistress of the establishment, -a fine, dignified-looking woman, welcomed us courteously, and gratified -our curiosity by taking us over the house, which consisted of three -rooms; she displayed, with evident pride, the spacious bedroom, where, -probably, the whole family sleep; at all events, the bed alone would -accommodate half a dozen children put crossways, and there were piles -of blankets and linen, all spun and woven on the farm, furnishing -an inexhaustible provision for additional couches. In the kitchen -we saw the great kneading-trough for the _pane nero_ (brown bread), -and the domed brick oven where it is baked; and in the loggia, or -porch, stretched a long table with benches on either side, capable of -seating twenty-four persons, the present census of the household. The -house was clean and orderly, and suggested comfort and independence. -Connected with the house, at a lower level, are the stables, where the -handsome white oxen live, the ample hen-houses, and places for tools, -grain, hay, etc. While we were walking about the house and sheds a -peasant woman, distaff in hand and a basket on her arm, came down the -Roman road, and stopped to gaze with astonishment on the group of -_forestieri_, who, in their turn, gazed with interest into her good, -honest face, and begged to take a photograph. - -[Illustration: _M. M. Newell_ - -THE OLD WINE JAR. CHIANTI] - -[Illustration: _M. M. Newell_ - -A PEASANT OF THE CHIANTI] - -The method of letting and working farms in Tuscany is novel and -peculiarly interesting to Americans, and we urged Signor G---- to -enlighten our ignorance somewhat on the subject. It seems that his -estates, like the majority in Tuscany, are let on the _mezzadria_ or -_metayerage_ system--words indicating the halving, or equal division, -of products between the proprietor and his farmer.[3] The proprietor's -land in Tuscany is almost invariably divided into _poderi_ (_i.e._, -small farms of about forty acres), and each farm is tilled by a single -family, who must live on the land in a comfortable house (_casa -colonica_), furnished by the proprietor, who also provides farming -tools, cattle, etc. The system is of ancient date and has come to stand -as an habitual form of contract, and in Tuscany has become legalized -by almost universal usage. The contract between proprietor and -_metayer_, or farmer, holds only from year to year, but is regularly -renewed, and, in most cases, the same family remains on the farm for -generations. Attached to the soil they cultivate, their interest is -one with that of the proprietor, and they consider themselves as much -owners of the land as the proprietor himself. So old is the system -that language has been influenced by it; dating back to feudal times, -the word _contadino_ meant "count's man," etc. There are various -understood conditions attached to the contract. The _contadino_ must -annually replant a certain number of shrubs and trees, keep roads and -watercourses in order, and at Easter, Michaelmas, and Christmas supply -the landlord with a fixed number of fowls and eggs. In his own house -the _contadino_, with the title of _capoccia_ (head), represents the -family in all its dealings with the outer world: assigns tasks, decides -when the vintage or harvest shall begin, apportions personal expenses, -and must be consulted before his children marry; also no member of -the family may marry without the consent of the proprietor, and he -may even require any member of the family to marry. By the father's -side stands the _massaia_, the wife, who superintends all housework, -governs the women, assigns tasks of weaving, spinning, and mending, -presides over the poultry-yard, raising of the silk-worm, etc. The -_mezzadria_ system, if not "the perfect social contract between the -owner and tiller of the soil," as some claim, seems to be, in Tuscany -at least, the solution of many vexed questions; it holds that labour -is an absolute equivalent for capital. The _metayer_, or _contadino_, -works directly for his own interests, and is generally in comfortable -circumstances, has a good house, excellent food and necessary -implements; he is usually shrewd, knows the capabilities of his farm, -is an excellent judge of an ox, and can drive a sharp bargain; he is -generally sober, self-respecting, and industrious; is seldom at a loss -for money on account of the diversity of his crops; he always has -something to sell; his calendar is about as follows, viz.: December to -March, the olive harvest; June, the cocoons; July, the wheat harvest; -September, the corn; October, the vintage. The obverse side of this -picture is his hide-bound devotion to antiquated methods, and lack of -educated intelligence; he knows nothing of the rotation of crops, the -chemistry of plants and soil, or of modern implements and conveniences; -he cuts his grain with a sickle and threshes it on the earth; the spade -is his favourite tool, and an old Tuscan proverb runs, "The spade has a -golden edge." As some one writes, Virgil's Georgics might practically -be used in Tuscany as a "handbook of agriculture." Finally, the Tuscan -farmer is satisfied with modest results; his average income for the -year from his oil, wine, grain, vegetables, cattle, silk-worms, and -straw plaiting is, approximately, three hundred dollars. - -[Illustration: _M. M. Newell_ - -THE STATELY CYPRESS] - -[Illustration: _M. S. Nixon_ - -A COUNTRY ROAD, CHIANTI] - -[Illustration: _M. M. Newell_ - -PIAZZA OF THE IMPRUNETA] - -[Illustration: _M. M. Newell_ - -A STREET IN IMPRUNETA] - -The call to luncheon was certainly most welcome after our morning on -the hills and lesson on agriculture; as for those superior persons -who proclaim that the Italian lives principally on macaroni dried -on the sidewalk, black bread, garlic, and sour wine, we only wish -they might have shared our feast that day in the Chianti. There was -_broda_ (soup), macaroni with _pomidoro_ sauce, home-grown chickens -and fresh salad, _pane nero_, sweet and warm from the oven, with the -"best butter," and a delicious, fresh goat's milk cheese, served on a -flat basket of plaited green rushes, to say nothing of coffee and wine -without stint--some of the Chianti made twenty years before; and now -we know how the true Chianti ought to taste. It was a day never to be -forgotten; and dreading its coming to an end, we said our reluctant -good-bys to the hospitable family at Villa Rosso, and pursued our road -homeward in a leisurely and roundabout way, stopping now to visit some -wayside church, or tempted by charming country roads leading through -vineyards and lines of cypresses to some hill-crowning villa in the -distance. Finally we climbed the long hill clad with olive orchards to -Impruneta, where, if not too much entranced with the superb view, we -may remember is the famous shrine of La Madonna dell' Impruneta, one -of the most important pilgrimage churches in Tuscany. The black image -of the Madonna is said to have given its name to the village, but it is -more probable that it is derived from the grove of stone pines crowning -the hill, and is a corruption of La Pineta.[4] The tradition is that -this Madonna was wrought by St. Luke the Evangelist, and, having been -stolen from the church, it was sought in vain until a peasant, plowing -in the field, saw his oxen fall suddenly on their knees and refuse to -get up; search being made, the sacred image was found, and is said -to have uttered a cry when struck by the spade. Whatever its origin, -the Madonna is reverenced by the people, and Savonarola, we read, had -faith in its miraculous power. On occasions of danger it is carried in -solemn procession, but always closely veiled, and worshipped as the -"Hidden Mother." After all, it is not so much for the black Madonna -that our pilgrimage is made to Impruneta, but for the Chapel of the -Madonna, which enshrines her, and the one opposite, called the Chapel -of the Holy Cross, both adorned by Luca della Robbia, the head of his -family and the great master of glazed terra-cotta; the Crucifixion in -a chapel near the altar is also by his hand. The _predella_ of the -Tabernacle of the Holy Cross is one of Luca's most beautiful creations, -representing four buoyant, serious angels, ivory-tinted, against a pale -blue background. Both chapels are roofed with charming designs, and -about the top, as a cornice, runs a frieze of fruits and pine cones, -peculiarly appropriate to the Church of La Pineta. In the centre of -each frieze is a Madonna "clasping the Child in her arms, white on -a blue background," and that which indubitably belongs to Luca "is one -of his most human and tender conceptions both of Mother and Child," the -memory of which fitly crowns and hallows our happy day in the Chianti. - -[Illustration: - - _Alinari_ _Luca della Robbia_ - -PREDELLA TO TABERNACLE, CHAPEL OF THE HOLY CROSS, IMPRUNETA] - -[Illustration] - -FOOTNOTES: - -[Footnote 3: References _Consular Report on Commerce and Manufacture in -Italy_, vol. xlv. _The Nation_, No. 1105. E. S. Morgan, _Time_, vol. -xiv.] - -[Footnote 4: See Cruttwell's _Luca and Andrea Della Robbia_, chapter -vii.] - - - - -CASTRUCCIO CASTRACANE LORD OF LUCCA - -[Illustration: _Alinari_ - -STEMMA IN THE COURTYARD, PALAZZO CENAMI, LUCCA] - - - - -[Illustration] - -CASTRUCCIO CASTRACANE LORD OF LUCCA - - -[Illustration] - -One lucky day, as we were sauntering about Pistoja, some one said: "Let -us go to Serravalle, and get more in touch with that stirring fellow, -Castruccio Castracane, who seems to have filled this region with war's -alarum, and left his name, if not more substantial marks, in every town -in this part of Tuscany." We remember that he bribed Filippo Tedici -with ten thousand golden florins, and so got possession of Pistoja and -the traitor's daughter, Dialta, as his wife, and that their wedding -festivities took place in the Piazza della Sala, where the Mercato is -to-day; also, that when Castruccio once got within the walls he ruled -the city well. - -Serravalle is a picturesque little town but three miles from Pistoja, -on the highway to Lucca--as pretty a walk as one could wish to take. It -is clustered on the top of a steep hill, and, if somewhat squalid in -these later days, its ancient loggia, church, and castle are fine in -colour and delightfully irregular and surprising in form. We climb up -to the twelfth-century church, which contains a valuable old painting, -then round the hill under an imposing loggia, and take our way up to -the _rocca_, or castle, which Castruccio built early in the fourteenth -century on a spur of the hill, an admirable place of defence, and -which answers to its name by closing the valley (_serra valle_). From -this vantage-point we have a good view of Pistoja on one side, on the -other lies the fertile valley of the Nievole, so often Castruccio's -battle-field. The grass is soft and green about the crumbling walls of -the old castle now, and clumps of silvery-leaved olive trees, swept -by Apennine breezes, brush gently against the old bastions and lofty -six-sided tower, which command an outlook over the entire valley. The -castle was evidently built out of ruins of earlier buildings, and -probably erected in some haste to stay the progress of a dangerous -enemy; but it must have been good, honest work to have lasted six -hundred years, and Castruccio must have had a genius for building -castles and fortresses, not only peculiarly adapted to his own needs -of defence, but in such a way as to hold their own down through the -centuries, and in their last ruinous state to challenge universal -admiration. At Sarzana the fortress he built and named Sarzanello is -very different from the one at Serravalle, but perhaps even finer, -and one can easily understand why Lorenzo, Il Magnifico, should wish -to possess it as a thing of beauty, even had it not been supremely -necessary to the northern defences of Florence on the Ligurian coast. -It is planted on the brow of a hill overlooking the sea, and is a -rather low, battlemented fortress of grey stone, its bastions, towers, -and ponderous arches all surrounded by a moat. - -[Illustration: _Alinari_ - -APSE END AND CAMPANILE CHURCH OF S. ANDREA, SERRAVALLE] - -[Illustration: _Alinari_ - -RUIN OF THE ROCCA OF CASTRUCCIO, SERRAVALLE] - -[Illustration: _M. M. Newell_ - -OLIVE TREES] - -From the heights of Serravalle, looking toward Lucca, we see -the medięval bell-tower of Altopascio, and remember that one of -Castruccio's signal victories over the Florentines took place there -in 1323. The previous spring Castruccio had dashed into the lower Val -d'Arno, taken several towns, and menaced Florence herself. Clearly his -victorious career must be stopped; accordingly, Florence collected the -finest army she had ever put in the field, headed by the _carroccio_ -and _martinella_, and marched to Pistoja, hoping to tempt Castruccio -out of the city; but having spent some days insulting the garrison -by games and races under the walls, the Florentines moved on toward -Lucca. This was Castruccio's chance; rapidly following the great army, -he surprised it at Altopascio, routed it completely, and then led -the _carroccio_, with many noble prisoners, in triumphal procession -through the gates of Lucca. A year later "he occupied Signa, pillaged -Prato, laid siege to Montemurlo, and wasted the greater part of the -Florentine _contado_."[5] But it would be impossible to follow -Castruccio Castracane through all his adventurous course, and -it is time to inquire what manner of man he was. Ruskin calls him -"the greatest captain of his age," an estimate probably made with -nice distinction, for though he must be reckoned among the Italian -_condottieri_, one of the "six sorts of despots," according to Mr. -Symonds' classification,[6] "raging in Italy during the fourteenth and -fifteenth centuries," he certainly differs essentially from tyrants -like the Sforzi of Milan, the Scali of Verona, the Baglioni of Perugia, -and others like them, who, springing from peasant or bourgeois ranks, -became powerful enough to found kingdoms, maintain splendid courts, and -follow their natural tastes for arts and the new learning. The Baglioni -patronized Perugino; Il Moro had his Leonardo da Vinci; Petrarch had -his seat of honour at Galeazzo Visconti's table, and the Malatesti -dukes of Urbino displayed a passionate zeal for philosophy and art, -while "the spell of science was stronger over them than the charms of -love." Castruccio was unlike these tyrants, in that we hear nothing -of his taste for books, or music, or art; indeed, by his ruthless -devastation of the environs of Florence, incalculable treasures, -representing early Italian art, were irretrievably lost; and though we -know that Castruccio had sons and other kinsmen, there was no successor -to the great "soldier of fortune who had raised himself to be Duke -of Lucca, Lord of Pisa, Pistoja, Volterra, and much of the Genoese -Riviera."[7] Castruccio may, perhaps, be compared with that "captain -of adventure," Il Medeghino, son of a certain Bernardo de' Medici, -not connected with the Medicean family of Florence, who delighted in -war for its own sake, and by cunning and skill became master of the -region about Lake Como, where he played the rōle of Marquis of -Musso and Count of Lecco, setting up his court and coining money with -his own name and devices. It was when he reached this dizzy point of -success that he arrogantly assumed the arms of the Florentine family -and swept the lake at the head of a squadron led by his flagship, from -which floated a red banner with the golden _palle_ of the Medici. When -Il Medeghino died the Senate of Milan put on mourning, and in the -cathedral we may see his splendid tomb, the work of Leone Lioni.[8] The -services of Castruccio Castracane to the Ghibelline or Emperor's party -in Italy were not recognized by such high honours. He led the simple, -hardy life of a soldier, died in the harness at the beginning of a -fresh campaign, and was buried at Lucca in the Church of S. Francesco, -used now as a military magazine. - -[Illustration: _Alinari_ - -AN IRON LANTERN, PALAZZO BARONI, LUCCA] - -[Illustration: _Alinari A. Verrocchio_ - -MONUMENT OF GENERAL BARTOLOMMEO COLLEONI CAMPO DI S. GIOVANNI E. PAOLO. -VENICE] - -[Illustration: MOAT OF THE CASTLE SARZANELLO, SARZANA] - -[Illustration: _Alinari_ _Donatello_ - -MONUMENT TO GENERAL GATTAMELATA, PADUA] - -[Illustration: _Alinari_ _Paolo Uccello_ - -EQUESTRIAN STATUE OF JOHN HAWKWOOD - -CATHEDRAL, FLORENCE] - -In physical strength and agility, in foxlike cunning and ready -audacity, and in his sense of honour and justice, Castruccio resembles -Bartolommeo Colleoni, of Bergamo, who trained under the greatest -_condottiere_ of his age, distinguished himself in many engagements -for the Visconti, and was finally elected general-in-chief of all -the Venetian forces by the Republic of St. Mark, and received his -truncheon of office from the hand of the Doge before the high altar -of San Marco. At Bergamo we see his chapel, built by Amadeo, as a -"monument of the warrior's puissance even in the grave." There also -is the equestrian statue in gilded wood voted by the town of Bergamo, -and, far more noteworthy, the beautiful tomb of his favorite daughter, -Medea. But the great general's rightful monument is in Venice, where -the "finest bronze equestrian statue in Italy, if we except the -Marcus Aurelius of the Capital," was reared in his honour. The second -great equestrian statue in Italy, strange to say, is also that of a -_condottiere_--Erasmo da Narni, better known as Gattamelata, a noble -work of Donatello, erected in the Piazza del Santo at Padua. - -[Illustration: _Alinari_ - - _Giorgione_ - -MADONNA AND CHILD, WITH TWO SAINTS - -PAROCHIAL CHURCH. CASTELFRANCO] - -[Illustration: _Hanfstaengl_ - - _Botticelli_ - -PORTRAIT OF A YOUNG FLORENTINE ROYAL GALLERY, BERLIN] - -It is impossible to compare Castruccio exactly with any other -free-lance of his time. There are _condottieri_ and _condottieri_; -the range is so wide and, defining lines so elastic that in the day -when individuality was more marked than in any other period of the -world's history, it is not strange to find in the same class such -widely differing characters as Francesco Sforza, called the "great -Condottiere," the brave and skillful but humane Carmagnuola, or the -youthful Matteo Costanzo, who, in full armour and bearing the standard -of the cross, figures as San Liberale in Giorgione's celebrated -Castelfranco Madonna and Child. Matteo died young, but had been trained -as _condottiere_ by his father, who gave Giorgione's Madonna to the -Church, as a votive offering in memory of his lamented son. There was -no bronze statue raised in Castruccio's honour, and no portrait of -him is mentioned, though it is said he appears in Benozzo Gozzoli's -Procession of the Magi in the Riccardi Palace, and in Orcagna's Triumph -of Death in the Campo Santo of Pisa. Of his personal appearance, -therefore, we are wholly ignorant, except for the tradition that he -had red hair. Nor are we much more certain of his youth and training. -Machiavelli's romantic account relates that he was a foundling, picked -up in her vineyard by the kindly Dianora Castracane, of Lucca, who -carried the infant home, and, calling her brother, a canon of San -Michele, with whom she shared her house, tried to determine the child's -future. After much discussion it was decided to give him the name of -Castracane and educate him for the Church; but, though quick to learn, -Castruccio had no taste or desire for the cloister; his one thought was -for athletic sports, adventure, and the noble art of war. Playing with -his fellows in the Piazza of San Michele, he attracted the attention of -a nobleman of Lucca, who, when Castruccio was eighteen, adopted him, -trained him to arms, and, upon his death, confided to him the care of -his estates and direction of his only son. His masters in war were the -most notable military leaders of the time, and "Machiavelli goes to the -length of saying that, as a general, he was not inferior to Philip of -Macedon, or Scipio."[9] - -The more sober historians hold that Castruccio was a member of the -Interminelli family, who had been exiled in his youth, and gained -much military experience in England when serving under Edward I. All -accounts agree that he was a remarkable man, and one critic writes of -him thus: "Not only as a soldier but as a statesman he was undoubtedly -the foremost man in Italy, and it is not improbable that, had he lived, -he would have subjugated the whole peninsula." - -[Illustration: STEMMA OF SERRAVALLE] - -FOOTNOTES: - -[Footnote 5: Francis A. Hyett, B.A., _Florence_, p. 104.] - -[Footnote 6: J. A. Symonds, _Age of Despots_, p. 87.] - -[Footnote 7: Francis A. Hyett, B.A., _Florence_, p. 106.] - -[Footnote 8: See Symonds' Essay in _Sketches and Studies_, vol. i., p. -173.] - -[Footnote 9: Francis A. Hyett, B.A., _Florence_, p. 99.] - - - - -PISTOJA - -THE "CITY OF CINO" - -[Illustration: _Alinari_ - - _Della Robbia_ - -MEDICI STEMMA - -OSPEDALE DEL CEPPO, PISTOJA] - - - - -[Illustration] - -PISTOJA, THE "CITY OF CINO" - - -[Illustration] - -A spring day comes suddenly in Val d'Arno when the air is a thought -too warm and over-rich with languorous fragrance from myriad blossoms. -Then thirst grows imperious for the uplands, for Tuscan hillsides clad -with chestnut-trees overshadowing uncut grass, through which sweeps -an eager breeze caught from the snow-capped Apennines. On such a day -we recall Pistoja, once seen on our way southward from Bologna, and -ever since haunting our minds like a sweet vision. We had crossed the -watershed which defines the boundary between Emilia and Tuscany, -and were following, by many a curve and loop, the Reno's tortuous -course, when suddenly we sighted, perched loftily upon the spur of -the Apennines, a city's gleaming dome and towers; another turn, and -she was lost; again, from some hill-spanning gallery, or viaduct, we -snatched another entrancing glance, and so, by coy circlings down the -pass, we drew nearer and nearer until the train paused for a moment -without the gates of Pistoja, then carried us on to Florence, twenty -miles away. But we had treasured always in our mind the vision of -that city, with gleaming dome and towers, that keeps her watch at the -northern gate of Tuscany. Short as is the distance between Florence -and Pistoja, there is a marked change in the atmosphere, which acts -as a healthy tonic on the _dolce far niente_ of a Florentine spring. -We enter Pistoja through the Porta Carratica, or Fiorentino, still -emblazoned with the Medici shield, and find ourselves shortly in the -very centre of a pleasant, busy city, its clean, wind-swept streets -broad and well paved, the principal ones following the lines of the -first two medięval walls, for Pistoja, like Florence, has had three -circles, the last of which, built in the fourteenth century, remains -almost intact. Along this wall are pleasant walks and a boulevard -called the Viale dell'Arcadia, planted with shade-trees and commanding -extensive views. If now your conscience stirs actively to "do" Pistoja -thoroughly, there's a stiff day's work before you. The list of churches -alone is formidable, not counting those which have been diverted from -original purposes. Nearly every church contains something worth seeing: -paintings and sculptures, three celebrated pulpits at least, tombs, -fonts, and Della Robbia reliefs; moreover, there are the libraries -and the famous hospital, or Ospedale del Ceppo--altogether an outlook -beyond words discouraging. It is better to stand about the Piazza del -Duomo, or Cathedral Square, perhaps the most representative one in -Tuscany, the centre for a thousand years of the social, civil, and -religious interests of the town. Here are the cathedral and Bishop's -palace, the Palazzo Pretorio, or Podestą, and the Palazzo Pubblico, -or, in other words, the Court House and City Hall, representing the -ancient warring powers of Church and State. Here they are on their -old battle-field, temporal power jealous of spiritual aggressions. -Even the weather-beaten Torre del Podestą is not wholly committed as a -campanile, but stands off a little from the cathedral, remembering that -it was once the city's watch-tower, its tocsin sounding alarm to Guelf -and Ghibelline, blacks and whites, and all invaders. The bishop was no -insignificant power when the Commune was struggling for independence. -He had his many feudal castles, armed retainers, and vassals; his court -dealt sternly with culprits, and his dungeons, under the palace yonder, -were more feared than those of the Podestą. Not that the City Fathers -were not proud of their powerful bishop and their noble cathedral, -dedicated to St. Zeno, and containing the silver altar of San Jacopo, -patron saint of the city, which drew crowds of pilgrims every year to -worship at the famous shrine. Not a few popes journeyed from Rome to -visit the bishop, and noble visitors of every land, from the Emperor -of the East to Bonaparte, had filled the square with their trains and -followers. But the commune of Pistoja, like many another, had a bitter -struggle to keep her footing, though she began well and very early; -her first municipal statutes, and good ones they were, too, being -framed in 1117, immediately after the death of "the great Countess" -Matilda. It was battle royal for many centuries; but now Church and -Commune live peacefully side by side, forgetful of the stormy past, -except when they turn over their priceless archives, preserved in the -chapter of the cathedral and the Palazzo Pubblico, where one may read -a thousand interesting and thrilling things concerning the history of -Pistoja, of the men who built churches and palaces, and called the -great artists of the Renaissance to come and fill them with paintings -and sculptures, wood-carving, and metal-work. And the city grew so -proud and magnificent that we read of sumptuary laws promulgated to -restrain extravagance of nobles and burghers in the matters of dress, -jewelry, food, and pomp at funerals. The law of 1439 forbade trimmings -of gold and silver brocade, long trains to ladies' dresses, the quality -of sleeve-linings, etc. Unluckily, many of the archives belonging to -the cathedral were destroyed in the fires of 1108 and 1202; hence the -endless discussions as to the city's origin and name. "Etruscan," says -one. "Far from it," says another; "I have found a Roman house, mosaic, -and coins a dozen feet under the pavement of the square, which must -have been the centre of the earliest city." As for its name, some -derive it from two Etruscan words, _pist_ (door) and _oros_ (mountain), -referring to the position of the city at the entrance of a mountain -pass; others get the name from _pistores_ (bakers), the early city -having been celebrated for its excellent ovens. - -[Illustration: THE LITTLE BROWN BEARS AND THE SHIELD OF PISTOJA] - -[Illustration: _Alinari_ - -PIAZZA DEL DUOMO, PISTOJA] - -[Illustration: _Alinari_ - - _Verrocchio_ - -STEMMA OF PISTOJA - -PALAZZO PUBBLICO. PISTOJA] - -[Illustration: Alinari - -BRONZE CANDELABRA (15TH CENTURY)] - -The Pistoja of to-day is a prosperous and attractive city with good -buildings, fine markets, and many industries; she has been noted from -time immemorial for her skilled work in iron, bronze, and wood, and her -ancient metal-work has been found in Germany and Athens. In her bronze -foundries to-day she not only casts bells and small articles, but many -statues and groups created by Italian artists are cast in Pistoja. The -manufacture of carriages and fine organs is of great importance. The -district has four paper-mills, and of the eleven brass foundries in -the province five are situated at Pistoja, and many skilled workmen -are employed in wood-carving, artistic ironwork, etc. Her trade is -mainly in wine, oil, grain, _paste alimentare_, and cattle. The milk -and butter of Pistoja are considered the best in Tuscany. To appreciate -the varied productions and interests of the district of Pistoja you -must wander about the Piazza del Duomo on market-day when it is -filled with booths offering woolen, linen, and cotton stuffs, bright -kerchiefs, shawls, shoes, and "notions," displayed in picturesque -confusion and colour; a score of red, yellow, and green umbrellas in -one corner, or a line of _contadini_ overcoats of a warm brownish-red -colour, trimmed with tawny fur and lined with green, delight the eye -and are much in demand. Or walk through the Mercato, old as Pistoja -herself, where the ancient well indicates the very centre of the first -city. Here is certainly every object man can want, and the square -blooms daily with all kinds of fresh vegetables and flowers: there -are grains and food of every sort; in the season there are piles of -yellow cocoons on the pavement; bright-faced old women are roasting -chestnuts gathered on the mountain side; pretty baskets of fragrant -wild strawberries are proffered by some handsome young girl, and the -stall of some descendant of the old race of _pistores_ is hung with -rings of sweet, fresh _pane nero_ (brown bread), while various kinds -of cheese and the "best butter" await your choice. The markets for fish -and meat are in different parts of the city. - -[Illustration: _Alinari_ - -HEAD OF THE TRAITOR, FILIPPO TEDICI - -PALAZZO PUBBLICO. PISTOJA] - -By this time the exhilarating, almost heady, mountain air has created -a ravenous appetite, and we clamour, above all else, for a taste of -the Mercato's tempting products served in appetizing dishes known -only to the true Italian chef. Our wishes may be easily gratified at -the Albergo Globo e Londra, in Piazza Cino, where cooking is good and -native wine excellent. If this luncheon could have been served in -a pleasant garden, the only proper banquet-hall for Italy, nothing -further could be desired; but it is only fair to warn the traveller -who means to sleep in Pistoja that the chambers of the Globo are by no -means tidy or attractive. - -[Illustration: _Alinari_ - -THE CAMPANILE FROM VIA RIPA DEL SALE, PISTOJA] - -[Illustration: _Alinari_ - -THE LOGGIA, OSPEDALE DEL CEPPO, PISTOJA] - -Now for a stroll through the quaint old streets with curious and -suggestive names, and a peep into quiet courtyards of palaces deserted -by their noble owners, and given over to modest householders and humble -artisans. At the corner of Via Abbi Pazienza and the Via de' Rossi is -the great palace of the Rossi family, blazoned with many shields of -varied quarterings, and from the corner hangs one of the gruesome black -heads of the traitor Filippo Tedici, like that on the faēade of the -Palazzo Pubblico. Many of the oldest streets of Pistoja lead from -the Piazza del Duomo, and their names suggest the life of an earlier -day: Via Orafi (jewelers) was once devoted to goldsmiths' shops and -studios; the Via Stracceria (rags) was so called because clothing -of all sizes, colours, and condition was hung to dry from windows -and other "coigns of vantage;" and the Via Can Bianco was named in -honour of a faithful white dog, whose barking warned his master of the -approach of an enemy. Near the east end of the cathedral we may leave -the square by the Via Ripa del Sale, a narrow street over-arched by a -gallery connecting the Palazzo Pubblico with the duomo, convenient for -the worshipful magistrates when they desired to hear mass. This street -leads us, with often a backward glance at the campanile, to the Via -Filippo Pacini, a broader thoroughfare following the line of the first -city wall, and in two minutes we stand in the little irregular square -of the Ospedale del Ceppo and before the famous Della Robbia frieze, -an experience which, to one of us at least, seems almost a miracle. So -many years Pistoja had been merely a dream city, a name--a curious, -unreal name--standing only for this little piazza, this loggia, and the -brilliant band of varied colour crossing its faēade. Those imperfect -guide-books of our youth had merely mentioned as important, this -glazed terra-cotta frieze, wrought, it seemed to us, through some -magic by the members of one family only, the secret of which vanished -from the world forever upon the death, in 1529, of the last true Della -Robbia, the author of this frieze. Tradition added that the formula for -compounding the Della Robbia glaze was supposed to be hidden behind -one of the panels, one of which was afterward found broken, the robber -leaving no trace of the precious parchment. The panel, "Giving Drink -to the Thirsty," was repaired, but not like the others. We can see for -ourselves that it is only painted stucco and of later date. This was a -story to stir youthful imagination to the highest pitch: a mystery, a -secret, a theft--the very stuff that dreams are made of. Italy is full -of traditions; even the origin of this self-same hospital is a pretty -story, as told by a worthy canon of the cathedral, and who would wish -to question it? "The Church of Santa Maria del Ceppo (meaning a dry -root) was built near the little stream Brana about 1277, by the pious -Theodore and his wife Bandinella, who dedicated it to the Assumption, -and placed therein an alms-box for the benefit of the sick and poor. -This chest increased little by little, until it became the present -hospital. The _chiesetta_ (little church) was incorporated in the -large building." Time and the schools have taught us the meretricious -value of traditions, but even stripped of all glamour the Della -Robbia frieze is unique as an architectural feature, and peculiarly -appropriate to the building it adorns. It consists of seven panels, -representing the temporal works of mercy as performed by the good -brothers of the hospital; between them are figures representing the -Virtues: Faith, Hope, Charity, Prudence, and Justice; below appear -medallions of the arms of the city, of the hospital (the sprouting -root), and the Medici shield; also the Annunciation, Visitation, and -Assumption. Of all the panels, the "Sheltering of the Pilgrims," and -the "Healing of the Sick," are considered the finest; the figures of -the brothers in both have evidently been studied from life, especially -that of the physician. More beautiful, however, than any part of -the frieze is Benedetto Buglioni's "Coronation of the Virgin," a -lunette over the chapel door of excellent workmanship, and in simple -colours, white on blue, with crowns of pale yellow. In its modelling -and glaze, its seriousness and grace, it almost rivals Luca della -Robbia's masterpiece in Pistoja, "The Visitation," in the Church of St. -John the Evangelist. If there is a moment to spare we may well slip -round the corner for a peep at the Church and Convent of Santa Maria -delle Grazie, where a calm-faced sister--one of the good Bandinella's -descendants, wearing the pretty wimpled cap of white muslin, designed, -it is said, by some tasteful lady of the Medici family--will show us -their perfect little Renaissance church and its great treasure, the -Lorenzo di Credi Madonna, and also insist gently upon a visit to the -Miraculous Bed where once the Madonna reposed. They will further offer -to exhibit their store of fine vestments and robes, well worth looking -at; but if once we begin looking at churches and vestments there will -be no getting back to Florence for a week. But at least we must take -leave of our hosts, those stately shades of forceful men belonging to -Renaissance Pistoja, who worked and wrought in these streets, whose -prowess and policy, wit and learning, are so vivid in men's minds -to-day. Pistoja entered with characteristic zest into the spirit of the -Renaissance in all its varied aspects; she espoused the new learning, -her libraries were filled with Greek and Latin manuscripts; she was -famed for her able jurists and historians, her singers and poets were -welcome at the proudest courts of Italy. We read that Antonio da -Pistoja was invited by Lodovico il Moro to Milan, "in hope of refining -and polishing the rude Lombard diction," and that the charming and -learned Isabella d'Este, Marchesa of Mantua, wrote to her envoy: -"Find out Messer Tebaldeo (of Pistoja), and beg him to send twenty or -twenty-five sonnets, as well as two or three _capitoli_, which would -give us the greatest possible pleasure." - -[Illustration: _Alinari_ - - _Della Robbia School_ - -COAT OF ARMS OF THE HOSPITAL, PISTOJA] - -No more typical family can be found, perhaps, than the Forteguerri of -Siena and Pistoja, which was noted for its brave and learned sons and -daughters, and beloved and honoured for devotion to their country, -for their benevolence, learning, and poetic genius. As early as 1179 -we find a Forteguerra as consul of Pistoja; in the fifteenth century -Cardinal Forteguerra was not only conspicuous in the Church, but -a constant friend and benefactor to his native city, founding and -endowing a college and library. His grateful city erected a monument to -his memory in the Piazza del Duomo, and called Verrocchio to design and -carve a fitting tomb in the cathedral; but the work was not concluded -by the master's hand, nor in accordance with his clay model, which we -see to-day in the South Kensington Museum; and looking at the tomb, -evidently the work of many diverse hands, one can but wish that the -good Cardinal might have at Pistoja at least a replica of the one, by -Mino da Fiesole, in the Church of St. Cecilia, Rome. Besides Cardinal -Niccolņ, there was more than one bishop, many jurists and historians -in the Forteguerri family, and no less than six poets. The fifteenth -Forteguerra, of the Pistoja branch, was another Niccolņ (1674-1735), -a well-known and cultured church-man at the court of Pope Clement -XI, and author of a long, satirical poem, "The Ricciardetto," besides -verses called "_capitoli_," and various translations from the Latin. -This Niccolņ was evidently conversant with Roman society, and a close -observer of men and politics; he shows himself, also, at the age of -fifty, a good lover, not only singing his lady's praise in verse, but -sending her frequent vivacious and friendly letters, half in jest, -but often dangerously near earnest affection; and the name of some -Arcadian maiden of his muse, some Daphne or Phyllis, thinly conceals -the identity of the noble young Roman lady, Marianna Cenci Bolognetti. -It appears that the women of the family Forteguerri were also brave -and talented; at least, we have a record of one of the Siena branch, -when in 1554 the city was besieged by the Spaniards and almost spent -with famine; when the best men of Siena were losing courage, "women -of gentle birth, leaders of society, worked at the defences, side -by side with artisans and common soldiers. All the Sienese ladies -divided themselves into three companies; the first was led by Signorina -Forteguerra, who wore a violet uniform, as did those who followed her; -... these three squadrons were composed of 3,000 ladies of the upper -and middle classes. They bore pikes and spades, panniers and hurdles; -as they went to their work on the fortifications, these brave women -sang a song composed by one of that numerous choir of poetesses who -sang the swan song of their own country." This Signorina Forteguerra is -the one whom the English diarist, Hoby, mentions. "Most of the women -of Siena," he says, "are well learned and write excellentlie well in -prose and verse: among whom Laodomia Forteguerra and Virginia Salvi did -excell for good wittes." - -[Illustration: _Alinari_ - - _Giovanni della Robbia (?)_ - -HEALING OF THE SICK - -(DETAIL OF FRIEZE), OSPEDALE DEL CEPPO, PISTOJA] - -Pistoja is called the "City of Cino" because of her famous lawyer-poet, -Guittoncino (always called by the fond diminutive "Cino"), of the -noble house of Sinibuldi, which had given Pistoja one bishop and many -gonfaloniers. Though belonging to the thirteenth century, his noble -character, his ability as a jurist, the pure and graceful style of his -"Comments on the Codices," his faultless letters and verse--above all, -his friendships and love story--have kept his memory fresh. He enjoys -even to-day a certain fame in Italy, and all the world is supposed to -know his charming sonnets, addressed to his friends, among whom were -Dante and Petrarch, and to the lady Selvaggia dei Vergiolesi. His -monument in the cathedral, erected by the Commune, is by Cellino di -Nese, and is the first of the "monuments of the professors," a class of -work characteristic of the coming period; it shows Cino lecturing on -law to his pupils, among whom are Baldus, commentator on Civil Law, -and the "idle Petrarch;" there appears also a draped female figure, -which may personify poetry, or Roman Law, or, as some will have it, the -fair lady of Cino's devotion, Selvaggia dei Vergiolesi; unsentimental -critics, however, are inclined to think that the figure is that of -the Madonna, and was once a part of a relief of the Annunciation. -Selvaggia's family was Ghibelline, and, banished from Pistoja in 1305, -retired to their strong castle, where the beautiful Selvaggia died at -the age of twenty, after which Cino became a wanderer in foreign lands: -he crossed the Alps and took up his abode in Paris, where he pursued -his studies for some time. Cino's letters to Selvaggia and to his -other friends, in which he sang his love and suffering, are exquisite -in their purity and elegance of diction, and place him among the great -makers of the Italian language. To Dante he wrote an ode condoling with -him upon the death of Beatrice in tender and musical lines. He died in -his native city of Pistoja at the age of sixty-six, upon which Petrarch -composed his celebrated lament, beginning: - - "Weep, women, and may love weep with you; - Weep, lovers of all countries, - - * * * * * - - For our ever gentle Master, Cino, - Is now gone far from us." - - * * * * * - -[Illustration: VIA ABBI PAZIENZA] - -[Illustration: _Alinari_ - - _Benedetto Buglioni_ - -CORONATION OF THE VIRGIN - -OSPEDALE DEL CEPPO, PISTOJA] - -[Illustration] - -[Illustration: - - _Alinari_ _Mino da Fiesole_ - -MONUMENT OF CARDINAL NICCOLŅ FORTEGUERRA - -CHURCH OF S. CECILIA, ROME] - - - - -A SUNDAY AMONG THE HILLS OF BRANCOLI - -[Illustration: _Alinari_ - - _Fra Bartolommeo_ - -THE VIRGIN AND CHILD ENTHRONED, AND SAINTS - -CATHEDRAL, LUCCA] - - - - -[Illustration] - -A SUNDAY AMONG THE HILLS OF BRANCOLI - - "O day most calm, most bright." - - --HERBERT. - - -[Illustration] - -On St. Patrick's Day in the morning we left Florence, had a full day's -sight-seeing in Pistoja, Groppoli, and Serravalle, and pushed on to -Lucca the same evening, arriving about seven o'clock. - -[Illustration: _M. M. Newell_ - -THE OLD CITY WALL AND MOAT, LUCCA] - -Acting on sound British advices, we drove at once to the Albergo -dell'Universo, a comfortable little inn occupying the first floor of -the old Palazzo Arnolfo, where we had our belated dinner, took our -ease before a cheerful open fire, and congratulated ourselves that at -last we were in Lucca--a hope long deferred. - -[Illustration: _Alinari_ - - _Jacopo della Quercia_ - -TOMB OF ILARIA DEL CARRETTO, CATHEDRAL, LUCCA] - -The morrow is crisp and brilliant; and, forgetful of our guide-book's -express advice, to crown and finish our Lucca visit with a walk on the -ramparts, we turn our backs on churches and priceless works of art -and hasten at once to the old city walls. How faithfully those medięval -bricklayers did their work! Their walls, well preserved, still surround -the town, no longer bristling with engines of war, but planted thick -with shade-trees--elms, acacias, and limes--affording one of the most -beautiful promenades in Italy. Lifted well above the city streets, they -command extensive views on every side: here the broad, fertile plain, -stretching to the Arno; yonder, at the north, the chain of rugged -Apuans, two sharp peaks of which are now capped with glistening snow; -southward rise the heights of Monte Pisani, noted in Roman days, and -since, for its hot-springs. From thence comes the pure drinking-water -for Lucca, conveyed by an aqueduct built by the Duchess Marie Louise, -for which her grateful people erected a monument in her honour. As -it crosses the sunlit plain on its four hundred and fifty-nine grey -stone arches, we are reminded of the Roman Campagna, and remember that -Lucca, in the day of her greatest splendour, was a favorite summer -residence for the Romans, and that many traces still exist of their -occupation, particularly the massive arcades of an amphitheatre in the -present market-place. Standing on the old ramparts, on a rare spring -morning, ten chances to one you forget all the sights awaiting you -down there, in the "city of the Magnificent People and Commune of -Lucca"--its palaces, towers, and picture-galleries, its chapels and -churches, of which there are no less than seventy "to satisfy the wants -of 22,000 souls." The fame of San Frediano's seventh century church, -with its magnificent tower, its sculptured font and Madonna, has -reached us over sea. For years we have yearned to look on Jacopo della -Quercia's marble of that fair lady, Ilaria del Carretto, resting in -the transept of St. Martin's cathedral. We know there are paintings -by Fra Bartolommeo, palaces and libraries; but the fresh mountain air -has driven all these things from our desire; we only long for those -mountains delectable, those chestnut-crowned hills and distant grey -towers. We begin to ask why we should study the churches of Lucca, and -who is Matteo Civitali that he should keep us within the city walls? -We consult time-tables and guide-books; there's a tram, they tell us, -leading out of Porta Santa Maria in ten minutes, and if we catch it -we may ride six miles, and then ... perhaps a carriage may be found, -though it is early in the season. "But," importunes the handsome driver -of the cab waiting to take us to the tram, and who in some way has -divined our wants, "the _tramvia_ will not take the signore to the -hills, and surely there is no carriage at Ponte Moriano so early in the -year. _Ecco_, this _buon cavallo_ and your devoted Pepino, who will -take you all the way so comfortably!" Off comes the shabby hat with -inimitable native grace, and the bold, brown eyes are convincingly -eloquent. You can no more resist Pepino's reasoning than that rush of -mountain air on the ramparts. All preconceived plans are fast taking -flight; but Prudence keeps her head and demands with thrifty caution, -"How much, inclusive, there and back?" Then Pepino: "Oh, a mere -bagatelle, my _illustrissime_ signore, only twelve lire." Prudence, -scouting this declaration with lofty scorn inspired by a profound -knowledge of tariffs and coach-men from Paris to Palermo, exclaims: -"Preposterous! Ten francs it shall be, and not a centesimo more." "Ah, -signorina, the roads are very steep and it will take my whole morning," -returns Pepino, beseechingly; but in vain he seeks for a sign of -relenting. His struggle is brief, and, with a deprecating flourish of -his small, shapely hands, he mounts the box, and the air with which he -says, "as you will have it, signorina," is that of a gracious conqueror -dictating terms to the vanquished; he cherishes no resentment, he has -no interest but ours. We never for a moment regret the tram. Pepino -knows every villa and grey tower, every path through the hills, every -bridge over the _torrenti_; he never intrudes his knowledge, and, above -all, he is kind to his horse. - -[Illustration: _M. M. Newell_ - -ON THE RAMPARTS, LUCCA] - -[Illustration: _Alinari_ - -S. FREDIANO, LUCCA - -EAST END, WITH THE CAMPANILE (11TH AND 13TH CENTURY)] - -[Illustration: _M. M. Newell_ - -SAN FREDIANO FROM THE GUINIGI TOWER, LUCCA] - -[Illustration: _M. M. Newell_ - -A "GREY TOWER"] - -[Illustration: _Alinari_ - -PONTE A MORIANO, WITH A VIEW OF THE SERCHIO RIVER] - -"Yonder cross on the round, bare hill," he says, "is Brancoli," and -Brancoli is the hill of our desire. Our good road at first runs over -the plain following the east bank of the Serchio, principal river of -the province; it rises in a northernly valley among the Apuans and fed -by many a mountain stream or _torrente_, maintains a southeasterly -course almost to Lucca, which it avoids by a broad loop westward, and -then makes its way to the Mediterranean almost parallel with the Arno. -We pass clusters of farm-houses, well-cultivated fields and vineyards, -until in less than an hour we reach Ponte Moriano, which is little more -than a busy street of shops and dwellings, but has a good stone church -founded by San Frediano in five hundred and something. Its rather -tall, square tower, of good proportions and crenellated battlements, -is characteristic of all the church towers in this region. Here is -the terminus of the _tramvia_, and Pepino was right, there is no -appearance of a carriage; but his Italian for "I told you so," was kept -under his breath with true Lucchese courtesy. - -[Illustration: _M. M. Newell_ - -AN OLD STONE BRIDGE] - -[Illustration: _M. M. Newell_ - -BRIDGE OVER THE SERCHIO RIVER] - -[Illustration: _Alinari_ - -PARISH CHURCH OF S. MARIA E S. GIORGIO (11TH CENTURY) - -BRANCOLI] - -[Illustration: _M. M. Newell_ - -SAN LORENZO, BRANCOLI] - -A mile farther on is the little hamlet of San Giusto, situated at a -point where the Lima joins the Serchio. Here we leave the main road, -turn sharply to the right, and follow the windings of the little river, -which is crossed by the picturesque stone bridge of Vinchiana. An -old mill, half hidden by white birches, turns its moss-covered wheel -close under the steep river banks, overhung with a tangle of vines -and flowery shrubs. The road becoming rather steep, we now leave the -carriage and proceed on foot. What an entrancing walk it is! Always -ascending, we follow the turnings of the stream, now far below, and -glancing like a silver thread along the valley. We round the grey -shoulders of jutting cliffs, where clumps of white heather are in full -bloom and the "maidenly birches" are touched with the first tender -green; the air is intoxicating in its freshness, and the sky never -so blue. "_Ecco!_" calls Pepino. "_Ecco!_ San Ilario!" How has the -fellow guessed that we ought to study churches rather than maunder -about posies! The little church of cut stone, flanked by its good -tower, stands hard by the roadside, convenient and inviting to tired -feet and aching hearts, as many a pilgrim in the old days knew full -well. Its doors stand open wide, admitting floods of sunshine and -spring fragrance. We enter unbidden, to find the little temple quiet -and empty, all its pictures and sacred emblems covered, and all as -clean and fresh as if waiting in reverent silence the miracle of Easter -morning. We proudly boast the stern old Puritan blood running cool and -inviolate in our veins, but there's a silent appeal in these modest -temples and shrines of the elder faith that "must give us pause," and -silence the voice of criticism. Taking the road again, we still ascend -from one fold of the hill to another, whence we overlook the Serchio -pursuing its lazy course far below, the views becoming more and more -beautiful, until in half an hour we come upon the little stone church -of San Lorenzo, close by the road. Small as it is, San Lorenzo is as -complete in all its attributes, and as true to its architecture, as a -full-fledged duomo, even to the little apse. The sturdy tower, square -and shapely, small, round-arched windows and sides of warm, grey stone, -the red-tiled roof, flecked with patches of green moss, make a charming -picture, found in no country but Italy. This time the church is closed, -but there are keys hanging in the north door, perhaps entering the -sacristy, and we make bold to peep. It is a clean and cold room, -entirely separated from the church proper, and evidently serving at -present for a store-room, as a slender stock of various commodities -and a few bottles of wine attest. Meantime Pepino has made our wants -known at the near farm-house, and is returning, accompanied by a -handsome young girl with the keys to the proper church door, which she -opens, saluting us with respectful dignity, and, without questioning, -draws the curtain from the Della Robbia over the altar; for well she -knows that the _forestieri_ only come to see our "beautiful white San -Lorenzo." The statue is small and perfect, like everything about this -woodland _chiesetta_. The head is exquisitely modelled, all in white, -with the finish and the ivory-tinted glaze which belongs to Andrea -Della Robbia's best work, though the wise in such matters ascribe it to -one of his pupils. - -[Illustration: _Alinari_ - -THE INTERIOR (11TH CENTURY), PARISH CHURCH OF S. MARIA - -E S. GIORGIO, BRANCOLI] - -[Illustration: _M. M. Newell_ - -HOLY-WATER STOUP, PARISH CHURCH OF S. MARIA E S. GIORGIO - -BRANCOLI] - -[Illustration: _Alinari_ - -HEXAGONAL BAPTISMAL FONT (13TH CENTURY), S. MARIA E S. GIORGIO - -BRANCOLI] - -[Illustration: _M. M. Newell_ - -DETAIL OF PULPIT, PARISH CHURCH OF S. MARIA - -E S. GIORGIO, BRANCOLI] - -Saying our _buon giorno_, and pressing a small fee into the reluctant -hand of the handsome _contadina_, we now turn from the carriage road -and begin a short but rather difficult climb up the steep hillside by -a roughly paved path, which leads us through chestnut woods to the -crest of the hill and the parish church of Santa Maria e San Giorgio, -belonging to the eighth century. We have seen it all the way from the -plain, perched on a commanding height, surrounded by its sombre guard -of stately cypresses. The tower is especially fine in its proportions -and built quite apart from the church, though only a foot or so from -its walls. Unusually tall, it has four orders of arched windows, and -is crowned with bifurcated, or "swallow-tail," battlements, indicative -of Ghibelline influence. The exterior of the church, built of squared -blocks of travertine, has a plain faēade, broken only by shallow -pilasters and a round-headed doorway, with a bit of rude carving on -the cornice, perhaps representing the vine. The south side has two rows -of irregular windows, with remains of ornament, and an arched doorway, -over which is a singularly grotesque figure. Both doors are wide open, -the noonday sun lighting up vaulted aisles and the ancient timber roof -of the nave. We enter without let or hindrance and possess the church -for a good hour, uninterrupted even by a footstep on the road hard -by. The interior, which gives an impression of space and dignity, is -divided into nave and aisles by columns and piers with interesting -sculptured capitals. The choir is raised by four steps well above the -nave, the high altar, still higher, fills the apse, and over all is -a good timber roof, richly coloured by time. Near the west end in the -south aisle is a quaint and seemingly very ancient holy-water stoup, -carved with rude but expressive figures of men and animals attacked by -serpents. On the crown surmounting the principal head is inscribed -"_Raitus me fecit_," but having no date. Many of the capitals of the -pillars bear sculptures of rude symbolic figures, indicating early -Lombardic work. The fine hexagonal baptismal font is attributed to -the thirteenth century, but the carved heads and vine suggest an -earlier date. The same period is accorded to the very beautiful marble -pulpit standing at the entrance to the choir. It is square in shape, -supported by four columns, two of which rest on the backs of grotesque -Lombard lions struggling with savage beasts, symbolic of Divine power -overcoming evil; the capitals are boldly sculptured in foliage and -animal forms. On the front is a serious crowned figure holding the -Book, above it the eagle serving as lectern. On the corner toward -the altar a sculptured figure bends to support another reading-desk. -Altogether this pulpit may be reckoned among the most interesting ones -of Tuscany. - -[Illustration: _M. M. Newell_ - -DETAIL OF PULPIT, PARISH CHURCH OF BRANCOLI] - -[Illustration: _Alinari_ - -PULPIT (13TH CENTURY), S. MARIA E S. GIORGIO, BRANCOLI] - -Finally, added to its many attractions, the church contains a fine -and unusual piece of Della Robbia terra-cotta, the work of Andrea -and his son Giovanni. Miss Cruttwell writes: "This romantic scene--I -had almost said painting, 'St. George Slaying the Dragon'--is one of -the best pictorial works." It is probably the only instance of an -attempt by Andrea to represent a horse, and it is undeniably stiff and -indifferently modelled. The princess in the background also is rather -heavy, but the grace and action of the youthful rider and the beauty -and radiance of his expression are remarkable. The frame, probably the -work of Giovanni, consists of garlands upheld by winged cherubs, with -graceful candelabra and medallions characteristic of the artist. - -We left the church of Santa Maria e San Giorgio with regret, but with a -sense of complete satisfaction with our day among the hills and temples -of Brancoli. - - "Sundaies the pillars are - On which heav'ns palace arched lies, - The other days fill up the spare - And hollow room with vanities." - - --HERBERT. - -[Illustration: COATS OF ARMS OF LUCCA] - -[Illustration: _Alinari_ - - _Andrea and Giov. della Robbia_ - -ST. GEORGE AND THE DRAGON, S. MARIA E S. GIORGIO BRANCOLI] - - - - -BARGA AND THE VALLEY OF GARFAGNANA - - - - -[Illustration] - -BARGA AND THE VALLEY OF GARFAGNANA - - -[Illustration] - -Brancoli's Hill commands a view of the Serchio River and its extensive -valley, called the Garfagnana, which lies between the Apennines, -defining the northern boundary of Tuscany, and the Alpi Apuane range, -which follows the direction of the coast, and contains several lofty -peaks, the highest rising over six thousand feet. - -The principal town and capital of the Garfagnana region is Barga, -situated thirteen hundred feet above the sea, and containing, we had -learned, an interesting church and several pieces of the Della Robbia -terra-cotta. As the crow flies it is but a trifling distance over the -valley to Barga, but we were obliged to return the way we came and take -the main road at San Giusto; a small matter, for in twenty minutes we -had dropped down into the valley, passed again the pretty bridge of -Vinchiana, also crossed the one over the Serchio, and were speeding -along the river bank near the railroad which runs to Bagni di Lucca. - -[Illustration: _M. M. Newell_ - -THE BRIDGE AT VINCHIANA] - -[Illustration: _Alinari_ - -BORGO A MOZZANO, PONTE DELLA MADDALENA OVER THE SERCHIO, CALLED "THE -DEVIL'S BRIDGE"] - -At Borgo a Mozzano we see the old bridge, Ponte della Maddalena, -oftener called the Devil's Bridge, because traditionally it was built -(1328) in one night by Castruccio Castracane, the "greatest war captain -of his time." It is a singular structure, very high and narrow, not -allowing a carriage of present date to cross, and supported on heavy -piers and five arches of irregular height, one of which carries -the bridge up, like a camel's hump, rendering it most curious and -picturesque. At Ponte a Serraglio is a distant view of Bagni di Lucca, -lying in the valley of the Lima. - -[Illustration: BAGNI DI LUCCA--PANORAMA] - -[Illustration: _M. M. Newell_ - -PARISH CHURCH, LOPPIA] - -By this time we have crossed the river, and taken a narrower but -equally good highway, though belonging to the second class of -carriage roads, every turn of which brings to view new wooded valleys -and hilltops crowned with grey villages. In the distance, which is -greater than it seems in the clear, luminous atmosphere, we see -Ghivizziano's lofty towers, with her train of ruddy roofs and grey -walls sharply outlined against the sky. At Fornaci we part company with -the Serchio again, strike northward through one of the interesting -mountain valleys, and pass close to the ancient parish church of -Loppia, weather-beaten and neglected, but none the less a striking -landmark and noble monument of medięval power. Loppia was the capital -of the Garfagnana until 1390, when, having been desolated by war and -its inhabitants reduced to fifty, its jurisdiction and the title of -its parish church were given to Barga, and even its one good picture -transferred to the new capital. - -[Illustration: _Alinari_ - -THE CATHEDRAL OF BARGA] - -The whole district is well watered by many mountain streams, affluents -of the Serchio, furnishing excellent water-power for various mills -scattered along their banks. The soil is generally productive, the -uplands covered with chestnut-trees and affording fair pasturage for -sheep, which are a source of considerable revenue. On the lower levels -we find the olive, maize (or _granturco_), a principal article of food, -and flax, also the mulberry-tree and silk-worm culture. The region is -fairly rich in minerals, stone and marble quarries, manganese, mercury, -etc. Here, also, is found the fine red jasper, veined or flecked with -white, which has been so effectively used in the Medici Chapel in -Florence. We are now quite close upon the walls of Barga, but the long -drive in the eager, exhilarating mountain air makes us quite willing to -take Pepino's advice and stop for lunch at the Posta, an unpretending -wayside inn, beautifully situated, with plain, comfortable rooms -commanding fine views, and where, as a recommendation, we were told a -Chicago gentleman had once spent seven weeks for his health. In the -words of another visitor, we read that "the soup is excellent, and so -is the wine;" also, there is trout when the streams are full. We found -everything as had been promised, and did ample justice to the excellent -food served by a pretty, smiling _contadina_, daughter of the house, -who was full of chat and little airs, her young head evidently quite -turned by her knowledge of the wandering _forestieri_. - -[Illustration: _M. M. Newell_ - -MAIN DOOR OF THE CATHEDRAL, BARGA] - -Hunger appeased and our modest account settled, we walk to the -nearest city gate, passing an ample bowling alley, bordered with -fine plane-trees. At the upper end is a raised, grassy platform of -considerable breadth, in the centre of which stands a fine cedar of -Lebanon. The platform is reached by two flights of steps cut into the -sod, and tradition has it that here Charlemagne stood and delivered -his laws and instructions to the conquered people gathered below. The -well-paved street winds and turns up the hill until it terminates -in the little plateau, or Piazza del Duomo. The city retains its -ancient walls and three old gates, and is still further defended -by two deep natural ravines, which render it altogether a striking -and typical medięval town. We enter the gate just in time to see -a religious procession, consisting apparently of all the people in -town, most of the men in capes of green and white, led by three -important ecclesiastics in really splendid vestments; two copes were -of ivory-white damasked silk, evidently old, adorned with gold; the -third, of a peachy-purple tint, enriched also with designs in gold. We -join the procession, and wind slowly up the steep path, noting several -palaces of old-time importance, and one or two schools or institutions. -We see, also, erect and pretty young girls bearing copper pails of -water on their heads, lightly mounting the precipitous side streets, -and remember then that this mountain region is noted for the beauty of -its women. Arriving at the Piazza del Duomo, the procession enters the -Church of SS. Christopher and James, to say the prayers appropriate -to St. Joseph's day, while we enjoy the wide and beautiful prospect -over the Garfagnana valley, held at the north by the hill-town of -Fivizzano, surrounded by Castruccio's walls, its church door bearing -the Medici shield. On the left, Alpi Apuane, overlooking the charming -gulf of Spezia, Carrara, and Sarzana, where Castruccio Castracane -built his famous castle, and the only road to which now, as then, is -by the castled town of Fosdinovo. To the right are the loftiest peaks -of the Apennines: Rondinaio, Monte Prado, Abetone, and the rest, -owing "much of their grandeur to the precipitous slopes and fantastic -profiles of the calcareous rocks which enter into their composition." -The lofty and well-defended position of Barga, near the boundaries of -Lucca and Florence, gave it a certain military importance in the early -struggles for despotism. At present it is a busy centre of a large -district, quiet and orderly, its people marked by spirit, buoyancy of -temperament and good looks. To the outside world it is best known for -its church, several good Della Robbias, and its fine and beautiful -situation. The Church of SS. Christopher and James--is it a temple -or a citadel?--built of squared blocks of travertine, unusual and -irregular in shape, its watch-tower, or campanile, springing from -the main wall and guarding all the country round about, possesses no -dominant style of architecture, and wears such an appearance as ten -centuries of weather and vicissitudes may well give a church. The grand -old tower is fitting, as a human creation may ever hope to be, the -prospect it overlooks. Its massive sides are pierced by three orders -of double-arched windows, supported by columns and piers, and each -order defined by a string course, or corbel-table, of shallow arches, -which takes, perhaps, something from the height of the tower, but -emphasizes the solidity of its structure. Unlike most towers in this -region, it carries no battlements, but is finished by a low, plain -roof. The faēade of the church is strikingly plain, broken only by a -single cornice, string course, and short pilasters. The main door alone -retains a hint of former grandeur in its foliated arch and sculptured -architrave, once guarded by two Lombardic lions, one of which has -fallen from its high estate. The front and side walls are pierced -irregularly with small windows of varied shape and size. - -[Illustration: _Alinari_ - -INTERIOR OF THE CATHEDRAL OF BARGA] - -The interior is plain, resembling an ancient basilica in form, and -divided into nave and aisles by piers supporting broad, semi-circular -arches, and over all a good, open-timbered roof. The tribune, or -choir, is raised above the nave by three steps, and separated from it -by a low marble screen or _parapetto_. An ancient-looking holy-water -stoup, carved with rude heads and designs, stands by a pillar on the -north side of the nave, but the great treasures of the church are -its choir-screen and pulpit. The screen consists of panels of pale -red marble delicately veined, set in frames, or borders, of white -Carrara, inlaid with black _smalto_, or enamel, in various designs and -symbolic geometrical figures. That part of the screen near the pulpit -is further enriched by a row of small, well-modelled heads, some of -which, evidently portraits, are encircled by crowns. The pulpit must -certainly be reckoned among the best ones in Tuscany; its author is -unknown, but it probably belongs to the thirteenth century, about the -time of the Pisani, possibly earlier. The richness of detail, dignity -and expression of the rather stiff figures, suggest the work of Guido -da Como. - -[Illustration: _Alinari_ - -PULPIT (13th CENTURY) - -IN THE CATHEDRAL OF BARGA] - -The pulpit is rectangular, and supported on four marble columns, two of -which rest on the backs of lions, overcoming symbolic forms of evil. -Another rests on the shoulders of a man, perhaps the artist, and all -the capitals are elaborately sculptured in varying designs, one bearing -the forms of eagles and animals' heads. - -On the panels of the pulpit are the sculptured scenes of the -Annunciation, the Nativity, and Adoration of the Magi, treated in -the usual manner. On the central plinth of the front appears a -crowned figure holding the Book of Good Tidings, and supported by the -appropriate symbolic animals; above this figure the eagle upholds a -lectern. The figures are carved in strong relief, and though the feet -and hands are stiff, the faces are serious and fairly modelled, and -the drapery well disposed. Heavy as the work is, we are conscious that -the artist, a man of the long ago past, was himself impressed by his -subject, and put into his realistic interpretation of it a profound -religious mysticism. The whole work is enriched by inlaying of black -marble, or _smalto_, with the white. Crowns, the lions' manes, and -coils of the writhing serpent are picked out with black, an early form -of decoration. - -In the choir aisle is a beautiful tabernacle for the sacred oil, of -glazed terra-cotta, chiefly white on blue, the work of the Della Robbia -school or atelier. Though small, the work is composed of three perfect -parts. On the arched top is a charming group of infantile figures, -the Christ child standing upright on the Holy Chalice, one tiny hand -uplifted in blessing, the other holding the crown of thorns; on either -side is an adoring cherub, exquisitely modelled. Below this is the -cupboard, or ciborium, for the oil, guarded by two graceful angel -forms, and on each side an acolyte bearing a candelabrum. The whole -work rests on a table, or ledge, supported by two cornucopię of various -fruits in natural colors, and between them appears the head of a cherub -enfolded in double wings. - -[Illustration: _Alinari_ - -ADORATION OF THE MAGI (13TH CENTURY) - -PULPIT IN THE CATHEDRAL OF BARGA] - -Well might this fortress-temple detain us longer, but there is scant -time to have a look at the other Della Robbias down in the heart of the -town, to which we are conducted by a courteous and handsome little man -of twelve, through the narrowest and steepest of byways, which threaten -at times to plunge us into doorways or ditches, until we reach the -Church of the Capuchins. This contains a Nativity, two good statues -of St. Andrew and St. Anthony, an Annunciation, St. Francis receiving -the Stigmata, and, finest of all, an Assumption of the Virgin, by -Giovanni Della Robbia. The reverent figures of four saints gaze upward -to Our Lady, seated within a mandorla of cherubs' heads and surrounded -by angels with musical instruments; the four trumpeters at the top are -most beautiful. In the predella are other flying angels with scrolls; -a wreath of exquisite heads surround the ciborium, and two kneeling -saints fill the corners. The whole work is framed with clusters of -various fruits in their natural colours. - -Reluctantly we turn from rock-throned Barga, "Half church of God, -half castle 'gainst the Scot," and as we slip down into the valley -through purpling shadows shot with crimson and gold we marvel at -these people, who with one hand took their part fiercely in the cruel -wars of despotism and with the other adorned churches and shrines -with Della Robbia reliefs, representing a form of art so pure and -cool and tranquil and, above all, infused with the deepest religious -feeling. Then we suddenly remember that hereabouts is the region of -the Pistojese Apennines, the favoured home of the highest Tuscan -imagination, poetry and song, where the people--peasants, shepherds, -and mountaineers--are not only hardy, handsome, and industrious as a -class, but noted for gentleness and courtesy, love of home, and the -native elegance of their common speech. It is said that "the dialect -that most faithfully represents the pure Tuscan of Boccaccio's day is -that of peasants of the Pistojese Apennines. It is here, round about -San Marcello and Cutigliano, that the purest Tuscan is spoken--pure -in its language, pure in its accent; and it is here that Manzoni and -d'Azelio came--comparative foreigners both of them, the one a Lombard, -the other a Piedmontese--to acquire the pure language for those -romances which have delighted all Italy and all the world."[10] - -It is in the Pistojese mountains that we hear those "charming folk -songs, in which traditions of true gentleness and elevated feeling are -so well exhibited, and account for the high romantic qualities of the -impassioned verse."[11] - -Shepherds often improvise songs, called _rispetti_ and _stornelli_, as -they tend their flocks alone on the hills, and if their cadence chance -to catch the popular ear they are sown on a hundred hills and meadows -far and wide. Tigri records by name a little girl called Cherubina -who made _rispetti_ by the dozen as she watched her sheep, and -the poetry of Beatrice di Pian degli Ontani was famous through the -mountains of Pistoja.[12] - -[Illustration: _Alinari_ - - _Della Robbia School_ - -TABERNACLE FOR SACRED OIL - -CATHEDRAL, BARGA] - -Miss Alexander, in her "Road Songs of Tuscany," has given an -appreciative and loving tribute to this pastoral singer, whom she -calls "one of the most wonderful women" she ever saw. The daughter of -a stone-mason who worked during the winter in the Maremma, Beatrice -became his companion and helper, carrying on her head stones for the -walls and bridges he was building. She had no education, never learning -the alphabet even, but possessed a remarkable memory, and could recite -long poems that she had heard. - - -_YOU ASK ME FOR A SONG_ - - "You ask me for a song, then be content, - With little grace, in all I sing or say; - And judge me kindly, for I never went - To school, and masters never came our way. - The only school where ever I did go - Was on the mountain, in the hail and snow. - And this, alas! was all they made me learn-- - To go for wood, and dig when I return." - -It was not till the day of her marriage that Beatrice discovered her -new power "to sing poetry born in her mind," and from that day she -never lost her remarkable power of improvisation, and the list of her -ballads is very long and varied in theme. She had a strong religious -nature, and addressed many of her songs to the Madonna. In her old age, -it is said, she knew in poetic form nearly all the New Testament and -much of the Old. - - -_GIVE ME LIGHT, LADY_ - - "Come to the window, lady, give me light! - A little light, that I may find my way - For darkness deep is on my path to-night, - Among the stones I fall or go astray. - I cross a troubled river, lady mine; - Deep is the water, and no light doth shine. - And darkness found me where the waves were high; - My feet have failed, so deep the waters lie! - So far was I from shore when darkness came! - And no one answers when I call thy name." - -Her eldest son inherited her poetic gift, and often when working in -the fields mother and son would carry on a conversation in improvised -verse, Beatrice singing one _ottava_, Beppo answering with another. -Miss Alexander says that as a girl Beatrice was very handsome, with an -inspired face, charming smile, and sympathetic voice. She had great -physical strength and indomitable courage. She generally wore her -_contadina_ dress of scarlet bodice, blue kerchief, garnet necklace, -and gold earrings. On grand occasions she put on a white embroidered -veil, kerchief, and apron belonging to her wedding finery. -Beatrice lived over a hundred years, "much loved and honoured by her -neighbours and all who knew her," and many pleasant anecdotes are -told of her experiences and talent. A Boston lady told us that once, -when Madame Goldschmidt (better known as Jenny Lind, or the "Swedish -Nightingale,") was visiting friends in the Apennines, a meeting was -arranged between the two singers, both elderly women at the time. First -Beatrice, in her peasant dress, sang to the great prima-donna of the -North, improvising words and music suitable to the occasion. In return -Madame Goldschmidt, much gratified, sang one of the songs which has so -often moved her great audiences to rapturous applause.[13] - -[Illustration: _Alinari_ - - _Giovanni della Robbia_ - -ASSUMPTION OF THE VIRGIN - -CHURCH OF THE CAPUCHINS, BARGA] - -[Illustration: _M. M. Newell_ - -"VIOLET-EYED TUSCAN OXEN"] - - -_THE DOVE_ - - "O dove with wings of silver, when you fly, - The feathers shine and glisten in my view. - And oh, how sweet your song is! Would that I - Could learn it.... Teach me, dove, to sing like you. - Your pleasant notes, and your sweet rhymes of love; - The sun goes down and lights the stars above. - Your pleasant notes, and your sweet rhymes of love; - The sun goes down and lights the snows above." - -[Illustration: DETAIL OF TRAPPINGS ON THE HORSE OF LORENZO DE' MEDICI] - - -FOOTNOTES: - -[Footnote 10: M. Carmichael, _In Tuscany_, p. 102.] - -[Footnote 11: J. A. Symonds, "Popular Songs in Tuscany," _Sketches and -Studies_, vol. ii.] - -[Footnote 12: John Ruskin, ed., _Alexander's Road Songs of Tuscany_ -(1884).] - -[Footnote 13: Alessandro Chiappelli, _Una Pastora Poetessa, Beatrice di -Pian degli Ontani_ (Florence, 1902).] - - - - -INDEX - - - - -INDEX - - - PAGE - - Abetone, 213 - - Afternoon tea, 4 - - Alexander, Miss, 225, 226 - - Altopascio, 106 - - Amadeo, sculptor, 114 - - Amphitheatre, Roman, Lucca, 167 - - Armstrong, E. (note), 59 - - Antonio da Pistoja, 144 - - Apuans, 167, 174, 199, 210 - - Arno, The, 5, 8, 40, 45, 167, 174 - - Arnolfo di Cambio, 17 - - Avčrard. _See_ Medici. - - Azelio, d', 222 - - - Badia a Settimo, 3 - - Baglioni, 110 - - Bagni di Lucca, 200, 203 - - Barga, 199-230 - - Bartolommeo, Fra, 171 - - Beatrice di Pian degli Ontani, 225, 226, 229, 230 - - Benedetto Buglione, 143 - - Benozzo, Gozzoli, 50, 52, 117 - - Berenson, B. (note), 59 - - Bergamo, 113, 114 - - Bessarion, 51 - - Bianca Cappello, 39 - - Bianchi e Neri, 56 - - Bivigliano, 36 - - Boccaccio, 222 - - Bonaparte, 128 - - Bona of Savoy, 36 - - Borgo San Lorenzo, 20 - - Borgo a Mozzano, 200 - - Brancoli, 163-194, 199 - - Brunelleschi, 55 - - Bruno di Ser Lapo, 64 - - - Calash, 19, 25, 35 - - Cancellieri, 56 - - Careggi, 55 - - Carmagnuola, Francesco, 114 - - Carmichael, M. (note), 222 - - Carrara, 40, 210 - - Carroccio, 106 - - Carza, 9 - - Casentino, 8 - - Castelfranco Madonna, 117 - - Castracane, Castruccio, Lord of Lucca, 49,101-118, 203, 210 - - Castracane, Dianora, 117 - - Cellino di Nese, 151 - - Certosa, 79 - - Chapel of the Holy Cross, 92, 95 - - Chapel of the Madonna, 92, 95 - - Charlemagne, 17, 209 - - Cherubina, 222 - - Chianti, 73-95 - - Chiappelli, Alessandro, 230 - - Choir-Screen, Barga, 14 - - Churches: - of the Capuchins, 218, 221 - of the Madonna Dell' Impruneta, 90, 95 - Pieve S. Leolino, 80 - S. S. Christopher and James, Barga, 210, 213, 214 - San Francesco, Lucca, 113 - San Francesco, Prato, 59, 67 - San Frediano, Luca, 168 - San Ilario, Brancoli, 181 - San Lorenzo, Brancoli, 182 - San Marco, Venice, 114 - Santa Maria delle Carceri, Prato, 59, 67 - Santa Maria e San Giorgio, Brancoli, 185, 194 - St. Martin, Lucca, 171 - - Cimabue, 24 - - Cino. _See_ Sinibuldi. - - Coats of Arms, 17, 21 - - Colleoni, Bartolommeo, 113 - - Colleoni, Medea, 114 - - Consular Reports (notes), 63, 84 - - Credi, Lorenzo di, 144 - - Cruttwell, Maud (note), 91, 193 - - Cutigliano, 222 - - - Dante, 151, 155 - - Della Robbia 10, 17, 21, 36, 80, 127, 143, 185, 200, 213, 218, 221 - - Della Robbia, Andrea, 63, 185, 193 - - Della Robbia, Giovanni, 140-143,193, 194, 221 - - Della Robbia, Luca 92, 95 - - Della Robbia, Luca, The Visitation, 143 - - Della Robbia, Count Viviano, 81 - - Demidoff, Prince, 39 - - Diligence, Florentine, 5 - - Donatello, 49, 63, 114 - - - Erasmo da Narni. _See_ Gattamelata. - - Este, Isabella d', 144 - - - Faenza Railway, 6, 9, 20 - - Fiesole, 3, 7, 8, 39 - - Fivizzano, 210 - - Folk songs, 222 - - Font, Brancoli, 193 - - Fornaci, 207 - - Forteguerra, Laodomia, 148, 151 - - Forteguerra, Niccolņ, Cardinal, 147 - - Forteguerra, Niccolņ, Poet, 147, 148 - - Fosdinovo, 210 - - Fra Bartolommeo, 171 - - - Gaddi, Angelo, 64 - - Garfagnana, Valley of the, 199, 207, 210 - - Garibaldi, 82 - - Gattamelata, 114 - - Ghirlandaio, R., 64 - - Ghivizziano, 207 - - Gian Galeazzo, Duke of Milan, 35-36 - - Giorgione, 117 - - Giotto, 24, 25, 27 - - Giuliano Giamberti. _See_ San Gallo. - - Goldschmidt, Madame, or Jenny Lind, 229, 230 - - Greve, 79, 80 - - Groppoli, 163 - - Guido da Como, 217 - - - Herbert, George, 163, 194 - - Holy-water Stoup, Barga, 214 - - Holy-water Stoup, Brancoli, 190, 193, 214 - - Hotels: - Giardino, Prato, 46 - Globo e Londra, Pistoja, 136 - Posta, Barga, 208, 209 - l'Universo, Lucca, 163 - - Hyett, F. A., 106 (note), 110, 118 - - - Ilaria del Carretto (Tomb), 171 - - Impruneta, 90-95 - - Interminelli, The, 118 - - - Jacopo della Quercia, 171 - - John of Bologna, 39 - - Joseph, Patriarch, 51 - - - Leone Lioni, 113 - - Lima River, 177, 203 - - Lippi, Filipino, 67 - - Lippi, Fra Lippo, 49, 64-67 - - Lord of Lucca. _See_ Castruccio. - - Lorenzo di Credi, 144 - - Loppia, 207 - - Lucca, 3, 101, 106, 113, 117, 163-172, 213 - - - Machiavelli, 117, 118 - - Majano, 3, 4 - - Malatesta, Duke of Urbino, 110 - - Manzoni, 222 - - Marchese of Mantua. _See_ Este. - - Marcus Aurelius, 114 - - Marie Louise, Duchess, 167 - - Martinella, 106 - - Matilda, the "Great Countess,", 128 - - Matteo Civitali, 172 - - Matteo Costanzo, 114 - - Medici Shield, 17, 18, 82, 124, 143, 210 - - Medici, Avérard, 17, 18 - - Medici, Bernardo de', 110 - - Medici, Cosimo, Pater Patrę, 18, 55 - - Medici, Duke Francesco de', 39 - - Medici, Lorenzo de', 51, 52, 55, 56, 59, 64, 105 - - Medeghino, Il, 110, 113 - - Mercato, Pistoja, 101, 135, 136 - - Metayerage System, or Mezzadria, 84-88 - - Michelozzo, 55, 63 - - Mino da Fiesole, 49, 64, 147 - - Montemurlo, 106 - - Monte Abetone, 213 - - Monte Giove, 8 - - Monte Ferrato, 63 - - Monte Morello, 8, 9 - - Monte Pisani, 167 - - Monte Prado, 213 - - Monte Rondinaio, 213 - - Monte Senario, 36 - - Morgan, E. S., 84 - - Mugello, 3-40 - - Mugnone, 5, 7, 8, 39 - - - Nation, The (note), 84 - - Nievole, 102 - - - Orcagna, "Triumph of Death,", 117 - - Ospedale del Ceppo, 127, 139, 141-142, 145 - - - Padua, 114 - - Padua, Arena Chapel, 27 - - Palazzo Pubblico, Scarperia, 14, 17 - - Palazzo del Podestą, Borgo San Lorenzo, 21 - - Palazzo Vecchio, Florence, 14 - - Palęologos, Emperor John, 51 - - Panzano, 80 - - Perugino, 110 - - Petraia, Royal Villa, 55 - - Petrarch, 110, 151, 152, 155 - - Piero a Sieve, 9, 10, 35 - - Pisani, The, 49, 217 - - Pisano, Giovanni, 60, 63, 64 - - Pistojese Apennines, 221, 222 - - Pistoja, "City of Cino", 101, 102, 106, 123-155, 163 - - Podere (farm), 81 - - Poggio a Caiano, 55-56 - - Ponte d'Elsa, 24 - - Ponte della Maddalena, or Devil's Bridge, 200, 203 - - Ponte Moriano, 172, 174 - - Ponte a Serraglio, 203 - - Ponte Vinchiana, 177, 200 - - Prato, 45-67, 106 - - Pratolino, 36 - - Pratolino, Villa of, 39 - - Pulpit, Barga, 217 - - Pulpit, Brancoli, 189 - - - Republic of S. Mark, 113 - - Riccardi Palace, 36, 51, 117 - - Ricciardetto, 148 - - Rispetti, 222 - - Ruskin, J., 8, 10, 39, 109, 225, (note) - - - Sacra Cintola, 60, 63, 64 - - Salvi, Virginia, 151 - - San Gallo, 59 - - San Giusto, 177, 200 - - San Jacopo, 128 - - San Marcello, 222 - - San Martino, 10 - - San Miniato, 3 - - San Zeno, 128 - - Sarzana, 105, 210 - - Sarzanella, 105 - - Savonarola, 55, 92 - - Scala family, 110 - - Scarperia, 10, 14, 17, 19, 20, 27, 35 - - Scissors, Manufacture of, 14 - - Serchio River, 174, 177, 182, 199, 200, 207 - - Serravalle, 101, 105, 106, 163 - - Sforzi, The, 110 - - Sforza, Francesco, 114 - - Sforza, Lodovico, Il Moro, 110, 144 - - Sieve River, 5, 8, 19, 20 - - Signa, 106 - - Sinibuldi, Guittoncino dei (Cino), 151-152, 155 - - Spezia, 210 - - Stemmi. _See_ Coats of Arms. - - Stornelli, 222 - - Sumptuary Laws, 131 - - Symonds, J. A., 109, 113 (note), 222 (note) - - - Tabernacle, Barga, 218 - - Tebaldeo, Pistoja, 144 - - Tedici, Dialta, 101 - - Tedici, Filippo, 101, 136 - - Tigri, 222 - - "Time," Review, 84 - - Torraccia Romanelli, 22 - - Torre del Podestą, 128 - - Tuscan Cookery, 74, 75, 76, 77, 88, 135, 136, 209 - - Tuscan Harvests, 87 - - Tuscan Road Songs, 225 - - Tuscan Servants, 74, 75, 77 - - Tuscan Speech, 222 - - Tuscan Wine, 77, 78, 79, 82, 88, 135, 136, 209 - - - Ubaldini, 14 - - - Vaglia, 8, 36 - - Val d'Arno, 6, 8, 31, 36, 39, 77, 80, 106, 153 - - Vinci, Leonardo da, 110 - - Vergiolesi, Selvaggia dei, 151, 152, 155 - - Verrocchio, 147 - - Vespignano, 25 - - Villa Capriani-Cateni, 25 - - Villa Tolomei, 32 - - Vinchiana Bridge. _See_ Ponte. - - Visconti, The, Dukes of Milan, 113 - - Visconti Galeazzo, 110 - - Visconti Gian Galeazzo, 35, 36 - - Visitation, 143 - _See_ Della Robbia, Luca. - - - Wine Jar, 82 - - * * * * * - - +------------------------------------------------------------------+ - | Transcriber notes: | - | | - | P. 56. Illustration is probably 'GARDEN BELONGING TO LORENZO'S | - | P. 115. Illustration--Madonna and Child, with two Saints, | - | "Alinar'" changed to "Alinari". | - | VILLA POGGIO A CAIANO', not changed. | - | P. 233. 'Cancelliere' changed to 'Cancellieri'. | - | P. 237. 'Galleazzo' changed to 'Galeazzo'. | - | Fixed various punctuation . | - | | - | Underscore sourrinding text implies italics, as in _See_ | - +------------------------------------------------------------------+ - - - - - - -End of the Project Gutenberg EBook of The Medici Balls, by -Anna R. Sheldon and M. 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- } -} - -.poem br {display: none;} - -.poem .stanza {margin: 1em 0em 1em 0em;} - -.poem .i0 { - display: block; - margin-left: 0em; - padding-left: 3em; - text-indent: -3em; -} - -.poem .i1 { - display: block; - margin-left: 1em; - padding-left: 3em; - text-indent: -3em; -} - -.poem .i12 { - display: block; - margin-left: 12em; - padding-left: 3em; - text-indent: -3em; -} - -/* Transcriber's notes */ -.transnote {background-color: #E6E6FA; - color: black; - font-size:smaller; - padding: 1.5em; - margin-right: 10%; - margin-left: 10%; - font-family:sans-serif, serif; -} - -ins {text-decoration:none; border-bottom: thin dotted gray;} - </style> - </head> -<body> - - -<pre> - -Project Gutenberg's The Medici Balls, by Anna R. Sheldon and M. Moyca Newell - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Medici Balls - Seven little journeys in Tuscany - -Author: Anna R. Sheldon - M. Moyca Newell - -Release Date: July 22, 2016 [EBook #52619] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MEDICI BALLS *** - - - - -Produced by Clarity, Jane Robins and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive/Canadian Libraries) - - - - - - -</pre> - - -<div class="figcenter"> -<img src="images/frontis.jpg" width="363" height="560" alt="" /> -</div> - -<div class="larger-file"> - [<a href="images/frontis_big.jpg">See larger version</a>] -</div> - -<div class="bord2"> -<div class="bord1"> -<h1>The Medici Balls</h1> -</div> -<div class="bord1"> -<p class="p3">SEVEN LITTLE JOURNEYS<br /> -IN TUSCANY</p> - -<p class="p1a">ANNA R. SHELDON<br /> -M. MOYCA NEWELL</p> - -<p class="p1c"><em>OVER ONE HUNDRED ILLUSTRATIONS</em></p> -</div> -<div class="bord1"> -<p class="p5">CHARTERHOUSE PRESS</p> - -<p class="p1c">NEW YORK<br /> -1904</p> -</div> -</div> - - -<p class="p1b">COPYRIGHT, 1904, BY<br /> -M. M. NEWELL</p> - -<hr class="r5" /> - -<p class="p1b"><em>ALL RIGHTS RESERVED</em></p> - -<hr class="r10" /> - -<p class="p1c">SCHLUETER<br /> -PRINTING<br /> -COMPANY<br /> -NEW YORK</p> - -<hr class="r10" /> - - - -<p class="p1c"><em>To</em></p> - -<p class="p7">Frances Cecilia Newell</p> - -<p class="p1">WE DEDICATE THIS BOOK</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span></p> - - - -<h2><a name="PREFATORY_NOTE" id="PREFATORY_NOTE"></a>PREFATORY NOTE</h2> - -<p><span class="figleft183" style="width: 180px;"> -<img src="images/i_001.jpg" width="180" height="180" alt="W" /></span><span class="smcapa">HY</span> the Medici family assumed the well-known device of red balls on -a field of gold, is one of the vexed questions of heraldic history. -Some hold that as the saints, Cosmo and Damian, who appear so often in -the votive pictures of the Medici, were also patron saints of medicine -and surgery, and because the name of the family signifies physicians, -the balls may suggest pills (<i xml:lang="it" lang="it">palle</i>). Others think that a cluster of -balls, formerly the sign of money-lenders, was adopted as a device by -Giovanni de' Medici, founder of the greater branch of the illustrious -house, who as a banker attained great wealth and influence. As the -Medici identified themselves with the trading interests and government -of Florence, and were connected with several noble Florentine families, -their coat of arms became familiar throughout all that extensive -territory subject to Florence in the fifteenth century. With its varied -number of balls, or quartered with other arms, as charged with the royal lily of<span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span> -France, or surmounted by the keys of St. Peter and a -pontiff's tiara, it greets the traveller at every turn, not -only on palaces and city gates, but on illuminated -manuscripts and choir books, on the covers of medięval -ledgers, and terra-cotta wine jars.</p> - -<p>Thus the title of "Medici Balls" has been given to -the following record of seven little journeys in Tuscany -by the authors, who in all their travels, even in -lanes and modest farm-houses, have found themselves -under the ęgis of the powerful banker-princes of -Florence. The shield, bearing seven red balls on -a field of gold, represents the arms of Piero de' Medici, -and the period when Medicean supremacy was at its -height; in the sequence of balls employed by the various -members of the family, it serves to connect the -eight balls displayed on the arms of Cosimo, Pater -Patrię, the munificent financier, with the six balls of -Lorenzo the Magnificent, in whom the glory and renown -of the family culminated.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_ix" id="Page_ix"></a></span></p> - - - - -<h2>CONTENTS</h2> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="CONTENTS"> -<tbody> -<tr> - <td class="tdl"> </td> - <td class="tdr"><span class="small80">PAGE</span></td> -</tr> -<tr> - <td class="tdl"><a href="#THE_MUGELLO"><span class="smcap">The Mugello</span></a></td> - <td class="tdr"><a href="#Page_3">3</a></td> -</tr> -<tr> - <td class="tdl"><a href="#PRATO"><span class="smcap">Prato: A Medięval Journey</span></a></td> - <td class="tdr"><a href="#Page_45">45</a></td> -</tr> -<tr> - <td class="tdl"><a href="#CHIANTI_AND_THE_IMPRUNETA"><span class="smcap">Chianti and the Impruneta</span></a></td> - <td class="tdr"><a href="#Page_73">73</a></td> -</tr> -<tr> - <td class="tdl"><a href="#CASTRUCCIO_CASTRACANE"><span class="smcap">Castruccio Castracane, Lord of Lucca</span></a> </td> - <td class="tdr"><a href="#Page_101">101</a></td> -</tr> -<tr> - <td class="tdl"><a href="#PISTOJA"><span class="smcap">Pistoja, "City of Cino"</span></a></td> - <td class="tdr"><a href="#Page_123">123</a></td> -</tr> -<tr> - <td class="tdl"><a href="#A_SUNDAY_AMONG_THE_HILLS"><span class="smcap">A Sunday Among the Hills of Brancoli</span></a></td> - <td class="tdr"><a href="#Page_163">163</a></td> -</tr> -<tr> - <td class="tdl"><a href="#BARGA_AND_THE_VALLEY_OF"><span class="smcap">Barga and the Valley of Garfagnana</span></a></td> - <td class="tdr"><a href="#Page_199">199</a></td> -</tr> -</tbody> -</table></div> - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span></p> - - - -<h2>LIST OF ILLUSTRATIONS</h2> - - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="Frontispiece"> -<tr> - <td class="tdl">Lorenzo de' Medici. <em>Photogravure</em><br /> - From "Procession of the Magi," Riccardi Palace, Florence.<br /> - By Benozzo Gozzoli.</td> - <td class="tdl top"><em>Frontispiece</em></td> -</tr> -</table></div> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="LIST OF ILLUSTRATIONS"> -<tbody> -<tr> - <td class="tdl"> </td> - <td class="tdr"><span class="small80">PAGE</span></td> -</tr> -<tr> - <td class="tdl">Della Robbia Frieze</td> - <td class="tdr"><a href="#Page_3">3</a></td> -</tr> -<tr> - <td class="tdl">Badia a Settimo</td> - <td class="tdr"><a href="#Page_4">4</a></td> -</tr> -<tr> - <td class="tdl">Straw Plaiters, Mugnone Valley</td> - <td class="tdr"><a href="#Page_7">7</a></td> -</tr> -<tr> - <td class="tdl">A Loggia, Piero a Sieve</td> - <td class="tdr"><a href="#Page_9">9</a></td> -</tr> -<tr> - <td class="tdl">Palazzo Pubblico, Scarperia</td> - <td class="tdr"><a href="#Page_11">11</a></td> -</tr> -<tr> - <td class="tdl">The Main Street, Scarperia</td> - <td class="tdr"><a href="#Page_13">13</a></td> -</tr> -<tr> - <td class="tdl">Madonna and Child, Chapel of the Sacred Girdle, Duomo, Prato.<br /> - By Giovanni Pisano </td> - <td class="tdr"><a href="#Page_15">15</a></td> -</tr> -<tr> - <td class="tdl">Ancient Campanile della Pieve, Borgo San Lorenzo</td> - <td class="tdr"><a href="#Page_20">20</a></td> -</tr> -<tr> - <td class="tdl">Torraccia Romanelli, Borgo San Lorenzo</td> - <td class="tdr"><a href="#Page_21">21</a></td> -</tr> -<tr> - <td class="tdl">A Farm-house, Mugello</td> - <td class="tdr"><a href="#Page_22">22</a></td> -</tr> -<tr> - <td class="tdl">Ponte d'Elsa, Mugello</td> - <td class="tdr"><a href="#Page_23">23</a></td> -</tr> -<tr> - <td class="tdl">Hill of Vespignano, Mugello</td> - <td class="tdr"><a href="#Page_24">24</a></td> -</tr> -<tr> - <td class="tdl">Round Tower of Vespignano, Mugello</td> - <td class="tdr"><a href="#Page_26">26</a></td> -</tr> -<tr> - <td class="tdl">Joachim Returning to the Sheepfold, Arena Chapel, Padua.<br /> - By Giotto </td> - <td class="tdr"><a href="#Page_29">29</a></td> -</tr> -<tr> - <td class="tdl">From the Walls of Scarperia</td> - <td class="tdr"><a href="#Page_31">31</a></td> -</tr> -<tr> - <td class="tdl">A Country Road, Scarperia</td> - <td class="tdr"><a href="#Page_32">32</a></td> -</tr> -<tr> - <td class="tdl">Detail of Bronze Grille. Chapel of the Sacred Girdle, Prato</td> - <td class="tdr"><a href="#Page_33">33</a></td> -</tr> -<tr> - <td class="tdl">Portrait of Bianca Cappello, Uffizi, Florence.<br /> - By Alessandro Allori </td> - <td class="tdr"><a href="#Page_37">37</a><span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span></td> -</tr> -<tr> - <td class="tdl">Coats of Arms of the Ubaldini and Vichio</td> - <td class="tdr"><a href="#Page_40">40</a></td> -</tr> -<tr> - <td class="tdl">The Procession of the Magi, Riccardi Palace, Florence.<br /> - By Benozzo Gozzoli </td> - <td class="tdr"><a href="#Page_43">43</a></td> -</tr> -<tr> - <td class="tdl">Ornamental Band, Della Robbia</td> - <td class="tdr"><a href="#Page_45">45</a></td> -</tr> -<tr> - <td class="tdl">The Campanile, Prato. By Giovanni Pisano</td> - <td class="tdr"><a href="#Page_46">46</a></td> -</tr> -<tr> - <td class="tdl">Detail, Procession of the Magi, Riccardi Palace, Florence.<br /> - By Benozzo Gozzoli </td> - <td class="tdr"><a href="#Page_47">47</a></td> -</tr> -<tr> - <td class="tdl">Arcades "Where Hang the Copper and Woolen Goods," Prato</td> - <td class="tdr"><a href="#Page_50">50</a></td> -</tr> -<tr> - <td class="tdl">The Fortress, Prato</td> - <td class="tdr"><a href="#Page_51">51</a></td> -</tr> -<tr> - <td class="tdl">The Cathedral of Prato</td> - <td class="tdr"><a href="#Page_53">53</a></td> -</tr> -<tr> - <td class="tdl">Garden Belonging to Lorenzo's Favorite Villa, Poggio a Caiano</td> - <td class="tdr"><a href="#Page_56">56</a></td> -</tr> -<tr> - <td class="tdl">Erroneously entitled in the book as "Villa of Petraia."<br /> - External Pulpit, Cathedral, Prato. By Donatello</td> - <td class="tdr"><a href="#Page_57">57</a></td> -</tr> -<tr> - <td class="tdl">Madonna and Child, with Saints, Lunette Over Central Door,<br /> - Duomo, Prato. By Andrea Della Robbia</td> - <td class="tdr"><a href="#Page_61">61</a></td> -</tr> -<tr> - <td class="tdl">Lucrezia Tornabuoni, Wife of Lorenzo Il Magnifico. Wearing the<br /> - Marsyas Jewel of the Medici. By Botticelli </td> - <td class="tdr"><a href="#Page_65">65</a></td> -</tr> -<tr> - <td class="tdl">Coat of Arms of Prato</td> - <td class="tdr"><a href="#Page_68">68</a></td> -</tr> -<tr> - <td class="tdl">Detail of Frieze. S. Maria Delle Carceri, Prato.<br /> - By Andrea Della Robbia </td> - <td class="tdr"><a href="#Page_69">69</a></td> -</tr> -<tr> - <td class="tdl">The Piazza, Greve, Chianti</td> - <td class="tdr"><a href="#Page_73">73</a></td> -</tr> -<tr> - <td class="tdl">Ponte Falciano, Chianti</td> - <td class="tdr"><a href="#Page_74">74</a></td> -</tr> -<tr> - <td class="tdl">Ponte Capello, River Greve</td> - <td class="tdr"><a href="#Page_75">75</a></td> -</tr> -<tr> - <td class="tdl">Vitigliano, Chianti</td> - <td class="tdr"><a href="#Page_76">76</a></td> -</tr> -<tr> - <td class="tdl">Old Watch-Tower, Chianti</td> - <td class="tdr"><a href="#Page_77">77</a><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[xiii]</a></span></td> -</tr> -<tr> - <td class="tdl">Panzano from a Distance, Chianti</td> - <td class="tdr"><a href="#Page_78">78</a></td> -</tr> -<tr> - <td class="tdl">S. Leolino a Flacciano, Pieve di Panzano, Chianti</td> - <td class="tdr"><a href="#Page_79">79</a></td> -</tr> -<tr> - <td class="tdl">A Villa in Panzano, Chianti</td> - <td class="tdr"><a href="#Page_81">81</a></td> -</tr> -<tr> - <td class="tdl">Old Wine Jar, Chianti</td> - <td class="tdr"><a href="#Page_83">83</a></td> -</tr> -<tr> - <td class="tdl">A Peasant of Chianti</td> - <td class="tdr"><a href="#Page_85">85</a></td> -</tr> -<tr> - <td class="tdl">The Stately Cypress</td> - <td class="tdr"><a href="#Page_87">87</a></td> -</tr> -<tr> - <td class="tdl">A Country Road, Chianti</td> - <td class="tdr"><a href="#Page_89">89</a></td> -</tr> -<tr> - <td class="tdl">Piazza, Impruneta</td> - <td class="tdr"><a href="#Page_90">90</a></td> -</tr> -<tr> - <td class="tdl">A Street, Impruneta</td> - <td class="tdr"><a href="#Page_91">91</a></td> -</tr> -<tr> - <td class="tdl">Predella to Tabernacle, Chapel of the Holy Cross, Impruneta.<br /> - By Luca della Robbia</td> - <td class="tdr"><a href="#Page_93">93</a></td> -</tr> -<tr> - <td class="tdl">Adoring Angels, Impruneta. By Luca della Robbia</td> - <td class="tdr"><a href="#Page_95">95</a></td> -</tr> -<tr> - <td class="tdl">Coat of Arms, Courtyard, Palazzo Cenami, Lucca</td> - <td class="tdr"><a href="#Page_99">99</a></td> -</tr> -<tr> - <td class="tdl">Della Robbia Ornament</td> - <td class="tdr"><a href="#Page_101">101</a></td> -</tr> -<tr> - <td class="tdl">Apse End and Campanile, San Andrea, Serravalle</td> - <td class="tdr"><a href="#Page_103">103</a></td> -</tr> -<tr> - <td class="tdl">The Rocca of Castruccio, Serravalle</td> - <td class="tdr"><a href="#Page_104">104</a></td> -</tr> -<tr> - <td class="tdl">Olive Trees</td> - <td class="tdr"><a href="#Page_105">105</a></td> -</tr> -<tr> - <td class="tdl">Iron Lantern, Palazzo Baroni, Lucca</td> - <td class="tdr"><a href="#Page_107">107</a></td> -</tr> -<tr> - <td class="tdl">Monument of General Bartolommeo Colleoni, Venice.<br /> - By A. Verrocchio</td> - <td class="tdr"><a href="#Page_108">108</a></td> -</tr> -<tr> - <td class="tdl">Moat of Castle Sarzanella, Sarzana</td> - <td class="tdr"><a href="#Page_109">109</a></td> -</tr> -<tr> - <td class="tdl">Monument of General Gattamelata, Padua.<br /> - By Donatello</td> - <td class="tdr"><a href="#Page_111">111</a></td> -</tr> -<tr> - <td class="tdl">Statue of John Hawkwood, Cathedral, Florence.<br /> - By Paolo Uccello</td> - <td class="tdr"><a href="#Page_112">112</a><span class="pagenum"><a name="Page_xiv" id="Page_xiv">[xiv]</a></span></td> -</tr> -<tr> - <td class="tdl">Madonna and Child, with Two Saints, Castelfranco.<br /> - By Giorgione</td> - <td class="tdr"><a href="#Page_115">115</a></td> -</tr> -<tr> - <td class="tdl">Portrait of a Young Florentine, Royal Gallery, Berlin.<br /> - By Botticelli</td> - <td class="tdr"><a href="#Page_116">116</a></td> -</tr> -<tr> - <td class="tdl">Stemma of Serravalle</td> - <td class="tdr"><a href="#Page_118">118</a></td> -</tr> -<tr> - <td class="tdl">Medici Shield, Ospedale del Ceppo, Pistoja. Della Robbia</td> - <td class="tdr"><a href="#Page_121">121</a></td> -</tr> -<tr> - <td class="tdl">Viale dell'Arcadia, Pistoja</td> - <td class="tdr"><a href="#Page_123">123</a></td> -</tr> -<tr> - <td class="tdl">Shield of Pistoja, Supported by Bears</td> - <td class="tdr"><a href="#Page_124">124</a></td> -</tr> -<tr> - <td class="tdl">Piazza del Duomo, Pistoja</td> - <td class="tdr"><a href="#Page_125">125</a></td> -</tr> -<tr> - <td class="tdl">Coat of Arms, Pistoja. By Verrocchio</td> - <td class="tdr"><a href="#Page_129">129</a></td> -</tr> -<tr> - <td class="tdl">Bronze Candelabra, Duomo, Pistoja</td> - <td class="tdr"><a href="#Page_132">132</a></td> -</tr> -<tr> - <td class="tdl">Head of Filippo Tedici, Pistoja</td> - <td class="tdr"><a href="#Page_133">133</a></td> -</tr> -<tr> - <td class="tdl">Campanile, from Via Ripa del Sale, Pistoja</td> - <td class="tdr"><a href="#Page_137">137</a></td> -</tr> -<tr> - <td class="tdl">Loggia, Ospedale del Ceppo, Pistoja</td> - <td class="tdr"><a href="#Page_141">141</a></td> -</tr> -<tr> - <td class="tdl">Coat of Arms of Hospital, Pistoja. Della Robbia</td> - <td class="tdr"><a href="#Page_145">145</a></td> -</tr> -<tr> - <td class="tdl">Healing the Sick, Detail of Frieze, Ospedale del Ceppo, Pistoja.<br /> - By Giovanni della Robbia</td> - <td class="tdr"><a href="#Page_149">149</a></td> -</tr> -<tr> - <td class="tdl">Via Abbi Pazienza</td> - <td class="tdr"><a href="#Page_152">152</a></td> -</tr> -<tr> - <td class="tdl">Coronation of the Virgin, Ospedale del Ceppo, Pistoja.<br /> - By Benedetto Buglione</td> - <td class="tdr"><a href="#Page_153">153</a></td> -</tr> -<tr> - <td class="tdl">Adoration of the Magi, S. Andrea, Pistoja</td> - <td class="tdr"><a href="#Page_155">155</a></td> -</tr> -<tr> - <td class="tdl">Monument of Cardinal Forteguerra, S. Cecilia, Rome.<br /> - By Mino da Fiesole</td> - <td class="tdr"><a href="#Page_157">157</a></td> -</tr> -<tr> - <td class="tdl">Virgin and Child, with Saints, Cathedral, Lucca.<br /> - By Fra Bartolommeo</td> - <td class="tdr"><a href="#Page_161">161</a></td> -</tr> -<tr> - <td class="tdl">Bastions of San Colombo, Lucca</td> - <td class="tdr"><a href="#Page_163">163</a></td> -</tr> -<tr> - <td class="tdl">Old City Wall and Moat, Lucca</td> - <td class="tdr"><a href="#Page_164">164</a><span class="pagenum"><a name="Page_xv" id="Page_xv">[xv]</a></span></td> -</tr> -<tr> - <td class="tdl">Tomb of Ilaria del Carretto, Cathedral, Lucca.<br /> - By Jacopo della Quercia</td> - <td class="tdr"><a href="#Page_165">165</a></td> -</tr> -<tr> - <td class="tdl">On the Ramparts, Lucca</td> - <td class="tdr"><a href="#Page_168">168</a></td> -</tr> -<tr> - <td class="tdl">San Frediano, Lucca</td> - <td class="tdr"><a href="#Page_169">169</a></td> -</tr> -<tr> - <td class="tdl">S. Frediano, from the Guinigi Tower, Lucca</td> - <td class="tdr"><a href="#Page_171">171</a></td> -</tr> -<tr> - <td class="tdl">A "Grey Tower"</td> - <td class="tdr"><a href="#Page_173">173</a></td> -</tr> -<tr> - <td class="tdl">Ponte a Moriano, Serchio River</td> - <td class="tdr"><a href="#Page_175">175</a></td> -</tr> -<tr> - <td class="tdl">An Old Stone Bridge</td> - <td class="tdr"><a href="#Page_177">177</a></td> -</tr> -<tr> - <td class="tdl">Bridge Over the Serchio</td> - <td class="tdr"><a href="#Page_178">178</a></td> -</tr> -<tr> - <td class="tdl">Church of Santa Maria e San Giorgio, Brancoli</td> - <td class="tdr"><a href="#Page_179">179</a></td> -</tr> -<tr> - <td class="tdl">San Lorenzo, Brancoli</td> - <td class="tdr"><a href="#Page_181">181</a></td> -</tr> -<tr> - <td class="tdl">Interior of Santa Maria e San Giorgio, Brancoli</td> - <td class="tdr"><a href="#Page_183">183</a></td> -</tr> -<tr> - <td class="tdl">Holy-water Stoup, Santa Maria e San Giorgio, Brancoli</td> - <td class="tdr"><a href="#Page_186">186</a></td> -</tr> -<tr> - <td class="tdl">Baptismal Font, Santa Maria e San Giorgio, Brancoli</td> - <td class="tdr"><a href="#Page_187">187</a></td> -</tr> -<tr> - <td class="tdl">Detail of Pulpit, Santa Maria e San Giorgio, Brancoli</td> - <td class="tdr"><a href="#Page_189">189</a></td> -</tr> -<tr> - <td class="tdl">Detail of Pulpit, Santa Maria e San Giorgio, Brancoli</td> - <td class="tdr"><a href="#Page_190">190</a></td> -</tr> -<tr> - <td class="tdl">Pulpit, Santa Maria e San Giorgio, Brancoli</td> - <td class="tdr"><a href="#Page_191">191</a></td> -</tr> -<tr> - <td class="tdl">Three Coats of Arms, Lucca</td> - <td class="tdr"><a href="#Page_194">194</a></td> -</tr> -<tr> - <td class="tdl">St. George and the Dragon, Brancoli.<br /> - By Andrea and Giovanni della Robbia</td> - <td class="tdr"><a href="#Page_195">195</a></td> -</tr> -<tr> - <td class="tdl">Sarzanella</td> - <td class="tdr"><a href="#Page_199">199</a></td> -</tr> -<tr> - <td class="tdl">Bridge at Vinchiana</td> - <td class="tdr"><a href="#Page_200">200</a></td> -</tr> -<tr> - <td class="tdl">"The Devil's Bridge," Borgo a Mozzano</td> - <td class="tdr"><a href="#Page_201">201</a></td> -</tr> -<tr> - <td class="tdl">Bagni di Lucca</td> - <td class="tdr"><a href="#Page_203">203</a></td> -</tr> -<tr> - <td class="tdl">Parish Church, Loppia</td> - <td class="tdr"><a href="#Page_204">204</a><span class="pagenum"><a name="Page_xvi" id="Page_xvi">[xvi]</a></span></td> -</tr> -<tr> - <td class="tdl">The Cathedral, Barga</td> - <td class="tdr"><a href="#Page_205">205</a></td> -</tr> -<tr> - <td class="tdl">Door of the Cathedral, Barga</td> - <td class="tdr"><a href="#Page_208">208</a></td> -</tr> -<tr> - <td class="tdl">Interior of the Cathedral, Barga</td> - <td class="tdr"><a href="#Page_211">211</a></td> -</tr> -<tr> - <td class="tdl">Pulpit in Cathedral, Barga</td> - <td class="tdr"><a href="#Page_215">215</a></td> -</tr> -<tr> - <td class="tdl">Adoration of the Magi, Pulpit, Cathedral, Barga</td> - <td class="tdr"><a href="#Page_219">219</a></td> -</tr> -<tr> - <td class="tdl">Tabernacle in Cathedral, Barga, Della Robbia School</td> - <td class="tdr"><a href="#Page_223">223</a></td> -</tr> -<tr> - <td class="tdl">Assumption of the Virgin, Church of the Capuchins, Barga.<br /> - By Giovanni della Robbia</td> - <td class="tdr"><a href="#Page_227">227</a></td> -</tr> -<tr> - <td class="tdl">"Violet-eyed Tuscan Oxen"</td> - <td class="tdr"><a href="#Page_229">229</a></td> -</tr> -<tr> - <td class="tdl">Trappings on Horse of Lorenzo de' Medici</td> - <td class="tdr"><a href="#Page_230">230</a></td> -</tr> -</tbody> -</table></div> - - - -<hr class="chap" /> -<h3><a name="THE_MUGELLO" id="THE_MUGELLO"></a>THE MUGELLO</h3> -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p> - -<div class="figcenter"> -<img src="images/i_003a.jpg" width="500" height="106" alt="" /> -</div> - - - -<h2>THE MUGELLO</h2> - -<p><span class="figleft183" style="width: 183px;"> -<img src="images/i_003.jpg" width="183" height="180" alt="E" /></span> -<span class="smcapa">VERY</span> year Italy is thronged with thousands of travellers who are -thoroughly familiar with the larger cities of Tuscany: Florence, Lucca, -Siena, and Leghorn are crowded with visitors, while Florence has -practically become the Italian home of English and American wanderers; -they not only fill hotels, pensions, and apartments, but occupy many of -the villas on neighbouring hillsides. Fiesole's terraces are converted -into tea-gardens, and resound with Anglo-Saxon chaffer for straw fans -and baskets. San Miniato, with its incomparable view of the city, also -caters to the universal cry for "the cup that cheers," which outrivals -in popularity the noble old Tuscan-Romanesque church hard by. Trim -Americans are met at every turn; Settignano, Bello-Sguardo, Marignano, -Badia a Settimo, and the rest, are frequent haunts; and the padrona of -the vine-covered terrace<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> -at Majano, where stone-cutters are wont to sit about -rude stone tables and drink their wine, has learned the -"afternoon tea" secret for the <i xml:lang="it" lang="it">gentili forestieri</i>, who -walk out from Florence to enjoy the charming view. -Convenient tram lines run to the more distant and -choicest places, and whoever demands more retired<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> -ways may board one of those nondescript vehicles, by -courtesy called "diligence," which are seen on every -country road leading from Florence, making their way -through pretty valleys and hill towns. The Tuscan -diligence is an institution in its way, though not always -inviting in appearance; usually covered with dust, its -brown canvas curtains strapped down, excluding all air -and views, and "full up" to bursting with all sorts and -conditions of humanity and luggage. However, one is -always sure of the most respectful and obliging driver, -smiling and kindly travelling companions, and no end -of interesting chat and story at the cost of a few centesimi. -Thus the country distant from the usual railway -lines is every year becoming more and more familiar and -appreciated, although there are still many delightful -"untrodden ways" known but to the few, who are good -pedestrians or devoted lovers of nature and "dear country -places." Follow up any of the Tuscan rivers—through -the Val d'Ema, Val di Pesa, Val d'Elsa, or the -valleys of the Mugnone, Sieve, Bisenzio, and Ombrone, -every one an affluent of the Arno—and you will find a -pathway of delight, a real progress through a world of -exquisite colour, form, and fragrance. Yet it is not easy -to turn away from Florence and wander off in pastures -new; like a siren, she holds us in willing thraldom by -the infinite variety of charms so potent that all the<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span> -world beyond her warm, grey walls becomes vague and -unreal.</p> - -<div class="figcenter" style="width: 498px;"> -<img src="images/i_004.jpg" width="498" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>BADIA A SETTIMO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_004big.jpg">See larger version</a>] -</div> - -<p>But suddenly, on a crisp spring morning, a quick turn -from a narrow street gives us a vision of the hills, olive-grey, -brown, and purple—hills with the Apennine -heights beyond. The spell is broken, our hearts burn -for the "spring running," and, as in old Chaucer's day, -"Then longen folk to go on pilgrimage." We have -the old poet's authority that England's Spring came in -April, but to us in Tuscany this year she appeared by -the middle of January, and has never for a day turned -her face, coming safely through the "ides of March," -even to the end of April in almost continuous sunshine -and ever-increasing bloom. Blackthorn, almond, and -fruit trees, daisies and daffodils, violets and roses, rival -each other in bewildering loveliness wherever the eye -may turn; out of city gates the paths lie luringly open -to hillsides clad with ilex and magnolia, to hidden valleys, -and the snow-clad Apennines beyond Vallombrosa.</p> - -<div class="figcenter" style="width: 550px;"> -<img src="images/i_007.jpg" width="550" height="434" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>STRAW PLAITERS IN THE MUGNONE</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_007big.jpg">See larger version</a>] -</div> - -<p>We yearn for unbroken space with no dome but the -blue above, no tower but the stately cypress; our resolution -is quickly taken to climb out of Val d'Arno, and -slip over yonder delectable heights into the Mugello. -Diligence and tram are too slow for our patience; -therefore, at the easy hour of nine, on a clear, sunny -morning, we leave the city by the Florence and Faenza<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> -railway, run through the pretty valley of the Mugnone, -pass the stone-quarries close under the northern flank -of steep Fiesole, discover a world of beauty unknown -to us before, dash in and out of tunnels, catching flying -glimpses of a broken countryside, grey-walled towns, -and bosky slopes; thus pushing northward for half a -dozen miles, where the line loops back toward the -south, and gives us once more, and from a greater -height, the charming view of Fiesole's northern slope. -Now the railroad rises rapidly by well-built viaducts,<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> -galleries, and tunnels to Vaglia, only nine miles from -Florence, as the crow flies, then passes swiftly over the -ridge which separates the valleys of the Arno and -Mugnone from the Mugello region.</p> - -<p>There are no more views of populous Fiesole; we -are in a new world, over which Mr. Ruskin feels justified -in making lament. After expanding with his customary -word-painting upon the view from Fiesole -over Val d'Arno, he continues thus: "The traveller -passes the Fiesolan ridge, and all is changed. The -country is on a sudden lonely. Here and there, indeed, -are scattered houses of a farm grouped gracefully upon -the hillsides; here and there the fragment of a tower -upon a distant rock; but neither gardens nor flowers -nor glittering palaces exist." To us, however, the -scene is charming; the still distant valley spreads out -broad and fertile to the sun, well-watered by the Sieve -and its many tributaries, or <i xml:lang="it" lang="it">torrenti</i>, all of which hasten -to lose themselves later in the Arno, just within the western -boundary of the Casentino. Surrounding the happy -valley rises a cordon of mountains belonging to the -Central Apennine range—among them Monte Giove, -3,255 feet above sea-level, and Monte Morello, 3,065 -feet. The latter peak is clearly seen from Florence, -and in its varied moods is regarded as a natural -weather bureau by the people, who are fond of repeat<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>ing -the old saying, "Take your umbrella when Monte -Morello puts on his cap."</p> - -<div class="figcenter" style="width: 439px;"> -<img src="images/i_009.jpg" width="439" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>A LOGGIA, PIERO A SIEVE</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_009big.jpg">See larger version</a>] -</div> - -<p>Descending the narrow pass of Carza, the train -reaches Piero a Sieve, where we leave it to pursue its -way through a most picturesque country, over the -mountains to Faenza, while we explore the quaint<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> -little hamlet of Piero a Sieve, which clings by grey -walls and terraces to the side of a steep hill, crowning -which are the massive fortifications of San Martino. -We climb to the fortress, take a snap-shot at one of the -loggias, where the group of ever-busy women in bright -skirts and kerchiefs would make a delightful picture in -water-colour, have a look at the parish church, with its -so-called Della Robbia font, and then proceed on our -way to Scarperia, three miles to the northwest, which -is our destination.</p> - -<p><span class="pagenum"><a name="Page_11" id="Page_11"></a></span></p> - -<div class="figcenter" style="width: 417px;"> -<img src="images/i_011.jpg" width="417" height="550" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>PALAZZO PUBBLICO, SCARPERIA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_011big.jpg">See larger version</a>] -</div> - -<p>After judicious bargaining at the station with drivers -of a varied assortment of country vehicles, we are cleverly -packed into two small, rattling, rather clumsy but -very comfortable carts, one drawn by a phenomenally -brisk donkey, and away we bowl toward the towers of -Scarperia. Somehow the sunshine and exhilarating air -incites us into rebellion against Mr. Ruskin's opinion -that the scene is "only a grey extent of mountain -ground, tufted irregularly with ilex and olive, a scene -not sublime, for its forms are subdued and low; not -desolate, for its valleys are full of sown fields and -tended pastures; not rich nor lovely, but sunburnt -and sorrowful."<span class="pagenum"><a name="Page_12" id="Page_12"></a></span></p> - -<p><span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p> - -<div class="figcenter" style="width: 435px;"> -<img src="images/i_013.jpg" width="435" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>THE MAIN STREET, SCARPERIA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_013big.jpg">See larger version</a>] -</div> - -<p>For us a golden touch is laid on everything; we -love the plain of olive orchards and vineyards and -peaceful fields; the large, white, violet-eyed Tuscan -oxen driven by kindly faced peasants; even the donkey -is a nonesuch, and we wax poetic over the greenest -of green patches of grain in vineyards, the rows -of lopped elm-trees married to the vines, which are festooned -from trunk to trunk. Along the way we meet -the country doctor, riding madly in his cart drawn by a<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -quick-stepping pony. Another Dr. Antonio, we say, -ready in case of accident to invent and furnish us anything -from bathing-machines and coffee-pots, instruction -in botany and art, to a serenade, or making butter -to accompany the good bread of Scarperia, unbaked -loaves of which we see carried into the town on a long -board over a man's shoulder.</p> - -<p>But now we are rattling up the main street of Scarperia, -the donkey trying his best to get ahead, and it is -high time to speak like a guide-book, though no account -we have found condescends to give the population -of the place, which is the way every well-regulated -book should begin. Murray's description is summed -up in half a dozen lines, as follows: "Scarperia was -built in 1306 by the Commune of Florence to curb the -pride of the Ubaldini and other rebels of the Mugello. -The parish church has some fine cloisters. In the -Palazzo Vecchio there are interesting frescoes. There -is a large industry of scissors." This is all.</p> - -<p><span class="pagenum"><a name="Page_15" id="Page_15"></a><br /><a name="Page_16" id="Page_16"></a></span></p> - -<div class="figcenter"> -<img src="images/i_015.jpg" width="367" height="550" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><cite>Giovanni Pisano</cite></span></p> - -<p>MADONNA AND CHILD OF THE SACRED GIRDLE</p> - -<p class="smaller">DUOMO, PRATO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_015big.jpg">See larger version</a>] -</div> - -<p>We hasten to buy scissors, also the ubiquitous postal -card, visit the cloisters, which are really good, and then -hang about the old Palazzo, which would alone make -the town interesting. Its tower, or campanile, is remarkably -fine, simpler and a thought more serious, -perhaps, but hardly less beautiful, than its more famous -sister of the Palazzo Vecchio, Florence; and the good<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -people of Scarperia proudly declare that it was at least -designed by the same master hand—that of Arnolfo di -Cambio. It rises gracefully as a lily on its grey stalk, -dominating the clustering red roofs below and peering -at us over the cloister roof, as if to say, "We belonged -together in those stirring medięval days when municipal -life had two centres: the Palazzo Pubblico and -the Duomo—Civil Government and the Church." The -faēade of the old palace is a mad eruption of various -coats of arms, or <i xml:lang="it" lang="it">stemmi</i>, carved in stone or formed -in reliefs of glazed terra-cotta, and no less than -fourteen of these are products of the Della Robbia -atelier, bearing the devices of great families of -Tuscany; and here, if we were wise in heraldry, -might the whole history of the Mugello be set -forth as it transpired in those adventurous days -before its rebels had been curbed! Prominent and oft-repeated -among these <i xml:lang="it" lang="it">stemmi</i> is the Medici shield -emblazoned with its balls, or pills, suggesting the traditional -origin of that famous house and proud device. -The story runs that, when Charlemagne made his historic -descent upon Italy, among his followers was -a certain brave and noble knight named Avérard -Medici, who, amid the Apennines, encountered and -challenged to mortal combat a mighty giant called -Mugello, who ruled with a high and cruel hand all this<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -portion of Italy. After a long and furious battle the -giant was done to death, and Avérard, as victor, took -possession, not only of his arms and personal goods, -but all the lands under his sway—that is, the territory -bearing his name to this day. What is more, the six -dents on Avérard's golden buckler, which had been -made by the furious blows of Mugello's iron-spiked -club, became the Medici device. There is historical -evidence that an early Medici settled in this region -and possessed great estates and castles, to which he -very shrewdly retired whenever his enemies in Florence -became too troublesome. There is also proof that -while Cosimo, "father of his country," beautified Florence -with noble villas, palaces, and churches, he did not -neglect the cradle of his race, but built in the Mugello -the two convents of the Bosco and of St. Francis.</p> - -<p>We enter the old palace through a stately atrium, or -vestibule; the walls are covered with coats of arms -and faded frescoes, and beyond is a pleasant little -court open to the sky, but serving the municipality -to-day no further than as a chicken enclosure. -Then we ascend the broad stone stairway to the -municipal offices; the faded frescoes of Our Lady -and saints in the anteroom are doubtless good, -and deserve more attention than we give them; but -our eyes are enthralled by the superb view from the<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -window of the river-laced plain and encircling mountains.</p> - -<p>After lunch at the modest <i xml:lang="it" lang="it">albergo</i>, where kindly -faces and willing service more than compensate for an -indifferent cuisine, we set forth for a long drive of exploration -through the Mugello. Our carriage, "the -calash," is apparently an institution of Scarperia, and -is such a pleasant surprise that we heartily commend -it to all fellow travellers. It is a rather -light, well-hung, smart-looking vehicle, something -between a victoria and landau in shape, with comfortable -seats which easily accommodate our party of -five. It is drawn by a pair of glossy chestnut roadsters -unvexed by checking-straps or throat-chains, -and stepping off freely at a brisk, even trot, which -they maintain steadily during the entire drive of -thirty miles. Our handsome young driver is in -keeping with his equipage—kind and skilful with his -horses, and courteous in answering our many questions. -Thus we drive all the sunny afternoon through the -fertile and well-tilled valley, over the best of roads, -passing comfortable farm-houses, orchards, and vineyards, -where the peasants are busy trimming and -tying the vines or turning the earth with awkward, -primitive spades. We cross and recross the river -Sieve over picturesque stone bridges half hidden<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -by birches and -elms.</p> - -<div class="figright" style="width: 296px;"> -<img src="images/i_020.jpg" width="296" height="500" alt="" /> -<div class="caption"><p>ANCIENT CAMPANILE DELLA PIEVE -BORGO S. LORENZO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_020big.jpg">See larger version</a>] -</div> - -<p>Our first halt is at Borgo San Lorenzo, chief town, or capital, -of the Mugello, situated on the Sieve, also on the direct railway -line to Faenza, and containing about three thousand inhabitants. -While lacking, one cannot tell why, the charm of Scarperia, the town -has its attractions, notably two noble and well-preserved gateways, -several towers, and many a cluster of rich-coloured, irregular -roofs. Especially interesting is the lofty Antico Campanile della -Pieve—a battered veteran keeping its time-honoured watch and ward -over the Sieve valley, its sides showing many a scar and patch,<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> -and its simple, conical roof, like an old cap pulled low -over its sleepless eyes.</p> - -<div class="figcenter" style="width: 325px;"> -<img src="images/i_021.jpg" width="325" height="500" alt="" /> -<div class="caption"><p>TORRACCIA ROMANELLI, BORGO S. LORENZO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_021big.jpg">See larger version</a>] -</div> - -<p>We enter the town through the fifteenth century gateway, its -battered watch-tower speaking volumes of that olden time when Mugello's -rebels worked their stark will along these narrow thoroughfares. The -substantial, old Palazzo del Podestą, minus a tower, looks somewhat -meekly forth on its ancient square, or piazza, as it has done for -centuries. Its faēade is hung thick with the shields of turbulent -lords, ten of whom called on the Della Robbia art to set forth their -emblems here, also to fashion glazed terra-cotta Madonnas for the -churches of St. Catherine and St. Stephen, hard by.</p> - -<p><span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span></p> - -<div class="figcenter"> -<img src="images/i_022.jpg" width="520" height="519" alt="" /> -<div class="caption"><p>A FARM-HOUSE, MUGELLO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_022big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter"> -<img src="images/i_023.jpg" width="560" height="439" alt="" /> -<div class="caption"><p>PONTE D'ELSA, MUGELLO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_023big.jpg">See larger version</a>] -</div> - -<p>We can stop but a few moments at Borgo San Lorenzo, -and soon drive on, past a little shrine at the -street corner and under the battlemented tower called -Torraccia Romanelli, to our country roads once more. -Outside the walls the country assumes a more broken -and hilly appearance, fewer cultivated fields, and more -pasture where a few sheep graze; irregular farm-houses<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span> -of rough, grey stone, with loggias and sloping roofs of -red tiles, set amidst scattering trees, many of them -cypress, dark and rusty as an outworn mourning coat. -The accompanying picture shows a representative -house of the country, and we are told that this one had -its little romance and love's young dream. It is a -wrinkled old woman you see trudging down the hillside -to fill her copper bucket at the stream; but in yonder -corner loggia is a sparkling-eyed young <i xml:lang="it" lang="it">contadina</i>, some -pretty Tessa, who as she spins her flax is thinking of<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> -a handsome and dashing young Florentine who often -finds his way to the farm-house, which belongs to his -uncle's country villa hard by. A bit farther on we -reach the pretty double-arched bridge Ponte d'Elsa, -the very one, our driver says, where Cimabue met the -shepherd boy Giotto; and here too, nibbling the scanty<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -grass along the roadside, are surely the descendants -of Giotto's sheep, even the new-born lamb looking -quite medięval.</p> - -<div class="figcenter" style="width: 459px;"> -<img src="images/i_024.jpg" width="459" height="520" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>HILL OF VESPIGNANO, MUCELLO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_024big.jpg">See larger version</a>] -</div> - -<p>The hill of Vespignano, Giotto's birthplace, is much -too steep for the chestnuts and calash; moreover, we -are only too glad of an excuse for walking up the -pretty path cut into the hillside, bordered by trees -hung with ivy, and leading to a serried rank of young -cypresses, ranged together like a black watch on the -crest of the hill, as if to guard the modest stone building, -which tradition says is the very house where the -artist Giotto was born. Even for a shepherd's dwelling, -the house is small and uninteresting, which naturally -flings a suspicion over its verity; nevertheless, the -spirit which actuates the preservation of all historical -sites and relics by the Italian government cannot be -too highly commended. The house is converted into -a meagre museum, and kept in good order on estates -at present belonging to the Villa Capriani-Cateni, the -various buildings of which cover the crest of a considerable -height and possess a noble outlook into the near -hills, which are now taking on a hazy blue mystery in -the afternoon light. A large portion of the villa is of -modern architecture, plain and dignified, but the massive, -square battlemented tower at one corner is of quite -an early date, perhaps the thirteenth century, while<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -not far away is the ruined prison-house of ruddy grey -stones and brickwork, with a picturesque round tower, -presumably of a still earlier time, and reminding one -of the ancient towers still found in parts of Ireland. -The whole pile speaks eloquently of a long residence -on this hilltop of a people whose wants were few,<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> -their tastes stern and simple as the mighty Apennines -which encircled them. A fine-looking old man is -weaving an osier basket as he sits on the terrace in -the shadow of the old tower. He answers all our -questions with quiet courtesy; but upon our offering -him a fee, as we have learned is generally expected, -it is gently but firmly declined, and we walk -away somewhat abashed, thinking of the varied influences -which surrounded young Giotto amid such -pastoral scenes and such kindly, self-respecting people. -He certainly must have carried much of the -experience and knowledge of his shepherd life into -his art.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_026.jpg" width="450" height="518" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>ROUND TOWER, VESPIGNANO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_026big.jpg">See larger version</a>] -</div> - -<p>In the Arena Chapel, Padua, one of the finest of the -frescoes is that of Joachim returning to the sheepfold, -where Giotto shows his intimate knowledge of a shepherd's -surroundings and animal forms, but particularly -of the characteristics of sheep, giving to each one an -individuality which only a close observer could have -done. There is the same quality in one of the sculptures -on his tower in Florence, where the puppy, with -an absurd expression of anxious responsibility, is guarding -the sheep.</p> - -<p>As the shadows lengthen and the mountains are -gleaming in purple and gold, we return to Scarperia -for the night, and enjoy such sleep in the clean, coarse,<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> -homespun linen on our beds, as only a day in the brisk -open air can give.</p> - -<p>The morrow is Sunday, and the old Piazza, between -church and palace, is filled with the people -coming and going to mass, and to chaffer with the -pedlar displaying his wares on a little cart, consisting -of a slender stock of kerchiefs, stuffs, bright toys, and -various homely utensils, which he cries as lustily as -another Autolycus:</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Will you buy any tape,</div> - <div class="i0">Or lace for your cape,</div> - <div class="i0">My dainty duck, my dear-a?</div> - <div class="i0">Come, buy of me! come buy, come buy!"</div> - </div> -</div> -</div> - -<p>Both men and women have good faces, with that -kindly responsive and patient expression characteristic -of the Italian peasants; they are interested in everything, -particularly in the <i xml:lang="it" lang="it">forestieri</i>, who in their turn -enjoy the groups of women and children in gay kerchiefs -and gowns, making a pretty picture in the old -grey square. We walk through the narrow streets, sit -on the city walls which still partially surround the town, -and look down on the pretty road overhung with trees, -where the trailing-footed, white oxen slowly come and -go, placid and restful.</p> - -<p><span class="pagenum"><a name="Page_29" id="Page_29"></a></span></p> - -<div class="figcenter"> -<img src="images/i_030.jpg" width="560" height="397" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft18"><em>Giotto</em></span></p> - -<p>JOACHIM RETURNING TO THE SHEEPFOLD, ARENA CHAPEL, PADUA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_030big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_30" id="Page_30"></a></span></p> - -<p>We follow the <i xml:lang="it" lang="it">contadini</i> out of the old city gate<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span> -on the road to St. Agatha's Church, lying between -vineyards where the young grain is now pushing its -green spears through the brown earth—for spring is -later here than in Val d'Arno—and olive orchards, -where clouds of silver-grey leaves quiver and shine in -the light.</p> - -<div class="figcenter" style="width: 450px;"> -<img src="images/i_031.jpg" width="450" height="520" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell.</cite></p> - -<p>FROM THE WALLS OF SCARPERIA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_031big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p> - -<div class="figcenter" style="width: 500px;"> -<img src="images/i_032.jpg" width="500" height="502" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>A COUNTRY ROAD, SCARPERIA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_032big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_33" id="Page_33"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_033.jpg" width="560" height="418" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>DETAIL OF THE GRILLE</p> - -<p class="smaller">CHAPEL OF THE SACRED GIRDLE, CATHEDRAL, PRATO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_033big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_34" id="Page_34"></a></span></p> - -<p>Taking another road, we saunter on a mile or so -to the Villa Tolomei, belonging to an old Tuscan -family, whose arms are a gold band with three green -vine leaves on a blue field, and above a red label with -the three gold lilies of Anjou. The grounds are pleasant, -though somewhat neglected, but the prospect looking<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> -toward the mountains is entrancing; and the walk -back toward Scarperia gives us a continual view of -the fine campanile. By this time all the rebel blood of -the Mugello is burning in our veins, and we demand -a drive back to Florence; no railroads and tunnels for -us if we must leave these "dear country places." We -long to push eastward, only three paltry miles away, -up to the very crests of the Apennines, where all the -rivers hasten joyfully to the Adriatic. But not to-day -may we follow fancy's lead eastward along curving -Ronco's flowing stream, but again, with chestnuts and -calash, are constrained to hold our way along the river -bank, returning over the road to Piero a Sieve—was it -only yesterday that we first knew it?—and strike at -once into the famous old highway leading from Bologna -to Florence, as it has done almost since the beginning -of the Christian era. What a thoroughfare it has been! -What mighty personages have trod this path with high -hopes, burning spirits, and breaking hearts!</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"There is a joy in every spot made known in times of old,</div> - <div class="i0">New to the feet, although each tale a hundred times be told."</div> - </div> -</div> -</div> - -<p>What hordes of barbarians and armies of haughty -kings have swept this way; what great pageants and -devout pilgrimages! We remember that one of Gian<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> -Galeazzo, Duke of Milan in 1471, when, accompanied -by his wife, Bona of Savoy, in accomplishment of a vow, -he made a pilgrimage to Florence in unparalleled -splendour. There were twelve palanquins of cloth of -gold borne on the backs of mules over the Apennines, -preceded by fifty palfreys for the Duchess and her -ladies when they preferred the saddle; fifty horses -for the Duke and his gentlemen; five hundred foot-soldiers, -one hundred mounted men-at-arms; fifty -body-servants in livery of silk and silver, fifty -huntsmen holding dogs in leash, fifty with falcon on -wrist, each bird valued at two hundred golden florins, -etc., etc. With all this pomp the train descended -into the Val d'Arno, proceeded to Florence, and were -received at the Medici palace in Via Larga, now the -Cavour. When we reach Vaglia, again we struggle -with the temptation to turn aside for the delightful -walk of five miles to Bivigliano and find the Della -Robbia Madonna and Saints (from the atelier) at the -parish church of St. Romola, thence a mile farther to -the foot of Monte Senario, 2,700 feet high, which overlooks -us all the way. But we hold to our course, and -after a few miles and a stiff walk of half an hour we -mount to Pratolino, 1,512 feet, the highest point we -touch, lying just below Monte Senario, and commanding -an extensive view on every side. Near the village<span class="pagenum"><a name="Page_37" id="Page_37"></a></span> -is the celebrated Villa of Pratolino, built originally in -1570 by Duke Francesco de' Medici for the reception of -his wife, the beautiful and notorious Bianca Cappello. -It was surrounded by noble gardens and terraces, and -because of its superb situation became the favorite -residence of the luxury-loving Duchess. The property -is now owned by the Prince Demidoff, but nothing -remains of the original villa except a colossal crouching -figure, personifying the Apennines, which is -ascribed to John of Bologna.</p> - -<p><span class="pagenum"><a name="Page_38" id="Page_38"></a></span></p> - -<div class="figcenter" style="width: 344px;"> -<img src="images/i_037.jpg" width="344" height="518" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><em>Alessandro Allori</em></span></p> - -<p>PORTRAIT OF BIANCA CAPPELLO</p> - -<p class="smaller">UFFIZI, FLORENCE</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_037big.jpg">See larger version</a>] -</div> - -<p>Our Mugello excursion is over; we are slipping<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -through the Mugnone and down into Val d'Arno. -First Fiesole welcomes us; then the dear, familiar -towers of Florence, the fairest city in the world; only -a poet can convey the charm of this exquisite scene. -"Few travellers can forget," says Mr. Ruskin, "the -peculiar landscape of this district of the Apennines. As -they ascend the hill which rises from Florence to the -lowest peak in the ridge of Fiesole they pass continually -beneath the walls of villas bright in perfect luxury -and beside cypress hedges inclosing fair terraced gardens, -where masses of oleander and magnolia, motionless -as leaves in a picture, inlay alternately upon the -blue sky their branching lightness of pale-rose color -and deep-green breadth of shade, studded with walls -of gleaming silver; and shining at intervals through<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> -the framework of rich leaf and rubied flower the far-away -bends of the Arno beneath its slopes of olive, -and the purple peaks of the Carrara mountains tossing -themselves against the western distance, where the -streak of motionless clouds hover over the Pisan sea."</p> - -<div class="figcenter"> -<img src="images/i_040a.jpg" width="304" height="350" alt="" /> -<div class="caption"><p>UBALDINI</p></div> -</div> - -<div class="figcenter"> -<img src="images/i_040b.jpg" width="256" height="350" alt="" /> -<div class="caption"><p>VICCHIO</p></div> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span></p> - - - - -<h2><a name="PRATO" id="PRATO"></a>PRATO:<br /> - -A MEDIĘVAL JOURNEY</h2> - -<p><span class="pagenum"><a name="Page_42" id="Page_42"></a><br /><a name="Page_43" id="Page_43"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_043.jpg" width="560" height="414" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><em>Benozzo Gozzoli</em></span></p> - -<p>THE PROCESSION OF THE MAGI</p> - -<p class="smaller">CHAPEL OF THE RICCARDI PALACE, FLORENCE</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_043big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_44" id="Page_44"></a></span></p> - -<p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p> - - - -<div class="figcenter"> -<img src="images/i_045a.jpg" width="560" height="130" alt="" /> -</div> - -<h2>PRATO: A MEDIĘVAL JOURNEY</h2> - -<div class="figcenter" style="width: 258px;"> -<img src="images/i_046.jpg" width="258" height="500" alt="" /> -<div class="caption"><p><cite>M.M. Newell</cite> <span class="mleft8"><cite>Giov. Pisano</cite></span></p> - -<p>THE CAMPANILE, PRATO</p></div> - -<div class="larger-file"> - [<a href="images/i_046big.jpg">See larger version</a>] -</div> -</div> - -<p><span class="figleft183" style="width: 177px;"> -<img src="images/i_045b.jpg" width="177" height="180" alt="T" /></span><span class="smcapa">HRICE</span> had we been in Florence -and never seen Prato, only twelve miles away. Many times had we -noted in passing where the waters of her little river, the Bisenzio, -join the Arno, and wished to follow its banks through the plain to -the city whose fortunes and history are so identified with those of -Florence. There was no good reason for not going to Prato; there are -several ways of doing it—by diligence, tram, or steam; and -Murray declares that half a day will suffice to see the town. So one -hot day we took the plunge, boarded the tram, first having provided a -bountiful luncheon, for of course the inns would be impossible. We can -not recommend that tram ride. The line passes through a flat, dusty -country, the service is unpardonably slow and tedious, and we were -smothered in dust and very cross. But let us hasten to say that the -journey itself was our only<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> -disappointment; all discomfort vanished with our arrival. We were -charmed with our first glimpse of the city, and found the Albergo -Giardino so good that we were obliged to apologize for bringing a -luncheon and supplement it generously from the hotel <em>menu</em>. Temper -restored and at peace with all the world, we set forth to prove Herr -Baedeker's statement that a visit to Prato is "indispensable to those -who desire to acquaint themselves thoroughly with the early Renaissance -style of Florence;" for which same thorough acquaintance we had allowed -ourselves four hours, forsooth! The Prato of to-day has, of course, -its praiseworthy modern enterprise and industries: the women are -picturesquely busy at every street corner with straw plaiting,<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> -there is a good trade in woolen cloths, and the -bright red caps (<em>calabarsi</em>), made here are greatly demanded -in the Levant; in side streets we come upon -shops hung with gleaming copper vessels of every -sort and shape, and the sound of the coppersmith's -hammer rings out merrily on the clear air. It is -said that the people have a reputation for rudeness -and turbulence, but what can you expect from a -town which, having made the good fight for freedom, -lost its independence and its identity in that of another -city, that was once captured by the redoubtable -Castruccio, and, to crown all disaster, was from 1512, -for twenty-two years, made to suffer all the atrocities -that Spanish cruelty could devise? After all, the City -of the Meadow (<em>prato</em>) is in no sense a modern town; -its ancient walls are still intact; the castle, if fallen -from its high estate as a citadel, is still a delight to all -the snap-shotting fraternity; and if the streets are no -longer gay with ruffling <em>bravos</em> in their fine attire, the -ancient palaces of the Commune and Pretorio still hold -their own in point of noble architecture and as venerable -centres of justice and good government.</p> - -<p><span class="pagenum"><a name="Page_48" id="Page_48"></a></span></p> - -<p><span class="pagenum"><a name="Page_49" id="Page_49"></a></span></p> - -<div class="figcenter" style="width: 439px;"> -<img src="images/i_047.jpg" width="439" height="550" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><cite>Benozzo Gozzoli</cite></span></p> - -<p>DETAIL OF THE PROCESSION OF THE MAGI</p> - -<p class="smaller">CHAPEL OF THE RICCARDI PALACE, FLORENCE</p> - </div> -</div> - -<div class="larger-file"> - [<a href="images/i_047big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_050.jpg" width="560" height="449" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>ARCADES WHERE HANG THE COPPER AND WOOLEN GOODS</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_050big.jpg">See larger version</a>] -</div> - -<p>Very different, indeed, must it have been in the fourteenth -and fifteenth centuries, when Prato was in the -zenith of her wealth and pride, when Donatello and Fra -Lippo Lippi, Mino da Fiesole, and the Pisani were busy -there, and all the world was running to see their work; -crowned heads and critics, humble aspirants and cavalcades -of brilliantly attired Florentines were arriving -daily to admire and criticize the new art. The jaded tourist -of to-day, if a true lover of nature and history, thinks -yearningly of the medięval journeyings over these -roads; of the humble enthusiast making his way on foot, -and of gay trains of mounted nobles riding leisurely -through these regions of delight. Benozzo Gozzoli has<span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span> -shown us how it was done in his noble fresco "Procession -of the Magi," painted on the walls of the Riccardi -Palace to commemorate the visit of the Eastern Emperor, -John Palęologos, in 1439, who, according to an -inscription in the Duomo of Prato, made an excursion -thither from Florence accompanied by the illustrious -Bessarion and a suite of six hundred cavaliers magnificently -appointed. The "three kings" in the fresco -are represented by the Emperor, the patriarch Joseph, -and the young Lorenzo de' Medici, who are surrounded<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> -by theologians and scribes, attended by a train of cardinals, -bishops, and nobles, with their servants and -horses, in splendid array. The painted scene is full of -the vigour and freshness of spring—of that spring when -men awoke to the force and meaning of human existence, -"freedom of thought, beauty of the world, and -goodness of youth and strength and love and life." -Those gay young cavaliers prancing over the plain, -exuberant with their new joy in nature, colour, and -splendour of dress, are equally keen in their intellectual -freshness; every man is a poet, Lorenzo de' Medici -himself the "most typical poet of his century," and -their every verse rings with the burden, "Gather ye -rosebuds while ye may."</p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_051.jpg" width="560" height="424" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>THE FORTRESS</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_051big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"I went a roaming, maidens, one bright day,</div> - <div class="i0">In a green garden in mid month of May.</div> - </div> - <div class="stanza"> - <div class="i0">Violets and lilies grew on every side</div> - <div class="i1">Mid the green grass, and young flowers wonderful,</div> - <div class="i0">Golden and white and red and azure-eyed;</div> - <div class="i1">Toward which I stretched my hands, eager to pull</div> - <div class="i1">Plenty to make my fair curls beautiful,</div> - <div class="i0">To crown my rippling curls with garlands gay.</div> - </div> - <div class="stanza"> - <div class="i0">I went a roaming, maidens, one bright day,</div> - <div class="i0">In a green garden in mid month of May."</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_53" id="Page_53"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_053.jpg" width="560" height="420" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>THE CATHEDRAL OF PRATO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_053big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_54" id="Page_54"></a></span></p> - -<p>Like Benozzo Gozzoli's train, we would sweep gaily -from the court of the old Medicean palace into Via<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> -Larga, pass through the Piazza del Duomo, invoking -the protection of Santa Maria del Fiore, cross -the ample square of Santa Maria Novella, and so come -to Porta al Prato, leading out to the plain, blue at -this time of the year with the small Tuscan lily -which gave Florence her device. Then, as now, we -would pass through a busy suburb, or <em>borgo</em>, clustering -about the gate, and take our way over the plain, thick -set with little hamlets, vineyards, and orchards, and -having always at our right hand the fair Tuscan hills, -hung with blooming gardens and starred with shining -villas. There is many a shrine or church along the way -well worth a brief halt, and such a leisurely ride may -easily include a short visit and refreshment at many of -the Medici villas in the vicinity—at Careggi, finest of -them all, first occupied by Cosimo, Pater Patrię, rebuilt -by Michelozzo, and where Lorenzo would, at a -later day, gather about him the scholars, artists, and -singers of that rich time; here also tradition places -that improbable scene between Savonarola and Lorenzo -at the time of his death. The grand old tower of -Petraia next lifts its crown above a bosky hillside; -this villa, now the Royal Villa, was the work of Brunelleschi, -and may well be visited for the sake of its -noble gardens and rare trees—among them an oak -four hundred years old. It is said that Poggio a Cai<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span>ano, -somewhat farther on, was Lorenzo's favorite villa; -earlier it belonged to the notorious Pistojese family, -the Cancellieri, who boasted among their members -eighteen knights with golden spurs, and whose quarrels -originated the widespread feuds of the <em>Bianchi</em> and -<em>Neri</em>. Lorenzo loved the place, and called his favorite<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span> -architect, Giuliano Giamberti, whom he had fondly -nicknamed "San Gallo," to build his villa; the plain -exterior is broken only by a fine classic portico, while -the pride of the villa is the great hall with its beautiful -barrel roof—a creation which Lorenzo had declared -San Gallo could never accomplish. Later this architect -built the little church of the Madonna delle Carceri<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> -at Prato—"perhaps," says our critic, "the gem of the -Laurentian age of architecture," and certainly "classical -principles have never been employed with more -sympathy and more originality."</p> - - -<div class="figcenter" style="width: 498px;"> -<img src="images/i_056.jpg" width="498" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>GARDEN BELONGING TO THE ROYAL VILLA OF PETRAIA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_056big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_58" id="Page_58"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_057.jpg" width="560" height="419" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft18"><cite>Donatello</cite></span></p> - -<p>EXTERNAL PULPIT, CATHEDRAL, PRATO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_057big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_61" id="Page_61"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_061.jpg" width="560" height="419" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft12"><cite>Andrea della Robbia</cite>, 1489</span></p> - -<p>MADONNA AND CHILD, WITH SAINTS</p> - -<p class="smaller">LUNETTE OVER CENTRAL DOOR OF THE DUOMO, PRATO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_061big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_59" id="Page_59"></a></span></p> - -<p>Thus filling a memorable day, we should come at -eventide, as the setting sun sifts its gold on olive-clad -hills, to Prato on the Bisenzio, where even an emperor -might study with interest the civilization of the West -during the "age of the despots," and its reawakening in -learning and art. He would also enjoy the hospitality, -for which the city was noted when Florentine nobles -made Prato their frequent residence and enriched their -palaces there with every form of art and luxury, for -which that time was celebrated. Prato, we find, has her -tradition honouring her above all other cities in the -world, and about which centres much of her importance<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> -in art. The story runs something like this: When the -Blessed Virgin disappeared from earth, it seems that -St. Thomas, father of skeptics, could not believe that -she had been caught up into heaven, as everybody -knows who looks at Italian paintings. The Virgin, to -convince him, dropped from the clouds her girdle (<i xml:lang="it" lang="it">cintola</i>), -which St. Thomas faithfully cherished while he -lived. After his death the holy relic descended in course -of time to a Greek priest. All this happened in the -Holy Land, to which, in 1096, journeyed a certain -Michael of Prato, who, being an Italian, was presumably -a handsome man with a silver tongue, won -the love of the aforesaid Greek priest's daughter, -who brought the <i xml:lang="it" lang="it">sacra cintola</i> as part of her dowry. -Michael returned with his bride to Prato, where they -lived the rest of their lives, and treasured the precious -relic with the greatest reverence and care. Eventually -it was transferred to the cathedral, where it is kept -in a chest sculptured by Giovanni Pisano, and the -keys thereof jealously guarded by the Bishop of the -Diocese and worshipful Syndic of the City of Prato. -The people hold the relic in the profoundest reverence; -five times during the year it is, with great ceremony, -publicly exhibited, until about the tradition has gathered -a religious cult, to which many of the noblest works -of art in the Duomo directly refer. The Duomo alone<span class="pagenum"><a name="Page_62" id="Page_62"></a><br /><a name="Page_63" id="Page_63">[63]</a></span> -stands for seven centuries of art (though little remains -of the earliest church, built in the eighth century), and, -like its noble campanile, is the work of Giovanni -Pisano. It is built of alternate bands of fine limestone -and the dark green serpentine from neighboring Monte -Ferrato.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> On the northwest corner of the church is -the external pulpit of Donatello, "Prince of Humanists," -supported by Michelozzo's bronze capital. The -pulpit is adorned with seven reliefs of dancing figures, -"half-childish and half-mythical," with musical instruments. -From this pulpit, if it chance to be May Day -or Easter, we may witness the picturesque ceremony -of exhibiting the <i xml:lang="it" lang="it">sacra cintola</i> to the devout people in -gala dress, kneeling in the piazza below. We enter -the Duomo under Andrea della Robbia's lunette of the -Madonna and Child, attended by St. Stephen and St. -Laurence, the whole surrounded by a wreath of cherubs' -heads; this relief, among the many Della Robbias in -various churches and oratories of Prato, is the only one -executed by Andrea's hand, and is a beautiful and -serious work in the master's late manner. The interior -of the church is in the form of a Latin cross, its roof<span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span> -supported by columns of serpentine; at the left is the -chapel of the Sacra Cintola, surrounded by a fine -bronze grille or screen, wrought by Bruno di Ser Lapo -at Lorenzo's order. It is a masterpiece of graceful designs, -circles, quatrefoils, wreaths, and acanthus leaves, -among which appear tiny figures of cherubs supporting -the arms of Prato—a shield powdered with the lilies of -Anjou. Over the screen hang thirteen silver lamps -of antique form, kept ever alight before the altar, -where stands the charming Madonna by Giovanni -Pisano and the sculptured ark or chest containing the -sacred girdle. On the walls is Angelo Gaddi's painted -story of the life and death of the Virgin and the gift of -her girdle to St. Thomas. The same subject, splendidly -painted by Ridolfo Ghirlandaio, hangs over the great -west door. In the nave, amid all this richness of -colour, Mino da Fiesole's beautiful marble pulpit shines -out with its delicately sculptured reliefs, supported on -serpent-tailed sphinxes. Foremost, however, among the -treasures of the Duomo, are Fra Lippo Lippi's frescoes -in the choir, considered his most important work. -Nothing, perhaps, puts one so fully in touch with -fifteenth-century men and art as the career of this -vigorous and prolific artist, a true son of the Renaissance, -who, while he paints sweet-faced Madonnas, -dimpled children, and holy saints on monastery walls,<span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span> -follows his own pleasures and trolls out his careless -love song:</p> - -<p><span class="pagenum"><a name="Page_66" id="Page_66"></a></span></p> - -<div class="figcenter"> -<img src="images/i_065.jpg" width="350" height="520" alt="" /> -<div class="caption"><p><cite>Braun, Clement et Cie.</cite> <span class="mleft12"><cite>Botticelli</cite></span></p> - -<p>LUCREZIA TORNABUONI, WIFE OF LORENZO IL MAGNIFICO</p> - -<p class="smaller">WEARING THE MARSYAS JEWEL OF THE MEDICI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_065big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i12">"Who am I?</div> - <div class="i0">Why, one, sir, who is lodging with a friend</div> - <div class="i0">Three streets off—he's a certain ... how d'ye call—</div> - <div class="i0">Master—a ... Cosimo of the Medici,</div> - <div class="i0">In the house that caps the corner. * * *</div> - </div> - <div class="stanza"> - <div class="i0">* * * * * * *</div> - </div> - <div class="stanza"> - <div class="i0">"And I've been three weeks shut within my mew</div> - <div class="i0">A-painting for the great man, saints and saints</div> - <div class="i0">And saints again. * * *</div> - </div> - <div class="stanza"> - <div class="i0">* * * * * * *</div> - </div> - <div class="stanza"> - <div class="i0">"I painted a St. Laurence six months since</div> - <div class="i0">At Prato, splashed the fresco in fine style."</div> - </div> -</div> -</div> - - -<p class="p1c"><em>Song</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Flower o' the broom,</div> - <div class="i0">Take away love and our earth is a tomb!"</div> - </div> - <div class="stanza"> - <div class="i0">* * * * * * *</div> - </div> -</div> -</div> - -<p>Our allotted "four hours" for Prato have come to -an end, leaving many beautiful things unseen; the -pleasant cloisters of San Francesco, the perfect Renaissance -church of Santa Maria delle Carceri, and many -others, must be left to that indefinite "next time." -We hasten to the train, stopping only a moment at the -shrine on the corner of Via S. Margherita, which contains -Filippino Lippi's Madonna, where we murmur -our thanks for a happy visit and make solemn vows to -come soon again.</p> - -<p><span class="pagenum"><a name="Page_68" id="Page_68"></a></span></p> - -<div class="figcenter"> -<img src="images/i_067.jpg" width="254" height="350" alt="" /> -<div class="caption"><p>STEMMA, PRATO</p></div> -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_69" id="Page_69"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_068.jpg" width="560" height="434" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><cite>A. della Robbia</cite></span></p> - -<p>DETAIL OF FRIEZE</p> - -<p class="smaller">S. MARIA DELLE CARCERI, PRATO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_068big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_70" id="Page_70"></a><br /><a name="Page_71" id="Page_71"></a></span></p> - - -<h2><a name="CHIANTI_AND_THE_IMPRUNETA" id="CHIANTI_AND_THE_IMPRUNETA"></a>CHIANTI AND THE IMPRUNETA</h2> - -<p><span class="pagenum"><a name="Page_72" id="Page_72"></a></span></p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span></p> - - - -<div class="figcenter"> -<img src="images/i_073.jpg" width="560" height="310" alt="" /> -</div> - -<div class="larger-file"> - [<a href="images/i_073big.jpg">See larger version</a>] -</div> - -<h2>CHIANTI AND THE IMPRUNETA</h2> - - -<p><span class="figleft177" style="width: 177px;"> -<img src="images/i_073a.jpg" width="177" height="180" alt="W" /></span><span class="smcapa">E</span> made our first home in Florence -with our good friend Signora V—— and her daughter. Our -rooms were on the second <em>piano</em>, which meant three flights of -uncompromising stone stairs, but once at the top our windows overlooked -the piazza on one side, a pretty garden on the other, and gave us -plenty of sunshine; moreover, we had a loggia, a very different matter -from a balcony or gallery both in name and character, and from which -we got charming views of the distant hills. Within was every creature -comfort—not luxury, perhaps, but<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span> -cleanliness, order, refinement, and an excellent table -with two servants, merry-faced Dina and kindly Annunziatina, -to serve and pet us, to identify our wants -and interests as their most pleasurable duty, and teach -us to say that Tuscan cookery and Tuscan servants, at -their best, cannot be equaled the world over. The relation -between the Italian family and servants is in -many cases almost ideal: there is complete understanding -and freedom of speech; the mistress talks and consults -with the maid, and she, in turn, depends on her -mistress as on a mother, and yet neither forgets her -place or dignity. As for food, where will one find such -sweet, tender vegetables, such crisp salads, and macaroni -served in a dozen different ways, each better than -the other? For the first month every dish brought to -the table was a mystery and delightful surprise. How -could one have lived half a century and never known -<i xml:lang="it" lang="it">fritto misto</i>, or the changes that may be rung on rice -or corn meal? What a far different object the <i xml:lang="it" lang="it">pomidoro</i> -is in Tuscany from the tomato of commerce in -Boston! Then, who ever can measure the capacities of -chestnuts? As for meats, if variety is limited, certainly -the methods of cooking are legion, and one -never seems cloyed with the Tuscan chicken; oil -and cheese are delicious. For tea Italians care nothing, -and their coffee leaves much to be desired; but -who would drink either, or even the questionable water -of Val d'Arno, when pure wine may be had for the -asking? Tuscan wine certainly "needs no bush," but -there are so many degrees, even of the boasted Chianti, -that only the wise may be sure of the best. At our -signora's we had the most delicious wine, both white -and red, and, mark you, without extra charge. "It is -Chianti," she said, when we asked its name. "But," -we urged, "all the wine of Tuscany is Chianti, <i xml:lang="it" lang="it">non č -vero</i>?" "Quite the contrary," was her answer, "it is -only produced in a certain limited region on the hillsides -of Chianti; we must take you some day to our -vineyard in the true Chianti hills, where this wine was -made." That happy day came in April, when the Tuscan -spring was in its fullest bloom. We took a steam -tram at the Porta Romano, which, as its name indicates, -opens on the old Roman road to Siena, and at -once began our climb into the hill country. Three miles -from the gate, where the little rivers Ema and Greve -join, we passed near the Certosa, more like a fortress -than a monastery, seated so imposingly on its lofty -hill; then our road led along the banks of the Greve -till we reach the village of the same name, which is the -chief town of the Chianti region. It was a beautiful -ride, trending southeastward, and by many a turn and -loop, affording views of glens, valleys, and hills, grey -stone bridges, castles, villas, and churches. At Greve -a carriage was waiting for those who wished to ride; -others preferred the steep, breezy walk over the hills -that separate Greve from Val di Pesa, from which we -saw Florence in her Val d'Arno, twenty miles away. -All along the road were ruins of ancient castles and -piers of bridges, which once defined the marches between -Siena and Florence, held only by constant war-fare; -but now the crumbling towers keep watch and -ward over peaceful olive groves and unmolested vineyards.</p> - -<div class="figcenter" style="width: 502px;"> -<img src="images/i_074.jpg" width="502" height="500" alt="" /> -<div class="caption"><p class="left"><cite>L. C. Dexter</cite></p> - -<p>PONTE FALCIANO, CHIANTI</p></div> - -</div> -<div class="larger-file"> - [<a href="images/i_074big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - - -<p><span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span></p> - -<div class="figcenter" style="width: 502px;"> -<img src="images/i_075.jpg" width="502" height="500" alt="" /> -<div class="caption"><p class="left"><cite>L. C. Dexter</cite></p> - -<p>PONTE CAPELLO. ALONG THE RIVER GREVE, CHIANTI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_075big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span></p> - -<div class="figcenter" style="width: 501px;"> -<img src="images/i_076.jpg" width="501" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. S. Nixon</cite></p> - -<p>VITIGLIANO, CHIANTI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_076big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_077.jpg" width="560" height="443" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>OLD WATCH-TOWER, CHIANTI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_077big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_078.jpg" width="560" height="555" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>PANZANO FROM A DISTANCE, CHIANTI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_078big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_079.jpg" width="560" height="457" alt="" /> -<div class="caption"><p class="left"><cite>L. C. Dexter</cite></p> - -<p>S. LEOLINO A FLACCIANO. PIEVE DI PANZANO, CHIANTI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_079big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span></p> - -<p>Morning wears on toward midday before we get -a distant view of Panzano, a warm, grey tangle of towers -and red roofs, looking calm and friendly enough -in the sunshine, with groves and vineyards at its feet, -but once doubtless given over to the dread clamour of -war. A little farther on is the parish church, Pieve -di S. Leolino, with its pleasant loggia and weather-beaten -bell-tower. Within are two Della Robbias, a -ciborium, and a tabernacle from the atelier, and not far<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span> -away is the country villa, of Count Viviani della Robbia, -the present representative of the illustrious family -of artists.</p> - -<div class="figcenter" style="width: 539px;"> -<img src="images/i_081.jpg" width="539" height="520" alt="" /> -<div class="caption"><p class="left"><cite>L. C. Dexter</cite></p> - -<p>A VILLA IN PANZANO, CHIANTI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_081big.jpg">See larger version</a>] -</div> - -<p>Thus we approach the <i xml:lang="it" lang="it">podere</i>, or farm, in the very -midst of the Chianti district, and can easily understand -the charm it has for our host, and the reason he so -often puts aside his books and walks over the hills<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span> -from Florence to this charming spot, which has for -over a century belonged in his family. "It is admirable -land for the grape," we are told, "and the constituents -of the soil most favourable for producing the best -wine in the world, if it were only properly enriched -and our methods of cultivation somewhat modernized; -as it is, we must send our wine in casks to the French, -who turn it into Bordeaux, and export it at very large -prices." In spite of such obstacles, the fact remains -that Italy is the first wine-growing country in the -world, but ranks only third in wine exportation, although -in the year 1902 she exported wine in casks to the value -of over seven million dollars. We received a cordial -welcome at our host's modest red villa, in and about -which was a stir of preparation—glimpses of cheery -faces and savoury odours escaping from the kitchen, all -indicative of a <i xml:lang="it" lang="it">festa</i>. We were urged to taste delicious -home-made cordial, and to admire our host's two -treasures—the chair in which Garibaldi sat when he -visited the villa, and an interesting wine-jar, or amphora, -of elegant shape, with a decorated band and -the Medici shield, bearing the seven <i xml:lang="it" lang="it">palle</i>, also an inscription. -We then walked about the <i xml:lang="it" lang="it">podere</i>, or farm, -through which runs the Roman road, and would have -made advances to the noble white Tuscan watch-dog -had we not been warned of danger. We visited the<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span> -substantial grey stone house of the <i xml:lang="it" lang="it">contadino</i>, or -farmer, hard by the villa, where it has sheltered members of the -same family for generations; the grandmother, evidently mistress -of the establishment, a fine, dignified-looking woman, welcomed us -courteously, and gratified our curiosity by taking us over the house, -which consisted of three rooms; she displayed, with evident pride, -the spacious bedroom, where, probably, the whole family sleep; at all -events, the bed alone would accommodate half a dozen children put -crossways, and there were piles of blankets and linen, all spun and -woven on the farm, furnishing an inexhaustible provision for additional -couches. In the kitchen -we saw the great kneading-trough for the <i xml:lang="it" lang="it">pane nero</i> -(brown bread), and the domed brick oven where it is -baked; and in the loggia, or porch, stretched a long -table with benches on either side, capable of seating -twenty-four persons, the present census of the household. -The house was clean and orderly, and suggested -comfort and independence. Connected with the house, -at a lower level, are the stables, where the handsome -white oxen live, the ample hen-houses, and places for -tools, grain, hay, etc. While we were walking about -the house and sheds a peasant woman, distaff in hand -and a basket on her arm, came down the Roman -road, and stopped to gaze with astonishment on the -group of <i xml:lang="it" lang="it">forestieri</i>, who, in their turn, gazed with -interest into her good, honest face, and begged to take -a photograph.</p> - -<div class="figcenter" style="width: 351px;"> -<img src="images/i_083.jpg" width="351" height="498" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>THE OLD WINE JAR. CHIANTI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_083big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span></p> - -<div class="figcenter" style="width: 324px;"> -<img src="images/i_085.jpg" width="324" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>A PEASANT OF THE CHIANTI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_085big.jpg">See larger version</a>] -</div> - -<p>The method of letting and working farms in Tuscany -is novel and peculiarly interesting to Americans, -and we urged Signor G—— to enlighten our ignorance -somewhat on the subject. It seems that his estates, -like the majority in Tuscany, are let on the <i xml:lang="it" lang="it">mezzadria</i> -or <i xml:lang="it" lang="it">metayerage</i> system—words indicating the halving, -or equal division, of products between the proprietor -and his farmer.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> The proprietor's land in Tuscany is<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span> -almost invariably divided into <i xml:lang="it" lang="it">poderi</i> (<i>i.e.</i>, small farms -of about forty acres), and each farm is tilled by a single family, -who must live on the land in a comfortable house (<i xml:lang="it" lang="it">casa colonica</i>), -furnished by the proprietor, who also provides farming tools, cattle, -etc. The system is of ancient date and has come to stand as an habitual -form of contract, and in Tuscany has become legalized by almost -universal usage. The contract between proprietor and <i xml:lang="it" lang="it">metayer</i>, or -farmer, holds only from year to year, but is regularly renewed, and, -in most cases, the same family remains on the farm for generations. -Attached to the soil they cultivate, their<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span> -interest is one with that of the proprietor, and they -consider themselves as much owners of the land as -the proprietor himself. So old is the system that language -has been influenced by it; dating back to feudal -times, the word <i xml:lang="it" lang="it">contadino</i> meant "count's man," etc. -There are various understood conditions attached to -the contract. The <i xml:lang="it" lang="it">contadino</i> must annually replant a -certain number of shrubs and trees, keep roads and -watercourses in order, and at Easter, Michaelmas, and -Christmas supply the landlord with a fixed number of -fowls and eggs. In his own house the <i xml:lang="it" lang="it">contadino</i>, with -the title of <i xml:lang="it" lang="it">capoccia</i> (head), represents the family in all -its dealings with the outer world: assigns tasks, decides -when the vintage or harvest shall begin, apportions -personal expenses, and must be consulted before his -children marry; also no member of the family may -marry without the consent of the proprietor, and he -may even require any member of the family to marry. -By the father's side stands the <i xml:lang="it" lang="it">massaia</i>, the wife, -who superintends all housework, governs the women, -assigns tasks of weaving, spinning, and mending, presides -over the poultry-yard, raising of the silk-worm, -etc. The <i xml:lang="it" lang="it">mezzadria</i> system, if not "the perfect social -contract between the owner and tiller of the soil," as -some claim, seems to be, in Tuscany at least, the solution -of many vexed questions; it holds that labour is<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> -an absolute equivalent for capital. The <i xml:lang="it" lang="it">metayer</i>, or -<i xml:lang="it" lang="it">contadino</i>, works directly for his own interests, and is -generally in comfortable circumstances, has a good house, excellent -food and necessary implements; he is usually shrewd, knows the -capabilities of his farm, is an excellent judge of an ox, and can -drive a sharp bargain; he is generally sober, self-respecting, and -industrious; is seldom at a loss for money on account of the diversity -of his crops; he always has something to sell; his calendar is about -as follows, viz.: December to March, the olive harvest; June, the -cocoons; July, the wheat harvest; September, the corn; October, the -vintage. The obverse side of this picture is his<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span> -hide-bound devotion to antiquated methods, and lack -of educated intelligence; he knows nothing of the -rotation of crops, the chemistry of plants and soil, or -of modern implements and conveniences; he cuts his -grain with a sickle and threshes it on the earth; the -spade is his favourite tool, and an old Tuscan proverb -runs, "The spade has a golden edge." As some one -writes, Virgil's Georgics might practically be used in -Tuscany as a "handbook of agriculture." Finally, -the Tuscan farmer is satisfied with modest results; his -average income for the year from his oil, wine, grain, -vegetables, cattle, silk-worms, and straw plaiting is, -approximately, three hundred dollars.</p> - -<div class="figcenter" style="width: 338px;"> -<img src="images/i_087.jpg" width="338" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>THE STATELY CYPRESS</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_087big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 550px;"> -<img src="images/i_089.jpg" width="550" height="546" alt="" /> -<div class="caption"><p class="left"><cite>M. S. Nixon</cite></p> - -<p>A COUNTRY ROAD, CHIANTI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_089big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 520px;"> -<img src="images/i_090.jpg" width="520" height="513" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>PIAZZA OF THE IMPRUNETA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_090big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 506px;"> -<img src="images/i_091.jpg" width="506" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>A STREET IN IMPRUNETA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_091big.jpg">See larger version</a>] -</div> - -<p>The call to luncheon was certainly most welcome -after our morning on the hills and lesson on agriculture; -as for those superior persons who proclaim -that the Italian lives principally on macaroni dried -on the sidewalk, black bread, garlic, and sour wine, -we only wish they might have shared our feast that -day in the Chianti. There was <i xml:lang="it" lang="it">broda</i> (soup), macaroni -with <i xml:lang="it" lang="it">pomidoro</i> sauce, home-grown chickens and fresh -salad, <i xml:lang="it" lang="it">pane nero</i>, sweet and warm from the oven, with -the "best butter," and a delicious, fresh goat's milk -cheese, served on a flat basket of plaited green rushes, -to say nothing of coffee and wine without stint—some -of the Chianti made twenty years before; and now<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span> -we know how the true Chianti ought to taste. It was -a day never to be forgotten; and dreading its coming -to an end, we said our reluctant good-bys to the hospitable -family at Villa Rosso, and pursued our road -homeward in a leisurely and roundabout way, stopping -now to visit some wayside church, or tempted by<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span> -charming country roads leading through vineyards and -lines of cypresses to some hill-crowning villa in the -distance. Finally we climbed the long hill clad with -olive orchards to Impruneta, where, if not too much -entranced with the superb view, we may remember is -the famous shrine of La Madonna dell' Impruneta, one<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span> -of the most important pilgrimage churches in Tuscany. -The black image of the Madonna is said to have given -its name to the village, but it is more probable that it -is derived from the grove of stone pines crowning the -hill, and is a corruption of La Pineta.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> The tradition<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> -is that this Madonna was wrought by St. Luke the -Evangelist, and, having been stolen from the church, it -was sought in vain until a peasant, plowing in the -field, saw his oxen fall suddenly on their knees and -refuse to get up; search being made, the sacred -image was found, and is said to have uttered a cry -when struck by the spade. Whatever its origin, the -Madonna is reverenced by the people, and Savonarola, -we read, had faith in its miraculous power. On occasions -of danger it is carried in solemn procession, but -always closely veiled, and worshipped as the "Hidden -Mother." After all, it is not so much for the black -Madonna that our pilgrimage is made to Impruneta, -but for the Chapel of the Madonna, which enshrines -her, and the one opposite, called the Chapel of the -Holy Cross, both adorned by Luca della Robbia, the -head of his family and the great master of glazed terra-cotta; -the Crucifixion in a chapel near the altar is also -by his hand. The <i xml:lang="it" lang="it">predella</i> of the Tabernacle of the -Holy Cross is one of Luca's most beautiful creations, -representing four buoyant, serious angels, ivory-tinted, -against a pale blue background. Both chapels are -roofed with charming designs, and about the top, as a -cornice, runs a frieze of fruits and pine cones, peculiarly -appropriate to the Church of La Pineta. In the -centre of each frieze is a Madonna "clasping the Child<span class="pagenum"><a name="Page_93" id="Page_93"></a></span> -in her arms, white on a blue background," and that<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> -which indubitably belongs to Luca "is one of his -most human and tender conceptions both of Mother -and Child," the memory of which fitly crowns and -hallows our happy day in the Chianti.</p> - -<p><span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_093.jpg" width="560" height="423" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><cite>Luca della Robbia</cite></span></p> - -<p>PREDELLA TO TABERNACLE, CHAPEL OF THE HOLY CROSS, IMPRUNETA</p> - </div> -</div> - -<div class="larger-file"> - [<a href="images/i_093big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter"> -<img src="images/i_095.jpg" width="560" height="361" alt="" /> -</div> - -<div class="larger-file"> - [<a href="images/i_095big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - - -<p><span class="pagenum"><a name="Page_96" id="Page_96"></a><br /><a name="Page_97" id="Page_97"></a></span></p> - -<h2><a name="CASTRUCCIO_CASTRACANE" id="CASTRUCCIO_CASTRACANE"></a>CASTRUCCIO CASTRACANE -LORD OF LUCCA</h2> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_98" id="Page_98"></a><br /><a name="Page_99" id="Page_99"></a></span></p> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_099.jpg" width="400" height="531" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>STEMMA IN THE COURTYARD, PALAZZO CENAMI, LUCCA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_099big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_100" id="Page_100"></a><br /><a name="Page_101" id="Page_101">[101]</a></span></p> - -<div class="figcenter"> -<img src="images/i_101.jpg" width="560" height="130" alt="" /> -</div> - -<h2>CASTRUCCIO CASTRACANE<br /> -LORD OF LUCCA</h2> - -<p><span class="figleft182" style="width: 182px;"> -<img src="images/i_101a.jpg" width="182" height="180" alt="O" /></span><span class="smcapa">NE</span> lucky day, as we were sauntering -about Pistoja, some one said: "Let us go to Serravalle, and get more -in touch with that stirring fellow, Castruccio Castracane, who seems -to have filled this region with war's alarum, and left his name, if -not more substantial marks, in every town in this part of Tuscany." -We remember that he bribed Filippo Tedici with ten thousand golden -florins, and so got possession of Pistoja and the traitor's daughter, -Dialta, as his wife, and that their wedding festivities took place in -the Piazza della Sala, where the Mercato is to-day; also, that when -Castruccio once got within the walls he ruled the city well.</p> - -<p>Serravalle is a picturesque little town but three -miles from Pistoja, on the highway to Lucca—as pretty -a walk as one could wish to take. It is clustered on<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span> -the top of a steep hill, and, if somewhat squalid in these -later days, its ancient loggia, church, and castle are fine -in colour and delightfully irregular and surprising in -form. We climb up to the twelfth-century church, -which contains a valuable old painting, then round -the hill under an imposing loggia, and take our way up -to the <i xml:lang="it" lang="it">rocca</i>, or castle, which Castruccio built early in the -fourteenth century on a spur of the hill, an admirable -place of defence, and which answers to its name by -closing the valley (<i xml:lang="it" lang="it">serra valle</i>). From this vantage-point -we have a good view of Pistoja on one side, on -the other lies the fertile valley of the Nievole, so often -Castruccio's battle-field. The grass is soft and green -about the crumbling walls of the old castle now, and -clumps of silvery-leaved olive trees, swept by Apennine -breezes, brush gently against the old bastions and -lofty six-sided tower, which command an outlook over -the entire valley. The castle was evidently built out -of ruins of earlier buildings, and probably erected in -some haste to stay the progress of a dangerous enemy; -but it must have been good, honest work to have lasted -six hundred years, and Castruccio must have had a -genius for building castles and fortresses, not only peculiarly -adapted to his own needs of defence, but in -such a way as to hold their own down through the -centuries, and in their last ruinous state to challenge<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span> -universal admiration. At Sarzana the fortress he built -and named Sarzanello is very different from the one at -Serravalle, but perhaps even finer, and one can easily -understand why Lorenzo, Il Magnifico, should wish to -possess it as a thing of beauty, even had it not been -supremely necessary to the northern defences of Florence -on the Ligurian coast. It is planted on the brow -of a hill overlooking the sea, and is a rather low, battlemented -fortress of grey stone, its bastions, towers, -and ponderous arches all surrounded by a moat.</p> - -<div class="figcenter" style="width: 387px;"> -<img src="images/i_103.jpg" width="387" height="520" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>APSE END AND CAMPANILE</p> -<p class="smaller">CHURCH OF S. ANDREA, SERRAVALLE</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_103big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_104" id="Page_104"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_104.jpg" width="560" height="410" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>RUIN OF THE ROCCA OF CASTRUCCIO, SERRAVALLE</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_104big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_105" id="Page_105"></a></span></p> - -<div class="figcenter" style="width: 519px;"> -<img src="images/i_105.jpg" width="519" height="520" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>OLIVE TREES</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_105big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span></p> - -<p>From the heights of Serravalle, looking toward -Lucca, we see the medięval bell-tower of Altopascio, -and remember that one of Castruccio's signal victories -over the Florentines took place there in 1323. The -previous spring Castruccio had dashed into the lower -Val d'Arno, taken several towns, and menaced Florence -herself. Clearly his victorious career must be -stopped; accordingly, Florence collected the finest -army she had ever put in the field, headed by the <i xml:lang="it" lang="it">carroccio</i> -and <i xml:lang="it" lang="it">martinella</i>, and marched to Pistoja, hoping -to tempt Castruccio out of the city; but having spent -some days insulting the garrison by games and races -under the walls, the Florentines moved on toward -Lucca. This was Castruccio's chance; rapidly following -the great army, he surprised it at Altopascio, -routed it completely, and then led the <i xml:lang="it" lang="it">carroccio</i>, with -many noble prisoners, in triumphal procession through -the gates of Lucca. A year later "he occupied Signa, -pillaged Prato, laid siege to Montemurlo, and wasted -the greater part of the Florentine <i xml:lang="it" lang="it">contado</i>."<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> But it -would be impossible to follow Castruccio Castracane<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span> -through all his adventurous course, and it is time to -inquire what manner of man he was. Ruskin calls -him "the greatest captain of his age," an estimate -probably made with nice distinction, for though he -must be reckoned among the Italian <i xml:lang="it" lang="it">condottieri</i>, one -of the "six sorts of despots," according to Mr. Symonds' -classification,<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> "raging in Italy during the -fourteenth and fifteenth centuries," he certainly differs -essentially from tyrants like the Sforzi of Milan, the -Scali of Verona, the Baglioni of Perugia, and others -like them, who, springing from peasant or bourgeois -ranks, became powerful enough to found kingdoms, -maintain splendid courts, and follow their natural -tastes for arts and the new learning. The Baglioni -patronized Perugino; Il Moro had his Leonardo da -Vinci; Petrarch had his seat of honour at Galeazzo Visconti's -table, and the Malatesti dukes of Urbino displayed -a passionate zeal for philosophy and art, while -"the spell of science was stronger over them than the -charms of love." Castruccio was unlike these tyrants, -in that we hear nothing of his taste for books, or music, -or art; indeed, by his ruthless devastation of the environs -of Florence, incalculable treasures, representing -early Italian art, were irretrievably lost; and though -we know that Castruccio had sons and other kinsmen, -there was no successor to the great "soldier of fortune -who had raised himself to be Duke of Lucca, Lord of -Pisa, Pistoja, Volterra, and much of the Genoese Riviera."<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> -Castruccio may, perhaps, be compared with -that "captain of adventure," Il Medeghino, son of a certain -Bernardo de' Medici, not connected with the Medicean -family of Florence, who delighted in war for its own -sake, and by cunning and skill became master of the -region about Lake Como, where he played the rōle of -Marquis of Musso and Count of Lecco, setting up his -court and coining money with his own name and devices. -It was when he reached this dizzy point of -success that he arrogantly assumed the arms of the -Florentine family and swept the lake at the head of a -squadron led by his flagship, from which floated a red -banner with the golden <i xml:lang="it" lang="it">palle</i> of the Medici. When -Il Medeghino died the Senate of Milan put on mourning, -and in the cathedral we may see his splendid -tomb, the work of Leone Lioni.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> The services of -Castruccio Castracane to the Ghibelline or Emperor's -party in Italy were not recognized by such high honours. -He led the simple, hardy life of a soldier, died -in the harness at the beginning of a fresh campaign, -and was buried at Lucca in the Church of S. Francesco, -used now as a military magazine.</p> - -<div class="figcenter" style="width: 390px;"> -<img src="images/i_107.jpg" width="390" height="520" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>AN IRON LANTERN, PALAZZO BARONI, LUCCA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_107big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_108" id="Page_108"></a></span></p> - -<div class="figcenter" style="width: 361px;"> -<img src="images/i_108.jpg" width="361" height="520" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><cite>A. Verrocchio</cite></span></p> - -<p>MONUMENT OF GENERAL BARTOLOMMEO COLLEONI</p> -<p class="smaller">CAMPO DI S. GIOVANNI E. PAOLO. VENICE</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_108big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_109" id="Page_109"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_109.jpg" width="560" height="450" alt="" /> -<div class="caption"><p>MOAT OF THE CASTLE SARZANELLO, SARZANA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_109big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_110" id="Page_110"></a></span></p> - -<div class="figcenter" style="width: 391px;"> -<img src="images/i_111.jpg" width="391" height="560" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft18"><cite>Donatello</cite></span></p> - -<p>MONUMENT TO GENERAL GATTAMELATA, PADUA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_111big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_111" id="Page_111"></a></span></p> - -<p><span class="pagenum"><a name="Page_112" id="Page_112"></a></span></p> - -<div class="figcenter" style="width: 394px;"> -<img src="images/i_112.jpg" width="394" height="520" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><cite>Paolo Uccello</cite></span></p> - -<p>EQUESTRIAN STATUE OF JOHN HAWKWOOD</p> - -<p class="smaller">CATHEDRAL, FLORENCE</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_112big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span></p> - -<p>In physical strength and agility, in foxlike cunning -and ready audacity, and in his sense of honour and -justice, Castruccio resembles Bartolommeo Colleoni, -of Bergamo, who trained under the greatest <i xml:lang="it" lang="it">condottiere</i> -of his age, distinguished himself in many engagements -for the Visconti, and was finally elected general-in-chief -of all the Venetian forces by the Republic of -St. Mark, and received his truncheon of office from<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span> -the hand of the Doge before the high altar of San -Marco. At Bergamo we see his chapel, built by -Amadeo, as a "monument of the warrior's puissance -even in the grave." There also is the equestrian -statue in gilded wood voted by the town of Bergamo, -and, far more noteworthy, the beautiful tomb of his -favorite daughter, Medea. But the great general's -rightful monument is in Venice, where the "finest -bronze equestrian statue in Italy, if we except the -Marcus Aurelius of the Capital," was reared in his -honour. The second great equestrian statue in Italy, -strange to say, is also that of a <i xml:lang="it" lang="it">condottiere</i>—Erasmo -da Narni, better known as Gattamelata, a noble work -of Donatello, erected in the Piazza del Santo at -Padua.</p> - -<p><span class="pagenum"><a name="Page_115" id="Page_115"></a></span></p> - -<div class="figcenter" style="width: 376px;"> -<img src="images/i_115.jpg" width="376" height="540" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft18"><cite>Giorgione</cite></span></p> - -<p>MADONNA AND CHILD, WITH TWO SAINTS</p> - -<p class="smaller">PAROCHIAL CHURCH. CASTELFRANCO</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_115big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_116" id="Page_116"></a></span></p> - -<div class="figcenter" style="width: 419px;"> -<img src="images/i_116.jpg" width="419" height="520" alt="" /> -<div class="caption"><p><cite>Hanfstaengl</cite> <span class="mleft15"><cite>Botticelli</cite></span></p> - -<p>PORTRAIT OF A YOUNG FLORENTINE</p> - -<p class="smaller">ROYAL GALLERY, BERLIN</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_116big.jpg">See larger version</a>] -</div> - -<p>It is impossible to compare Castruccio exactly with -any other free-lance of his time. There are <i xml:lang="it" lang="it">condottieri</i> -and <i xml:lang="it" lang="it">condottieri</i>; the range is so wide and, defining -lines so elastic that in the day when individuality -was more marked than in any other period of the -world's history, it is not strange to find in the same -class such widely differing characters as Francesco -Sforza, called the "great Condottiere," the brave and -skillful but humane Carmagnuola, or the youthful -Matteo Costanzo, who, in full armour and bearing the -standard of the cross, figures as San Liberale in<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span> -Giorgione's celebrated Castelfranco Madonna and -Child. Matteo died young, but had been trained -as <i xml:lang="it" lang="it">condottiere</i> by his father, who gave Giorgione's -Madonna to the Church, as a votive offering in memory -of his lamented son. There was no bronze statue -raised in Castruccio's honour, and no portrait of him is -mentioned, though it is said he appears in Benozzo -Gozzoli's Procession of the Magi in the Riccardi -Palace, and in Orcagna's Triumph of Death in the -Campo Santo of Pisa. Of his personal appearance, -therefore, we are wholly ignorant, except for the -tradition that he had red hair. Nor are we much -more certain of his youth and training. Machiavelli's -romantic account relates that he was a foundling, -picked up in her vineyard by the kindly Dianora -Castracane, of Lucca, who carried the infant home, -and, calling her brother, a canon of San Michele, -with whom she shared her house, tried to determine -the child's future. After much discussion it was -decided to give him the name of Castracane and -educate him for the Church; but, though quick to -learn, Castruccio had no taste or desire for the cloister; -his one thought was for athletic sports, adventure, and -the noble art of war. Playing with his fellows in the -Piazza of San Michele, he attracted the attention of a -nobleman of Lucca, who, when Castruccio was eighteen,<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span> -adopted him, trained him to arms, and, upon his death, -confided to him the care of his estates and direction -of his only son. His masters in war were the most -notable military leaders of the time, and "Machiavelli -goes to the length of saying that, as a general, he -was not inferior to Philip of Macedon, or Scipio."<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p> - -<p>The more sober historians hold that Castruccio was -a member of the Interminelli family, who had been -exiled in his youth, and gained much military experience -in England when serving under Edward I. All accounts -agree that he was a remarkable man, and one -critic writes of him thus: "Not only as a soldier but -as a statesman he was undoubtedly the foremost man -in Italy, and it is not improbable that, had he lived, he -would have subjugated the whole peninsula."</p> - -<div class="figcenter"> -<img src="images/i_118.jpg" width="229" height="300" alt="" /> -<div class="caption"><p>STEMMA OF SERRAVALLE</p></div> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_119" id="Page_119"></a></span></p> - - - -<h2><a name="PISTOJA" id="PISTOJA"></a>PISTOJA<br /> - -THE "CITY OF CINO"</h2> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_120" id="Page_120"></a><br /><a name="Page_121" id="Page_121"></a></span></p> - -<div class="figcenter" style="width: 435px;"> -<img src="images/i_121.jpg" width="435" height="540" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft18"><cite>Della Robbia</cite></span></p> - -<p>MEDICI STEMMA</p> - -<p class="smaller">OSPEDALE DEL CEPPO, PISTOJA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_121big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_122" id="Page_122"></a></span></p> - -<p><span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p> - - - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_123a.jpg" width="560" height="310" alt="" /> -</div> - -<div class="larger-file"> - [<a href="images/i_123abig.jpg">See larger version</a>] -</div> - -<h2>PISTOJA, THE "CITY OF CINO"</h2> - - -<p><span class="figleft183" style="width: 183px;"> -<img src="images/i_123.jpg" width="183" height="180" alt="A" /></span> <span class="smcapa">SPRING</span> day comes suddenly in Val d'Arno when the air is a thought -too warm and over-rich with languorous fragrance from myriad blossoms. -Then thirst grows imperious for the uplands, for Tuscan hillsides clad -with chestnut-trees overshadowing uncut grass, through which sweeps -an eager breeze caught from the snow-capped Apennines. On such a day -we recall Pistoja, once seen on our way southward from Bologna, and -ever since haunting our minds like a sweet vision. We had crossed the -watershed which defines the boundary<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span> -between Emilia and Tuscany, and were following, by many a curve and -loop, the Reno's tortuous course, when suddenly we sighted, perched -loftily upon the spur of the Apennines, a city's gleaming dome and -towers; another turn, and she was lost; again, from some hill-spanning -gallery, or viaduct, we snatched another entrancing glance, and so, by -coy circlings down the pass, we drew nearer and nearer until the train -paused for a moment without the gates of Pistoja, then carried us on to -Florence, twenty miles away. But we had treasured always in our mind -the vision of that city, with gleaming dome and towers, that keeps her -watch at the northern gate of Tuscany. Short as is the distance between -Florence and Pistoja, there is a marked change in the atmosphere, which -acts as a healthy tonic on the <i xml:lang="it" lang="it">dolce far niente</i> of a Florentine -spring. We enter Pistoja through the Porta Carratica, or Fiorentino, -still emblazoned with the Medici shield, and find<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span> -ourselves shortly in the very centre of a pleasant, busy -city, its clean, wind-swept streets broad and well paved, -the principal ones following the lines of the first two -medięval walls, for Pistoja, like Florence, has had three -circles, the last of which, built in the fourteenth century, -remains almost intact. Along this wall are pleasant -walks and a boulevard called the Viale dell'Arcadia, -planted with shade-trees and commanding extensive -views. If now your conscience stirs actively to "do" -Pistoja thoroughly, there's a stiff day's work before -you. The list of churches alone is formidable, not -counting those which have been diverted from original -purposes. Nearly every church contains something -worth seeing: paintings and sculptures, three celebrated -pulpits at least, tombs, fonts, and Della Robbia -reliefs; moreover, there are the libraries and the -famous hospital, or Ospedale del Ceppo—altogether -an outlook beyond words discouraging. It is better -to stand about the Piazza del Duomo, or Cathedral -Square, perhaps the most representative one in Tuscany, -the centre for a thousand years of the social, civil, -and religious interests of the town. Here are the cathedral -and Bishop's palace, the Palazzo Pretorio, or -Podestą, and the Palazzo Pubblico, or, in other words, -the Court House and City Hall, representing the ancient -warring powers of Church and State. Here they<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span> -are on their old battle-field, temporal power jealous of -spiritual aggressions. Even the weather-beaten Torre -del Podestą is not wholly committed as a campanile, -but stands off a little from the cathedral, remembering -that it was once the city's watch-tower, its tocsin sounding -alarm to Guelf and Ghibelline, blacks and whites, -and all invaders. The bishop was no insignificant -power when the Commune was struggling for independence. -He had his many feudal castles, armed -retainers, and vassals; his court dealt sternly with culprits, -and his dungeons, under the palace yonder, were -more feared than those of the Podestą. Not that the -City Fathers were not proud of their powerful bishop -and their noble cathedral, dedicated to St. Zeno, and -containing the silver altar of San Jacopo, patron saint -of the city, which drew crowds of pilgrims every year -to worship at the famous shrine. Not a few popes -journeyed from Rome to visit the bishop, and noble -visitors of every land, from the Emperor of the East -to Bonaparte, had filled the square with their trains and -followers. But the commune of Pistoja, like many another, -had a bitter struggle to keep her footing, though -she began well and very early; her first municipal statutes, -and good ones they were, too, being framed in -1117, immediately after the death of "the great Countess" -Matilda. It was battle royal for many centuries;<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span> -but now Church and Commune live peacefully side by -side, forgetful of the stormy past, except when they -turn over their priceless archives, preserved in the -chapter of the cathedral and the Palazzo Pubblico, where -one may read a thousand interesting and thrilling -things concerning the history of Pistoja, of the men -who built churches and palaces, and called the great -artists of the Renaissance to come and fill them with -paintings and sculptures, wood-carving, and metal-work. -And the city grew so proud and magnificent -that we read of sumptuary laws promulgated to restrain -extravagance of nobles and burghers in the matters of -dress, jewelry, food, and pomp at funerals. The law -of 1439 forbade trimmings of gold and silver brocade, -long trains to ladies' dresses, the quality of sleeve-linings, -etc. Unluckily, many of the archives belonging -to the cathedral were destroyed in the fires of 1108 -and 1202; hence the endless discussions as to the -city's origin and name. "Etruscan," says one. "Far -from it," says another; "I have found a Roman house, -mosaic, and coins a dozen feet under the pavement of -the square, which must have been the centre of the -earliest city." As for its name, some derive it from -two Etruscan words, <i xml:lang="it" lang="it">pist</i> (door) and <i xml:lang="it" lang="it">oros</i> (mountain), -referring to the position of the city at the entrance of -a mountain pass; others get the name from <i xml:lang="it" lang="it">pistores</i> -(bakers), the early city -having been celebrated -for its excellent ovens.</p> - -<div class="figcenter" style="width: 338px;"> -<img src="images/i_124.jpg" width="338" height="400" alt="" /> -<div class="caption"><p>THE LITTLE BROWN BEARS AND THE -SHIELD OF PISTOJA</p></div> -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_125" id="Page_125"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_125.jpg" width="560" height="419" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>PIAZZA DEL DUOMO, PISTOJA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_125big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_126" id="Page_126"></a></span></p> -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_129" id="Page_129"></a></span></p> - -<div class="figcenter" style="width: 389px;"> -<img src="images/i_129.jpg" width="389" height="520" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft18"><cite>Verrocchio</cite></span></p> - -<p>STEMMA OF PISTOJA</p> - -<p class="smaller">PALAZZO PUBBLICO. PISTOJA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_129big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_130" id="Page_130"></a></span></p> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span></p> - -<div class="figcenter" style="width: 208px;"> -<img src="images/i_132.jpg" width="208" height="500" alt="" /> -<div class="caption"><p class="left">Alinari</p> - -<p>BRONZE CANDELABRA (15TH CENTURY)</p></div> -</div> - -<p>The Pistoja of to-day is a prosperous and attractive city with good -buildings, fine markets, and many industries; she has been noted from -time immemorial for her skilled work in iron, bronze, and wood, and her -ancient metal-work has been found in Germany and Athens. In her bronze -foundries to-day she not only casts bells and small articles, but many -statues and groups created by Italian artists are cast in Pistoja. The -manufacture of carriages and fine organs is of great importance. The -district has four paper-mills, and of the eleven brass foundries in the<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span> -province five are situated at Pistoja, and many skilled -workmen are employed in wood-carving, artistic ironwork, -etc. Her trade is mainly in wine, oil, grain, <i xml:lang="it" lang="it">paste -alimentare</i>, and cattle. The milk and butter of Pistoja -are considered the best in Tuscany. To appreciate -the varied productions and interests of the district of -Pistoja you must wander about the Piazza del Duomo -on market-day when it is filled with booths offering -woolen, linen, and cotton stuffs, bright kerchiefs, shawls, -shoes, and "notions," displayed in picturesque confusion -and colour; a score of red, yellow, and green umbrellas -in one corner, or a line of <i xml:lang="it" lang="it">contadini</i> overcoats of a warm -brownish-red colour, trimmed with tawny fur and lined -with green, delight the eye and are much in demand. -Or walk through the Mercato, old as Pistoja herself, -where the ancient well indicates the very centre of the -first city. Here is certainly every object man can want, -and the square blooms daily with all kinds of fresh vegetables -and flowers: there are grains and food of every -sort; in the season there are piles of yellow cocoons -on the pavement; bright-faced old women are roasting -chestnuts gathered on the mountain side; pretty baskets -of fragrant wild strawberries are proffered by -some handsome young girl, and the stall of some descendant -of the old race of <i xml:lang="it" lang="it">pistores</i> is hung with rings -of sweet, fresh <i xml:lang="it" lang="it">pane nero</i> (brown bread), while various<span class="pagenum"><a name="Page_134" id="Page_134"></a></span><span class="pagenum"><a name="Page_135" id="Page_135"></a></span> -kinds of cheese and the "best butter" await your -choice. The markets for fish and meat are in different -parts of the city.</p> - -<div class="figcenter" style="width: 378px;"> -<img src="images/i_133.jpg" width="378" height="500" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>HEAD OF THE TRAITOR, FILIPPO TEDICI</p> - -<p class="smaller">PALAZZO PUBBLICO. PISTOJA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_133big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span></p> - -<p>By this time the exhilarating, almost heady, mountain -air has created a ravenous appetite, and we clamour, -above all else, for a taste of the Mercato's tempting -products served in appetizing dishes known only to -the true Italian chef. Our wishes may be easily gratified -at the Albergo Globo e Londra, in Piazza Cino, -where cooking is good and native wine excellent. If -this luncheon could have been served in a pleasant -garden, the only proper banquet-hall for Italy, nothing -further could be desired; but it is only fair to warn -the traveller who means to sleep in Pistoja that the -chambers of the Globo are by no means tidy or attractive.</p> - -<p><span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span></p> - -<div class="figcenter" style="width: 380px;"> -<img src="images/i_137.jpg" width="380" height="520" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>THE CAMPANILE FROM VIA RIPA DEL SALE, PISTOJA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_137big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span></p> - -<div class="figcenter" style="width: 406px;"> -<img src="images/i_141.jpg" width="406" height="540" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>THE LOGGIA, OSPEDALE DEL CEPPO, PISTOJA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_141big.jpg">See larger version</a>] -</div> - -<p>Now for a stroll through the quaint old streets with -curious and suggestive names, and a peep into quiet -courtyards of palaces deserted by their noble owners, -and given over to modest householders and humble -artisans. At the corner of Via Abbi Pazienza and the -Via de' Rossi is the great palace of the Rossi family, -blazoned with many shields of varied quarterings, and -from the corner hangs one of the gruesome black -heads of the traitor Filippo Tedici, like that on the -faēade of the Palazzo Pubblico. Many of the oldest<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span> -streets of Pistoja lead from the Piazza del Duomo, and -their names suggest the life of an earlier day: Via -Orafi (jewelers) was once devoted to goldsmiths' shops -and studios; the Via Stracceria (rags) was so called -because clothing of all sizes, colours, and condition was -hung to dry from windows and other "coigns of vantage;" -and the Via Can Bianco was named in honour of a faithful -white dog, whose barking warned his master of the -approach of an enemy. Near the east end of the cathedral -we may leave the square by the Via Ripa del Sale, -a narrow street over-arched by a gallery connecting the -Palazzo Pubblico with the duomo, convenient for the -worshipful magistrates when they desired to hear -mass. This street leads us, with often a backward -glance at the campanile, to the Via Filippo Pacini, a -broader thoroughfare following the line of the first -city wall, and in two minutes we stand in the little -irregular square of the Ospedale del Ceppo and before -the famous Della Robbia frieze, an experience which, -to one of us at least, seems almost a miracle. So -many years Pistoja had been merely a dream city, a -name—a curious, unreal name—standing only for this -little piazza, this loggia, and the brilliant band of varied -colour crossing its faēade. Those imperfect guide-books -of our youth had merely mentioned as important, this -glazed terra-cotta frieze, wrought, it seemed to us,<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span> -through some magic by the members of one family -only, the secret of which vanished from the world forever -upon the death, in 1529, of the last true Della -Robbia, the author of this frieze. Tradition added -that the formula for compounding the Della Robbia -glaze was supposed to be hidden behind one of the -panels, one of which was afterward found broken, the -robber leaving no trace of the precious parchment. -The panel, "Giving Drink to the Thirsty," was repaired, -but not like the others. We can see for ourselves -that it is only painted stucco and of later date. -This was a story to stir youthful imagination to the -highest pitch: a mystery, a secret, a theft—the very -stuff that dreams are made of. Italy is full of traditions; -even the origin of this self-same hospital is a -pretty story, as told by a worthy canon of the cathedral, -and who would wish to question it? "The -Church of Santa Maria del Ceppo (meaning a dry -root) was built near the little stream Brana about 1277, -by the pious Theodore and his wife Bandinella, who -dedicated it to the Assumption, and placed therein an -alms-box for the benefit of the sick and poor. This -chest increased little by little, until it became the present -hospital. The <i xml:lang="it" lang="it">chiesetta</i> (little church) was incorporated -in the large building." Time and the<span class="pagenum"><a name="Page_141" id="Page_141"></a></span><span class="pagenum"><a name="Page_142" id="Page_142"></a></span> -schools have taught us the meretricious value of traditions,<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span> -but even stripped of all glamour the Della Robbia -frieze is unique as an architectural feature, and -peculiarly appropriate to the building it adorns. It -consists of seven panels, representing the temporal -works of mercy as performed by the good brothers -of the hospital; between them are figures representing -the Virtues: Faith, Hope, Charity, Prudence, and -Justice; below appear medallions of the arms of the -city, of the hospital (the sprouting root), and the -Medici shield; also the Annunciation, Visitation, and -Assumption. Of all the panels, the "Sheltering of the -Pilgrims," and the "Healing of the Sick," are considered -the finest; the figures of the brothers in both -have evidently been studied from life, especially that -of the physician. More beautiful, however, than any -part of the frieze is Benedetto Buglioni's "Coronation -of the Virgin," a lunette over the chapel door of excellent -workmanship, and in simple colours, white on -blue, with crowns of pale yellow. In its modelling -and glaze, its seriousness and grace, it almost rivals -Luca della Robbia's masterpiece in Pistoja, "The Visitation," -in the Church of St. John the Evangelist. If -there is a moment to spare we may well slip round the -corner for a peep at the Church and Convent of Santa -Maria delle Grazie, where a calm-faced sister—one of the -good Bandinella's descendants, wearing the pretty wimpled<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span> -cap of white muslin, designed, it is said, by some -tasteful lady of the Medici family—will show us their -perfect little Renaissance church and its great treasure, -the Lorenzo di Credi Madonna, and also insist gently -upon a visit to the Miraculous Bed where once the -Madonna reposed. They will further offer to exhibit -their store of fine vestments and robes, well worth looking -at; but if once we begin looking at churches and -vestments there will be no getting back to Florence -for a week. But at least we must take leave of our hosts, -those stately shades of forceful men belonging to Renaissance -Pistoja, who worked and wrought in these streets, -whose prowess and policy, wit and learning, are so vivid -in men's minds to-day. Pistoja entered with characteristic -zest into the spirit of the Renaissance in all its -varied aspects; she espoused the new learning, her -libraries were filled with Greek and Latin manuscripts; -she was famed for her able jurists and historians, her -singers and poets were welcome at the proudest courts -of Italy. We read that Antonio da Pistoja was invited -by Lodovico il Moro to Milan, "in hope of refining and -polishing the rude Lombard diction," and that the -charming and learned Isabella d'Este, Marchesa of -Mantua, wrote to her envoy: "Find out Messer -Tebaldeo (of Pistoja), and beg him to send twenty<span class="pagenum"><a name="Page_145" id="Page_145"></a></span> -or twenty-five sonnets, as well as two or three<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span> -<i xml:lang="it" lang="it">capitoli</i>, which would give us the greatest possible -pleasure."</p> - -<div class="figcenter" style="width: 403px;"> -<img src="images/i_145.jpg" width="403" height="520" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft12"><cite>Della Robbia School</cite></span></p> - -<p>COAT OF ARMS OF THE HOSPITAL, PISTOJA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_145big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span></p> - -<p>No more typical family can be found, perhaps, than -the Forteguerri of Siena and Pistoja, which was noted -for its brave and learned sons and daughters, and -beloved and honoured for devotion to their country, for -their benevolence, learning, and poetic genius. As -early as 1179 we find a Forteguerra as consul of Pistoja; -in the fifteenth century Cardinal Forteguerra was not -only conspicuous in the Church, but a constant friend -and benefactor to his native city, founding and endowing -a college and library. His grateful city erected a -monument to his memory in the Piazza del Duomo, -and called Verrocchio to design and carve a fitting -tomb in the cathedral; but the work was not concluded -by the master's hand, nor in accordance with his clay -model, which we see to-day in the South Kensington -Museum; and looking at the tomb, evidently the work -of many diverse hands, one can but wish that the good -Cardinal might have at Pistoja at least a replica of the -one, by Mino da Fiesole, in the Church of St. Cecilia, -Rome. Besides Cardinal Niccolņ, there was more -than one bishop, many jurists and historians in the -Forteguerri family, and no less than six poets. The -fifteenth Forteguerra, of the Pistoja branch, was another -Niccolņ (1674-1735), a well-known and cultured church-man<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span> -at the court of Pope Clement XI, and author of -a long, satirical poem, "The Ricciardetto," besides -verses called "<i xml:lang="it" lang="it">capitoli</i>," and various translations from -the Latin. This Niccolņ was evidently conversant -with Roman society, and a close observer of men and -politics; he shows himself, also, at the age of fifty, a -good lover, not only singing his lady's praise in verse, -but sending her frequent vivacious and friendly letters, -half in jest, but often dangerously near earnest affection; -and the name of some Arcadian maiden of his -muse, some Daphne or Phyllis, thinly conceals the -identity of the noble young Roman lady, Marianna -Cenci Bolognetti. It appears that the women of the -family Forteguerri were also brave and talented; at -least, we have a record of one of the Siena branch, -when in 1554 the city was besieged by the Spaniards -and almost spent with famine; when the best men of -Siena were losing courage, "women of gentle birth, -leaders of society, worked at the defences, side by side -with artisans and common soldiers. All the Sienese -ladies divided themselves into three companies; the -first was led by Signorina Forteguerra, who wore a -violet uniform, as did those who followed her; ... -these three squadrons were composed of 3,000 ladies -of the upper and middle classes. They bore pikes -and spades, panniers and hurdles; as they went to their<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span> -work on the fortifications, these brave women sang a -song composed by one of that numerous choir of -poetesses who sang the swan song of their own -country." This Signorina Forteguerra is the one -whom the English diarist, Hoby, mentions. "Most of -the women of Siena," he says, "are well learned and -write excellentlie well in prose and verse: among -whom Laodomia Forteguerra and Virginia Salvi did -excell for good wittes."</p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_149.jpg" width="560" height="420" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft12"><cite>Giovanni della Robbia (?)</cite></span></p> - -<p>HEALING OF THE SICK</p> - -<p class="smaller">(DETAIL OF FRIEZE), OSPEDALE DEL CEPPO, PISTOJA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_149big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_150" id="Page_150"></a></span></p> -<p><span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span></p> - -<p>Pistoja is called the "City of Cino" because of her -famous lawyer-poet, Guittoncino (always called by the -fond diminutive "Cino"), of the noble house of Sinibuldi, -which had given Pistoja one bishop and many -gonfaloniers. Though belonging to the thirteenth century, -his noble character, his ability as a jurist, the -pure and graceful style of his "Comments on the -Codices," his faultless letters and verse—above all, his -friendships and love story—have kept his memory fresh. -He enjoys even to-day a certain fame in Italy, and all -the world is supposed to know his charming sonnets, -addressed to his friends, among whom were Dante and -Petrarch, and to the lady Selvaggia dei Vergiolesi. His -monument in the cathedral, erected by the Commune, -is by Cellino di Nese, and is the first of the "monuments -of the professors," a class of work characteristic -of the coming period; it shows Cino lecturing on law<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> -to his pupils, among whom are Baldus, commentator -on Civil Law, and the "idle Petrarch;" there appears -also a draped female figure, which may personify -poetry, or Roman Law, or, as some will have it, the fair -lady of Cino's devotion, Selvaggia dei Vergiolesi; -unsentimental critics, however, are inclined to think -that the figure is that of the Madonna, and was once a -part of a relief of the Annunciation. Selvaggia's -family was Ghibelline, and, banished from Pistoja in -1305, retired to their strong castle, where the beautiful -Selvaggia died at the age of twenty, after which Cino -became a wanderer in foreign lands: he crossed the -Alps and took up his abode in Paris, where he pursued<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span> -his studies for some time. Cino's letters to Selvaggia -and to his other friends, in which he sang his love and -suffering, are exquisite in their purity and elegance -of diction, and place him among the great makers of -the Italian language. To Dante he wrote an ode condoling<span class="pagenum"><a name="Page_155" id="Page_155"></a></span> -with him upon the death of Beatrice in tender -and musical lines. He died in his native city of -Pistoja at the age of sixty-six, upon which Petrarch -composed his celebrated lament, beginning:</p> - -<div class="figcenter"> -<img src="images/i_152.jpg" width="560" height="371" alt="" /> -<div class="caption"><p>VIA ABBI PAZIENZA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_152big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_153.jpg" width="560" height="421" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><cite>Benedetto Buglioni</cite></span></p> - -<p>CORONATION OF THE VIRGIN</p> - -<p class="smaller">OSPEDALE DEL CEPPO, PISTOJA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_153big.jpg">See larger version</a>] -</div> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Weep, women, and may love weep with you;</div> - <div class="i0">Weep, lovers of all countries,</div> - </div> - <div class="stanza"> - <div class="i1">* * * * *</div> - </div> - <div class="stanza"> - <div class="i0">For our ever gentle Master, Cino,</div> - <div class="i0">Is now gone far from us."</div> - </div> - <div class="stanza"> - <div class="i1">* * * * *</div> - </div> -</div> -</div> - -<div class="figcenter"> -<img src="images/i_155.jpg" width="560" height="142" alt="" /> -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_156" id="Page_156"></a><br /><a name="Page_157" id="Page_157"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_157.jpg" width="560" height="416" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft12"><cite>Mino da Fiesole</cite></span></p> - -<p>MONUMENT OF CARDINAL NICCOLŅ FORTEGUERRA</p> - -<p class="smaller">CHURCH OF S. CECILIA, ROME</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_157big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_158" id="Page_158"></a><br /><a name="Page_159" id="Page_159"></a></span></p> - - -<h2><a name="A_SUNDAY_AMONG_THE_HILLS" id="A_SUNDAY_AMONG_THE_HILLS"></a>A SUNDAY AMONG THE HILLS<br /> -OF BRANCOLI</h2> - -<p><span class="pagenum"><a name="Page_160" id="Page_160"></a><br /><a name="Page_161" id="Page_161"></a></span></p> - -<div class="figcenter" style="width: 500px;"> -<img src="images/i_161.jpg" width="500" height="547" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><cite>Fra Bartolommeo</cite></span></p> - -<p>THE VIRGIN AND CHILD ENTHRONED, AND SAINTS</p> - -<p class="smaller">CATHEDRAL, LUCCA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_161big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_162" id="Page_162"></a></span></p> - -<p><span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span></p> - - -<h2>A SUNDAY AMONG THE HILLS -OF BRANCOLI</h2> - -<div class="figcenter"> -<img src="images/i_163.jpg" width="560" height="314" alt="" /> -</div> - -<div class="larger-file"> - [<a href="images/i_163big.jpg">See larger version</a>] -</div> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"O day most calm, most bright."</div> - <div class="i12">—<span class="smcap">Herbert.</span></div> - </div> -</div> -</div> - -<p><span class="figleft181" style="width: 181px;"> -<img src="images/i_163a.jpg" width="181" height="180" alt="O" /></span><span class="smcapa">N</span> St. Patrick's Day in the morning -we left Florence, had a full -day's sight-seeing in Pistoja, Groppoli, -and Serravalle, and pushed -on to Lucca the same evening, -arriving about seven o'clock.</p> - -<p>Acting on sound British advices, -we drove at once to the Albergo dell'Universo, -a comfortable little inn occupying the first floor of the -old Palazzo Arnolfo, where we had our belated dinner,<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span> -took our ease before a cheerful open fire, and congratulated -ourselves that at last we were in Lucca—a hope -long deferred.</p> - -<div class="figcenter" style="width: 503px;"> -<img src="images/i_164.jpg" width="503" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>THE OLD CITY WALL AND MOAT, LUCCA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_164big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_165" id="Page_165"></a></span></p> - -<hr class="tb" /> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_165.jpg" width="560" height="420" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft12"><cite>Jacopo della Quercia</cite></span></p> - -<p>TOMB OF ILARIA DEL CARRETTO, CATHEDRAL, LUCCA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_165big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_166" id="Page_166"></a></span></p> - -<p>The morrow is crisp and brilliant; and, forgetful -of our guide-book's express advice, to crown and finish -our Lucca visit with a walk on the ramparts, we turn<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span> -our backs on churches and priceless works of art and -hasten at once to the old city walls. How faithfully -those medięval bricklayers did their work! Their -walls, well preserved, still surround the town, no longer -bristling with engines of war, but planted thick with -shade-trees—elms, acacias, and limes—affording one of -the most beautiful promenades in Italy. Lifted well -above the city streets, they command extensive views -on every side: here the broad, fertile plain, stretching -to the Arno; yonder, at the north, the chain of rugged -Apuans, two sharp peaks of which are now capped with -glistening snow; southward rise the heights of Monte -Pisani, noted in Roman days, and since, for its hot-springs. -From thence comes the pure drinking-water -for Lucca, conveyed by an aqueduct built by the -Duchess Marie Louise, for which her grateful people -erected a monument in her honour. As it crosses the -sunlit plain on its four hundred and fifty-nine grey -stone arches, we are reminded of the Roman Campagna, -and remember that Lucca, in the day of her -greatest splendour, was a favorite summer residence for -the Romans, and that many traces still exist of their -occupation, particularly the massive arcades of an amphitheatre -in the present market-place. Standing on -the old ramparts, on a rare spring morning, ten chances -to one you forget all the sights awaiting you down<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span> -there, in the "city of the Magnificent People and Commune -of Lucca"—its palaces, towers, and picture-galleries, -its chapels and churches, of which there are -no less than seventy "to satisfy the wants of 22,000 -souls." The fame of San Frediano's seventh century -church, with its magnificent tower, its sculptured<span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span> -font and Madonna, has reached us over sea. -For years we have yearned to look on Jacopo della -Quercia's marble of that fair lady, Ilaria del Carretto, -resting in the transept of St. Martin's cathedral. We -know there are paintings by Fra Bartolommeo, palaces -and libraries; but the fresh mountain air has driven all -these things from our desire; we only long for those -mountains delectable, those chestnut-crowned hills and -distant grey towers. We begin to ask why we should -study the churches of Lucca, and who is Matteo Civitali -that he should keep us within the city walls? We -consult time-tables and guide-books; there's a tram, -they tell us, leading out of Porta Santa Maria in ten -minutes, and if we catch it we may ride six miles, and -then ... perhaps a carriage may be found, though it is -early in the season. "But," importunes the handsome -driver of the cab waiting to take us to the tram, and -who in some way has divined our wants, "the <i xml:lang="it" lang="it">tramvia</i> -will not take the signore to the hills, and surely there -is no carriage at Ponte Moriano so early in the year. -<i xml:lang="it" lang="it">Ecco</i>, this <i xml:lang="it" lang="it">buon cavallo</i> and your devoted Pepino, who -will take you all the way so comfortably!" Off comes -the shabby hat with inimitable native grace, and the -bold, brown eyes are convincingly eloquent. You can -no more resist Pepino's reasoning than that rush of -mountain air on the ramparts. All preconceived plans -are fast taking flight; but Prudence keeps her head -and demands with thrifty caution, "How much, inclusive, -there and back?" Then Pepino: "Oh, a mere -bagatelle, my <i xml:lang="it" lang="it">illustrissime</i> signore, only twelve lire." -Prudence, scouting this declaration with lofty scorn -inspired by a profound knowledge of tariffs and coachmen -from Paris to Palermo, exclaims: "Preposterous! -Ten francs it shall be, and not a centesimo more." -"Ah, signorina, the roads are very steep and it will -take my whole morning," returns Pepino, beseechingly; -but in vain he seeks for a sign of relenting. -His struggle is brief, and, with a deprecating flourish -of his small, shapely hands, he mounts the box, and the -air with which he says, "as you will have it, signorina," -is that of a gracious conqueror dictating terms to the -vanquished; he cherishes no resentment, he has no interest -but ours. We never for a moment regret the -tram. Pepino knows every villa and grey tower, -every path through the hills, every bridge over the <i xml:lang="it" lang="it">torrenti</i>; -he never intrudes his knowledge, and, above -all, he is kind to his horse.</p> - -<div class="figcenter" style="width: 500px;"> -<img src="images/i_168.jpg" width="500" height="498" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>ON THE RAMPARTS, LUCCA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_168big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_169.jpg" width="400" height="535" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>S. FREDIANO, LUCCA</p> - -<p class="smaller">EAST END, WITH THE CAMPANILE (11TH AND 13TH CENTURY)</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_169big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_170" id="Page_170"></a></span></p> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span></p> - -<div class="figcenter" style="width: 519px;"> -<img src="images/i_171.jpg" width="519" height="520" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>SAN FREDIANO FROM THE GUINIGI TOWER, LUCCA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_171big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_172" id="Page_172"></a></span></p> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_173.jpg" width="560" height="553" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>A "GREY TOWER"</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_173big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span></p> - -<p>"Yonder cross on the round, bare hill," he says, "is -Brancoli," and Brancoli is the hill of our desire. Our -good road at first runs over the plain following the -east bank of the Serchio, principal river of the province; -it rises in a northernly valley among the -Apuans and fed by many a mountain stream or <i xml:lang="it" lang="it">torrente</i>, -maintains a southeasterly course almost to -Lucca, which it avoids by a broad loop westward, and -then makes its way to the Mediterranean almost parallel -with the Arno. We pass clusters of farm-houses, -well-cultivated fields and vineyards, until in less than -an hour we reach Ponte Moriano, which is little more -than a busy street of shops and dwellings, but has a -good stone church founded by San Frediano in five -hundred and something. Its rather tall, square -tower, of good proportions and crenellated battlements, -is characteristic of all the church towers in this -region. Here is the terminus of the <i xml:lang="it" lang="it">tramvia</i>, and -Pepino was right, there is no appearance of a carriage; -but his Italian for "I told you so," was kept under his -breath with true Lucchese courtesy.</p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_175.jpg" width="560" height="410" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>PONTE A MORIANO, WITH A VIEW OF THE SERCHIO RIVER</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_175big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_175" id="Page_175"></a></span></p> - -<p><span class="pagenum"><a name="Page_176" id="Page_176"></a></span></p> - -<p><span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_177.jpg" width="560" height="456" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>AN OLD STONE BRIDGE</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_177big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_178.jpg" width="560" height="449" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>BRIDGE OVER THE SERCHIO RIVER</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_178big.jpg">See larger version</a>] -</div> - -<p>A mile farther on is the little hamlet of San Giusto, -situated at a point where the Lima joins the Serchio. -Here we leave the main road, turn sharply to the -right, and follow the windings of the little river, which -is crossed by the picturesque stone bridge of Vinchiana. -An old mill, half hidden by white birches, turns its -moss-covered wheel close under the steep river banks,<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span> -overhung with a tangle of vines and flowery shrubs. -The road becoming rather steep, we now leave the -carriage and proceed on foot. What an entrancing -walk it is! Always ascending, we follow the turnings -of the stream, now far below, and glancing like a silver -thread along the valley. We round the grey shoulders -of jutting cliffs, where clumps of white heather are in -full bloom and the "maidenly birches" are touched with -the first tender green; the air is intoxicating in its -freshness, and the sky never so blue. "<i xml:lang="it" lang="it">Ecco!</i>" calls -Pepino. "<i xml:lang="it" lang="it">Ecco!</i> San Ilario!" How has the fellow -guessed that we ought to study churches rather than -maunder about posies! The little church of cut stone, -flanked by its good tower, stands hard by the roadside, -convenient and inviting to tired feet and aching<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span> -hearts, as many a pilgrim in the old days knew full -well. Its doors stand open wide, admitting floods of -sunshine and spring fragrance. We enter unbidden, -to find the little temple quiet and empty, all its pictures -and sacred emblems covered, and all as clean and -fresh as if waiting in reverent silence the miracle of -Easter morning. We proudly boast the stern old -Puritan blood running cool and inviolate in our veins, -but there's a silent appeal in these modest temples and -shrines of the elder faith that "must give us pause," -and silence the voice of criticism. Taking the road -again, we still ascend from one fold of the hill to another, -whence we overlook the Serchio pursuing its lazy -course far below, the views becoming more and more -beautiful, until in half an hour we come upon the little -stone church of San Lorenzo, close by the road. -Small as it is, San Lorenzo is as complete in all its -attributes, and as true to its architecture, as a full-fledged -duomo, even to the little apse. The sturdy -tower, square and shapely, small, round-arched windows -and sides of warm, grey stone, the red-tiled roof, -flecked with patches of green moss, make a charming -picture, found in no country but Italy. This time the -church is closed, but there are keys hanging in the -north door, perhaps entering the sacristy, and we make -bold to peep. It is a clean and cold room, entirely -separated from the church proper, and evidently serving -at present for a store-room, as a slender stock of -various commodities and a few bottles of wine attest. -Meantime Pepino has made our wants known at the -near farm-house, and is returning, accompanied by a -handsome young girl with the keys to the proper -church door, which she opens, saluting us with respectful -dignity, and, without questioning, draws the curtain -from the Della Robbia over the altar; for well she -knows that the <i xml:lang="it" lang="it">forestieri</i> only come to see our "beautiful -white San Lorenzo." The statue is small and perfect, -like everything about this woodland <i xml:lang="it" lang="it">chiesetta</i>. -The head is exquisitely modelled, all in white, with the -finish and the ivory-tinted glaze which belongs to Andrea -Della Robbia's best work, though the wise in -such matters ascribe it to one of his pupils.</p> - -<p><span class="pagenum"><a name="Page_179" id="Page_179"></a></span></p> - -<div class="figcenter" style="width: 404px;"> -<img src="images/i_179.jpg" width="404" height="520" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>PARISH CHURCH OF S. MARIA E S. GIORGIO (11TH CENTURY)</p> - -<p>BRANCOLI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_179big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_180" id="Page_180"></a></span></p> - -<p><span class="pagenum"><a name="Page_181" id="Page_181"></a></span></p> - -<div class="figcenter" style="width: 520px;"> -<img src="images/i_181.jpg" width="520" height="520" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>SAN LORENZO, BRANCOLI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_181big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_183" id="Page_183"></a></span></p> - -<div class="figcenter" style="width: 417px;"> -<img src="images/i_183.jpg" width="417" height="540" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>THE INTERIOR (11TH CENTURY), PARISH CHURCH OF S. MARIA</p> - -<p>E S. GIORGIO, BRANCOLI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_183big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_184" id="Page_184"></a></span></p> - -<p><span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span></p> - -<p>Saying our <i xml:lang="it" lang="it">buon giorno</i>, and pressing a small fee into -the reluctant hand of the handsome <i xml:lang="it" lang="it">contadina</i>, we now -turn from the carriage road and begin a short but -rather difficult climb up the steep hillside by a roughly -paved path, which leads us through chestnut woods to -the crest of the hill and the parish church of Santa -Maria e San Giorgio, belonging to the eighth century. -We have seen it all the way from the plain, perched -on a commanding height, surrounded by its sombre -guard of stately cypresses. The tower is especially<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span> -fine in its proportions and built quite apart from the -church, though only a foot or so from its walls. Unusually -tall, it has four orders of arched windows, -and is crowned with bifurcated, or "swallow-tail," battlements, -indicative of Ghibelline influence. The -exterior of the church, built of squared blocks of travertine, -has a plain faēade, broken only by shallow -pilasters and a round-headed doorway, with a bit of rude carving on -the cornice, perhaps representing the vine. The south side has two rows -of irregular windows, with remains of ornament, and an arched doorway, -over which is a singularly grotesque figure. Both doors are wide open, -the noonday sun lighting up vaulted aisles and the ancient timber roof -of the nave. We enter without let or hindrance and possess the church -for a good hour, uninterrupted even by a footstep on the road hard -by. The interior, which gives an impression of space and dignity, is -divided into nave and aisles by columns and piers with interesting -sculptured capitals. The choir is raised by four steps well above the nave, -the high altar, still higher, fills the apse, and over all -is a good timber roof, richly coloured by time. Near -the west end in the south aisle is a quaint and seemingly -very ancient holy-water stoup, carved with rude -but expressive figures of men and animals attacked by -serpents. On the crown surmounting the principal -head is inscribed "<i xml:lang="la" lang="la">Raitus me fecit</i>," but having no -date. Many of the capitals of the pillars bear sculptures -of rude symbolic figures, indicating early Lombardic -work. The fine hexagonal baptismal font is -attributed to the thirteenth century, but the carved -heads and vine suggest an earlier date. The same -period is accorded to the very beautiful marble pulpit -standing at the entrance to the choir. It is square in -shape, supported by four columns, two of which rest -on the backs of grotesque Lombard lions struggling -with savage beasts, symbolic of Divine power overcoming -evil; the capitals are boldly sculptured in -foliage and animal forms. On the front is a serious -crowned figure holding the Book, above it the eagle -serving as lectern. On the corner toward the altar a -sculptured figure bends to support another reading-desk. -Altogether this pulpit may be reckoned among -the most interesting ones of Tuscany.</p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_186.jpg" width="560" height="494" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>HOLY-WATER STOUP, PARISH CHURCH OF S. MARIA E S. GIORGIO</p> - -<p>BRANCOLI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_186big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_187" id="Page_187"></a></span></p> - - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_187.jpg" width="560" height="412" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>HEXAGONAL BAPTISMAL FONT (13TH CENTURY), S. MARIA E S. GIORGIO</p> - -<p>BRANCOLI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_187big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_188" id="Page_188"></a></span></p> - -<p><span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span></p> - -<div class="figcenter" style="width: 271px;"> -<img src="images/i_189.jpg" width="271" height="400" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p class="smaller">DETAIL OF PULPIT, PARISH CHURCH OF S. MARIA</p> - -<p class="smaller">E S. GIORGIO, BRANCOLI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_189big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span></p> - -<div class="figcenter" style="width: 357px;"> -<img src="images/i_190.jpg" width="357" height="400" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>DETAIL OF PULPIT, PARISH CHURCH OF BRANCOLI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_190big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_191" id="Page_191"></a></span></p> - -<div class="figcenter" style="width: 420px;"> -<img src="images/i_191.jpg" width="420" height="560" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>PULPIT (13TH CENTURY), S. MARIA E S. GIORGIO, BRANCOLI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_191big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_192" id="Page_192"></a></span></p> - -<p><span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span></p> - -<p>Finally, added to its many attractions, the church -contains a fine and unusual piece of Della Robbia terra-cotta, -the work of Andrea and his son Giovanni. -Miss Cruttwell writes: "This romantic scene—I had -almost said painting, 'St. George Slaying the Dragon'—is -one of the best pictorial works." It is probably -the only instance of an attempt by Andrea to represent -a horse, and it is undeniably stiff and indifferently<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span> -modelled. The princess in the background also is -rather heavy, but the grace and action of the youthful -rider and the beauty and radiance of his expression -are remarkable. The frame, probably the work of -Giovanni, consists of garlands upheld by winged cherubs, -with graceful candelabra and medallions characteristic -of the artist.</p> - -<p>We left the church of Santa Maria e San Giorgio -with regret, but with a sense of complete satisfaction -with our day among the hills and temples of Brancoli.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Sundaies the pillars are</div> - <div class="i1">On which heav'ns palace arched lies,</div> - <div class="i0">The other days fill up the spare</div> - <div class="i1">And hollow room with vanities."</div> - <div class="i12">—<span class="smcap">Herbert.</span></div> - </div> -</div> -</div> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_194.jpg" width="560" height="214" alt="" /> -<div class="caption"><p>COATS OF ARMS OF LUCCA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_194big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span></p> - -<div class="figcenter" style="width: 389px;"> -<img src="images/i_195.jpg" width="389" height="520" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft10"><cite>Andrea and Giov. della Robbia</cite></span></p> - -<p>ST. GEORGE AND THE DRAGON, S. MARIA E S. GIORGIO -BRANCOLI</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_195big.jpg">See larger version</a>] -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_196" id="Page_196"></a><br /><a name="Page_197" id="Page_197"></a></span></p> - - - -<h2><a name="BARGA_AND_THE_VALLEY_OF" id="BARGA_AND_THE_VALLEY_OF"></a>BARGA AND THE VALLEY OF<br /> -GARFAGNANA</h2> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_198" id="Page_198"></a></span></p> - -<p><span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span></p> - - - -<div class="figcenter"> -<img src="images/i_199.jpg" width="560" height="298" alt="" /> -</div> - -<div class="larger-file"> - [<a href="images/i_199big.jpg">See larger version</a>] -</div> - -<h3>BARGA AND THE VALLEY OF<br /> -GARFAGNANA</h3> - - -<p><span class="figleft182"> -<img src="images/i_199a.jpg" width="182" height="180" alt="B" /></span><span class="smcapa">RANCOLI'S</span> H<span class="smcapa">ILL</span> commands -a view of the Serchio River and its extensive valley, called the -Garfagnana, which lies between the Apennines, defining the northern -boundary of Tuscany, and the Alpi Apuane range, which follows the -direction of the coast, and contains several lofty peaks, the highest -rising over six thousand feet.</p> - -<p>The principal town and capital of the Garfagnana -region is Barga, situated thirteen hundred feet above -the sea, and containing, we had learned, an interesting<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span> -church and several pieces of the Della Robbia terra-cotta. -As the crow flies it is but a trifling distance -over the valley to Barga, but we were obliged to return -the way we came and take the main road at San Giusto; -a small matter, for in twenty minutes we had -dropped down into the valley, passed again the pretty -bridge of Vinchiana, also crossed the one over the Serchio, -and were speeding along the river bank near the -railroad which runs to Bagni di Lucca.</p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_200.jpg" width="560" height="456" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>THE BRIDGE AT VINCHIANA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_200big.jpg">See larger version</a>] -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_201" id="Page_201"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_201.jpg" width="560" height="424" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>BORGO A MOZZANO, PONTE DELLA MADDALENA OVER THE SERCHIO, CALLED</p> -<p>"THE DEVIL'S BRIDGE"</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_201big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_202" id="Page_202"></a></span></p> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span></p> - -<div class="figcenter"> -<img src="images/i_203.jpg" width="560" height="364" alt="" /> -<div class="caption"><p>BAGNI DI LUCCA—PANORAMA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_203big.jpg">See larger version</a>] -</div> - -<p>At Borgo a Mozzano we see the old bridge, Ponte -della Maddalena, oftener called the Devil's Bridge, because -traditionally it was built (1328) in one night by -Castruccio Castracane, the "greatest war captain of his -time." It is a singular structure, very high and narrow, -not allowing a carriage of present date to cross, -and supported on heavy piers and five arches of irregular -height, one of which carries the bridge up, like a -camel's hump, rendering it most curious and picturesque. -At Ponte a Serraglio is a distant view of Bagni -di Lucca, lying in the valley of the Lima.</p> - -<p><span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span></p> - -<div class="figcenter" style="width: 386px;"> -<img src="images/i_204.jpg" width="386" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>PARISH CHURCH, LOPPIA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_204big.jpg">See larger version</a>] -</div> - -<p>By this time we have crossed the river, and taken a -narrower but equally good highway, though belonging -to the second class of carriage roads, every turn of -which brings to view new wooded valleys and hilltops -crowned with grey villages. In the distance, which is -greater than it seems in the clear, luminous atmosphere,<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span> -we see Ghivizziano's lofty towers, with her train of -ruddy roofs and grey walls sharply outlined against -the sky. At Fornaci we part company with the Serchio -again, strike northward through one of the interesting -mountain valleys, and pass close to the ancient parish -church of Loppia, weather-beaten and neglected, but -none the less a striking landmark and noble monument -of medięval power. Loppia was the capital of the -Garfagnana until 1390, when, having been desolated -by war and its inhabitants reduced to fifty, its jurisdiction -and the title of its parish church were given to -Barga, and even its one good picture transferred to the -new capital.</p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_205.jpg" width="560" height="422" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>THE CATHEDRAL OF BARGA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_205big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_206" id="Page_206"></a></span></p> - -<p><span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span></p> - -<p>The whole district is well watered by many mountain -streams, affluents of the Serchio, furnishing excellent -water-power for various mills scattered along their -banks. The soil is generally productive, the uplands -covered with chestnut-trees and affording fair pasturage -for sheep, which are a source of considerable revenue. -On the lower levels we find the olive, maize (or -<i xml:lang="it" lang="it">granturco</i>), a principal article of food, and flax, also the -mulberry-tree and silk-worm culture. The region is -fairly rich in minerals, stone and marble quarries, manganese, -mercury, etc. Here, also, is found the fine red -jasper, veined or flecked with white, which has been so -effectively used in the Medici Chapel in Florence.<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span> -We are now quite close upon the walls of Barga, but -the long drive in the eager, exhilarating mountain air -makes us quite willing to take Pepino's advice and -stop for lunch at the Posta, an unpretending way<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>side -inn, beautifully situated, with plain, comfortable -rooms commanding fine views, and where, as a recommendation, -we were told a Chicago gentleman had -once spent seven weeks for his health. In the words -of another visitor, we read that "the soup is excellent, -and so is the wine;" also, there is trout when the -streams are full. We found everything as had been -promised, and did ample justice to the excellent food -served by a pretty, smiling <i xml:lang="it" lang="it">contadina</i>, daughter of the -house, who was full of chat and little airs, her young -head evidently quite turned by her knowledge of the -wandering <i xml:lang="it" lang="it">forestieri</i>.</p> - -<div class="figcenter" style="width: 404px;"> -<img src="images/i_208.jpg" width="404" height="520" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>MAIN DOOR OF THE CATHEDRAL, BARGA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_208big.jpg">See larger version</a>] -</div> - -<p>Hunger appeased and our modest account settled, -we walk to the nearest city gate, passing an ample -bowling alley, bordered with fine plane-trees. At the -upper end is a raised, grassy platform of considerable -breadth, in the centre of which stands a fine cedar of -Lebanon. The platform is reached by two flights of -steps cut into the sod, and tradition has it that here -Charlemagne stood and delivered his laws and instructions -to the conquered people gathered below. The -well-paved street winds and turns up the hill until it -terminates in the little plateau, or Piazza del Duomo. -The city retains its ancient walls and three old gates, -and is still further defended by two deep natural -ravines, which render it altogether a striking and typ<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span>ical -medięval town. We enter the gate just in time to -see a religious procession, consisting apparently of all -the people in town, most of the men in capes of green -and white, led by three important ecclesiastics in really -splendid vestments; two copes were of ivory-white -damasked silk, evidently old, adorned with gold; -the third, of a peachy-purple tint, enriched also with -designs in gold. We join the procession, and wind -slowly up the steep path, noting several palaces of old-time -importance, and one or two schools or institutions. -We see, also, erect and pretty young girls -bearing copper pails of water on their heads, lightly -mounting the precipitous side streets, and remember -then that this mountain region is noted for the beauty -of its women. Arriving at the Piazza del Duomo, the -procession enters the Church of SS. Christopher and -James, to say the prayers appropriate to St. Joseph's -day, while we enjoy the wide and beautiful prospect -over the Garfagnana valley, held at the north by the -hill-town of Fivizzano, surrounded by Castruccio's -walls, its church door bearing the Medici shield. On -the left, Alpi Apuane, overlooking the charming gulf -of Spezia, Carrara, and Sarzana, where Castruccio Castracane -built his famous castle, and the only road to -which now, as then, is by the castled town of Fosdinovo. -To the right are the loftiest peaks of the Apennines:<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span> -Rondinaio, Monte Prado, Abetone, and the rest, -owing "much of their grandeur to the precipitous slopes -and fantastic profiles of the calcareous rocks which -enter into their composition." The lofty and well-defended -position of Barga, near the boundaries of -Lucca and Florence, gave it a certain military importance -in the early struggles for despotism. At present -it is a busy centre of a large district, quiet and orderly, -its people marked by spirit, buoyancy of temperament -and good looks. To the outside world it is best known -for its church, several good Della Robbias, and its fine -and beautiful situation. The Church of SS. Christopher -and James—is it a temple or a citadel?—built of -squared blocks of travertine, unusual and irregular in -shape, its watch-tower, or campanile, springing from -the main wall and guarding all the country round -about, possesses no dominant style of architecture, -and wears such an appearance as ten centuries of -weather and vicissitudes may well give a church. The -grand old tower is fitting, as a human creation may -ever hope to be, the prospect it overlooks. Its massive -sides are pierced by three orders of double-arched -windows, supported by columns and piers, and each -order defined by a string course, or corbel-table, of -shallow arches, which takes, perhaps, something from -the height of the tower, but emphasizes the solidity of -its structure. Unlike most towers in this region, it -carries no battlements, but is finished by a low, plain -roof. The faēade of the church is strikingly plain, -broken only by a single cornice, string course, and -short pilasters. The main door alone retains a hint of -former grandeur in its foliated arch and sculptured -architrave, once guarded by two Lombardic lions, one -of which has fallen from its high estate. The front -and side walls are pierced irregularly with small windows -of varied shape and size.</p> - -<p><span class="pagenum"><a name="Page_211" id="Page_211"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_211.jpg" width="560" height="418" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>INTERIOR OF THE CATHEDRAL OF BARGA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_211big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_212" id="Page_212"></a></span></p> - -<p><span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span></p> - -<p>The interior is plain, resembling an ancient basilica -in form, and divided into nave and aisles by piers supporting -broad, semi-circular arches, and over all a good, -open-timbered roof. The tribune, or choir, is raised -above the nave by three steps, and separated from it -by a low marble screen or <i xml:lang="it" lang="it">parapetto</i>. An ancient-looking -holy-water stoup, carved with rude heads and -designs, stands by a pillar on the north side of the -nave, but the great treasures of the church are its -choir-screen and pulpit. The screen consists of panels -of pale red marble delicately veined, set in frames, or -borders, of white Carrara, inlaid with black <i xml:lang="it" lang="it">smalto</i>, or -enamel, in various designs and symbolic geometrical -figures. That part of the screen near the pulpit is further -enriched by a row of small, well-modelled heads, -some of which, evidently portraits, are encircled by<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span> -crowns. The pulpit must certainly be reckoned among -the best ones in Tuscany; its author is unknown, but -it probably belongs to the thirteenth century, about -the time of the Pisani, possibly earlier. The richness -of detail, dignity and expression of the rather stiff -figures, suggest the work of Guido da Como.</p> - -<div class="figcenter" style="width: 384px;"> -<img src="images/i_215.jpg" width="384" height="520" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>PULPIT (13th CENTURY)</p> - -<p class="smaller">IN THE CATHEDRAL OF BARGA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_215big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_216" id="Page_216"></a></span></p> - -<p><span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span></p> - -<p>The pulpit is rectangular, and supported on four -marble columns, two of which rest on the backs of -lions, overcoming symbolic forms of evil. Another -rests on the shoulders of a man, perhaps the artist, -and all the capitals are elaborately sculptured in varying -designs, one bearing the forms of eagles and animals' -heads.</p> - -<p>On the panels of the pulpit are the sculptured -scenes of the Annunciation, the Nativity, and Adoration -of the Magi, treated in the usual manner. On the -central plinth of the front appears a crowned figure -holding the Book of Good Tidings, and supported by -the appropriate symbolic animals; above this figure -the eagle upholds a lectern. The figures are carved in -strong relief, and though the feet and hands are stiff, the -faces are serious and fairly modelled, and the drapery -well disposed. Heavy as the work is, we are conscious -that the artist, a man of the long ago past, was himself -impressed by his subject, and put into his realistic -interpretation of it a profound religious mysticism.<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span> -The whole work is enriched by inlaying of black -marble, or <i xml:lang="it" lang="it">smalto</i>, with the white. Crowns, the lions' -manes, and coils of the writhing serpent are picked out -with black, an early form of decoration.</p> - -<p>In the choir aisle is a beautiful tabernacle for the -sacred oil, of glazed terra-cotta, chiefly white on blue, -the work of the Della Robbia school or atelier. Though -small, the work is composed of three perfect parts. -On the arched top is a charming group of infantile -figures, the Christ child standing upright on the Holy -Chalice, one tiny hand uplifted in blessing, the other -holding the crown of thorns; on either side is an adoring -cherub, exquisitely modelled. Below this is the -cupboard, or ciborium, for the oil, guarded by two -graceful angel forms, and on each side an acolyte bearing -a candelabrum. The whole work rests on a table, -or ledge, supported by two cornucopię of various -fruits in natural colors, and between them appears the -head of a cherub enfolded in double wings.</p> - -<p><span class="pagenum"><a name="Page_219" id="Page_219"></a></span></p> - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_219.jpg" width="560" height="420" alt="" /> -<div class="caption"><p class="left"><cite>Alinari</cite></p> - -<p>ADORATION OF THE MAGI (13TH CENTURY)</p> - -<p class="smaller">PULPIT IN THE CATHEDRAL OF BARGA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_219big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_220" id="Page_220"></a></span></p> - -<p><span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span></p> - -<p>Well might this fortress-temple detain us longer, but -there is scant time to have a look at the other Della -Robbias down in the heart of the town, to which we are -conducted by a courteous and handsome little man of -twelve, through the narrowest and steepest of byways, -which threaten at times to plunge us into doorways or -ditches, until we reach the Church of the Capuchins. -This contains a Nativity, two good statues of St. Andrew -and St. Anthony, an Annunciation, St. Francis receiving -the Stigmata, and, finest of all, an Assumption -of the Virgin, by Giovanni Della Robbia. The reverent -figures of four saints gaze upward to Our Lady, seated -within a mandorla of cherubs' heads and surrounded -by angels with musical instruments; the four trumpeters -at the top are most beautiful. In the predella -are other flying angels with scrolls; a wreath of exquisite -heads surround the ciborium, and two kneeling -saints fill the corners. The whole work is framed with -clusters of various fruits in their natural colours.</p> - -<p>Reluctantly we turn from rock-throned Barga, "Half -church of God, half castle 'gainst the Scot," and as we -slip down into the valley through purpling shadows -shot with crimson and gold we marvel at these people, -who with one hand took their part fiercely in the cruel -wars of despotism and with the other adorned churches -and shrines with Della Robbia reliefs, representing a -form of art so pure and cool and tranquil and, above -all, infused with the deepest religious feeling. Then -we suddenly remember that hereabouts is the region of -the Pistojese Apennines, the favoured home of the -highest Tuscan imagination, poetry and song, where -the people—peasants, shepherds, and mountaineers—are -not only hardy, handsome, and industrious as a<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span> -class, but noted for gentleness and courtesy, love of -home, and the native elegance of their common speech. -It is said that "the dialect that most faithfully represents -the pure Tuscan of Boccaccio's day is that of -peasants of the Pistojese Apennines. It is here, round -about San Marcello and Cutigliano, that the purest -Tuscan is spoken—pure in its language, pure in its accent; -and it is here that Manzoni and d'Azelio came—comparative -foreigners both of them, the one a Lombard, -the other a Piedmontese—to acquire the pure -language for those romances which have delighted -all Italy and all the world."<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></p> - -<p>It is in the Pistojese mountains that we hear those -"charming folk songs, in which traditions of true gentleness -and elevated feeling are so well exhibited, and -account for the high romantic qualities of the impassioned -verse."<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> - -<p>Shepherds often improvise songs, called <i xml:lang="it" lang="it">rispetti</i> and -<i xml:lang="it" lang="it">stornelli</i>, as they tend their flocks alone on the hills, -and if their cadence chance to catch the popular ear -they are sown on a hundred hills and meadows far and -wide. Tigri records by name a little girl called Cherubina -who made <i xml:lang="it" lang="it">rispetti</i> by the dozen as she watched<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span> -her sheep, and the poetry of Beatrice di Pian degli -Ontani was famous through the mountains of Pistoja.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_223.jpg" width="400" height="541" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft15"><cite>Della Robbia School</cite></span></p> - -<p>TABERNACLE FOR SACRED OIL</p> - -<p class="smaller">CATHEDRAL, BARGA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_223big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_224" id="Page_224"></a></span></p> - -<p><span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span></p> - -<p>Miss Alexander, in her "Road Songs of Tuscany," -has given an appreciative and loving tribute to this -pastoral singer, whom she calls "one of the most wonderful -women" she ever saw. The daughter of a -stone-mason who worked during the winter in the -Maremma, Beatrice became his companion and helper, -carrying on her head stones for the walls and bridges -he was building. She had no education, never learning -the alphabet even, but possessed a remarkable -memory, and could recite long poems that she had -heard.</p> - - -<p class="p5"><em>YOU ASK ME FOR A SONG</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"You ask me for a song, then be content,</div> - <div class="i1">With little grace, in all I sing or say;</div> - <div class="i0">And judge me kindly, for I never went</div> - <div class="i1">To school, and masters never came our way.</div> - <div class="i0">The only school where ever I did go</div> - <div class="i0">Was on the mountain, in the hail and snow.</div> - <div class="i1">And this, alas! was all they made me learn—</div> - <div class="i1">To go for wood, and dig when I return."</div> - </div> -</div> -</div> - -<p>It was not till the day of her marriage that Beatrice -discovered her new power "to sing poetry born in her -mind," and from that day she never lost her remarkable<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span> -power of improvisation, and the list of her ballads -is very long and varied in theme. She had a strong -religious nature, and addressed many of her songs to -the Madonna. In her old age, it is said, she knew in -poetic form nearly all the New Testament and much -of the Old.</p> - -<div class="figcenter" style="width: 388px;"> -<img src="images/i_227.jpg" width="388" height="510" alt="" /> -<div class="caption"><p><cite>Alinari</cite> <span class="mleft12"><cite>Giovanni della Robbia</cite></span></p> - -<p>ASSUMPTION OF THE VIRGIN</p> - -<p class="smaller">CHURCH OF THE CAPUCHINS, BARGA</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_227big.jpg">See larger version</a>] -</div> - - -<p class="p5"><em>GIVE ME LIGHT, LADY</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"Come to the window, lady, give me light!</div> - <div class="i1">A little light, that I may find my way</div> - <div class="i0">For darkness deep is on my path to-night,</div> - <div class="i1">Among the stones I fall or go astray.</div> - <div class="i0">I cross a troubled river, lady mine;</div> - <div class="i0">Deep is the water, and no light doth shine.</div> - <div class="i1">And darkness found me where the waves were high;</div> - <div class="i1">My feet have failed, so deep the waters lie!</div> - <div class="i0">So far was I from shore when darkness came!</div> - <div class="i0">And no one answers when I call thy name."</div> - </div> -</div> -</div> - -<p>Her eldest son inherited her poetic gift, and often -when working in the fields mother and son would carry -on a conversation in improvised verse, Beatrice singing -one <i xml:lang="it" lang="it">ottava</i>, Beppo answering with another. Miss -Alexander says that as a girl Beatrice was very handsome, -with an inspired face, charming smile, and sympathetic -voice. She had great physical strength and -indomitable courage. She generally wore her <i xml:lang="it" lang="it">contadina</i> -dress of scarlet bodice, blue kerchief, garnet necklace, -and gold earrings. On grand occasions she put -on a white embroidered veil, kerchief, and apron belonging<span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span> -to her wedding finery. Beatrice lived over a -hundred years, "much loved and honoured by her -neighbours and all who knew her," and many pleasant -anecdotes are told of her experiences and talent. A -Boston lady told us that once, when Madame Goldschmidt -(better known as Jenny Lind, or the "Swedish -Nightingale,") was visiting friends in the Apennines, a -meeting was arranged between the two singers, both -elderly women at the time. First Beatrice, in her -peasant dress, sang to the great prima-donna of the -North, improvising words and music suitable to the -occasion. In return Madame Goldschmidt, much gratified, -sang one of the songs which has so often moved -her great audiences to rapturous applause.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></p> - -<p><span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span></p> - - - -<div class="figcenter" style="width: 505px;"> -<img src="images/i_229.jpg" width="505" height="500" alt="" /> -<div class="caption"><p class="left"><cite>M. M. Newell</cite></p> - -<p>"VIOLET-EYED TUSCAN OXEN"</p></div> -</div> - -<div class="larger-file"> - [<a href="images/i_229big.jpg">See larger version</a>] -</div> - -<p><span class="pagenum"><a name="Page_229" id="Page_229"></a></span></p> - -<p><span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span></p> - -<p class="p5"><em>THE DOVE</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">"O dove with wings of silver, when you fly,</div> - <div class="i1">The feathers shine and glisten in my view.</div> - <div class="i0">And oh, how sweet your song is! Would that I</div> - <div class="i1">Could learn it.... Teach me, dove, to sing like you.</div> - <div class="i0">Your pleasant notes, and your sweet rhymes of love;</div> - <div class="i0">The sun goes down and lights the stars above.</div> - <div class="i0">Your pleasant notes, and your sweet rhymes of love;</div> - <div class="i0">The sun goes down and lights the snows above."</div> - </div> -</div> -</div> - -<div class="figcenter"> -<img src="images/i_230.jpg" width="560" height="173" alt="" /> -<div class="caption"><p>DETAIL OF TRAPPINGS ON THE HORSE OF LORENZO DE' MEDICI</p></div> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_231" id="Page_231"></a></span></p> - - - -<h2><a name="INDEX" id="INDEX"></a>INDEX</h2> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_232" id="Page_232"></a><br /><a name="Page_233" id="Page_233"></a></span></p> - - - -<h2>INDEX</h2> - - -<ul class="index"> -<li class="ifrst">Abetone, <a href="#Page_213">213</a></li> - -<li class="indx">Afternoon tea, <a href="#Page_4">4</a></li> - -<li class="indx">Alexander, Miss, <a href="#Page_225">225</a>, <a href="#Page_226">226</a></li> - -<li class="indx">Altopascio, <a href="#Page_106">106</a></li> - -<li class="indx">Amadeo, sculptor, <a href="#Page_114">114</a></li> - -<li class="indx">Amphitheatre, Roman, Lucca, <a href="#Page_167">167</a></li> - -<li class="indx">Armstrong, E. (note), <a href="#Page_59">59</a></li> - -<li class="indx">Antonio da Pistoja, <a href="#Page_144">144</a></li> - -<li class="indx">Apuans, <a href="#Page_167">167</a>, <a href="#Page_174">174</a>, <a href="#Page_199">199</a>, <a href="#Page_210">210</a></li> - -<li class="indx">Arno, The, <a href="#Page_5">5</a>, <a href="#Page_8">8</a>, <a href="#Page_40">40</a>, <a href="#Page_45">45</a>, <a href="#Page_167">167</a>, <a href="#Page_174">174</a></li> - -<li class="indx">Arnolfo di Cambio, <a href="#Page_17">17</a></li> - -<li class="indx">Avčrard. <em>See</em> Medici.</li> - -<li class="indx">Azelio, d', <a href="#Page_222">222</a></li> - - -<li class="ifrst">Badia a Settimo, <a href="#Page_3">3</a></li> - -<li class="indx">Baglioni, <a href="#Page_110">110</a></li> - -<li class="indx">Bagni di Lucca, <a href="#Page_200">200</a>, <a href="#Page_203">203</a></li> - -<li class="indx">Barga, <a href="#Page_199">199</a>-<a href="#Page_230">230</a></li> - -<li class="indx">Bartolommeo, Fra, <a href="#Page_171">171</a></li> - -<li class="indx">Beatrice di Pian degli Ontani, <a href="#Page_225">225</a>, <a href="#Page_226">226</a>, <a href="#Page_229">229</a>, <a href="#Page_230">230</a></li> - -<li class="indx">Benedetto Buglione, <a href="#Page_143">143</a></li> - -<li class="indx">Benozzo, Gozzoli, <a href="#Page_50">50</a>, <a href="#Page_52">52</a>, <a href="#Page_117">117</a></li> - -<li class="indx">Berenson, B. (note), <a href="#Page_59">59</a></li> - -<li class="indx">Bergamo, <a href="#Page_113">113</a>, <a href="#Page_114">114</a></li> - -<li class="indx">Bessarion, <a href="#Page_51">51</a></li> - -<li class="indx">Bianca Cappello, <a href="#Page_39">39</a></li> - -<li class="indx">Bianchi e Neri, <a href="#Page_56">56</a></li> - -<li class="indx">Bivigliano, <a href="#Page_36">36</a></li> - -<li class="indx">Boccaccio, <a href="#Page_222">222</a></li> - -<li class="indx">Bonaparte, <a href="#Page_128">128</a></li> - -<li class="indx">Bona of Savoy, <a href="#Page_36">36</a></li> - -<li class="indx">Borgo San Lorenzo, <a href="#Page_20">20</a></li> - -<li class="indx">Borgo a Mozzano, <a href="#Page_200">200</a></li> - -<li class="indx">Brancoli, <a href="#Page_163">163</a>-<a href="#Page_194">194</a>, <a href="#Page_199">199</a></li> - -<li class="indx">Brunelleschi, <a href="#Page_55">55</a></li> - -<li class="indx">Bruno di Ser Lapo, <a href="#Page_64">64</a></li> - - -<li class="ifrst">Calash, <a href="#Page_19">19</a>, <a href="#Page_25">25</a>, <a href="#Page_35">35</a></li> - -<li class="indx"><ins title="Transcriber's Note: original reads 'Cancelliere'">Cancellieri</ins>, <a href="#Page_56">56</a></li> - -<li class="indx">Careggi, <a href="#Page_55">55</a></li> - -<li class="indx">Carmagnuola, Francesco, <a href="#Page_114">114</a></li> - -<li class="indx">Carmichael, M. (note), <a href="#Page_222">222</a></li> - -<li class="indx">Carrara, <a href="#Page_40">40</a>, <a href="#Page_210">210</a></li> - -<li class="indx">Carroccio, <a href="#Page_106">106</a></li> - -<li class="indx">Carza, <a href="#Page_9">9</a></li> - -<li class="indx">Casentino, <a href="#Page_8">8</a></li> - -<li class="indx">Castelfranco Madonna, <a href="#Page_117">117</a></li> - -<li class="indx">Castracane, Castruccio, Lord of Lucca, <a href="#Page_49">49</a>,<a href="#Page_101">101</a>-<a href="#Page_118">118</a>, <a href="#Page_203">203</a>, <a href="#Page_210">210</a></li> - -<li class="indx">Castracane, Dianora, <a href="#Page_117">117</a></li> - -<li class="indx">Cellino di Nese, <a href="#Page_151">151</a></li> - -<li class="indx">Certosa, <a href="#Page_79">79</a></li> - -<li class="indx">Chapel of the Holy Cross, <a href="#Page_92">92</a>, <a href="#Page_95">95</a></li> - -<li class="indx">Chapel of the Madonna, <a href="#Page_92">92</a>, <a href="#Page_95">95</a></li> - -<li class="indx">Charlemagne, <a href="#Page_17">17</a>, <a href="#Page_209">209</a></li> - -<li class="indx">Cherubina, <a href="#Page_222">222</a></li> - -<li class="indx"><span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span>Chianti, <a href="#Page_73">73</a>-<a href="#Page_95">95</a></li> - -<li class="indx">Chiappelli, Alessandro, <a href="#Page_230">230</a></li> - -<li class="indx">Choir-Screen, Barga, <a href="#Page_14">14</a></li> - -<li class="indx">Churches:</li> - <li class="isub1">of the Capuchins, <a href="#Page_218">218</a>, <a href="#Page_221">221</a></li> - <li class="isub1">of the Madonna Dell' Impruneta, <a href="#Page_90">90</a>, <a href="#Page_95">95</a></li> - <li class="isub1">Pieve S. Leolino, <a href="#Page_80">80</a></li> - <li class="isub1">S. S. Christopher and James, Barga, <a href="#Page_210">210</a>, <a href="#Page_213">213</a>, <a href="#Page_214">214</a></li> - <li class="isub1">San Francesco, Lucca, <a href="#Page_113">113</a></li> - <li class="isub1">San Francesco, Prato, <a href="#Page_59">59</a>, <a href="#Page_67">67</a></li> - <li class="isub1">San Frediano, Luca, <a href="#Page_168">168</a></li> - <li class="isub1">San Ilario, Brancoli, <a href="#Page_181">181</a></li> - <li class="isub1">San Lorenzo, Brancoli, <a href="#Page_182">182</a></li> - <li class="isub1">San Marco, Venice, <a href="#Page_114">114</a></li> - <li class="isub1">Santa Maria delle Carceri, Prato, <a href="#Page_59">59</a>, <a href="#Page_67">67</a></li> - <li class="isub1">Santa Maria e San Giorgio, Brancoli, <a href="#Page_185">185</a>, <a href="#Page_194">194</a></li> - <li class="isub1">St. Martin, Lucca, <a href="#Page_171">171</a></li> - -<li class="indx">Cimabue, <a href="#Page_24">24</a></li> - -<li class="indx">Cino. <em>See</em> Sinibuldi.</li> - -<li class="indx">Coats of Arms, <a href="#Page_17">17</a>, <a href="#Page_21">21</a></li> - -<li class="indx">Colleoni, Bartolommeo, <a href="#Page_113">113</a></li> - -<li class="indx">Colleoni, Medea, <a href="#Page_114">114</a></li> - -<li class="indx">Consular Reports (notes), <a href="#Page_63">63</a>, <a href="#Page_84">84</a></li> - -<li class="indx">Credi, Lorenzo di, <a href="#Page_144">144</a></li> - -<li class="indx">Cruttwell, Maud (note), <a href="#Page_91">91</a>, <a href="#Page_193">193</a></li> - -<li class="indx">Cutigliano, <a href="#Page_222">222</a></li> - - -<li class="ifrst">Dante, <a href="#Page_151">151</a>, <a href="#Page_155">155</a></li> - -<li class="indx">Della Robbia <a href="#Page_10">10</a>, <a href="#Page_17">17</a>, <a href="#Page_21">21</a>, <a href="#Page_36">36</a>, <a href="#Page_80">80</a>, <a href="#Page_127">127</a>, <a href="#Page_143">143</a>, <a href="#Page_185">185</a>, <a href="#Page_200">200</a>, <a href="#Page_213">213</a>, <a href="#Page_218">218</a>, <a href="#Page_221">221</a></li> - -<li class="indx">Della Robbia, Andrea, <a href="#Page_63">63</a>, <a href="#Page_185">185</a>, <a href="#Page_193">193</a></li> - -<li class="indx">Della Robbia, Giovanni, <a href="#Page_140">140</a>-<a href="#Page_143">143</a>,<a href="#Page_193">193</a>, <a href="#Page_194">194</a>, <a href="#Page_221">221</a></li> - -<li class="indx">Della Robbia, Luca <a href="#Page_92">92</a>, <a href="#Page_95">95</a></li> - -<li class="indx">Della Robbia, Luca, The Visitation, <a href="#Page_143">143</a></li> - -<li class="indx">Della Robbia, Count Viviano, <a href="#Page_81">81</a></li> - -<li class="indx">Demidoff, Prince, <a href="#Page_39">39</a></li> - -<li class="indx">Diligence, Florentine, <a href="#Page_5">5</a></li> - -<li class="indx">Donatello, <a href="#Page_49">49</a>, <a href="#Page_63">63</a>, <a href="#Page_114">114</a></li> - - -<li class="ifrst">Erasmo da Narni. <em>See</em> Gattamelata.</li> - -<li class="indx">Este, Isabella d', <a href="#Page_144">144</a></li> - - -<li class="ifrst">Faenza Railway, <a href="#Page_6">6</a>, <a href="#Page_9">9</a>, <a href="#Page_20">20</a></li> - -<li class="indx">Fiesole, <a href="#Page_3">3</a>, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, <a href="#Page_39">39</a></li> - -<li class="indx">Fivizzano, <a href="#Page_210">210</a></li> - -<li class="indx">Folk songs, <a href="#Page_222">222</a></li> - -<li class="indx">Font, Brancoli, <a href="#Page_193">193</a></li> - -<li class="indx">Fornaci, <a href="#Page_207">207</a></li> - -<li class="indx">Forteguerra, Laodomia, <a href="#Page_148">148</a>, <a href="#Page_151">151</a></li> - -<li class="indx">Forteguerra, Niccolņ, Cardinal, <a href="#Page_147">147</a></li> - -<li class="indx">Forteguerra, Niccolņ, Poet, <a href="#Page_147">147</a>, <a href="#Page_148">148</a></li> - -<li class="indx">Fosdinovo, <a href="#Page_210">210</a></li> - -<li class="indx">Fra Bartolommeo, <a href="#Page_171">171</a></li> - - -<li class="ifrst">Gaddi, Angelo, <a href="#Page_64">64</a></li> - -<li class="indx">Garfagnana, Valley of the, <a href="#Page_199">199</a>, <a href="#Page_207">207</a>, <a href="#Page_210">210</a></li> - -<li class="indx">Garibaldi, <a href="#Page_82">82</a></li> - -<li class="indx">Gattamelata, <a href="#Page_114">114</a></li> - -<li class="indx">Ghirlandaio, R., <a href="#Page_64">64</a></li> - -<li class="indx">Ghivizziano, <a href="#Page_207">207</a></li> - -<li class="indx"><span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span>Gian Galeazzo, Duke of Milan, <a href="#Page_35">35</a>-<a href="#Page_36">36</a></li> - -<li class="indx">Giorgione, <a href="#Page_117">117</a></li> - -<li class="indx">Giotto, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_27">27</a></li> - -<li class="indx">Giuliano Giamberti. <em>See</em> San Gallo.</li> - -<li class="indx">Goldschmidt, Madame, or Jenny Lind, <a href="#Page_229">229</a>, <a href="#Page_230">230</a></li> - -<li class="indx">Greve, <a href="#Page_79">79</a>, <a href="#Page_80">80</a></li> - -<li class="indx">Groppoli, <a href="#Page_163">163</a></li> - -<li class="indx">Guido da Como, <a href="#Page_217">217</a></li> - - -<li class="ifrst">Herbert, George, <a href="#Page_163">163</a>, <a href="#Page_194">194</a></li> - -<li class="indx">Holy-water Stoup, Barga, <a href="#Page_214">214</a></li> - -<li class="indx">Holy-water Stoup, Brancoli, <a href="#Page_190">190</a>, <a href="#Page_193">193</a>, <a href="#Page_214">214</a></li> - -<li class="indx">Hotels:</li> - <li class="isub1">Giardino, Prato, <a href="#Page_46">46</a></li> - <li class="isub1">Globo e Londra, Pistoja, <a href="#Page_136">136</a></li> - <li class="isub1">Posta, Barga, <a href="#Page_208">208</a>, <a href="#Page_209">209</a></li> - <li class="isub1">l'Universo, Lucca, <a href="#Page_163">163</a></li> - -<li class="indx">Hyett, F. A., <a href="#Page_106">106</a> (note), <a href="#Page_110">110</a>, <a href="#Page_118">118</a></li> - - -<li class="ifrst">Ilaria del Carretto (Tomb), <a href="#Page_171">171</a></li> - -<li class="indx">Impruneta, <a href="#Page_90">90</a>-<a href="#Page_95">95</a></li> - -<li class="indx">Interminelli, The, <a href="#Page_118">118</a></li> - - -<li class="ifrst">Jacopo della Quercia, <a href="#Page_171">171</a></li> - -<li class="indx">John of Bologna, <a href="#Page_39">39</a></li> - -<li class="indx">Joseph, Patriarch, <a href="#Page_51">51</a></li> - - -<li class="ifrst">Leone Lioni, <a href="#Page_113">113</a></li> - -<li class="indx">Lima River, <a href="#Page_177">177</a>, <a href="#Page_203">203</a></li> - -<li class="indx">Lippi, Filipino, <a href="#Page_67">67</a></li> - -<li class="indx">Lippi, Fra Lippo, <a href="#Page_49">49</a>, <a href="#Page_64">64</a>-<a href="#Page_67">67</a></li> - -<li class="indx">Lord of Lucca. <em>See</em> Castruccio.</li> - -<li class="indx">Lorenzo di Credi, <a href="#Page_144">144</a></li> - -<li class="indx">Loppia, <a href="#Page_207">207</a></li> - -<li class="indx">Lucca, <a href="#Page_3">3</a>, <a href="#Page_101">101</a>, <a href="#Page_106">106</a>, <a href="#Page_113">113</a>, <a href="#Page_117">117</a>, <a href="#Page_163">163</a>-<a href="#Page_172">172</a>, <a href="#Page_213">213</a></li> - - -<li class="ifrst">Machiavelli, <a href="#Page_117">117</a>, <a href="#Page_118">118</a></li> - -<li class="indx">Majano, <a href="#Page_3">3</a>, <a href="#Page_4">4</a></li> - -<li class="indx">Malatesta, Duke of Urbino, <a href="#Page_110">110</a></li> - -<li class="indx">Manzoni, <a href="#Page_222">222</a></li> - -<li class="indx">Marchese of Mantua. <em>See</em> Este.</li> - -<li class="indx">Marcus Aurelius, <a href="#Page_114">114</a></li> - -<li class="indx">Marie Louise, Duchess, <a href="#Page_167">167</a></li> - -<li class="indx">Martinella, <a href="#Page_106">106</a></li> - -<li class="indx">Matilda, the "Great Countess,", <a href="#Page_128">128</a></li> - -<li class="indx">Matteo Civitali, <a href="#Page_172">172</a></li> - -<li class="indx">Matteo Costanzo, <a href="#Page_114">114</a></li> - -<li class="indx">Medici Shield, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_82">82</a>, <a href="#Page_124">124</a>, <a href="#Page_143">143</a>, <a href="#Page_210">210</a></li> - -<li class="indx">Medici, Avérard, <a href="#Page_17">17</a>, <a href="#Page_18">18</a></li> - -<li class="indx">Medici, Bernardo de', <a href="#Page_110">110</a></li> - -<li class="indx">Medici, Cosimo, Pater Patrę, <a href="#Page_18">18</a>, <a href="#Page_55">55</a></li> - -<li class="indx">Medici, Duke Francesco de', <a href="#Page_39">39</a></li> - -<li class="indx">Medici, Lorenzo de', <a href="#Page_51">51</a>, <a href="#Page_52">52</a>, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_59">59</a>, <a href="#Page_64">64</a>, <a href="#Page_105">105</a></li> - -<li class="indx">Medeghino, Il, <a href="#Page_110">110</a>, <a href="#Page_113">113</a></li> - -<li class="indx">Mercato, Pistoja, <a href="#Page_101">101</a>, <a href="#Page_135">135</a>, <a href="#Page_136">136</a></li> - -<li class="indx">Metayerage System, or Mezzadria, <a href="#Page_84">84</a>-<a href="#Page_88">88</a></li> - -<li class="indx">Michelozzo, <a href="#Page_55">55</a>, <a href="#Page_63">63</a></li> - -<li class="indx">Mino da Fiesole, <a href="#Page_49">49</a>, <a href="#Page_64">64</a>, <a href="#Page_147">147</a></li> - -<li class="indx">Montemurlo, <a href="#Page_106">106</a></li> - -<li class="indx">Monte Abetone, <a href="#Page_213">213</a></li> - -<li class="indx">Monte Giove, <a href="#Page_8">8</a></li> - -<li class="indx">Monte Ferrato, <a href="#Page_63">63</a></li> - -<li class="indx">Monte Morello, <a href="#Page_8">8</a>, <a href="#Page_9">9</a></li> - -<li class="indx">Monte Pisani, <a href="#Page_167">167</a></li> - -<li class="indx"><span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span>Monte Prado, <a href="#Page_213">213</a></li> - -<li class="indx">Monte Rondinaio, <a href="#Page_213">213</a></li> - -<li class="indx">Monte Senario, <a href="#Page_36">36</a></li> - -<li class="indx">Morgan, E. S., <a href="#Page_84">84</a></li> - -<li class="indx">Mugello, <a href="#Page_3">3</a>-<a href="#Page_40">40</a></li> - -<li class="indx">Mugnone, <a href="#Page_5">5</a>, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>, <a href="#Page_39">39</a></li> - - -<li class="ifrst">Nation, The (note), <a href="#Page_84">84</a></li> - -<li class="indx">Nievole, <a href="#Page_102">102</a></li> - - -<li class="ifrst">Orcagna, "Triumph of Death,", <a href="#Page_117">117</a></li> - -<li class="indx">Ospedale del Ceppo, <a href="#Page_127">127</a>, <a href="#Page_139">139</a>, <a href="#Page_141">141</a>-<a href="#Page_142">142</a>, <a href="#Page_145">145</a></li> - - -<li class="ifrst">Padua, <a href="#Page_114">114</a></li> - -<li class="indx">Padua, Arena Chapel, <a href="#Page_27">27</a></li> - -<li class="indx">Palazzo Pubblico, Scarperia, <a href="#Page_14">14</a>, <a href="#Page_17">17</a></li> - -<li class="indx">Palazzo del Podestą, Borgo San Lorenzo, <a href="#Page_21">21</a></li> - -<li class="indx">Palazzo Vecchio, Florence, <a href="#Page_14">14</a></li> - -<li class="indx">Palęologos, Emperor John, <a href="#Page_51">51</a></li> - -<li class="indx">Panzano, <a href="#Page_80">80</a></li> - -<li class="indx">Perugino, <a href="#Page_110">110</a></li> - -<li class="indx">Petraia, Royal Villa, <a href="#Page_55">55</a></li> - -<li class="indx">Petrarch, <a href="#Page_110">110</a>, <a href="#Page_151">151</a>, <a href="#Page_152">152</a>, <a href="#Page_155">155</a></li> - -<li class="indx">Piero a Sieve, <a href="#Page_9">9</a>, <a href="#Page_10">10</a>, <a href="#Page_35">35</a></li> - -<li class="indx">Pisani, The, <a href="#Page_49">49</a>, <a href="#Page_217">217</a></li> - -<li class="indx">Pisano, Giovanni, <a href="#Page_60">60</a>, <a href="#Page_63">63</a>, <a href="#Page_64">64</a></li> - -<li class="indx">Pistojese Apennines, <a href="#Page_221">221</a>, <a href="#Page_222">222</a></li> - -<li class="indx">Pistoja, "City of Cino", <a href="#Page_101">101</a>, <a href="#Page_102">102</a>, <a href="#Page_106">106</a>, <a href="#Page_123">123</a>-<a href="#Page_155">155</a>, <a href="#Page_163">163</a></li> - -<li class="indx">Podere (farm), <a href="#Page_81">81</a></li> - -<li class="indx">Poggio a Caiano, <a href="#Page_55">55</a>-<a href="#Page_56">56</a></li> - -<li class="indx">Ponte d'Elsa, <a href="#Page_24">24</a></li> - -<li class="indx">Ponte della Maddalena, or Devil's Bridge, <a href="#Page_200">200</a>, <a href="#Page_203">203</a></li> - -<li class="indx">Ponte Moriano, <a href="#Page_172">172</a>, <a href="#Page_174">174</a></li> - -<li class="indx">Ponte a Serraglio, <a href="#Page_203">203</a></li> - -<li class="indx">Ponte Vinchiana, <a href="#Page_177">177</a>, <a href="#Page_200">200</a></li> - -<li class="indx">Prato, <a href="#Page_45">45</a>-<a href="#Page_67">67</a>, <a href="#Page_106">106</a></li> - -<li class="indx">Pratolino, <a href="#Page_36">36</a></li> - -<li class="indx">Pratolino, Villa of, <a href="#Page_39">39</a></li> - -<li class="indx">Pulpit, Barga, <a href="#Page_217">217</a></li> - -<li class="indx">Pulpit, Brancoli, <a href="#Page_189">189</a></li> - - -<li class="ifrst">Republic of S. Mark, <a href="#Page_113">113</a></li> - -<li class="indx">Riccardi Palace, <a href="#Page_36">36</a>, <a href="#Page_51">51</a>, <a href="#Page_117">117</a></li> - -<li class="indx">Ricciardetto, <a href="#Page_148">148</a></li> - -<li class="indx">Rispetti, <a href="#Page_222">222</a></li> - -<li class="indx">Ruskin, J., <a href="#Page_8">8</a>, <a href="#Page_10">10</a>, <a href="#Page_39">39</a>, <a href="#Page_109">109</a>, <a href="#Page_225">225</a>, (note)</li> - - -<li class="ifrst">Sacra Cintola, <a href="#Page_60">60</a>, <a href="#Page_63">63</a>, <a href="#Page_64">64</a></li> - -<li class="indx">Salvi, Virginia, <a href="#Page_151">151</a></li> - -<li class="indx">San Gallo, <a href="#Page_59">59</a></li> - -<li class="indx">San Giusto, <a href="#Page_177">177</a>, <a href="#Page_200">200</a></li> - -<li class="indx">San Jacopo, <a href="#Page_128">128</a></li> - -<li class="indx">San Marcello, <a href="#Page_222">222</a></li> - -<li class="indx">San Martino, <a href="#Page_10">10</a></li> - -<li class="indx">San Miniato, <a href="#Page_3">3</a></li> - -<li class="indx">San Zeno, <a href="#Page_128">128</a></li> - -<li class="indx">Sarzana, <a href="#Page_105">105</a>, <a href="#Page_210">210</a></li> - -<li class="indx">Sarzanella, <a href="#Page_105">105</a></li> - -<li class="indx">Savonarola, <a href="#Page_55">55</a>, <a href="#Page_92">92</a></li> - -<li class="indx">Scala family, <a href="#Page_110">110</a></li> - -<li class="indx">Scarperia, <a href="#Page_10">10</a>, <a href="#Page_14">14</a>, <a href="#Page_17">17</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_27">27</a>, <a href="#Page_35">35</a></li> - -<li class="indx">Scissors, Manufacture of, <a href="#Page_14">14</a></li> - -<li class="indx">Serchio River, <a href="#Page_174">174</a>, <a href="#Page_177">177</a>, <a href="#Page_182">182</a>, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>, <a href="#Page_207">207</a></li> - -<li class="indx">Serravalle, <a href="#Page_101">101</a>, <a href="#Page_105">105</a>, <a href="#Page_106">106</a>, <a href="#Page_163">163</a></li> - -<li class="indx">Sforzi, The, <a href="#Page_110">110</a></li> - -<li class="indx"><span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span>Sforza, Francesco, <a href="#Page_114">114</a></li> - -<li class="indx">Sforza, Lodovico, Il Moro, <a href="#Page_110">110</a>, <a href="#Page_144">144</a></li> - -<li class="indx">Sieve River, <a href="#Page_5">5</a>, <a href="#Page_8">8</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a></li> - -<li class="indx">Signa, <a href="#Page_106">106</a></li> - -<li class="indx">Sinibuldi, Guittoncino dei (Cino), <a href="#Page_151">151</a>-<a href="#Page_152">152</a>, <a href="#Page_155">155</a></li> - -<li class="indx">Spezia, <a href="#Page_210">210</a></li> - -<li class="indx">Stemmi. <em>See</em> Coats of Arms.</li> - -<li class="indx">Stornelli, <a href="#Page_222">222</a></li> - -<li class="indx">Sumptuary Laws, <a href="#Page_131">131</a></li> - -<li class="indx">Symonds, J. A., <a href="#Page_109">109</a>, <a href="#Page_113">113</a> (note), <a href="#Page_222">222</a> (note)</li> - - -<li class="ifrst">Tabernacle, Barga, <a href="#Page_218">218</a></li> - -<li class="indx">Tebaldeo, Pistoja, <a href="#Page_144">144</a></li> - -<li class="indx">Tedici, Dialta, <a href="#Page_101">101</a></li> - -<li class="indx">Tedici, Filippo, <a href="#Page_101">101</a>, <a href="#Page_136">136</a></li> - -<li class="indx">Tigri, <a href="#Page_222">222</a></li> - -<li class="indx">"Time," Review, <a href="#Page_84">84</a></li> - -<li class="indx">Torraccia Romanelli, <a href="#Page_22">22</a></li> - -<li class="indx">Torre del Podestą, <a href="#Page_128">128</a></li> - -<li class="indx">Tuscan Cookery, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, <a href="#Page_76">76</a>, <a href="#Page_77">77</a>, <a href="#Page_88">88</a>, <a href="#Page_135">135</a>, <a href="#Page_136">136</a>, <a href="#Page_209">209</a></li> - -<li class="indx">Tuscan Harvests, <a href="#Page_87">87</a></li> - -<li class="indx">Tuscan Road Songs, <a href="#Page_225">225</a></li> - -<li class="indx">Tuscan Servants, <a href="#Page_74">74</a>, <a href="#Page_75">75</a>, <a href="#Page_77">77</a></li> - -<li class="indx">Tuscan Speech, <a href="#Page_222">222</a></li> - -<li class="indx">Tuscan Wine, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>, <a href="#Page_79">79</a>, <a href="#Page_82">82</a>, <a href="#Page_88">88</a>, <a href="#Page_135">135</a>, <a href="#Page_136">136</a>, <a href="#Page_209">209</a></li> - - -<li class="ifrst">Ubaldini, <a href="#Page_14">14</a></li> - - -<li class="ifrst">Vaglia, <a href="#Page_8">8</a>, <a href="#Page_36">36</a></li> - -<li class="indx">Val d'Arno, <a href="#Page_6">6</a>, <a href="#Page_8">8</a>, <a href="#Page_31">31</a>, <a href="#Page_36">36</a>, <a href="#Page_39">39</a>, <a href="#Page_77">77</a>, <a href="#Page_80">80</a>, <a href="#Page_106">106</a>, <a href="#Page_153">153</a></li> - -<li class="indx">Vinci, Leonardo da, <a href="#Page_110">110</a></li> - -<li class="indx">Vergiolesi, Selvaggia dei, <a href="#Page_151">151</a>, <a href="#Page_152">152</a>, <a href="#Page_155">155</a></li> - -<li class="indx">Verrocchio, <a href="#Page_147">147</a></li> - -<li class="indx">Vespignano, <a href="#Page_25">25</a></li> - -<li class="indx">Villa Capriani-Cateni, <a href="#Page_25">25</a></li> - -<li class="indx">Villa Tolomei, <a href="#Page_32">32</a></li> - -<li class="indx">Vinchiana Bridge. <em>See</em> Ponte.</li> - -<li class="indx">Visconti, The, Dukes of Milan, <a href="#Page_113">113</a></li> - -<li class="indx">Visconti Galeazzo, <a href="#Page_110">110</a></li> - -<li class="indx">Visconti Gian <ins title="Transcriber's Note: original reads 'Galleazzo'">Galeazzo</ins>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a></li> - -<li class="indx">Visitation, <a href="#Page_143">143</a></li> - <li class="isub1"><em>See</em> Della Robbia, Luca.</li> - - -<li class="ifrst">Wine Jar, <a href="#Page_82">82</a></li> -</ul> - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> E. Armstrong, M.A., <cite>Lorenzo de' Medici</cite>, p. 437. B. Berenson, <cite>The -Study and Criticism of Italian Art</cite>. Second series. "A Word for Renaissance -Churches."</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> The quarries of serpentine (verde di Prato) near Prato have been -worked from a very early period. Their present output is valued at £1,000 -per annum.—From <cite>The British Diplomatic and Consular Report</cite>, No. 570, -1901.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> References <cite>Consular Report on Commerce and Manufacture in Italy</cite>, -vol. xlv. <cite>The Nation</cite>, No. 1105. E. S. Morgan, <cite>Time</cite>, vol. xiv.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> See Cruttwell's <cite>Luca and Andrea Della Robbia</cite>, chapter vii.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Francis A. Hyett, B.A., <cite>Florence</cite>, p. 104.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> J. A. Symonds, <cite>Age of Despots</cite>, p. 87.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Francis A. Hyett, B.A., <cite>Florence</cite>, p. 106.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> See Symonds' Essay in <cite>Sketches and Studies</cite>, vol. i., p. 173.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Francis A. Hyett, B.A., <cite>Florence</cite>, p. 99.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> M. Carmichael, <cite>In Tuscany</cite>, p. 102.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> J. A. Symonds, "Popular Songs in Tuscany," <cite>Sketches and Studies</cite>, -vol. ii.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> John Ruskin, ed., <cite>Alexander's Road Songs of Tuscany</cite> (1884).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> Alessandro Chiappelli, <i>Una Pastora Poetessa, Beatrice di Pian degli -Ontani</i> (Florence, 1902).</p></div> -</div> - -<hr class="chap" /> - -<div class="transnote"> - -<p class="p1b">Transcriber Notes:</p> - -<p>P. <a href="#Page_56">56</a>. Illustration is probably 'GARDEN BELONGING TO LORENZO'S VILLA POGGIO A CAIANO', not changed.</p> -<p>P. <a href="#Page_115">115</a>. Illustration--Madonna and Child, with two Saints, "Alinar'" changed to "Alinari".</p> -<p>P. <a href="#Page_233">233</a>. 'Cancelliere' changed to 'Cancellieri'.</p> -<p>P. <a href="#Page_237">237</a>. 'Galleazzo' changed to 'Galeazzo'.</p> - -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Medici Balls, by -Anna R. Sheldon and M. 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