Chapter XIII: Part 13

Agostino Lapini records in his diary that the foundations of the first pilaster of the corridor were laid on the 19th March, 1565, and that it was entirely finished by the end of November, and six years later shops were built [along the Lung’Arno] in the arches. The passage between the two galleries was only thrown open to the public in 1866; and eighteen years later, on the proposal of Prince Corsini, then Syndic of Florence, the shops under the corridor in the Via degl’Archibusieri were swept away, to the great convenience of foot-passengers and the improvement of the view.

In 1569 the ambition of Cosimo I. was gratified. Pope Pius V. bestowed upon him and his heirs the title of Grand Duke of Tuscany, and on the 13th December Don Michele Bonelli, the Pope’s nephew, presented the Papal Bull to him in the Hall of the Five Hundred in the presence of his sons, the Papal Nuncio, the ambassadors of Ferrara and Lucca, the Senate of the Forty-eight, the magistrates of the city, the knights of S. Stefano, the nobles, and the representatives of the people. A many-rayed regal crown, with a red lily, the ancient emblem of Florence, in the centre, as ordered by the Pope, was placed above the Medici arms all over the city, and Cosimo’s subjects were informed that henceforth he was to be addressed as “Highness.” Like all his race, he loved festivities and splendour, and in carnival time the old hall in the Palazzo Vecchio was the scene of many banquets to the fair ladies of Florence, followed by recitations and plays with elaborate scenic effects. After Cosimo’s marriage with Camilla Martelli he withdrew almost entirely from public life, and his son Francesco lived in the Palazzo Vecchio until he succeeded to the throne.

We hear little about the palace until it was once more decorated and embellished by Poccetti for the wedding of the Cardinal Ferdinando de’ Medici, who left the Church to ascend the throne and marry Christine of Lorraine. He added considerably to the palace on the eastern side, “where,” writes an old chronicler, “from the great door made by Tasso, carpenter and architect, as far as the corner of the said palace which is opposite to Borgo de’ Greci where one turns to go into the Piazza, there was an old and ugly curtain wall, eight or ten braccie high, so that the rooms of the palace near the said door were exposed to the view of all who passed by, and one saw balconies, terraces, little gardens and such-like. And between the said rooms and the curtain wall we have just mentioned, was a large vacant space full of rubbish, where in the time of the Signoria the lions had been kept.... Seeing all this ugliness, the Cardinal decided that the palace should have a fine and lordly façade behind as it had in front, that the number of rooms should be increased, another courtyard be made, and many other conveniences. Bernardo Buontalenti was ordered to make a design, and the work was at once begun. In a few years the handsome and rich façade we now see was finished, all of hewn stone and ‘_bozzi_,’ in the rustic style. It has a grand air, and contains many fine rooms, and a courtyard in the centre.”

In those days great sculptors worked even in sugar for their patrons, as when Maria de’ Medici was married by proxy to Henry IV. of France in 1600, Giovanni da Bologna modelled various figures and statues in confectionery and in sugar, which were moved by hidden mechanism. Among them was an effigy of the King of France, mounted on a charger which trotted down the table in front of the Queen. He also arranged a huge _fleur-de-lis_, built up of an infinite number of gold and silver cups and goblets, statues of gold and silver, vases of rock crystal, and ornaments inlaid with precious stones, in the Sala of Leo X. in the Palazzo Vecchio.

The marriage of Cosimo de’ Medici, son of the Grand Duke Ferdinando I., with the Archduchess Maria Maddalena of Austria, was celebrated with extraordinary pomp in 1607. A great banquet was given in the Hall of the Five Hundred to the Florentine nobility, of which an anonymous eyewitness has left a long description. Two hundred and forty ladies sat opposite the Princes, as “being more fair to look upon than men,” and after dinner appeared a Venus’ shell gliding forward on sham waves, which bore Zephyr, the messenger of the goddess who, stopping in front of the bride, offered her all his mistress could give. Then came the chariot of Venus drawn by black sparrows in which sat Love, who declared all he had was hers. On the raising of a curtain at the end of the hall, angels floating among clouds were seen, who chanted:

“E sol risuona,
E Maddalena intuona
La valle, il colle, il monte, il prato il bosco
Di questo lido Tosco,
E’l Ciel, l’Aria, e la Terra e l’Onda piena
Cosmo, Cosmo risponde, e Maddalena.”

After this the Princes retired by the corridor to the Palazzo Pitti, the Archduchess graciously inviting the ladies present to follow her as far as the gallery, where a long row of tables were laden with delicate sugarplums and confectionery. What they could not eat or carry away was seized by the populace which streamed in; the Princes watched with great amusement the demolition of all that rare food, and then withdrew to their rooms.

Cosimo II. and his Austrian wife only used the old palace occasionally for receptions and banquets. Their son, that morose bigot Cosimo III., when he lost all hope of seeing any descendants from his two sons, proclaimed his daughter Anna Maria Luisa, married to the Elector Palatine, heiress to the throne in the great hall. His proclamation was, however, futile, and in 1723 his son Giovan Gastone solemnly received the Infante Don Carlos at the door of the Palazzo Vecchio as heir to the throne. Austria, however, interfered, and Francesco of Lorraine was proclaimed as future Grand Duke of Tuscany. In 1737 his representative received the oath of allegiance, and two years later the Grand Duke visited Florence, and splendid festivities were given in his honour. But the Florentines were very sore at his departure for Vienna after a short visit, and still sorer at the invasion of Lorrainers and Austrians, who filled so many of the Government posts. In 1745 Francesco II. became Emperor of Austria, and his second son Pietro Leopoldo succeeded to the Grand Duchy. Zoby, in his _History of Tuscany_, describes how the Senate of the Forty-eight, the Council of the Two Hundred and the principal magistrates of Florence, assembled in the great hall of the Palazzo Vecchio, where a throne had been placed for the Grand Duke. The late Emperor’s will, leaving Tuscany to his second son, was read aloud, and at the same time the renunciation by the Emperor Joseph to any claims thereon. But Joseph died, and once more a Tuscan Grand Duke became Emperor of Austria, to the sorrow of his Italian subjects, who had learned to appreciate Pietro Leopoldo at his proper value. His second son, Ferdinando, became Grand Duke, and in 1791 a fair was held in the Piazza, the Loggia de’ Lanzi was turned into a garden illuminated with many lamps, and a magnificent pavilion was erected in front of the old palace for the Court. Eight years later Ferdinando III. with his wife and four children were driven out of Florence by General Gaulthier in the name Of the Directoire. A Tree of Liberty was set up in the middle of the Piazza della Signoria, newly christened della Libertà, and the French flag was hoisted on the tower of the Palazzo Vecchio. Giovanni da Bologna’s fine statue of Cosimo III. was about to be destroyed and melted down for the benefit of the poor, but was saved by the presence of mind of the President of the _Buon Governo_ and of the advocate Paolini, who remonstrated with the mob, which had already tied ropes round the horse to pull it down, saying that it was a pity to destroy the effigy of despotism which now witnessed the restoration of liberty in Florence. The Marquess Gino Capponi gives a vivid account of the behaviour of the French soldiers in his _Ricordi_. He saw them depart, and was in the Piazza when, after months of silence, the great bell once more rang out at midday and all present sank on their knees at the beloved sound.

The old palace saw one ruler after another pass through its great hall like puppets. Ferdinando III. returned for some months, but was soon driven out again by the French. Then Tuscany for a few years became the Kingdom of Etruria, only to be merged in the French Empire in 1808, and the following year Napoleon I. again created a Grand Duchy of Tuscany, and gave it to his sister Elise Baciocchi, who was already Duchess of Lucca and Princess of Piombino.

The roof of the Palazzo Vecchio had for some time been in a bad state, and the municipal architect, G. del Rosso, was charged to survey the whole building. In 1809 the work began. The reservoir for rain water made by Michelozzi had become useless, and was only an additional weight on the columns of the courtyard, so it was done away with, the cornice was renewed, and windows, which had been arbitrarily pierced here and there, were closed and the ancient ones restored. Del Rosso was forced to whitewash the walls of the courtyard, decorated with the golden lilies of Anjou on a blue ground--an emblem utterly distasteful to the new ruler. The stucco ornaments of the columns, and the frescoes in the vaults and round the courtyard had suffered terribly, and were carefully renovated, but those of the Austrian towns are now once more almost invisible. In order to avoid the incessant passage of the soldiers through the courtyard to their guardroom, del Rosso was ordered to make an entrance from the outside, and this necessitated the destruction of the old ringhiera, so intimately connected with the history of Florence. Part of it had already disappeared when Ammannati set up his huge, ugly fountain at the northern angle--_il Biancone_ the Florentines call it--still it was with unwilling hands that del Rosso levelled what remained and made the platform, the steps and the door immediately under the balcony. The ancient Marzocco, which had lost all semblance of a lion, was removed, and on its beautiful base was put the one by Donatello (replaced by a copy in 1885). It was at this time that the Alberghettino was discovered in the tower.

With the fall of Napoleon ended the rule of his sister Elise, and the Grand Duke Ferdinando III. once more returned to Tuscany. He was succeeded in 1824 by his son Leopoldo II., under whose reign the lovely tower of the old palace was restored to its pristine beauty by having the plaster and whitewash, with which it had been bedaubed a century before, removed. The architect, Giuseppe Martelli, also took down one of the supporting corbels of the tower, which being of friable sandstone was breaking away under the great weight of 67,908 chilogrammes which rested on it. It was replaced by one of hard stone, and at the same time the arms of the Florentine Republic round the top of the palace were freed from whitewash and restored.

On the 17th February, 1848, the Grand Duke Leopoldo II. inaugurated the first parliament of constitutional government in the Hall of the Five Hundred. But one ministry after another fell, and the following year the Grand Duke abandoned Tuscany. A provisional government abolished the Senate and the Council in favour of an assembly of representatives of the people, elected by universal suffrage. There was fighting in the streets of Florence and the friends of Austria were scheming to bring back Leopoldo II., so in April, 1849, a Commission, amongst whom were Bettino Ricasoli and Gino Capponi, was named, which not only met in the Palazzo Vecchio to conduct the government of the country, but lived there as the Republican Signoria had done in former times. A month later the Austrians entered Florence and the Grand Duke’s representative took up his abode in the old palace, in front of which was placed an iron railing where once was the ringhiera, behind which Austrian sentinels paced backwards and forwards.

On the morning of the 27th April, 1859, Florence awoke to the cry of _Viva l’Italia_ and the same evening the Grand Ducal family once more took the well-known road to Vienna, while the tricolour flag was hoisted on the tower of the Palazzo Vecchio amid the exultant shouts of the crowd below. Four months later, in the Hall of the Five Hundred, Baron Ricasoli, a descendant of the Bettino Ricasoli who in the middle of the XIVth century locked the door and sat upon the keys until his party had won the day, ended his speech with these words: “Let us remember that while in this hall, which has not echoed to the voice of liberty for three centuries, we are dealing with the affairs of Tuscany, our thoughts must be turned to Italy;” and one by one the deputies passed in front of the provisional ministry, and dropped into the urn their votes for the union of Tuscany to the Kingdom of Italy under King Victor Emanuel.

1860 awoke to the sound of the big bell of the Palazzo Vecchio calling the people to a plebiscite. The result was proclaimed from the platform, which had replaced the ancient ringhiera, to the crowd which had waited for hours in the Piazza, as 366,571 ayes, out of 386,445 voters. H.H. Prince Eugenio of Savoia Carignano, the King’s cousin, was named Viceroy of Tuscany and Baron Bettino Ricasoli Governor, with his official residence in the Palazzo Vecchio. Five years later, when Florence was for a few years the capital of United Italy, the old palace became the seat of the parliament and was sadly pulled about. The great Hall of the Five Hundred was arranged as a House of Parliament, doors were opened to give free access to the various offices, and room had also to be found for the Ministry for Foreign Affairs. The architect Falconieri was vehemently attacked and defended himself in a pamphlet, declaring that he had done his utmost to respect all that was beautiful, and at all events had finished that part of the palace in the Via de’ Leone which had been left so long uncompleted.

In 1866 Baron Ricasoli announced in the great hall that Victor Emanuel had declared war on Austria, and four years later the King himself, amid delirious enthusiasm, stated that his soldiers had entered Rome. With this the story of the Palazzo Vecchio comes to an end. It is now the seat of the municipality of Florence, and it only remains for me to acknowledge the help I have derived from Signor Aurelio Gotti’s book _Storia del Palazzo Vecchio in Firenze_.

* * * * *

Arms of the Republic of Florence under the machicolations of the Palazzo Vecchio.

A white Lily on a red field; the ancient arms of the city.

A red and white Shield divided lengthways; signifying the union of Florence and Fiesole.

A red Lily on a white field; the arms of the city, 1251.

A blue Shield with the word _Libertas_ in gold letters; the arms of the Priors of Liberty.

A red Cross on a white field; the arms of the People.

Two golden Keys on an azure (or white) field, placed crossways; the arms of the Church.

A red Eagle standing on a green Dragon in a white field, a small golden Lily on the head of the eagle; the arms of the Guelph party. (Really the arms of Clement III., who bestowed them on the Guelphs in 1365.)

Golden Lilies on an azure field with a golden Bar (rastrello) at top; the arms of Charles of Anjou.

A shield divided lengthways to the left, golden Lilies on an azure field to the right, red Stripes on a field or; the arms of King Robert of Naples.

Under the machicolations of the tower are painted the arms and emblems of the various quarters of the city. On the southern side are the arms of S. Spirito, a white Dove with golden rays in her beak on an azure field: the gonfaloni, or banners, of the quarter of S. Spirito bear a Ladder on a red field; five Shells on a blue field; a green Dragon on a red field; a five-thonged Whip on a blue field. On the eastern side are the arms of S. Croce, a golden Cross on a blue field: the gonfaloni have a silver shield with a red Cross on a black field with broad silver rings round it; a Cartwheel on a blue field; a Lion on a white field. To the west are the arms of S. Maria Novella, a golden Sun with rays on an azure field: the gonfaloni bear a white Lion on a blue field; a blue Viper on a gold field; an Unicorn on a blue field; a red Lion on a white field. S. Giovanni, to the north, has its own Temple with a suspended Key on either side on a blue field: the gonfaloni bear two red Keys on a field or; a shield, the upper half red and the lower of ermine, on a white field; a golden Lion on a blue field; a green Dragon on a field or. Some of these are almost entirely obliterated.

PALAZZO VITALI

_Borgo degl’Albizzi. No. 26._

This palace, built by Ammannati for the great family of the Pazzi, whose dolphins are still above the doorway, is one of the literary landmarks of Florence. In the beginning of the XVIIIth century it was the fashion for the _beaux esprits_ of the town to meet together at a chemist’s or a bookseller’s shop, or now and then at each other’s houses. Giovanni Pazzi, a studious, cultured man, was generally to be found in his library at the very top of his palace, in what remained of one of the ancient towers of his family. Here his friends would meet in the evening and they jokingly called his abode la Colombaia (the dovecot) from its height, and himself il Torraiolo (the tower pigeon). A society was formed in May, 1735, and each member chose a nickname which had some reference to a pigeon; their emblem was a tower with the motto from Dante, _Quanto veder si puo_, and their seal an old intaglio representing two doves feeding each other, to which was added the words, _Mutius Officiis. S. C._ The Società Colombaia still meets and reads learned papers in Via de’ Bardi.

PALAZZO VIVIANI

_Via S. Antonino. No. 9._

Vincenzio Viviani, the disciple and friend of Galileo, rebuilt his house with the pension granted to him by Louis XIV. of France, after the design of his pupil and friend, G. B. Nelli. Fontanelle writes in his _Eloge_: “Viviani called his house _Aedes a Deo datae_, an apt allusion to the name bestowed on the monarch,[116] and to the origin of the building.... Galileo has not been forgotten, for his bust is over the door and the story of his life is told in certain inscriptions on either side.” From these huge scrolls the palace is commonly called the Palazzo de’ Cartellone. Viviani was with Galileo during the last three years of his life, and by his tender friendship in part consoled the blind, infirm man for the loss of his daughter Maria. Named Court Mathematician by Ferdinando II., he had much to do with regulating the course of the rivers in Tuscany, and was greatly looked up to and respected. He died in 1703, aged 81, leaving his real estate to his nephew the Abbé Jacopo Panzanini for life, and then to G. B. Nelli. All the personal estate was left to his nephew save the library of printed books, which were to go to the hospital of Sta. Maria Nuova. After the death of the Abbé Panzanini, Vivian’s manuscripts, amongst which were many of Galileo which he had bought from his natural son, and of Torricelli, were for a time religiously preserved by his heirs, but at last the contents of the cupboards were stowed away in the granary, and the servants began to sell them for waste paper. Senator Nelli heard of it and bought what remained from the various shop-keepers and from the Panzanini.

To English people the palace is interesting, as when Milton came to Florence he stayed here as the guest of Viviani.

PALAZZO XIMENES D’ARAGONA (NOW PANCIATICHI)

_Borgo Pinti. No. 60._

Giuliano da San Gallo built this palace for himself and his brother in 1490, while he was engaged in designing the Villa of Poggio a Cajano. Lorenzo the Magnificent ordered him to construct a large hall, the ceiling of which was to be one huge arched vault, so Giuliano tried the experiment on rather a smaller scale in his own house. The result can be seen in a noble room on the second floor. The palace, bought by the great Portuguese family Ximenes d’Aragona, was considerably enlarged by Gherardo Silvani in 1603; the large entrance hall and the courtyard with a fine loggia leading into the garden were probably built by him. In 1769 the daughter of the last of the Ximenes d’Aragona married the Marquess Niccolò Panciatichi. After her father’s death the palace was let to General Miot, French Minister at the Court of Tuscany, whose guest Napoleon Bonaparte was for two days in 1796. Lord Burgersh lived here when British Minister at Florence, and his entertainments were the talk of the town, as he turned the large courtyard into a ball-room by covering it with a tent. The late Marquess Panciatichi Ximenes d’Aragona only left his family palace in Via Cavour for this one in 1850. Sixteen years later, in order to prolong the Via del Mandorlo, it was cut in two, but it is still one of the largest in Florence.

FOOTNOTES

[1] See _Florentine Villas_, Dent and Co., 1902.

[2] _Le Bellezze della Città di Fiorenza._ Scritte da M. Francesco Bocchi In Fiorenza. MDXCI.

[3] _Opere Volgare di Leon Battista Alberti._ Anicio Bonucci. Firenze. 1843.

[4] See Preface to _Opere Volgare di L. B. Alberti_. A. Bonucci.

[5] _Manuale di Letteratura Italiana._ Compilato dai Professori Alessandro d’Ancona e Orazio Bacci. Vol. ii p. 75. Firenze. G. Barbèra. 1904.

[6] This is not the place to enter more fully into the subject; the reader can consult J. A. Symonds’ _Renaissance in Italy_; the _Manuale_ quoted above; G. S. Scipioni, _L. B. Alberti e A. Pandolfini_; V. Cortesi, mentioned in the text; G. Mancini, _Vita di L. B. Alberti_; the _Arch. Stor. Ital._ serie iv. xix; A. Bonucci, _Opere Volgare di L. B. Alberti_; and many others.

[7] _Renaissance in Italy._ J. A. Symonds. Vol. ii, p. 247. Smith Elder and Co. 1897.

[8] See _Paradiso degl’Alberti_ Edito da A. Wesselofsky. Bologna. 1867.

[9] _Marietta de’ Ricci._ Di A. Ademollo. Con correzione e aggiunte di Luigi Passerini. Vol. ii, p. 697. Firenze. 1845.

[10] _Istoria di Firenze._ Di Goro Dati. Dall’anno MCCCLXXX all’anno MCCCCV. con Annotazione. In Firenze MDCCXXXV. Nella Stamperia di Giuseppe Marmi.

[11] This gate, which was on the bank of the river, was destroyed in 1860. At the same time foundations of massive stone walls were discovered, and the ancient pavement of the city was found far below the present level.

[12] _Storie Fiorentine di Messer Bernardo Segni._ Dall’Anno MDXXVII al MDLV. In Augusta. MDCCXXIII.

[13] _Genealogia e Storia della Famiglia Altoviti._ Luigi Passerini. Firenze. 1871.

[14] See _Storia Politica dei Municipii Italiani_. Paolo Emiliani-Giudicci. Firenze. 1851.

[15] Now in the collection of Mrs. Gardiner, Fenway Court, Boston.

[16] _De Ingressu Antonnii Altovitae Archiepiscopi Florentini_, Historico Descripto Incerti Auctoris. Dominicus Morenius. Florentiae. MDCCCXV.

[17] Domenico Passignani, Matteo Rosselli, Ottavio Vannini, Giovanni da San Giovanni, Fabbrizio Boschi, Michelangelo Cinagelli, Niccodemo Ferrucci, Andrea del Bello, Michele Buffini, Ton Guerricci, Filippo Tarchiani, Cosimo Milanesi and Stefano da Quinto.

[18] See _Memorie del Calcio Florentino_. Tratte da diverse Scritture e dedicate all’Altezze Serenissime di Ferdinando, Principe di Toscana e Violante Beatrice di Baviera. Firenze. 1688.

[19] _Marietta de’ Ricci._ A. Ademollo. 2A edizione con correzione e aggiunte per cura di Luigi Passerini. Vol. iv. p. 1303. Firenze. 1845.

[20] For an account of the Marquess F. Bartolommei and the bloodless Florentine revolution, see _Il Rivolgimento Toscano e l’Azione Popolare_, by his daughter Signora Matilda Gioli. Firenze. 1905.

[21] _Marietta de’ Ricci, di A. Ademollo._ 2A edizione con correzzioni e aggiunte per cura di Luigi Passerini. Vol. v., p. 1850. Firenze. 1845.

[22] Vasari erroneously says, from the Life of Alexander the Great, Pippo Spano, or to give him his proper name, Filippo Scolari, was related to the Buondelmonti (see p. 54). King Sigismund of Hungary discovered the extraordinary military genius of the Tuscan merchant, and made him Captain-General of his army. He beat the Turks in twenty pitched battles, and died in 1426. His tomb existed in the royal mausoleum at Albareale until destroyed by the Turks in 1543.

[23] See _Bulletino dell’Associazione per la Difesa di Firenze. Antica._ 4a Fascicolo, 1904.

[24] _Don Antonio de’ Medici al Casino di San Marco and Il Casino di San Marco._ P. F. Covoni, 1892.

[25] _Commentarj di Gino Capponi dell’Acquisto ovvero Presa di Pisa._ Vol. 18, Script. Rer. Ital.

[26] _Istoria delle Famiglie Fiorentine._ Scritta nell’anno. 1607 da Piero di Giovanni Monaldi Cittadino Fiorentino. Tomo Unico. Al Sermo: Ferdinando Gran Duca di Toscana, con l’aggiunta di Monsre. Sommai, sino all’anno 1620.

[27] _Raccolta Delle Migliori Fabbriche Antiche e Moderne di Firenze._ Disegnate e Descritte da R. ed E. Mazzanti e T. del Lungo. Architetti. Firenze. G. Ferroni, 1876.

[28] Vasari calls him Francesco Tornabuoni. For a full account of the much vexed question of this monument see _Verrocchio_. M. Cruttwell, Duckworth & Co., London, 1904.

[29] Vasari, Vol. III., p. 266 note; and Manni. _Sigilli_, xviii., 131.

[30] See _Archivio Storico Italiano_, Serie V., Tom. VI. _Giovanna Tornabuoni e Ginevra de’ Benci._ Dispensa 6a del 1890, p. 432.

[31] Now a villa, belonging to Mr. Cannon.

[32] Lasca. _Rime_, Vol. I., p. 113.

[33] _Le Bellezze della Città de Firenze._ Cinelli, 1677.

[34] _Genealogia e Storia della famiglia Ricasoli._ Luigi Passerini. Firenze, 1861.

[35] The _Life of Benvenuto Cellini_, translated by John Addington Symonds, Vol. i, p. 113, 2nd edition. John C. Nimmo, London.

[36] _Marietta de Ricci._ Opus cit.

[37] See _Miscellanea Florentina. Il Chiasso del Traditore_, etc. Anno I, No. 12. 1886.

[38] _Celio Malespina_, Part II. Novella 24.

[39] For a full account of the Gondi family see _Histoire Généalogique de la Maison de Gondi_, par M. de Corbinelli, a Paris chez Jean-Baptiste Coignard, Rue St. Jaques, MDCCV. 2 Vols.

[40] See _Raccolta delle Migliori Fabbriche Antiche e Moderne di Firenze_. Disegnate e Descritte da R. ed E. Mazzanti e T. del Lungo. Architetti. Firenze. G. Ferroni, 1876.

[41] _Genealogia e Storia della Famiglia Guadagni._ L. Passerini. Firenze, 1873.

[42] Cerrettiere Bisdomini, the infamous counsellor of the Duke of Athens, who was torn to pieces by the people in the Piazza della Signoria.

[43] See _Apologia de’ Cappucci_. Archivio Storico, Vol. IV. part II. p. 329.

[44] All these decorations have disappeared.

[45] See _Raccolte delle Migliori Fabbriche Antiche e Moderne di Firenze_. Opus cit.

[46] _Ricordi intorno ai costumi, azione e governo del Serenissimo Gran Duca Cosimo._

[47] _Firenze, Città Nobilissima._ Illustrata da Ferdinando L. del Migliore. In Firenze. MDCLXXXIV.

[48] See _Florentine Villas_, pp. 42–44. Dent. London, 1902.

[49] _Istoria delle Famiglie Fiorentine._ Scritta nell’anno 1607 da Piero di Giovanni Monaldi, Cittadino Fiorentino. Tomo unico. Al Sermo, Ferdinando Gran Duca di Toscana, con l’aggiunta di Monsre. Sommai, sino all’anno 1620.

[50] Vita della Venerabile Serva di Dio Donna Leonora Ramirez di Montalvo etc. etc. In Firenze L Anno MDCCXI.

[51] See _Renaissance in Italy_, J. A. Symonds. Vol. v. p. 239. London, 1868.

[52] Passerini, from whose _Genealogia e Storia della Famiglia Panciatichi_ I have taken most of the facts about the family, cites the deed of 9 June 1191: “Infrangilasta quondam Astancolli, Montialtissimo Belgiglio et Nobilino, a servitio sancti Sepulchri, a Saladino Crucis Christi inimico capti, de ultra mare reversi, dictam ecclesiam paupertate laborare videntes, predictum petium terre eidem in potestate dederunt.”

[53] See _Storia del Commercio e dei Banchieri di Firenze_, dal Comm. S. L. Peruzzi. Firenze. 1868.

[54] _Paradise._ Canto XVI, Dante. Cary’s translation.

[55] _Cronica di Buonaccorso Pitti, con Annotazione._ In Firenze. MDCCXX, nella Stamperia di Giuseppe Manni.

[56] Where wool is carded, spun and woven.

[57] _Mann and Manners_, Vol. II, p. 102.

[58] See _Cronachette Storiche Florentine_. Pierfilippo Covoni. Firenze, 1894.

[59] See _Il Palazzo Pitti_. Lettura fatta alla Società Colombaria nell’adunanza del dì 6. Marzo, 1887. Prof. Cosimo Conti. Succ. Le Monnier Firenze, 1887.

[60] _Cronaca di Giovanni Villani_, lib. 8, cap. 8.

[61] See _Del Pretorio di Firenze_. Lezione Academico, etc., da Luigi Passerini, 2A edizione, Firenze, 1855. Ricordi e Jouhaud.

[62] _Hoc opus factum fuit tempore potestarie magnifici et potentis militis domini Fidesmini de Varano civis Camerinensis honorabilis potestatis_ ... the remainder is wanting.

[63] In an article in the _Quarterly Review_ for July, 1904, the following suggestion is made: “A theory of reconciliation is clearly required, and easily suggests itself. May not the chapel have been originally decorated by Giotto, and have sustained, in the fire of 1332, injuries which left nothing but the main lines of its compositions intact? May not the date 1337, inscribed on the left wall below the figure of St. Venanzius, refer to a restoration undertaken, according to the original design, by the nameless pupil who also painted the miracle of the fallen child? Such an explanation receives support from the fact that, on the south wall of the chapel, the framing is not adapted to the frescoes, and is therefore hardly likely to be of the same date.”

[64] Through the kindness of Sir Dominic Colnaghi I am informed that, “no painter of this name is known to have worked in Florence in the fourteenth century. Vasari evidently mixed up two painters in one notice, _i. e._ Giotto di Maestro Stefano, known as Giottino, and Maso di Banco. Antonio Billi (libro di Antonio Billi, ed. Frey. p. 14) states that among his other works Maso di Banco painted the Duke of Athens and his followers, on the façade of the Palazzo del Podestà.”

[65] By the effigy of the Duke was:

Avaro, traditore, e poi crudele,
Lussurioso, ingiusto e spergiuro,
Giammai non tenne suo stato securo.

2. By that of Messer Cerrettieri Visdomini:

Come potevi tu signor durare,
Essendo in vizi et in peccato involto
E me per tuo consiglio avevi tolto.

3. By that of Messer Ranieri di S. Gemignano:

Deh come degnamente mi potevi
Far cavalier; che tu ed io avari
Siamo e sempre fummo piu che Mida,
Tradendo sempre l’uom che in noi si fida.

4. By that of Messer Gugliemo d’Assisi, Captain of the People:

Tu mi fascesti più che altr’uom crudele;
Però mi grava più la tua partita,
In quel furore ch’io perdei la vita.

5. By that of his son Gabriel:

Aver padre crudel, m’era diletto
Poi vidi gli occhi suoi in palese insegna;
E quello avviene a chi male c’insegna.

6. By that of Meliadusse d’Ascoli, Podestà in 1342, who helped to make the Duke Lord of Florence:

Io porto sotto la lima e la fraude,
E di te m’ingegnai farti signore;
Or ne se fuor per tuo poco valore.

7. And on a book which Friar Giotto of S. Gemignano holds in his hand:

Vie più m’incresce di me e mio fratello
Veder l’un traditore, l’altro ingrato,
Che veder te di signoria cacciato.

[66] _Il Palazzo del Podestà._ Illustrazione Storica di Giovan Battista Uccelli. Firenze, 1865.

[67] In large characters was written:

“Superbo, avaro, traditor, bugiardo,
Lussurioso, ingrato e pien d’inganni,
Son Bonnaccorso di Lapo Giovanni.”

[68] In one of these the Podestà, Fulchieri da Calvoli, cruelly tortured those of the Bianchi who fell into his hands, before they were beheaded in the courtyard.

“Their flesh, yet living, sets he up to sale,
Then like an aged beast, to slaughter dooms.
Many of life he reaves, himself of worth
And goodly estimation.”

_Dante Purg._, Canto XIV, Cary’s trans.

All instruments of torture found in these chambers were burnt in the courtyard by the orders of the Grand Duke Leopoldo when he abolished the Inquisition.

[69] _Descrizione dei Delinquenti condannati a morte in Firenze._ Firenze, MDCCCI.

[70] See _Archivio Storico Italiano, T. I._ Firenze. G. P. Vieusseux, Editore, 1842.

[71] In the archives are the sentences pronounced by the various Signori which are too characteristic to omit.

“13th Feb., 1529. Alessandro Corsini continues in his evil courses; a rebel he is, and a rebel he may remain; and that he should serve as an example to all, it is ordered, as he has no house which can be destroyed, that he be painted as a traitor on the palace of the Podestà, so that others may learn from him.

“3rd March, 1529. In the name of God I judge that Taddeo Guiducci be condemned as a rebel, and all his goods be confiscated according to law, and as he has no house of his own in Florence which can be destroyed, he is to be painted on the palace of the Podestà by the side of Alessandro Corsini, and in the same manner as the said Alessandro.

“10th March, 1529. As to the complaint against Pierfrancesco Ridolfi which to-day has come before us, I decide that, as a most virulent enemy of his city, and an enemy of our Holy liberty, as he has always been, he be condemned as a rebel, with all the pains and penalties pertaining unto rebels, as far as the law allows, and that, within fifteen days, he be painted hanging by one foot, alongside of Taddeo Guiducci, on the palace of the Podestà, as a traitor to his country.”

[72] Opus cit.

[73] See _Jahrbuch d. Preussischen Kunstsammlungen_, 1903. Heft. IV. (Fabriczy, Giuliano da Majano in Siena.)

[74] Milan was famed for the construction of these “carrette,” which were much used there.

[75] _Istoria di Firenze._ By the Marquess Gino Capponi.

[76] _Storia d’Alessandro de’ Medici._ Abate Modesto Rastrelli. Firenze. MDCCLXXXI.

[77] See _Miscellanea Fiorentina_. Anno I, No. 12, 1886.

[78] See _Cronachette Storiche Fiorentine_. Pierfilippo Covoni. Firenze, 1894.

[79] At the end of the XVIIIth century her tomb was still pointed out, and del Migliore says that before the vault was restored after it became the property of the Bracci family, the initials “G. A.” were visible on one of the stones.

[80] More likely because it adjoins the chapel of the Misericodia.

[81] _a Storia di Ginevra Amieri che fu sepolta viva in Firenze._ Pisa. Nistri.

[82] _Renaissance in Italy._ J. A. Symonds. Vol. iv, p. 216, second edition, 1898.

[83] _Genealogia e Storia della Famiglia Rucellai._ Luigi Passerini. M Callini e C. 1861.

[84] Novella, 68.

[85] _Un Mercante Fiorentino e la Sua Famiglia, nel Secolo XV._ G. Marcotti. G. Barbèra. Firenze. 1881.

[86] The name is said to be derived from _chiare acque_ (limpid waters) as mentioned by Bernardo’s son Giovanni in his poem _Le Api_, when he begs his friend Trissino to listen:

“A l’umil suon de le forate canne,
Che nate sono in mezzo a le chiare acque
Che Quaracchi oggi il vulgo chiama.”

(To the soft rustle of the hollow canes, which have their birth in the clear waters called now Quaracchi by the common herd.)

[87] See _Le Opere di Giovanni Rucellai per cura di Guido Mazzoni_. Bologna. N. Zanichelli. 1887.

[88] _Cronaca di Firenze di Donato Velluti._ Dall’anno MCCC. in circa fino al MCCCLX. In Firenze. Presso D. M. Manni. MDCCXXXI.

[89] The Strozzi arms are three half moons.

[90] The conversation between the Pope and the prelates in the Consistory was as follows. The Pope asked: “Qualis Civitas est Florentia. Et quia interrogatio ipsius non dirigebatur ad aliquem in spetiali, idcirco nullus respondebat. Tandem post tertiam interrogationem, turbatus quia nullus ei respondebat dixit: Nisi mihi respondeatis, omnes vos poni faciam in multa, sive in carcerem. Tunc Cardinalis Hispanus respondit dicens: Domine, Civitas Florentina est una bona Civitas. Cui Papa Bonifatius ait: O male Hispane, quid est hoc quod dicis? Imo est melior civitas totius Mundi. Nonne qui nutriunt nos, et regunt, et gubernant Curiam nostram, sunt Florentini? Etiam totum Mundum videntur regere et gubernare. Nam omnes Ambaxiatores, qui istis temporibus ad nos per Reges, Barones, et comunitates sunt directi, Florentini fuerunt.... Et ideo cum Florentini regant et gubernent totum Mundum, videntur mihi quod ipsi sint Quintum elementum.”

[91] _Lettere di una Gentildonna Fiorentina._ Publicate da Cesare Guasti Firenze. G. C. Sansoni. 1877.

[92] _i. e._ of perfect alloy and weight. A fiorino was worth about 6_s._

[93] The only place where pure and good ultramarine could be bought.

[94] _Raccolta Delle Migliori Fabbriche Antiche e Moderne di Firenze._ Disegnate e Descritte da R. ed. E. Mazzanti e T. del Lungo, architetti. Firenze. G. Ferroni. 1876.

[95] He wanted to pull down all the houses to the north and make a fine square as far as S. Michele Bertelde; and to the south a garden, which was to have extended to the Via Porta Rossa.

[96] Carriages were only introduced into Florence about 1534. See p. 173.

[97] Archivio Strozzi. Filza IX. A. No. 4.

[98] _Le Famiglie Celebre Italiane, del Conte Pompeo Litta._ Vol. V.

[99] _Giuliano da Majano in Siena._ Jahrbuch der Königlich Preussischen Kunstsamlungen. 1903. P. 333.

[100] Magliabechiana Library.

[101] Le Bellezze della Città di Firenze. Gio. Cinelli. Firenze. 1677.

[102] _Le Migliore Fabbriche_, etc., opus cit.

[103] It remained untouched until 1410 when the right hand aisle was demolished and the left hand one ceded to a _Compagnia_. In 1561 the priest’s house, the campanile, the cemetery and the loggia were destroyed by Cosimo I., when he built the Uffizi, but the small nave continued to be used as a church until 1743, when it was suppressed and used for the archives of the tribunal.

[104] _Illustrazione Istorica del Palazzo della Signoria_, etc. Modesto Rastrelli Firenze. 1792. presso Ant. Gius. Pagani e C. p. 52.

[105] or “rostrum,” derived from the word _arringare_--to harangue.

[106] In old times the Florentines had an almost superstitious admiration for the lion, emblem of the Republic. The Marzocco, as the stone lion of Florence was called, was set above the door, on the four corners, and on the ringhiera of the Palazzo Vecchio, this last was decorated with a golden crown on solemn festivals. The live beasts were kept behind the palace (the Via de’ Leoni still marks the place), and there they remained until Duke Cosimo I. removed them to the Piazza San Marco. Great was the rejoicing in the city when a lioness had cubs; Villani notes the birth of two in 1331 on the day of S. Jacob, in July; and a few years later of six, which he records as a glory for the city and a sign of prosperity for the Commune. Another old chronicler, Paolo Minerbetti, relates how “in 1391 there was much discord and a great battle among the lions, and a lioness who had cubs every year was killed, which was regarded as of evil augury by the citizens.”

[107] See _Die Loggia dei Lanzi zu Florenz_. Eine quellenkritische Untersuchung von Dr. Carl Frey. Berlin. Wilhelm Hertz. 1885.

[108] The chapel of St. Bernard in the Palazzo Vecchio is painted by Rodolfo Ghirlandajo, who, as Vasari writes, “made in the centre of the ceiling the Holy Trinity, and in the other divisions some angel boys holding the instruments of the Passion, and heads of the twelve Apostles; in the corners he painted the Evangelists, and at the end the angel Gabriel kneeling before the Virgin. In some of the landscapes he figured the Piazza of the Annunziata in Florence, as far as the church of S. Marco.”

[109] By Verrocchio, now in the Bargello.

[110] _The Life of Benvenuto Cellini._ Translated by J. A. Symonds. 2nd edition, p. 220. Vol. 2. John C. Nimmo. 1888.

[111] Signor Iodico Del Badia, in a note to his edition of Luca Landucci’s _Diary_, writes: “Out of devotion it was the custom for illustrious Florentines and also strangers of rank, such as popes, cardinals, princes, condottieri, etc., to put their own portrait made in wax of the size of life in this church. These were placed on shelves constructed on purpose. But in 1448 these were full, so the waxen images were hung by ropes from the ceiling. If by chance one of them fell down it was looked upon as an evil augury for the person or for his family. When political passions ran high the dominant party removed the portraits of their antagonists.”

Varchi also mentions that in 1527 certain youths “entered one morning very early into the church of the Annunziata, and cast down the waxen images of Pope Leo and Pope Clement; and after inflicting many wounds upon them, they carried them off; which deed was severely, and to my thinking justly, blamed by good and prudent men.”

[112] First published in the _Miscellanea Fiorentina_. No. 9. September, 1886.

[113] He built the Loggia of the Mercato Nuovo.

[114] _Raccolta di Lettere sulla Pittura, Scultura ed Architettura._ Scritte da’ piu celebri personaggi dei secoli XV. XVI. e XVII. Publicata da M. Gio. Bottari. Vol. 3. Milano. Giovanni Silvestri. MDCCXXII.

[115] _Miscellanea Fiorentina di Erudizione e Storia._ By Signor Iodico Del Badia. No. 1. p. 4.

[116] Dieu-Donné.

INDEX

_Acciaiuoli_, Acciaiuolo, sent to manage bank at Naples, a favourite
of King Robert, 1;
Dardano, Gonfalonier of Justice, 1;
Dardano, builds the church of S. Niccolò in Florence, 3;
Donato, ambassador to France, 5;
Lionardo, Duke of Athens, strangled by Mahomet II., 5;
Neri, conquers Thebes and Bœotia and drives the Spaniards out of
Greece, 5;
Niccola, appointed guardian of the sons of the Princess of Taranto,
2;
Grand Seneschal of the Kingdom of Naples, 2;
builds the Certosa near Florence, the villa of Monte Guffone and
the Acciaiuoli Palace, 3;
Matteo Palmieri’s description of, 3–4;
Bocchi’s description of the palace, 4–5;
Riccomanni, founder of the Acciaiuoli bank, 1;
Ruberto, romantic story of, 6–9.

Albany, Count of (the Pretender), Sir Horace Mann on the, 297–299.

Albany, Countess of, intrigue with Count Alfieri, 298.

Albany, Duchess of, 299.

_Alberti_, Alberto, Prior in 1294, 10;
Antonio, tortured and excluded from all offices, 12;
Benedetto, Machiavelli’s description of, 11;
Leon Battista, description of the, by, 12–13;
birth and education of, 13;
inventions by, 14;
_Trattato della Famiglia_ by, 14;
strenuous advocate for writing in Italian, 15;
death of, 15;
J. A. Symonds’ description of, 15–16;
house of the Rucellai attributed to, 113;
architect of the Palazzo Rucellai, 280;
of the façade of Sta. Maria Novella, 282.

_Albizzi_, Benincasa, Elder in 1251, 17;
Compagno, Prior in 1282, 17;
Luca, adherent of the Medici, 20;
Maso, founds the greatness of Florence, 17–18;
Piero, is beheaded, 17;
Rinaldo, rival of Cosimo de’ Medici, 18;
his interview with Eugenius IV., 19–20, 74.

_Alessandri_, originally Albizzi, 20;
favourite barb of the, 21.

Alfieri, Count, 101;
house of, 109.

Alighieri, Dante, 95;
exile of, 96, 107, 144;
portrait of, in Palazzo del Podestà (Bargello), 214–215, 233;
a Prior, 96;
quoted, 56, 155, 176, 219.

_Altafronte_, Castello d’, ruined by a flood of the Arno, 22;
residence of the Judges of the Ruota, 23.

_Altoviti_, Altovito, a judge, knighted by the Emperor Frederick II.,
28;
Antonio, banker of Innocent VIII., 30;
Antonio, Archbishop of Florence, mystic marriage of, with the
Abbess of S. Piero Maggiore, 30–31;
Bindo, leader of the revolt against the Duke of Athens, cruelty of,
29;
Bindo, friend of Michelangelo, Raphael, etc., 30;
Davanzato, challenged by the Prior of S.S. Apostoli, 28;
Giovan Battista, inherits name and fortune of the Avila, 31;
Guinizzingo, Gonfalonier of Justice when the first stone of Sta.
Maria Novella was laid, 28;
Oddo, assists in framing the _Ordinamenti di Giustizia_, 29.

Ammannati, Bartolommeo, architect of Palazzo Giugni, 115;
of Palazzo Griffoni, 122–123;
probably of Palazzo Montalvo, 149;
adds to Palazzo Pitti, 187–188;
architect of the Palazzo Vitali, 396.

Amidei, Lambertuccio, daughter of, jilted by Buondelmonti, 55.

Amieri, Ginevra degl’, love story of, 273.

_Antinori_, Niccolò, purchases the Boni Palace, 36.

Arnolfo di Lapo, first architect of the Palazzo del Podestà, 208;
architect of the Palazzo Spini, 308.

Baccio d’Agnolo (Baglioni), the Palazzo Antinori attributed to, 36;
architect of the Palazzo Bartolini Salimbeni, 43–44;
the Palazzo Cocchi attributed to, 76;
221;
smaller Torrigiani palace begun by, 346;
Domenico di, architect of the Palazzo Bouturlin, 53;
Giuliano di, the Palazzo Griffoni attributed to, 123.

Badia, Iodico Del, quoted, 60, 76, 137, 167, 329, 331, 350.

Baldinucci, Filippo, 69, 128, 149, 159;
entertainment in the courtyard of the Palazzo Pitti described by,
192–193;
on Alfonso Parigi, 195.

Bandinelli, Bacio, 110.

Bandini, Bernardo, joins the Pazzi conspiracy, 76;
Giovanni, betrays Florence, 76.

Bardi, The, settle in Florence, 39;
fall of the, described by G. Villani, 40–42;
created Imperial Vicarii of Vernio, 42;
Giovanni founds the society to reform recitative, 42.

Bartolini Salimbeni, Giovanni, building of the palace by, 43;
Vasari’s description of the palace, 43–44;
origin of the frieze on the palace, 44.

Bartolommei, Anton Maria, buys the old Lamberteschi palace, 47;
origin of the Bartolommei, 47–48.

Bella, Giano Della, 29, 167.

Benci di Cioni Dami, probably one of the architects of the Loggia de’
Lanzi, 363.

Benedetto da Majano, Palazzo Strozzi attributed to, 329, 331;
Sala de’ Dugento attributed to, 371.

Bianco, Raffaello del, architect of the Palazzo Cocchi, 77.

Bicci, Lorenzo di, architect of the Palazzo Uzzano, now Capponi, 74;
Neridi makes a tabernacle in the Palazzo Vecchio, 369.

Bisticci, Vespasiano da, on the Acciaiuoli, 5, 320.

Boccaccio, Giovanni, 5, 107;
the _Decameron_ copied by F. Mannelli, 138–141;
story of Messer Geri Spini by, 308–313.

Bocchi, Francesco, description of the Palazzo Acciaiuoli by, 4–5.

Bonaparte, Elisa, created Grand Duchess of Tuscany, 205;
interview of with the Countess of Albany, 205–206;
is deposed, 206;
392.

Borghese, Prince Camillo, buys and enlarges a Salviati palace, 52.

Botta, Marshal, re-arranges the pictures in the Pitti palace, 199–201.

Bouturlin, Count Demetrio, buys the Palazzo Niccolini, 54.

Brunelleschi, Filippo, 42;
architect of the Palazzo Pazzi, 167;
architect of the Palazzo Pitti, 185–187.

Buonarroti, Michelangelo, 30, 105, 121;
architect of Palazzo Uguccione, 349.

Buondelmonti, The, declared rebels, 23;
origin of the, 54;
Buondelmonte, his quarrel with Oddo Fifanti, 55;
his marriage with a daughter of the Amidei arranged, 55;
sees Donati’s daughter, 55;
murder of, 56;
Ippolito, love story of, 57–58;
Zanobi, implicated in a plot to assassinate the Cardinal Giulio de’
Medici, 59.

Buontalenti, Bernardo, builds the palace of, 61–67;
miraculous escape of, 69, 122, 136, 159;
entertainment in the courtyard of the Pitti palace arranged by,
191–193;
builds the eastern parade of the Palazzo Vecchio, 389.

Caccini, one of the architects of Palazzo Nonfinito, 159.

Cambi, Giovanni, description of Palazzo Bartolini Salimbeni by, 43,
252, 256, 329.

Cambio, Arnolfo, architect of the Palazzo Vecchio, 355.

Canacci, origin of the, 62;
Caterina, beauty of, 62;
murder of, 63;
head of sent to the Duke Jacopo Salviati by his Duchess, 64;
Giustino, description of by anonymous writer, 62.

Canigiani, Eletta, mother of Petrarch, 67;
Piero, Chancellor to the Empress of Constantinople, 67.

Canto de’ Diavoli, The, 352.

Cappello, Carlo, character of, 24;
epitaph of favourite horse of, 24.

Capponi, Marquess Alessandro, builds the Palazzo Capponi, 70;
Marquess Gino, last of his branch of the family, 70;
Gino, takes Pisa, 70–71;
Lodovico, falls in love with Maddalena Vettori, 135;
motto and emblem invented by, 136;
decorates palace in symbolical fashion, 136;
Neri, one of the most influential men in Florence, 71;
Piero, success of as merchant, diplomatist and soldier, 71;
proud answer of to Charles VII. of France, 71;
death of, 72, 168;
Niccolò, elected Gonfalonier, 72;
proclaims Jesus Christ King of Florence, 72;
is deposed and imprisoned, 73;
his meeting with Michelangelo, 74;
his death, 74.

Capponi (delle Rovinate), palace of the originally Da Uzzano, 74.

Carriages first introduced into Florence, 173.

Castellani, Francesco, knighted by his father’s bier, 23.

Cavalcanti, Guido de’, game of chess of, 279.

Cellini, Benvenuto, his medal for Federigo Ginori, 110;
on Bandinelli’s Hercules, 378.

Cerchi, Piero Monaldi on the, 75–76;
Vieri de’, called to Rome by the Pope, 95.

Cibo, The, introduce carriages into Florence, 173;
Francesco buys the Palazzo Pazzi, 172;
Ricciarda, mistress of Alessandro de’ Medici, 172.

Cigoli (Cardi), Fra Lodovico, architect of the Loggia of the Palazzo
Corsi Salviati, 76, 159.

Cinelli, Giovanni, 77, 101, 116, 122.

Cocchi, Palazzo praised by Vasari, 76;
built by Raffaello del Bianco, 77.

Compagni, Dino, description of Corso Donati by, 98;
exclaims against the avidity of the Florentines, 179;
on the storming of the Palazzo del Podestà, 211;
on the Cerchi and the Donati, 313, 314.

Corsi, origin of the, 80;
Giovanni, entrusted with the care of Alessandro de’ Medici, 81;
his nephews buy the Palazzo Tornabuoni, 81;
Laura, marries the Marquess Salviati, 81.

Corsini, palace built for the Marquess Filippo, 81;
Andrea S. where born, 82;
charity of, 83;
Bishop of Fiesole, 82;
canonized, 82;
Amerigo, First Archbishop of Florence, 83;
Bartolommeo, buys large estates, 84;
Bartolommeo, created Prince of Sismano by Clement XII., 85;
identifies himself with the Spanish party, 86;
Bertoldo, Governor of the fortress of S. Giovanni, offers to cede
arms to the people, is banished by Cosimo I. and decapitated,
84;
Filippo, jurist and ambassador, 83;
Filippo, created a Marquess by Urban VIII., 84;
Filippo, travels with Prince Cosimo de’ Medici, his account of
places visited, 85;
Giovanni, lover of the Empress of Constantinople, 82;
Lorenzo, elected Pope as Clement XII., 85;
Matteo, family historian, 82, 83;
makes large fortune in London, 83;
author of the _Rosaio della Vita_, 83;
Neri, 82;
Neri, made a Cardinal by Clement XII., rules the Papal States under
four popes, 86;
Neri, advocates the independence of Tuscany at Congress of Vienna,
Minister of the Interior, a free trader, 87;
Neri, Governor of Leghorn, 87;
Pietro, Bishop of Florence, 82;
Piero, builder of the first fortifications of Leghorn, 84;
Tommaso, eminent as a jurist, honesty of, death of, 82;
Tommaso, Prince, flies to Sicily, created a Senator and a Count by
Napoleon I., Senator of Rome, 86;
Tommaso, Prince, popularity of, 87.

Covoni, Count, 47, 51;
Pierfilippo, Count, 61.

Cronaco II., architect of the Palazzo Guadagni, 123, 174;
courtyard and cornice of the Palazzo Strozzi built by, 330–331;
the great Hall of Council in the Palazzo Vecchio
built by, 374–375.

Cybo, Donna Veronica, 62;
hires assassins to murder Caterina Canacci, 63;
sends head of Caterina Canacci to the Duke Jacopo Salviati, 64.

Dati, Goro, description by, of the race for the Palio, 21–22.

Davanzati, palace of the, 87–88;
Bernardo, translator of Tacitus, 88;
member of Florentine Academy, 91;
Lasca’s poem about, 91;
Francesco Rondinelli’s description of, 91–92;
Giuliano, knighted by Eugenius IV., 88;
Niccolò, founder of the convent of Doccia, 88.

Dei, Benedetto, ambassador to Constantinople, 124;
Rinieri, builds the Palazzo Guadagni, 123;
Palazzo Cocchi built for the, 77.

Della Casa, Giovanni, Bishop of Benevento, author of _Galateo_, 160.

Donatello, 143–144.

Donati, palaces and towers of the, 92;
Corso, 76;
forces his sister Piccarda to leave her convent and marry, 95;
repulse of the Cerchi by, 95;
banishment of, 96;
Machiavelli’s account of, 96–98;
Dino Compagni’s description of, 98.

Dosio, Giovanni, probably added to the Palazzo Bouturlin, 53;
architect of Palazzo Lardarel, 134.

Evelyn, John, 47;
on the Palazzo Pitti and its garden, 197.

Fabriczy, Herr von, on Brunelleschi, 186–187, 341, 342.

Falconieri, Paolo, architect of the Palazzo Piccolellis, 180;
of the Palazzo Pucci, 234.

Ferdinando III. (of Lorraine), Grand Duke, 87, 201;
is deposed, 202;
is reinstated, 206.

Feroni, origin of the, 98;
palaces of the, 99.

Fioravanti, Neri di, rebuilds the Palazzo del Podestà, 213–214, 217.

Fiorentino, Niccolò, medals by, 79.

Firenzuola, Simone di, 115.

Firidolfi, Ricasoli, account of the, 100;
chapel in the palace painted by Vasari, 99.

Fontana, Carlo, architect of Palazzo Capponi, 70;
of Palazzo Panciatichi, 160.

Fossi, Palazzo, originally Alberti, 105;
frescoed by Stalf, 105.

Frescobaldi, Dino, saves the first seven cantos of the _Inferno_, 107;
Lamberto, builds the first bridge of Sta. Trinita, 106;
palaces and towers of the, 105, 106;
revolt of the, 106.

Frey, Dr. Carl, on the Loggia de’ Lanzi, 362–363.

Geymüller, Herr von, 342.

Giacomini, The, 133;
Palazzo Larderel built by, 134.

Gianfigliazzi, origin of the, 109;
palaces of the, 108.

Gibbon, Edward, on Cosimo de’ Medici, 246.

Ginori, Bartolommeo, chosen as a model by Giovan Bologna, 111;
Carlo, Senator, founder of the china manufactory, 111;
Federigo, medal made by Benvenuto Cellini for, 110.

Ginori, Conti, Prince, his palace the “old house” of the Medici,
112–113.

Ginori, Venturi, Marquess, palace of, built by Bernardo Rucellai, 113.

Giugni, Vincenzio, 115, 116.

Giuliano da Majano, finishes the Palazzo Pazzi, 167;
rebuilds the Sala de’ Dugento, 371.

Gondi, Alberto, created Duc de Retz, 119;
Giovanbattista, becomes a naturalized French subject, 119;
Giuliano, builds the Palazzo Gondi, 119;
Jean François Paul, Cardinal de Retz, 120.

Grazzini (Lasca), poem by, 91.

Griffoni, Ugolino, 122.

Grosso, Niccolò (Caparra), 9, 123, 331.

Guadagni, Alessandro, builds the Palazzo in the Piazza del Duomo, 128;
Bernardo, Gonfalonier of Justice bribed by Cosimo de’ Medici, 127;
Pierantonio, founds the gallery, 128;
Tommaso, builds the San Clemente Palace, 128.