Part 6

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

Augusti soboles regia Caesaris, Summo nupta viro Principi Etruriae, Faustis auspiciis deseruit vagum Istrum regnaque patria.

Cui frater, genitor, patruus, atque avi Fulgent innumeri stemmate nobiles Praeclaro Imperii, prisca ab origine Digno nomine Caesares.

Ergo magnanimae virgini et inclytae Jam nunc Arne pater suppliciter manus Libes, et violis versicoloribus Pulchram Flora premas comam.

Assurgant proceres, ac velut aureum Et caeleste jubar rite colant eam. Omnes accumulent templa Deum, et piis Aras muneribus sacras.

Tali conjugio Pax hilaris redit, Fruges alma Ceres porrigit uberes, Saturni remeant aurea saecula, Orbis laetitia fremit.

Quin dirae Eumenides monstraque Tartari His longe duce te finibus exulant. Bellorum rabies hinc abit effera, Mavors sanguineus fugit.

Sed jam nox ruit et sidera concidunt; Et nymphae adveniunt, Junoque pronuba Arridet pariter, blandaque Gratia Nudis juncta sororibus.

Haec cingit niveis tempora liliis, Haec e purpureis serta gerit rosis, Huic molles violae et suavis amaracus Nectunt virgineum caput.

Lusus, laeta Quies cernitur et Decor; Quos circum volitat turba Cupidinum, Et plaudens recinit haec Hymeneus ad Regalis thalami fores.

Quid statis juvenes tam genialibus Indulgere toris immemores? Joci Cessent et choreae; ludere vos simul Poscunt tempora mollius.

Non vincant hederae bracchia flexiles, Conchae non superent oscula dulcia, Emanet pariter sudor et ossibus Grato murmure ab intimis.

Det summum imperium regnaque Juppiter, Det Latona parem progeniem patri; Ardorem unanimem det Venus, atque Amor Aspirans face mutua.

OF THE PALAZZO DEGLI SPINI.

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

Germana adveniet felici cum alite virgo, Flora, tibi, adveniet soboles Augusta, Hymenei Cui pulcher Juvenis jungatur foedere certo Regius Italiae columen, bona quanta sequentur Conjugium? Pater Arne tibi, et tibi Florida Mater, Gloria quanta aderit? Protheum nil postera fallunt.

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

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

Di tibi pro meritis tantis, Augusta propago, Praemia digna ferant, quae vinctam mille catenis Heu duris solvis, quae clarum cernere solem E tenebris tantis et Christum noscere donas.

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

Evenere olim Heroes qui littore in isto Magnanimi votis petiere. En Ilva potentis Auspiciis Cosmi multa munita opera ac vi; Pacatum pelagus securi currite nautae.

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

OF THE COLUMN.

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

OF THE CANTO DE' TORNAQUINCI.

The sixth ornament was erected at the Canto de' Tornaquinci; and here I must note a thing which would appear incredible to one who had not seen it--namely, that this ornament was so magnificent, so rich in pomp, and fashioned with so much art and grandeur, that, although it was conjoined with the superb Palace of the Strozzi, which is such as to make the greatest things appear as nothing, and although on a site altogether disastrous by reason of the uneven ends of the streets that run together there, and certain other inconvenient circumstances, nevertheless such was the excellence of the craftsman, and so well conceived the manner of the work, that it seemed as if all those difficulties had been brought together there for the purpose of rendering it the more admirable and the more beautiful; that most lovely palace being so well accompanied by the richness of the ornaments, the height of the arches, the grandeur of the columns, all intertwined with arms and trophies, and the great statues that towered over the summit of the whole structure, that anyone would have judged that neither that ornament required any other accompaniment than that of such a palace, nor such a palace required any other ornament. And to the end that all may be the better understood, and in order to show more clearly and distinctly in what manner the work was constructed, it is necessary that some measure of pardon should be granted to us by those who are not of our arts, if for the sake of those who delight in them we proceed, more minutely than might appear proper to the others, to describe the nature of the sites and the forms of the arches; and this in order to demonstrate how noble intellects accommodate ornaments to places and inventions to sites with grace and beauty. We must relate, then, that since the street which runs from the Column to the Tornaquinci is, as everyone knows, very wide, and since it was necessary to pass from there into the street of the Tornabuoni, which by its narrowness brought it about that the eyes of those thus passing fell for the most part on the not very ornate Tower of the Tornaquinci, which occupies more than half the street, it was thought expedient, in order to obviate that difficulty and to make the effect more pleasing, to construct in the width of the above-named street, in a Composite Order, two arches divided by a most ornate column, one of which gave free passage to the procession, which proceeded through the said street of the Tornabuoni, and the other, concealing the view of the tower, appeared, by virtue of an ingenious prospect-scene that was painted there, to lead into another street similar to the said street of the Tornabuoni, wherein with most pleasing illusion were seen not only the houses and windows adorned with tapestries and full of men and women who were all intent on gazing at the spectacle, but also the gracious sight of a most lovely maiden on a white palfrey, accompanied by certain grooms, who appeared to be coming from there towards those approaching, insomuch that both on the day of the procession and all the time afterwards that she remained there, she roused in more than one person, by a gracious deception, a desire either to go to meet her or to wait until she should have passed. These two arches, besides the above-mentioned column that divided them, were bordered by other columns of the same size, which supported architraves, friezes, and cornices; and over each arch was seen a lovely ornament in the form of a most beautiful picture, in which were seen painted, likewise in chiaroscuro, the stories of which we shall speak in a short time. The whole work was crowned above by an immense cornice with ornaments corresponding to the loveliness, grandeur, and magnificence of the rest, upon which, then, stood the statues, which, although they were at a height of a good twenty-five braccia from the level of the ground, nevertheless were wrought with such proportion that the height did not take away any of their grace, nor the distance any of the effect of any detail of their adornment and beauty. There stood in the same manner, as it were as wings to those two main arches, on the one side and on the other, two other arches, one of which, attached to the Palace of the Strozzi, and leading to the above-mentioned Tower of the Tornaquinci, gave passage to those who wished to turn towards the Mercato Vecchio, even as the other, placed on the other side, did the same service to those who might desire to go towards the street called La Vigna; wherefore the Via di S. Trinita, which, as has been told, is so broad, terminating thus in the four arches described, came to present such loveliness and a view so beautiful and so heroic, that it appeared impossible to afford greater satisfaction to the eyes of the spectators. And this was the front part, composed, as has been described, of four arches; of two main arches, namely, one false, and one real, which led into the Via de' Tornabuoni, and of two others at the sides, in the manner of wings, which were turned towards the two cross-streets. Now since, entering into the said street of the Tornabuoni on the left side, beside the Vigna, there debouches (as everyone knows) the Strada di S. Sisto, which likewise of necessity strikes the flank of the same Tower of the Tornaquinci, it was made to appear, in order to hide the same ugliness in a similar manner with the same illusion of a similar prospect-scene, that that side also passed into a similar street of various houses placed in the same way, with an ingenious view of a very ornate fountain overflowing with crystal-clear waters, from which a woman with a child was represented as drawing some, so that one who was at no great distance would certainly have declared that she was real and by no means simulated. Now these four arches--to return to those in front--were supported and divided by five columns adorned in the manner described, forming as it were a rectangular piazza; and in a line with each of those columns, above the final cornice and the summit of the edifice, there was a most beautiful seat, while in the same manner four others were placed over the centre of each arch, which in all came to the number of nine. In eight of these was seen seated in each a statue of most imposing appearance, some shown in armour, some in the garb of peace, and others in the imperator's paludament, according to the characters of those who were portrayed in them; and in place of the ninth seat and the ninth statue, above the column in the centre, was seen placed an immense escutcheon, supported by two great Victories with the Imperial Crown of the House of Austria, to which that structure was dedicated; which was made manifest by a very large epitaph, which was seen placed with much grace and beauty below the escutcheon, saying:

VIRTUTI FELICITATIQUE INVICTISSIMAE DOMUS AUSTRIAE, MAJESTATIQUE TOT ET TANTORUM IMPERATORUM AC REGUM, QUI IN IPSA FLORUERUNT ET NUNC MAXIME FLORENT, FLORENTIA AUGUSTO CONJUGIO PARTICEPS ILLIUS FELICITATIS, GRATO PIOQUE ANIMO DICAT.