Part 7

The intention had been, after bringing to those most splendid nuptials the Province of Austria, with her cities and rivers and with her ocean-sea, and after having caused her to be received by Tuscany with her cities, the Arno, and the Tyrrhenian Sea, as has been related, to bring then her great and glorious Caesars, all magnificent in adornment and pomp, as is the general custom in taking part in nuptials; as if they, having conducted thither with them the illustrious bride, were come before to have the first meeting of kinsmen with the House of Medici, and to prove of what stock, and how glorious, was the noble virgin that they sought to present to them. And so, of the eight above-mentioned statues placed upon the eight seats, representing eight Emperors of that august house, there was seen on the right hand of the above-named escutcheon, over the arch through which the procession passed, that of Maximilian II, the present magnanimous and excellent Emperor, and brother of the bride; below whom, in a very spacious picture, there was seen painted with most beautiful invention his marvellous assumption to the Empire, himself being seated in the midst of the Electors, both spiritual and temporal, the first being recognized--besides their long vestments--by a Faith that was to be seen at their feet, and the others by a Hope in a like position. In the air, also, over his head, were seen certain little Angels that seemed to be chasing many malign spirits out of certain thick and dark clouds; these being intended either to suggest the hope which is felt that at some time, in that all-conquering and most constant nation, men will contrive to dissipate and clear away the clouds of those many disturbances that have occurred there in matters of religion, and restore her to her pristine purity and serenity of tranquil concord; or rather, that in that act all dissensions had flown away, and showing how marvellously, and with what unanimous consent of all Germany, amid that great variety of minds and religions, that assumption had taken place, which was explained by the words that were placed above, saying:

MAXIMILIANUS II SALUTATUR IMP. MAGNO CONSENSU GERMANORUM, ATQUE INGENTI LAETITIA BONORUM OMNIUM, ET CHRISTIANAE PIETATIS FELICITATE.

Then, next to the statue of the said Maximilian, in a place corresponding to the column at the corner, was seen that of the truly invincible Charles V; even as over the arch of that wing, which commanded the Via della Vigna, there was that of the second Albert, a man of most resolute valour, although he reigned but a short time. Above the column at the head was placed that of the great Rudolph, who, the first of that name, was also the first to introduce into that most noble house the Imperial dignity, and the first to enrich her with the great Archduchy of Austria; when, having reverted to the Empire for lack of a successor, he invested with it the first Albert, his son, whence the House of Austria has since taken its name. All which, in memory of an event so important, was seen painted in a most beautiful manner in the frieze above that arch, with an inscription at the foot that said:

RODULPHUS PRIMUS EX HAC FAMILIA IMP. ALBERTUM PRIMUM AUSTRIAE PRINCIPATU DONAT.

But to return to the part on the left, beginning with the same place in the centre; beside the escutcheon, and over the false arch that covered the Tower of the Tornaquinci, was seen the statue of the most devout Ferdinand, father of the bride, beneath whose feet was seen painted the valorous resistance made by his efforts in the year 1529 in the defence of Vienna against the terrible assault of the Turks; demonstrated by the inscription written above, which said:

FERDINANDUS PRIMUS IMP., INGENTIBUS COPIIS TURCORUM CUM REGE IPSORUM PULSIS, VIENNAM NOBILEM URBEM FORTISSIME FELICISSIMEQUE DEFENDIT.

Even as at the corner there was the statue of the first and most renowned Maximilian, and over the arch that inclined towards the Palace of the Strozzi that of the pacific Frederick, father of that same Maximilian, leaning against an olive-trunk. Above the last column, which was attached to the above-named Palace of the Strozzi, was seen that of the first Albert mentioned above, who, as has been told, was first invested by his father Rudolph with the sovereignty of Austria, and gave to that most noble house the arms that are still to be seen at the present day. Those arms used formerly to be five little larks on a gold ground, whereas the new arms, which, as everyone may see, are all red with a white band that divides them, are said to have been introduced by him in that form because, as was seen painted there in a great picture beneath his feet, he found himself not otherwise in that most bloody battle fought by him with Adolf, who had been first deposed from the Imperial throne, when the said Albert was seen to slay Adolf valorously with his own hand and to win from him the Spolia Opima; and since, save for the middle of his person, which was white on account of his armour, over all the rest he found himself on that day all stained and dabbled with blood, he ordained that in memory of that his arms should be painted in the same manner both of form and colour, and that they should be preserved gloriously after him by his successors in that house; and beneath the picture, as with the others, there was to be read a similar inscription that said:

ALBERTUS I IMP. ADOLPHUM, CUI LEGIBUS IMPERIUM ABROGATUM FUERAT, MAGNO PROELIO VINCIT ET SPOLIA OPIMA REFERT.

And since each of the eight above-mentioned Emperors, besides the arms common to their whole house, also used during his lifetime arms private and peculiar to himself, for that reason, in order to make it more manifest to the beholders which Emperor each of the statues represented, there were also placed beneath their feet, on most beautiful shields, the particular arms that each, as has been told, had borne. All which, together with some pleasing and well-accommodated little scenes that were painted on the pedestals, made a magnificent, heroic, and very ornate effect; even as not less was done, on the columns and in all the parts where ornaments could be suitably placed, in addition to trophies and the arms, by the Crosses of S. Andrew, the Fusils, and the Pillars of Hercules, with the motto, PLUS ULTRA, the principal device of that arch, and many others like it used by the men of that Imperial family.

Such, then, was the principal view which presented itself to those who chose to pass by the direct way with the procession; but for those who came from the opposite direction, from the Via de' Tornabuoni towards the Tornaquinci, there appeared, with an ornamentation perhaps not less lovely, in so far as the narrowness of the street permitted, a similar spectacle arranged in due proportion. For on that side, which we will call the back, there was formed, as it were, another structure similar to that already described, save that on account of the narrowness of the street, whereas the first was seen composed of four arches, the other was of three only; one of which being joined with friezes and cornices to that upon which, as has been told, was placed the statue of the second Maximilian, now Emperor, and thus making it double, and another likewise attached to the above-described prospect-scene which concealed the tower, brought it about that the third, leaving also behind it a little quadrangular piazza, remained as the last for one coming with the procession, and appeared as the first for one approaching, on the contrary, from the street of the Tornabuoni; and upon that last, which was in the same form as those described, even as upon them were the Emperors, so upon it were seen towering, but standing on their feet, the two Kings Philip, one the father and the other the son of the great Charles V, the first Philip, namely, and also the second, so filled with liberality and justice, whom at the present day we honour as the great and puissant King of so many most noble realms. Between him and the statue of his grandfather there was seen painted in the circumambient frieze that same Philip II seated in majesty, and standing before him a tall woman in armour, recognized by the white cross that she had on the breast as being Malta, delivered by him through the valour of the most illustrious Lord Don Garzia di Toledo, who was portrayed there, from the siege of the Turks; and she appeared to be seeking, as one grateful for that great service, to offer to him the obsidional crown of dog's grass, which was made manifest by the inscription written beneath, which said:

MELITA, EREPTA E FAUCIBUS IMMANISSIMORUM HOSTIUM STUDIO ET AUXILIIS PIISSIMI REGIS PHILIPPI, CONSERVATOREM SUUM CORONA GRAMINEA DONAT.

And to the end that the part turned towards the Strada della Vigna might have likewise some adornment, it was thought a fitting thing to declare the conception of the whole vast structure by a great inscription between the final cornice, where the statues stood, and the arch, which was a large space, saying:

IMPERIO LATE FULGENTES ASPICE REGES; AUSTRIACA HOS OMNES EDIDIT ALTA DOMUS. HIS INVICTA FUIT VIRTUS, HIS CUNCTA SUBACTA, HIS DOMITA EST TELLUS, SERVIT ET OCEANUS.

Even as was done in the same manner and for the same reason towards the Mercato Vecchio, in another inscription, saying:

IMPERIIS GENS NATA BONIS ET NATA TRIUMPHIS, QUAM GENUS E COELO DUCERE NEMO NEGET; TUQUE NITENS GERMEN DIVINAE STIRPIS ETRUSCIS TRADITUM AGRIS NITIDIS, UT SOLA CULTA BEES; SI MIHI CONTINGAT VESTRO DE SEMINE FRUCTUM CARPERE ET IN NATIS CERNERE DETUR AVOS, O FORTUNATAM! VERO TUNC NOMINE FLORENS URBS FERAR, IN QUAM FORS CONGERAT OMNE BONUM.

OF THE CANTO DE' CARNESECCHI.

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

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

VIRTUTI FELICITATIQUE ILLUSTRISSIMAE MEDICEAE FAMILIAE, QUAE FLOS ITALIAE, LUMEN ETRURIAE, DECUS PATRIAE SEMPER FUIT, NUNC ASCITA SIBI CAESAREA SOBOLE CIVIBUS SECURITATEM ET OMNI SUO IMPERIO DIGNITATEM AUXIT, GRATA PATRIA DICAT.

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

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

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

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

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

HI, QUOS SACRA VIDES REDIMITOS TEMPORA MITRA PONTIFICES TRIPLICI, ROMAM TOTUMQUE PIORUM CONCILIUM REXERE PII; SED QUI PROPE FULGENT ILLUSTRI E GENTE INSIGNES SAGULISVE TOGISVE HEROES, CLARAM PATRIAM POPULUMQUE POTENTEM IMPERIIS AUXERE SUIS CERTAQUE SALUTE. NAM SEMEL ITALIAM DONARUNT AUREA SAECLA, CONJUGIO AUGUSTO DECORANT NUNC ET MAGE FIRMANT.