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- Herausgeber: Full Well Ventures
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Book features about 75 illustrations, paintings by the Colonel Robert Charles Goff (1837-1922), and a text by Clarissa Goff, his second wife, describing the couple’s jaunts through various cities of the Tuscan region of Italy, where they viewed the architectural and artistic works so characteristic of the picturesque cites that include Florence, Arcetri, Fiesole, Prato, Pistoia, Pisa, Viareggio and Lucca, with anecdotes about the architects and painters, noble families and British visitors who played various roles in the history of Tuscany.
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Veröffentlichungsjahr: 2022
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Florence & Some Tuscan Cities.
Painted by Colonel Robert Charles Goff
Clarissa Goff
Illustrated byRobert Charles Goff
Originally published in 1905 by A. & C. Black, London W.
Modern Edition © 2021 Full Well Ventures
The City of Florence from the PIazzale Michelangelo, San Miniato: A Winter Sunset
Created with Vellum
Contents
Preface
List of Illustrations
1. A Retrospect
2. S. Maria Novella
3. Santa Croce
4. Piazza Della Signoria
5. The Cathedral Square
6. Three Churches and a Palace
7. Across the Ponte Vecchio
8. Arcetri
9. The Old Road to Fiesole
10. The Old Road to Fiesole (Continued)
11. Fiesole: “A City Set on a Hill”
12. Prato
13. Pistoia
14. Pisa
15. Viareggio
16. Lucca
17. Of the People and Some Customs
About the Author
Book Reviews
Preface
To presume to contribute, however modest an addition, to the immense wealth of literature devoted to Florence, her history, and her art, form the days of Villani and of Muratori down to the present time, appears indeed to be beyond the powers of an inexperienced pen. In undertaking these slight descriptions, my aim has been a simple one — to write an accompaniment, if such a term is applicable to letters, to the sketches with which this book is illustrated, and to touch superficially only, such debatable subjects as Tuscan architecture, painting, and sculpture. I have, therefore, attempted nothing more ambitious than to record certain impressions and facts, and with some information to weave in a few legends and stories, not always within reach of the hurried traveller or the non-traveller, who sees foreign countries through the eyes of books of travel. With regard to the illustrations, the original water-colours have all been done direct from nature, in order that they may bear that impress of truth which work done direct from nature best conveys. In the hope that this book may find its portion of favour, we commit it, with all its imperfections, to the wide sea of public opinion.
Clarissa Goff.
Villa Dell’ Ombrellino,
S. Domenico di Fiesole, Florence.
January 3, 1905.
List of Illustrations
A Retrospect
FLORENCE IS ONE of the few places that seem to belong not to any particular people or country, but to all mankind. The beauty of her situation on the banks of the river Arno, in a green bed of vineyards and cornfields, surrounded by smiling hills and far-away, snowy mountain-tops, has awakened the admiration and roused the enthusiasm of poets and painters in every age and of every nationality. So also have her picturesque streets and great palaces, her wonderful churches, the marvel of her many towers, and the countless treasures of art which generations of her sons have bequeathed to her.
The citizens of Fiesole, the small hill-city which watches over Florence, were colonizers of the Roman “Florentia” before the barbarians invaded Italy in the fourth and fifth centuries, and out of the dimness of the early centuries she gradually emerges a small republic, with a peculiar form of government by citizens. It is no peaceful history, however, that lies before us, — no history of a small state developing art and industries under the wise rule of the city fathers, — but rather a long account of revolts, rebellious wars, faction and party strife, embittered by the jealousies of rival families. Pope and Emperor, Guelf and Ghibelline, fought for the mastery in Florence within and without her walls, rent her in twain, and dyed her in blood for many a long century, while she cried aloud for “peace” and there was no peace, as she bowed her fair neck to the yoke of the tyrant. But now and then we find short periods of tranquillity. The clash of arms subsides for a time: one of the many revolts, when brother’s hand was against brother’s, and the streets were their battlefield, ends with bloody reprisals or with banishment; and then for some years Florence is at peace, and goes her way, growing in riches and importance, finding time to extend her trade and her borders, conquering the neighbouring small states of Pistoia and Pisa, and even the more distant Volterra, growing to be, as we find her in the twelfth century, the most important town in Tuscany, intrigued with and plotted against by Pope and Emperor, according to the complicated politics of the time.
BANKS OF THE ARNO IN THE EVENING GLOW: Beyond the poplar trees are seen the distant Tuscan hills. Early spring study.
The twelfth century and the two centuries after may be accounted the greatest period in the history of Florence. They saw the birth of Arnolfo di Cambio, Francesco Talenti, and Orcagna, the architects to whom, with Giotto, the first master of painting, Florence owes her glorious Cathedral, her perfect Campanile, the windows of Or San Michele, the splendid Italian Gothic of Santa Croce, and the magnificent masonry of the Palazzo Vecchio. In 1265 was born Dante, the inspired poet who saw Hell and Purgatory, and Paradise, and dreamed the purest love-dream that the world has ever been told, and though he remains alone supreme among the sons of Florence, many others followed him also of world-wide fame. There were Ghiberti, who cast the gates of Paradise for San Giovanni; the Della Robbia, who gave the Florentines their ideal of the mother of God, with her Divine Son; Donatello and Verrocchio, Sandro Botticelli (with his pensive Madonnas and poetic allegories), the saintly Fra Angelico, Andrea di Castagno, and Lippo Lippi; and, in poetry, Boccaccio, the teller of gay tales, Petrarca and others, down to Michelangelo, whose name closes the golden role of the sons of Florence.
It is not until the fourteenth century that we hear of that great family, the Medici, whose name and fortune are inextricably woven into the web of Florentine history, by their having practically governed the state for four centuries. In 1878, we read, one Salvestro dei Medici was Gonfaloniere (Chief Magistrate of Justice) in the Republic of Florence. He was a rich merchant, a peaceable, honest, and law-abiding citizen, who did much good in his day, and dying left a grandson, whose power far exceeded that of his grandfather’s. His name was Cosimo, and he was the first of the Medici who actually ruled in the city. So beneficent and beloved was he, the citizens bestowed upon him the name of “Pater Patriae”; but, all the same, the Florentines quarrelled with him, imprisoned him, and afterwards banished him to Padua, whence within a year he was recalled, to be reinstated in all his offices. Cosimo never left Florence again. He lived in the splendid palace that the architect Michelozzo built for him, now called the Riccardi Palace, which stands at a corner of the Via Larga, newly named Via Cavour, until a peaceful death put an end to his infirm old age. To this “father of his country” Florence owes a great deal. He did much to beautify the city, and was a munificent patron and benefactor of the Church and of Art. He built the churches of San Marco and San Lorenzo, and the beautiful abbey of Fiesole, besides many other palaces and villas. He employed Brunelleschi and Michelozzo to design the buildings he erected; and he engaged Donatello, with Benozzo Gozzoli, to decorate the interiors with sculptures and magnificent frescoes, many of which remain fresh and lovely. Of Cosimo’s sons the eldest and best beloved died before his father, who was succeeded in his fortune, and in his not yet recognized public position, by the younger, a sickly man, known as Piero il Gottoso or the Gouty. There is not much to be recorded about this (the second) Medici, who lived mostly in the fine villa that Cosimo had built at Careggi, and will be remembered chiefly as the father of Lorenzo il Magnifico, one of the most brilliant figures in history.
In the person and court of Lorenzo the Magnificent, Florence reached the zenith of her glory. She became the source of all the refinement and culture of the age, and attracted to herself the greatest intellects of the time, who flocked to her hospitable walls, and were received with open arms by the great Medici and his friends. Lorenzo was the guiding mind of that wonderful company. For him Botticelli painted his most exquisite phantasies; for him Poliziano wrote his verses; the fine mind of Pico della Mirandola supplied him with a rich store of intellectual treasure; while the great prior of San Marco, Girolamo Savonarola, prayed for his welfare. As a ruler Lorenzo was hard and tyrannical; nevertheless, Florence flourished under him exceedingly, and attained to a great height of prosperity. But though rich, cultivated, and gifted, understanding thoroughly the art of living magnificently, and knowing the weaknesses of men, he and his court were corrupt, and the people of Florence were influenced by his example, and degenerated until the morals of the community were at a very low ebb.
FROM THE “CAMPO DI MARTE,” FLORENCE, LOOKING TOWARDS FIESOLE, AND MAIANO: An autumn evening
On the ears of the wicked people and the wicked court the fiery eloquence of Savonarola fell like a cleansing stream. Men shuddered at the words of exhortation and warning that came from the lips of the prior of St. Mark, and the flame of his enthusiasm caught and burned high; but that was only for a time. The pendulum swung back; the fire of enthusiasm slowly decreased, failed, and was extinguished in the handful of ashes cast upon the waters of the Arno on the 23rd of May 1498.
Before that day came, Lorenzo il Magnifico had breathed his last in the villa at Careggi, and left in his place his weak son Piero, who, when Charles VIII invaded Italy, betrayed his country to the French king and fled. By this act of treachery did the son sacrifice the life-work of the father, leaving Florence to her fate, and later losing his own life in the waters of the Garigliano, in a miserable attempt to regain his forfeited inheritance. Lorenzo, however, left another son, who was of very different fibre — Giovanni, who in time became the great Pope Leo X. In him Lorenzo’s intense love of art and letters and all beautiful things lived again, and, like his father’s, the Papal Court became a haunt of culture and philosophy. Leo X was the second great patron of Raphael. Under his direction the Umbrian genius accomplished the decoration of the splendid Loggie and Stanze in the Vatican called by his name, which he had begun under Leo’s predecessor, Pope Julius II, and painted his frescoes in the Sistine Chapel, leaving in these great works an undying monument to the fame of his powerful patron.
Piero, the weakling, was succeeded by his son Lorenzo the younger, who was the father of Catherine, Queen of France, and mother of the Valois kings. After this younger Lorenzo and Pope Clement VII, the Medici of the older branch degenerated until they were represented only by the wretched and illegitimate Alessandro, crested duke by the Emperor, who misruled the state, committed abominable crimes, and was finally murdered in the palace of the first Cosimo, Peter Patriae, by his cousin Lorenzino, in 1587. A different Medici succeeded the black Alessandro — Cosimo, representative of the younger branch, son of the hero Giovanni delle Bande Nere, and grandson of the celebrated Catarina Sforza, the Lady of Forli. This Cosimo was the first Grand-duke of Tuscany, a title conferred upon him and his heirs by Pope Pius V and the Emperor. He was followed by his son Francesco, to whom Florence and the world owe the magnificent collection of pictures in the Uffizi Gallery, which he began. Francesco’s brother Ferdinand I succeeded him, and in his turn was followed by his son Cosimo II, and by three more Medicean grand-dukes, who brought the dynasty to a close. These were Ferdinand II, Cosimo III, and Giovanni Gastone, who died in the year 1737. Of the later grand-dukes of the house of Medici, all save Giovanni Gastone ruled well and justly, although under them Florence declined in power and prosperity. Giovanni Gastone, the exception, was good for nothing, and he having no children, the question of a successor to the grand-duchy of Tuscany became a serious one for the Powers.
The first choice of the Powers full upon a brother of the King of Spain, whose mother was a princess of Parma, therefore an Italian; but a vehement protest on the part of Giovanni Gastone caused them to abandon this idea, and they finally offered the grand-duchy to Duke Francis of Lorraine, coupled with the hand of the Arch-Duchess Maria Theresa of Austria, on condition that he gave Lorraine in exchange to France. After some hesitation, Duke Francis accepted these terms, and thus became successor to that wonderful race of merchants and princes who not only rose to supreme power within their own country, but also gave three Popes to the Holy See and two Queens to the kingdom of France. Duke Francis of Lorraine, by this arrangement, became not only Grand-duke of Tuscany but also Emperor of Austria on the accession of his wife, the great Empress Maria Theresa, to the throne. He resided in Vienna, from which he sent as his representative to rule in Florence his son, who succeeded him as Emperor and Grand-duke of Tuscany. The sons and grandsons of the Emperor Francis and Empress Maria Theresa ruled over Tuscany in succession, and ruled her well. They were homely, kindly people, hospitable to strangers, and they had the welfare of their adopted country at heart.
BANKS OF THE ARNO: Looking west. A spring evening
A break in their line came when Napoleon I conquered Italy, and gave Tuscany to his sister Elisa, who kept her court in Florence until her brother’s misfortunes drove the so-called Queen of Etruria from the throne, and reinstated the Lorraine grand-dukes, who came back, to be deposed in their turn after those stormy days in which Italy arose and fought for her life among the nations, and by the vote of her citizens Florence became incorporated in the kingdom of United Italy, under the first king, Victor Emanuel of Savoy, in the year 1860.
Out of the death-struggle of the old order rose the new kingdom, and the Florence we know today — the same, yet changed. Here are her old palaces, her streets, and her churches. Some ancient landmarks have been swept away; some new and hideous work has been put in their place. Through the heart of the city run electric tramways; overhead rise flights of telegraph and telephone wires, and the streets resound with the horns of motor-cars and motor-tricycles. Progress (as we now understand it) has taken possession of the ancient city of the Medici and the Lorraine-Hapsburgs; yet her character is still distinct, still retaining that cosmopolitanism which has always been a part of Florentine life. To the men and women of the Anglo-Saxon race Florence is rich in reminiscences, for so many English and American men of art and letters have made it their second home. At San Domenico there stands the fine villa in which Walter Savage Landor wrote and died. The great Medici villa at Careggi will remind them not only of Lorenzo the Magnificent, but also of G.F. Watts and the brilliant band that surrounded him in his youthful days when he worked in Florence. The heights of Bellosguardo speak of Nathanial Hawthorne, and a prosaic house in the town was once the home of Anthony Trollope, while in some one of these streets, down which the people pass with hurrying feet, Charles Lever wrote his cheery tales. But of all the famous men and women who of late years knew and loved Florence, there are two whose names will be forever linked with hers — Robert and Elizabeth Browning, whose home was the “Casa Guidi,” from the windows of which Mrs. Browning watched the stir and stress of the early days of Italian liberty. Above the dark doorway, through which her slight from must so often have flitted, the passer-by may read the graceful tribute that the Italian poet, Tommaseo, has offered to the genius of his English sister.
QUI SCRISSE E MORI
E.B. BROWNING
Che…. fece del suo verso
aureo anello fra Italia
e Inghilterra.
Thy rare gold ring of verse
(the Poet praised)
Linking our England to his Italy.
