a family as ever rioted above the earth, or rotted under it. The only man of the race, Cosmo il Vecchio, who deserves any healthy admiration, although he was the real assassin of Florentine and Italian freedom, and has thus earned the nickname of Pater Patriæ, is not buried here. The series of mighty dead begins with the infamous Cosmo, first grand duke, the contemporary of Philip II. of Spain, and his counterpart in character and crime. Then there is Ferdinando I., whose most signal achievement was not eating the poisoned pie prepared by the fair hands of Bianca Capello. There are other Ferdinandos, and other Cosmos,—all grand-ducal and pater-patrial, as Medici should be.
The chapel is a vast lump of Florentine mosaic, octagonal, a hundred feet or so in diameter, and about twice as high. The cupola has some brand-new frescos, by Benvenuto. "Anthropophagi, whose heads do grow beneath their shoulders," may enjoy these pictures upon domes. For common mortals it is not agreeable to remain very long upside down, even to contemplate masterpieces, which these certainly are not.
The walls of the chapel are all incrusted with gorgeous marbles and precious stones, from malachite, porphyry, lapis-lazuli, chalcedony, agate, to all the finer and more expensive gems which shone in Aaron's ephod. When one considers that an ear-ring or a brooch, half an inch long, of Florentine mosaic work, costs five or six dollars, and that here is a great church of the same material and workmanship as a breastpin, one may imagine it to have been somewhat expensive.
The Sagrestia Nuova was built by Michel Angelo, to hold his monuments to Lorenzo de' Medici, duke of Urbino, and grandson of Lorenzo the Magnificent, and to Julian de' Medici, son of Lorenzo Magnifico.
It is not edifying to think of the creative soul and plastic hands of Buonarotti employed in rendering worship to such creatures. This Lorenzo is chiefly known as having married Madeleine de Boulogne, and as having died, as well as his wife, of a nameless disorder, immediately after they had engendered the renowned Catharine de' Medici, whose hideous life was worthy of its corrupt and poisoned source.
Did Michel Angelo look upon his subject as a purely imaginary one? Surely he must have had some definite form before his mental vision; for although sculpture cannot, like painting, tell an elaborate story, still each figure must have a moral and a meaning, must show cause for its existence, and indicate a possible function, or the mind of the spectator is left empty and craving.
Here, at the tomb of Lorenzo, are three masterly figures. An heroic, martial, deeply contemplative figure sits in grand repose. A statesman, a sage, a patriot, a warrior, with countenance immersed in solemn thought, and head supported and partly hidden by his hand, is brooding over great recollections and mighty deeds. Was this Lorenzo, the husband of Madeleine, the father of Catharine? Certainly the mind at once dethrones him from his supremacy upon his own tomb, and substitutes an Epaminondas, a Cromwell, a Washington,—what it wills. 'Tis a godlike apparition, and need be called by no mortal name. We feel unwilling to invade the repose of that majestic reverie by vulgar invocation. The hero, nameless as he must ever remain, sits there in no questionable shape, nor can we penetrate the sanctuary of that marble soul. Till we can summon Michel, with his chisel, to add the finishing strokes to the grave, silent face of the naked figure reclining below the tomb, or to supply the lacking left hand to the colossal form of female beauty sitting upon the opposite sepulchre, we must continue to burst in ignorance. Sooner shall the ponderous marble jaws of the tomb open, that Lorenzo may come forth to claim his right to the trophy, than any admirer of human genius will doubt that the shade of some real hero was present to the mind's eye of the sculptor, when he tore these stately forms out of the enclosing rock.
A colossal hero sits, serene and solemn, upon a sepulchre. Beneath him recline two vast mourning figures, one of each sex. One longs to challenge converse with the male figure, with the unfinished Sphinx-like face, who is stretched there at his harmonious length, like an ancient river-god without his urn. There is nothing appalling or chilling in his expression, nor does he seem to mourn without hope. 'Tis a stately recumbent figure, of wonderful anatomy, without any exaggeration of muscle, and, accordingly, his name is–Twilight!
Why Twilight should grieve at the tomb of Lorenzo, grandson of Lorenzo Magnifico, any more than the grandfather would have done, does not seem very clear, even to Twilight himself, who seems, after all, in a very crepuscular state upon the subject. The mistiness is much aided by the glimmering expression of his half-finished features.
But if Twilight should be pensive at the demise of Lorenzo, is there any reason why Aurora should weep outright upon the same occasion? This Aurora, however, weeping and stately, all nobleness and all tears, is a magnificent creation, fashioned with the audacious accuracy which has been granted to few modern sculptors. The figure and face are most beautiful, and rise above all puny criticism; and as one looks upon that sublime and wailing form, that noble and nameless child of a divine genius, the flippant question dies on the lip, and we seek not to disturb that passionate and beautiful image of woman's grief by idle curiosity or useless speculation.
The monument, upon the opposite side, to Julian, third son of Lorenzo Magnifico, is of very much the same character. Here are also two mourning figures. One is a sleeping and wonderfully beautiful female shape, colossal, in a position less adapted to repose than to the display of the sculptor's power and her own perfections. This is Night. A stupendously sculptured male figure, in a reclining attitude, and exhibiting, I suppose, as much learning in his torso as does the famous figure in the Elgin marbles, strikes one as the most triumphant statue of modern times.
The figure of Julian is not agreeable. The neck, long and twisted, suggests an heroic ostrich in a Roman breastplate. The attitude, too, is ungraceful. The hero sits with his knees projecting beyond the perpendicular, so that his legs seem to be doubling under him, a position deficient in grace and dignity.
It is superfluous to say that the spectator must invent for himself the allegory which he may choose to see embodied in this stony trio. It is not enough to be told the words of the charade,—Julian, Night, Morning. One can never spell out the meaning by putting together the group with the aid of such a key. Night is Night, obviously, because she is asleep. For an equally profound reason, Day is Day, because he is not asleep; and both, looked at in this vulgar light, are creations as imaginative as Simon Snug, with his lantern, representing moonshine. If the figures should arise and walk across the chapel, changing places with the couple opposite them, as if in a sepulchral quadrille, would the allegory become more intelligible? Could not Day or Night move from Julian's monument, and take up the same position at Lorenzo's tomb, or "Ninny's tomb," or any other tomb? Was Lorenzo any more to Aurora than Julian, that she should weep for him only?
Therefore one must invent for one's self the fable of those immortal groups. Each spectator must pluck out, unaided, the heart of their mystery. Those matchless colossal forms, which the foolish chroniclers of the time have baptized Night and Morning, speak an unknown language to the crowd. They are mute as Sphinx to souls which cannot supply the music and the poetry which fell from their marble lips upon the ear of him who created them.
X. PALAZZO RICCARDI
The ancient residence of Cosmo Vecchio and his successors is a magnificent example of that vast and terrible architecture peculiar to Florence. This has always been a city, not of streets, but of fortresses. Each block is one house, but a house of the size of a citadel; while the corridors and apartments are like casemates and bastions, so gloomy and savage is their expression. Ancient Florence, the city of the twelfth and beginning of the thirteenth centuries, the Florence of the nobles, the Florence of the Ghibellines, the Florence in which nearly every house was a castle, with frowning towers hundreds of feet high, machicolated battlements, donjon keeps, oubliettes, and all other appurtenances of a feudal stronghold, exists no longer. With the expulsion of the imperial faction, and the advent of the municipal Guelphs,—that proudest, boldest, most successful, and most unreasonable bourgeoisie which ever assumed organized life,—the nobles were curtailed of all their privileges. Their city castles, too, were shorn of their towers, which were limited to just so many ells, cloth measure,
