516 Route 64. FLORENCE. d. Museo Archeologico.
oí the 5th cent. B.C, found at Pesaro in 1530; the base dates from the
16th century. — By the rear-wall, to the right: 'Torso of a youth, a Greek
original of the end of the 6th cent. B.C; to the left, fine horse's head.
Also, four Greek portrait-heads (7. Sophocles; 8. Homer).
Ascending the staircase from Room XVI to the second floor, we
enter the Gallería degli Arazzi (tapestry). English catalogue
(1891), 2 fr.
The flrst rooms contain ancient woven and embroidered stufts of the
14th (Life and Coronation of the Virgin, in the second room) and 15th
cent., and fine specimens of velvet, gold-brocade, and damask of the 16th,
17th, and 18th centuries. — Then come the Arazzi, the produce of the
Florentine tapestry-factory which was founded in 1545 under Cosimo I. by
Nicolaus Karcher and Jan van Roost of Brussels, and which prospered and
fell with the house of Medici. The word Arazzi, like the English Arras,
is derived from the town of Arras in French Flanders, one of the most
celebrated ancient seats oi tapestry-manufacture; the French term 'Gobe-
lins' is elsewhere more general. The cartoons for the tapestry exhibited
here were designed in the 16th cent, by Bronzino (Nos. 117, 122. 123), Sal¬
viati (Nos. 111, 118-120), Bacchiacca (Nos. 13-19, 20-23), Allori (Nos. 26, 28,
33, 49), Stradano, Poccetti, and others. The imitation of painting in tapestry
was carried to an extreme in the 17th cent, by Pierre Fevére of Paris, in
whose hands the decorative character of the produce deteriorated (Nos. 24,
25, 31, 37, 39-43, 92, 99, 112-116, 124, History of Esther, 75-80). The manu-
factory was closed in 1737. — Here also are some Germán tapestries of the
15th cent. (David and Bathsheba, 60-65), and some from the Netherlands
of the 15th (No. 66) and 16th cent. (Nos. 71-74, 88-90, Henri III and Ca¬
tharine de' Medici, 67-69).
In the same street, at the córner of the Via di Pinti, is situated
the church of Santa Maria Maddalena de' Pazzi (Pl. H, 5). The
graceful anterior court was designed by Giuliano da Sangallo
(1479); the columns were modelled after an antique capital found
at Fiesole. In the 2nd chapel, on the left, is a Coronation of the
Virgin by Cosimo Rosselli (1505); the richly decorated chapel of
the high-altar is by Ciro Ferri, the altar-piece by Luca Giordano.
— In the Via della Colonna. No. 1 (third door), is the entrance to
the chapter-house of the monastery belonging to the church (now
carabiniere barracks) with a large *Fresco by Perugino representing
the Crucifixión, with SS. Mary and Bernard and SS. John and Bene-
dict at the sides (ca. 1495). Adm., see p. 464.
In the Via di Pinti, No. 62, farther to the N.E., is the Palazzo
Panciatichi-Ximénes (Pl. H, I, 4), erected by Giuliano da Sangallo in
1490, and enlarged in 1620 by Gherardo Silvani.
The Via di Pinti ends at the Porta a Pinti (Pl. I, 4), just out¬
side of which is the Protestant Cemetery, with the graves of Mrs.
E. B. Browning, Mrs. Duveneck, W. S. Landor, Arthur Clough,
Theodore Parker, etc.
For the neighbouring Piazza d'Azeglio, see p. 509. — To the
Piazza Santa Maria Nuova and the Piazza del Duomo by the Via
della Pérgola, see p. 483.