524 Route 64. FLORENCE. e. Chiostro dello Scalto.
Charles VIII. of France into Florence; 88. Sabatelli, Murder of Buondel-
monte. — 4th R.: 107-113. Signorini, Popular festival at Florence. — Sth R.:
122. Fatlori, Episode after the battle of Magenta. — 6th R.: 161. Giovacchino
Toma, Shower of ashes at Naples; 148. Fattori, John the Baptist before
No. 54 in the Via Ricasoli is the entrance to the Court of the
Academy, where a statue of St. Matthew, begun by Miehael Angelo,
as one of the Twelve Apostles he was to supply for the cathedral
(1503), is preserved by the rear-wall.
The Academy also harbours the Conservatorium of Music (Reale
Istituto Musicale; entr. Via Ricasoli 50), which possesses an in¬
teresting collection of musical instruments (Museo degli Strumenti).
Adm. see p. 464.
The same building (entrance in the Via degli Alfani, No. 82)
contains the celebrated manufactury of Florentine Mosaics, founded
in the 16th cent, under Ferdinand I. and transferred from the Ufflzi
to this site in 1797. To the left is the Museo dei Lavori in Pietre Dure
(adm., sae p. 464), containing a collection of the materials used
(Rooms 1-3) and of finished works (Rooms 4 & 5).
At the córner of the Via Cavour (p. 517) and the Via degli Araz-
zieri, on the N.W. side of the Piazza San Marco, stands the Casino
di Livia (No. 59; Pl. G, 3), a small but tasteful structure by Bern.
Fallini (1775). — Adjacent is the Casino di San Marco or Casino
Mediceo (No. 63; Pl. G, 2, 3; now a jury court), erected in 1576 by
Buontalenti, on the site of the famous Medici gardens, where Lo¬
renzo il Magnifico preserved a number of treasures of art for which
no place could be found in the neighbouring palace of the Medici
(see p. 517). Bertoldo, the heir and pupil of Donatello, was ap-
pointed keeper, and round him clustered a troop of eager students.
No other school ever attained so great celebrity. Leonardo da
Vinci, Lorenzo di Credi, Giovanni Francesco Rustici, Andrea San¬
sovino, Pietro Torrigiani, and, last but not least, Miehael Angelo,
all owe their artistic education to the garden of the Medici. Duke
Cosimo I. afterwards transferred the collection to the gallery of
A little farther on, Via Cavour 69, on the same side of the
street, are the former cloisters of the barefooted monks, or Recollets,
the Chiostro dello Scalzo (Pl. G, 2), an elegant court of the early
Renaissance, surrounded with eolonnades and adorned with ad¬
mirable *Frescoes in two shades of brown from the history of John
the Baptist, with allegorical figures and rich ornamentation, by
Andrea del Sarto and Franciabigio (ca. 1515-26). Adm., see p. 464.
On the right: 1. Allegorical figure of Faith (ca. 1520); 2. The Ángel
appearing to Zacharias (1523); 3. Visitation (1524); 4. Nativity of the Baptist
(Í526; with the noble figure of Zacharias writing); 5. Departure of John
from his father's house, and 6. His meeting with Christ (these two by
Franciabigio, 1518-19). — 7. Baptism of Christ (the earliest and weakest
of all); 8. Allegorical figure of Love (c. 1520); 9. Allegorical figure of Justice
(1515); 10. John preaching in the desert (1515?). — 11. John baptising