to Santa Maria Novella. FLORENCE. 64. Route. 529
meant to convey before the siege of Florence by the allegorical figures
is somewhat obscure and artificial. The periods of the day represent as
it were the various members of the universe, which are sunk in grief at
thedeath of the héroes. The statues are not portraits, but ideal forms, in
which are reflected the two chief sides of a heroic nature, — self-devoted
absorption in noble designs, and confident energy. It is certain that sorrow
at the fate of his country, seourged by pestilence and war, which delayed
the completion of the statues, exercised a great influence on the master's
chisel, though the theory that Miehael Angelo was from the beginning
bent upon producing a purely political monument cannot stand the test.
The remaining statues in the chapel, a-'■» unfinished Madonna, by
Miehael Angelo, and the two patrón saints of the Medici, St. Damianus (1.)
by Raffaello daMontelupo, and St. Cosmas (r.) by Fra Giovanni Angiolo da
Montorsoli (who also assisted Miehael Angelo in 1533 on the statue of Giu¬
liano), were originally intended for the mausoleum of Lorenzo the Magni¬
flcent and his brother Giuliano. These two members of the Medici family
are buried beneath the figure of the Madonna, in coffins renewed in 1895.
The Via de' Conti and the Via Zannetti (Pl. E, 4) lead to the S.
from the Piazza Madonna (p. 627) to the Via de' Cerretani (p. 525)
and the Piazza del Duomo. In the Via Zanetti (No. 8) stands
the Palazzo Martelli. On the first floor, above the staircase, is a
family coat-of-arms by Donatello. The small picture-gallery (no
adm. in 1905) contains marble statues of David (unfinished) and
John the Baptist by Donatello, a bust of a child by Ant. Rossellino,
and also several good paintings, among them a portrait of a woman
by Paolo Veronese (No. 42). — On the house opposite is a relief of
the Madonna by Mino da Fiesole.
In the Via Faenza, to the N. of the Piazza Madonna, stands (leltj the
Gothic church of San Jacopo in Campo Corbolini (Pl. E, 3; closed), founded
in 1206, with a colonnaded fore-court and funeral monuments of the 13th
and 14th centuries. — Farther on to the right, between Nos. 36 and 38, is the
former refectory of the convent of Sant' Onofrio (Pl. E, 2), with the so-
called Cenacolo di Fuligno, a large fresco of the Last Supper, by Perugino
(retouched), and some unimportant paintings from the Galleria Feroni
(adm., see p. 464).
In the Via Nazionale (Pl. E, F, 2, 3), to the left, opposite the beginning
of the Via dell' Ariento, is a large group of the Madonna and saints, by
Giovanni della Robbia (1522). — The Mercato Céntrale (Pl. E, F, 3), a market
for provisions (vettovaglie), in the Via dell' Ariento, was designed by Gius.
Mengoni (p. 137).
From the W. side of the Piazza Madonna the Via del Giglio
(Pl. E, 3, 4) leads to the Piazza di S. Maria Novella.
The Piazza di Santa María Novella (Pl. D, 3, 4) was the fre-
quent scene of festivals and games in former times. The Palio dei
Cocchi, the chief of these, instituted in the reign of Cosimo I. in
1563, took place on the eve of the festival of St. John, and consisted
of a race of four four-horse chariots. Two obelisks of marble of 1608,
standing on brazen tortoises, perhaps by Giov. da Bologna, served
as goals. — On the Loggia di San Paolo, an arcade opposite the
church, erected in 1489-96, is a good terracotta-relief by Andrea
della Robbia, representing the meeting of St. Francis and St. Dominic.
The church of *Santa Maria Novella (Pl. D, 3), begun in 1278
on the site of an earlier edifice, from designs by the Dominican monks
Baedeker. Italy I. 13th Edit. 34