and the Lungarno. FLORENCE. 64. Route. 535
tonella da Messina (7), Crucifixión; 167. School of Botticelli, Madonna, with
angels; '162. Filippino Lippi, Madonna and angels, the flnest prívate devo-
tional painting by this master; '157. Luca Signorelli, Madonna and SS.
Jerome and Bernard: Timoteo Viti, 407. Muse, 409. Apollo; 408. Giov. Santi
(father of Raphael), Muse; 154. Crist. Allori, Judith (copy?); 148. Alleged
cartoon for Raphael's portrait of Jnlius II. (not genuine); 141. Pontormo,
Madonna. — V. Room: 200. Raffaellino del Garbo, Madonna with saints
and angels (1502); 99. Sustermans, Cardinal Neri Corsini. — VI. Room:
179. Carlo Dolci, Poetry; '241. Andrea del Sarto (? more probably Fran¬
ciabigio), Apollo and Daphne-, 236. Salvator Rosa, Landscape; 232. Guido
Reni, Lucretia; opposite, 209. Memling, Portrait. — VIL and VIII. Rooms
(dark). The former contains copies from Salvator Rosa. — IX. Room :
270. Guido Reni, Pinabello and Bradamante. — X. Room: 292. View of
the Piazza della Signoria of 1498, with the burning of Savonarola. —
Recrossing Room III, we enter the XI. Room: nothing important. — In
a cabinet to the right (XII), in a very dark córner, 483. Seb. del Piombo,
Pope Clement VIL (unfinished).
The Lungarno Corsini ends at the Piazza del Ponte allá
Carraia (Pl. C, D, 4), whence the bridge mentioned at p. 472
spans the Arno, and the Via de' Fossi, with its numerous shops,
branches off on the N.E. to the Piazza Santa Maria Novella (p. 529).
Opposite the bridge is a marble statue of Goldoni, the poet (1873).
The continuation of the Lungarno is known as the Lungarno
Ambrigo Vespucci after Amerigo Vespucci (1451-1512; see below),
the navigator, a native of this neighbourhood who gave his ñame
to America. — Near the beginning of the Lungarno Amerigo Vespucci
expands the Piazza Manin (Pl. C, 4), bounded on the N.E. by the
Borgo Ognissanti, which runs parallel with the Lungarno, with a
bronze Statue of Daniele Manin (p. 290).
The suppressed Minorite monastery of Ognissanti (now barracks)
on the E. side of the piazza was occupied from 1256 by members
of the Lombard order of Hnmiliati, who did much to improve the
woollen-manufacture. Beside it is the church of San Salvadore
d'Ognissanti (Pl. C, 3), erected in 1554, remodelled in 1627, the
facade by Matteo Nigetti (restored in 1882), with lunette by Giov.
della Robbia, representing the Coronation of Mary.
The Interior consists of a nave and transept with flat ceiling. By the
2nd altar to the right, Descent from the Cross and Madonna della Miseri¬
cordia, two frescoes by Dom. Ghirlandaio (148')), with several portraits of
the Vespucci family. On the wall to the left are the arms of the family,
and on a slab in the pavement in front is the inscription: 'Amerigo
Vespucio posteris suis 1471'. Between the 3rd and 4th altars are frescoes
on both sides: on the right St. Augustine, by S. Botticelli, on the left,
St. Jerome, by Domenico Ghirlandaio. A chapel in the left transept, ap-
proached by steps, contains a crucifix by Giotto. Opposite is the entrance to
the sacristy, which contains a fresco of the Crucified, with angels, monks,
and saints, of the school of Giotto. — Adjacent is the entrance to the
Cloisters, in the style of Michelozzo, adorned with frescoes by Giovanni
da San Giovanni, Ligozzi, and others. — The oíd Refectory (adm., see p. 461),
in the N.E. angle, contains a large fresco of the 'Last Supper, by Dom.
Ghirlandaio (1480) and a charming ciborium (over the entrance) by Agostino
Farther on is a bronze Statue of Garibaldi (Pl. B, 3), by Zocchi
(1890). — The Lungarno Amerigo Vespucci ends at the Piazza degli
Zuavi (Pl. A, B, 1, 2), at the entrance to the Cascine (p. 552).