536 Route 64. FLORENCE. ft. Left Bank
h. Districts of the City on the left bank of the Arno. Pitti Palace.
About one-fourth part of the city lies on the left bank.
We cross the Ponte Santa Trinita (Pl. D, 5; pp. 472, 634),
adorned with allegorical statues of the seasons, and proceed in a
straight direction to the Via Maggio (Pl. C, 5, 6), No. 26 in which
is the house of Bianca Cappello (d. 1587), wife of Grand-Duke
Francis I., and well known for the romantic vicissitudes of her history,
erected in 1566.
The Pal. Rinuccini (Pl. C, 5), in the Via Santo Spirito, the first side-
street to the right, contains a collection of Román inscriptions. In the
Borgo San Jacopo, the first side-street to the left, is the small church of
San Jacopo Soprarno (Pl. D, 5), with a Tnscan-Romanesque vestibule of
the llth cent., brought hither from the convent-church of San Donato in
We next follow the second side-street (Via dei Michelozzi) to
the right and reach the quiet Piazza Santo Spirito (Pl. C, 5, 6),
which is laid out in gardens. Immediately to the right is the con¬
vent-church of the —
*Santo Spirito (Pl. C, 5), a basilica in the form of a Latin cross,
covered with a dome, and containing 38 chapels. It was begun about
1436, on the site of a Romanesque building, from a design by
Filippo Brunelleschi, and was completed in 1482, with numerous
modifications, by Ant. Manetti, Salvi d'Andrea, and others. The
noble proportions of the interior, which is borne by 31 Corinthian
columns and 4 pillaTS, render it one of the most attractive structures
in Florence. The nave has a fíat roof, while the aisles are vaulted.
'This church, taking it all in all, is internally as successful an
adaptation of the basilican type as its age presents' (Fergusson). —
The campanile, erected by Baccio d'Agnolo was restored in 1896.
Over the entrance is a good stained-glass window of the 15th century. —
Right Aisle. 2nd altar: Pieta, a group in marble, after Miehael Angelo
(original in St. Peter's at Rome), by Nanni di Baccio Bigio (1549). — Right
Transept. 3rd altar: Madonna by Donatello (1; covered). 5th altar:'Ma¬
donna with saints, an early work by Filippino Lippi in a handsome frame.
6th altar: Madonna appearing to St. Bernard, an early copy from Perugino
(original at Munich). 7th altar (right wall): Monument of Neri Capponi
(d. 1457), with his portrait in relief, from the studio of the brothers
Rossellino. — The Choir has a screen of marble and bronze; high-altar
with canopy and statues by Giov. Caccini, about 1600. At the back of the
choir, 5th altar, The adultere33 before Christ, by Alessandro Allori. —
Left Transept: lst altar, Madonna with saints, by CosimoRosselli; 4th altar
(del Sacramento), sculptured in marble by Andrea Sansovino (youthful
work); 5th altar, Trinity with saints (fine predella) of the Florentine School
(ca. 1500); 7th altar, Madonna with four saints, by Rafaellino del Gurbo
(1505); over the Sth altar, fine stained-glass with Christ'and the unbeliev-
ing Thomis (generally covered). — In the Left Aisle is the entrance to
the 'Sacristy, a graceful octagonal structure, with four corner-niches,
erected by Giul. du Sangallo and Cronaca in 1489-92 behind a finely-
vaulted pórtico, the ceiling of which is by A. Sansovino. — Farther on in
the church, beside the 2nd altar from the entrance, statue of Christ, a copy
from Miehael Angelo (in Santa Maria sopra Minerva at Rome), by T. Lundini
The First Cloisters were erected by Alfonso Parigi (entrance by the
sacristy). — The Second Cloisters are by Ammanati (1564), the paintings
by Poccetti. — Tbe monastery is now in part a barrack, in part still
occupied by monks.