538 Rouíe 64. FL0RENCF7. h. Left Bank of the Amo:
forms the most direct communication between the Piazza della
Signoria, with the Ufflzi, and the Palazzo Pitti. The bridge is
flanked with shops, which have belonged to the goldsmiths since
the 14th century. A bronze bust oí Benvenuto Cellini (1500-72;
p. 471), Sculptor and goldsmith, was placad here in 1901.
For the Via de' Bardi, the home of George Eliot's 'Romola', which
leads to the left just, beyond the Ponto Vecchio, see p. 548.
The line of the Ponte Vecchio is continued by the Via de' Guic¬
ciardini (Pl. D, 6), which passes a small piazza adorned with a col¬
umn dating from the 14th century. Behind it is the church of
Santa Felicita (Pl. D, 6), restored in 1736 and containing an En¬
tombment by Pontormo (lst altar to the right); in the sacristy is a
Madonna with four saints by Taddeo Gaddi, and in the chapter-
room an Annunciation and Crucifixión of the School of Giotto. —
Farther on, to the left (No. 17), is situated the Palazzo Guicciardini,
where the historian Francesco Guicciardini (1482-1540) lived;
opposite to it, on the right (No. 16), is the Casa Campigli or house
oí Machiavelli (15th cent.; lately 'restored').
The *Palazzo Pitti (Pl. C, 6), conspicuously situated on the
slope of the Boboli hill, was designed by Brunelleschi about Í440
and begun by Luca Fancelli, by order of Luca Pitti, the powerful
opponent of the Medici, whom he hoped to excel in external
grandeur by the erection of the most imposing palace yet built by
a prívate citizen. The failure of the conspiracy against Piero de'
Medici in 1466 cost Luca the loss of his power and influence, and
the building remained unfinished till the middle of the following
cent., when it had come, through a great-grandson of Luca, into
the possession of Eleonora of Toledo, wife of Duke Cosimo I. (1549).
The palace, which somewhat resernbles a castle or a prison, is remark¬
able for its bold simplicity, and the unadorned blocks of stone are
hewn smooth at the joints only. The central part has a third story.
The effectiveness of the building is mainly produced by its flne
proportions (comp. p. xlv), and it shows 'a wonderful unión of
Cyclopean massiveness with stately regularity' (George Eliot). The
facade is 119 ft. high and was originally only of the width of the
present top story. About the year 1568 Bartolomeo Ammanati
insertcd the beautiful Renaissance windows of the groundfloor, and
added the waterspouts in the form of lions' heads. In 1558-70 he
constructed the large colonnaded court at the back, which is ad-
joiued by a grotto with niches and fountains, and the Boboli Gar¬
den beyond them. The wings of the palace were added by Alf.
Parigi after 1620, extending the length of the facade from 350 ft.
to 672 ft. The two projecting pavilions were added about 1763.
In 1550 the Pitti Palace superseded the Palazzo Vecchio (p. 472)
as the residence of the reigning sovereign, and it is now that of the
King of Italy when at Florence. The upper floor of the left wing
contains the far-famed **Picture Gallery (Galleria Palatina), which