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Angelo, in that city, there is found the very extraordinary story of the painter Spinello Aretino, to which Lanzi alludes briefly, in his History of Painting in Italy.
By their orders scaffolding was erected at the appointed place, five feet in height, ten in width, and eighty feet long. This scaffolding was covered with faggots and heath, supported by cross-bars of the very driest wood that could be found. Two narrow paths were made, two feet wide at most, their entrance giving an the Loggia dei Lanzi, their exit exactly opposite.
Lanzi again divides these schools into epochs, as they rose from their infancy, to their greatest perfection, and again declined into mannerism, or servile imitation, or as eminent artists rose who formed an era in art.
His face is calm and dignified, and he holds appropriately in his hands, a globe and telescope. Aretino, the historian, lies on his tomb with a copy of his works clasped to his breast; above that of Lanzi, the historian of painting, there is a beautiful fresco of the angel of fame; and opposite to him is the scholar Lamio.
But of one of the pupils of Luca, Agostino di Duccio, 1418-81(?), something more remains than these fragile and yet hardy works in terra-cotta. He has carved in marble with something of Luca's gentleness at Perugia and Rimini. He left Florence, it is said, in 1446, after an accusation of theft, returning there to carve the lovely tabernacle of the Ognissanti. It is said that he had tried unsuccessfully to deal with that block of marble which stood in the Loggia dei Lanzi, and from which Michelangelo unfolded the David. Two panels attributed to him remain in the Bargello, a Crucifixion and a Piet
Lanzi says it is commonly reported that an aged woman, accompanied by a little boy, was seen long wistfully engaged in viewing Domenichino's picture, showing it part by part to the boy, and next, turning to that of Guido, painted directly opposite, she gave it a cursory glance and passed on.
It is in the Sassetti chapel that we find the Ghirlandaio frescoes of scenes in the life of S. Francis which bring so many strangers to this church. The painting which depicts S. Francis receiving the charter from the Emperor Honorius is interesting both for its history and its painting; for it contains a valuable record of what the Palazzo Vecchio and Loggia de' Lanzi were like in 1485, and also many portraits: among them Lorenzo the Magnificent, on the extreme right holding out his hand: Poliziano, tutor of the Medici boys, coming first up the stairs; and on the extreme left very probably Verrocchio, one of Ghirlandaio's favourite painters. We find old Florence again in the very attractive picture of the resuscitation of the nice little girl in violet, a daughter of the Spini family, who fell from a window of the Spini palace (as we see in the distance on the left, this being one of the old synchronized scenes) and was brought to life by S. Francis, who chanced to be flying by. The scene is intensely local: just outside the church, looking along what is now the Piazza S. Trinit
The next room, Sala VII, is apportioned chiefly between Cellini and Gian or Giovanni da Bologna, the two sculptors who dominate the Loggia de' Lanzi. But personally I find that Cellini will not do in such near proximity to Donatello, Verrocchio, and their gentle followers. He was, of course, far later. He thus did not begin to work until the finer impulses of the Renaissance were exhausted.
The Piazza della Signoria has such riches that one is in danger of neglecting some. The Palazzo Vecchio, for example, so overpowers the Loggia de' Lanzi in size as to draw the eye from that perfect structure. One should not allow this to happen; one should let the Palazzo Vecchio's solid nobility wait awhile and concentrate on the beauty of Orcagna's three arches.
As you enter the Loggia de' Lanzi, gay with children now, once the lounge of the Swiss Guard, whose barracks were not far away, you wonder who can have built so gay, so happy a place beside the fortress of the Signoria.
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