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He ran toward the street that follows the left side of the Lanzi, and disappeared. After a moment he came back, and gave her a little gold spoon, the handle of which was finished in a lily of Florence, with its chalice enamelled in red. "You must eat your ice with this. The man does not give a spoon with his ices. You would have had to put out your tongue.

The night was still and cold, and the white, round moon that had risen above the roof of the Loggia dei Lanzi shone, unclouded, upon the restless human sea that divided here and there to let the carriages and motors pass. The guests entered by the side door nearest the Uffizi, and carabinieri kept the way clear.

The Borgias, for instance, were opposed to it. Just at this period, the singular picture I allude to was painted by Girolamo da Cotignola. It is mentioned by Lanzi, but his account of it is not quite correct. Above, in glory, is seen the Padre Eterno, surrounded by cherubim bearing a scroll, on which is inscribed, "Non enim pro te sed pro omnibus hec lex constitutura est."

Lanzi says, "She is nearly the sole individual of the family whose name occurs in collections out of Bologna." She also executed some spirited etchings mostly from her own designs. This accomplished, amiable, and talented lady was cut off in the flower of her life, August 29th, 1665, by poison, administered by one of her own maids, instigated, as is supposed, by some jealous young artists.

John of Bologna is best known at Florence by his Rape of the Sabines and Hercules and Nessus in the Loggia de' Lanzi; but the Boboli gardens have a fine group of Oceanus and river gods by him in the midst of a lake. But I believe that the most beautiful thing in this room is the bronze figure for the tomb of Mariano Sozzino by Lorenzo di Pietro.

Returning to the Via Calzaioli, and turning to the right, we come very quickly to the Piazza della Signoria, and see before us, diagonally across it, the Loggia de' Lanzi and the Palazzo Vecchio, with the gleaming, gigantic figure of Michelangelo's David against the dark gateway. This, more than the Piazza del Duomo, is the centre of Florence.

Lanzi considers this art of so much importance, that he thus concludes his article upon it: "After the practice of modeling had been brought to vie with sculpture, and after engraving upon wood had so well counterfeited works of design, we have to record this third invention, belonging to a State of no great dimensions.

Lanzi says, "One great attraction in the church paintings of Domenichino, consists in the glory of the angels, exquisitely beautiful in feature, full of lively action, and so introduced as to perform the most gracious offices in the piece, as the crowning of martyrs, the bearing of palms, the scattering of roses, weaving the mazy dance, and making sweet melodies."

This work is rather dingy now, but it is interesting as coming in part from the hand that designed the tabernacle in Or San Michele and the Loggia de' Lanzi. Granacci was a fellow-pupil of Michelangelo both in Lorenzo de' Medici's garden and in Ghirlandaio's workshop, and the bosom friend of that great man all his life.

The fame of Domenichino was now so well established that intrigue and malice could not suppress it, and Pope Gregory XV. invited him back to Rome, and appointed him principal painter, and architect to the pontifical palace. "The public," says Lanzi, "is an equitable judge; but a good cause is not always sufficient without the advantage of many voices to sustain it.