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He had not been to see his "Dear Mariano" sooner because he wanted to show him this work. Would he come and see him some morning in the Museo? Would he give him this proof of his friendship? Renovales tried to decline. What did he care for a copy?
Matteo Civitali, the one artist of importance that Lucca produced, was born in 1435. He remains really the one artist, not of the territory of Florence, who has worked in the manner of the fifteenth-century sculptors of that city. His work is everywhere in Lucca, here in the Duomo, in S. Romano, in S. Michele, in S. Frediano, and in the Museo in Palazzo Mansi.
The Via Maggio is now our way, but first there is a museum which I think should be visited, if only because it gave Dickens so much pleasure when he was here the Museo di Storia Naturale, which is open three days a week only and is always free. Many visitors to Florence never even hear of it and one quickly finds that its chief frequenters are the poor. All the better for that.
Here comes to view the 'flecked' appearance of the iris, especially in the right eye. The left may be described as almost wholly blue." And so on, and so on, and so on. "In the Museo Civico at Pavia, is a fresco likeness by an unknown hand, in which this fresh red is distinctly recognisable on the face.
Unlike the work of Fra Guglielmo in S. Giovanni, the pulpit of S. Andrea is hexagonal, and there Giovanni has carved in high relief the Birth of Our Lord, the Adoration of the Magi, the Murder of the Innocents, the Crucifixion, and the Last Judgment. They were carved in 1301, before Giovanni began the Pisan pulpit now in the Museo in that city.
Beyond, dark night is seen and a turbulent sea, the dark night of the soul of which the mystics write, and the troublous sea of life whereon there is no refuge for the weary and the sick at heart. Then, if you would study yet another phase of the religious sentiment, go to the Museo, where are the fine pictures that Murillo painted for the Capuchin Monastery.
These targoni were decorated with mottoes or a device, as we may see from these now in the Museo; they were evidently even heirlooms in the family which had the honour to see one of its members chosen for the Battaglia. Four comandanti or captains on each side entered the battle itself. Two of these on each side stood on the parapet of the bridge directing their men.
The sarcophagus of Cornelius Scipio Barbatus in the Vatican museum, and the tomb of the Tibicines in the Museo Municipale al Celio are also of this stone. Travertine stone was quarried in the plains of Tivoli at places now called Le Caprine, Casal Bernini, and Il Barco. This last was reopened after an interval of many centuries by Count G. Brazza, brother of the African explorer.
Tintoretto is rather injured at the Museo by the number and importance of his pictures left in this monkish twilight; among them is a lovely Esther, and a masterly Presentation of Christ to the People. Plenty of Giordanos and Bassanos and one or two by El Greco, with his weird plague-stricken faces, all chalk and charcoal.
He adds that it was restored by a second-rate artist and sent to England. What became of Mini's copy is uncertain. We possess a painting in the Dresden Gallery, a Cartoon in the collection of the Royal Academy of England, and a large oil picture, much injured, in the vaults of the National Gallery. In addition to these works, there is a small marble statue in the Museo Nazionale at Florence.
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