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He made his pictures very interesting also to those of his own time, and to those of later days, by introducing portraits of certain citizens of Florence into pictures which he painted in the Church of Santa Maria Novella and other public places in the city.
This should be the final honor paid to all human works that have served a good office in their day, for when their day is over, if still galvanized into false life, they do harm instead of good. . . . . The interior of Santa Maria Novella is spacious and in the Gothic style, though differing from English churches of that order of architecture.
The influence of the novella and of the Oriental tale produced nothing better. From other literary forms the makers of fiction freely derived sensational materials and technical hints. Without insisting too closely upon the connection between novel and play, we may well remember that nearly all the early novelists, Defoe excepted, were intimately associated with the theatre. Mrs. Behn, Mrs.
It is true that when we speak of the bourgeois spirit of the novella on the one hand, and the 'ideal' pastoral on the other, it is well to remember that the author of the Decameron also wrote the first modern pastoral romance; that the century and country which saw the publication of the Arcadia, the Aminta, and the Pastor fido, also welcomed the work of Fortini, Giraldi, and Bandello; and that to Margaret of Navarre, the imitator of Sannazzaro and patroness of Marot, we are likewise indebted for the Heptameron.
The multitude, enraged at this reply, withdrew to Santa Maria Novella, where they appointed eight leaders for their party, with officers, and other regulations to ensure influence and respect; so that the city possessed two governments, and was under the direction of two distinct powers.
How on a certain day, about 1270, Charles of Anjou was passing through Florence; how he honored the studio of Cimabue by a visit; how the Madonna was then first uncovered; how the people shouted so joyously that the street was thereafter named the Borgo dei Allegri; and how the great picture was finally borne in triumphal procession to the church of Santa Maria Novella, all these are the scenes in the pretty drama.
One day as the latter was just entering the Porch of Santa Maria Novella, where the Monks of the Order of Saint Dominic kept at that time a number of books that had been brought to Italy by the Greeks, Messer Betto, who was crossing the Piazza at the moment, loudly hailed his friend: "Hola!
To thee it is given to carve Christs: to me only peasants." No one should forget this pretty story, either here or at S. Maria Novella, where Brunelleschi's crucifix now is. The flexible Siena iron grille of this end chapel dates from 1335.
My chest is very well; there has been no symptom of evil in that quarter.... We took the whole coupé of the diligence but regretted our first plan of the vettura nevertheless and now are settled in very comfortable rooms in the 'Via delle Belle Donne' just out of the Piazza Santa Maria Novella, very superior rooms to our apartment in Pisa, in which we were cheated to the uttermost with all the subtlety of Italy and to the full extent of our ignorance; think what that must have been!
They staid fifteen days in Florence, scourging themselves before the altars of the Dominican churches, and feasting, five hundred at a time, in the Piazzi di S. M. Novella. 'On their journey, when they came to a cross-road or to crosses, they threw themselves on the ground, crying Misericordia three times; then they recited the Lord's Prayer and the Ave Maria.
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