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Like Michelangelo, these sculptors fill their works with intense and individualised expression: their noblest works are the studied sepulchral portraits of particular persons the monument of Conte Ugo in the Badia of Florence, of the youthful Medea Colleoni, with the wonderful, long throat, in the chapel on the cool north side of the Church of Santa Maria Maggiore at Bergamo monuments which abound in the churches of Rome, inexhaustible in suggestions of repose, of a subdued Sabbatic joy, a kind of sacred grace and refinement: and they unite these elements of tranquillity, of repose, to that intense and individual expression by a system of conventionalism as skilful and subtle as that of the Greeks, subduing all such curves as indicate solid form, and throwing the whole into lower relief.
When Cosimo de' Medici was in a hurry to form a library for his favorite foundation, the Badia below Fiesole, he sent for Vespasiano, and received from him the advice to give up all thoughts of purchasing books, since those which were worth getting could not be had easily, but rather to make use of the copyists; whereupon Cosimo bargained to pay him so much a day, and Vespasiano, with forty-five writers under him, delivered 200 volumes in twenty-two months.
Andrea del Sarto Fiesole sights The Villa Palmieri and the "Decameron" Botticini's picture in the National Gallery S. Francesco The Roman amphitheatre The Etruscan museum A sculptor's walk The Badia di Fiesole Brunelleschi again Giovanni di San Giovanni. After all these pictures, how about a little climbing?
Thomas's Day in the year of Christ 1006, and was buried with great honour in the Badia of Florence. Tronci says, that beside the Badia di S. Michele di Verruca outside Pisa, "this most pious Marquis" founded also the Church of S. Niccolò, for the use of the Monks of S. Michele Fuori. The Church of S. Niccolò has been altogether restored.
The Badia itself was rebuilt in the fifteenth century for Cosimo de' Medici, by the hand, as it is said, of Brunellesco.
This church seems to have been confused by many with the little Santo Stefano, still, I think, a parish church, though now incorporated with the abbey buildings, of the Badia. You pass out of Via Lambertesca by Via de' Lanzi, coming thus into Piazza Signoria; then, passing Palazzo Uguccione, you take Via Condotta to the right, and thus come into Via del Proconsolo at the Abbey gate.
Behind him is Paradise. In his hand is the "Divine Comedy". I say no more of the poet here, because a large part of the chapter on the Badia is given to him.
This church is known as the Badia, and its delicate spire is a joy in the landscape from every point of vantage. The Badia is very ancient, but the restorers have been busy and little of Arnolfo's thirteenth-century work is left.
There was the great dome of Santa Maria dei Fiori; the tortuous silver streak that was Arno, spanned by her bridges; there was Giotto's tower, golden-white and rose golden, there the campanile of the Badia, the grim old Bargello, and the battlemented walls of the Palazzo Vecchio; farther still, across the river, the heights of San Miniato al Monte, Bellosguardo, and Mont' Oliveto, cypress crowned.
From the works that he executed for this festival Pontormo gained, besides the profit, so much praise, that probably few young men of his age ever gained as much in that city; wherefore, Pope Leo himself afterwards coming to Florence, he was much employed in the festive preparations that were made, for he had attached himself to Baccio da Montelupo, a sculptor advanced in years, who made an arch of wood at the head of the Via del Palagio, at the steps of the Badia, and Pontormo painted it all with very beautiful scenes, which afterwards came to an evil end through the scant diligence of those who had charge of them.
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