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Updated: May 8, 2025
Here in the Bargello some fragments of beautiful things have been gathered a tabernacle with two adoring angels, a little St.
In the winter sunshine I wandered about the busy, old-world streets of Florence, idling in the cafés, gazing into the many shop-windows of the dealers in faked pictures and faked antiques, while often my wandering footsteps led me into one or other of the "sights" of the city, all of which I had visited before the National Museum at the Bargello, the Laurenziana Library, with its rows of priceless chained manuscripts, the Chiostro dello Scalzo, where Andrea del Sarto's wonderful frescoes adorn the walls, or into the Palazzo Vecchio, or the galleries of the Pitti, or the Uffizi.
I judged that the bargello, having failed in his project, was now reduced to guesswork, and I was strengthened in that view of the case when the gate-keeper of the palace told me, without my asking any question, as I came in, that an arrest had been attempted during the night, and had not succeeded.
The Victory, of the Bargello, was said by Vasari to have been designed for the Tomb, but it may just as well have been intended for an angel overcoming a demon, part of the ruined scheme for the façade of San Lorenzo. The lower figure is still left in the rough, and is supposed to be like the artist.
All the art works of the mediaeval rooms are copies of originals, but in the Bargello Hall, Signor Canessa, who was J. P. Morgan's European agent, shows his collection of veritable Italian and ancient art.
After giving me a profound bow, with his hat in his hand, Signor Bargello told me that he had come to offer me his services, and to assure me that I should enjoy complete tranquillity and safety in Lugano, whether from any enemies within the State or from the Venetian Government, in case I had any dispute with it.
In perusing the notes of the late learned Canonico Moreri on Filelfo's life of Dante, he found it stated that a portrait of the poet by Giotto was formerly to be seen in the Bargello.
The main entrance is at the west, where a broad low flight of steps leads up to a plaza between two tall buildings irregularly placed. That on the right, in Fifteenth Century style, contains the offices of the Commission. The hall on the left, reminiscent of the Bargello, is devoted to a splendid collection of antique Roman, Grecian, and Italian art, shown by Signor Canessa.
That statue cost him dear enough, as he tells you in his Memoirs, but, as Gautier said, it is worth all it cost. On the pedestal you may see the deliverance of Andromeda; but the finest of these reliefs has been taken to the Bargello. The only other bronze here is the work of Donatello a Judith and Holofernes, under the arch towards the Uffizi.
John Baptist is one of the finest works of that age; but his art is seen at its highest in that terra-cotta bust here in the Bargello, perhaps a sketch for a bronze, where he has expressed the infinite confidence and courage of one of those captains of adventure, who, with war for their trade, carried havoc up and down Italy.
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