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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.
Ma se l'amor della spera suprema Torcesse 'n suso 'l desiderio vostro, Non vi sarebbe al petto quella tema; Che per quanto si dice piu li nostro, Tanto possiede piu di ben ciascuno, E piu di caritade arde in quel chiostro. Because you point and fix your longing eyes On things where sharing lessens every share, The human bellows heave with envious sighs.
As there are five male persons present, this scene cannot represent the sacrifice immediately after the Flood, nor is any rainbow to be seen as was usual in the traditional representations of that subject, like the one in the Chiostro Verde at Santa Maria Novella.
A few steps farther on the left, towards the Fiesole heights, which we can see rising at the end of the street, we come, at No. 69, to a little doorway which leads to a little courtyard the Chiostro dello Scalzo decorated with frescoes by Andrea del Sarto and Franciabigio and containing the earliest work of both artists.
From time to time this society gave subscription concerts, and Becker was invited to lead ten such concerts during the winter of 1865-66. He consented to do so, but found the quartet in a state of dissolution. He brought Hilpert with him, and engaged Masi as second violin, Chiostro being the only member of the original quartet.
When we had looked at the old frescos, . . . . we emerged into the cloister again, and thence ventured into a passage which would have led us to the Chiostro Grande, where strangers, and especially ladies, have no right to go.
On your left you pass into the Chiostro Verde, where Paolo Uccello has painted scenes from the Old Testament in a sort of green monotone, for once without enthusiasm.
Passing out of Piazza degli SS. Annunziata through Via di Sapienza into Piazza di S. Marco, we pass the desecrated convent of the Dominicans, where Savonarola, Fra Antonino, and Fra Angelico lived, now a museum on the right; and passing to the right into Via Cavour, come at No. 69 to the Chiostro dello Scalzo. This is a cloister belonging to the Brotherhood of St.
When we had looked at the old frescos, . . . . we emerged into the cloister again, and thence ventured into a passage which would have led us to the Chiostro Grande, where strangers, and especially ladies, have no right to go.
The Chiostro Verde is a walk round the four sides of a square, beneath an arched and groined roof. In the days when the designs were more distinct than now, it must have been a very effective way for a monk to read Bible history, to see its personages and events thus passing visibly beside him in his morning and evening walks.
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