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Updated: May 3, 2025
As a boy, it is said, he would pray before the Madonna of Or San Michele, and, indeed, in his Chronicle he defends his Order against the charges of scepticism as to the miracles worked there, with a certain eloquence. Many are the stories told of him, and Poccetti has painted the story of his life round the first cloister of S. Marco, where he was buried in May 1459.
The subdued, demure, somewhat astonished joy of the Virgin is poetically rendered, both in face and attitude, and the figure of the angel has much grace. A small, but beautiful composition, the Coronation of the Virgin, is perhaps the most impressive of the whole series. Below is a series of frescos by a very second-rate artist, Poccetti.
In the Sala di Flora we find some interesting Andreas; a beautiful portrait by Puligo, No. 184; and Giulio Romano's famous frieze of dancers. Also a fine portrait by Allori, No. 72. The end room of all is notable for a Ruysdael. Finally there is the Sala del Poccetti, out of the Sala di Prometeo, which, together with the preceding two rooms that I have described, has lately been rearranged.
Among them is a portrait of Savonarola; but as the reformer was burned half a century before Poccetti was born, it has not even the merit of authenticity. It was from this house that Savonarola was taken to be imprisoned and executed in 1498. There seems something unsatisfactory about Savonarola.
Giovanni Carlo's pictures, which mostly went to the Pitti were varied; but Leopold's were chiefly portraits of artists, wherever possible painted by themselves, a collection which is steadily being added to at the present time and is to be seen in several rooms of the Uffizi, and those miniature portraits of men of eminence which we shall see in the corridor between the Poccetti Gallery and Salon of Justice at the Pitti.
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