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Henry Keenan, of New York, had leisurely finished his cigar, and had as leisurely glanced through all the three-day-old London papers. He had even puzzled, for another half-hour, over the pages of a Tribuna. Then, after gazing in an idle and listless manner about the empty and uninviting hotel reading-room, he decided that it was time for him to go up to his room.
And here we enter the Tribuna, which is to the Uffizi what the Salon Carré is to the Louvre: the special treasure-room of the gallery, holding its most valuable pictures. Probably the statue famous as the Venus de' Medici would be considered the Tribuna's chief possession; but not by me. Nor should I vote either for Titian's Venus.
The frescoes in the Tribuna celebrate other Italian scientific triumphs, and in the cases are historic telescopes, astrolabes, binoculars, and other mysteries.
The Saint John the Baptist of the Tribuna, and Saint Luke painting the Virgin's portrait in the Accademia at Rome, have not the charm of the Portrait of Leo X., and of the Virgin at Dresden. And yet they are all of equal merit. Nay, more. The Stanze, the Transfiguration, the panels, and the three easel pictures in the Vatican are in the highest degree perfect and sublime.
The Tribuna between the two is the sanctuary of the pavilion, containing the portraits of King Victor Emmanuel and Queen Margherita, and portraits and relics of the great of Italy, explorers from Columbus to the Duke of the Abruzzi, scientists like Galileo, Galvani, Volta and Marconi, statesmen like Mazzini, and soldiers like Garibaldi.
At this point the “Tribuna del Pueblo” of Old Town jumped into the fight with an editorial in which it was asserted that both the gringo papers were maligning the Mexican people. It pointed out that the gringos controlled the political machinery of the State, and that if murder was there tolerated the dominant race was to blame.
With respect to the famous Venus Pontia, commonly called de Medicis, which was found at Tivoli, and is kept in a separate apartment called the Tribuna, I believe I ought to be intirely silent, or at least conceal my real sentiments, which will otherwise appear equally absurd and presumptuous.
How great was the influence of this picture upon Michelangelo we need only take a few steps into the Tribuna to see, in his Tondo of the Holy Family, No. 1139. The painting is set in a kind of frame in grisaille, surmounted by a head of S. John the Baptist, and two seated Prophets in medallions.
Under the arcades behind the columns run the sidewalks for foot-passengers. Turn to the right from the main street and you come to the Public Baths, an immense building like a palace, supplied with hot and cold water, adorned with marble and mosaic. On the left lies the Tribuna, with its richly decorated façade and its fountain of flowing water.
Among his pupils was Franciabigio, whose lovely Madonna of the Well we are coming to in the Tribuna.
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