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Updated: May 16, 2025
In the fifth chapel of the left aisle is a Magdalen carved in wood by Desiderio da Settignano and finished by Benedetto da Maiano; while S. Trinit
While Michelangelo was finishing his Cartoon, Lionardo da Vinci was painting his fresco. Circumstances may have brought the two chiefs of Italian art frequently together in the streets of Florence. There exists an anecdote of one encounter, which, though it rests upon the credit of an anonymous writer, and does not reflect a pleasing light upon the hero of this biography, cannot be neglected. "Lionardo," writes our authority, "was a man of fair presence, well-proportioned, gracefully endowed, and of fine aspect. He wore a tunic of rose-colour, falling to his knees; for at that time it was the fashion to carry garments of some length; and down to the middle of his breast there flowed a beard beautifully curled and well arranged. Walking with a friend near S. Trinit
But Vava was not crushed. 'You wait and see; it's got some lovely scenes in it, and the stage scenery is beautifully painted by ourselves at least, in the school by the painting-mistress and the girls. There's the Bridge of the Trinit
It is in the Sassetti chapel that we find the Ghirlandaio frescoes of scenes in the life of S. Francis which bring so many strangers to this church. The painting which depicts S. Francis receiving the charter from the Emperor Honorius is interesting both for its history and its painting; for it contains a valuable record of what the Palazzo Vecchio and Loggia de' Lanzi were like in 1485, and also many portraits: among them Lorenzo the Magnificent, on the extreme right holding out his hand: Poliziano, tutor of the Medici boys, coming first up the stairs; and on the extreme left very probably Verrocchio, one of Ghirlandaio's favourite painters. We find old Florence again in the very attractive picture of the resuscitation of the nice little girl in violet, a daughter of the Spini family, who fell from a window of the Spini palace (as we see in the distance on the left, this being one of the old synchronized scenes) and was brought to life by S. Francis, who chanced to be flying by. The scene is intensely local: just outside the church, looking along what is now the Piazza S. Trinit
DANIELE DE VOLTERRA (1509-1566) was the best scholar of Michael Angelo. His principal pictures are the "Descent from the Cross," in the Church of Trinit
At this time M. Pietro de' Massimi bought a chapel in the Trinit
But the old Ghibellinism had recovered new vigour from an unlooked-for quarter. As the revival of the Roman law had given an artificial prestige to the Empire in the twelfth century, so the revival of classical literature threw a new halo around it in the fourteenth. To Dante, penetrated with the greater Latin authors, Henry of Luxemburg is no stranger from over the Alps, but the descendant of the Augustus whom his own Vergil had loved and sung. The same classical feeling tells on Dino. With him Florence is "the daughter of Rome." The pages of Sallust and of Livy have stirred him to undertake her annals. "The remembrance of ancient histories has long spurred my mind to write the events, full of danger yet reaching to no prosperous end, that this noble city, daughter of Rome, has encountered." It was the same sense that united with his own practical appreciation of the necessities of the time in his impatient longing for the intervention of the new Emperor. As Prior, Dino had acted the part of a brave and honest man, striving to conciliate party with party, refusing to break the law, chased at last with the rest of the magistracy from the Palace of the Signory by the violence of Corso Donati and the nobles. If he did not share Dante's exile, he had at any rate acted with Dante in the course of policy which brought that penalty on him. Both were Priors together in 1300; both have the same passionate love of Florence, the same haughty disdain of the factions that tore it to pieces. If the appeal of Dino to his fellows in Santa Trinit
It was perfectly clear that Stefanone was dogging the Scotchman's steps. The latter crossed the Piazza di Spagna, and entered the deep archway of his hotel. The peasant slackened his speed at once and lounged across the square towards the foot of the great stairway which leads up to the Trinit
Perhaps I shall rest there a little before Duccio's Madonna on her high altar, and linger under the grave, serene work of Ghirlandajo; but it may be the sky will be too fair for any church to hold me, so that passing down the way of the Beautiful Ladies, and taking Via dei Serpi on my left, I shall come into Via Tornabuoni, that smiling, lovely way just above the beautiful Palazzo Antinori, whence I may see Palazzo Strozzi, but without the great lamp at the corner where the flowers are heaped and there are always so many loungers. Indeed, the whole street is full of flowers and sunshine and cool shadow, and in some way, I know not what, it remains the most beautiful gay street in Florence, where past and present have met and are friends. And then I know if I follow this way I shall come to Lung' Arno, I may catch a glimpse of it even from the corner of Via Porta Rossa over the cabs, past the Column of S. Trinit
Niccolò himself went with the Cardinal to Arezzo, where he lived almost ever afterwards. At the time he formed a friendship with the painter Domenico Pecori, who was then painting an altar-piece with the Circumcision of Christ for the Company of the Trinit
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