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Updated: May 16, 2025
The portraits of both Tommaso and Domenico, side by side, occur in the fresco representing Joachim driven from the Temple: Domenico, who is to be seen second from the extreme right, a little resembles our Charles II. Like his father, and, as we have seen, like most of the artists of Florence, he too became a goldsmith, and his love of the jewels that goldsmiths made may be traced in his pictures; but at an early age he was sent to Alessio Baldovinetti to learn to be a painter. Alessio's work we find all over Florence: a Last Judgment in the Accademia, for example, but that is not a very pleasing thing; a Madonna Enthroned, in the Uffizi; the S. Miniato frescoes; the S. Trinit
The southern limit of Roman Florence towards the Arno is altogether doubtful. There are, or were, traces of Roman baths in the Via delle Terme, and it has been thought that the town stretched riverwards as far as the old gate Por S. Maria and the Piazza S. Trinit
PART 1. Introductory. Breviary Divine office, its origin performed by the early Christians ancient and modern editions of the breviary. PART 2. Descriptive. Office of Tenebræ Matins and Lauds extinction of the lights meaning of this ceremony chant, lamentations conclusions of the office Miserere, its music Card. Penitentiary at S. Mary Major's. Trinit
To pass through Florence for the most part by the old ways, from church to church, is too often like visiting forgotten shrines in a museum. Something seems to have been lost in these quiet places; it is but rarely after all that they retain anything of the simplicity which once made them holy. To their undoing, they have been found in possession of some beautiful thing which may be shown for money, and so some of them have ceased altogether to exist as churches or chapels or convents; you find yourself walking through them as through a gallery, and if you should so far forget yourself as to uncover your head, some official will eagerly nudge you and say, "It is not necessary for the signore to bare his head: here is no longer a church, but a public monument." A public monument! But indeed, as we know, the Italian "public" is no longer capable of building anything that is beautiful. If it is a bridge they need, it is not such a one as the Trinit
The various yellows of Florence the prevailing colours are spread out nowhere so favourably as on the Pitti side of the river between the Trinit
He caused the triumphs to be carefully prepared by the best artists, the dresses of the masquers to be accurately studied, and their chariots to be adorned with illustrative paintings. Michelangelo's old friend Granacci dedicated his talents to these shows, which also employed the wayward fancy of Piero di Cosimo and Pontormo's power as a colourist. "It was their wont," says Il Lasca, "to go forth after dinner; and often the processions paraded through the streets till three or four hours into the night, with a multitude of masked men on horseback following, richly dressed, exceeding sometimes three hundred in number, and as many on foot with lighted torches. Thus they traversed the city, singing to the accompaniment of music arranged for four, eight, twelve, or even fifteen voices, and supported by various instruments." Lorenzo represented the worst as well as the best qualities of his age. If he knew how to enslave Florence, it was because his own temperament inclined him to share the amusements of the crowd, while his genius enabled him to invest corruption with charm. His friend Poliziano entered with the zest of a poet and a pleasure-seeker into these diversions. He helped Lorenzo to revive the Tuscan Mayday games, and wrote exquisite lyrics to be sung by girls in summer evenings on the public squares. This giant of learning, who filled the lecture-rooms of Florence with Students of all nations, and whose critical and rhetorical labours marked an epoch in the history of scholarship, was by nature a versifier, and a versifier of the people. He found nothing' easier than to throw aside his professor's mantle and to improvise ballate for women to chant as they danced their rounds upon the Piazza di S. Trinit
When the train got as far as the composite ugliness of the ships and tugs and drawbridges of Harlem River, the companions accepted the ensemble as picturesqueness, and did not require beauty of it. Once they did get beauty in a certain civic building which fronted the track and let fall a double stairway from its level in a way to recall the Spanish Steps and to get itself likened to the Trinit
He built a palace for Giovanni Bartolini, which is very ornate within, on the Piazza di S. Trinit
How I had forgotten them, and how well I know them, these little details out of the past! the darkish sponge-like holes in the travertine, the reversed capital on the Trinit
It pleased Michael Angelo so much that he gave Leone a wax model of a Hercules strangling Antæus, by his own hand, together with some drawings. There exist no other portraits of Michael Angelo, except two in painting, one by Bugiardini, the other by Jacopo del Conte; and one in bronze, in full relief, made by Daniele da Volterra. These, and Leoni’s medal, from which many copies have been made, and a great number of them have been seen by me in several parts of Italy and abroad." Francesco d’Olanda made a drawing of the old man in hat and mantle. Another portrait of Michael Angelo is introduced into Marcello Venusti’s copy of the Last Judgment, now in the Picture Gallery at Naples. The original study for it may be the portrait in the Casa Buonarroti, at Florence; it was frequently repeated by him. One replica may be the portrait, said to be by Michael Angelo’s own hand, at the Capitol. The apostle in red on the spectator’s right of the picture of the Assumption, by Daniele da Volterra, in the Church of the Trinit
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