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Updated: June 11, 2025
Some decades later, about 1360, Fazio degli Uberti describes, in his rhyming geography, the wide panorama from the mountains of Auvergne, with the interest, it is true, of the geographer and antiquarian only, but still showing clearly that he himself had seen it.
The range is a limited one Platonic love in its conventional form, or the still more conventional form of chivalric love, imported bodily from the Troubadours. Scattered here and there are some noble poems; as, for instance, the one attributed to Fazio degli Uberti on his lady's portrait, which begins
How often since that time, down to the days of Gibbon and Niebuhr, have the same ruins stirred men's minds to the same reflections! This double current of feeling is also recognizable in the 'Dittamondo' of Fazio degli Uberti, composed about the year 1360 a description of visionary travels, in which the author is accompanied by the old geographer Solinus, as Dante was by Virgil.
But the evil fortune of the city, and the defective nature of her laws, gave rise to enmities between the family of the Albizzi and that of the Ricci, which divided her citizens as completely as those of the Buondelmonti and the Uberti, or the Donati and the Cerchi had formerly done.
There was not room enough, however, to construct the palace itself with right angles, unless it were extended into the open space where once had stood the houses of the Uberti, "traitors to Florence and Ghibellines." In destroying these, the burghers had decreed that thenceforth for ever the feet of men should pass where the hearths of the proscribed nobles once had blazed.
For the Abbot de' Panichi he executed the panel-picture of the high-altar in the Church of S. Salvi, without the Porta alla Croce, painting therein Our Lady, S. Giovanni Gualberto, S. Salvi, S. Bernardo, a Cardinal of the Uberti family, and S. Benedetto the Abbot, and, at the sides, S. Batista and S. Fedele in armour, in two niches on either hand of the picture, which had a rich frame; and in the predella are several scenes, with little figures, from the Life of S. Giovanni Gualberto.
Yet at the same time he had a penchant for civil war, and held in high esteem that Farinata degli Uberti, who loved his native Florence so boldly and so well that he constrained her by force and fraud, making the Arbia run red with Florentine blood the while, to will and think precisely what he willed and thought himself.
This murder divided the whole city; one party espousing the cause of the Buondelmonti, the other that of the Uberti; and as these families possessed men and means of defense, they contended with each other for many years, without one being able to destroy the other.
From Modena Girolamo went to Parma, where he had heard that there were some works by the same Correggio, and he copied some of the pictures in the tribune of the Duomo, considering them extraordinary works, particularly the beautiful foreshortening of the Madonna, who is ascending into Heaven, surrounded by a multitude of Angels, with the Apostles, who are standing gazing on her as she ascends, and four Saints, Protectors of that city, who are in the niches S. John the Baptist, who is holding a lamb; S. Joseph, the husband of Our Lady; S. Bernardo degli Uberti the Florentine, a Cardinal and Bishop of Florence; and another Bishop.
Here, in the refectory of the latter convent, where Michelangelo is said to have had a niece, and for this cause to have built the nuns a door, is the fresco of the Last Supper by Andrea del Castagno; while on the walls are some portraits, brought here from the Bargello, of Farinata degli Uberti, Niccolò Acciaiuoli, and others.
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