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Updated: July 19, 2025
Among these was one Jacopo di Casentino, who, being born, as it is read, of the family of Messer Cristoforo Landino of Pratovecchio, was apprenticed by a friar of the Casentino, then Prior at the Sasso della Vernia, to Taddeo Gaddi, while Taddeo was working in that convent, to the end that he might learn drawing and colouring in the art, wherein in a few years he succeeded so well that, betaking himself to Florence and executing many works in company with Giovanni da Milano in the service of Taddeo their master, he was made to paint the shrine of the Madonna of the Mercato Vecchio, with the panel in distemper, and likewise the one at the corner of the Piazza di S. Niccolò and the Via del Cocomero, which were restored a few years ago, both one and the other, by a worse master than was Jacopo; and for the Dyers he painted that which is in S. Nofri, at the corner of the wall of their garden, opposite to S. Giuseppe.
He was going back to his lodgings in the Piazza di San Giovanni, but he avoided passing through the Mercato Vecchio, which was his nearest way, lest he should see Tessa. He was not in the humour to seek anything; he could only await the first sign of his altering lot.
On a column of granite in the Mercato Vecchio there is a figure of Abundance in hard grey-stone by the hand of Donato, standing quite by itself, so well wrought that it is consummately praised by craftsmen and by all good judges of art.
There is but one Lorenzo, I imagine, whose death could throw the Mercato into an uproar, set the lantern of the Duomo leaping in desperation, and cause the lions of the Republic to feel under an immediate necessity to devour one another. I mean Lorenzo de' Medici, the Pericles of our Athens if I may make such a comparison in the ear of a Greek."
The absence of presumptuous self-conceit in Tito made him feel all the more defenceless under prospective obloquy: he needed soft looks and caresses too much ever to be impudent. "In the Mercato?" said Tessa. "Not to-morrow morning, because the patrigno will be there, and he is so cross. Oh! but you have money, and he will not be cross if you buy some salad. And there are some chestnuts.
Robbed thus of their great leader, the Neri were beaten day and night by the Cerchi, who with the aid of the Cavalcanti and Gherardini rode through the city as far as the Mercato Vecchio and Or San Michele, and from there to S. Giovanni, and certainly they would have taken the city with the help of the Ghibellines, who were come to their aid, if one Ser Neri Abati, clerk and prior of S. Piero Scheraggio, a dissolute and worldly man, and a rebel and enemy against his friends, had not set fire to the houses of his family in Or San Michele, and to the Florentine Calimala near to the entrance of Mercato Vecchio.
For there was another spirit, too, moving secretly through the ways of the city, among the crowds that gathered round the Cantastoria of the Mercato Vecchio, or mingled with the wild procession of the carnival, a spirit not of life, but of denial, a little forgetful as yet that the days of the Middle Age were over: and even as one day that joy in the earth and the beauty of world was to pass almost into Paganism, so this mysticism, that was at first like some marvellous fore-taste of heaven, fell into just Puritanism, a brutal political and schismatic hatred in the fanaticism of let us be thankful for that a foreigner.
Duke Cosimo was then intent on enriching and beautifying the city of Pisa, and he had already caused the Piazza del Mercato to be built anew, with a great number of shops around it, and had placed in the centre a column ten braccia high, upon which, according to the design of Luca, was to stand a statue representing Abundance.
Donatello said to him one day when he found him alone at work on the Christ and St. Thomas, which he had been commissioned to paint over the door of the church dedicated to that saint in the Mercato Vecchio. "Thou shalt see it some day, let that suffice thee," Uccello answered.
One of the objects cut off by the cathedral dome is the English cemetery, but the modern Jewish temple stands out as noticeably almost as any of the ancient buildings. The Pitti looks like nothing but a barracks and the Porta Ferdinando has prominence which it gets from no other point. The roof of the Mercato Centrale is the ugliest thing in the view.
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