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Updated: June 4, 2025
Possibly it was through watching his friend's domestic troubles that he remained single, remarking that he who takes a wife endures strife. His most charming work is that "Madonna of the Well" in the Uffizi, which is reproduced in this volume.
As a matter of fact, only a lightning-speed tourist could possibly think of seeing both the Uffizi and the Pitti on the same day, and therefore the need of the passage disappears. It is hard worked only on Sundays. The drawings in the cases in the first long corridor are worth close study covering as they do the whole range of great Italian art: from, say, Uccello to Carlo Dolci.
No other city in the world, not excepting Rome, affords such extended facilities for the latter purpose. Those great depositories of art, the Uffizi Gallery and the Pitti Palace, are perhaps unequalled, having within their walls over a thousand paintings, each one of which is meritorious, and many of which are hardly surpassed, if they are equalled.
Millais has also got a raised quality of paint in his darks very similar to that of Bellini and many early painters. There are the patterns of leaves variety on the left and the solidly-massed treatment on the right. A. From pictures in Oratorio di S. Ansano. "Il trionfo dell' Amore," attributed to Botticelli. B. From "L'Annunziazione," by Botticelli, Uffizi, Florence.
The ceilings of the Uffizi rooms and corridors also are painted, thoughtfully and dexterously, in the Pompeian manner; but there are limits to the receptive capacity of travellers' eyes, and I must plead guilty to consistently neglecting them. "Aërial Fiesole"
"Well; will you please come outside? And I will point it out. It is the Florentine, there in the corner perhaps a reproduction, but it looks to me like the real thing." "It is a Florentine," answered Felix. "There are two or three pictures in the Uffizi with similar frames, if I recall them aright. Would you like a look at it?"
The Annunciation is unique in the collection, both in colour and character: nothing in the Uffizi so deepens. There are no cypresses like these in any other picture, no finer drawing than that of Mary's hands.
Let loose in the Uffizi Gallery Smollett shocked his sensitive contemporaries by his freedom from those sham ecstasies which have too often dogged the footsteps of the virtuosi. Like Scott or Mark Twain at a later date Smollett was perfectly ready to admire anything he could understand; but he expressly disclaims pretensions to the nice discernment and delicate sensibility of the connoisseur.
The guilt of Smollett lay in criticizing what was above criticism, as the contents of the Tribuna were then held to be. And in defence of this point of view it may at least be said that the Uffizi was then, with the exception of the Vatican, the only gallery of first-rate importance open to the travelling public on the Grand Tour.
But I might remark here that this vain and capricious pontiff, whose pride and indecision robbed the world of no one can ever say what glorious work from Michelangelo's hand, is the benevolent-looking old man whose portrait by Raphael is in the Pitti and Uffizi in colour, in the Corsini Palace in charcoal, and again in our own National Gallery in colour.
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