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Updated: June 4, 2025
Thus, too, Titian went to work in the Bacchus and Ariadne giving forth a single clarion note in the scarlet scarf of the fugitive daughter of Minos. The writer is unable to accept as from the master's own hand the unfinished Virgin and Child which, at the Uffizi, generally passes for the preliminary sketch of the central group in the Pesaro altar-piece.
Here also is a sensitive terra-cotta bust of S. Antonio, Cosimo's friend and another pride of the monastery: the monk who was also Archbishop of Florence until his death, and whom we saw, in stone, in a niche under the Uffizi. His cell was the thirty-first cell, opposite the entrance.
We come next to the Sala di Botticelli, and such is the position held by this painter in the affection of visitors to Florence, and such the wealth of works from his hand that the Uffizi possesses, that I feel that a single chapter may well be devoted to his genius, more particularly as many of his pictures were so closely associated with Piero de' Medici and Lorenzo de' Medici.
Do the same with regard to the pictures by Ghirlandajo and Botticelli, and if I have not given you enough to do until I am free again to talk with you, study the frescoes by Filippino Lippi in Santa Maria Novella, and compare them with those in the Brancacci Chapel; and his easel pictures in the Uffizi and Pitti Galleries.
In the only work by Filippo Lippi in the Uffizi, the beautiful Madonna and Child that has been so much beloved, we come again to a painter who has been influenced by Masaccio, and thought at least to understand and perhaps transform the work of Lorenzo Monaco and Fra Angelico It is once more in the work of his pupil, Botticelli, that we find some of the chief treasures of the gallery. Augustine .
From this Sala a little room is gained which I advise all tired visitors to the Uffizi to make their harbour of refuge and recuperation; for it has only three or four pictures in it and three or four pieces of sculpture and some pleasant maps and tapestry on the walls, and from its windows you look across the brown-red tiles to S. Miniato.
There are fifteen Titians in Florence, divided between the Uffizi and the Pitti; in Paris, thirteen, but one is the Man with the Glove. Quality counts heaviest, therefore the surprise is not that Madrid boasts numbers but the wonderful quality of so many of them.
The town itself seemed to me more agreeable than Rome; but the Boboli Gardens could not rival the Borghese, and the Pitti and Uffizi galleries were not so captivating as the Vatican and the Capitol. However, the Cascine and the Lung' Arno were delightful, and the Arno, shallow and placid, flowing through the midst of the city, was a fairer object than the muddy and turbulent Tiber.
"I think you should study particularly his Allegory of Spring in the Academy for full length figures in motion. You will find the color of this picture happily weird to agree with the fantastic conception. Then in the Uffizi Gallery you will find several pictures of the Madonna; notable among them is his Coronation of the Virgin, painted, as he was fond of doing, on a round board.
After leaving the Uffizi Palace, . . . . I went into the Museum of Natural History, near the Pitti Palace. It is a very good collection of almost everything that Nature has made, or exquisite copies of what she has made, stones, shells, vegetables, insects, fishes, animals, man; the greatest wonders of the museum being some models in wax of all parts of the human frame.
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