A Wanderer in Florence. E. V. Lucas
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David was probably on the stairs. The escutcheon on the corner of the house gives us the period of its erection. The seven plain balls proclaim it Cosimo's. Each of the Medici sported these palle, although each had also his private crest. Under Giovanni, Cosimo's father, the balls were eight in number; under Cosimo, seven; under Piero, seven, with the fleur-de-lis of France on the uppermost, given him by Louis XI; under Lorenzo, six; and as one walks about Florence one can approximately fix the date of a building by remembering these changes. How many times they occur on the façades of Florence and its vicinity, probably no one could say; but they are everywhere. The French wits, who were amused to derive Catherine de' Medici from a family of apothecaries, called them pills.
The beautiful lantern at the corner was added by Lorenzo and was the work of an odd ironsmith in Florence for whom he had a great liking—Niccolò Grosso. For Lorenzo had all that delight in character which belongs so often to the born patron and usually to the born connoisseur. This Grosso was a man of humorous independence and bluntness. He had the admirable custom of carrying out his commissions in the order in which they arrived, so that if he was at work upon a set of fire-irons for a poor client, not even Lorenzo himself (who as a matter of fact often tried) could induce him to turn to something more lucrative. The rich who cannot wait he forced to wait. Grosso also always insisted upon something in advance and payment on delivery, and pleasantly described his workshop as being the Sign of the Burning Books—since if his books were burnt how could he enter a debt? This rule earned for him from Lorenzo the nickname of "Il Caparra" (earnest money). Another of Grosso's eccentricities was to refuse to work for Jews.
Within the palace, up stairs, is the little chapel which Gozzoli made so gay and fascinating that it is probably the very gem among the private chapels of the world. Here not only did the Medici perform their devotions—Lorenzo's corner seat is still shown, and anyone may sit in it—but their splendour and taste are reflected on the walls. Cosimo, as we shall see when we reach S. Marco, invited Fra Angelico to paint upon the walls of that convent sweet and simple frescoes to the glory of God. Piero employed Fra Angelico's pupil, Benozzo Gozzoli to decorate this chapel.
In the year 1439, as chapter II related, through the instrumentality of Cosimo a great episcopal Council was held at Florence, at which John Palaeologus, Emperor of the East, met Pope Eugenius IV. In that year Cosimo's son Piero was twenty-three, and Gozzoli nineteen, and probably upon both, but certainly on the young artist, such pomp and splendour and gorgeousness of costume as then were visible in Florence made a deep impression. When therefore Piero, after becoming head of the family, decided to decorate the chapel with a procession of Magi, it is not surprising that the painter should recall this historic occasion. We thus get the pageantry of the East with more than common realism, while the portraits, or at any rate representations, of the Patriarch of Constantinople (the first king) and the Emperor (the second king) are here, together with those of certain Medici, for the youthful third king is none other than Piero's eldest son Lorenzo. Among their followers are (the third on the left) Cosimo de' Medici, who is included as among the living, although, like the Patriarch of Constantinople, he was dead, and his brother Lorenzo (the middle one of the three), whose existence is forgotten so completely until the accession of Cosimo I, in 1537, brings his branch of the family into power; while on the right is Piero de' Medici himself. Piero's second son Giuliano is on the white horse, preceded by a negro carrying his bow. The head immediately above Giuliano I do not know, but that one a little to the left above it is Gozzoli's own. Among the throng are men of learning who either came to Florence from the East or Florentines who assimilated their philosophy—such as Georgius Gemisthos, Marsilio Ficino, and perhaps certain painters among them, all protégés of Cosimo and Piero, and all makers of the Renaissance.
The assemblage alone, apart altogether from any beauty and charm that the painting possesses, makes these frescoes valuable. But the painting is a delight. We have a pretty Gozzoli in our National Gallery—No. 283—but it gives no indication of the ripeness and richness and incident of this work; while the famous Biblical series in the Campo Santo of Pisa has so largely perished as to be scarcely evidence to his colour. The first impression made by the Medici frescoes is their sumptuousness. When Gozzoli painted—if the story be true—he had only candle light: the window over the altar is new. But think of candle light being all the illumination of these walls as the painter worked! A new door and window have also been cut in the wall opposite the altar close to the three daughters of Piero, by vandal hands; and "Bruta, bruta!" says the guardian, very rightly.
The landscape behind the procession is hardly less interesting than the procession itself; but it is when we come to the meadows of paradise, with the angels and roses, the cypresses and birds, in the two chancel scenes, that this side of Gozzoli's art is most fascinating. He has travelled a long way from his master Fra Angelico here: the heaven is of the visible rather than the invisible eye; sense is present as well as the rapturous spirit. The little Medici who endured the tedium of the services here are to be felicitated with upon such an adorable presentment of glory. With plenty of altar candles the sight of these gardens of the blest must have beguiled many a mass. Thinking here in England upon the Medici chapel, I find that the impression it has left upon me is chiefly cypresses—cypresses black and comely, disposed by a master hand, with a glint of gold among them.
The picture that was over the altar has gone. It was a Lippo Lippi and is now in Berlin.
The first of the Medici family to rise to the highest power was Giovanni d'Averardo de' Medici (known as Giovanni di Bicci), 1360–1429, who, a wealthy banker living in what is now the Piazza del Duomo, was well known for his philanthropy and interest in the welfare of the Florentines, but does not come much into public notice until 1401, when he was appointed one of the judges in the Baptistery door competition. He was a retiring, watchful man. Whether he was personally ambitious is not too evident, but he was opposed to tyranny and was the steady foe of the Albizzi faction, who at that time were endeavouring to obtain supreme power in Florentine affairs. In 1419 Giovanni increased his popularity by founding the Spedale degli Innocenti, and in 1421 he was elected gonfalonier, or, as we might now say, President of the Republic. In this capacity he made his position secure and reduced the nobles (chief of whom was Niccolò da Uzzano) to political weakness. Giovanni died in 1429, leaving one son, Cosimo, aged forty, a second, Lorenzo, aged thirtyfour, a fragrant memory and an immense fortune.
To Lorenzo, who remained a private citizen, we shall return in time; it is Cosimo (1389–1464) with whom we are now concerned. Cosimo de' Medici was a man of great mental and practical ability: he had been educated as well as possible; he had a passion both for art and letters; he inherited his father's financial ability and generosity, while he added to these gifts a certain genius for the management of men. One of the first things that Cosimo did after his father's death was to begin the palace where we now are, rejecting a plan by Brunelleschi as too splendid, and choosing instead one by Michelozzo, the partner of Donatello, two artists who remained his personal friends through life. Cosimo selected this site, in what was then the Via Larga but is now the Via Cavour, partly because his father had once lived there, and partly because it was close to S. Lorenzo, which his father, with six other families, had begun to rebuild, a work he intended himself to carry on.
The palace was begun in 1430 abd was still in progress in 1433 when the Albizzi, who had always viewed the rise of the Medici family with apprehension and misgiving, and were now strengthened by the death of Niccolò da Uzzano, who, though powerful, had been a very cautious and temperate adviser, succeeded in getting a majority in the Signoria and passing a sentence of banishment on the whole Medici tribe as being too rich and ambitious to be good citizens of a simple and frugal Republic. Cosimo therefore, after some days of imprisonment in the tower of the Palazzo Vecchio, during which he expected execution at any moment, left Florence for Venice, taking his architect with him. In 1434, however, the Florentines, realizing that under the Albizzi they were losing their independence, and what was to be a democracy was become an oligarchy, revolted, and Cosimo was recalled, and, like his father, was elected gonfalonier. With this recall began his long supremacy; for he returned like a king and like a king remained, quickly establishing himself as the leading man in the city, the power behind the Signoria. Not only did he never lose that position, but he made it so naturally his own that when he died he was able to transmit it to his son.
Cosimo de' Medici was, I