magnificent one, of quiet aspect, and for the most part free from meaningless features.
Hardly any other one of the Florentine palaces of the Renaissance equals the Riccardi in beauty and dignity. That part of the Pitti which was begun by Brunelleschi in 1435, though equally free from meaningless features, is almost too bald to be called an architectural design. Each story of its long façade is as monotonous as the Claudian aqueduct which it closely resembles.
The front of the small palace called the Strozzino is in the style of the Riccardi, and is attributed to the same architect. It has but one story above the high basement, and the treatment is even more mediæval in character, the window arches having the pointed form.
The Palazzo Strozzi, begun in 1489 by Benedetto da Majano, follows the same general scheme as the Riccardi, but is less admirable in its proportions. Vasari tells us that Majano carried the exterior almost to completion, but that the court and the great cornice were the work of Simione Pollaiuolo, called II Cronaca. This cornice, he says, was copied from an ancient model in Rome which the architect had drawn and measured with great exactness, but he had here enlarged the scale to suit the proportions of the building.[1] I think it may be said that he enlarged it too much, and that, in common with the cornices of most of these Renaissance palaces, it is too heavy. The Strozzi, more than any other of the palatial houses of its time, has the fortress-like character which indicates the turbulent condition of Florence in the fifteenth century. The vast basement of ponderous masonry, with no window openings near the ground, gives a gloomy and forbidding aspect to the front, and marks a survival of the savage habits of feudal life in this epoch of advanced Italian civilization and culture.
The Palazzo Pazzi, now known as the Quaratesi, is attributed to Brunelleschi, and. has the marks of his style in the details of the windows. It has the same general scheme of design as the foregoing houses, and its stories are proportioned with the same pleasing gradation in their heights that we have noticed in the Riccardi; but the wall surfaces are different, being uniformly overlaid with stucco. A series of small circular openings, with
- ↑ Op. cit., vol. 4, p. 444.
