The heads here are full of feeling and feebleness, except those of Mary Mother and Mary Magdalen, which are both very touching and tender. There is, however, an absolute impotence to reproduce the actual, to deal with groups of humanity upon a liberal scale. There is his usual want of discrimination, too, in physiognomy; for if the seraphic and intellectual head of the penitent thief were transferred to the shoulders of the Saviour in exchange for his own, no one could dispute that it would be an improvement.
Up stairs is a very sweet Annunciation. The subdued, demure, somewhat astonished joy of the Virgin is poetically rendered, both in face and attitude, and the figure of the angel has much grace. A small, but beautiful composition, the Coronation of the Virgin, is perhaps the most impressive of the whole series.
Below is a series of frescos by a very second-rate artist, Poccetti. Among them is a portrait of Savonarola; but as the reformer was burned half a century before Poccetti was born, it has not even the merit of authenticity. It was from this house that Savonarola was taken to be imprisoned and executed in 1498. There seems something unsatisfactory about Savonarola. One naturally sympathizes with the bold denouncer of Alexander VI.; but there was a lack of benevolence in his head and his heart. Without that anterior depression of the sinciput, he could hardly have permitted two friends to walk into the fire in his stead, as they were about to do in the stupendous and horrible farce enacted in the Piazza Gran Duca. There was no lack of self-esteem either in the man or his head. Without it, he would scarcely have thought so highly of his rather washy scheme for reorganizing the democratic government, and so very humbly of the genius of Dante, Petrarch, and others, whose works he condemned to the flames. A fraternal regard, too, for such great artists as Fra Angelico and Fra Bartolommeo,—both members of his own convent, and the latter a personal friend,—might have prevented his organizing that famous holocaust of paintings, that wretched iconoclasm, by which he signalized his brief period of popularity and power. In weighing, gauging, and measuring such a man, one ought to remember, that if he could have had his way and carried out all his schemes, he would have abolished Borgianism certainly, and perhaps the papacy, but that he would have substituted the rhapsodical reign of a single demagogue, perpetually seeing visions and dreaming dreams for the direction of his fellow-citizens, who were all to be governed by the hallucinations of this puritan Mahomet.
IX.
THE MEDICI CHAPEL.
The famous cemetery of the Medici, the Sagrestia Nuova, is a ponderous and dismal toy. It is a huge mass of expensive, solemn, and insipid magnificence, erected over the carcasses of as contemptible a family as ever rioted above the earth, or rotted under it. The only man of the race, Cosmo il Vecchio, who deserves any healthy admiration, although he was the real assassin of Florentine and Italian freedom, and has thus earned the nickname of Pater Patriæ, is not buried here. The series of mighty dead begins with the infamous Cosmo, first grand duke, the contemporary of Philip II. of Spain, and his counterpart in character and crime. Then there is Ferdinando I., whose most signal achievement was not eating the poisoned pie prepared by the fair hands of Bianca Capello. There are other Ferdinandos, and other Cosmos,—all grand-ducal and pater-patrial, as Medici should be.
The chapel is a vast lump of Florentine mosaic, octagonal, a hundred feet or so in diameter, and about twice as high. The cupola has some brand-new frescos, by Benvenuto. "Anthropophagi, whose heads do grow beneath their shoulders," may enjoy these pictures upon domes. For common mortals it is not agreeable to remain very long upside down, even
