Gozzoli, who lived and worked through the middle of the fifteenth century, is chiefly known by his large and graceful compositions in the Pisan Campo Santo. These masterpieces are fast crumbling into mildewed rubbish. He had as much vigor and audacity as Ghirlandaio, with more grace and freshness of invention. He has, however, nothing of his dramatic power. His genius is rather idyllic and romantic. Although some of the figures in these Medici palace frescos are thought to be family portraits, still they hardly seem very lifelike. The subjects selected are a Nativity, and an Adoration of the Magi. In the neighborhood of the window is a choir of angels singing Hosanna, full of freshness and vernal grace. The long procession of kings riding to pay their homage, "with tedious pomp and rich retinue long," has given the artist an opportunity of exhibiting more power in perspective and fore-shortening than one could expect at that epoch. There are mules and horses, caparisoned and bedizened; some led by grinning blackamoors, others ridden by showy kings, effulgent in brocade, glittering spurs, and gleaming cuirasses. Here are horsemen travelling straight towards the spectator,—there, a group, in an exactly opposite direction, is forcing its way into the picture,—while hunters with hound and horn are pursuing the stag on the neighboring hills, and idle spectators stand around, gaping and dazzled; all drawn with a free and accurate pencil, and colored with much brilliancy;—a triumphant and masterly composition, hidden in a dark corner of what has now become a great dusty building, filled with public offices.
XI. FIESOLE
Here sits on her hill the weird old Etrurian nurse of Florence, withered, superannuated, feeble, warming her palsied limbs in the sun, and looking vacantly down upon the beautiful child whose cradle she rocked. Fiesole is perhaps the oldest Italian city. The inhabitants of middle and lower Italy were Pelasgians by origin, like the earlier races of Greece. The Etrurians were an aboriginal stock,—that is to say, as far as anything can be definitely stated regarding their original establishment in the peninsula; for they, too, doubtless came, at some remote epoch, from beyond the Altai mountains.
In their arts they seem to have been original,—at least, until at a later period they began to imitate the culture of Greece. They were the only ancient Italian people who had the art-capacity; and they supplied the wants of royal Rome, just as Greece afterwards supplied the republic and the empire with the far more elevated creations of her plastic genius.
The great works undertaken by the Tarquins, if there ever were Tarquins, were in the hands of Etrurian architects and sculptors. The admirable system of subterranean drainage in Rome, by which the swampy hollows among the seven hills were converted into stately streets, and the stupendous cloaca maxima, the buried arches of which have sustained for more than two thousand years, without flinching, the weight of superincumbent Rome, were Etrurian performances, commenced six centuries before Christ.
It would appear that this people had rather a tendency to the useful, than to the beautiful. Unable to assimilate the elements of beauty and grace furnished by more genial races, this mystic and vanished nation was rather prone to the stupendously and minutely practical, than devoted to the beautiful for its own sake.
At Fiesole, the vast Cyclopean walls, still fixed and firm as the everlasting hills, in their parallelopipedal layers, attest the grandeur of the ancient city. Here are walls built, probably, before the foundation of Rome, and yet steadfast as the Apennines. There are also a broken ring or two of an amphitheatre; for the Etrurians preceded and instructed the Romans in gladiatorial shows. It is suggestive to seat one's self upon these solid granite seats, where twenty-five hundred years ago some grave Etrurian citizen, wrapped in his mantle of Tyrrhenian purple, his straight-nosed wife at his side, with serpent bracelet and enamelled brooch, and a hopeful family clustering playfully at their knees, looked placidly on, while slaves were baiting and butchering each other in the arena below.
The Duomo is an edifice of the Romanesque period, and contains some masterpieces by Mino da Fiesole. On a fine day, however, the church is too dismal, and the scene outside too glowing and golden, to permit any compromise between nature and Mino. The view from the Franciscan convent upon the brow of the hill, site of the ancient acropolis, is on the whole the very best which can be obtained of Florence and the Val d' Arno. All the verdurous, gently rolling hills which are heaped about Firenze la bella are visible at once. There, stretched languidly upon those piles of velvet cushions, reposes the luxurious, jewelled, tiara-crowned city, like Cleopatra on her couch. Nothing, save an Oriental or Italian city on the sea-coast, can present a more beautiful picture. The hills are tossed about so softly, the sunshine comes down in its golden shower so voluptuously, the yellow Arno moves along its channel so noiselessly, the chains of villages, villas, convents, and palaces are strung together with such a profuse and careless grace, wreathing themselves from hill to hill, and around every coigne of vantage, the forests of olive and the festoons of vine are so poetical and suggestive, that we wonder not that civilized man has found this an attractive abode for twenty-five centuries.
Florence is stone dead. 'Tis but a polished tortoise-shell, of which the living inhabitant has long since crumbled to dust; but it still gleams in the sun with wondrous radiance.
Just at your feet, as you stand on the convent terrace, is the Villa Mozzi, where, not long ago, were found buried jars of Roman coins of the republican era, hidden there by Catiline, at the epoch of his memorable conspiracy. Upon the same spot was the favorite residence of Lorenzo Magnifico; concerning whose probable ponderings, as he sat upon his terrace, with his legs dangling over Florence, much may be learned from the guide-book of the immortal Murray, so that he who runs may read and philosophize.
Looking at Florence from the hill-top, one is more impressed than ever with the appropriateness of its name. The City of Flowers is itself a flower, and, as you gaze upon it from a height, you see how it opens from its calyx. The many bright villages, gay gardens, palaces, and convents which encircle the city, are not to be regarded separately, but as one whole. The germ and heart of Florence, the compressed and half hidden Piazza, with its dome, campanile, and long, slender towers, shooting forth like the stamens and pistils, is closely folded and sombre, while the vast and beautiful corolla spreads its brilliant and fragrant circumference, petal upon petal, for miles and miles around.
THE BATTLE OF LEPANTO
It was two hours before dawn on Sunday, the memorable seventh of October, 1571, when the fleet weighed anchor. The wind had become lighter, but it was still contrary, and the galleys were indebted for their progress much more to their oars than to their sails. By sunrise they were abreast of the Curzolares, a cluster of huge rocks, or rocky islets, which, on the north, defends the entrance of the Gulf of Lepanto. The fleet moved laboriously along, while every eye was strained to catch the first glimpse of the hostile navy. At length the watch from the foretop of the Real called out, "A sail!" and soon after announced that the whole Ottoman fleet was in sight. Several others, climbing up the rigging, confirmed his report; and in a few moments more word was sent to the same effect by Andrew Doria, who commanded on the right. There was no longer any doubt; and Don John, ordering his pendant to be displayed at the mizzen-peak, unfurled the great standard of the League, given by the pope, and directed a gun to be fired, the signal for battle. The report, as it ran along the rocky shores, fell cheerily on the ears of the confederates, who, raising their eyes towards the consecrated banner, filled the air with their shouts.
The principal captains now came on board the Real to receive the last orders of the commander-in-chief. Even at this late hour there were some who ventured to intimate their doubts of the expediency of engaging the enemy in a position where he had a decided advantage. But Don John cut short the discussion. "Gentlemen," he said, "this is the time for combat, not for counsel." He then continued the dispositions he was making for the assault.
He had already given to each commander of a galley written instructions as to the manner in which the line of battle was to be formed, in case of meeting the enemy. The armada was now formed in that order. It extended on a front of three miles. Far on the right a squadron of sixty-four galleys was commanded by the Genoese, Andrew Doria, a name of terror to the Moslems. The centre, or battle, as it was called, consisting of sixty-three galleys, was led by John of Austria, who was supported on the one side by Colonna, the captain-general of the pope, and on the other by the Venetian