. Men and manners of old Florence. perspective was still unknown, and thebrilliant red roofs contrast too vividly in tone withthe forest of towers that seem to intertwine andmount one on the top of another. To these maybe added, for the thirteenth-century Fiorenza, a viewof the Palace of the Priori as it was in the time ofthe Duke of Athens, with the Church of San PieroScheraggio, where the parliament of the Communewas held before it had a building of its own andwhere Dante addressed the people from a pulpit whichis still in existence. This valuable fresco attributed toCennini was in the priso
. Men and manners of old Florence. perspective was still unknown, and thebrilliant red roofs contrast too vividly in tone withthe forest of towers that seem to intertwine andmount one on the top of another. To these maybe added, for the thirteenth-century Fiorenza, a viewof the Palace of the Priori as it was in the time ofthe Duke of Athens, with the Church of San PieroScheraggio, where the parliament of the Communewas held before it had a building of its own andwhere Dante addressed the people from a pulpit whichis still in existence. This valuable fresco attributed toCennini was in the prison of the Stinche, which wastransformed into a theatre at the beginning of thelast century and called Pagliano after the name of itsfounder, but is now known as the Teatro Verdi. Thefresco is on the stairs leading to the Sala fresco, to be seen with much difficulty in theupper cloisters of Santa Croce, shows San Giovanni,Santa Maria del Fiore, and the Campanile as theyappeared when newly erected. The painting by. PRIVATE LIFE OF THE FLORENTINES 87 Domenico di Michelino, which may still be seen inthe Duomo, endeavours to show the Florence ofDante, whose figure is a conspicuous object in thevery centre of the picture ; but this also is a fancyFlorence, imaginary like the Purgatorio and Infernowhich the artist has painted close beside it. Amore recent view of the city may be seen in theAssumption of the Virgin by Botticelli, painted forMatteo Palmieri, and now in the English NationalGallery. The subject was taken from Palmieris poemLa citta di Vita, and the painting was at the timeconsidered almost heretical, because the artist haddepicted the Virgin as received into the glory ofheaven, surrounded by a sublime vision of femaleangels. But the landscape that serves as a back-ground to this marvellous composition is so lost inthe distance and in the shadows of a golden twilightthat it does not help us much in our quest. It isonly later on that our desire is gratifi
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Keywords: ., bo, bookauthorbiagiguido18551925, bookcentury1900, bookdecade1900
