Delphi collected works o.., p.927
Delphi Collected Works of Grant Allen, page 927
FAÇADE OF THE BASILICA OF SAN MINIATO DEL MONTE.
The front, which was built about 1013 and restored in 1401, is in the Tuscan-Romanesque style, and not unlike the Baptistery or the early part of Santa Maria Novella. Above are beautiful pilasters and inlaid work, on the gable of the nave, which is connected with the aisles by triangular half-pediments. (Compare with Santa Croce and Santa Maria Novella.) Over the principal window on the front is a too much-restored thirteenth century mosaic, representing Christ enthroned, on a very Byzantine seat, with Our Lady to his right and San Miniato to his left, holding in his hand a problematical object which is apparently a crown (but I do not feel sure of it). Do not overlook the eagle on the top, the beautiful cornice, and the heraldic animals in the gable. Observe also the lions supporting the pillars of the upper window, with its exquisite inlaid-work. The campanile, ruinous, is of 1524.
Enter the church, which is in form a simple basilica, with an apse of the tribune, but with its choir raised by steps above the crypt. As it stands, it is the oldest church in Florence, save perhaps the Baptistery. Notice the beautiful side arches of the nave, supported by columns, whose marble is unfortunately artificial. Observe also that the roof is largely supported by three arches across the Nave, borne by clustered pillars, dividing it into three main compartments. Nave, arches, and tribune are almost entirely covered with ornamental marble decoration. Notice also the inlaid floor, with the Signs of the Zodiac, and animals in pairs on either side of a tree, together with the frequent Romanesque device (once Etruscan and Oriental) of two birds pecking toward a centre. (See Goblet d’Alviella’s “Migration of Symbols.”)
In the right aisle are ruined frescoes; the first exhibits, in the centre, the Madonna and Child; on the left, St. John the Baptist, St. Mark the Evangelist, and St. Francis; and on the right, St. John the Evangelist, St. James, and St. Anthony Abbot, attributed to Paolo di Stefano. Farther on are groups of saints, indistinctly traceable. Among them I make out St. Nicholas of Bari with his golden balls, and probably Santa Reparata. On the pier, St. Mary Magdalen, clad with her own hair, in her cave in Provence. Next her St. Catherine, San Miniato, St. Julian, and a fourth figure with a Cross and instruments of the Passion, of which I am not certain. All these are perhaps by Spinello Aretino (?).
Before mounting the steps, which lead to the raised choir, observe, in the centre, the beautiful little canopy or chapel, erected for Piero de’ Medici after a design by Michelozzo, in order to cover the famous Crucifix, which bowed its head to San Giovanni Gualberto, the founder of the Vallombrosan order, when he pardoned the murderer of his brother. The altar-piece is a composite picture (attributed to Spinello Aretino?), with San Miniato, crowned, to the right, and San Giovanni Gualberto, bearing the crucifix, to the left. In the centre are scenes from the Passion, with an Annunciation, Ascension, etc.
Now, mount the steps to the raised choir, noticing as you do so the beautiful wall of the crypt, behind the canopy, as well as the interesting roof of the latter. To your right, at the top of the stairs, are three saints, among whom St. Mary Magdalen and Santa Reparata with her lily are alone clearly recognisable. In front of you is the exquisite *screen of the choir, a most lovely work in inlaid marble with mosaic patterns of Romanesque type. Examine these in detail, and note particularly the quaint device of men and winged monsters on either side of the doorway. All these figures are lovely specimens of Romanesque work. The * *pulpit, raised on pillars, and with its lectern supported by an eagle, standing on a squat human figure, above a lion, is also a work of extraordinary beauty. All its details should be carefully inspected. Look into the handicraft of all this work closely. Then, enter the choir. The apse of the tribune has an *early mosaic twelfth century(?), very much restored (in 1388, 1481, and our own time), but still extremely beautiful, of Christ blessing, with the Alpha and Omega on either side of him. Notice the Byzantine style of the throne. To his right stands the Madonna, to his left “Sanctus Miniatus, Rex Erminie,” holding his crown, as if offering it to the Saviour. Beneath are the beasts of the Four Evangelists, with their names marked beside them. The detail of this interesting early work includes curious trees, with birds and other animals. The Byzantine type of the decorative adjuncts is well worth attention. On the under surface of the arch by the side are minor figures, alternately whole length in mandorlas, and busts with haloes, divided by birds pecking. In one corner of the main mosaic is the figure of the donor. Observe also the inlaid decoration of the apse, below, with its windows blocked by translucent slabs of marble.
On the right wall of the choir are pictures of local interest; between the doors, a panel of San Miniato, with his sword, and on either hand, in smaller pictures, the various ineffectual attempts to murder him; farther on, saints, too much defaced for safe identification. Over the right altar is San Giovanni Gualberto, holding his crucifix. The left altar has a late picture of San Miniato, with other saints, to whom Our Lady is appearing. On the wall beyond is a Pietà. By the steps, in the left aisle, as you descend, is a fresco of St. Jerome.
Now, enter the depressed crypt, the arrangement of which will help you to understand such later churches as St. Denis, near Paris, where transepts are added to this simpler basilica. The choir is supported by small columns, mostly very ancient, with various capitals, all of which deserve notice. The much larger columns which support the roof of the nave pass through the vaulting of the choir without bearing any of its weight. The chapel at the end, with graceful fluted columns, and frescoed vaulting, contains a High Altar, under which still repose the remains of San Miniato, for whose sake the church was erected.
Half-way down the left aisle is the Chapel of St. James, built in 1461 by Rossellino, to contain the *Tomb of Cardinal James of Portugal, which forms its principal object. All the sculpture is by Rossellino. The Cardinal lies on a bier, supported by charming children. Above, kneel two angels, one of whom holds a crown; higher still, the Madonna and Child, in a frame supported by flying angels. The decorative work of the base and sides is very beautiful. So is that of the entrance arch, and the niches by the windows. Observe the mosaic floor. On the ceiling are four winged cardinal virtues by Della Robbia. On the left wall, above the marble seat, is an Annunciation, formerly attributed to Pollaiolo, but referred by Morelli to Baldovinetti. The frescoes, attributed to the Pollaioli, but similarly assigned by Morelli to Baldovinetti, represent the Four Evangelists, accompanied by the Four Doctors of the Church, in the usual combination.
Farther on, in the left aisle, is a Crucifixion with various saints, amongst whom St. Benedict is conspicuous, close to the foot of the cross. Among the others are probably the Madonna and St. John, St. Stephen and Santa Reparata, St. Francis and St. Anthony Abbot. Farther still, Madonna and Child, in a mandorla of cherubs, with St. Jerome and St. John the Baptist on the right; on the left, St. Benedict and St. Lawrence. I am not quite sure of all these identifications.
Note the fine wooden roof of the nave, and the frequent repetition throughout of the Florentine eagle of St. John.
Get the sacristan to open for you the door of the *Sacristy, on the right side of the choir. It contains *frescoes by Spinello Aretino, extremely appropriate to a Benedictine Abbey: on the roof, the four Evangelists with their emblems (by another hand, I think); and, beneath, an admirable series of the Miracles of St. Benedict. These run chronologically in a curious spiral order, the top first, then the bottom, running on one plane: but for convenience of description, I treat them by walls. On the wall facing you as you enter: above, to the left, St. Benedict leaves his father’s house on horseback; on the right, St. Benedict performs the miracle of the broken dish. Below, to the left, Totila, King of the Goths, comes to visit St. Benedict at the monastery of Monte Cassino and the saint prophesies; on the right is the death of St. Benedict, whom one of his monks sees ascending to heaven, along a broad way covered with brocade. On the wall to the right: above, to the left, St. Benedict puts on the monastic dress, and receives investiture in his cave from the monk Romano; on the right, St. Benedict receives a message from a priest inspired by God. Below, to the left, St. Benedict resuscitates a young monk, killed by the fall of a wall at Monte Cassino (note the devils); on the right, St. Benedict observes a young monk who leaves the church at prayer-time tempted by a devil; he scourges the monk, and exorcises the devil. On the entrance wall: above, to the left, St. Benedict mortifies the flesh by lying among thorns; to the right, St. Benedict is proclaimed prior of the monastery. Below, on the left, St. Benedict discovers water for the convent, and makes a lost axe swim on the surface; on the right, St. Benedict sends forth St. Maurus to rescue St. Placidus, who has fallen into a river. On the window wall: above, to the left, St. Benedict abandons the convent, to the joy of the monks, who found his discipline too severe; to the right, *St. Benedict receives Maurus and Placidus as novices from the hands of their parents. Below, on the left, St. Benedict exorcises devils who prevented the removal of a stone; on the right, St. Benedict recognises the armour-bearer whom Totila had sent to him, disguised as the king. Now that you know the subjects, follow them out in the proper order. These fine frescoes, with their dignified treatment of St. Benedict and their varied action, are the best specimens now remaining of Spinello’s workmanship. They were restored in 1840.
If you return to Florence by the steep steps which run through a cypress avenue direct to the Porta San Miniato, you will pass on your way (according to Hare) a little shrine which marks the place where San Giovanni Gualberto forgave his brother’s murderer. But I will honestly confess that, though I have searched for it more than once, I have failed to find it.
CHAPTER XIII.
THE ETRUSCAN MUSEUM.
Every great thing that has ever been done in Italy, late or early, has been done by Etruscans. Rome herself was a half-Tuscan outpost, divided between Latin and Etruscan blood. Her arts and ceremonies, nay, some even of her kings, were supplied to her by Etruria. In later days, her empire was organised by the Etruscan Mæcenas and the Etruscan Sejanus. From the earliest date, the Etruscans alone among Italian races showed themselves capable of fruitfully assimilating Assyrian, Egyptian, and Hellenic culture. When the Roman Empire began to break up, Florence became the chief inheritor of Etruscan greatness; art awoke there, as it also did in equally Etruscan Pisa, Siena, and Perugia. Nowhere in Italy outside the wider Etruscan area were great things done; all the famous poets, painters, sculptors, architects, philosophers, scholars, and men of science were of Tuscan blood, or came from regions that had once been Etruscan. For besides Tuscany proper, with its outliers in Rome (I am speaking ethnically) and Capua, Bologna was Etruscan, as all Lombardy, with Mantua and Ravenna, had been of old: while Venice itself was founded by refugees from Etruscan or half-Etruscan and half-Illyrian cities. It behooves you, therefore, while you are here in the capital of modern Etruria, to learn something of the arts and history of the ancient Tuscans. The best book on the subject is the last edition of Dennis’s “Cities and Cemeteries of Etruria.” But in order to gain a foretaste of what early Etruria was like, I advise you to begin with a brief visit to the Etruscan Museum of Florence, in the Via della Colonna.
I will give but the briefest generalised account, leaving you to pursue the subject further at your leisure if you find it attracts you.
The first room to the left on the ground floor contains very early hut-shaped sepulchral urns, from the necropolis of Vetulonia. The earliest tombs in Europe were underground houses (or chambered barrows) in which the dead were buried with their arms and goods, to lead their subterraneous life as above ground. After burning came in, these smaller hut-shaped urns for the ashes were substituted for real huts, the soul being supposed to inhabit them as the body had inhabited the underground palaces. The cases also contain pottery of early native execution, weapons, etc., which were placed in the tomb for the use of the spirit. The articles so buried included objects of personal adornment, bracelets, necklets, and decorative household ornaments.
The second room contains bronzes and jewelry, mostly of somewhat later date, also from the necropolis of Vetulonia. The doorways are copied from those in the tombs. Observe throughout how the solid and massive but somewhat gloomy Tuscan type of architecture is derived from ancient Etruria, and has persisted with little change of spirit to the present day. This room also contains beautiful black pottery, as yet betraying little or no Oriental or Greek influence. In the glass case nearest the window, objects found in the tomb of a lucumo or prince at Vetulonia. The designs on all the metal-work in this room deserve close attention. In the centre case, notice the exquisite gold jewelry, in miniature filagree-work.
The third room contains objects from Vetulonia and Populonia, including stiff archaic stone mortuary figures, of about the seventh century. These exhibit Egyptian affinities. Notice among them the early occurrence of the common Oriental and afterward Tuscan design of the two birds facing one another, seen at San Miniato and elsewhere. The case near the window contains fine black pottery, with native designs; also exquisite gold jewelry. A good case of coins from Populonia, a fine amphora, etc., are also to be seen here. Many of the lamps and other terra-cotta objects in the end case are highly characteristic.
Mount the staircase to the first floor. To the right lies the Egyptian Museum, interesting mainly to Egyptologists. As it is inferior to those of the great European capitals, especially London and Paris, I will not enumerate its objects. To the right lies the Etruscan Museum, one of the finest in the world, and of strictly local importance. Approach it by passing through the Egyptian rooms, so as to take the various halls in the most instructive order.
Hall VIII. begins the exhibit of Etruscan objects, and contains splendid specimens of black Etruscan pottery, of early date, with a few red specimens. It is not necessary to enumerate these, but particular attention should be paid to the beautiful group in and on case B, between the windows, with decorative figures bearing special relation to the Cult of the Dead. Note the symbolic bird, which sits on the top of most of these pieces. Some of the cases contain good collections of domestic implements, placed with the bodies or ashes of the dead for the use of the spirit. All come from sepulchral monuments.
Hall IX. contains early coloured works: those in case I., mainly of native manufacture and design; in case II., made in Etruria, in imitation of Oriental models; in case III., imported from Corinth. The figures and designs on all of these deserve close attention. In the centre are chased silver and bronze dishes.
Hall X. contains cases of bronze weapons and decorative objects, many of them of high artistic value. Notice, in case I., two winged Genii with the body of a wounded warrior, closely resembling on the one hand certain Egyptian pictures, and on the other hand suggesting the origin of the mediæval Pietà. The same case contains exquisite candelabra and other fine metal-work. In the centre are magnificent fragments from Chianiano; in cases V. to VII. are weapons, mace, etc. In case VIII., notice exquisite jars and mirror-frames from Telamone.
Hall XI. contains the best bronzes of the collection. In the centre is a great bronze *Chimæra of the fifth century, from Arezzo, considered by some experts to be of Greek workmanship. To the right of the door is a noble statue of * *Minerva, lower portion restored, also from Arezzo; and to balance it a fine statue of an *Orator, admitted to be of native handicraft, and found near the Trasimene lake. Along the wall beside him are bronze figures, some of them of stiff archaic workmanship, representing Tuscan chieftains and their wives, while others, later, exhibit the gradual increase of Greek influence. On the same wall, above case v. are animal figures, similarly progressing from archaic stiffness to the comparative freedom shown in the small bronze of a he-goat. In the case below are beautiful Etruscan mirrors, the most charming of which is one in silver with the Etruscan deities Aplu, Turms, and Tinia; beside it, dice and other works in ivory. The small cases contain bronzes of various dates, similarly varying from the most marked archaic stiffness to perfect Greek freedom. Among the most beautiful is No. 1, head of a young man, of native workmanship, belonging to the Roman period. Nos. 9, 10, 11, and 13 are also most interesting. The labels give the origin and age of the various figures. On the wall are smaller bronzes, many of them of great beauty. Case 1, which is arranged in approximately chronological order, admirably exhibits the gradual change from stiff early figures, with arms closely affixed to the sides, through those where the arms and legs are partially separated, to later forms in which unsymmetrical arrangement, variety of movement, and at last grace and freedom are more and more conspicuous.
Retraverse Halls XI., X., and IX.
Hall XII., a long corridor, contains painted vases, of Greek origin, imported into Etruria to be buried with the dead. The study of these can only be attempted by the aid of specialist works, such as Miss Jane Harrison’s “Greek Vases.” The earlier specimens have mostly black figures on a red ground; the later have the figures in red on black. The labels sufficiently indicate their dates and origin for the casual visitor. In the central case is the famous François vase, so called from its first possessor, one of the finest specimens of Greek fictile art. The subjects on its decorations are explained on the label. Near it, in the case to the right, are exquisite tazzas of fine Attic workmanship. Beyond them, we come upon vases with more pictorial and less decorative treatment, showing red figures on a black ground.
Hall XIII. contains black Etruscan pottery, in imitation of metal-work, of the third and second centuries B.C. In the opposite case are decorative terra-cotta works, many of them originally gilt or silvered.
The first room on the left contains the smaller Greek and Roman bronzes, removed from the Uffizi. Only close personal study of these will be of any value. The second room contains the larger bronzes, busts, etc.
