Sed magis hoc illos aevo florere necesse est Et Cosmo genitore et Cosmi prole favente.
Next, beside the statue of Mars, and somewhat nearer to that of Florence--and here it must be noted with what singular art and judgment every least thing was distributed, in that, the intention being to accompany Florence with six Deities, so to speak, for the potency of whom she could right well vaunt herself, the two hitherto described, Mars and the Muse, because other cities could perhaps no less than she lay claim to them, as being the least peculiar to her, were placed less near to her than the others; and so for the s.p.a.cious vestibule or pa.s.sage, as it were, formed before the gate by the four statues to follow, the two already described were used as wings or head-pieces, being placed at the entrance, one turned towards the Castle and the other towards the Arno, but the next two, which formed the beginning of the vestibule, for the reason that they are shared by her with few other cities, came to be placed somewhat nearer to her, even as the last two, because they are entirely peculiar to her and shared with no other city, or, to speak more exactly, because no other can compare with her in them (and may this be said without offence to any other Tuscan people, which, when it shall have a Dante, a Petrarca, and a Boccaccio to put forward, may perchance be able to come into dispute with her), were placed in close proximity to her, and nearer than any of the others--now, to go back, I say that beside the statue of Mars had been placed a Ceres, G.o.ddess of Cultivation and of the fields, not less beautiful and good to look upon than the others; which pursuit, how useful it is and how worthy of honour for a well-ordered city, was taught in ancient times by Rome, who had enrolled all her n.o.bility among the rustic tribes, as Cato testifies, besides many others, calling it the nerve of that most puissant Republic, and as Pliny affirms no less strongly when he says that the fields had been tilled by the hands of Imperatores, and that it may be believed that earth rejoiced to be ploughed by the laureate share and by the triumphant ploughman. That Ceres was crowned, as is customary, with ears of various kinds of corn, having in the right hand a sickle and in the left a bunch of similar ears. Now, how much Florence can vaunt herself in this respect, whoever may be in any doubt of it may enlighten himself by regarding her most ornate and highly cultivated neighbourhood, for, leaving on one side the vast number of most superb and commodious palaces that may be seen dispersed over its surface, it is such that Florence, although among the most beautiful cities of which we have any knowledge she might be said to carry off the palm, yet remains by a great measure vanquished and surpa.s.sed by it, insomuch that it may rightly claim the t.i.tle of the garden of Europe; not to speak of its fertility, as to which, although it is for the most part mountainous and not very large, nevertheless the diligence that is used in it is such, that it not only feeds bountifully its own vast population and the infinite mult.i.tude of strangers who flock to it, but very often gives courteous succour to other lands both near and far. In the canvas (to return to our subject) which was to be seen in like fashion beneath her statue, in the same manner and of the same size, the excellent painter had figured a most beautiful little landscape adorned with an infinite variety of trees, in the most distant part of which was seen an ancient and very ornate little temple dedicated to Ceres, in which, since it was open and raised upon colonnades, could be perceived many who were offering religious sacrifices. On the other side, in a part somewhat more solitary, Nymphs of the chase could be seen standing about a shady and most limpid fount, gazing as it were in marvel and offering to the new bride of those pleasures and delights that are found in their pursuits, in which Tuscany is perhaps not inferior to any other part of Italy. In another part, with many countrymen bringing various animals both wild and domestic, were seen also many country-girls, young and beautiful, and adorned in a thousand rustic but graceful manners, and likewise come--weaving the while garlands of flowers and bearing various fruits--to see and honour their Lady. And the verses which were over this scene as with the others, taken from Virgil, to the great glory of Tuscany, ran thus:
Hanc olim veteres vitam coluere Sabini, Hanc Remus et frater, sic fortis Etruria crevit, Scilicet et rerum facta est pulcherrima Flora, Urbs antiqua, potens armis atque ubere glebae.
Next, opposite to the above-described statue of Ceres, was seen that of Industry; and I do not speak merely of that industry which is seen used by many in many places in matters of commerce, but of a certain particular excellence and ingenious virtue which the men of Florence employ in everything to which they deign to apply themselves, on which account many, and in particular the Poet of supreme judgment (and rightly, as is evident), give them the t.i.tle of Industrious. How great a benefit this industry has been to Florence, and in what great account it has always been held by her, is seen from this, that upon it she formed her body corporate, decreeing that none could become one of her citizens who was not entered under the name of some Guild, and thus recognizing that by that industry she had risen to no small power and greatness. Now Industry was figured as a woman in a light and easy habit, holding a sceptre, at the head of which was a hand with an eye in the centre of the palm, and with two little wings, whereby with the sceptre there was achieved a certain sort of resemblance to the Caduceus of Mercury; and in the canvas that was beneath her, as with the other statues, was seen a vast and most ornate portico or forum, very similar to the place where our merchants resort to transact their business, called the Mercato Nuovo, which was made even clearer by the boy that was to be seen striking the hours on one of the walls. And on one side, their particular G.o.ds having been ingeniously placed there (in one part, namely, the statue of Fortune seated on a wheel, and in another part Mercury with the Caduceus and with a purse in the hand), were seen a.s.sembled many of the most n.o.ble artificers, those, namely, who exercise their arts with perhaps greater excellence in Florence than in any other place; and of such, with their wares in their hands, as if they were seeking to offer them to the incoming Princess, some were to be seen with cloth of gold or of silk, some with the finest draperies, and others with most beautiful and marvellous embroideries, and all with expressions of joy. Even so, in another part, some were seen in various costumes trafficking as they walked, and others of lower degree with various most beautiful wood-carvings and works in tarsia, and some again with b.a.l.l.s, masks, and rattles, and other childish things, all in the same manner showing the same gladness and contentment. All which, and the advantage of these things, and the profit and glory that have come from them to Florence, was made manifest by the four verses that were placed above them, as with the others, saying:
Quas artes pariat solertia, nutriat usus, Aurea monstravit quondam Florentia cunctis.
Pandere namque acri ingenio atque enixa labore est Praestanti, unde paret vitam sibi quisque beatam.
Of the two last Deities or Virtues, seeing that, as we have said, by reason of the number and excellence in them of her sons they are so peculiar to Florence that she may well consider herself glorious in them beyond any other city, there was placed on the right hand, next to the statue of Ceres, that of Apollo, representing that Tuscan Apollo who infuses Tuscan verse in Tuscan poets. Under his feet, as in the other canvases, there was painted on the summit of a most lovely mountain, recognized as that of Helicon by the horse Pegasus, a very s.p.a.cious and beautiful meadow, in the centre of which rose the sacred Fount of Aganippe, likewise recognized by the nine Muses, who stood around it in pleasant converse, and with them, and in the shade of the verdant laurels with which the whole mount was covered, were seen various poets in various guise seated or discoursing as they walked, or singing to the sound of the lyre, while a mult.i.tude of little Loves were playing above the laurels, some of them shooting arrows, and some appeared to be throwing down crowns of laurel. Of these poets, in the most honourable place were seen the profound Dante, the gracious Petrarca, and the fecund Boccaccio, who with smiling aspect appeared to be promising to the incoming Lady, since a subject so n.o.ble had not fallen to them, to infuse in the intellects of Florence such virtue that they would be able to sing worthily of her; to which with the exemplar of their writings, if only there may be found one able to imitate them, they have opened a broad and easy way. Near them, as if discoursing with them, and all, like the rest, portrayed from life, were seen M. Cino da Pistoia, Montemagno, Guido Cavalcanti, Guittone d"Arezzo, and Dante da Maiano, who lived in the same age and were poets pa.s.sing gracious for those times. In another part were Monsignor Giovanni della Casa, Luigi Alamanni, and Lodovico Martelli, with Vincenzio at some distance from him, and with them Messer Giovanni Rucellai, the writer of the tragedies, and Girolamo Benivieni; among whom, if he had not been living at that time, a well-merited place would have been given also to the portrait of M. Benedetto Varchi, who shortly afterwards made his way to a better life. In another part, again, were seen Franco Sacchetti, who wrote the three hundred Novelle, and other men, who, although at the present day they have no great renown, yet, because in their times they made no small advance in romances, were judged to be not unworthy of that place--Luigi Pulci, with his brothers Bernardo and Luca, and also Ceo and Altissimo. Berni, also, the inventor and father (and excellent father) of Tuscan burlesque poetry, with Burchiello, with Antonio Alamanni, and with Unico Accolti (who were standing apart), appeared to be showing no less joy than any of the others; while Arno, leaning in his usual manner on his Lion, with two children that were crowning him with laurel, and Mugnone, known by the Nymph that stood over him crowned with stars, with the moon on her brow, in allusion to the daughters of Atlas, and representing Fiesole, appeared likewise to be expressing the same gladness and contentment. All which conception described above was explained excellently well by the four verses that were placed in the architrave, as with the others, which ran thus:
Musarum hic regnat chorus, atque Helicone virente Posthabito, venere tibi Florentia vates Eximii, quoniam celebrare haec regia digno Non potuere suo et connubia carmine sacro.
Opposite to this, placed on the left hand, and perhaps not less peculiar to the Florentine genius than the last-named, was seen the statue of Design, the father of painting, sculpture, and architecture, who, if not born in Florence, as may be seen in the past writings, may be said to have been born again there, and nourished and grown as in his own nest.
He was figured by a statue wholly nude, with three similar heads for the three arts that he embraces, each holding in the hand some instrument, but without any distinction; and in the canvas that was beneath him was seen painted a vast courtyard, for the adornment of which were placed in various manners a great quant.i.ty of statues and of pictures in painting, both ancient and modern, which could be seen in process of being designed and copied by divers masters in divers ways. In one part was being prepared an anatomical study, and many could be seen observing it, and likewise drawing, very intently. Others, again, considering the fabric and rules of architecture, appeared to be seeking to measure certain things with great minuteness, the while that the divine Michelagnolo Buonarroti, prince and monarch of them all, with the three circlets in his hand (his ancient device), making signs to Andrea del Sarto, Leonardo da Vinci, Pontormo, Rosso, Perino del Vaga, Francesco Salviati, Antonio da San Gallo, and Rustici, who were gathered with great reverence about him, was pointing out with supreme gladness the pompous entrance of the n.o.ble Lady. The ancient Cimabue, standing in another part, was doing as it were the same service to certain others, at whom Giotto appeared to be smiling, having taken from him, as Dante said so well, the field of painting which he thought to hold; and Giotto had with him, besides the Gaddi, Buffalmacco and Benozzo, with many others of that age. In another part, again, placed in another fashion and all rejoicing as they conversed, were seen those who conferred such benefits on art, and to whom these new masters owed so much; the great Donatello, Filippo di Ser Brunellesco, Lorenzo Ghiberti, Fra Filippo, the excellent Masaccio, Desiderio, and Verrocchio, with many others, portrayed from life, whom, since I have spoken of them in the previous books, I will pa.s.s by without saying more about them, thus avoiding the tedium that might come upon my readers by repet.i.tion. Who they were, and what they were come thither to do, was explained, as with the others, by four verses written above them:
Non pictura satis, non possunt marmora et aera Tuscaque non arcus testari ingentia facta, Atque ea praecipue quae mox ventura trahuntur; Quis nunc Praxiteles caelet, quis pingat Apelles?
Now in the base of all these six vast and most beautiful canvases was seen painted a gracious throng of children, each occupying himself in the profession appropriate to the canvas placed above, who, besides the adornment, were seen to be demonstrating with great accuracy with what beginnings one arrived at the perfection of the men painted above; even as with much judgment and singular art the same canvases were also divided and adorned by round and very tall columns and by pilasters, and by various ornaments of trophies all in keeping with the subjects to which they were near. But, above all, graceful and lovely in appearance were the ten devices, or, to speak more precisely, the ten reverses (as it were) of medals, partly long established in the city and partly newly introduced, which were painted in the compartments over the columns, serving to divide the statues already described, and accompanying very appropriately their inventions; the first of which was the Deduction of a Colony, represented by a bull and a cow together in a yoke, and behind them the ploughman with the head veiled, as the ancient Augurs are depicted, with the crooked lituus in the hand, and with a motto, which said: COL. JUL. FLORENTIA. The second--and this is very ancient in the city, and the one wherewith public papers are generally sealed--was Hercules with the Club and with the skin of the Nemaean Lion, but without any motto. The third was the horse Pegasus, which with the hind feet was smiting the urn held by Arno, in the manner that is told of the Fount of Helicon; whence were issuing waters in abundance, which formed a river, crystal-clear, that was all covered with swans; but this, also, was without any motto. So, likewise, was the fourth, which was composed of a Mercury with the Caduceus in the hand, the purse, and the c.o.c.k, such as is seen in many ancient cornelians. But the fifth, in accord with that Affection which, as was said at the beginning, was given to Florence as a companion, was a young woman receiving a crown of laurel from two figures, one on either side of her, which, clad in the military paludament and likewise crowned with laurel, appeared to be Consuls or Imperatores; with words that ran: GLORIA POP. FLOREN. So also the sixth, in like manner in accord with Fidelity, likewise the companion of Florence, was also figured by a woman seated, with an altar near her, upon which she was seen to be laying one of her hands, and with the other uplifted, holding the second finger raised in the manner wherein one generally sees an oath taken, she was seen to declare her intention with the inscription: FIDES. POP. FLOR. This, also, did the picture of the seventh, without any inscription; which was the two horns of plenty filled with ears of corn intertwined together. And the eighth, likewise without any inscription, did the same with the three Arts of Painting, Sculpture, and Architecture, which, after the manner of the three Graces, with hands linked to denote the interdependence of one art with another, were placed no less gracefully than the others upon a base in which was seen carved a Capricorn. And so, also, did the ninth (placed more towards the Arno), which was the usual Florence with her Lion beside her, to whom various boughs of laurel were offered by certain persons standing around her, as it were showing themselves grateful for the benefits received from her, in that there, as has been told, letters began to revive. And the tenth and last did the same with its inscription that ran thus, TRIBU SCAPTIA, written upon a shield held by a Lion; which tribe was that of Augustus, her founder, and the one in which in ancient times Florence used to be enrolled.
But the finest ornament--besides the beautiful shields on which were the arms of their Excellencies, both the one and the other, and of the most ill.u.s.trious Princess, and the device of the city, and besides the great Ducal crown of gold, which Florence was in the act of presenting--was the princ.i.p.al device, set over all the shields, and placed there in allusion to the city; which was composed of two halcyons making their nest in the sea at the beginning of winter. This was made clear by the part of the Zodiac that was painted there, wherein the Sun was seen at the point of entering into the Sign of Capricorn, with a motto that said, HOC FIDUNT, signifying that even as the halcyons, by the grace of Nature, at the time when the Sun is entering into the said Sign of Capricorn, which renders the sea smooth and tranquil, are able to make their nests there in security (whence such days are called "halcyon days"), so also Florence, with Capricorn in the ascendant, which is therefore the ancient and most honourable device of her excellent Duke, is able in whatever season the world may bring her to flourish in the greatest felicity and peace, as she does right well. And all this, with all the other conceptions given above, was declared in great part by the inscription which, addressed to the exalted bride, was written appropriately in a most ornate and beautiful place, saying:
INGREDERE URBEM FELICISSIMO CONJUGIO FACTAM TUAM, AUGUSTISSIMA VIRGO, FIDE, INGENIIS, ET OMNI LAUDE PRaeSTANTEM; OPTATAQUE PRaeSENTIA TUA, ET EXIMIA VIRTUTE, SPERATAQUE FECUNDITATE, OPTIMORUM PRINCIPUM PATERNAM ET AVITAM CLARITATEM, FIDELISSIMORUM CIVIUM Laet.i.tIAM, FLORENTIS URBIS GLORIAM ET FELICITATEM AUGE.
OF THE ENTRANCE TO BORG" OGNISSANTI.
Proceeding, then, towards Borg" Ognissanti, a street, as everyone knows, most beautiful, s.p.a.cious, and straight, there were at the entrance two very large colossal figures, one representing Austria, as a young woman in full armour after the antique, with a sceptre in the hand, signifying her military power as embodied in the Imperial dignity, which now has its residence in that nation and appears to be entirely concentrated there; and the other representing Tuscany, apparelled in religious vestments and with the sacerdotal lituus in the hand, which in like manner demonstrated the excellence that the Tuscan nation has always displayed from the most ancient times in the Divine cult, insomuch that even at the present day it is seen that the Pontiffs and the Holy Roman Church have chosen to establish their princ.i.p.al seat in Tuscany. Each of these had at her side a nude and gracious little Angel, one of whom was seen guarding the Imperial crown, and the other the crown that the Pontiffs are wont to use; and one figure was shown offering her hand most lovingly to the other, almost as if Austria, with her most n.o.ble cities (which were depicted under various images in the vast canvas that was as an ornament and head-piece, at the entrance to that street, facing towards the Porta al Prato), wished to signify that she was come parentally to take part in the rejoicings and festivities in honour of the ill.u.s.trious bridal pair, and to meet and embrace her beloved Tuscany, thus in a certain sort uniting together the two most mighty powers, the spiritual and the temporal. All which was declared excellently well in the six verses that were written in a suitable place, saying:
Augustae en adsum sponsae comes Austria; magni Caesaris haec nata est, Caesaris atque soror.
Carolus est patruus, gens et faecunda triumphis, Imperio fulget, regibus et proavis.
Laet.i.tiam et pacem adferimus dulcesque Hymeneos Et placidam requiem, Tuscia clara, tibi.
Even as on the other side Tuscany, having yielded the first place at the first Gate to Florence, her Lady and her Queen, was seen with an aspect all full of joy at receiving so great a Princess; having likewise in company with her, in a similar painted canvas beside her, Fiesole, Pisa, Siena, and Arezzo, with the most famous of her other cities, and with the Ombrone, the Arbia, the Serchio, and the Chiana, all depicted in various forms according to custom; and expressing her contentment in the six following verses, written in a way similar to the others, and in a suitable place:
Ominibus faustis et laetor imagine rerum, Virginis aspectu Caesareaeque fruor.
Hae nostrae insignes urbes, haec oppida et agri, Haec tua sunt; illis tu dare jura potes.
Audis ut resonet laetis clamoribus aether, Et plausu et ludis Austria cuncta fremat?
OF THE PONTE ALLA CARRAIA.
And to the end that the splendid nuptials might be celebrated with all the most favourable auspices, at the Palazzo de" Ricasoli, which, as everyone knows, is situated at the beginning of the Ponte alla Carraia, there was erected in the Doric Order of composition the third ornament, dedicated to Hymen, their G.o.d; and this consisted--in addition to a head-piece of singular beauty, on which the eyes of all who came through Borg" Ognissanti feasted with marvellous delight--of two very lofty and most magnificent portals, between which it stood, and over one of these, which gave access to those pa.s.sing into the street called La Vigna, was placed with much judgment the statue of Venus Genetrix, perhaps alluding to the House of the Caesars, which had its origin from Venus, or perchance auguring generation and fecundity for the bridal pair; with a motto taken from the Epithalamium of Theocritus, saying:
[Greek: Kypris de, Thea Kypris, ison erasthai allalon.]
And over the other, giving access along the bank of the Arno, through which the procession pa.s.sed, was the statue of the Nurse Latona, perchance to ward off sterility or the jealous interference of Juno, and likewise with a motto that ran:
[Greek: Lato men doie, Lato kourotrophos ymmin euteknian.]
As a complement to these, executed with singular artistry, upon a great base attached to one of the portals, there was seen on one side, as it were newly issued from the water, and in the form of a most beautiful giant with a garland of lilies, the River Arno, who, as if he wished to give an example of nuptial bliss, was locked in embrace with his Sieve, who had likewise a garland of leaves and apples; which apples, alluding to the b.a.l.l.s of the Medici, of which they were the origin, would have been rosy, if the colour had been in keeping with the white marble. And Arno, all rejoicing, was shown speaking to his new Lady in the manner expressed by the following verses:
In mare nunc auro flaventes Arnus arenas Volvam, atque argento purior unda fluet.
Etruscos nunc invictis comitantibus armis Caesareis, tollam sidera ad alta caput.
Nunc mihi fama etiam Tibrim fulgoreque rerum Tantarum longe vincere fata dabunt.
And on the other side, as a complement to Arno, on a similar base attached in a similar way to the other portal (the two being turned, as it were, like wings one towards the other), and almost in the same form, were seen the Danube and the Drava likewise in a close embrace, and, even as the others had the Lion, so they had the Eagle as emblem and support; and these, crowned also with roses and with a thousand varieties of little flowers, were shown speaking to Florence, even as the others were speaking to themselves, the following verses:
Quamvis Flora tuis celeberrima finibus errem, Sum septemgeminus Danubiusque ferox; Virginis Augustae comes, et vestigia l.u.s.tro, Ut reor, et si quod flumina numen habent, Conjugium faustum et foecundum et Nestoris annos, Tuscorum et late nuntio regna tibi.
Then at the summit of the head-piece, in the place of honour, and with a close resemblance to the whitest marble, was seen the statue of the young Hymen, with a garland of flowering marjoram and the torch and veil, and at his feet this inscription: BONI CONJUGATOR AMORIS. On one side of him was Love, who lay all languid under one of his flanks; and on the other side was Conjugal Fidelity, who was holding one arm supported under the other; which was all so pleasing, so full of charm, so beautiful, and so well distributed before the eyes of all beholders, that in truth it is not to be expressed in words. As the princ.i.p.al crown of that ornament--for on them all there was placed a princ.i.p.al crown and a princ.i.p.al device--there were formed in the hands of the Hymen described above two garlands of the same marjoram that crowned his head, which, as he held them, he appeared to be about to present to the happy pair. But most lovely and beautiful of all, and best executed, were the three s.p.a.cious pictures, separated by double columns, into which the whole of that vast facade was divided, placed with supreme beauty at the feet of Hymen; for in them were depicted all the advantages, all the delights, and all the desirable things that are generally found in nuptials; those displeasing and vexatious being driven away from them with a certain subtle grace. And thus in one of these, that in the centre namely, were seen the Three Graces painted in the manner that is customary, all full of joy and gladness, who appeared to be singing with a certain soft harmony the verses written over them, saying:
Quae tam praeclara nascetur stirpe parentum Inc.l.i.ta progenies, digna atavisque suis?
Etrusca attollet se quantis gloria rebus Conjugio Austriacae Mediceaeque Domus?
Vivite felices; non est spes irrita, namque Divina Charites talia voce canunt.
These had on one side, forming as it were a choir about them, and coupled becomingly together, Youth and Delight, and Beauty with Contentment in her embrace, and on the other side, in like fashion, Gladness with Play, and Fecundity with Repose, all in att.i.tudes most graceful and in keeping with their characters, and so well distinguished by the able painter, that they could be recognized with ease. In the picture that was on the right of that one, there were seen, besides Love and Fidelity, the same Gladness, Contentment, Delight, and Repose, with lighted torches in their hands, who were chasing from the world and banishing to the nethermost abyss Jealousy, Contention, Affliction, Sorrow, Lamentation, Deceit, Sterility, and other vexatious and displeasing things of that kind, which are wont so often to disturb the minds of human creatures. And in the other, on the left hand, were seen the same Graces in company with Juno, Venus, Concord, Love, Fecundity, Sleep, Pasithea, and Thala.s.sius, setting the genial bed in order with those ancient religious ceremonies of torches, incense, garlands, and flowers, which were customary; of which last a number of little Loves, playing in their flight, were scattering no small quant.i.ty over the bed.
Above these, then, were two other pictures distributed in very beautiful compartments, one on either side of the statue of Hymen, and somewhat smaller than those described; in one of which, in imitation of the ancient custom so well described by Catullus, was seen the ill.u.s.trious Princess portrayed from life in the midst of a gracious little company of most beautiful maidens in virginal dress, all crowned with flowers, and with lighted torches in their hands, who were pointing towards the Evening Star, which was seen appearing, and, as if set in motion by them, seemed in a certain gracious manner to move and to advance towards Hymen; with the motto: O DIGNA CONJUNCTA VIRO. Even as in the other picture, on the other side, was seen the excellent Prince in the midst of many young men likewise crowned with garlands and burning with love, not less eager than the maidens in lighting the nuptial torches, and pointing no less towards the newly-appeared star, and giving signs, in advancing towards it, of equal or even greater desire; likewise with a motto that said: O TaeDIS FELICIBUS AUCTE. Above these, arranged in a very graceful manner, there was seen as the princ.i.p.al device, which, as has been told, was placed over all the arches, a gilded chain all composed of marriage-rings with their stones, which, hanging down from Heaven, appeared to be sustaining this terrestrial World; alluding in a certain sense to the Homeric Chain of Jove, and signifying that by virtue of nuptials, the heavenly causes being wedded with terrestrial matter, Nature and the aforesaid terrestrial World are preserved and rendered as it were eternal; with a motto that said: NATURA SEQUITUR CUPIDE. And then a quant.i.ty of little Angels and Loves, all gracious and merry, and all set in fitting places, were seen dispersed among the bases, the pilasters, the festoons, and the other ornaments, which were without number; and all, with a certain gladness, appeared to be either scattering flowers and garlands, or sweetly singing the following ode, from among the s.p.a.ces between the double columns that divided, as has been told, the great pictures and the great facade, which was arranged in a lovely and gracious manner:
Augusti soboles regia Caesaris, Summo nupta viro Principi Etruriae, Faustis auspiciis deseruit vagum Istrum regnaque patria.
Cui frater, genitor, patruus, atque avi Fulgent innumeri stemmate n.o.biles Praeclaro Imperii, prisca ab origine Digno nomine Caesares.
Ergo magnanimae virgini et inclytae Jam nunc Arne pater suppliciter ma.n.u.s Libes, et violis versicoloribus Pulchram Flora premas comam.
a.s.surgant proceres, ac velut aureum Et caeleste jubar rite colant eam.
Omnes acc.u.mulent templa Deum, et piis Aras muneribus sacras.
Tali conjugio Pax hilaris redit, Fruges alma Ceres porrigit uberes, Saturni remeant aurea saecula, Orbis laet.i.tia fremit.
Quin dirae Eumenides monstraque Tartari His longe duce te finibus exulant.
Bellorum rabies hinc abit effera, Mavors sanguineus fugit.
Sed jam nox ruit et sidera concidunt; Et nymphae adveniunt, Junoque p.r.o.nuba Arridet pariter, blandaque Gratia Nudis juncta sororibus.
Haec cingit niveis tempora liliis, Haec e purpureis serta gerit rosis, Huic molles violae et suavis amaracus Nectunt virgineum caput.
Lusus, laeta Quies cernitur et Decor; Quos circ.u.m volitat turba Cupidinum, Et plaudens recinit haec Hymeneus ad Regalis thalami fores.
Quid statis juvenes tam genialibus Indulgere toris immemores? Joci Cessent et ch.o.r.eae; ludere vos simul Posc.u.n.t tempora mollius.
Non vincant hederae bracchia flexiles, Conchae non superent oscula dulcia, Emanet pariter sudor et ossibus Grato murmure ab intimis.
Det summum imperium regnaque Juppiter, Det Latona parem progeniem patri; Ardorem unanimem det Venus, atque Amor Aspirans face mutua.
OF THE PALAZZO DEGLI SPINI.