much ability therein,[1] having been disappointed of the aid of certain young men from whom he had expected assistance, seeing that all the artists were then in full occupation, the bad as well as the good. His failure caused Domenico to be much laughed at, but principally, because he had at other times shown himself prompt to ridicule others, and that with but little discretion. For the sixth story, which was the last on that side, and was executed by the hand of Bronzino,[2] the subject chosen was the Dispute which the Duke Alessandro had with the Florentine exiles in Naples and before the Emperor Charles V. The river Sebeto, with numerous figures, was delineated in this picture, which was, indeed, the best of all, and a singularly beautiful work. The device was a Palm, and the arms were those of Spain.
On the other side of the stage, and corresponding to the Beturn of the Illustrious Cosimo, was the fortunate Birth of the Duke; the device being a Phoenix, and the arms on the frieze or border exhibiting a Bed Lily, which is the impress of the City of Florence. Next to this was the creation or election of Cosimo to be Duke, the device being the Caduceus of Mercury, and the arms those of the Castellan of the Fortress. Now, this picture had been designed by Francesco Salviati, but, as he was obliged to leave Florence just at that time, it was finished—and admirably well—by Carlo Portelli da Loro.[3] In the third picture were the three proud Campanian Orators expelled from the Boman Senate, as a requital for their presumption, as we find related by Titus Livius, in the twentieth book of his History; but, on that occasion, these orators were intended to signify three cardinals, who had vainly beset the Duke Cosimo, with the hope of depriving him of the government. Of this the device was a Winged Horse, and the arms were those of Salviati and Medici.
The fourth story exhibited the Taking of Monte Murlo; the device chosen being the Horned Owl of Egypt, placed over the head of Pyrrhus; the arms were those of the House
- ↑ Of whom mention has been made in the Life of Andrea del Sarto. An Italian commentator remarks that if he were not a distinguished, he was at least a grateful disciple of his master, since it was by him that the momument to Andrea’s memory was erected. See vol. iii. p. 234.
- ↑ Angiolo Allori, of whom there is further mention hereafter.
- ↑ Of Carlo Portelli also there is mention made in a subsequent page.
