The Jews are not held in that degree of odium, or subjected to the same humiliating distinctions here, as in most other cities of Europe. I am told, some of the richest merchants are of that religion. Another class of mankind, who are also reprobated[422] in some countries, are in this looked on in the same light with other citizens. I mean the actors and singers at the different Theatres. Why Christians4, in any country, should have the same prejudice against them as against Jews, many are at a loss to know; it cannot, certainly, be on the same account. Actors and actresses have never been accused of an obstinate5, or superstitious6 adherence7 to the principles or ceremonies of any false religion whatever.
To attempt a description of the churches, palaces, and other public buildings, would lead, in my opinion, to a very unentertaining detail. Few cities, of its size, in Europe, however, afford so fine a field of amusement to those who are fond of such subjects; though the lovers of architecture will be shocked to find several of the finest churches without fronts, which, according to some, is owing to a real deficiency of money; while others assert, they are left in this condition, as a pretext8 for levying9 contributions to finish them.
[423]
The chapel10 of St. Lorenzo is, perhaps, the finest and most expensive habitation that ever was reared for the dead; it is encrusted with precious stones, and adorned11 by the workmanship of the best modern sculptors12. Some complain that, after all, it has a gloomy appearance. There seems to be no impropriety in that, considering what the building was intended for; though, certainly, the same effect might have been produced at less expence. Mr. Addison remarked, that this chapel advanced so very slowly, that it is not impossible but the family of Medicis may be extinct before their burial-place is finished. This has actually taken place: the Medici family is extinct, and the chapel remains13 still unfinished.
Of all the methods by which the vanity of the Great has distinguished14 them from the rest of mankind, this of erecting15 splendid receptacles for their bones, excites the least envy. The sight of the most superb[424] edifice16 of this kind, never drew a repining sigh from the bosom17 of one poor person; nor do the unsuccessful complain, that the bodies of Fortune’s favourites rot under Parian marble, while their own will, in all probability, be allowed to moulder18 beneath a plain turf.
I have already mentioned the number of statues which ornament19 the streets and squares of Florence, and how much they are respected by the common people. I am told, they amount in all to above one hundred and fifty, many of them of exquisite20 workmanship, and admired by those of the best taste. Such a number of statues, without any drapery, continually exposed to the public eye, with the far greater number of pictures, as well as statues, in the same state, to be seen in the palaces, have produced, in both sexes, the most perfect insensibility to nudities.
Ladies who have remained some time at Rome and Florence, particularly those who[425] affect a taste for virtù, acquire an intrepidity21 and a cool minuteness, in examining and criticising naked figures, which is unknown to those who have never passed the Alps. There is something in the figure of the God of Gardens, which is apt to alarm the modesty22 of a novice23; but I have heard of female dilettantes who minded it no more than a straw.
The Palazzo Pitti, where the Great Duke resides, is on the opposite side of the Arno from the Gallery. It has been enlarged since it was purchased from the ruined family of Pitti. The furniture of this palace is rich and curious, particularly some tables of Florentine work, which are much admired. The most precious ornaments24, however, are the paintings. The walls of what is called the Imperial Chamber25, are painted in fresco26, by various painters; the subjects are allegorical, and in honour of Lorenzo of Medicis, distinguished by the name of the Magnificent.[426] There is more fancy than taste displayed in those paintings. The other principal rooms are distinguished by the names of Heathen Deities27, as Jupiter, Apollo, Mars, Venus, and by paintings in fresco, mostly by Pietro da Cortona. In the last mentioned, the subjects are different from what is naturally expected from the name of the room, being representations of the triumphs of Virtue28 over Love, or some memorable29 instance of continency. As the Medici family have been more distinguished for the protection they afforded the arts, than for the virtues30 of continency or self-denial, it is probable, the subject, as well as the execution of these pieces, was left entirely31 to the painter.
I happened lately to be at this palace, with a person who is perfectly32 well acquainted with all the pictures of any merit in Florence. While he explained the peculiar33 excellencies of Pietro’s manner, a gentleman in company, who, although he[427] does not pretend to the smallest skill in pictures, would rather remain ignorant for ever, than listen to the lectures of a connoisseur34, walked on, by himself, into the other apartments, while I endeavoured to profit by my instructor35’s knowledge. When the other gentleman returned, he said, “I know no more of painting than my pointer; but there is a picture in one of the other rooms, which I would rather have than all those you seem to admire so much; it is the portrait of a healthy, handsome, country woman, with her child in her arms. There is nothing interesting in the subject, to be sure, because none of us are personally acquainted with the woman. But I cannot help thinking the colours very natural. The young woman’s countenance36 is agreeable, and expressive37 of fondness and the joy of a mother over a first-born. The child is a robust38, chubby-cheeked fellow; such as the son of a peasant should be.”
[428]
We followed him into the room, and the picture which pleased him so much, was the famous Madonna della Seggiola of Raphael. Our instructor immediately called out Viva! and pronounced him a man of genuine taste; because, without any previous knowledge or instruction, he had fixed39 his admiration40 on the finest picture in Florence. But this gentleman, as soon as he understood what the picture was, disclaimed41 all title to praise; “because,” said he, “although, when I considered that picture, simply as the representation of a blooming country wench hugging her child, I admired the art of the painter, and thought it one of the truest copies of nature I ever saw; yet, I confess, my admiration is much abated42, now that you inform me his intention was to represent the Virgin43 Mary.” “Why so?” replied the Cicerone; “the Virgin Mary was not of higher rank. She was but a poor woman, living in a little village in Galilee.” “No rank[429] in life,” said the other, “could give additional dignity to the person who had been told by an Angel from heaven, that she had found favour with God; that her Son should be called the Son of the Highest; and who, herself, was conscious of all the miraculous44 circumstances attending his conception and birth. In the countenance of such a woman, besides comeliness45, and the usual affection of a mother, I looked for the most lively expression of admiration, gratitude46, virgin modesty, and divine love. And when I am told, the picture is by the greatest painter that ever lived, I am disappointed in perceiving no traces of that kind in it.” What justice there is in this gentleman’s remarks, I leave it to better judges than I pretend to be, to determine.
After our diurnal47 visit to the Gallery, we often pass the rest of the forenoon in the gardens belonging to this palace. The[430] vale of Arno; the gay hills that surround it; and other natural beauties to be viewed from thence, form an agreeable variety, even to eyes which have been feasting on the most exquisite beauties of art. The pleasure arising from both, however, diminishes by repetition; but may be again excited by the admiration of a new spectator, of whose taste and sensibility you have a good opinion. I experienced this on the arrival of Mr. F——r, a gentleman of sense, honour, and politeness, whose company gave fresh relish48 to our other enjoyments49 in this place. It is now some time since he left us; and I am not at all unhappy in the thoughts of proceeding50, in a day or two, to Bologna, in our road to Milan.
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1
imputed
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| v.把（错误等）归咎于( impute的过去式和过去分词 ) | |
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sanguine
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| adj.充满希望的，乐观的，血红色的 | |
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premature
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| adj.比预期时间早的；不成熟的，仓促的 | |
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Christians
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| n.基督教徒( Christian的名词复数 ) | |
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obstinate
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| adj.顽固的，倔强的，不易屈服的，较难治愈的 | |
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superstitious
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| adj.迷信的 | |
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adherence
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| n.信奉，依附，坚持，固着 | |
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8
pretext
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| n.借口，托词 | |
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9
levying
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| 征（兵）( levy的现在分词 )； 索取； 发动（战争）； 征税 | |
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10
chapel
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| n.小教堂，殡仪馆 | |
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adorned
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| [计]被修饰的 | |
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12
sculptors
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| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
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13
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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14
distinguished
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| adj.卓越的，杰出的，著名的 | |
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15
erecting
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| v.使直立，竖起( erect的现在分词 )；建立 | |
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edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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17
bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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moulder
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| v.腐朽，崩碎 | |
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19
ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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20
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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21
intrepidity
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| n.大胆，刚勇；大胆的行为 | |
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modesty
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| n.谦逊，虚心，端庄，稳重，羞怯，朴素 | |
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23
novice
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| adj.新手的，生手的 | |
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ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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fresco
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| n.壁画；vt.作壁画于 | |
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deities
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| n.神，女神( deity的名词复数 )；神祗；神灵；神明 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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29
memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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30
virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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31
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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connoisseur
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| n.鉴赏家，行家，内行 | |
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instructor
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| n.指导者，教员，教练 | |
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countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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expressive
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| adj.表现的，表达…的，富于表情的 | |
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robust
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| adj.强壮的，强健的，粗野的，需要体力的，浓的 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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40
admiration
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| n.钦佩，赞美，羡慕 | |
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41
disclaimed
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| v.否认( disclaim的过去式和过去分词 ) | |
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42
abated
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| 减少( abate的过去式和过去分词 )； 减去； 降价； 撤消（诉讼） | |
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43
virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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44
miraculous
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| adj.像奇迹一样的，不可思议的 | |
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45
comeliness
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| n. 清秀, 美丽, 合宜 | |
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46
gratitude
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| adj.感激，感谢 | |
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47
diurnal
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| adj.白天的，每日的 | |
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48
relish
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| n.滋味，享受，爱好，调味品；vt.加调味料，享受，品味；vi.有滋味 | |
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49
enjoyments
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| 愉快( enjoyment的名词复数 )； 令人愉快的事物； 享有； 享受 | |
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50
proceeding
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| n.行动，进行，(pl.)会议录，学报 | |
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