Identifier: inoutofflorencen00kell (find matches)
Title: In and out of Florence; a new introduction to a well-known city
Year: 1910 (1910s)
Authors: Kellogg, Vernon Lyman, 1867-1937
Subjects:
Publisher: New York: Holt
Contributing Library: The Library of Congress
Digitizing Sponsor: Sloan Foundation

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
guards, attacked each night by evilwishers. But at dawn of May 18, 1504, it arrivedsafely and was put in place. The erection of the David, says Grimm in hisLife of Michelangelo, was like an occurrence ofNature from which people are wont to reckon. Wefind events dated so many years after the erectionof the giant. It was mentioned in records in whichthere was not a line besides respecting art. For three and a half centuries David stood at theportal of the palace of the people. A curiously longdeferred anxiety about the danger to the statue fromthe elements led, in 1873, to its removal to its presentroofed-in quarters. Up on Monte San Miniato, nearthe scenes of Michelangelos herculean labors offortification in that sad time of Florences strugglewith a besieging Emperor and Pope, stands a bronzecopy of the statue. And from most of the city thebared youthful head can be seen outlined against thesky when one looks across the river toward SanMiniato. Around David in the Accademia are grouped
Text Appearing After Image:
riioto. Brogi The Adoration D. Ghirlandajo: Accademia The Pitti and Accademia 133 several casts of Michelangelos other works, togetherwith some of his drawings and an admirable seriesof photographs of his Sistine frescoes. To attend to the pictures of the Accademia andtheir teaching one may advisably first enter the roomat that end of the corridor which contains the castof Michelangelos Roman Pieta (a cast presentedby the city of Rome to the city of Florence). Herebegins a series which, starting with Cimabue in thethirteenth century—there are even two or three trulyByzantine pieces as forerunners of Cimabue—goes onthrough the glory of the fourteenth and fifteenth andearly sixteenth centuries, into the fading of the latersixteenth and the decadence of the seventeenth andeighteenth centuries. The latter pictures are gatheredfittingly into a dark room (VIII) and make of italmost a chamber of horrors. Not the least of thesehorrors is Carlo Dolcis sickening Christ head. Onan easel in t

Note About Images