the perfection
which genius alone confers, its tranquil and subdued beauty comparing
favorably with the theatrical effect and garish splendor of the
monuments in St. John Lateran and St. Peter's at Rome. The superb
mausoleums of Leopardi and of the Lombardi at Venice are, perhaps,
equally beautiful; but I am inclined to give the preference to the work
of Bernardo Rossellini. He became acquainted with Leonardo Bruni at the
Papal Court, where he, as well as Leo Battista Alberti, was a director
of the pontifical works. The Madonna let into the upper part of the
monument is by Andrea Verocchio....

In visiting Santa Croce it is impossible not to feel how erroneous are
the views often held as to the exact place which will be allotted in the
roll of history to the men of the day. Many of the names in this
Pantheon are almost unknown, the tomb next to that of Galileo containing
the dust of Mulazzi-Signorini, who has never been heard of out of Italy.
Another unavoidable reflection is that the talent of the sculptor is
rarely in proportion to that of the man whose memory he is about to
perpetuate. Machiavelli was commemorated by two obscure sculptors like
Foggini and Ticcati, and Michael Angelo by Battista Lorenzi. What has
the world not lost by the refusal of Michael Angelo's offer to erect a
tomb to Dante when the city of Florence was about to ask Ravenna to
restore his remains to her!

The convent annexed to Santa Croce was also built by Arnolfo. It was
originally occupied by the Franciscan monks, and it was here that, from
1284 to 1782, the Inquisition held its sittings. The notorious
Frenchman, Gaulthier de Brienne, Duke of Athens, who for a brief period
ruled Florence as Captain of the People, selected this monastery as his
residence in June, 1342, but having in September of the same year
succeeded in getting himself elected ruler of Florence for life, he
removed to the Palazzo Vecchio. His reign, however, was of only brief
duration, for the year following he was expelled by the people.

THE UFFIZI GALLERY[39]

BY HIPPOLYTE ADOLPHE TAINE

What can be said of a gallery containing thirteen hundred pictures? For
my own part I abstain. Examine catalogs and collections of engravings,
or rather come here yourself. The impressions borne away from these
grand store-houses are too diverse and too numerous to be transmitted
by the pen. Observe this, that the Uffizi is a universal depot, a sort
of Louvre containing pain