THE BARGELLO

Plastic art Blood-soaked stones The faithful artists Michelangelo Italian custodians The famous Davids Michelangelo's tondo--Brutus Benedetto da Rovezzano Donatello's life-work The S. George Verrocchio Ghiberti and Brunelleschi and the Baptistery doors Benvenuto Cellini John of Bologna Antonio Pollaiuolo--Verrocchio, again Mino da Fiesole The Florentine wealth of sculpture Beautiful ladies The Bella Robbias South Kensington and the Louvre.

BEFORE my last visit but one to Florence, plastic art was less attractive to me than pictorial art. But now I am not sure. At any rate when, here in England, I think of Florence, as so often I do, I find myself visiting in imagination the Bargello before the Uffizi. Pictures in any number can bewilder and dazzle as much as they delight. The eye tires. And so, it is true, can a multiplicity of antique statuary such as one finds at the Vatican or at the Louvre ; but a small collection of Renaissance work, so soft and human, as at the Bargello, is not only joy-giving but refreshing too. The soft contours soothe as well as enrapture the eye: the tenderness of the Madonnas, the gentleness of the Florentine ladies and youths, as Verrocchio and Mino da Fiesole, Donatello, and Pollaiuolo moulded them, calm one where the perfection of Phidias and Praxiteles excites. Hence the very special charm of the Bargello, whose plastic treasures are comparatively few and picked, as against the heaped profusion of paint in the Uffizi and the Pitti. It pairs off rather with the Accademia, and has this further point in common with that choicest of galleries, that Michelangelo's chisel is represented in both.

DAVID DAVID FROM THE BRONZE STATUE BY FROM THE BRONZE STATUE BY DONATELLO IN THE BARGELLO VERROCCHIO IN THE BARGELLO

The Bargello is at the corner of the Via Ghibelline in the narrow Via del Proconsolo so narrow that if you take one step off the pavement a, tram may easily sweep you into eternity ; so narrow also that the real dignity of the Bargello is never to be properly seen, and one thinks of it rather for its inner court and staircase and its strong tower than for its massive facades. Its history is soaked in blood. It was built in the middle of the thirteenth century as the residence of the chief magistrate of the, city, the Capitano del popolo, or Podesta, first appointed soon after the return of the Guelphs in 1251, and it so remained, with such natural Florentine, vicissitudes as destruction by mobs and fire, for four hundred years, when, in 1574, it was converted into a prison and place of execution and the head-quarters of the police, and changed its name from the Palazzo del Podesta to that by which it is now known, so called after the Bargello, or chief of the police.

It is indeed fortunate that no rioters succeeded in obliterating Giotto's fresco in the Bargello chapel, which he painted probably in 1300, when his friend Dante was a Prior of the city. Giotto introduced the portrait of Dante which has drawn so, many people to this little room, together with portraits of Corso Donati, and Brunetto Latini, Dante's tutor. Whitewash covered it for two centuries. Dante's head has been restored.

It was in 1857 that the Bargello was again converted, this time to its present gracious office of preserving the very flower of Renaissance plastic art.

Passing through the entrance hall, which has a remarkable collection of Medicean armour and weapons, and in which (I have read but not seen) is an oubliette under one of the great pillars, the famous court is gained and the famous staircase. Of this court what can I say? Its quality is not to be communicated in words ; and even the photographs of it that are sold have to be made from pictures, which the assiduous Signor Giuliani, among others, is always so faithfully painting, stone for stone. One forgets all the horrors that once were enacted here the execution of honourable Florentine patriots whose only offence was that in their service of this proud and beautiful city they differed from those in power ; one thinks only of the soft light on the immemorial walls, the sturdy graceful columns, the carved escutcheons, the resolute steps, the spaciousness and stern calm of it all.

In the colonnade are a number of statues, the most famous of which is perhaps the "Dying Adonis" which Baedeker gives to Michelangelo but the curator to Vincenzo di Rossi; an ascription that would annoy Michelangelo exceedingly, if it were a mistake, since Rossi was a pupil of his enemy, the absurd Bandinelli. Mr. W. G. Waters, in his "Italian Sculptors," considers not only that Michelangelo was the sculptor, but that the work was intended to form part of the tomb of Pope Julius. In the second room opposite the main entrance across the courtyard, we come, however, to Michelangelo authentic and supreme, for here are his small David, his Brutus, his Bacchus, and a tondo of the Madonna and Child.

According to Baedeker, the Bacchus and the David revolve. Certainly they are on revolving stands, but to say that they revolve is to disregard utterly the character of the Italian official. A catch holds each in its place, and any effort to release this or to induce the custodian to release it is equally futile. "Chiuso" (closed), he replies, and that is final. Useless to explain that the backs of statues can be beautiful as the front; that one of the triumphs of great statuary is its equal perfection from every point ; that the revolving stand was not made for a joke but for a serious purpose. "Chiuso," he replies. The museum custodians of Italy are either like this jaded figures of apathy or they are enthusiasts. To each enthusiast there are ninety-nine of the other, who sit in a kind of stupor and watch you with sullen suspicion, as they clear their throats as. no gentleman should. The result is that when one meets the enthusiasts one remembers them.

The fondness of sculptors for David as a subject is due to the fact that the Florentines, who had spent so much of their time under tyrants and so much of their blood in resisting them, were captivated by the idea of this stripling freeing his compatriots from Goliath and the Philistines. David, as I have said in my remarks on the Piazza della Signoria, stood to them, with Judith, as a champion of liberty. He was alluring also on account of his youth, so attractive to Renaissance sculptors and poets, and the Florentines' admiration was not diminished by the circumstance that his task was a singularly light one, since be never came to close quarters with his antagonist at all and had the Lord of Hosts on his side. A David of mythology, Perseus, another Florentine hero, a stripling with what looked like a formidable enemy, also enjoyed supernatural assistance.

David appealed to the greatest sculptors of all to Michelangelo, to Donatello, and to Verrocchio ; and Michelangelo made two figures, one of which is here and the other at the Accademia, and Donatello two figures, both of which are here, so that, Verrocchio's example being also here, very interesting comparisons are possible.

Personally I put Michelangelo's smaller David first ; it is the one in which, apart from its beauty, you can best believe. His colossal David seems to me one of the most glorious things in the world, but it is not David; not the simple, ruddy shepherd lad of the Bible. This David could obviously defeat anybody. Donatello's little graceful David in the Bargello is the most charming creature you ever saw, but it had been far better to call him something else. Both he and Verrocchio's David, in the same room, are young tournament nobles rather than shepherd lads who have slung a stone at a Philistine bully. I see them both but particularly perhaps Verrocchio's in the intervals of strife most acceptably holding up a lady's train, or lying at her feet reading one of Boccaccio's stories; neither could ever have watched a flock. Both are in bronze. Donatello's second David, in marble, near the more famous one, has more reality; but I would put Michelangelo's smaller one first. And what beautiful marble it is!

One point which both Donatello's and Verrocchio's David emphasizes is the gulf that was fixed between the Biblical and religious conception of the youthful psalmist and that of these sculptors of the Renaissance. One can, indeed, never think of Donatello as a religious artist. Serious, yes ; but not religious, or at any rate not religious in the too common sense of the word, in the sense of appertaining to a special reverential mood distinguished from ordinary moods of dailiness. His David, as I have said, is a comely, cultured boy, who belongs to the very flower of chivalry and romance. Verrocchio is akin 'to him, but he has less radiant mastery. Donatello's David might be the young lord; Verrocchio's, his page. Here we see the new spirit, the Renaissance, at work, for though religion called it into being and the Church continued to be its patron, it rapidly divided into two halves, and while the painters were bringing all their genius to glorify sacred history, the scholars were endeavouring to humanize it. In this task they had no such allies as the sculptors, and particularly Donatello, who, always thinking independently and vigorously, was their best friend. Donatello's David fought also more powerfully for the modern spirit (had he known it) than ever he could have done in real life with such a large sword in such delicate bands; for by being the first nude statue of a Biblical character, he made simpler the way to all humanists.