FLORENTINE ART. 
17 
placed under the Infante Louis of Parma as the kingdom of Etruria : 
in 1808 it was ceded to France : in 1814 it was given back to the 
Grand-Duke Ferdinand, whose son Leopold II., raised to the sove¬ 
reignty in his 18th year, was the great benefactor of the lands of 
Tuscany, under the ministry of Count Fossombrone. In 1848 thé 
Grand-Duke was compelled to recognise a radical ministry (Guerazzi, 
Montanelli, Mazzini, Prince Corsini-Lajatico). In 1849, he fled to 
Caieta, and for one fortnight Guerazzi ruled as Dictator. Then the 
Grand-Duke was recalled, imprudently strengthened himself with 10,000 
Austrian soldiers, and in 1852 abolished the constitution. In 1859 he 
was compelled to abdicate. In 1860, Tuscany was incorporated with 
the kingdom of Victor Emmanuel ; from 1863 to 1871 it was the capital 
of that kingdom. In 1871, it resigned its rank to Rome, and has since 
then sunk into a mere provincial city, bereft of the presence of a court, 
and paying more than six times the amount of taxes it paid under the 
Grand-Dukes. To its Medici princes and their Austrian successors, it 
owes most of its noble buildings, and all its incomparable galleries and 
museums : the reign of Victor Emmanuel is commemorated by the 
tasteless front of S. Croce, and the total destruction of the noble walls 
which encircled the city, and which made Florence, with the exception 
of Rome, unique amongst European capitals. 
In Architecture, Florence is richest in its Palaces, and these exceed 
those of any other city. The earliest architect of distinction was Arnolso 
di Cambio (Cathedral, Palazzo Vecchio, Bargello), the earliest painte 
of importance was Cimabue (S. Maria Novella, Academy). Then came 
Giotto, as both architect and artist (Cathedral Tower, Pictures in 
Academy and Uffizi), the Orcagna (Loggia de’ Lanzi, Or S. Michele, 
S. Maria Novella), and Fra Angelico (S. Marco, Uffizi, Academy). 
With the Renaissance of the 15th century arose Brunelleschi in 
architecture (Cathedral, &c.), Masaccio (Carmine) in painting, and 
Donatello and Ghiberti (Or S. Michele, Bargello collection, Baptistery, 
&c.) in sculpture. At the same time flourished Leo Battista Alberti 
(Palazzo Rucellai, S. Maria Novella), Michelozzo Michelozzi (S. Marco), 
Giuliano di S. Gallo, and others; while in sculpture the Robbias, 
Andrea di Verocchio, Benedetto da Majano, Rovezzano, and others, 
have left many incomparable works. With these came a host of noble 
artists, Filippo and Filippino Lippi (Carmine), Botticelli (Uffizi), 
Cosimo Roselli (S. Maria de’ Pazzi), Domenico Ghirlandajo (S. Trinità), 
and Benozzo Gozzoli (Palazzo Riccardi), &c., whose glories only paled 
before their successors, Leonardo da Vinci (Uffizi, Pitti), Michel¬ 
angelo (S. Lorenzo, Uffizi, &c.), Andrea del Sarto (Scalzi, Pitti), Fra 
Bartolommeo (Uffizi, Pitti), Mariotto Albertinelli (Uffizi), and others. 
After the fall of Florentine freedom in 1530, Art began to decline 
at Florence, only finding a noble representative in the sculptor Giovanni 
da Bologna (Piazza della Signoria, Boboli Gardens). The works of the 
later architects, Buontalenti, Ammanati, &c., and of such artists as