Florence and Northern Tuscany with Genoa Part 18

[116] Eccellenza della Statua di S. Giorgio di Donatello: Marescotti, 1684.

XXII. FLORENCE

ACCADEMIA

Florentine art, that had expressed itself so charmingly, and at last so pa.s.sionately and profoundly, in sculpture, where design, drawing, that integrity of the plastic artist, is everything, and colour almost nothing at all, shows itself in painting, where it is most characteristic, either as the work of those who were sculptors themselves, or had at least learned from them--Giotto, Orcagna, Masaccio, the Pollaiuoli, Verrocchio, and Michelangelo--or in such work as that of Fra Angelico, Fra Lippo Lippi, Botticelli, and Leonardo, where painting seems to pa.s.s into poetry, into a canticle or a hymn, a Trionfo or some strange, far-away, sweet music. The whole impulse of this art lies in the intellect rather than in the senses, is busied continually in discussing life rather than in creating it, in discussing one by one the secrets of movement, of expression; always more eager to find new forms for ideas than to create just life itself in all its splendour and shadow, as Venice was content to do. Thus, while Florence was the most influential school of art in Italy, her greatest sons do not seem altogether to belong to her: Leonardo, a wanderer all his life, founds his school in Milan, and dies at last in France; Michelangelo becomes almost a Roman painter, the sculptor, the architect in paint of the Sistine Chapel; while Andrea del Sarto appears from the first as a foreigner, the one colourist of the school, only a Florentine in this, that much of his work is, as it were, monumental, composing itself really--as with the Madonna delle Arpie or the great Madonna and Saints of the Pitti, for instance--into statuesque groups, into sculpture. So if we admit that Leonardo and Michelangelo were rather universal than Florentine, the most characteristic work of the school lies in the fourteenth and fifteenth centuries, in the work of Giotto, so full of great, simple thoughts of life; in that of the Pollaiuoli, so full of movement; but most of all perhaps in the work of Angelico, Lippo Lippi, and Botticelli, where the significance of life has pa.s.sed into beauty, into music.

The rise of this school, so full of importance for Italy, for the world, is very happily ill.u.s.trated in the Accademia della Belle Arti; and if the galleries of the Uffizi can show a greater number of the best works of the Florentine painters, together with much else that is foreign to them; if the Pitti Palace is richer in masterpieces, and possesses some works of Raphael's Florentine period and the pictures of Fra Bartolomeo and Andrea del Sarto, as well as a great collection of the work of the other Italian schools, it is really in the Accademia we may study best the rise of the Florentine school itself, finding there not only the work of Giotto, his predecessors and disciples, but the pictures of Fra Angelico, of Verrocchio, of Filippo Lippi, of Botticelli, the painters of that fifteenth century which, as Pater has told us, "can hardly be studied too much, not merely for its positive results in the things of the intellect and the imagination, its concrete works of art, its special and prominent personalities with their profound aesthetic charm, but for its general spirit and character, for the ethical qualities of which it is a consummate type."

The art of the Sculptors had been able to free itself from the beautiful but sterile convention of the Byzantine masters earlier than the art of Painting, because it had found certain fragments of antiquity scattered up and down Southern Italy, and in such a place as the Campo Santo of Pisa, to which it might turn for guidance and inspiration. No such forlorn beauty remained in exile to renew the art of painting. All the pictures of antiquity had been destroyed, and though in such work as that of the Cavallini and their school at a.s.sisi there may be found a faint memory of the splendour that had so unfortunately pa.s.sed away, it is rather the shadow of the statues we find there--in the Abraham of the upper church of S. Francesco, for instance--than the more lyrical and mortal loveliness of the unknown painters of Imperial Rome. Yet it is there, in that lonely and beautiful church full of the soft sweet light of Umbria, that Giotto perhaps learned all that was needed to enable him not only to recreate the art of painting, but to decide its future in Italy.

Here in the Accademia in the Sala dei Maestri Toscani you may see an altarpiece that has perhaps come to us from his hands, amid much beautiful languid work that is still in the shadow of the Middle Age, or that, coming after him, has almost failed to understand his message, the words of life which may everywhere be found in his frescoes in a.s.sisi, in Florence, in Padua, spoiled though they be by the intervention of fools, the spoliation of the vandals.

Those strange and lovely altarpieces ruthlessly torn from the convents and churches of Tuscany still keep inviolate the secret of those who, not without tears, made them for the love of G.o.d: once for sure they made a suns.h.i.+ne in some shadowy place. Hung here to-day in a museum, just so many specimens that we number and set in order, they seem rude and fantastic enough, and in the cold light of this salone, crowded together like so much furniture, they have lost all meaning or intention. They are dead, and we gaze at them almost with contempt; they will never move us again. That rude and almost terrible picture of Madonna and Saints with its little scenes from the life of our Lord, stolen from the Franciscan convent of S. Chiara at Lucca, what is it to us who pa.s.s by? Yet once it listened for the prayers of the little nuns of S. Francis, and, who knows, may have heard the very voice of Il Poverello. That pa.s.sionate and dreadful picture of St. Mary Magdalen covered by her hair as with a robe of red gold, does it move us at all?

Will it explain to us the rise of Florentine painting? And you, O learned archaeologist, you, O scientific critic, you, O careless and curious tourist, will it bring you any comfort to read (if you can) the inscription--

"Ne desperetis, vos qui peccare soletis Exemploque meo vos reperate Deo."

Those small pictures of the life of St. Mary, which surround her still with their beauty, do you even know what they mean? And if you do, are they any more to you than an idle tale, a legend, which has lost even its meaning? No, we look at these faint and far-off things merely with curiosity as a botanist looks through his alb.u.ms, like one who does not know flowers.

Then there is the great Ancona (102) from S. Trinita attributed to Cimabue about which the critics have been so eloquent, till under their hands Cimabue has vanished into a mere legend; and Madonna too, is she now any more than a tale that is told? Beside it you find another Madonna (103) from Ognissanti which they agree together is really from the hand of Giotto, though with how much intervention and repainting; but they confess too that there is little to be learnt from it, since Giotto may be seen to better advantage and more truly himself in his frescoes, which yet remain in the churches as of old. And it is for this we have robbed the lowly and stolen away the images of their G.o.ds.

It is a lesser because a merely imitative art that you see in the work of Taddeo Gaddi and the Madonna and Child with six saints of his son Agnolo, or the Entombment ascribed to Taddeo but really the work of an inferior painter, Niccol di Pietro Gerini from Or San Michele. Yet those twelve scenes from the lives of Christ and St. Francis are lovely enough; and in the Crucifixion there (112) we seem to see the work of a master. A host of painters, "the Giottesques," as we may call them, followed: Puccio Capanna, Buffalmacco, Francesco da Volterra, Stefano Fiorentino, the grandson of Giotto, Giottino, and Spinello Aretino, all of whom were painting about the middle of the fourteenth century in Giotto's manner but without his genius, or any true understanding of his art. The gradual pa.s.sing of this derivative work, the prophecy of such painters as Masolino, Masaccio, and Fra Angelico may be found in the work of Orcagna, of Antonio Veneziano, and Starnina, and possibly too in the better-preserved paintings of Lorenzo Monaco of the order of S.

Romuald of Camaldoli, in the Annunciation (143), for instance, here in this very room.

Andrea Orcagna was born about 1308. He was a man of almost universal genius, but his altarpiece in S. Maria Novella is nearly all that remains to us of his painting, and splendid though it be, has been perhaps spoiled by a later hand than his. In the Accademia here there is a Vision of St. Bernard (No. 138), faint, it is true, but still soft and charming in colour, while in the Uffizi there is in the corridor an altarpiece with St. Matthew in the midst that is certainly partially his own. Nothing at all remains to us of the work of Starnina, the master of Masolino, and thus we lose the link which should connect the art of Giotto and the Giottesques with the art of Masolino and Angelico.[117]

It was about the same time as Starnina was painting in the chapel of S.

Girolamo at the Carmine that Lorenzo Monaco was working in the manner of Agnolo Gaddi. His work is beautiful by reason of its delicacy and gentleness, but it is so completely in the old manner that Vasari gives his altarpiece of the Annunciation now here in the Accademia (No. 143) to Giotto, praising that master for the tremulous sweetness of Madonna as she shrinks before the Announcing Angel just about to alight from heaven. It is a very different scene you come upon in his altarpiece in S. Trinita, where Gabriel, his beautiful wings furled, has already fallen on his knees, and our Lord Himself, still among the Cherubim, speeds the Dove to Mary, who has looked up from her book suddenly in an ecstasy.

[Ill.u.s.tration: THE ADORATION OF THE SHEPHERDS

_By Domenico Ghirlandajo, Accademia_

_Anderson_]

No work that we possess of the fourteenth century, save Giotto's, prepares us for the frescoes of Masolino: they must be sought in the Brancacci Chapel of the Carmine. But of the work of Masaccio his pupil, though his best work remains in the same place, there may be found here in the Accademia an early altarpiece of Madonna and Child with St.

Anne (Sala III, No. 70). Born in 1401, dying when he was but twenty-seven years of age, he recreated for himself that reality in painting which it had been the chief business of Giotto to discover.

Influenced by Donatello, his work is almost as immediate as that of sculpture. Impressive and full of an energy that seems to be life itself, his figures have almost the sense of reality. "I feel," says Mr.

Berenson, "that I could touch every figure, that it would yield a definite resistance ... that I could walk round it." There follow Paolo Uccello, whose work will be found in the Uffizi, and Andrea del Castagno, who painted the equestrian portrait of Niccol da Tolentino in the Duomo, and the frescoes in S. Apollonia.

Thus we come really into the midst of the fifteenth century, to the work of Fra Angelico, Fra Lippo Lippi, and Botticelli, which we have loved so much.

It is really the Middle Age, quite expressed for once, by one who, standing a little way off perhaps, could almost scorn it, that we come upon in Gentile da Fabriano's picture, on an easel here, of the Adoration of the Shepherds. It is one of the loveliest of all early Umbrian pictures, full of a new kind of happiness that is about to discover the world. And if with Gentile we seem to look back on the Middle Age from the very dawn of the Renaissance, it is the Renaissance itself, the most simple and divine work it achieved in its earliest and best days, that we see in the work of Fra Angelico. One beautiful and splendid picture, the Descent from the Cross, alas! repainted, stands near Gentile's Adoration, among several later pictures, of which certainly the loveliest is a gentle and serene work by Domenico Ghirlandajo, an Adoration of the Shepherds; but the greater part of Angelico's work to be found here is in another room. There, in many little pictures, you may see the world as Paradise, the very garden where G.o.d talked with Adam. Or he will tell us the story of S. Cosmas and S. Damian, those good saints who despised gold, so that with their brethren they were cast into a furnace, but the beautiful bright flames curled and leaped away from them as at the breath of G.o.d, licking feverishly at the persecutors, who with iron forks try to thrust the f.a.ggots nearer, while one hides from the heat of the fire behind his s.h.i.+eld, and another, already dead, is consumed by the flames. Above in a gallery of marble, decked with beautiful rugs and hangings of needlework, the sultan looks on astonished amid his courtiers. Or it is the story of our Lord he tells us: how in the evening Mary set out from Nazareth mounted on a mule, her little son in her arms, Joseph following afoot, with a pipkin for the fire in the wilderness, and a _fiasco_ of wine lest they be thirsty, a great stick over his shoulder for the difficult way, and a cloak too, for our Lady. Or it is the Annunciation he shows us: how in the dawn of that day of days, his bright wings still tremulous with flight, Gabriel fell like a snowflake in the garden, in the silence of the cypresses between two little loggias, light and fair, where Madonna was praying; far and far away in the faint clear sky the Dove hovers, that is the Spirit of G.o.d, the Desire of all Nations. Or it is Hosanna he sings, when Christ rides under the stripped palms into Jerusalem, while the people strew the way with branches. Or again he will tell us of Paradise, beneath whose towers, in a garden of wild flowers, the saints dance with the angels, crowned with garlands, in the light that streams through the gates of heaven from the throne of G.o.d.

How may we rightly speak of such a man, who in his simplicity has seen angels on the hills of Tuscany, the flowers and trees of our world scattered in heaven? Truly his master is unknown, for, as perhaps he was too simple to say, St. Luke taught him in an idle hour, after the vision of the Annunciation, when he was tired of writing the Magnificat of Mary: and Angelico was his only pupil. That such things as these could come out of the cloister is not so marvellous as that, since they grew there, we should have suppressed the convents and turned the friars away. For just as the lily of art towered first and broke into blossom on the grave of St. Francis, so here in the convent of S. Marco of the Dominicans was one who for the first time seems to have seen the world, the very byways and hills of Tuscany, and dreamed of them as heaven.

It was another friar who was, as it were, to people that world, a little more human perhaps, a little less than Paradise, which Angelico had seen; to people it at least with children, little laughing rascals from the street corner, caught with a soldo and turned into angels. Another friar, but how different. The story, so romantic, so full of laughter and tears, that Vasari has told us of Fra Lippo Lippi, is one of his best known pages; I shall not tell it again. Four little panels painted by him are here in this room, beside the work of Fra Angelico. While not far away you come upon two splendid studies by Perugino of two monks of the Vallombrosa, Dom Biagio Milanesi and Dom Balda.s.sare, the finest portraits he ever painted, and in some sort his most living work.[118]

Four other works by Perugino may also be found here,--the a.s.sumption of the Blessed Virgin, a Pieta, and the Agony in the Garden in the Sala di Perugino, a Crucifixion in the Sala di Botticelli. The a.s.sumption was painted at Vallombrosa late in the year 1500, and is a fine piece of work in Perugino's more mannered style. Above, G.o.d the Father, in a glory of cherubim with a wors.h.i.+pping angel on either side, blesses Madonna, who in mid-heaven gazes upward, seated on a cloud, in a mandorla of cherubs, surrounded by four angels playing musical instruments, while two others are at her feet following her in her flight; below, three saints, with St. Michael, stand disconsolate. In the Pieta, painted much earlier, where the dead Christ lies on His Mother's knees, while an angel holds the head of the Prince of Life on his shoulders, and Mary Magdalen weeps at his feet, and two saints, St.

John and St. Joseph, perhaps, watch beside Him, there might seem to be little to hold us or to interest us at all; the picture is really without life, just because everything is so unreal, and if we gather any emotion there, it will come to us from the soft sky, full of air and light, that we see through a splendid archway, or from a tiny glimpse of the valley that peeps from behind Madonna's robe. And surely it was in this valley, on a little hill, that, as we may see in another picture here, Christ knelt; yes, in the garden of the world, while the disciples slept, and the angel brought Him the bitter cup. Not far away is Jerusalem, and certain Roman soldiers and the priests; but it is not these dream-like figures that attract us, but the world that remains amid all interior changes still the same, and, for once in his work, those tired men, really wearied out, who sleep so profoundly while Christ prays. In the Crucifixion all the glamour, the religious impression that, in Perugino's work at least, s.p.a.ce the infinite heaven of Italy, the largeness of her evening earth, make on one, is wanting, and we find instead a mere insistence upon the subject. The world is dark under the eclipsed sun and moon, and the figures are full of affectation. Painted for the convent of St. Jerome, it was necessary to include that saint and his lion, that strangely pathetic and sentimental beast, so full of embarra.s.sment, that looks at one so wearily from many an old picture in the galleries of the world. If something of that clairvoyance which created his best work is wanting here, it has vanished altogether in that Deposition which Filippino Lippi finished, and instead of a lovely dream of heaven and earth, one finds a laboured picture full of feats of painting, of cleverness, and calculated arrangement. This soft Umbrian world of dreamy landscape, which we find in Perugino's pictures, is like a clearer vision of the land we already descry far off with Fra Angelico, where his angels sing and his saints dance for gladness.

It is a different and a more real life that you see in the work of Fra Lippo Lippi. Realism, it is the very thought of all Florentine work of the fifteenth century. Seven pictures by the Frate have been gathered in this gallery,--the Madonna and Child Enthroned, the St. Jerome in the Desert, a Nativity, a Madonna adoring Her Son, and the great Coronation of the Virgin, the Archangel Gabriel and the Baptist, and a Madonna and St. Anthony.

Here in the Accademia you may see Lucrezia Buti, that pale beauty whom he loved, very fair and full of languor and sweetness. She looks at you out of the crowd of saints and angels gathered round the feet of Madonna, whom G.o.d crowns from His throne of jasper. Behind her, looking at her always, Lippo himself comes--_iste perfecit opus_,--up the steps into that choir where the angels crowned with roses lift the lilies, as they wait in some divine interval to sing again Alleluia. And for this too he should be remembered, for his son was Filippino Lippo and his pupil Sandro Botticelli.

The Accademia possesses some five pictures by Botticelli,--the Coronation of the Virgin and its predella (Nos. 73, 74), the Madonna with saints and angels (No. 85), the Dead Christ (No. 157), the Salome (No. 161), and the Primavera (No. 80). The Coronation is from the Convent of S. Marco, and seems to have been painted after Botticelli had fallen under the strange, unhappy influence of Savonarola; much the same might be said of the Madonna with saints and angels, where his expressiveness, that quality which in him was genius, seems to have fallen almost into a mannerism, a sort of preconceived att.i.tude; and certainly here, where such a perfect thing awaits us, it is rather to the Spring we shall turn at once than to anything less splendid.

The so-called Primavera was painted for Lorenzo de' Medici, and in some vague way seems to have been inspired by Poliziano's verses in praise of Giuliano de' Medici and Bella Simonetta--

"Candida e ella, e Candida la vesta, Ma pur di rose e fior dipinta e d'erba: Lo innanellato crin dell' aurea testa Scende in la fronte umilmente superba.

Ridele attorno tutta la foresta, E quanto pu sue cure disacerba.

Nell' atto regalmente e mansueta; E pur col ciglio le tempeste acqueta."[119]

Here at last we see the greatest, the most personal artist of the fifteenth century really at his best, in that fortunate moment of half-pensive joy which was so soon to pa.s.s away. How far has he wandered, and through what secret forbidden ways, from the simple thoughts of Angelico, the gay worldly laughter of Lippo Lippi. On that strange adventurous journey of the soul he has discovered the modern world, just our way of looking at things, as it were, with a sort of gift for seeing in even the most simple things some new and subtle meaning. And then, in that shadowy and yet so real kingdom in which, not without a certain timidity, he has ventured so far, he has come upon the very G.o.ds in exile, and for him Venus is born again from the foam of the sea, and Mars sleeping in a valley will awake to find her beside him, not as of old full of laughter, disdain, and joy; but half reconciled, as it were, to sorrow, to that change which has come upon her so that men now call her Mary, that name in which bitter and sweet are mingled together. With how subtly pensive a mien she comes through the spring woods here in the Primavera, her delicate hand lifted half in protest, half in blessing of that gay and yet thoughtful company,--Flora, her gown full of roses, Spring herself caught in the arms of Aeolus, the Graces dancing a little wistfully together, where Mercurius touches indifferently the unripe fruit with the tip of his caducaeus, and Amor blindfold points his dart, yes almost like a prophecy of death.... What is this scene that rises so strangely before our eyes, that are filled with the paradise of Angelico, the heaven of Lippo Lippi. It is the new heaven, the ancient and beloved earth, filled with spring and peopled with those we have loved, beside whose altars long ago we have hushed our voices. It is the dream of the Renaissance. The names we have given these shadowy beautiful figures are but names, that Grace who looks so longingly and sadly at Hermes is but the loveliest among the lovely, though we call her Simonetta and him Giuliano. Here in the garden of the world is Venus's pleasure-house, and there the G.o.ds in exile dream of their holy thrones. Shall we forgive them, and forget that since our hearts are changed they are changed also? They have looked from Olympus upon Calvary; Dionysus, who has borne the youngest lamb on his shoulders, has wandered alone in the wilderness and understood the sorrow of the world; even that lovely, indifferent G.o.d has been crucified, and she, Venus Aphrodite, has been born again, not from the salt sea, but in the bitterness of her own tears, the tears of Madonna Mary. It is thus Botticelli, with a rare and personal art, expresses the very thought of his time, of his own heart, which half in love with Pico of Mirandola would reconcile Plato with Moses, and since man's allegiance is divided reconcile the G.o.ds. You may discern something, perhaps, of the same thought, but already a little cold, a little indifferent in its appeal, in the Adoration of the Shepherds which Luca Signorelli painted, now in the Uffizi, where the shepherds are fair and naked youths, the very G.o.ds of Greece come to wors.h.i.+p the Desire of all Nations. But with Botticelli that divine thought is altogether fresh and sincere. It is strange that one so full of the h.e.l.lenic spirit should later have fallen under the influence of a man so singularly wanting in temperance or sweetness as Savonarola. One pictures him in his sorrowful old age bending over the _Divina Commedia_ of Dante, continually questioning himself as to that doctrine of the Epicureans, to wit, that the soul dies with the body; at least, one reads that he abandoned all labour at his art, and was like to have died of hunger but for the Medici, who supported him.[120]

[Ill.u.s.tration: "THE THREE GRACES FROM THE PRIMAVERA"

_By Sandro Botticelli. Accademia_

_Anderson_]

FOOTNOTES:

[117] Cf. Crowe and Cavalcaselle, _History of Painting in Italy_, 1903, vol. ii. p. 290.

[118] For a full consideration of these and other works of Perugino, Gentile da Fabriano, and the Umbrian masters, see my _Cities of Umbria_.

[119] Poliziano, Stanza I, str. 43, 44, 46, 47 68, 72, 85, 94; and Alberti, Opere Volgari, _Della Pittura_, Lib. III (Firenze, 1847).

[120] Of the work of Verrocchio in this gallery, the Baptism of Christ, in which Leonardo is said, I think mistakenly, to have painted an angel in the left hand kneeling at the feet of Jesus, I speak in the chapter on the Uffizi.

XXIII. FLORENCE

THE UFFIZI

If it is difficult to speak with justice and a sense of proportion of the Accademia delle Belle Arti, how may I hope to succeed with the Uffizi Gallery, where the pictures are infinitely more varied and numerous. It might seem impossible to do more than to give a catalogue of the various works here gathered from royal and ducal collections, from many churches, convents, and monasteries, forming, certainly, with the gallery of the Pitti Palace, the finest collection of the Italian schools of painting in the world. And then in this palace, built for Cosimo I, by Giorgio Vasari, the delightful historian of the Italian painters, you may find not only paintings but a great collection of sculpture also, a magnificent collection of drawings and jewels, together with the Archives, the Biblioteca n.a.z.ionale, which includes the Palatine and the Magliabecchian Libraries. It will be best, then, seeing that a whole lifetime were not enough in which to number such treasures, to confine ourselves to a short examination of the sculpture, which is certainly less valuable to us than to our fathers, and to a brief review, hardly more than a personal impression, of the Italian pictures, which are its chiefest treasure.

Of the rooms in which are hung the portraits of painters, those unfortunate self-portraits in which some of the greatest painters have not without agony realised their own ugliness, exhibiting themselves in the pose that they have hoped the world would mistake for the very truth, I say nothing. It is true, the older men, less concerned perhaps at staring the word in the face, are not altogether unfortunate in their self-revelation; but consider the portrait of Lord Leighton by himself,--it must have been painted originally as a signboard for Burlington House, for the summer exhibition of the Academy there, as who should say to a discerning public: Here you may have your fill of the impudent and blatant commonplace you love so much. And if such a thing is really without its fellow in these embarra.s.sing rooms, where Raphael, Leonardo, t.i.tian, and Velasquez are shouted down by some forgotten German, some too well remembered English painter, it is but the perfect essence of the whole collection, as though for once Leighton had really understood what was required of him and had done his marvellous best.

It is on the top floor of this palace of Cosimo I, after pa.s.sing the busts of the lords and dukes of the Medici family, that one enters the gallery itself, which, running round three sides of a parallelogram, opens into various rooms of all shapes and sizes. It was Francesco I, second Grand Duke of Tuscany, who began to collect here the various works of art which his predecessors had gathered in their villas and palaces. To this collection Cardinal Ferdinando de' Medici, his brother, added, on his succession to the Grand-Dukedom, the treasures he had collected in the villa which he had built in Rome, and which still bears the name of his house. To Cosimo II, it might seem, we owe the covered way from this Palazzo degli Uffizi across Ponte Vecchio to the Palazzo Pitti, while Ferdinand II began the collection of those self-portraits of the painters of which I have spoken. Inheriting, as he did through his wife, Vittoria della Rovere, the treasures of Urbino, he brought them here, while it is to his son, Cosimo III, that we owe the presence of Venus de' Medici, which had been dug up in the gardens of Hadrian's villa, and bought by Ferdinando I when he was Cardinal. Most of the Flemish pictures were brought here by Anna, the sister of Gian Gastone, and daughter of Cosimo III, when she returned a widow to Florence from the North. The house of Lorraine also continued to enrich the gallery, which did not escape Napoleon's generals. They took away many priceless pictures, all of which we were not able to force them to restore, though we spent some 30,000 in the attempt. We were, however, able to send back to Italy the Venus de' Medici, which Napoleon had thought to marry to the Apollo Belvedere.