the stones, and in these were placed the golden lilies still to be seen there:[1] all which Michelozzo caused to be completed with great promptitude. In the second floor, immediately above the windows of the before-mentioned court-yard, the architect contrived circular apertures, to give light to the rooms of the entresol, which are over those of the first floor, and where is now the hall of the Dugento. The third floor, finally, in which resided the Signori and the Gonfaloniere, was more richly adorned, and on the side towards San Piero Scheraggio, Michelozzo arranged a series of rooms for the Signori, who had previously all slept together in one great chamber. These apartments consisted of eight for the Signori, with a larger one for the Gonfaloniere, and they all opened upon a gallery, the windows of which looked on the court-yard. Above these apartments was a range of commodious rooms for the household of the palace, the officers of the courts, etc. In one of these rooms, that namely which is now the treasury, there is the portrait of Carlo Duke of Calabria, son of King Robert, who is represented kneeling before a figure of the Virgin. This picture is by the hand of Giotto.[2] In like manner, the architect provided rooms for the women-servants, the ushers, doorkeepers, trumpeters, musicians, pipers, mace-bearers, servants of the courts, heralds, and such-like, with all other apartments required in a palace of that character.[3] On the upper part of the gallery, and entirely around the court, Michelozzo erected a stone cornice, with a reservoir of water, which was filled by the rains, for the use of the fountains that were required to play at certain times. The improvements and decorations of the chapel, wherein mass is performed, were also executed by Michelozzo, and here he likewise constructed several rooms, the ceilings of which were highly enriched with lilies
- ↑ They were removed in 1809 by the Trench government, then ruling in Florence, who objected to the lilies, as too closely resembling those in the arms of their deposed sovereigns; they also declared that the deep colour of the medallions rendered the court too dark.— Masselli.
- ↑ This picture is no longer visible, as has been observed in the life of Giotto. —Ibid.
- ↑ The architect Giuseppe del Rosso, who directed the alterations made in 1809, published a collection of remarks at Siena in 1815, on the methods pursued by him on that occasion; a work which may be advantageously consulted by any one engaged in making future changes. —Ibid.
