eight braccia wide. The cost of this fabric was 72,000 gold florins, and if Taddeo merited and obtained praise for the work in that day, no less does he deserve it in the present, when he has, indeed, been more than ever commended; for, to say nothing of other floods, this bridge was not in the slightest degree affected by that which happened on the 13th of September 1557, when the bridge of Santa Trinita was totally ruined; that of Carraja had two of its arches destroyed, and the Rubaconte bridge was almost entirely washed away, much damage being also sustained by other parts of the city, from the same inundation. No man having judgment in these matters, can fail to be astonished that the Ponte Yecchio should have sustained the whole force of the waters, with that of the heavy beams and other wreck, brought against it by incessant inundations, and yet given no sign of yielding, but remained immoveable through all these assaults. About the same time, the bridge of Santa Trinita was also founded by Taddeo Gaddi, at the cost of 26,000 florins, but not with similar good fortune. This was completed in the year 1346; and I say, not with equal success, because, having been differently constructed from the Ponte Vecchio, it was entirely destroyed in the flood just alluded to, namely that of 1557. The stone wall which strengthens the bank near San Gregorio, was built under the direction of Taddeo, about the same time, and was defended by strong piles; two piers of the bridge being taken to enlarge the platform on the side of the piazza de’ Mozzi, and there this master constructed the mills still to be seen at that place. While all these works were proceeding, after the designs and under the direction of Taddeo, he did not neglect his paintings, and among other works he completed the Tribune of the old Mercanzia,[1] where he depicted the six figures which represent the principal persons composing that court: they are looking at Truth, who is pourtrayed in the act of tearing out the tongue of Falsehood. The former is covered with a transparent veil, while the latter is wrapped in black vestments; both are females, and the whole work exhibits considerable force of invention. Beneath these figures are the following lines:—
- ↑ These paintings no longer exist.
