Murray’s Handbook of Flotrence and its environs

The Palazzo Riccardi (Via Larga, No. 6038). This stately residence was begun in 1430, by Cosimo de’ Medici, from the designs of Michelozzo. It has lodged Charles VIII of France, Leo X, and Emperor Charles V. It continued in the possession of the Medicis till 1659, when they sold it to the Marquis Gabriele Riccardi; but towards the end of the last century it was bought by the Grand Duke, and is now employed as a species of Somerset House, partly for literary societies, and partly for government offices. The building is a noble specimen of the Florentine Style. In the windows of the upper stories Doric and Corinthian pillars are introduced as mullions. The windows of the ground floor are by Michael Angelo, and they are curious as being the first example of a window-sill supported by consoles; an invention of that great architect. In the court over the arches are eight good bas-reliefs by Donatello, but less interesting than his works usually are, being imitated from ancient gems and medals. Several Roman inscriptions, busts, and bas-reliefs are deposited here; amongst which 3 fine sarcophagi, having been used like those of Pisa for mediaeval tombs, and formerly built into the walls of the baptistery of S. Giovanni. The great gallery is very splendid. The paintings are by Luca Giordano (1632-1705). The subjects are the Apotheosis of the Medicis, and groups explained as allegorical of the vicissitudes of human life. The quantity of Ultramarine employed was so great, that the assistant, who washed the painter’s brushes, is said to have made a large sum by operation.
The chapel has some beautiful and well-preserved frescoes by Benozzo Gozzoli: “They are as fresh and pure as when first painted (and Gozzoli died in 1478). The subjects are hunting pieces, processions, angels kneeling, &c.; full of vernal beauty and poetry, feeling and simplicity, and yet of variety in treatment. The delicate purity and freshness of the colour show how well fresco may be adapted to the decoration of even small rooms: about its superiority for large there is no doubt” – C.W.C. These frescoes contain several Florentine portraits; that of Gozzoli himself is fine: also the figure of the foreshortened ass, which Gozzoli introduced at Pisa, and of which he was so proud. Vasari especially mentions it there, but not here.
The Biblioteca Riccardi, formed by the family, and purchased by the state in 1812, is open to the public daily from nine till two, except on Sundays and festivals. It contains about 3600 manuscripts, and about 20,600 printed books; many copies of Dante; correspondence of Italian literati; and some valuable classics.
In this palace the celebrated Accademia della Crusca still assembles. It arose of the Accademia Fiorentina, founded in 1540, in consequence of a feud amongst the members: its first meeting as an authorised assembly was in 1582. Their object was the cultivation and refinement of the Tuscan dialect. Their conceit was that their business should consist in the separation of the fine flour from the bran, or crusca, and all their devices are in accordance. A boulting machine is their heraldic coat, with the motto, “Il più bel fior ne coglie”. The backs of their chairs were in the shape of a winnowing shovel; the seats represented sacks; every member took a name allusive to the miller’s calling, and received a grant of an estate, properly described by metes and bounds, in Arcadia. Their first object was the selection of such writers as might justly serve as standards of language: these they have designated as Testi di Lingua, and from these authorities the Dizionario della crusca was compiled. By Leopold I the Accademia della Crusca was united to the Accademia Fiorentina. It was again received, on its original plan in 1814.