_Seven Ages in the Life of Man. Infancy, Childhood, Adolescence, Youth, Manhood, Age, and Decrepitude_ (No. 6).
All seven are treated with a _naïveté_ and grace impossible to surpass. (Ill. XVIII.) Not only the figures themselves, but also their accessories; the budding blossoms, the over-blown flowers, and the handsome classical tomb to which “_Decrepitas_” is tottering, show a taste and feeling beyond description. Federighi, we read, designed and executed this delightful work in 1475,[115] and, at about the same date, the friezes of stags, and perhaps the beautiful lily (Ill. XXIV.), candlestick (Ill. XXII.) and geometrical pattern, in the angle formed by the _Seven Ages_ with the Cupola designs, were also laid down; but we cannot be sure whether they are by the same master or not. All that we do know for certain about them is drawn from two notices,[116] recording payments to a certain Bartolino of Massa da Carrara for marble for work in the Duomo, among which the “frieze of stags” (_fregio del cervio_), and a frieze at the Porta del Perdono are especially mentioned.
ALINARI PHOTO.] [DESIGNED BY ANTONIO FEDERIGHI
The work visible here now is wholly a restoration; but Federighi’s _Seven Ages_ may be seen nearly complete in the Museum of the Opera, together with part of the frieze of stags. Fragments of the other friezes and borders are also to be found, laid down outside the north aisle of the Cathedral, in the little courtyard between it and the present Palace of the Archbishop.
Federighi’s work, when removed (1869–1878), was replaced by the fine copy, which we now see, executed by Leopoldo Maccari and Giuseppe Radicchi. The cost of restoration, at this date, of the entire angle amounted to 22,254 lire 26 c.
There is no record of any early work ever having existed between this design and the destroyed Porta, which probably stood nearly on the same spot as the doorway of the present Cappella del Voto. Perhaps the erection of this newer archway created a wider space. However this may have been, designs for the four Theological Virtues, _Religion_, _Faith_, _Hope_, and _Charity_ were made by Carlo Amidei, and executed here by Matteo Pini[117] in 1780. These designs were not admired, and, moreover, did not stand the wear of time as the older work had done. They were, therefore, removed in 1870, and replaced by entirely new designs, made by Professor Alessandro Franchi, and executed, under his direction, by Leopoldo Maccari.