It is well not to return to the city by the tramway, which rushes through the trees of the Viale Michelangelo like I know not what hideous and shrieking beast of prey, but to wander down towards the Piazzale, and then, just before you came to it, on your left, by S. Salvatore, to go down to Porta S. Miniato, that "gap in the wall," and then to pass by the old wall itself up the hill to Porta di S. Giorgio among the olives between the towers under the Belvedere. It is the most beautiful of all the gates of the city, little, too, and still keeps its fresco of the fourteenth century. FOOTNOTES: [113] Villani, _Cronica_, l. i. c. 57, translated by R.E. Selfe. Constable, 1906. [114] See p. 363. XXI. FLORENCE THE BARGELLO If Arnolfo di Cambio is the architect not only of the Duomo but of the Palazzo Vecchio, and if Orcagna conceived the delicate beauty of the Loggia de' Lanzi, it is, if we may believe Vasari, partly to Arnolfo and partly to Agnolo Gaddi that we owe Bargello, that palace so like a fortress, at the corner of Via del Proconsolo and Via Ghibellina. Begun in the middle of the thirteenth century for the Capitano del Popolo, it later became the Palace of the Podesta, passing at last, under the Grand Dukes, to the Bargello, the Captain of Justice, who turned it barbarously enough into a prison, dividing the great rooms, as it is said, into cells for his prisoners. To-day it is become the National Museum, where all that could be gathered of the work of the Tuscan sculptors is housed and arranged in order.