We next proceed to Florence, where the remains of mediæval architecture are far more extensive and interesting than at Rome. The choir of the cathedral is immediately under the dome; an octagon subasement supported a screen of the Doric order, covered with sculptures and bas-reliefs. This was only removed a few years since, and, in consequence of its removal, the canons, in order to preserve themselves from the cold air, usually officiate during the winter months in a glazed chapel, very like a large counting-house, that has been erected on the north side of the church. It is, I believe, practically impossible to keep choir in this church without a screen.
SANTA CROCE.
In this church many of the old screens yet remain. They are for the most part composed of metal trellis-work, supported by wrought uprights, and terminated by open bratishing. Those on the north side are quite perfect, and evidently coeval with the fabric.
SAN MICHELE.
The altar of the church San Michele, which was erected in a building originally a corn-market, out of devotion to a picture of our Blessed Lady, that was depicted against one of the pillars. It is surrounded by a superb screen of marble and bronze, which will be better understood by referring to the [plate], on which it is figured. The execution of the sculpture of this altar is most admirable, and the minutest details are finished with extreme delicacy and care, and many of the panels are enriched with precious stones and jaspers. The upper part of the screen supports a richly-moulded brass trough, to receive the drippings of the numerous tapers offered upon this altar, and for which standards with prickets are disposed above each mullion or division of the screen. The whole is in the most perfect state, and offers a splendid example of mediæval Italian art.
SAN PETRONIO, BOLOGNA.
The nave of this gigantic and noble church is alone completed. The choir at the eastern end is therefore but a temporary erection in the two last bays. Several of the side chapels are enclosed by Pointed screens, coeval with the erection of the church. They are composed partly of wood, and partly of marble and metal; but they are elaborate and lofty, and quite of the same character as those of the northern churches.
PADUA.
The church of San Antonio has a large screen and rood loft, of cinque-cento-work, at the entrance of the choir, which is also surrounded by screen-work, and another screen, of a much older date, with open arches and tracery-work executed in marble, divides off the chapel of S. Felice from the main body of the church. The arrangement of the choir of this remarkable church is very similar to that which prevailed in the French cathedrals; and some of the churches in Venice bear a very close resemblance to the Flemish ecclesiastical buildings.
The chapel of Santa Maria dell' Arena, in the same city, remains nearly in its original state, and exhibits a very curious example of choral arrangement. The stalls partly return on each side of the entrance, and are backed by stone walls about four feet high on the inside, and seven on the outside; the space between them is ascended by steps, and forms a platform or ambo for the chanting of the Gospel and Epistles, for which purpose an iron and a marble desk, both of the fourteenth century, still remain. These form a screen to the choir, and serve as dosells or reredoses to two altars which are placed against them. There are no appearances of there ever having been any screen-work above these, but all above a solid wall seven feet high is of small consequence as regards facilities of seeing for those in the nave. This chapel was not, however, parochial, but erected for the use of a confraternity.