Tizio[14] tells us that this platform with its three steps was laid down in 1448, under the direction of Giovanni Borghesi, then Rettore of the Opera. Originally there were apparently five designs upon it, of which, however, only four were still distinguishable when, in the seventeenth century, Landi wrote his elaborate description of the floor.[15] These were: In the centre, as at present, the Pharisee and the Publican kneeling before a round Temple: On either side a vase; the one inscribed Mel (Honey), the other Fel (Gall), symbolic perhaps of the imperfection of earthly joys. On the right-hand side on entering was the Sacrifice of Abel; and on the other side, Landi says, that there was no pictured design, but merely a fancy pattern of coloured marbles, probably replacing a scene previously destroyed by time and hard usage. The constant stream of traffic across this Platform has necessitated frequent restoration of the Pavement; and the story of Abel has now entirely vanished. The vase, also, on the right, now bears the label Lac (Milk), instead of Fel, perhaps in allusion to the Promised Land, and the Golden Jerusalem of Bernard of Clairvaux’s hymn. This work is executed in the earliest of the four principal methods of design: namely a trapano; that is to say, outlined on a slab of white marble in little dots made with a trepanning drill.
The figures of the Pharisee and the Publican are executed with great spirit, but are entirely modern in feeling and conception.[16] Each figure is formed of a slab or slabs of white marble, cut in outline, and let into a background, of which the atmosphere is black and the ground red marble, so that each figure stands out clear and distinct. Lines of feature, folds of robes and other accessories are outlined, as described above, with a trepanning drill. Certain pieces of yellow marble have been added at the sides of the picture, which seem unnecessary and even discordant. They may have been placed there during the restorations which took place here but a few years since.
2. THE SPACES IN THE THREE DOORWAYS OF THE WESTERN FAÇADE.
The three much-worn scenes that remain here evidently represent the “Ceremonies of Ordination” in the three degrees; and such is the opinion of Faluschi, Landi, and Della Valle. Padre Everardo Micheli, however, wishes us to believe that these scenes illustrate the “Reconciliation of the Penitent:” a proposition which seems to me both far-fetched and improbable.
These works, executed in the same methods and with the same materials as those just described, retain far more of their original feeling and sentiment; and it is interesting to compare them with a similar set in the doorways of San Giovanni (the Baptistery), which represent the “Birth,” “Baptism,” and “Anointing of an Infant Christian.”
In the first case we have, to the extreme right, the “Ordination of the Deacon;” next, that “of the Priest;” and, finally, that “of the Bishop.” In the other, to the extreme left, is the “Birth of the Child” (a composition curiously similar to that employed by many painters at this period for the Birth of St. John the Baptist): then “Its Baptism;” and lastly, “Its Anointing and Reception into the Church of Christ.” Of these three scenes, commenced in 1450 by a certain Bartolomeo di Mariano, called Il Mandriano, from designs made by one Nastagio di Guasparre; that in the centre, which we read was executed by Antonio Federighi (1451),[17] is very much the finest, although there is a certain similarity in general conception throughout.
On further research, we find that a certain Guasparre, described as “dipentore nostro,” made a design for the space before the door for the then existing Porta del Perdono.[18] This design represented the “Consecration of the Duomo” in 1174,[19] and was executed by Corso di Bastiano of Florence.
Now Guasparre d’Agostino, also designated as “nostro dipentore,“[20] about this same time painted certain scenes from the Life of S. Bernardino for the Sacristy of the Duomo, and also decorated the apse of the Baptistery with frescoes of the “Crucifixion and Burial of Christ.”[21] We may not unreasonably suppose that the above-mentioned Nastagio was his son or pupil, and that the father and son, or master and pupil, were associated together in all these similar works around the doors of the Cathedral and Baptistery. Unfortunately the work known to have been designed by Guasparre before the Porta del Perdono was, together with that entrance itself, ruthlessly destroyed in 1661, so that we have nothing certain remaining of his Pavement work upon which to start comparison. The force and charm, however, of the compositions, still existing before the Western Doorway of the Cathedral; show that they must have been executed from the designs of no mean or inferior draughtsman.
We find also several references at this date,[22] to work done outside the Duomo by Bastiano di Corso, a Florentine, fine work by whom, as we shall see presently, still exists inside also; but it is not easy to identify the exact portion laid down by him and his son Corso, who, as we have seen above, was employed on the work before the Porta del Perdono.
It is interesting to notice how sharp and clear is the trepanning work in the older of these designs, and how close together the points have been drilled. It would appear as if, contrary to the method employed in the more modern work, no graving tool had been used, nor any stucco to fill up the holes and outlines.