The Cathedral is of course the centre of life, as in all Italian cities, and this reminds me of a beautiful thought in reference to this grand and splendid duomo of Florence: "It was designed by the Republic to be the largest and most sumptuous building that could be invented, in order that it might correspond with a very great heart—because originated in the mind of most of the citizens united together in one will." This was indeed a noble and Christian sentiment!
It is in the Italian-Gothic style—a great casket of black and white marble, beautified by many exquisite traceries and statues. The noble dome is finely proportioned, but looks almost small amidst the great pile of buildings around it, and by the graceful square Campanile rising proudly beside it. The porches have arches most curiously but daintily traced and twisted, the outline of the building putting one in mind of some exquisite Indian work of ivory, inlaid with silver. Altogether it is a strikingly handsome Duomo, and when the façade is completed, I doubt if there is another in Italy of the kind to compare with it, always excepting the beautiful and unique St. Mark's at Venice. It is, however, somewhat too closely surrounded by shops and other buildings. The interior is vast, grand, and impressive, but very cold and gloomy. The choir is octagonal, enclosed by an Ionic colonnade, and corresponds in shape with the dome above, which is double, one dome within another; the inner one is painted with frescoes by Vasari and Zacchero. From the pavement to the top of the cross it is 380 feet. The beautiful Campanile tower is encased with strips of differently coloured marbles, adorned with bas-reliefs and statues. It is 269 feet in height, being ascended by some 415 steps. The view from the top is very extensive. The adjacent Baptistery is on the site of the Temple of Mars. It is an octagonal building of the thirteenth century, and is chiefly remarkable for the beauty of Ghiberti's great bronze gates, representing scripture scenes.
"Ghiberti left behind him wealth and children;
But who would know to-day that he had lived
If he had never made those gates of bronze
In the old Baptistery—those gates of bronze
Worthy to be the gates of Paradise?
His wealth is scattered to the winds, his children
Are long since dead; but those celestial gates
Survive, and keep his name and memory green."
There are also some very fine mosaics in the interior, but unfortunately the darkness prevents their being properly seen. The only way to see anything of them is to go into the darkest corner, shutting your eyes, and then, opening them, look up at the dome suddenly. All the children in the city are baptized here, the water being blessed by the bishop twice a year. There is much of ancient interest around this old Baptistery; indeed, in all places where the Romans have been, one cannot but feel the presence of a mighty nation. So also with the Greeks; they leave traces of a refined intellect behind them which centuries cannot entirely efface.
CHAPTER XVIII.[ToC]
Santa Croce—San Lorenzo—Day and Night—Picture-galleries—The Tribune—Venus de' Medici—Excursion to Fiesole—Ancient Amphitheatre—Aurora Café—Climate of Florence—Heavy hotel charges—Departure—Bologna sausages—Venice.
The church of Santa Croce—the Westminster Abbey of Italy—possesses great interest to every classical student and lover of art and genius. It is situated within a few minutes' walk of the Cathedral in its own piazza, in the centre of which stands the striking monument and statue of the intensely thoughtful Dante, by Canova: