Chapter V: Part 5

In the centre of the interior, generally entered by the door opposite the west façade of the Cathedral, stands the font in which baby Pisans have for many generations been baptized. Like others, it is made for total immersion. The walls which surround the appropriately "waved" black-and-white pattern of its floor are extremely beautiful. A delicately carved framework of marble encloses wonderful panels of inlaid mosaic somewhat in the style of the pulpit in the illustration to "Salerno." Six small basins are let into the walls of the font and are used now for the Holy Rite. Near the altar stands Niccolò Pisano's masterpiece. This hexagonal pulpit rests on seven slender columns of marble and granite. Some of these columns rise from their bases on the backs of lions, gryphons, and crouching human figures, thus in a way representing the dominion of the Word of God over creation. The rectangular panels of the pulpit stage are beautifully carved in high relief. Niccolò Pisano's art, which bears evident traces of pagan influence, is seen at its best in these panels of the Nativity, Adoration of the Magi, Presentation in the Temple, the Crucifixion, and Last Judgment. On the steps is a red marble pillar standing on the back of a lion. It supports a small marble book-rest from which the Epistle was read. The desk on the pulpit itself is placed on an eagle, and was used for the reading of the Gospel. Eight marble piers and eight granite columns support the gallery beneath the dome. The whole of this noble interior is very light and airy, and Pisan mothers should have more cause to hope for a bright future for their babes than their sisters in Parma, if a comparison is permissible between the bright cheeriness of the one place and the mystical gloom of the other.

The Campanile stands to the east of the Cathedral. Its base is some feet below the restful green of the grass that covers the whole of the Piazza. Four different architects carried out its erection during a period that extended over nearly two hundred years. The base, another blind arcade, was begun in 1174 by Bonannus; the fourth gallery was added by Benenato, the next two by William of Innsbrück, and the topmost by Tommaso. The foundations were unfortunately laid in sea-sand, and the tower settled at an angle that causes it to lean towards the south thirteen feet out of the perpendicular. Galileo utilised this feature for experiments on the velocity of falling bodies.

The Campo Santo, the dome of which is seen in the illustration to the right of the Cathedral, is a quiet cloistered court on the walls of which are an extraordinary series of frescoes. Those on the north wall, by the Florentine, Benozzo Gozzoli, who was a pupil of Fra Angelico, are the most interesting. The Gothic arches and slender columns of the cloister, and the well-kept garden-plot in the centre, out of which tall cypress-trees rear themselves in ordered array, add much to the dignity of this quiet spot.

The old Dominican basilica of Sta Caterina stands in a corner of the piazza of the same name. Great plane-trees almost hide from view its beautiful façade, which, like that of the Cathedral, is gabled and arranged in galleries. Here, however, these are Gothic, with trefoil cusped arches, developing in the topmost to cinquefoil, and giving an air of elegance to the whole that is lacking in the Cathedral. A comparison of the two façades ends with the opinion that while in Sta Caterina there is more grace, the Cathedral possesses more architectural fitness for the design and proportions of the outline. Diotisalvi built the little octagonal church of S. Sepolcro for the Knights Templars, and Niccolò Pisano erected the fine _campanile_ attached to the church of S. Francesco. This tower is partly supported by consoles, or brackets, within the church. The staircase runs up both inside and outside its walls.

S. Stefano, which contains a S. George by Donatello, is close to the Carovana in the Piazza dei Cavalieri. The piazza is thought to be the old Roman forum. The Carovana was the Palace of the Knights of S. Stephen, and was another of Niccolò Pisano's works, and, although altered later on by Vasari, is a fine example of Domestic architecture. A double flight of steps leads up to the entrance-door, on either side of which are tall windows. The façade is covered with frescoes and adorned by six busts in niches of the first half-dozen Grand Dukes, Masters of the Order. The roof projects far out, and the eaves, supported by well-carved cantilevers, throw a deep shadow down the front of the palace. The Order of S. Stefano was founded in 1561 by Cosimo I., but never distinguished itself amidst the Orders of Chivalry, and was dissolved in 1869. A statue of the founder stands over a fountain in front of the steps.

Among the buildings that face the Arno, the Palazzo Lanfreducci, with the words "alla Giornata" and a chain pendant over the doorway, the Palazzo Lanfranchi, where Byron lived, and the fine old fortress-tower, the Torre Guelfa, are the most notable in a city that at one time disputed with the mighty Genoa the rule of the Mediterranean. The rivalry between these two maritime powers ended only when, after the disastrous battle of Meloria, the Genoese filled up the harbour of Pisa, and she became no longer of any account as a naval base.

LUCCA

Lucca is one of the most delightful little cities in the peninsula, and its seventy-two churches, taken as a whole, the most interesting in Italy. In matters ecclesiastical it is one of the oldest foundations in the country, and is reputed to have been the first place to have embraced Christianity. The first bishop of Lucca, a disciple of S. Peter, was S. Paulinus, and the long line of prelates who followed him were elevated to the higher dignity of Archbishop in 1726. The canons of Lucca are mitred, and the prelate has the privilege of wearing the insignia of a cardinal. It was always a Ghibelline city; even in the days of the Countess Matilda its inhabitants sided with the imperial party. When the attempt of Francesco Burlammachi to confederate the Tuscan cities failed, the Luchesi formulated the _Martiniana_ Law, which permitted only a few of the leading families to participate in the government. The result of this was a peace that prevailed for many years. But perhaps the most important historical event that occurred within its walls took place in far earlier days than the sixteenth century. The first triumvirate was formed when Julius Cæsar, Pompey, and the wealthy Crassus met and entered into an agreement whereby the power was divided between the three. More tangible relics of Roman occupation are to be found where the amphitheatre once stood. The oval form of this is well preserved in the extremely picturesque Piazza Mercato--the Market Place. The wooden stalls of the market folk are practically little huts with tiled roofs, that follow the lines of the amphitheatre seats in gracefully curved alleys. In the Pinacoteca may be seen a print dated 1785, in which the space is enclosed by a high wall. In the centre is a tastefully laid out garden adorned with statues and rose bushes, around which a horse race is in progress. Many columns used in the erection of churches, and fragments of all sorts built into the walls, are evidences of Lucca's importance among the colonies of ancient Rome.

The cathedral was founded as early as 573 by S. Frediano. The first building was close to the present Duomo, and was erected on the site of the church of S. Giovanni--a very interesting Lombard edifice. The square baptistery attached to S. Giovanni, with its original waved black and white pavement and ancient square font, is well worthy of study. Pope Alexander II., who supplied William of Normandy with a holy banner to assist in the invasion of England, consecrated the cathedral, which, although much altered in the fourteenth century, still bears the impress of the architectural vogue of the tenth. The façade was added in 1204 by Giudetto. A portico of three unequal arches supports three tiers of small arches. These form galleries diminishing in length as they rise one above the other to the horizontal cornice at the top. A magnificent square _campanile_ rises at the south end of the portico. Huge iron braziers stick out under its battlements at the four corners. It seems to crush the arch that springs from one side of its base, out of all proportion with the other two. This is very apparent from a distance, and produces an uncomfortable feeling. But, when one makes the intimate acquaintance of the portico and begins to examine the exquisitely designed arabesques, &c., that decorate its arches, there is nothing but admiration for a mind that could play with stone as Giudetto has done in this case. The piers which support the three round arches have each four slender columns. These are beautifully carved with all manner of intricate patterns. On the central pier Eve is seen tempting Adam to eat of the Forbidden Fruit. They are at the base of a tree, which growing upwards spreads out branches whereon rest the early Kings of Israel and the Prophets. The exterior members of the arches are covered with finely cut foliage. The capitals are formed by the semi-Gothic classical acanthus leaves of the period. Above the _abaci_ of the capitals three lions, crouching on consoles or brackets, grip in their thin claws a snake, a dragon, and a demon. Between two of the arches there is a good stone group of S. Martin dividing his coat with a beggar by the use of a bronze sword. The interior wall of the portico has a flat arcade of red marble columns and arches. Three doors give entrance into the cathedral. Their tympanums are decorated by well-executed reliefs. A double frieze runs along the wall. On the lower portion figures, engaged in agricultural pursuits, and the Signs of the Zodiac are cut; on the upper, the life of S. Martin depicted in a series of panels. Some excellent examples of _graffiti_ work decorate part of the wall. The galleries of the façade are like those that appear in the illustration of the church of S. Michele.

The chief feature of the interior of the Duomo is a fine Gothic triforium. As in Pisa's Cathedral, this goes round the whole nave, transepts, which it also crosses, and choir, stopping short only at the apse. It is formed of double divisions of three pointed and cusped arches, which on the west wall are increased to groups of four each. The transepts are double. A massive pier in each carries the triforium across in a most effective manner. The nine bays on either side of the nave have round arches. The fine roof, which is vaulted and groined, is unfortunately spoilt by a very _bizarre_ scheme of colour that is not redeemed by the beautiful glass in the windows of the apse. Half up the north aisle is an octagonal chapel built of marble, but almost entirely covered with gilt. It is known as the Tempieto, and contains the venerated relic of the Vólto Santo, or Holy Face. It is supposed to be an image of Our Lord, executed by Nicodemus, but is evidently a work of the eleventh century carved in two different species of wood. A much finer work of art is the beautiful tomb of Ilaria Caretti in the north transept. With her little dog, emblem of fidelity, at her feet, the figure of this gracious lady lies extended on a noble sarcophagus. Little winged _putti_ surround its base, and it ranks among the best productions of the accomplished Jacopo della Quercia.

One of the most perfect Gothic arcades in all Italy is to be found in the church of Sta Maria della Rosa. It is situated close to the Archbishop's palace at the east end of the cathedral. The spaces between the pointed arches and the top lights of the church are filled with exquisitely carved cherubs peeping out from a mass of foliage. In the Piazza dei Servi stands another small church, that possesses a carved wooden roof not in any way inferior to the marvellous one that adorns the Badia in Florence. It was erected during the days when Lucca was a republic, and one panel has the coat of arms of the city, with two great leopards as supporters and "Libertas" for a legend.

The church of S. Frediano is close to the city walls. Its fine tower is seen on the right in the illustration. Frediano, or "Fair Hair," was a son of a King of Ulster. Trained in Galloway, he travelled to Rome, where he was well received by Pelagius I., and housed in the Lateran. He became Bishop of Lucca in 565, and after the destruction of the first cathedral by the Lombards commenced the erection of the present archi-episcopal edifice. The church is full of interest, and contains the huge rectangular block of stone, computed to weigh three tons, which the saint lifted into a cart drawn by oxen, and which was to be used in the building of his cathedral. There is a fine circular font in the church, with the Passage of the Red Sea carved on its panels by the unknown Magister Robertus. Close to this, in the chapel dedicated to the patroness of domestic servants, Sta Zita, is a good example of Giovanni Della Robbia's work. Most of the church is built from the stones of the Roman Amphitheatre. The altar is placed at the west end. The façade is a very dignified composition, in which an Ionic colonnade and a good mosaic of our Lord in glory play an important part. The grand _campanile_, however, is its glory. This rises with tiers of open arches; but here they depart from the usual plan and increase in pairs. One tier of a single pair is the lowest; above are two of three arches, and the next two of four arches. Two sides of this splendid tower are of greater width than the others.

In the sketch a distant tower can be seen on which is growing a clump of trees. It is attached to the beautiful, red-brick Palazzo Borghi, one of the two fine palaces in Lucca built in the Venetian Gothic style. The story goes that the tower was built by Paolo Guigni, and that on its top he planted trees, under which he gave a series of banquets to show his indifference for the enemy who were then besieging the city. A very pleasant walk leads us along under the grand limes and elm trees that compose the shady boulevards on Lucca's old walls. Many a good study of roofs and distant mountains, in which the bare crags and rugged peaks of the Carrara range form a fine background, can be obtained from these walls; and many a beautiful peep through the foliage on to gardens below will reward the painter who strays out of the accepted route and makes a sojourn in the bright little city.

The church of S. Michele has the most striking façade of any so-called Pisan-Gothic building. It is another work of Giudetto's, but is anterior to that which he added to the cathedral. It is interesting to note how the fine colonnade at the base of S. Michele's façade was amplified in the later work of the cathedral by the portico which takes its place. Between the columns of this colonnade the closed lozenge-shaped lights, a familiar feature in the churches of the Pisan style, give a certain amount of solidity by their deep shadows. Above is an open gallery, under which is a marvellously intricate frieze of arabesques. Some of the pillars of this gallery are covered with inlaid marble, others are twisted or decorated with chevrons. On two of them repulsive-looking dragons, snakes, and demons crawl downwards in high relief. At each end is a cluster of four slender columns bound by knots. The capitals are boldly cut, with heavy square _abaci_, from which bosses and floral work protrude. The corbels of the round-headed arches are composed of heads of animals and demons, and the arches themselves are beautifully inlaid with geometrical designs. The frieze above is divided into panels of _graffiti_, wherein lions, goats and birds, &c., are depicted in all sorts of attitudes. The gallery above this is very similar, but with even better pillars supporting its arches. It slopes upwards from the gable ends. Then comes the strange and airy feature of this remarkable façade--a false gable with two galleries ending in a pointed apex. Standing on canopied turrets at each end of the gable are angels blowing bronze horns. Their robes are embroidered with inlaid marble and their outspread wings are of bronze. On the _acroteria_, or pedestal, at the top, is a colossal statue of S. Michael with vestments adorned by a gilded pattern. His wings are formed of separate bronze plates to diminish wind pressure, and make a good note of colour against a blue sky. At the back of this false gable a flight of steps ascends from the roof to the statue. As will be seen in the illustration, the colonnade is carried along the other walls of the church and _campanile_. This again is a grand tower and like that of S. Frediano has two sides greater than the others. The interior of S. Michele is very simple, very beautiful and dignified, and quite unspoilt by any whitewash or colour.

There are many other churches worthy of description if space allowed, but passing mention must be made of the earliest known work of Niccolò Pisano. This is a relief of the "Deposition from the Cross" in the tympanum of the arch of a side door at S. Martino. There is much else to see in the compact and well-ordered little city that is situated so beautifully in a great bowl with mountains on every side. Much, too, to wonder at in the legend S.P.Q.L. that the _municipio_ still writes up on public notices as a reminder of the days when its inhabitants made the laws that governed the Republic of Lucca.

FLORENCE

Although Florence has no doubt an Etruscan origin, her first historical record dates from the time of Tiberius. During his reign the inhabitants presented a petition to the august presence praying him to prevent the diversion of the River Clanis into the Arno. Through many subsequent vicissitudes she rose from an obscure beginning to be the centre of the Art of the civilised world. This was accomplished in the days when Florentines were not ashamed of "soiling the fingers with trade," and was due to the good taste and patronage of her wealthy merchant citizens, who took the keenest interest in the development of their city as the home of all things cultured. The Florence of to-day is rapidly becoming as cosmopolitan as London, and as a consequence has a growing trade in the manufacture of "antiques." But so great is the charm of this wonderful city that every year sees an addition to the long list of those, who coming from other lands, either rent a flat within the walls or occupy a villa outside. It is a charm that never dies--indeed, becomes intensified. Bitter winds may whistle through the draughty streets, and tearing down the Arno from the mountains howl across its bridges; the end of the "merrie" month may still see deep snow on the hilltops, yet no one who has once been in Florence, even under these undesirable conditions, but wishes to come again. And this charm--what is it? Is it that the city stands in the midst of a garden, a veritable bed of roses? Does it lie in her classic river along the banks of which Dante oftentimes wandered? Is it because Cimabue, Giotto, Leonardo, Michael Angelo, Raphael, the della Robbias, Fra Angelico, and Donatello, all were at their zenith in Florence? Go to the Pitti and Uffizi and marvel at their powers. Is it in her glorious buildings, her magnificent palaces, and the traditions of her great families--the Medici, Buondelmonti, Uberti? In all of these surely lies a charm that nothing can dissipate! Yes, in all these; but still there is a something beyond them, a subtle, indefinable spell that enwraps the senses and captures one body and soul in this Queen of cities.

Of all the great Florentine trade-guilds, the Wool-weavers were the richest, and the illustration shows a restored corner of their Hall with the redecorated altar behind the iron grille. On the opposite side is the Gothic church of Or S. Michele. Originally the site was occupied by a corn market, in the _loggia_ of which stood the figure of a much-worshipped Madonna. Walls were built round the _loggia_ and the market removed to the storey above. The niches on the exterior of the church contain statues of the patron saints of the numerous trade-guilds. Among them was a fine S. George, the patron saint of the Armourers Guild, by Donatello. This is now in the Bargello, having been replaced by a cast. The figures of SS. Mark and Peter were gifts from the linen merchants and the butchers, and are by the same master-hand. The best stained glass in Florence decorates the fine Gothic windows of the church. Their very elaborate tracery is cleverly designed to get the greatest effect from the top light--so necessary in the narrow and dark street. The _Misericordia_ Brethren may be seen in the sketch carrying out one of the self-imposed tasks for which they receive no payment whatever. The Compagnia della Misericordia was founded by Pier di Luca Borsi in the year 1240. Men of all grades of society belong to the Order, and once a year attend a service in the cathedral, when they take a pledge to abstain from profane language. They nurse the sick, carry patients to the hospitals, and the dead to their last home. Every one who knows Florence is familiar with the hurrying footsteps of the black-robed figures as they proceed on their errands of mercy. The headquarters of this noble self-sacrificing Order are on the left in the illustration of the Campanile.

Those who recollect Florence in the eighties will remember that the picturesque old quarter, the Mercato Vecchio, occupied the site of the fine Piazza Vittorio Emmanuele. This pestilential plague spot, into which it was hardly safe to venture, was done away with in the years 1890-95. When the work of demolition was begun it was found to be so foul and insanitary that no house-breakers were allowed to touch a single stone until three months of stringent disinfection had elapsed. This is one of the very few clearances that have taken place in the heart of the city since the fifteenth century, and the thought of it carries one back to the days when that great reformer, Fra Girolamo Savonarola, set Florence on fire with his fierce disputations. A great bronze disc with a medallion portrait of the ascetic monk marks the spot in the Piazza della Signoria where he ended his days at the stake with two brave companions. In his little cell in the monastery of S. Marco there are two pictures which present us with the details of the tragedy. Save for the flight of steps that has taken the place of the platform where his judges are seen sitting, the Palazzo Vecchio, wherein he was condemned, is the same to-day as it was then. It is the grandest secular building in Florence, and this is saying a great deal. Built of huge blocks of rough stone, it was commenced in 1299 by Arnolfo di Cambio, and is a testimony to the splendid construction of the fourteenth century. The top storey projects on brackets from the walls, which stand four-square. Under these brackets are the Ghibelline and Guelph arms; the former is a white lily on a red ground, the latter a red lily on a white ground, quartered with the crescent of Fiesole. The present arms of Florence, so familiar all over the city, are a red fleur-de-lys with two sprays on a white ground. The battlements that surmount this storey are square-shaped Guelph, while those of the great tower which dominates this part of the city are the swallow-tailed Ghibelline. This fine landmark is three hundred and seven feet high, and has a projecting gallery underneath the _loggia_ with which it terminates. The palace was built to accommodate the eight Priori, who, under the presidency of the Gonfaloniere, ruled Florence. It remained the seat of government for over three hundred years until Cosimo de Medici, having usurped the power, removed his court to the Pitti Palace.

From Michelozzo's beautiful _cortile_, which one enters first, a noble staircase ascends to the Salone dei Cinquecento. It was in this magnificent hall, where a statue of Savonarola is now placed, that he was tried and condemned. There are other fine rooms in the Palazzo Vecchio, but nothing approaches the beauty of the little _cortile_ below. Nine columns of grand proportions bearing round arches support the arcade that forms part of the courtyard. Each column has a different design above the fluting which runs half-way up them all. The delicate low relief of these exquisitely modelled devices, some of which are grape clusters, others children with garlands, heads, and classic ornamentation, is so slight, that the effect on every column obtained by the light which pours down from high above makes each one seem a simple mass of half-tone thrown strongly out against the deep shade of the arcade beyond. It is an architectural masterpiece of what the painter calls "values." A delightful fountain in the centre of the _cortile_, by Verrochio, adds to the sense of repose that one experiences when the glare and noise of the piazza are left behind.

The south side of the Piazza dei Signoria is taken up by the Loggia dei Lanzi--a good specimen of the domestic Gothic style of Italy. Three arches form the base that supports the lower storey. A rich balustrade and projecting cornice adorn the top. Benvenuto Cellini's "Perseus," and "Judith and Holofernes" by Donatello, are among the statuary placed in the _loggia_. The building was erected for the use of the Priori, and from it they witnessed all great spectacles that took place in the square. It derives its name from the guard of foreign soldiers that Cosimo I. established in quarters hard by. To the east and running south is the great Ufizzi Palace, which contains some of the finest art treasures that Florence possesses.

Dante's house stands in the Via Dante, to reach which one leaves the piazza at the north-east corner, passing the back of the Badia on the way thither. The Badia was the Church of the Benedictines, and is built in the shape of a Greek cross. It is notable for the grandest coffered wooden roof in Italy. Just above the frieze which runs round the top of the walls, a fine series of well-carved brackets carries the first portion of the roof--a flat space beautifully ornate with good arabesques. Deep-set bosses in recesses circulate round the carving beyond this, until they centre in a recess so deeply set that it almost becomes a miniature dome. Heavy brackets support and carry the outward thrust. The miniature dome takes the form of a Greek cross, and from it the whole design springs in a very symmetrical manner. Such a massive wooden ceiling speaks volumes for the constructive art of the day.

Opposite the Badia stands the Bargello, or Palazzo del Podestà. In its courtyard is the well-known outside staircase that, sketched "to death," is to be seen represented in almost every shop in Florence. The palace is the national museum, and among its grand collections the work of the della Robbia family can best be studied. Florence is such a treasure-house in every way that one might wander on from church to palace, and museum to gallery for a year, and then be barely acquainted with what lies behind its walls.

Florence, too, was the home of the Renaissance, and although Giotto preceded the great master of early Renaissance, Brunelleschi, his famous Campanile is more classic in style than Gothic. The accompanying sketch was made towards twilight when a day's heavy rain had cleared off. The general impression one carries away of the beautiful bell tower is that of a white mass rising majestically above the congested traffic of the noisy street below. The year 1334 saw the commencement of Giotto's design. His death, however, took place when the work had but reached the first storey of the five. Taddeo Gaddi and Francesco Talenti carried it on, and to the latter are due the windows of the upper storeys. Small lozenges in the lowest depict the Development of Civilised Man from the Creation. Above these is a series of sculptures, and in niches yet higher up are the Prophets, Evangelists, Patriarchs and Sibyls. Giotto intended to add a spire to the heavy balcony which projects from the top of the last storey. The whole structure is cased in white, pink and green marble, and thus harmonises with the exterior of the Duomo which it adjoins. Had the spire been added, the _campanile_ would not have the rather top-heavy appearance it has when seen from some distance away.

The cathedral is a building that stands on the site of a very early church dedicated to S. Salvadore. Appropriately named Sta Maria del Fiore, the construction was commenced in 1298 from the designs of Arnolfo di Cambio. Many hands worked for nearly two centuries at Arnolfo's designs, and continually altered them. On the whole, whatever its merits, the building cannot be said to be an architectural success. The façade, completed as recently as 1887 by Emilio di Fabris, is perhaps the most fortunate feature. The Gothic windows on the north side are certainly very beautiful. The mass of the huge dome seen from the corner of the Via del Orviolo piles extremely well above the domes of the apse and south transept. But most of the good points of the exterior are lost in the "noisy" pattern of the different coloured marble panels, which, like those in Giotto's _campanile_, encase the whole building.

The interior is vast and empty, and the dull grey colour that covers the walls is almost worse than whitewash. Four immense bays constitute either side of the nave. The heavy piers that support the arches would be better without the ugly caps above the capitals. There is a gallery above with pointed arches, and four circular windows on each side form the clerestory. The best portions of the interior are the two aisles. The glass in the windows of these, although almost obscured by dust and cobwebs, is very lovely. The interior of the great dome was painted by Vasari and Zuccaro, but reveals no beauties of design. The High Altar is situated beneath this, and the choir stalls which are around are enclosed by a high marble screen. Under the altar, in a fine bronze casket, lie the remains of S. Zenobius, who was bishop of Florence at the end of the fourth century. The apse of the cathedral consists of five chapels; the middle one is dedicated to the saint. Behind the High Altar is a fine, though unfinished _Pietà_, the last work commenced by Michael Angelo. He intended it for his own tomb, but died before it was completed. There are many things of value in both the Sagrestia della Mese, the beautiful bronze doors of which are by Michelozzo, and the Sagrestia Vecchia, over the door of which is one of Lucca della Robbia's very best works. It is true that with oft-repeated visits the vast building grows on one, but, however much its size may impress, it cannot be called a landmark in Italian architecture.

Close by these two structures and due west of the cathedral façade, in the middle of the Piazza del Duomo, stands the Baptistery. Its eight walls were covered with marble by Arnolfo di Cambio some time after the west door had been removed and the rectangular space for the altar constructed inside. The three doors that remain are, with the lintels, superb examples in bronze of the Renaissance period. The twenty panels which depict the life of S. John the Baptist on the south door are the work of Andrea Pisano. At the base of one lintel two nude male figures carry children at a vintage festival; at the base of the other are two female figures, amidst a cluster of corn stalks. Andrea Pisano has almost excelled himself in the exquisite foliage which grows up both posts. Above the door is a bronze group in which S. John kneels to receive the stroke from the executioner's sword, while an angel holds up a hand shielding the sight from her eyes. The East door by Ghiberti contains prophets and sibyls in niches between the ten panels that illustrate episodes of the Old Testament. The third door is by the same hand. Its twenty panels of Gospel history are surrounded by exquisite foliage, amidst which snails and beetles crawl and bees suck honey, while here and there the fascinating head of an impudent little frog peeps out.

The interior does not compare with Pisa's Baptistery. Granite columns with gilt Corinthian capitals support a triforium gallery composed of round arches with Ionic pillars. The square lights of the clerestory, which alternate with mosaic panels, are behind another gallery that leans inwards. From this springs the mosaic-covered dome. Up to the year 1571 a large font stood in the centre, directly under the opening in the middle of the dome, which until then had no cupola. It was moved in that year by Francesco I. for the baptism of his son! An act of sacrilege which speaks volumes for the absolute power of the autocratic grand dukes of those days.

It is very interesting to examine the almost interminable series of portraits that hang on the walls of the long passage connecting the Ufizzi and Pitti Palaces. This passage crosses the river, and may be seen in the illustration of the Ponte Vecchio, with its square barred windows looking up the river. It is above the jewellers' shops--a favourite haunt of the tourist--that hang so airily like spiders over the water and crowd the old bridge. Amongst this extraordinary collection of portraits of the Medici and their collaterals, may be seen one of our own Charles II., Eleanor of Toledo, wife of Cosimo I., and Catherine de Medici, whose sly eyes, cunning and cruel mouth in no way belie her character. All the reigning grand dukes are here, and not one of them can be said, if these are faithful portraits, to have a really open honest countenance. To judge by their physiognomies, they ruled by brute force and craft. However, there are bronze figures of two of the race who in metal appear more like noblemen than these travesties in paint. Indeed when one sees the gilded figures of Ferdinand I. and Cosimo II. standing over their tombs in the Capella Medicea, we feel they were men of the great race that made Florence famous throughout the civilised world.

The Capella Medicea stands at the back of the fine church of S. Lorenzo. It is a gloomy octagonal building with a dome, and lined throughout in a dull and heavy scheme, with most costly marble. The interior of the dome is painted and gilded. Six members of the great family lie here in their sarcophagi. The remains of two more rest in the Sacristy. But it is not in connection with any reverence for the scions of the Medicean House that our footsteps are drawn hither. No, the little sacristy is crowded all day with those who come to see the work of Michael Angelo. Beneath the statue on the tomb of Giuliano de Medici are the colossal figures of Day and Night. These two wonderful creations are surpassed by Dawn and Twilight on the tomb of Lorenzo, a grandson of Lorenzo the Magnificent, and father of Catherine de Medici. His well-known seated figure is on the tomb. More simple than these is the beautiful, but unfinished, group of the Virgin and Child. The little altar, too, is a masterpiece of simplicity by the same great hand.

To the church of S. Lorenzo is attached the celebrated Laurentian Library, which contains the most valuable collection of MSS. in Italy, the Vatican alone excepted. Among these is the seventh-century MS. of the Vulgate Bible, written by Ceolfrid Abbot of Jarrow. At the corner of the Piazza de S. Lorenzo is a fountain surmounted by a statue of Giovanni delle Bande Nere, leader of the "Black Hand," whose son became the Grand Duke Cosimo I. Opposite this fountain is the magnificent palace of the Medici, the Palazzo Riccardi. From its beautiful _cortile_, with reliefs by Donatello, a fine staircase leads up to the big hall that has a ceiling painted by Luca Giordano. The palace was built by Michelozzo for Cosimo, who lavished his wealth to such an extent that the title he acquired of _Pater Patriæ_ was perhaps no misnomer. By the same profuse expenditure his grandson Lorenzo became known as Lorenzo il Magnifico. The family of Medici appears in the chronicles of Florence towards the end of the twelfth century; but the first member to lay claim to any distinction was Salvestro, who took a prominent part in the revolt of the _Ciompi_ in 1378. The leader of this insurrection was Michele di Landi, a _ciompo_ or wool-carder. Giovanni, the banker, amassed the great wealth which enabled his son Cosimo to carry out his ambitions.

Apart from the Capella Medicea the church of S. Croce may be looked upon as the Westminster Abbey of Florence. In it is the tomb of the great master who created "Dawn and Twilight." The monument to Michael Angelo Buonarotti is the work of Vasari. Alas! one cannot but lament that the irony of Fate has ordained the resting-place of genius should stand against a wall on which are painted red curtains! Not only red curtains, but a hideous red canopy with gold tassels drawn aside by vulgar little abominations in the shape of fat cherubs. For once, one longs for the whitewash brush. The cenotaph of Dante is placed close to the beautiful Renaissance tomb of Leonardo Bruni. The recumbent figure of the diplomatist lies stretched out on a slab borne by eagles, and represents real repose in a marvellous manner. The red brick floor of the church is almost covered with tomb slabs, some still in good relief, others worn flat. Among them is that of John Ketterick, Bishop of Exeter, who died in Florence in 1419 when on an embassy for his sovereign.

The airy interior of S. Croce is very fine. Slender octagonal columns of a russet hue bear pointed arches with Italian-Gothic capitals. The aisles have wooden roofs. The glass in the windows is good; and the chapels at the east end and in the transepts are covered with most interesting frescoes by Giotto, Taddeo and Agnolo Gaddi and others. S. Croce is still served by the Black Conventuals, a sub-order of S. Francis. The cloisters attached to the monastery were designed by Arnolfo di Cambio, and through them one reaches the Capella Pazzi, one of Brunelleschi's best buildings. The fine portico with its colonnade of Ionic columns has a frieze of cherubs attributed to Donatello. The entrance to the cloisters is from the Piazza S. Croce, the buildings on the south side of which are typical of old Florence. The upper storeys of these grey-brown walls overhang and are supported by huge wooden cantilevers. One house, the Palazzo di Niccolo dell' Antela, is covered with allegorical paintings by Giovanni da S. Giovanni, and on it is a white marble disc that marked the goal in the game of _calcio_. The Piazza, which is one of the largest in the city, was in bygone days the public games-ground.

Another fine church of one of the great preaching Orders is S. Maria Novella, which stands in the piazza of the same name, not far from the railway station. The façade is a very clever adaptation by the genius who planned the transformation of "Il Tempio" in Rimini, Leo Battista Alberti. In S. Maria Novella he fitted Renaissance ideas to the earlier Gothic construction of the arcades and lower portions of the buildings. Like all Dominican churches the nave is disproportionately large, built always thus to accommodate the great congregations who flocked to hear the sermon; and so that all could hear, the pulpit was placed nearer the west than the east end. In the sixteenth century Vasari altered the interior and took away the marble screen that divided the conventual from the public part of the church. It stood where a couple of steps run right across the church at the fourth bay of the nave. This is lofty, with a groined vault and pointed arches. The transepts have lateral chapels and the choir is very shallow. One of these chapels is that of the Rucellai family, whose coat of arms with an inflated sail has been used with as good an effect by Alberti in the decoration of the façade as the Malatesta coat at Rimini, where it will be remembered the little elephants play so important a part in his scheme. In this chapel is the famous panel, the so-called Cimabue's "Madonna," which some critics attribute to Duccio da Siena. Speaking personally, however, I failed to discover the greenish undertones that are a feature in Duccio's work. The story tells us that when the picture left Cimabue's studio it was hailed by the people in the streets with great admiration and holy fervour. Attached to the west wall of the church are the cloisters. The Chiostro Verde, so called from the greenish colour of its frescoes, contains the Spanish chapel. One can here spend a very instructive morning examining the fine mural decorations that cover the walls. The Chiostro Grande is now a military gymnasium; but the upper part is devoted to the Institution for Deaf Mutes and the Society for Repressing Beggars. Many useful articles can here be purchased that are made by the very poor. Tourists, make a note!

There is another useful institution, and one perhaps that is much better known. The Spedale degli Innocenti, or Foundling Hospital, which admits infants without any inquiry, and when the children are old enough boards them out in peasant families, where they are trained to earn a livelihood. The hospital is the work of Brunelleschi. In the spandrils of the _loggia_ are the medallions of infants in blue and white by Andrea della Robbia, reproductions of which hang on many a wall throughout the civilised world.

Not far off is the monastery of S. Marco, the cloistered courts of which once ran red with the blood of the monks. Fra Angelico's intensely religious frescoes in the monastic cells surely helped to inspire the brethren to defend their home by force of arms against those who were determined to eradicate every vestige of their beloved Savonarola. A few relics of this great democrat are still to be seen in his cell. The writing-desk he used, a book of commentaries in his own minute hand, his crucifix and other personal objects, remain as silent witnesses of the fierce struggles in a mind brought to the lowest depths of despair and well-nigh prostrate when the last act was accomplished in the Piazza della Signoria.

Of the many great Florentine palaces the two that hold the incomparable collections of pictures are the best known. The Uffizi stands on one side of the river, the Pitti on the other. Emulating the lavish expenditure of their rivals, the Medici, the Pitti family employed Brunelleschi and Fancelli to erect a building which should outshine all the Medicean palaces in Florence. So much was spent on it that eventually the family were ruined, and Fate, that so often plays with the over-ambitious, ordained that their rivals should step in and purchase the huge building. The Grand-dukes of the Medici took up their residence in the building, part of which is now the Royal Palace. From the beautiful Boboli Gardens at the back, a very good view is obtained of the cathedral and Giotto's Campanile, with Fiesole and the mountains in the north rising beyond. But if we wish for a comprehensive impression of Florence as she lies in the valley of the Arno, we must ascend the hill on the top of which the church of S. Miniato al Monte stands. Beneath the cypress trees at our feet the classic stream, crossed by its famous bridges, winds away in the direction of the Monti Pisani. The great dome of the Cathedral seems almost out of proportion with the lesser landmarks around it. More than ever does one wish to see the spire that Giotto designed to finish his grand bell-tower. And as the eye wanders over roofs and embattled walls, the mind goes back to Medicean days, ignoring for once the utilitarian vandalism that has carried the noisy tramcar through the intricacies of the maze below us in desecration of the memorials of a great age.

PERUGIA

In the vicinity of Perugia many remains of Etruscan civilisation have come to light, and part of the old Etruscan city walls still stand. On top of the huge blocks of stone of which they are composed one may also see the defensive superstructure added by the Romans, and above this the red brick of a later date. Wandering in the older parts of the city, where the houses are terraced on the steep hill-slopes and the narrow streets, often burrowing under them, wind sinuously in and out, one is carried right back without an effort into mediæval times. Neither does it require any effort to picture the sanguinary faction fights between the great Perugian families, the Oddi and Baglioni. Niccolò Pisano's last work, the figures on the fountain by the steps of the Cathedral, and the unfinished wall of the building itself, are to-day just as they were in the fifteenth century when these same steps ran red with blood in the accomplishment of the diabolical plot which wiped out a whole family, save one. So tired of these conflicts were the more law-abiding Perugians after this deed, or so surfeited with blood, that the might of the Church Militant was called in to put an end to all distracting feuds. The advent of Pope Paul III. was looked upon at the time as a real deliverance; but the crafty Pontiff, knowing the hornet's nest he came into, was sagacious enough to build for himself a fortress-palace in an impregnable position. This, the Rocca Paolina, stood partly on the ground at the end of the Corso Vannucci where a big hotel is now, and on the garden space in front of it. The visitor to Perugia can never forget the incomparable view from the wall of this garden; nor wonder, when he looks over the veritable precipice beneath it, that the Baglioni, whose palace was demolished to make way for Paul's fortress, could hold in terror the rest of Perugia from the security afforded by their own walls. Perugia is like an octopus, with a central hill on which the Cathedral is situated, and from which long feelers stretch out in all directions. A statue in a public garden at the end of one of these feelers, or, more correctly speaking, promontories, commemorates the expulsion of the Swiss Papal Guard by General Fanti in 1860. The city then joined the newly formed kingdom of Italy and made an end of the Church's supremacy by demolishing the Rocca Paolina.

It is rather extraordinary that when the strife between the nobles of Perugia was at its height art was in the most flourishing condition. Fashion, or perhaps the hall-mark of the "gentleman" of those days, dictated that he should patronise art. We see this in the records of all the great families of the fourteenth and fifteenth centuries; and however bloodthirsty and revengeful they were amongst themselves, they had this one great merit. And so we find that while the Oddi were slaying the Baglioni, Perugino, Pinturicchio, Raphael, and Signorelli were all at work in Umbria, where one half of the people seem to have given up their lives to bloodshed and the other half to the contemplation of sweet-faced Madonnas and paintings of religious fervour.

In the middle of this ancient city stands its Cathedral, but, alas! with no redeeming architectural feature, either outside or within. The exterior reminds one of the tale of the man who, having made a little money, built a house like a cube with windows, telling his friends that when he could afford it he would have the architecture put on. All that can be said about its outer walls is that if the design of pink marble quatrefoil slabs had been carried out and finished, it would have looked even worse than it does now.

The bronze statue of Pope Julius III. on the south façade was erected by the subscriptions of the people to show their appreciation for the restitution of those privileges of which they had been deprived by the builder of the Rocca Paolina. It is placed on one side of a door, and on the other side the pulpit, put up for the use of S. Bernardino of Siena, who came to Perugia to preach peace and allay the feuds of the nobles, is a sort of pendant.

Ten octagonal columns, painted to represent marble, stand in the nave and support the Gothic groined vaulting which springs from gilded Corinthian capitals. The first bay on the south side is enclosed by a good iron grille. Within is the Capella del S. Anello, containing Perugia's most sacred relic, the wedding-ring of the Blessed Virgin. This was filched one day from Chiusi, the pleasant little town where one so often changes trains on the way from Rome. To prevent a repetition of the theft it has, since its arrival in Perugia, been enclosed in a reliquary that can be opened only by fifteen different keys kept by fifteen different citizens. The Capella de S. Bernardino occupies the opposite bay of the north aisle. The choir is a five-sided apse, round which are the canons' stalls of good _intarsia_ work. The central of the three windows is almost filled by the organ loft, and the choir gallery is above the stalls. In the north transept a little door in an almost hidden angle of the wall opens out into the cloisters. Of the two courts the inner, with two galleries, is a very picturesque and quiet spot. Creepers come trailing down the walls, flowers in boxes add a touch of colour, and the cooing of doves gave one the idea that here at any rate, in the precincts of a sanctuary, was a haven of rest from the brawling world outside. The Cathedral library has a great treasure in the possession of the Codex of St. Luke of the sixth century. It is bound in silver and written in letters of gold on purple-coloured vellum--a splendid combination.

Not many of Perugia's churches can rejoice to-day in the preservation of their original state. Those attached to the disendowed monasteries are now mostly barracks, and others have been restored or propped up as a consequence of intermittent earthquakes that developed great cracks in their walls. Coming through the Porta Susanna, the lowest part of which is Etruscan masonry put together without any cement, one leaves the ancient city behind, and, turning to the right, sees across the vacant Piazza de S. Francesco the gem of Perugia's ecclesiastical architecture. The little oratory of S. Bernardino stands adjoining the ruined church of St. Francis. The lovely façade of this tiny building is by Agostino Ducci, who built it in marble and terra-cotta. Its two doors are enclosed by a rounded archway, in the tympanum of which is a figure of our Lord in Glory with two archangels. S. Bernardino is beneath. Around him are many angels who sing to the accompaniment of the musical instruments on which they play. Beyond the angels are two rows of cherubims with heavenly faces. The ground colour of the tympanum on which all these delicately modelled bas-reliefs stand was evidently at one time a gorgeous blue and gold. It has faded to a beautiful "broken" cerulean. The jambs of the portal are green serpentine, and contain three figures of angels on each side. They carry implements of husbandry and agriculture. Six panels on the façade have more angels with musical instruments. Arabesques cover the posts of the portal, and laurel is carved on them as well. Four terra-cotta saints occupy niches; under these are scenes in higher relief illustrating events in the life of S. Bernardino. In one he is depicted saving a boy from a watery grave. The delicate pink and warm opaque yellow of the terra-cotta, the white marble and green serpentine, and the exquisite note of blue, with traces over all of faded and half-obliterated gilding, make this gem one of the best pieces of external colouring to be met with in Italy.