ful Renaissance work, a little out of keeping
with the Gothic exterior ; above it, a very fine
relief by Nanni di Banco, Assumption of the
Madonna in a mandorla (adapted from, or almost
modelled on, a relief by Orcagna at the back of
98 Florence.
the great shrine in Or San Michele ; compare
the two by means of photographs, allowing, of
course, for Renaissance progress). Our Lady
is represented as just about to drop the Sacra
Cintola or sacred girdle to St. Thomas, who
kneels, a beautiful youthful figure, to the left
below. This is a subject which we have seen
already in fresco at Santa Croce, and which will
meet us frequently elsewhere in Florence (as,
for example, in the Orcagna at Or San Michele),
from the local importance of the Holy Girdle
preserved at Prato. Donatello is said to have
completed this lovely work. The figures are
almost identical with Orcagna's, but the tree
and bear to the right here replace two trees
at Or San Michele. The statuettes on the
pillars close by are by Donatello.
The second north door, attributed to Piero di
Giovanni Tedesco, and Niccolo d'Arezzo, has
pillars resting on a lion to the right, and a lioness
with her cubs to the left. In the tympanum
are the Madonna and Child, again, with adoring
angels. Stand on the pavement opposite to
take in the effect of this side of the cathedral.
I have only noted the chief points ; but every
saint in niche or on pinnacle can be identi-
INTERIOR OF THE CATHEDRAL.
The New Cathedral. 99
fied by some sign, if you take the trouble to
do so.
Now, enter the interior, which is vast and
very bare. Stand first by the central door to
observe the huge unimpressive nave, supported
on either side by only four great arches, whose
immense size and sparsity seem to dwarf the
entire building. (Rows of columns like Pisa
are much more effective.) Then, before you
begin to examine in any detail, walk straight up
the nave, to its junction with the transepts, in
order to understand the nature of the architec-
tural arrangement. The octagonal space, railed
off with a low marble screen beneath the dome,
is here, by a very exceptional plan, the choir.
To right and left extend the apses of the tran-
septs, looking incredibly small from within when
compared with the vastness of their exterior.
Note that all three ends in this direction
have similar apses. Then walk around to the
back of the choir, where what would usually
be the chancel is known as the Tribuna di
San Zanobi. Its High Altar contains the
head and ashes of the sainted bishop, which
are (or were) the chief object of local cult in
this church. From this point of view, the
loo Florence.
general proportions of the interior can best
be grasped.
After thus gaining a general conception of
the whole, return to the west end of the nave.
The objects in the interior worth notice are not
numerous. Over the central door is the Corona-
tion of the Virgin by Christ, with adoring angels
in mosaic, by Gaddo Gaddi. To right and left,
over the lateral doors, are fresco-monuments in
grisaille of Florentine generals, that to the right
being the monument of the English partisan
leader. Sir John Hawkwood {Giovanni Acuto)
who served the Republic as a Captain of Free
Companies for many years ; that to the left is
Niccolo Manucci di Tolentino. The rose win-
dow contains an Assumption of the Madonna.
Proceed up the right aisle, past the monu-
ment of Filippo Brunelleschi, who designed the
dome, with his bust by his pupil, Buggiano,
and the monument (not contemporary) of Gi-
otto, by Benedetto da Majano. On the left is a
holy water basin, with angel pouring, reminis-
cent of the school of Pisa. Observe, also, a
tabernacle, with portrait of Sant' Antonino,
Archbishop of Florence, by Morandi, and a
monument of Marsilio Ficino, who did much to
The New Cathedrui. loi
introduce the study of Greek into Renaissance
Florence.
The south transept contains on the right and
the left statues of St. Philip and St. James by
Giovanni dell' Opera — part of a group of eight,
ringing round the octagon.
Over the doors, right and left, in the octagon,
beyond the transepts, are two Delia Robbia
reliefs, said to be the earliest works of Luca.
That to the right represents the Ascension,
that to the left the Resurrection. Both are
admirable. Behind the High Altar is a Pieta,
the last unfinished work of Michael Angelo.
In the Tribune of San Zanobi (occupying the
place usually assigned to the choir) to right
and left are statues of St. John (by Benedetto
da Rovezzano) and St. Peter (by the futile
Baccio Bandinelli). Under the High Altar of
the Tribune, is the ** Area or shrine of San Za-
nobi, containing his head and ashes. The ex-
quisite relief in front of the altar, by Lorenzo
Ghiberti, is in the same style as his later gates.
It represents San Zanobi restoring to life the
son of the Gallic lady. The child is seen
doubly represented (as often in early works of
the sort) first as dead, and then as restored to
I02 Florence.
life again. The groups of bystanders are ex-
quisitely rendered. When there is sufficient
light to observe this relief, it should be closely
studied ; but it is usually very dark and observed
with difficulty. (See the legend in Mrs. Jame-
son. Many other representations of this the
most famous miracle of San Zanobi are to be
found in Florence.) There is a good plaster
cast of the Area in the Opera del Duomo : see
it there, examine the reliefs, and then return to
view the original.
From the steps behind the altar the best view
is obtained of the (feeble) Last Supper by Gio-
vanni Balducci.
In the north transept, to the right and left,
stand statues of St. Andrew (by Ferrucci) and
St. Thomas (by Rossi). The windows are by
Lorenzo Ghiberti.
Right and left of the nave, in front of the
choir, are statues of St. Matthew (by Rossi)
and St. James the Greater, by Jacopo Sanso-
vino. All eight of these octagon statues are
poor and uninteresting.
In the north aisle, near the first door, is
Dante explaining the " Divina Commedia,"
which he holds in his hands, painted on wood
The New Cathedral. 103
by Domenico di Michelino, in 1465, by order of
the Republic. To the right is the town of Flor-
ence, with its walls, its cathedral dome, tower
of the Palazzo Vecchio, etc. ; in the back-
ground, the spiral mount of Purgatory ; on its
summit, the Tree of Life ; above, in the air,
the Celestial City or Paradise, represented by
various vague circles ; to the left, the mouth
of the Inferno. Above, as part of Heaven, are
seen the heavenly bodies. On a bright day
(when this picture is seen to advantage about
ten in the morning) students of Dante will find
in it many familiar elements of the great poem.
Beyond the second door, modem monument of
Arnolfo. Near it, statue of the statesman and
humanist, Poggio Bracciolini, by Donatello. The
first pillar has a fine picture of San Zanobi be-
tween San Crescenzio and Sant' Eugenio, by
Orcagna.
Proceed one day in this connection to visit
the Opera del Duomo, whose Museum is housed
in a courtyard just opposite the Tribune of San
Zanobi. Note the Roman remains in the court-
yard ; the quaint lions ; and the Lamb of St. ^J^"^
John, with Florentine lilies, over the doorway. ^^ "
(Lambs, eagles, and lilies pervade Florence.) ^j^^V^^^
I04 Florence.
The lamb and flag is the arms of the wool-
weavers, an important guild.
The Museum contains a few fragments from
the old fabric of the cathedral, and numerous
pieces of many demolished works within it, as
well as pictures from the Duomo or Baptistery,
which (to say the truth) can be studied here to
much greater advantage than in the gloom of
their original situation. If you want to study
closely, buy the official catalogue. Otherwise
use the hand-cards provided in each room.
Among the chief objects within, too numerous
to mention in detail, are, on the ground floor,
Roman fragments, and (40) a fine Madonna of
the school of the Pisani, probably by Giovanni
Pisano ; along the stairs, reliefs of Saints and
Prophets, by Baccio Bandinelli and Giovanni
deir Opera ; and, on the first floor, the beauti-
ful ** singing-lofts {Cantovic) with groups of
Qj^* singing and dancing children, by Donatello and
i^^r %r Luca della Robbia, once in the cathedral. Ex-
V^*^ .^^^ amine these in detail,
*^C^"^<^ The one on the wall nearest the door by
^W'^i^-v" which you enter is by Luca della Robbia, and is
'i?^^"^ ^ his loveliest work. Nowhere else has childhood
^^^j>^ been so sympathetically and naturally depicted.
The New Cathedral. 105
Luca always succeeds best with children ; he
must have loved them. Observe the exquisite
brackets supporting the loft, which compare
most favourably with Donatello's more ornate
examples opposite. All the Renaissance deco-
ration on this loft is lovely. The four most
visible reliefs illustrate the verse in the Psalm,
•* Praise the Lord with the sound of trumpets,
with psalteries, with harps, with timbrels," the
words of the Psalm being inscribed beneath
them. Those below illustrate the remainder of
the text, " With dancing, and with chords and
the organ, and with cymbals." The figures,
however, though intended to be seen at this
height, are not altogether well designed for the
purpose. They are best examined with an
opera-glass, and the two detached panels on the
wall to the left are more effective as now hung
han those still left in the original framework.
Donatello's loft, on the farther wall, is also
a beautiful work ; yet here, if one dare say
it, even Donatello suffers by comparison with
Luca. His work is not, like the other, all of
pure marble : it has a sort of inlaid mosaic
background, while pillars, relieved with mosaic,
unpleasantly interrupt its action, — features
io6 Florence.
which to me, in spite of the great intrinsic
beauty of the decoration, somewhat mar the
total harmony of the structure. Donatello's
faces, on the other hand, though less sweet
when closely examined, are better designed
to be seen at this height than Luca's ; but
the separate figures, exquisite as they are,
seem a trifle boisterous, and do not quite attain
the same childish grace and ease of movement
as his friendly rival's. Donatello's children are
winged, Luca's are human. Sit long before
each, and compare them attentively : there is
nothing more lovely in their kind in Florence.
The exquisite ** High Altar in silver (97)
comes from the Baptistery ; it represents, in
the centre, St. John the Baptist, the patron
saint, and on either side, as well as at the end,
scenes from his life, resembling in subjects
those on the gate of the Baptistery.
This noble work is of different dates : the
main front is of 1 366-1402, while the statue
of the Baptist, more Renaissance in tone, is
by Michelozzo, 145 1. The side-reliefs are still
later : Birth of the Baptist, by Antonio Pollai-
olo ; his Death, by Verrocchio, about 1477-80.
Compare the dainty little scene of the boy
The New Cathedral. 107
Baptist starting for the desert with that on
Andrea Pisano's door at the Baptistery.
Notice also particularly, close by, 100, 10 1,
the charming ** groups of Singing Boys by
Luca della Robbia, not included in the Can-
toria (where they are replaced by casts), but
the finest of the series.
Among the pictures, some of the most typic-
ally interesting are : 80, Santa Reparata, hold-
ing the red and white flag, with Scenes from her
Life and Martyrdom (many times attempted in
vain), flanked by the other two patron saints, St.
John the Baptist and San Zanobi, much smaller.
The same local trio are also excellently seen
in 79, close by. I advise an attentive study
of all these works, which give you types of the
Florentine patrons, followed by a second study,
after you have visited the Belle Arti when
their meaning and sequence will become much
clearer to you. I do not propose to treat them
here in full ; but if you look around for your-
self you will light upon many such interesting
local traces as 73, the Decollation of St. John
the Baptist, with a singular halo ; 74, a mosaic
of San Zanobi (1505), with the Florentine lily
on his morse or buckle, and the city in the
io8 Florence.
background ; 'j'j. Our Lady, a fine relief, by
Agostino di Duccio ; 79, St. John with the two
other patron saints (Santa Reparata holding
the Florentine lily); no, San Zanobi, with
an Annunciation ; 108, the same, enthroned
between two deacons, a good intarsia by Giuli-
ano da Majano ; 107, the Baptist in the Desert,
by Giovanni della Robbia ; 89, the Madonna,
with St. Catherine and San Zanobi ; and so
forth. Compare all the Santa Reparata and
San Zanobi figures. In 109, the bishop is not
San Zanobi, but St. Blaise, the patron of the
woollen trade. Among other interesting ob-
jects, not quite so local, observe no, the Crea-
tion of Eve, a frequent subject, always so
rendered, and to be seen also on the gates
of the Baptistery ; and 90, a most singular
martyrdom of St. Sebastian, identical in motive
with the Pollaiolo in the National Gallery, and
with a picture in the Uffizi : these represent a
variant of the legend.
Much of the early sculpture is also most
beautiful ; perhaps the loveliest of all is 95,
an angel by Niccolo d'Arezzo, a work almost
in the style of the school of Pisa, balanced by
96, a most unusual-faced Madonna, forming be-
The New Cathedral. 109
tween them an Annunciation, and both bearing
distinct traces of classical influence. Note also
92 and 93, beautiful statuettes of Christ and
Santa Reparata, by Andrea Pisano. Under
Donatello's singing loft are quaint Byzantine
Gospel stories, in mosaic and enamel, giving
early forms of scenes ; and an embroidered Life
of the Baptist, very interesting. In the first
series note especially Christ in Hades (in the
second tier, on the left) and Christ receiving
the soul of Our Lady (in the third tier, on the
right) for future comparison. I recommend
to all who really wish to understand the evolu-
tion of art a close examination of these Byzan-
tine compositions.
The second room contains the designs for
the facade of the cathedral by De Fabris and
others. Those who desire to study the sym-
bolism of the fagade can do so here to the
greatest advantage. The sequence of the vari-
ous designs affords a perfect history of archi-
tectural art in Tuscany. Notice also the cast
of the Area of San Zanobi in the centre.
For the Campanile, designed by Giotto, and
carried on after his death by Andrea Pisano
no Florence.
and Francesco Talenti, I must refer you to
Baedeker. It is one of the loveliest architec-
tural works ever planned ; but it requires rather
long inspection than description or explanation.
All that is needed for its study (besides time)
is your Baedeker and an opera-glass. The
sculpture of the lower story, on the other
hand, though important for the study of the
evolution of that art in Tuscany, you had better
defer till after you have visited the Bargello and
Or San Michele. Its meaning and connection
will then become clearer to you. You will
understand Giotto's relation (as sculptor) to
Andrea Pisano ; and Donatello's to Orcagna ;
besides being in a better position to trace
Donatello's own personal development.
THE CAMPANILE.
CHAPTER VIII.
THE SECOND DOMINICAN QUARTER : SAN MARCO.
WHATEVER else you see or leave un-
seen in Florence you cannot afford to
ignore the Monastery of San Marco. This
famous convent, a perfect museum of the
works of Fra Angelico, the saintliest and
sweetest of the early fifteenth century painters,
was originally built for Silvestrine monks, but
was transferred by Cosimo de' Medici to the
Dominicans. In 1436, the existing buildings
were erected by Michelozzo, whose handicraft
we have already seen in the chapel of the
Medici at Santa Croce. Shortly afterward Fra
Angelico of Fiesole, a Dominican monk and
inmate of this monastery, decorated the cells,
cloisters, and chapter-house with famous fres-
coes, which represent the most exquisite work
of the later Giottesque period, as yet wholly
untouched by the Renaissance spirit. Fra
Angelico is above all things an ecstatic and
1 1 1 Florence.
mystical religious painter. His panel-works,
it is true, may be seen in the north, but his
infinitely greater skill as a fresco-painter can
only be adequately estimated at San Marco,
where he was painting for his own brethren,
and for the glorification of the Dominican
Order. Even his exquisite and saintly work
in the Cappella Niccolina at the Vatican fails
to attain the same spiritual level as his delicate
imaginings on the cells of his own monastery.
The influence of Popes and Cardinals seems to
have had a chilling effect upon his humble and
devout spirit. It spoiled Raphael : it merely
damped the saintly Dominican,
At the end of the fifteenth century, San
Marco was also the home of the great prior
and preacher, Girolamo Savonarola, the fiery
reformer who was burnt at the stake in 1498.
His cells and many memorials of him still exist
at San Marco. Fra Bartolommeo, also a monk
at this monastery, was deeply influenced by
Savonarola ; so also were Botticelli and many
other contemporary painters. Their work is
full of the religious revival he inaugurated.
Read up the whole of this period in Villari's
" Savonarola," at your leisure in the evenings.
The Second Dominican Quarter. 113
The convent was secularised after the unifi-
cation of Italy, and is now preserved as a public
museum.
Remember, then, these things about San
Marco : It is a Dominican monastery, and
everything about it has reference to the glory,
or the doctrine and discipline of the Domini-
cans, In this respect it may be regarded as a
later and more spiritual edition of the Spanish
Chapel, But simple piety is its note, rather
than dogmatic theology. It was founded ae a
Dominican house by the bounty of the Medici,
whose patron saints (Cosimo, Damian, Law-
rence) reappear over and over again in many
parts of it. It was, in the early fifteenth
century, the home of Fra Angelico, and of the
holy Archbishop St. Antonine, the later saint
of Florence. It was, later still, the home of
Savonarola and of Fra Bartolommeo, many
memorials of whom exist within it.
But, more than all else, expect in San Marco
the glorification of St. Dominic and Domini-
canism.
Go past the cathedral, and take the Via
Cavour to the left, passing on the left the
Riccardi (Medici) Palace, the original home of
114 Florence.
the Medici family : notice its proximity to the
Medici monastery. You will soon arrive at
the Piazza of San Marco. In front of you is
the Church, which omit for the present. The
door to the right of it gives access to the
monastery.
The exterior is unattractive. The outer
cloister, which we first enter, is surrounded by
a fine colonnade or loggia (Michelozzo), and en-
closes a pretty little neglected garden. The
lunettes are filled with seventeenth century
frescoes (by Poccetti and others), mainly re-
lating to the life of St. Antonine, the famous
Dominican Archbishop of Florence, and prior
of this monastery. They are sufficiently ex-
plained by the inscriptions below them. But
the chief objects of real interest in this court
are the few * frescoes by Fra Angelico, all bear-
ing reference to the characteristics of the
Dominican Order. Facing you as you enter
is the figure of St. Dominic embracing the
Cross, representing the Devotion of the Do-
minican Order. The founder saint may usually
be recognised by the little red star (here almost
obliterated, but still just traceable) over his
forehead. Immediately to the left of it, over
The Second Dominican Quarter, 1 1 5
the door of the Sacristy, is St. Peter Martyr,
with his wounded head and pahn of martyr-
dom, placing his finger to his Hps, in order to
enforce the Dominican rule of silence. This
fresco thus represents the Sanctity of the
Dominican Order. Notice here and elsewhere
the Medici pills displayed everywhere. Mid-
way, to the right, near the entrance to the
Chapter-house (which pass for the moment), is
St. Dominic with his red star and open book,
bearing the scourge of rods, and representing
the Discipline of the Dominican Order. On
the end wall, over the door of the Refectory, is
a Pieta. At the opposite end, over the door
of the foresteria, or rooms reserved for the
entertainment of strangers, ** two Dominican
monks welcome Christ, in the garb of a pil-
grim — " Inasmuch as ye have done it unto
the least of these little ones ye have done it
unto me." This fresco therefore represents
the Hospitality of the Dominican Order. For
tenderness and beauty, it is unsurpassed by
any work in this monastery. The next lunette
has one of Poccetti's frescoes, interesting as
showing Sant' Antonino in a procession, with
a view of the cathedral as it then existed,
1 1 6 Florence.
giving the details of Giotto's unfinished facade,
afterward demolished. Conspicuous among the
spectators on the right may be noted Savona-
rola, in his black and white Dominican robes,
as prior of this monastery. Near the entrance
door is St. Thomas Aquinas with his book,
standing for the Learning of the Dominican
Order : also by Fra Angelico.
Now return to the Chapter-house, on the
opposite side, which contains the so-called
** Great Crucifixion, — in reality the Adoration
of the Cross by the Monastic Orders, and more
particularly by the Dominicans in this Monas-
tery of San Marco in the Town of Florence.
This is one of Fra Angelico's noblest paintings.
Those who have only seen his small panels in
the north will hardly be prepared for the free-
dom and vigour of this splendid picture. At
the foot of the Cross stands a most touching
group, with the essential figures of the fainting
Madonna sustained by St. John, St. Mary Mag-
dalen, with her long fair hair, and the other
Mary. These are simply part of the conven-
tional Calvary. The group to the right, how-
ever, for whose sake the fresco was really
painted, represents the Founders of all the
The Second Dominican Quarter. 117
various Monastic Orders. Nearest the foot of
the Cross, and in ardent adoration, as is right
in a Dominican house, kneels St. Dominic him-
self, with his little red star, a most powerful
figure. Behind him, also kneeling, is St.
Jerome, the father of all monks, and founder
of monasticism, with his cardinal's hat on the
ground beside him. The two standing figures
in the background represent St. Albert of Ver-
celli, in green and white, the founder of the
order of the Carmelites, habited as bishop (a
compliment to the great Florentine monastery
of the Carmine) ; and St. Augustine, with his
pen and book, as the founder of the Augus-
tinian or Austin Friars, and author of the " De
Civitate Dei." (It was believed that the Car-
melites were originally founded by Elijah, and
only " revived " by St. Albert : hence his near-
ness to the Cross, and perhaps also the attitude
in which he seems to be calling St. Jerome's
attention, as if the Old Dispensation pointed
the way to the New.) Next, again, in brown
Franciscan robes, comes St. Francis with the
Stigmata, bearing his usual crucifix. Note how
well the difference is marked between the in-
tellectual St. Dominic, the ascetic St. Jerome,
ii8 Florence.
and the ecstatic piety of St. Francis. Behind
the last, standing, is St. Benedict, with the
scourge, representing the Benedictines; in front
of whom kneels St. Bernard with his book.
Next, standing and holding a crutch, is St.
Romualdo, the founder of the Camaldolese, in
his white robe. Close by kneels San Giovanni
Gualberto, founder of the Vallombrosans ; these
two being important monastic bodies in the
neighbourhood of Florence, toward whom such
politeness was only natural. Last of all,
next the arch, the series is completed by the
two most distinguished Dominican saints, St.
Thomas Aquinas, standing, and St. Peter
Martyr, kneeling, with his wounded head.
These two represent respectively the Learn-
ing and the Sanctity of the Dominican Order.
Note that each saint is habited in the garb of
the monastic body which he founded, while only
the Dominicans themselves are permitted to
show any minor members. Every face is char-
acteristic of the Order it represents : every de-
tail has its meaning. Look out for these : they
will dawn upon you.
The group to the left represents rather the
Town of Florence and this Monastery of San
The Second Dominican Quarter. 119
Marco situated within it. At the foot of the