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•ny WHITE L _ ,
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Land of Promise
(TO AND FROM)
fty Rev. C. O’N. Maktindale.
ARTICLE LIX.
I T A L Y.
(7). Florence (Firenze), “the
Genteel City.’’
In the springtime of the year we
Eppreciated—
“The vines, the flowers, the air, the
skies that fling
Such wild enchantment o’er Boocaecio’s
tales
Of Florence and the Arno."
And naturally enough our sur
vey of Florence began with the
Duomo or Cathedral of Santa
Maria del Fiore, the Baptistery of
I Saint John, and the Campanile
(Giotto’s Bell Tower) close to but
separate from the Cathedral.
The Cathedral is both massive,
extensive and magnificent,as might
be judged from the fact that when
begun by Arnolfo del Cambio in
1298 (on the site of long-conse
crated ground * 1 * * * * * ) he was instructed
by the Florentines to rear a tem
ple to exceed in magnificence any
thing the world had yet seen, the
work after his death being carried
on to completion by the famous
1,Giotto and other artists, followed
in turn by Brunelleschi and others
of great repute. Its measure-
, ments are—in length, 55° feet; ex
treme height, 352 feet; transept
340 feet long, nave and aisles 129
feet wide, height ot nave 154 feet,
and side aisles 97 feet. “The
Dome, stated to be the widest in
the world, and with lantern, 352
feet high, the work of Brunelleschi,
is I38 feet in diameter, and is the
first double-dome ever built, and
the first ever raised upon a dium.
This wonderful cupola was a mod
el for Michel Angelo when en-
1 g<*gcd on the design of St. Peter s
at Rome; the legend goes that
when he ‘was told that he had now
an opportunity of surpassing the
dome ot Florence,’ he replied, ‘I
will make her sister dome larger; j
yes, but not more beautiful.’ ’’ In
the midday sun the Cathedral has
a verv rich appearance, arising
from the many colored marbles
used in its exteriorjits porch front-;
’ ing the Via Ricasoli, being very 1
graceful with pillars resting on
v the backs of lions. The Facade to
the Cathedral, in same vari-colortd
marbles, is very costly and beauti
ful also. As one goes around the
Cathedral something striking can
be seen specially worty of atten
tion, its portals, statuary, window
tracery, etc. Its painted windows
are wonderful. As Nathaniel
Hawthorne puts it: “The Floren
tine Cathedral has a spacious and
lofty nave, and side aisles divided
from it by pillars; but there are no
chapels along the aisles, so that
there is tar more breadth and free
dom of interior, in proportion to
the actual space, than is usual in
churches. . . The pillars and
walls of the Duomo are of a uni
form brownish neutral tint; the
pavement a mosaic-work of mar
ble; the ceiling of the dome itself
is covered with frescoes, which,
V being very imperfectly lighted, it
* is impossible to tTace out. Indeed
it is but a twilight region that is
enclosed within the firmament of
this great dome, which is actually
larger than that of St. Peter’s,
though not lifted so high from the
pavement. But looking at the
painted windows, I little cared
what dimness there might be else
where; for certainly the art of man
has never contrived any other
beauty and glory at all to be com-
| pared to this. . . The dome sits
as it were upon three smaller
domes—smaller, but still great—
| beneath which are three vast
I niches, forming the transepts ot
the Cathedral and the tribune be
hind the high altar. All round
these hollow dome-covered arches
or niches are high and narrow win
dows, crowded with saints, angels,
and all manner of blessed shapes,
that turn the common daylight in
to a miracle of richness and splen
dour, as it passes through their
heavenly substance. It is a pity
anybody should die without seeing
an antique painted window with
the bright Italian sunshine glow
ing through it,” From designs of
Vasari the cupola is painted with
representations of Heaven and
Hell, Prophets, Saints and Angels.
Among its chief objects of in
terest are the monuments to Fili
ppo Brunelleschi and that of
Giotto no less than that of Mar-
silio Ficino (reviver of the Plato
nic philosophy and friend of Lor
enzo the Magnificent). In the
centre of the pavement in the
north transept is a marble slab
used in the service of astronomy
as far back as 1468, the “gnomon
of Paolo Toscanelli, on which the
rays of the sun fell through an
opening in the lantern of the
cupola, and showed the position of
the sun at the summer solstice.”
For historic association this
Cathedral is well known. “Here
on the 26th day of April, 1478,
when the priest was elevating the
host at high mass, Giulano de’
Medici fell by the murderous blow
of Pazzi, while Lorenzo fled to the
sacristy, and escaped the conspira
tors, who thought to have given
liberty to Florence. Here, when
the Turks were approaching Con
stantinople, the Greek Emperor
fell before the Pope, pledging him
self and all his people to renounce
the errors of the Greek Church,
and adopt the truths of the Ro
man, provided treasure and assist
ance were given him to resist the
foe. Here Frederick III, the Em
peror of Germany, ‘forgetting that
the holy spirit of the place was
one of peace and good-will to all
men, knighted some scores ot the
bravest and fiercest of his cut-,
throat soldiery.’ But to tell of all 1
j the scenes the Duomo has wit
nessed, would be to tell the history
of Florence since the days of
Arnolfo. Italy has many churches
of vast extent and magnificence, of
which any country might well be
proud, but the Duomo ot Florence
has this interest beyond them all,
that its fine double cupola was the
first ever reared in Europe, that it
has served as a model for all time,
and that it introduced a new era
into the history of architectuae.”
I (Cook;.
The Baptistery (Battistero di
San Giovanni), as is not unusual
in Italian cities, is a distinct edi-
| fice from the Cathedral Church, at
! one time long before the Cathe-
I dral’s erection serving as the Ca
thedral itself, It dates back to
589, it is said, and was dedicated
to St. John, “Florence having al
ways been distinguished as the
city of that saint." Besides its
rare beauty from an outside view,
it has three immense and very re
markable bronze doors that at once
hold the attention of a visitor; the
southern and oldest gate by An
drea Pisano (after 22 years of la
bor), representing scenes from
the Life and History of John the
Baptizcr, divided into twenty com
partments; the northern gate, by
Ghiberti, (after about twenty-two
years’ wotk) presenting scenes in
the life and history of the Saviour
from the Annunciation to the
Descent of the Holy Spirit, exe
cuted in twenty panels; and the
eastern gate, by Ghiberti, (after
some twenty-seven years’ labor),
of greater excellence and showing
wonderfully the genius of the
artist, delineating scenes from the
Old Testament History (Adam
and Eve, Cain and Abel, Noah,
Abraham and Isaac, Jacob and
Esau, Joseph and Ins Brethren,
Moses on Sinai, Joshua at Jericho,
David and Goliath, Solomon and
the Queen of Sheba); Ghiberti
dying before the work was finish
ed, and the lower reliefs being
completed by his pupils. His was
a pictorial genius, each panel a
picture in relief; and his work ex
hibits a master in art. Thus
judged (from a pictorial rather
than from a sculptural side), "we
shall be able to appreciate the
astonishing tertility of invention
exhibited in the various designs,
the felicity and clearness with
which every story is told, the
grace and naivete of the figures,
the simple grandeur of others, the
luxuriant fancy displayed in the
ornaments, and the perfection with
which the whole is executed, and
to echo the energetic praise of
Michael Angelo, who pronounced
these gates ‘worthy to be the gates
of Paradise.’ ” Tie gilding origi-
nally covering the gates has long
since worn away.
On the inside the Baptistery is
gloon.y for a while until one be
comes used to the transition from
sunlight to twilight. Then we see
statues of prophets and apostles
about us, a statue in wood of Mary
Magdalene by D matello, and a
zodiac in an ingenious white and
marble mosaic in the pavement
centre (of 1048 date by Strozzi,
an astrologer). The Font origi
nally standing here was removed
in 1571, greatly to the displeasure
of the Florentines. But the sight
worth noting in here is in the
cupola covered with stupendous
and unique mosaics of an early date,
representing the Saviour sitting
■in Judgment, with archangels,
thrones, principalities, and powers,
good and evil around Him; while
the patriarchs Abraham, Isaac and
Jacob are depicted with the souls
of men in their laps, and the Evil
One literally devouring a soul that
he has sought.
The Campanile, or Bell-Tower
of the celebrated Giotto’s genius,
is a beautiful study whether by
sunlight or moonlight for poet or
artist or architect or traveller,such
that John Ruskin (no me..n au
thority on architecture) believed
; it to be “the model and mirror of
! perfect architecture,” saying: “Th e
I characteristics of Power and Beau-
1 ty occur more or less in different
buildings—some in one and some
in another. But all together, all
in their highest possible relative
‘ degrees, they exist, as far as I
: know, only in one building in the
world—the Campanile of Giotto at
Florence.” Of it also the poet
Longfellow has given his estimate
in the passage—
“In the olrl Tuscan town stands Giotto’s
tower,
The City of Florence blossoming in
stone—
A vision, a delight, and a desire,
The builder’s perfect and centennial
flower.”
Its famous author is the hero of
the pretty story, so often told ana
so widely pictured, introduced in j
Rogers’ “Italy” with the words—
“Let us wander thro’ the fluids,
Where Cimabue found the shepherd-boy
Tracing his idle fancies on the ground.” j
It is a square-built tower with!
an easy ascent of 414 steps, and j
has six bells, the largest one hear-
ing the Medici arms. When begun
(1334; Giotto was given instruc- j
tions to “surpass in magnificence
of design and structure everything
the world had ever seen,” and, as
you look it over and make com
parisons, he seems to have fulfill
ed the plan desired. From base
to summit it is 292 feet high, of
variegated marbles, in four storys
1—the basement and the topmost
being the tallest, and crowded in
its lightness and elegance and j
ethereal beauty with reliefs and J
statues and tablets, of which every ;
minute detail calls for cldse ex-j
animation. After Giotto’s death j
it was finished by Andrea Pisano
and Francesco Talenti (1387). On '
it are works of Luca della Rubia j
and Donatello likewise. A fine
view is afforded from the summit j
to which we climbed, and on which
we remained some time, our guide
being either too Lzy or too feeble
to climb so high. It is indeed the
very picked jewel of all buildings
we have seen, so delicately finish
ed, so luxuriantly sculptured, so
pure in its intricacy of detail, so
lull of suggestion for poetic fancy.
“It is like a toy shrine ot ivory
which some ingenious and pious
monk might have spent his life
time m adorning with sculptural
designs and figures of s.tints; and
when it was finished, seeing it so
beautiful, he prayed that it might
be miraculously magnified from
the size ol one toot to that ol three
hundred.” No word-painting can
do it justice. It required fifty
yoars to comqlete it.
On the south of the Piazza
Duomo some steps beyond the
statues of Brunelleschi and Ar
nolfo is the celebrated Sasso di
Dante (Stone of Dante), where
the great poet is said to have of
ten sat to gaze on the Cathedral:
“Oil the stout)
Called Dante’s—a plain flat stone soarco
disueruait
From others in the pavement—where
upon
He used to bring his quiet chair out,
turned
To Brunellesohi’s ohuroh.and pour alono
The lava of his spirit when it burned.”
A rather austere, almost spec
tral looking man, of vivid burning
words; of good birth and educa
tion, of thoughtful but rather
melancholic temperament, a war
rior and publicist, a patriot and
ambassador, unhappy in marriage,
in temporary exile, some times
terribly plain and roughly sarcas
tic, he was variously in the Courts
of Florence, Verona, Padua, Ur-
bino, Bologna. “Meanwhile, his
wondrous poem was shadowing
itself forth, and taking the gloomy
hue of his ideas. Its subject was
dark and horrible; its treatment
was severe; yet it boasted flowers
of exquisite poetry that sprang up
like the vegetation in the neigh
borhood of a volcano. He inter
wove it with the philosophy and
theology of the age; he introduced
living friends and foes into the
drama with questionable taste,and
bestowed on them imaginary woes,
according to his own judgment ot
their merits and demerits. Yet
his pages were interwoven with
immutable truths, and abounded
in lofty morality. Printing was
not yet invented; but no sooner
was his Divina Commedia com
pleted than it was copied, re-cop
ied, commented upon with eager
interest from one end of Italy to |
the other. And, as soon as print
ing multiplied copies to a hitherto
undreamed-of extent, it became
sown over the land thick as leaves
on Vallombrosa—the next Italian
book printed to the Bible, hive
hundred years have passed, and its
spell, as of some old oracle, still
lies on us.”
In the Academy of Fine Arts
we saw the great statue of David
by Michael Angelo, of marvellous
beauty and enormous proportions,
one of his finest productions, till
1 lately in the Piazza Della Signoria.
In the National Museum we got a
view of the history of the develop-
: ment of Italian art, a large assort
ment of pictures, tapestries,
bronzes, ivories, statuary, coins,
etc. Among the notable houses
shown are those of Michael An
gelo, Cellini, Dante Alighieri,
: Galileo, Ghiberti, Machiavelli,
j Amerigo Vespucci (who if not the
discoverer of America, at least
gave that great country its name),
and Browning (wherein Elizabeth
Browning died). The Pitti Palace
and Gallery and the Uffizi Gallery
and the Chapel of the Medici are
full of rarest art treasures and
some of the finest things to be
seen in Italy. In the inner circle
of an octagonal room in ihe Uffizi
Monday Begins
the Greatest 15-day Sale
in the history of this house. Read every article in this
advertisement; it means the saving and making of money
for you. Here are some of our bargains:
Men’s heavy lleeoe-lined 1111 -
denvoar
Men’s Imperial 81 shirts, culls
attached
Men’s embroidered socks, wtl
20c and 25c
Men's white laundered shirts
worth 81 to 81,5()
Men's white laundered shirts
worth 75c to N5e
Men's v bite and colored band
kerchiefs
Ladies' new style patent loath
or belts. 50c values
Powder
1 do/, pearl buttons, wort
Safety pins, per do/
Ladies' skirts in 8S and
values for
Ladies' skirts in black, 1
brown, gray, 85 values
Ladies' long cloaks, 8s
810 values
Men’s all wool cash mere suits,
.,‘tfle 81-.50 to 8H» values for. 0.08
Mini’s all wool suits in unlln-
19c
Flic
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It
815
values for
.1
2.50
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Bovs’
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suit
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liOc
Boys’
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will 88
1.50
7
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Boys’
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Boys’
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10c
2 cast
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regular 10c seller:
S .... 1
r 7-8
•Sc
75 bci
1 spmttls, Marseilles pat-
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IS. 82.50 to 81
values
1.09
111
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Extra
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and
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15c
0
Men’s
; 81 and 88.50
shoes
2.08
1 .SIS
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1 .‘.18
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sample shoes
49c
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"Sir TRIMMED HATS
Expressed on all sides by everyone who visits this Department.
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85 values are marked 82 08.
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New York Bargain Store
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(Continued on page 7.)
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