wonder, and the knowledge that man is the author of such a marvel adds to its greatness.
The interior is so dim and strange as to be for a time sheer terra incognita, and to see a bat flitting from side to side, as I have often done even in the morning, is to receive no shock. In such a twilight land there must naturally be bats, one thinks. The darkness is due not to lack of windows but to time. The windows are there, but they have become opaque. None of the coloured ones in the aisle allows more than a filtration of light through it; there are only the plain, circular ones high up and those rich, coloured, circular ones under the dome to do the work. In a little while, however, one's eyes not only become accustomed to the twilight but are very grateful for it; and beginning to look inquiringly about, as they ever do in this city of beauty, they observe, just inside, an instant reminder of the antiseptic qualities of Italy. For by the first great pillar stands a receptacle for holy water, with a pretty and charming angelic figure upon it, which from its air of newness you would think was a recent gift to the cathedral by a grateful Florentine. It is six hundred years old and perhaps was designed by Giotto himself.
The emptiness of the Duomo is another of its charms. Nothing is allowed to impair the vista as you stand by the western entrance: the floor has no chairs; the great columns rise from it in the gloom as if they, too, were rooted. The walls, too, are bare, save for a few tablets.
The history of the building is briefly this. The first cathedral of Florence was the Baptistery, and S. John the Baptist is still the patron saint of the city. Then in 1182 the cathedral was transferred to S. Reparata, which stood on part of the site of the Duomo, and in 1294 the decision to rebuild S. Reparata magnificently was arrived at, and Arnolfo di Cambio was instructed to draw up plans. Arnolfo, whom we see not only on a tablet in the left aisle, in relief, with his plan, but also more than life size, seated beside Brunelleschi on the Palazzo de' Canonici on the south side of the cathedral, facing the door, was then sixty-two and an architect of great reputation. Born in 1232, he had studied under Niccolo Pisano, the sculptor of the famous pulpit at Pisa (now in the museum there), of that in the cathedral in Siena, and of the fountain at Perugia (in all of which Arnolfo probably helped), and the designer of many buildings all over Italy. Arnolfo's own unaided sculpture may be seen at its best in the ciborium in S. Paolo Fuori le Mura in Rome; but it is chiefly as an architect that he is now known. He had already given Florence her extended walls and some of her most beautiful buildings—the Or San Michele and the Badia—and simultaneously he designed S. Croce and the Palazzo Vecchio. Vasari has it that Arnolfo was assisted on the Duomo by Cimabue; but that is doubtful.
The foundations were consecrated in 1296 and the first stone laid on September 8th, 1298, and no one was more interested in its early progress than a young, grave lawyer who used to sit on a stone seat on the south side and watch the builders, little thinking how soon he was to be driven from Florence for ever. This seat—the Sasso di Dante—was still to be seen when Wordsworth visited Florence in 1837, for he wrote a sonnet in which he tells us that he in reverence sate there too, "and, for a moment, filled that empty Throne". But one can do so no longer, for the place which it occupied has been built over and only a slab in the wall with an inscription (on the house next the Palazzo de' Canonici) marks the site.
Arnolfo died in 1310, and thereupon there seems to have been a cessation or slackening of work, due no doubt to the disturbed state of the city, which was in the throes of costly wars and embroilments. Not until 1332 is there definite news of its progress, by which time the work had passed into the control of the Arte della Lana; but in that year, although Florentine affairs were by no means as flourishing as they should be, and a flood in the Arno had just destroyed three or four of the bridges, a new architect was appointed, in the person of the most various and creative man in the history of the Renaissance—none other than Giotto himself, who had already received the commission to design the campanile which should stand at the cathedral's side.
Giotto was the son of a small farmer at Vespignano, near Florence. He was instructed in art by Cimabue, who discovered him drawing a lamb on a stone while herding sheep, and took him as his pupil. Cimabue, of whom more is said, together with more of Giotto as a painter, in the chapter on the Accademia, had died in 1302, leaving Giotto far beyond all living artists, and Giotto, between the age of fifty and sixty, was now residing in Cimabue's house. He had already painted frescoes in the Bargello (introducing his friend Dante), in S. Maria Novella, S. Croce, and elsewhere in Italy, particularly in the upper and lower churches at Assisi, and at the Madonna dell' Arena chapel at Padua when Dante was staying there during his exile. In those days no man was painter only or architect only; an all-round knowledge of both arts and crafts was desired by every ambitious youth who was attracted by the wish to make beautiful things, and Giotto was a universal master. It was not then surprising that on his settling finally in Florence he should be invited to design a campanile to stand for ever beside the cathedral, or that he should be appointed superintendent of the cathedral works.
Giotto did not live to see even his tower completed—it is the unhappy destiny of architects to die too soon—but he was able during the four years left him to find time for certain accessory decorations, of which more will be said later, and also to paint for S. Trinità the picture which we shall see in the Accademia, together with a few other works, since perished, for the Badia and S. Giorgio. He died in 1336 and was buried in the cathedral, as the tablet, with Benedetto da Maiano's bust of him, tells. He is also to be seen full length, in stone, in a niche at the Uffizi; but the figure is misleading, for if Vasari is to be trusted (and for my part I find it amusing to trust him as much as possible) the master was insignificant in size.
Giotto has suffered, I think, in reputation, from Ruskin, who took him peculiarly under his wing, persistently called him "the Shepherd," and made him appear as something between a Sunday-school superintendent and the Creator. The "Mornings in Florence" and "Giotto and his Works in Padua" so insist upon the artist's holiness and conscious purpose in all he did that his genial worldliness, shrewdness, and humour, as brought out by Dante, Vasari, Sacchetti, and Boccaccio, are utterly excluded. What we see is an intense saint where really was a very robust man. Sacchetti's story of Giotto one day stumbling over a pig that ran between his legs and remarking, "And serve me right; for I've made thousands with the help of pigs' bristles and never once given them even a cup of broth," helps to adjust the balance; while to his friend Dante he made a reply, so witty that the poet could not forget his admiration, in answer to his question how was it that Giotto's pictures were so beautiful and his six children so ugly; but I must leave the reader to hunt it for himself, as these are modest pages. Better still, for its dry humour, was his answer to King Robert of Naples, who had commanded him to that city to paint some Scriptural scenes, and, visiting the artist while he worked, on a very hot day, remarked, "Giotto, if I were you I should leave off painting for a while". "Yes," replied Giotto, "if I were you I should."
To Giotto happily we come again and again in this book. Enough at present to say that upon his death in 1336 he was buried, like Arnolfo, in the cathedral, where the tablet to his memory may be studied, and was succeeded as architect, both of the church and the tower, by his friend and assistant, Andrea Pisano, whose chief title to fame is his Baptistery doors and the carving, which we are soon to examine, of the scenes round the base of the campanile. He, too, died—in 1348—before the tower was finished.
Francesco Talenti was next called in, again to superintend both buildings, and not only to superintend but to extend the plans of the cathedral. Arnolfo and Giotto had both worked upon a smaller scale; Talenti determined the present floor dimensions. The revised façade was the work of a committee of artists, among them Giotto's godson and disciple, Taddeo Gaddi, then busy with the Ponte Vecchio, and Andrea Orcagna, whose tabernacle we shall see at Or San Michele. And so the work went on until the main structure was complete in the thirteen-seventies.
Another longish interval then came, in which nothing of note in the construction occurred, and the next interesting date is 1418, when a competition for the design for the dome was announced, the work to be given eventually to one Filippo Brunelleschi, then an ambitious and nervously determined man, well known in Florence as an architect, of forty-one. Brunelleschi, who, again according to Vasari, was small, and therefore as different as may be from the figure which is seated on the clergy house opposite the south door of the cathedral, watching his handiwork, was born in 1377, the son