Part 1

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CATHEDRAL CITIES

OF ITALY

_UNIFORM WITH THIS VOLUME_

CATHEDRAL CITIES OF ENGLAND. By GEORGE GILBERT. With 60 reproductions from water-colours by W. W. COLLINS, R.I. Demy 8vo, 16s. net.

CATHEDRAL CITIES OF FRANCE. By HERBERT and HESTER MARSHALL. With 60 reproductions from water-colours by HERBERT MARSHALL, R.W.S. Demy 8vo, 16s. net. Also large paper edition £2 2s. net.

CATHEDRAL CITIES OF SPAIN. Written and illustrated with 60 reproductions from water-colours by W. W. COLLINS, R.I. Demy 8vo, 16s. net. Also large paper edition (limited) £2 2s. net.

_BOOKS ILLUSTRATED BY JOSEPH PENNELL_

ITALIAN HOURS. By HENRY JAMES. With 32 plates in colour and numerous illustrations in black-and-white by JOSEPH PENNELL. Large crown 4to. Price 20s. net.

A LITTLE TOUR IN FRANCE. By HENRY JAMES. With 94 illustrations by JOSEPH PENNELL. Pott 4to. Price 10s. net.

ENGLISH HOURS. By HENRY JAMES. With 94 illustrations by JOSEPH PENNELL. Pott 4to. Price 10s. net.

ITALIAN JOURNEYS. By W. D. HOWELLS. With 103 illustrations by JOSEPH PENNELL. Pott 4to. Price 10s. net.

CASTILIAN DAYS. By the Hon. JOHN HAY. With 111 illustrations by JOSEPH PENNELL. Pott 4to. Price 10s. net.

London: WILLIAM HEINEMANN 21 Bedford Street, W.C.

CATHEDRAL CITIES OF ITALY

WRITTEN AND ILLUSTRATED BY W. W. COLLINS, R.I.

LONDON: WILLIAM HEINEMANN NEW YORK: DODD, MEAD AND COMPANY 1911

_All rights reserved

Copyright, London, 1911, by William Heinemann and Washington, U.S.A., by Dodd, Mead & Co._

PREFACE

The cathedral cities of Italy, the heir of all the ages in art, are as full of enchantment to the lover of architecture as to the poet, the painter, and the historian. Side by side with the great churches that give them their crowning splendour are the public buildings, universities, palaces, and fountains that tell the story of the glorious past, and form the best monument of their great creators. These architectural jewels are often set amidst scenes of great natural beauty, which relieve and enhance the perfection of their art. Every traveller in Italy will recall the emotion with which he first saw Rome rising from the green stretches of the Campagna, recognised the domes and campaniles of Florence, or lifted up his eyes to one of those towered "cities set upon an hill, which cannot be hid"--Siena, Perugia, or Orvieto. Among the many appeals which Italy makes to æsthetic appreciation is that of infinite variety. In no country are the different styles and periods so wonderfully exemplified. Here we may range from Rome and Verona, with their relics of the antique world--amphitheatres, temples, and thermæ--to the Byzantine glories of Ravenna and Venice, the Romanesque grandeur that finds typical expression in the cathedral of Pisa, and thence to the manifestations of that Gothic art which, though it was alien to the climate and character of Italy and so struck no deep roots into the soil, intervened between Romanesque architecture and that of the Renaissance as a brilliant episode, and finds stupendous expression in the thousand pinnacles of Milan.

It is with Christian Italy that we have to deal, the Italy of cathedrals, and it is at Ravenna and at Venice that we may trace the decline of Roman architectural methods and the gradual merging of these into Byzantine forms. Though the great Basilica Ursiana of the fourth century has disappeared, Ravenna has preserved many famous monuments of the fifth century: the votive church of Galla Placidia, sister of the Emperor Honorius, the Baptistery, the aulic church of the Gothic conqueror Theodoric, Sant' Apollinare Nuovo, and the churches of San Vitale and Sant' Apollinare in Classe. Venice, rising to power and splendour when Ravenna fell on evil days, secured the heritage of her glory, and carried on the Byzantine tradition in the cathedral of Torcello, the church of San Zaccaria, and above all in the incomparable San Marco. At Pisa the Romanesque evolution culminated in a unique group of buildings, famous throughout the world, while at Milan and in the surrounding district the local type of Romanesque became sufficiently individual to figure as an independent style under the title of Lombard architecture. Of this subdivision of Romanesque the prototype seems to have been the great church of Sant' Ambrogio at Milan, while San Michele at Pavia is another early and important example. Italy's essays in Gothic are scattered throughout the length and breadth of the peninsula, from Como to Naples. The Broletto at Como and the monastic buildings at Vercelli are said to have inaugurated them. Good examples are the cathedral at Como, the church of San Francesco at Assisi, the cathedral of Orvieto, San Petronio and San Francesco at Bologna, and San Lorenzo at Genoa.

But it is to the Renaissance architecture of Italy that many of us will turn as the most intimate expression of the Italian spirit, to the works of Brunellesco, Michelozzo, and Cronaca at Florence, of Palladio at Venice and Vicenza, of Bramante, and, above all, of Michelangelo at Rome, notably in his great life-work, the church of St. Peter. The exuberant later style that resulted from a too ardent application of the principles of Michelangelo and is known as Baroque, though generally reprobated at present, must not be too sweepingly condemned. It had an exponent of great talent in Bernini, and it will hardly be denied that it gave grandiose expression to the tendency of a splendour-loving age, and that Rome owes to its exponents much of the scenic effectiveness of her streets and the impressive magnificence of her interiors.

CONTENTS

PAGE

COMO 1

MILAN 7

PAVIA 17

BERGAMO 23

BRESCIA 29

VERONA 35

PADUA 49

VENICE 61

RIMINI 91

FERRARA 99

RAVENNA 107

BOLOGNA 123

PARMA 137

GENOA 145

PISA 157

LUCCA 169

FLORENCE 179

PERUGIA 199

ASSISI 211

SIENA 217

ORVIETO 229

ROME 239

NAPLES 265

SALERNO 279

PALERMO 285

ILLUSTRATIONS

_To face page_

Como. The Brotello and Cathedral 2

Milan. The Cathedral 10

Pavia. The Cathedral 18

Bergamo 24

Brescia 32

Verona. The Porch of the Cathedral 38

Verona. Interior of S. Zeno 42

Verona. The Market Place 46

Padua. The Cathedral 50

Padua. S. Antonio 56

Venice. St. Mark's 62

Venice. Interior, St. Mark's 70

Venice. The Palazzi Foscari e Giustiniani 80

Venice. The Lion of S. Mark's 84

Torcello. Sta Fosca and Cathedral 90

Rimini. Isotta's Tomb in the Cathedral 96

Ferrara. The Cathedral 102

Ravenna 110

Ravenna. S. Apollinare Nuovo 116

Bologna. Interior of S. Petronio 130

Bologna. S. Domenico 134

Parma. The Cathedral and Baptistery 138

Genoa. An Old Street 146

Genoa. Façade of the Cathedral 152

Pisa. The Baptistery 162

Pisa. The Campanile and Duomo 164

Lucca. The Porch of the Cathedral 170

Lucca. From the City Walls 174

Lucca. S. Michele 176

Florence. Or S. Michele and the Palazzo dell'Arte di Lana 180

Florence. The Campanile 186

Florence. Ponte Vecchio 190

Florence. The Duomo, from the Boboli Gardens 198

Perugia. The Cathedral and Old Town 200

Perugia. The Porta Susanna 204

Perugia. The Piazza Garibaldi 206

Assisi. The Cathedral 214

Siena. The Cathedral 218

Siena. Interior of Cathedral 222

Siena. The Arco di S. Giuseppe 226

Siena. Under the Walls 228

Orvieto. La Porta Maggiore 230

Orvieto. The Façade of the Cathedral 232

Rome. On the Palatine 240

Rome. S. Peter's Frontispiece

Rome. The Arch of Titus 250

Rome. S.S. Trinità de' Monti 256

Rome. The Isle of S. Bartolomeo 260

Naples. Interior of the Cathedral 268

Naples. S. Domenico Maggiore 272

Posillipo. The Bay of Naples from 276

Salerno. A Pulpit in the Cathedral 282

Palermo. The Cathedral 286

Palermo. The Cloisters of S. Giovanni degli Eremiti 296

Palermo. Mte Pelligrino 298

Monreale. The Cloisters 302

COMO

On a flat piece of land at the southern extremity of Italy's most beautiful lake, the ancient Lacus Larius, stands a city whose history dates back to the days when a Grecian colony nestled at the foot of the mountains which lie east and west of the modern Como. Numerous relics of Roman days found at different times, testify to the truth of the younger Pliny's letters that the Comum Novum of Julius Cæsar was in a flourishing condition during the writer's life, and enjoyed all the privileges attached to a _municipium_.

At the present day Como is best known as a starting-point for tourists who board the steamers at the quay and leave their decks at one of the many delightful spots which fringe the shores of a lake whose attractions cannot be overwritten. The sun shines on an endless panorama which changes every minute as the steamer pants over the blue waters, breaking up and dispelling the reflections of verdure-clad slopes and stern crags which lie mirrored on the surface. Hamlets like Nesso cling to the rocks and bridge the _orriao_ or torrent, as it enters the lake in a foaming cascade. Monster hotel settlements like Bellagio and Cadenabbia lie further up the water, opposite to Varenna with its golf course and English caravanserai. Little is left to remind one of those bloody sixteenth-century days when Il Medeghino from his stronghold of Musso ruled the lake, and with his fleet of seven big ships and countless smaller craft blockaded the City of Como, held for Charles V. by the Marquis of Pescara, and compelled the Spaniards to come to terms. Nothing more warlike nowadays ruffles the serenity of the waters than the evil-looking little _dogana_ craft which flash their light along the shores, sweeping every tiny bay in search of _contrabbandieri_. Though much could be written about the internecine wars the mountains have seen, it is not with Gian Giacomo de' Medici this chapter is concerned, but with the city itself, which lies away out of sight of the great corsair's Castle of Musso.

The Cathedral of Como, built entirely of marble, was commenced in 1396 from the plans of Lorenzi de' Spazi. The west façade, begun in 1460, was finished by Tomaso Rodario in the last few years of that century. It is Italian Gothic, with the exception of the three doorways, which are rich Lombard work; and, like all façades of the same style in Italy, has the appearance of simply facing or being stuck on to the building itself. Despite the adornment of statues and bas-reliefs, scrolls and arabesques, it has a very severe and flat look, which is unrelieved by the recesses containing busts of the two Plinys on either side of the central doorway, or the deep-set windows and canopied niches above. A fine wheel window occupies a position above the principal door and between these is a good Gothic screen with figures in five niches flanked by a couple of windows on either side.

The north side of the façade adjoins the Brotello, through the arches of which one reaches the north doorway. This is decidedly good. The porch is supported by elegant pillars and adorned by arabesques with birds, animals, and other figures. It was executed from designs by Rodario, and with the south portal possesses all the merit that good Renaissance work gives to both. The windows of the aisles are beautifully ornamented with decoration of the same character, and the slender pinnacles with their pierced galleries, albeit they remind one in their whiteness of the superior pieces of an ivory chess set, break the line of the roof in a most agreeable manner. The dome lacks proportion and is of the over-done style of French eighteenth-century work.

The interior of the cathedral is Gothic and Renaissance. The nave and aisles belong to the earlier date. The groining is good, but spoilt, as is generally found to be the case throughout Italy, by gilded and coloured bosses which mar the otherwise simple effect of the vaulting. The transepts and choir are Renaissance, and though the sympathies of the northman are more with the sterner style, it must be owned that in Como's cathedral the scheme of decoration found in these is more fitting and better of its sort than in the Gothic half of the building. At the west end of the nave stands the circular Baptistery attributed to Bramante, close by which are a lion and lioness, the former grasping a deer and the latter suckling her young. They support the two holy water basins. Among the pictures of interest which the cathedral contains is a good Bernardino Luini of the Virgin, and two glazed and framed frescoes of the Nativity and Adoration by the same hand.

The illustration shows the Brotello or old town hall, and the pinnacles and north walls of the Cathedral. The Brotello is faced with banded black and white marble, the common device for exterior walls in most Italian Gothic churches, and in this case justified by the beautiful colour it has taken on with age. The building stands mellowed by the hand of Time, a memorial of the days of the old Italian Republics; and its counterpart existed in every Lombard city. Above the arches, under which the good citizens were wont to discuss the affairs of their town while sauntering to and fro in the cool shade, is the great hall wherein the chief of the municipality assembled. From the window in the centre access was obtained to the bar, or _ringhiéra_ outside, from which addresses were delivered to the crowd below, who in constitutional language formed the _parliamento_ and from whom the powers of government emanated.

Two of the old city gateways still exist, the latter of which, the Porta del Torre, leading out on the high road to Milan is to-day but an empty five-storied shell. The old walls may be traced even now on the three sides of the city away from the water-front. But for these there is very little left to show the extent of a place which was once a serious rival to Milan. The staple industry is stone-working, for which the Comaschi have for centuries been widely known. In former times Como was justly celebrated for the products of its looms, excelling in number those at Lyons. Nowadays it exports the raw silk; the looms have sadly fallen off and diminished, and small industries have taken the place of those that brought considerable wealth to the pockets of its merchants.

MILAN

When the great wave of conquest which swept mid-Europe in the fifth century broke against the walls of Châlons-sur-Marne and the westward march of Attila and his Huns was checked, the defeated hordes of the East followed their chief across the Alps and invaded the plain that stretches away now, just as it did in those far-off days, to the sunny seas that beat against the southern slopes of the Apennines. In the centre of this plain stood Mediolanum, a city ranking second only to Rome, and her greatest colony in the Peninsula. So rich and prosperous a place became of necessity the object of attack, and the hosts that looked to "the Scourge of God" as leader, swept into and through the fair city, sacking it completely. Rebuilt, but once again undergoing the same fate at the hands of Frederick I. in 1162, there remain but a colonnade of sixteen Corinthian columns near the Porta Ticinese, a few tablets and fragments let into the walls of other gateways, and some relics in the museum, to tell of the past glories of Rome's great colony.

Milan, as we know it now, is the centre of commercial Italy. Intersected by an excellent system of tramways, with beautiful public gardens and magnificent buildings, it is up to date in every way and stands quite apart from all the other cities with which this book is concerned. The one thing that, perhaps, above all others places it in this position is, however, no product of this commercial age, but its world-famous work of art, the great cathedral, through the lofty aisles of which still reverberates the grand music of the Ambrosian Ritual. The exterior of this immense church, next in Italy to St. Peter's in size, is adorned by a forest of spires, pinnacles, turrets and lace-like tracery. In the midst of all this rises the central tower with its airy spire, from the base of which on a clear day the snow-clad peaks of the Alps may be seen stretching miles on miles away, and bounding the whole of the northern horizon by a lovely dreamland of colour.

Very few buildings compel one's admiration as this does, an admiration wrung in my case from a mind out of sympathy with everything that lacks the dignity of repose; but such is the effect obtained by hundreds of pinnacles and statues, by the turreted flying buttresses, by the filling of every available foot of space with ornament, that one cannot but appreciate the result of the skill and patience so truly Italian, which has carried out these infinite details and produced the great work that stands in the Piazza del Duomo. The present fabric, dedicated "Mariæ Nascenti," is the third cathedral built on the site: the first was destroyed by Attila in 452, and the second by Barbarossa in 1162. The foundation-stone was laid in 1387 by Gian' Galeazzo Visconti, who from a northern clime sought his architect, Heinrich Ahrler, of Gmünden. From that time down to the present day many have had a hand in its making, among them Bramante, Leonardo da Vinci, and Giulio Romano, and the wonder is that the great structure is not far more full of incongruities than it is. The whole exterior is built of white marble from the quarries of la Gandoglia on the Simplon Road, given by the founder for this purpose.

The façade rises with a course of open Gothic work to the gable above, and is divided into five sections which terminate in clusters of Gothic turrets surmounted by pinnacles and statues. The central doorway is surrounded by excellent Renaissance sculpture, the door itself being a magnificent piece of seventeenth-century bronze work. On each side are two more portals. The bases of the intervening buttresses contain splendid panels, and the Caryatides, which support the slender Gothic shafts right and left, by Rusca and Carabelli, are extremely good in pose and execution. The great façade designed by Pellegrini for S. Carlo Borromeo in 1560 was never carried out owing to the saint's death while Pellegrini was away in Spain working on the Escorial for Philip II. The east end is the oldest part of the building, and is almost entirely taken up by three grand Gothic windows. The east window, which is of most beautiful tracery, was executed from the designs of a Frenchman, Nicholas Bonaventure. Both the other windows are fine, but the upper portion or rose pattern, although in itself very delicate, appears "stuck in," and not part of the design; some of the glass in these is very rich in colour. The archivolts of the arches are filled with figures which follow the curve in a rather uncomfortable style, not only here but in every other window save the fine classical of the façade.