Basilica of Santa Maria Novella

“ The inside is a mixture of plaster and rich marble, excessively gaudy, and in the worst taste imaginable.
These churches are all in the same part of Naples, and are seen in a walk from the Toledo to the cathedral. The Church of the Annunciation is more distant. It is really a noble edifice, of modern architecture, though the disposition is rather too complicated. There are three chapels on each side of the nave, with doubled columns between them, and a continued unbroken entablature. The plan of the choir is more intricate, and reminded me of Santa Maria in Campitelli, at Rome. ”

“ Santa Maria Novella, then, is as good a German Italian church as can be found; but, for the reasons stated, it is not particularly interesting as a piece of architecture. Its wealth is in its frescos. In the quadrangle of the cloister is a series of pictures by Paolo Uccello, who, by the introduction of linear perspective, of which he is esteemed the inventor, made a new epoch in art. In the "chapel of the Spaniards" is a famous collection of frescos by Giotto's scholars. A large, thoughtful, and attractive composition is called the Wisdom of the Church. ”

“ The S. Maria Novella architects were brothers of the order, but Talenti, whom we saw at work both on Giotto's tower and on San Michele, built the campanile, and Leon Battista Alberti the marble façade, many years later. The richest patrons of S. Maria Novella—corresponding to the Medici at S. Lorenzo and the Bardi at S. Croce—were the Rucellai, whose palace, designed also by the wonderful versatile Alberti, we have seen.
The interior of S. Maria Novella is very fine and spacious, and it gathers and preserves an exquisite light at all times of the day. ”

“ 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. ”

“ Effective as are the pavements constructed with tesserae of marble or coloured stone, they must have been eclipsed by the brilliant hues of the wall-mosaics. We can form but little idea of these from the decoration of fountains at Pompeii and elsewhere, and must depend chiefly on the compositions which adorn the walls and apses of early Christian basilicas. An attempt has, indeed, been made to prove that one of these—the church of S. Maria Maggiore—is nothing else than a private basilica once belonging to a Roman palace, and that its mosaics date from the period of Septimius Severus ”

“ Only those who have listened to a beautiful voice singing in the Lateran towards evening can understand that, in spite of the grievous disfigurements of the barocco age, and the exaggerated modern decorations of the nineteenth century, the 'Mother of all Churches,' as the Basilica is called, can still seem the most deeply and truly hallowed place of worship in Christendom. There is a mystery in it at the sunset hour which is felt by all men, though none can explain it ”

“ It was to preserve them from assault, "in order that it should be less easy for the enemy to make depredations and burn the Church of St. Peter, as they have heretofore done," that Leo IV, the first pope whom we find engaged in any real work of construction, built a wall round the mound of the Vatican, and Colle Vaticano—"little hill," not so high as the seven hills of Rome—where against the strong wall of Nero's Circus Constantine had built his great basilica. At that period—in the middle of the ninth century—there was nothing but the church and shrine—no palace and no hospital. ”

“ Maria in Domenica or della Navicella. (If no one is here, the hermit at S. Stefano Rotondo will unlock it.) The portico is due to Raphael (his design is at Windsor) . The damp interior (rebuilt by Leo X. from designs of Raphael) is solemn and striking. It is in the basilica form, the nave separated from the aisles by eighteen columns of granite and one (smaller, near the tribune) of porphyry. The frieze, in chiaroscuro, was painted by Giulio Romano and Pierino del Vaga. Beneath the confessional are the bones of Sta. Balbina, whose fortress-like church stands on the Pseudo-Aventine. ”

“ The daily life, if one may so call it, of the Venetian Basilica has, however, more power to charm the memory than its hours of splendid show. We like best to think of it almost empty and quite silent, its high altar seldom used, and its Lady Chapel, Chapel of the Blessed Sacrament, and altar of the Crucifix quaintly propped up against the corner of the pilaster, surrounded by the few worshippers whose faithful instincts bid them haunt the same spots day after day. In the early morning, you enter the seemingly deserted church. No hum of prayer is heard; hardly a human form is in sight. ”

“ An exception was made for the entrance front, which was sometimes covered with plates of marble mosaics or painted stucco (Old St Peter’s, S. Lorenzo) . But in spite of any decorations the external effect of a basilica must always have been heavy and unattractive. S. Apollinare in Classe at Ravenna (fig. 8) affords a typical example. The campanile is a later addition. Within, apart from the beautiful mosaic decoration, a fine effect was produced by the arch of triumph and the apse, which terminated the nave and dominated the whole vast space of the interior. ”

“ Church architecture made rapid advance as a science in the times of Constantine the Great. The earliest architectural style thus developed is found in the Christian Basilicas. Whether this was a purely original kind of building called forth by the requirements of congregational worship, or whether and how far it was based upon previously existing styles, is still a subject of discussion. In later, and especially oriental, church buildings the flat roof of the basilica was often changed into a cupola. ”

“ In the year 327 the mother of Constantine built a church over it, and this basilica still stands, and is the oldest specimen of Christian architecture in existence, except perhaps the lower church of St. Clement at Rome. It is the oldest basilica above ground retaining its perfect ancient form. The main part of the church consists of a nave and four aisles, separated by four rows of Corinthian marble columns, tradition says, taken from the temple of Solomon. The walls were once adorned with mosaics, but only fragments of them remain; the roof is decayed and leaky, the pavement is broken. ”

“ Shaggy, undersized horses were wading in the water, nipping off the thin spears of grass. Close to the church is a rickety farmhouse. If I lived there, I would as lief be a fish as a horse.
The interior of this primitive old basilica is lofty and imposing, with twenty-four handsome columns of the gray Cippolino marble, and an elevated high altar and tribune, decorated with splendid mosaics of the sixth century,—biblical subjects, in all the stiff faithfulness of the holy old times. The marble floor is green and damp and slippery. ”

“ Once more the young man found himself alone on the gloomy expanse of the Piazza of St. Peter’s. Not a single belated pedestrian was to be seen. There was only the lofty, livid, ghost-like obelisk, emerging between its four candelabra, from the mosaic pavement of red and serpentine porphyry. The facade of the Basilica also showed vaguely, pale as a vision, whilst from it on either side like a pair of giant arms stretched the quadruple colonnade, a thicket of stone, steeped in obscurity. The dome was but a huge roundness scarcely discernible against the moonless sky ”

“ The children are on the look-out for chance visitors, and ready to point out the road; and sell copper coins and tesseræ of mosaic at a price which lowers remarkably as the basilica is approached. It is to be feared that they come from the great mosaic, which is necessarily unguarded. The basilica consists of nave and aisles, separated apparently by six columns on each side, with a single apse, which seems to have had external buttresses, but there is no trace of the usual internal bench. The total length approaches 150 ft., the nave is 39 ft. ”

“ The people that live in these tall, black, melancholy palaces, that only get the sun on the terraces, are patricians of old clerical families, very devout and pious, under the influence of all the great old churches around: the Gesù Nuovo, Santa Chiara, San Domenico Maggiore, San Giovanni Maggiore, Pietra Santa, the Sacramentiste, the Girolomini, San Severo, Donna Regina; and finally the influence of the old minster, the grand cathedral, so old, they say, it was a temple of the Sun in Naples' pagan times—or, rather, its early pagan times. ”

“ On the opposite side of the peristyle is a large throne-room, the walls of which were adorned with rows of pavonazzetto and giallo columns and large marble niches, in which were colossal statues of porphyry and basalt; at one side of this is the basilica, with central nave and apse and narrow aisles, over which were galleries. The apse, in which was the emperor's throne, is screened off by open marble cancelli, a part of which still exists. It is of great interest as showing the origin of the Christian basilica (see Basilica) . ”

“ Before us is the church built on the site of the Temple of Venus and Rome and dedicated to S. Francesca Romana, the greatest of Roman saints. To the left the huge ruins of the basilica of the first Christian emperor, while to the right is the Arch of Titus, commemorating the fall of Jerusalem, and the road with its via crucis which leads to the church of S. Bonaventura, the biographer of S. Francis, built against the Stadium of Domitian. ”

“ Although the earliest Lombard buildings in Italy (such as those of San Salvatore in Brescia, San Vincenzo in Prato at Milan the church of Agliate and Santa Maria delle Caccie at Pavia) were basilican in plan with nave and aisles, there are some instances in which the adoption of a transept has produced the Latin cross plan (e.g. San Michele at Pavia, Sant’ Antonino at Piacenza, San Nazaro-Grande at Milan, and the cathedrals of Parma and Modena) , though to what extent this is due to subsequent rebuilding is not known. ”

“ They are of smaller dimensions than those of Rome, but the design and proportions are better. The cathedral of this city, a noble basilica with double aisles, erected by Archbishop Ursus, A.D. 400 (Agincourt, pl. xxiii. No. 21) , was unfortunately destroyed on the erection of the present tasteless building. Of the two basilicas of S. Apollinare, the earlier, S. Apollinare Nuovo, originally an Arian church erected by Theodoric, 493–525, measuring 315 ft. in length by 115 ft. in breadth, has a nave 51 ft. ”

“ Six rows of stone benches for the presbyters, rising one above another like the seats in a theatre, follow the curve on either side—the whole being singularly plain and almost rude. The altar stands on a platform; the sanctuary is divided from the nave by a screen of six pillars. The walls of the apse are inlaid with plates of marble. The church is 125 ft. by 75 ft. The narrow aisles are only 7 ft. in width.
Another very remarkable basilica, less known than it deserves to be, is that of Parenzo in Istria, c. A.D. 542. Few basilicas have sustained so little alteration. ”

“ There is an air of decay and long oblivion about the whole building that nothing can efface.
Outside, and joined to the cathedral by a cloistered walk, is the church of Sta. Fosca. Originally a basilica of the ninth century, this much dilapidated little edifice was rebuilt in 1008 in the shape of a Greek cross. A rotunda occupies the centre, inside which runs a grey pillared arcade built to support a dome that was never constructed. There are three apses; the middle one has two rows of blind arcading with ornamental brickwork above. ”

“ By consulting a good plan of Pompeii, or glancing at a plan of its basilica, any one may see that it was not cruciform, but "in the form of a long parallelogram," with a central space and side porticoes, answering to the nave and aisles of a church. The early Christians adopted the basilica form for their churches: those built in the form of a Greek or Latin cross are of much later date. Yet H. N.'s learned friend exclaims, when viewing the temple of Muttra, "Here is the cross! the basilica carried out with more correctness of order and symmetry than in Italy!" ”

“ All this, and the air of raree-show that exhibits so many spots where somebody or other stood, destroy any{134} lingering credulity of which a man may still find himself capable; they make one rather ashamed, and glad to escape. But the nave is mighty in its simplicity, and no less mighty in its wealth of historical association. It is a great severe oblong basilica, with four rows of massive pillars giving double aisles. Old glass and old mosaics add their appropriate wealth of sombre beauty. The rafters, replacing Constantine’s beams of cedar from Lebanon, are the gift of Philip of Burgundy. ”

“ Twelve columns, brick and marble alternating, support a good Romanesque gallery under the dome. The six marble shafts came from the pagan temple. In the centre is a grand altar-pulpit, which has a stairway leading up on either side. Under the altar is an urn which at one time held the remains of S. Petronio. On the stone floor a shutter of iron covers the well that possesses miraculous properties, these having been imparted to it by the saint. The church dates from the tenth century. An iron grille in one of the walls shuts off the oldest church of all, a basilica of the fourth century. ”