Milan Cathedral

“ Barrymore had called Milan Cathedral the most highly ornamented building in the world. Nowhere else, he said, existed a church so smothered with carving. Every point, every niche has its statue. There, in the model, one could find each one. ”

“ There is a third influence which must not be overlooked—that of foreign architects. Milan Cathedral, designed by a German, is very unlike any other Italian building in style; San Francesco at Assisi was also the work of a foreigner; and the western front of Genoa Cathedral owes much of its peculiar and extremely beautiful character to contact with, and knowledge of, French art; whilst Vercelli is another instance, as far as its interior is concerned, which may be included in this list. ”

“ Its double aisles, its clustered pillars, its lofty arches; the lustre of its walls; its numberless niches all filled with marble figures, give it an appearance novel even in Italy, and singularly majestic. The admirer of English Gothic will observe one peculiarity, which is, that in the cathedral of Milan there is no screen, and that the chancel is entirely open, and separated from the nave only by its elevation. ”

“ To the first belongs the Cathedral of Milan, the largest Gothic building in Italy, the exterior of which is somewhat spoiled by its over-decorated western façade, though the effect of the long rows of lateral pinnacles, the numerous flying buttresses, the low conical dome and lofty spire is very fine. The interior, with its vast nave, double aisles, and complex apse, its lofty piers, with capitals consisting of life-sized figures in niches, and its noble clerestory, presents an appearance of grandeur unequalled by any other Gothic church in Italy. ”

“ The sight "inspires us, and fires us;" and we count upon new letter bringing us new friends, and thus commence our Fourteenth Volume with new hopes and invigorating prospects. But what subject can be more appropriate for such a commencement, than so splendid a triumph of art as
MILAN CATHEDRAL;
situate almost in the centre, and occupying part of the great square of the city. It is of Gothic architecture, and its materials are white marble. In magnitude this edifice yields to few in the universe. ”

“ I have mentioned the cathedral first, but the prime treasure of Milan at the present hour is the beautiful, tragical Leonardo. The cathedral is good for another thousand years, but we ask whether our children will find in the most majestic and most luckless of frescoes much more than the shadow of a shadow. Its fame has been for a century or two that, as one may say, of an illustrious invalid whom people visit to see how he lasts, with leave-taking sighs and almost death-bed or tiptoe precautions. ”

“ Next to the cathedral the great architectural attraction of Milan is the famous church of Sant’Ambrogio, which has equally as great claims upon the antiquary and upon the ecclesiologist as upon the architect.
Entering from the west, it presented a most striking and, to me, most novel effect. In advance of the church is an open atrium, surrounded by a cloister of Lombard-Romanesque character, the columns having quaintly and stiffly carved capitals of stone, and the wall and arches being built of mixed bricks and stone. ”

“ Gian-Galeazzo Visconti was the founder of Milan Cathedral and the Certosa of Pavia, and, as before mentioned, a superb monument has been erected to his memory in the latter church; but this monument was more than half a century in construction, by which time the people had forgotten where the prince had been buried; and thus the body of this great man, who had defeated numberless armies and caused to be erected two of the most sumptuous buildings in Europe, lies no one knows where. ”

“ Maria was restored by public offerings, and the Milanese ladies, like the ancient Roman dames, threw their jewels into the treasury. The façade of this restoration was of black and white marble in squares, and the church was so large that it could contain 7000 people.
By the fourteenth century Milan had become so wealthy and powerful that it determined to build a church more beautiful than any before it. To Gian Galeazzo is 351 generally given the whole credit of this initiative, but documents seem to prove it was a general move on the people's part. ”

“ In Milan, as we see the city to-day, modernised, commonplace, characterlessly handsome, there is one great redeeming thing—the Cathedral. Other churches there are, greater and more beautiful in every sense except size, but they are smothered in the dull drift of everyday buildings. The Duomo, as is befitting, has a supreme position. It is the heart of the city, the converging point of all the far-coming ways, the irresistible magnet for the eyes of the myriads thronging those ways. ”

“ Como is only six leagues from Milan, and its mountains are seen from the cathedral.
This cathedral is a most astonishing work of art. It is built of white marble, and cut into pinnacles of immense height, and the utmost delicacy of workmanship, and loaded with sculpture. The effect of it, piercing the solid blue with those groups of dazzling spires, relieved by the serene depth of this Italian heaven, or by moonlight when the stars seem gathered among those clustered shapes, is beyond any thing I had imagined architecture capable of producing. ”

“ CUPOLA OF THE DUOMO, FROM THE ROOF.
233A building conceived in a spirit foreign to the place where it was to rise, and carried out by men to whom its design and idea was naturally unsympathetic and incomprehensible, through ages in which all the original inspiration was lost, could not well be a wholly satisfactory achievement. Milan Cathedral sins grievously against the principles of pure Gothic. The pointed style is carried in it to an acuteness in which all grace and flexibility of line is lost. In fretful moments one feels that these endless sharp angles scrape one’s nerves. ”

“ Once they make a holocaust of the old wooden Campanile of the Duomo, with a whole company of Spaniards within it. And through the streets, crowded with blaspheming and bestial soldiery, we see endless processions pass, white-robed children, men and women with bare feet and clad in sackcloth, monks, friars, all the hierarchy of the Cathedral, filling the air with penitential wailings and cries of misericordia, as they wind from the Duomo to St. Ambrogio to implore the help of the great patron saint of the once fortunate Milan. Churches crowded with suppliants ”

“ The Gothic of Italy has, it must be admitted, no such grand works to show as more northern countries have. Allowance has to be made at every turn for some incompleteness or awkwardness of plan, design or construction. There is no attempt to emulate the beauties of the best French plans. Milan cathedral, magnificent as its scale and material make it, is clumsy and awkward both in plan and section, though its vast size makes it impressive internally. San Francesco, Assisi, is only a moderately good early German Gothic church, converted into splendour by its painted decorations. ”

“ Color, rather than structural richness, is generally sought for: Milan Cathedral is almost the only exception, and goes to the other extreme, with its seemingly countless buttresses, pinnacles and statues. ”

“ Milan is celebrated for its cathedral, built in honor of "Our Blessed Lady." Galeazo Visconti, Duke of Milan, owing to some cause which we failed to ascertain, made a solemn vow to build a rich and magnificent temple in honor of the Virgin Mary, and was joined in this undertaking by men of wealth and rank, with the intention of making it the most costly and beautiful ecclesiastical edifice in the world. For this purpose immense sums from time to time were contributed by distinguished individuals single donations frequently reaching as high as from fifty to one hundred thousand dollars. ”

“ Just fancy a line of these queer-looking structures some distance from shore, working away with all the impetuosity that swift current can give, and as steadily as is their wont! But everything about that Shakespeare-famed city is unique and fascinating. Thence to Milan, where I lingered a week, but was not specially impressed. The Cathedral is all that descriptions and pictures make it, and the Milanese claim for it, “the eighth wonder of the world.” I climbed to its tip-top perch, and every step revealed some marvel of architecture and sculpture. The workmanship is amazing. ”

“ Podbury looks anxious and undecided; Culchard does his best to control an unseemly joy.
[100]
CHAPTER XVIII. A Suspension of Hostilities.
Scene—The roof of Milan Cathedral; the innumerable statues and fretted pinnacles show in dazzling relief against the intense blue sky. Through the open-work of the parapet is seen the vast Piazza, with its yellow toy tram cars, and the small crawling figures which cast inordinately long shadows. All around is a maze of pale brown roofs, and beyond, the green plain blending on the horizon with dove-coloured clouds in a quivering violet haze. ”

“ No architectural student should turn his feet homeward from Milan without having first of all visited Vercelli. It is easily reached by railway, passing on the road Novara, where there was only a few years back a fine Lombard cathedral, which has unfortunately been lately supplanted by a modern Italian fabric, even more than usually vapid and uninteresting, and where there is still an old baptistery so plastered and painted as to have lost almost all its old interest. ”

“ When no longer inspired by freedom, architecture was still fostered in Milan by ostentatious tyranny, and continued to be the most genial art of the people. In the fourteenth century, the Visconti raised beautiful churches and palaces, but the builders inclined more and more to abandon the national traditions for Gothic lightness and grace. In the crowning work of the Cathedral, the false Gothic ideal finally triumphed. The classical revival, which followed under the Sforza and filled the city anew with churches and palaces, was communicated to Milan by Tuscan architects. ”

“ After Gian Galeazzo a lull came in art with the 211civic confusion of Gian Maria’s few years, and the continuous wars of Filippo Maria’s thirty-five. This period represents the pause between the mediæval era and the Renaissance in Milan. The building and decoration of the Cathedral was continued slowly by men whom the old principles no longer inspired, and the new had not yet reached. No great names occur in the host of craftsmen engaged in the work. ”

“ There we recognize its immensity in the remoteness of objects. A man looks very small at the other end of the church. Service may be going on at half a dozen side chapels without attracting attention, except as we hear chanting in the distance; and the eye swims in looking up at the vaulted roof. Behind the choir, three lofty windows of rich stained glass cast a soft light on the vast interior. If I 224 lived in Milan, I should haunt that Cathedral, since it is a spot where one may always be alone, as if he were in the depths of the forest, and may indulge his meditations undisturbed. ”

“ In Milan we put up at the Pension Suisse, which I recommend to all travellers for cleanliness and cheapness. We were again struck on our first going out by the magnificence and beauty of the exterior of the cathedral. It is without doubt the finest building that we ever saw, more noble and richer than the façade of the church of St. Peter’s.
The celebrated Grassini, to the imitation of whose singing Rode is said to be indebted for his peculiar method of play, which differs from the school of Viotti, had announced six representations in the theatre della Scala. ”

“ Like the rest of the cathedral it is banded in black and white marble. The lowest of its seven courses is constructed with a solid exterior, the next is pierced by an arch, the third by two arches, and so on, increasing until at the top stage there are six arches. Four turrets with slender spires finish off the corners at the top, and a good hexagonal spire rises from the centre. The dome is supported by an open gallery. The idea of a central tower never seems to have appealed to the Italian in his Gothic work; even at Milan the spire of the cathedral can hardly be said to rise from a tower. ”

“ The interior is very lofty and expansive. Twelve immense piers carry the arches of the nave, twenty-four smaller ones those of the aisles. The height of all these may be judged from the illustration, wherein also the peculiar Italian Gothic capital is seen. Milan's great cathedral and S. Anastasia in Verona are other specimens of the same style of capital. They appear to be stuck on to the columns, of which they seem to form a part, rather than a separate cap for the arches to rest on. ”

“ The slight point of the arch, as seen in Siena and Orvieto and Florence, is much sharpened in Milan; the rows of little round archlets which covered a Romanesque building with rich horizontal lines, have here become elongated and pointed, all the lines tending upwards, till they become almost monotonous; yet Milan is but the natural northern development of the southern Italian Gothic. It was always the tendency of the guild to seek greater richness of ornamentation in multiplying forms already customary to them. ”

“ According to this the length of St Peter's is 6131⁄2 feet; of St. Paul's, London, 5201⁄2 feet; Milan Cathedral, 443 feet; St. Sophia, Constantinople, 3601⁄2 feet. The height of the dome in the interior is 405 feet; on the exterior, 448 feet. The height of the baldacchino is 941⁄2 feet.
The first impulse will be to go up to the shrine, around which a circle of eighty-six gold lamps is always burning, and to look down into the Confessional, where there is a beautiful kneeling statue of Pope Pius VI. (Braschi, 1785—1800) by Canova. ”