“The far-famed Cathedral of Milan, which men call the eighth wonder of the world.”
In Milan, as we see the city to-day, modernised, commonplace, characterlessly handsome, there is one great redeeming1 thing—the Cathedral. Other churches there are, greater and more beautiful in every sense except size, but they are smothered2 in the dull drift of everyday buildings. The Duomo, as is befitting, has a supreme3 position. It is the heart of the city, the converging4 point of all the far-coming ways, the irresistible5 magnet for the eyes of the myriads7 thronging8 those ways. It rises up in its immense stature9 above the petty interests and activities of the crowds at its base, an embodied10 exhalation of the holy spirit of man, a witness to the irrepressible upward flight of his thoughts and to his eternal need of beauty and light.
The impression which a traveller coming from the station first receives of the Duomo is of a vast ethereal presence at the end of the long street, so light, so cloud-like, so delicate that it seems to be no temple piled up slowly by men’s hands to the measure of their prayers, but a fabric11 of some upper sphere, built of air and dreams. Broad set in its main proportions, it gives high and ample seat to the swelling12 contour of the cupola, which a hundred pinnacles13 guard like serried15 spears, pointing into the upper blue around the spring of the midmost spire16. In the silvery light of afternoon it appears a 225shadowy forest of upward-springing shafts17, with sharp gleams along edges and salient lines. The details are lost in a soft mass, and the atmosphere casts over all a veil of illusion. Through such a veil this famous Cathedral of Milan is best seen and best understood.
In the view of the whole building from the great Piazza18 on the west side, its faults are more apparent—the inadequacy19 and insignificance20 of the cupola, or central tower, the incongruity21 of the fa?ade, the extravagance of the ornamentation. Nevertheless, the huge white marble pile has always majesty23 and splendour, if only from its size and material and the amazing number of its airy embroideries24 and fripperies of stone. It has a magic, unearthly beauty of colour, silver, dove-like, rosy25 against the blue, according to the changing light of the day—most wonderful in the strange, pale, clear moment when the sun has just set. An exotic in this flat country of the alluvial26 soil, where brick is the natural medium for the builder, it seems to bring into the hot and stifling27 city at midsummer a cooling breath from that marble cave close to Lago Maggiore whence its material was drawn28. One could almost believe that it was the dripping of water through countless29 ages which had built up its clear substance into those strange fantastic shapes, those spires30 and fretted31 edges and fairy shafts.
Their Cathedral is the pride and joy of the Milanese. Yet not so much this billowy heap of stone, but the spot upon which it stands should be consecrate32 to their hearts. None of the noblest memories of their past sanctify the church which Gian Galeazzo Visconte founded, which opened its doors with equal welcome to Francesco Sforza, the usurper33, and to French and Spanish and Austrian conquerors35 by turn, and which was finished by Napoleon Buonaparte. But the ancient, half-ruined church, which Gian Galeazzo pulled down to make room for his new temple, enshrined the dearer history 226of Milan’s liberty. Sta. Maria Maggiore, as it was then called, was the representative through many transformations37 of that basilica nuova intramuros in which Ambrose entrenched38 himself in his great struggle with the Empress Justina and achieved his victory for the new organisation39 of the Church, protector of the people, over the corrupt40 despotism of the Empire. And if what is one of the spiritual events of the world’s history must be fixed41 in time and place, it was no doubt at the gates of this, the chief church, that Ambrose interposed his hand between the blood-stained Emperor and the altar of Christ. In later centuries, in the figures of the enthusiasts42 Arialdo and Erlembaldo, of the courageous43 Peter Damian, fronting the excited and hostile multitudes, the memories of the old Cathedral church were still of the victory of the spirit over the forces of the world, of liberty over oppression, of a new order of things over the corrupt system of the past. And in the early days of the Milanese Republic the church was closely associated with the life and struggles of the people. All business, public and private, was transacted44 in the piazza outside. The portico45 of the church was the house of parliament, and the politics of the city were sanctified by the benediction46 of religion. The chief priest was likewise the head of the people, and the pastoral staff which topped the lofty Campanile stood for temporal as well as spiritual dominion47. In times of peace the Sacred Car was housed within the church, and in the church those warlike decisions were taken which occasioned it to be drawn forth48 that it might go in the midst of the host against the enemy.
But the noblest moment in the story of the old Cathedral was its restoration after the ruin of the city by Barbarossa in 1166. The ruthless destruction of the Campanile, a tower of such marvellous beauty, such great breadth and admirable altitude that there was said to be 227none other like it in Italy, had wrecked49 it in great part. The labour of the men, the jewels of the women, went to the rebuilding, till the church stood up once more in the midst of the re-risen city, defying the destroyer.
With the building of the present Duomo all the vestiges50 of those ancient and good days were swept away. Milan’s liberty was gone, and the church which symbolised it, both in association and in its Lombard style of architecture, had been allowed to become half-ruinous. The population had outgrown51 the capacity of the church, and in their rapidly growing wealth and importance it was natural that prince and people should desire a cathedral more suited to their condition. So the old building fell for ever.
The citizens acquiesced52 in the scheme for a new Cathedral, but the enormous temple which rose on the site of the old one, the Duomo of to-day, was the conception of Gian Galeazzo Visconte, and of him alone. It was the measure of his vast ambition and audacious will. He planned it great enough for the capital of a Kingdom of Italy. The citizens seconded him with generous offerings, but whether their enthusiasm was genuine or merely flattery of the tyrant’s wishes mattered nothing. Gian Galeazzo was doubtless moved to this work by a desire to expiate53 the crime by which he had acquired sole sovereignty, and to entomb it in the memories of his subjects beneath this proud ornament22 to the city. He is said to have had another motive55, shared by the people. A strange evil, we are told, afflicted56 Milan at this time. Some say that the women were unable to bring their male children safely to the birth; others, that a mysterious malady57 prevailed among the boy babies, withering58 them within a few years. The citizens were filled with terror at the doom59 of extinction60 which seemed to impend61 over them. Gian Galeazzo’s three sons by Isabella of France had 228all died in infancy62, leaving him only the girl Valentina, and at this time his second wife, Caterina Visconte, was still childless.
The Duomo was then a votive offering from Gian Galeazzo Visconte to Heaven for a son to inherit the great destinies which he intended to conquer, and from the Milanese people for children to continue their race. It was dedicated63, not to the Birth of the Son of God, but to hers who brought Him into the world—Mari? Nascenti, as the inscription65 on the fa?ade proclaims—to the Birth of Motherhood.
Thus the great church rises in worship of the mystery of Life. When one thinks of its origin, the wonderful ribbed and perforated and pinnacled66 building appears in a new light, rising as it were out of the still hovering67 darkness of the Middle Ages, the embodiment of a people’s aspiration68 towards renewed life. The moment of its inception69 was that pregnant one for Italy when the medi?val pessimism70 was yielding to hope and joy in life, and when to the worship of the Nascent64 Mary was to be joined the worship of that twin mystery, the Venus Reborn.
The building was begun in 1386. The story of its actual rise is extremely lengthy71 and tedious. The multitude of conflicting counsels, the number of architects concerned with it, make its very existence seem a miracle. It is not known who first designed it, or whether he was a native or foreigner. Milan’s close relations with the countries beyond the Alps, and the alliances and constant intercourse72 of the Visconti with the Courts of France and Germany, naturally induced Gian Galeazzo to call Northern architects to his aid and to choose the Gothic style of the North. There is little doubt that the original plan proceeded from a Northern mind. The work of carrying it out, however, passed very soon into the hands of native builders, 229most of whom belonged to the celebrated73 guild74 of stoneworkers from Campione. Marco da Campione was chief architect—ingegnere—in 1386. Others of the company, Zeno, Bonino, Jacopo, and Maffiolo, appear in the records of the first years, with Simone Orsenigo, the dei Grassi and a host of other noted75 craftsmen76 of the day. Among the crowd there was evidently no conspicuous77 master spirit, and the post of chief was obtained, especially later on, as much by interest and intrigue79 as by merit. Many foreign artists were called from time to time by Gian Galeazzo to give help and advice. Their intervention80 always led to heated argument and loud contention81 in the Council of the Fabric, the foreigners criticising and condemning82 the work of the Lombard builders, and these defending it with jealous zeal83, and invariably defeating and driving out the intruders. Johann von Fernach and Heinrich von Gmünd were employed for a short time in the latter part of the century. Their strenuous84 objections to important points in the structure were overruled by the Italians. In 1400 the Frenchman, Jean Mignot, having been engaged to take a prominent part in the work, pronounced the building unsafe, and proposed radical85 alterations86. The indignant Lombards, headed by the celebrated military architect, Bertolino da Novara, disputed his opinion and persuaded the Duke that all was well. Mignot was dismissed and condemned87 to replace what he had already pulled down in conformity88 with his own ideas.
So the battle raged for years. It had a negative rather than positive result on the building, which progressed on the lines already laid down, but without receiving any impress of individual thought or genius. In its complete state to-day it shows, with all its immensity, a poverty of ideas, both within and without, which no wealth of ornamentation can hide. It rose 230with great rapidity at first, in response to the energy and will of the prince. In 1392 the walls had reached the full height of the side aisles89, and all the pillars of the interior were already standing91. That forest of lofty shafts soaring to dim heights, in which we wander to-day, astonished and awed92, must once have enclosed the puny94 mortal form and the immeasurable spirit of the first and greatest Duke of Milan. His death in 1402 robbed the great enterprise of vitality95 and inspiration. In the misfortunes of Giovanmaria’s reign54, both funds and encouragement lacked, and the general mediocrity of the builders was equally blighting96 to the progress of the work. The local architects had by this time obtained undisputed charge of it, and the clamour of controversy97 had died down. Sons had succeeded to their fathers’ posts, and continued slowly in the old track. By the time Francesco Sforza attained98 the Dukedom, in 1450, general interest in the Cathedral was much diminished. Architectural ideas were changing. The Renaissance99 was begun. The great Tuscan masters, summoned to Milan by this Duke and his predecessor100, had recalled to the Lombard builders those classic principles native to Italy and long forgotten under the Gothic influences of the Middle Ages. The earlier Sforza sovereigns used their patronage102 to raise new churches, and it was not till the fervent103 artistic104 atmosphere of the end of the century had developed a certain eclecticism105 in cultured minds that the Duomo received a new impetus106 from Lodovico il Moro.
The main body of the church was already finished, but the fa?ade, the cupola, and other details were still to do. A German master, Johann Nexempilger von Gratz, was first invited by the Moro to continue the work, but was quickly dismissed, the severity of his ideas being unacceptable to the Italians. A number of native 231artists were then set to work to design a cupola which should reconcile the curves and rectangles dear to the Renaissance with the acutely-pointed107 style of the rest of the Cathedral. Over this problem great minds pored. Leonardo da Vinci made several designs and models of a cupola, but they were not accepted. Bramante also made models for it. The assistance of the Tuscan Luca Fancelli, and the Sienese Francesco di Giorgio was also called upon. But the work remained finally to the local artists, men of industry and ingenuity108, but of no great genius. Chief among them were Cristoforo Solari, Giovanni Antonio Amadeo, and Gian Giacomo Dolcebuono. To Amadeo was finally entrusted109 the building of the cupola, which he carried out and completed, with the exception of the crowning pinnacle14. This artist held the post of chief architect from 1490 till his death in 1522, becoming the repository of all the traditions and secrets of the long-continued work.
Though the great fabric was apparently110 carried on in the old style, it reveals a new spirit from this time. The true feeling for Gothic was dead, and the architects of the late Quattrocento could only reconcile it with their artistic conscience by flamboyant111 excesses. Moreover, Amadeo and his companions were sculptors113 first and architects second. The opportunities of Gothic were fatal in their hands. It was they who first started the building on that evil course of elaborate and excessive ornamentation which has made it what it is to-day—a building generally admired for its resemblance to a monstrous114 sugar-cake. Their lead was followed with an ever-diminishing sense of artistic propriety115 and an increasing love for florid effect by their successors in the middle and latter part of the sixteenth century. The impulse imparted to the work by the zeal of Carlo Borromeo and the great religious 232revival, expressed itself only in cold and uninspired artistic platitudes117, the emptiness of which is ill concealed118 by superficial exaggerations. The seventeenth and eighteenth centuries are represented by an increase of bad taste and meretricious119 effect, and the story of the long evolution of the temple ends in a climax120 of bombast121 in the Napoleonic era, to which is owed the present grandiose122 fa?ade and the battalions123 of pinnacles which crown the whole edifice124.
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 flexibility125 of line is lost. In fretful moments one feels that these endless sharp angles scrape one’s nerves. The effect of solidity and strength has been completely sacrificed for the sake of ornamentation, and dignity and repose126 lost in a restless reiteration127 of trivial details. The huge-ribbed flanks gape128 with enormous windows. Every nook and cranny, every jag and angle is crowded with statues. The outlines of the roof are frilled by an elaborately-pierced balustrade with crocketed pinnacles. From the central roof to the lower level of the side aisles spring a host of flying buttresses130, so perforated that they look like wisps of foam131 rather than solid props132 intended to support the fabric. A myriad6 spears quiver upwards133 from the roof far into the sky, and upon each dances a statue. No wonder that the guides call upon you to admire its likeness134 to lacework or confectionery, and that people compare it to a drift of snow, a billow dashing into spray, a white mountain bird alighted in the midst of the city—anything except a building of solid bones and substance.
Restorations and continual repairs have almost effaced135 the handiwork of the original builders. The north-east part of the exterior136 is the most ancient. The three magnificent windows of the apse, with their rich tracery, are one of the most beautiful features of 234the original design. And amid the swarms137 of baroque saints, in every contorted attitude of theatric sentiment, which have settled on this part, as everywhere over the building—four thousand four hundred and forty, outside and in, they say—a patient observer may pick out some which, by their dignified138 simplicity139, refinement140 and repose, show the purer taste of the fifteenth and early sixteenth centuries. The lowest figures on the northernmost window of the apse are an Adam and Eve, and have been attributed to Antonio Rizzo, a fifteenth century Venetian sculptor112, known by his work in the cortile of the Doge’s Palace. Cristoforo Solari, Andrea Fusina, Tomaso da Cazzaniga, il Bambaia, are all represented by sculptures on the apse. Higher up are works by earlier and less accomplished141 hands, huge gargoyles142 of fantastic form—dragons, a serpent coiled round the nude143 body of a woman, a child entwining itself with a bough144, a female figure with great curling hair, a siren with bat’s wings—monstrous creations of the Northern fancy, which dominated in the first years of the Cathedral. Beneath these gargoyles are ranged the so-called Giganti, colossal145 statues of warriors146, heralds147, huntsmen, foresters, slaves—figures of romance and of the rude fields too. Some are by German sculptors, and by Lombards under their influence; others of rather later date show new and realistic tendencies.
There is little of interest on the south side and in the lower end of the exterior. The monotonous148 length of the vast flanks is unbroken by the rich interest of doorways149, such as were originally projected. The classic fa?ade is frankly150 discordant151, though it is no less thickly littered with bad sculptures. The bronze doors of the middle entrance are a very recent work, showing the hark back of the modern sculptor to Quattrocento models. But if the exterior of the Duomo 235lacks in impressiveness, the interior makes amends152. Wonder and awe93 overwhelm one on entering. In the dim religious light from the great stained windows, one is aware of vast echoing aisles, of mighty153 columns passing away, one behind the other, into depths and distances of rich gloom, where the pointed lines of arch behind arch become visible, broken by long slits154 of glowing glass. A quiet reigns101 as of places untrodden by earthly things. Pigmy human forms creep here and there over the immense expanses of the pavement, or kneel at the foot of a column, bowed in devotion.
In this solemn interior it seems as if the native and foreign ideals had united for once, with harmonious155 result. Here is the breadth and spaciousness156 of Latin thought—the loftiness of Gothic. With its five aisles, transepts and apsidal east end, the church is of striking simplicity. There are no chapels158 built out, few side altars, and few monuments. The High Altar, with its canopy159, and the florid pulpits and marble screen round the sanctuary160, are the only conspicuous objects. There is little incident in the building itself. A feeling gains upon one, after a time, of a certain emptiness, monotony, even poverty, in all this grandeur161 of height and space. The inadequacy of the short light arches of the nave162, in comparison with the colossal shafts supporting them becomes visible, and the eye is offended by the shameless deception163 of the roof, which is painted to simulate open tracery, and give a false effect of added height. The endless repetition of line and arch ends by being wearisome, and one longs for the rich symmetric light and shade of triforium and clerestory, for the beautiful mouldings, the star blackness of trefoil and quatrefoil piercings, and for all that deep and varied164 interest which grows upon the eye slowly, and in just relation to general 236effect, in the best Gothic architecture. The curious and elaborate capitals, like huge rings, are the most conspicuous details here. Each in itself is a wonderful piece of Gothic ornament, with arcades165 and crocketed pinnacles and niches166 filled with statues, but they are so high up that one can hardly appreciate them in detail. As capitals, one must quarrel with them. They do not seem natural members of the columns, but things put on merely for effect, and look as if they were meant to slip up and down, and might be at the bottom as well as at the top. That on the great pier129 to the left of the High Altar is said to be the handiwork of Heinrich von Gmünd, and to have been the model of the rest. The statues which decorate the lofty interior of the cupola, high up, are in the characteristic manner of the late fifteenth century Lombard sculptors, and the busts167 of the Fathers of the Church in the spandrils are by Cristoforo Solari. The rest of the ornamentation in the church is mostly of the Borromean and later periods. It is the ascetic168 cardinal169’s fault that all the picturesque170 incrustations which had gathered upon the old building, with priceless historic associations, are missing. He ruthlessly swept away the shades of the rich and lively past, its profanities and sincerities together. The tombs of the old Lords of Milan, Visconti and Sforza, in the ambulatory, were cleared away, and other monuments were destroyed or displaced in too zealous171 obedience172 to the decree of the Council of Trent, forbidding the burial of bodies in monuments in churches. The doors in the transepts were walled up, and his favourite sculptor, Pellegrino Tebaldi, a belated follower173 of Michaelangelo, whose neo-classic predilections174 were in utter disaccord with the spirit of the building, was set to work to re-garnish its devastated175 spaces.
237
WITHIN THE DUOMO.
238There are no paintings of account in the church. 239The few pictures belong to the same period as the altars, designed by il Pellegrini, over which they hang. The original Gothic design did not admit of frescoes176 on the walls. The necessary colour is given by the windows. In many of these the glass is modern, but some very fine fifteenth and sixteenth century glass still survives. It has not the supreme beauty of very early glass; the designs are pictorial178, but the colour is gorgeously rich and deep, and in the earlier ones the subjects are treated with due regard for decorative179 effect.
A few things of interest may indeed be found in the vast spaces of the nave and ambulatory. Low down against the north wall is the rude granite180 tomb of Archbishop Ariberto, eleventh century, brought hither in 1783 from the suppressed Church of St. Dionysius. The ancient crucifix of Byzantine style above it, upon the foot of which is a relief of Ariberto holding a model of St. Calimero, a church restored by him, is said, but without foundation, to be the crucifix which used to be carried into battle on the Caroccio. Beneath a window further up stands a sarcophagus, raised upon columns of Verona marble; in it are the bones of the two Visconte Archbishops, Otto, Lord of Milan in the thirteenth century, and his great grand-nephew Giovanni, who ruled See and city in the first half of the fourteenth, and who elected to be laid with his great predecessor when he died. The recumbent statue of Giovanni on the top is probably by a Campionese master. This monument, which had once an honourable182 place in the apse, is the only memorial in the church of the great family which founded it. Higher up is the Gothic tomb of Marco Caselli, a merchant who died in 1394, and gave his large fortune to the building of the Cathedral. The tomb was designed by Filippino da Modena, but the recumbent statue and the figures of Evangelists and Fathers on 240the front and sides are by another hand, a Venetian or a Lombard influenced by the Venetian school.[4] We come next to a refined little sixteenth century monument to Giovanni Antonio Vimercati, by Agostino Busti, il Bambaia. Three altars designed by il Pellegrini follow. Over the last there is a bas-relief of Madonna with SS. Catherine and Paul, a poor and primitive183 work by one Jacomolo di Antonio (1495), recently placed here.
4. Malaguzzi Valeri, Milano, vol. i. p. 73.
In the south transept the beautiful window over the door into the street is mainly the work, much mutilated and added to, of Michelino da Besozzo in 1438. Here on the west side is a great monument by Leone Leoni of Arezzo, a disciple184 of Michaelangelo, to Gian Giacomo de’ Medici, brother of Pius IV., a princely pirate who terrorised Lake Como and led his undisciplined troops in the service now of one, now of the other of the combatants struggling for North Italy in the sixteenth century, till Charles V. compounded with him by creating him Marquis of Melegnano. On the east side is an altar with a relief of the Presentation of the Virgin185, and statues by the school of il Bambaia. A statue close by representing St. Bartholomew flayed186 is admirable only for the impudence187 of the inscription on it—‘Non me Praxitiles, sed Marcus finxit Agrates.’ Marco Agrate was one of the crowd of early sixteenth century Lombard sculptors who helped to people the Duomo with statues. This one was originally on the exterior of the church.
The choir188 in its present form is due to Pellegrini, whose assistants executed the grandiose work after his designs. It is enclosed by a high marble screen, which is sculptured on the side towards the ambulatory with reliefs of the life of the Virgin and decorative figures of late Renaissance style. Two extremely ornate gilded189 pulpits stand in front of the choir, one on each side. 241The organs are embellished190 with heavy gilded decoration and paintings by Proccacini and the late Lombard school. The choir has very fine decorative panelling, and the triple row of stalls are of walnut191 wood very richly carved, those behind showing scenes from the story of St. Ambrose and effigies192 of the martyrs193 and saints and prelates of Milan. The bronze ciborium over the altar is a good work of its period; it is in the form of a round temple, and beneath is the richly-ornamented194 tabernacle given by the Milanese Pope, Pius IV. (1559-65), to the Cathedral.
Beneath the choir is the crypt, also built in classic style by il Pellegrini. The outer chamber195 was restored in 1817. In the inner sanctuary lies the body of San Carlo in a silver coffin196 given by Filippo IV. of Spain. Vault197 and coffin are remarkable198 only for gorgeousness. Pomp and magnificence outside, an emaciated199 ascetic within, contrast significant of the Church of the Catholic Revival116. An aperture200 in front of the choir above allows a view of the saintly resting-place.
The door into the sacristy on the south side of the ambulatory is decorated with a rich and interesting Gothic canopy of the earliest period of the Cathedral. This sculpture was designed and partly executed by Hans von Fernach in 1393 and finished soon after by an Italian, Porrino de’ Grassi, who doubtless did the graceful201 subject reliefs, while the rude, vivacious202 little figures, from the Gospel story, in the decorative border round, are evidently by a hand of different nationality, that of the German Hans. Within the sacristy there is a richly-sculptured Gothic arch over the lavabo, enshrining a relief of Christ and the Samaritan Woman, signed by the sculptor, Giacomo da Campione.[5] Also a statue of Christ at the Column, by Cristoforo Solari, a heavy and flaccid work.
5. See Malaguzzi Valeri, op. cit. vol. i. p. 56.
242The famous treasure of the Cathedral is kept in this sacristy. Here are great seicento figures of St. Ambrogio and S. Carlo in solid silver, and other silver objects of the same period, precious in material but artistically203 of little account. In a small case there are, however, some veritable treasures. The covers of a Book of the Gospels, presented to the Cathedral by Ariberto, beautiful examples of the goldsmith’s art in the Romanesque period, adorned204 with chiselled205 reliefs, with enamel206, gold filigree207 work and precious stones. On one is represented Christ between the Virgin and St. John, with Ariberto presenting the book to her, and below, St. Ambrogio between SS. Protasio and Gervasio. The work shows the Byzantine influence, which was still supreme in this branch of art in the eleventh century. A pastoral staff of silver gilt208, ornamented with enamel, is of the same period. Two ivory diptychs, one of very early date, carved with the freedom and grace still surviving in Greek artists in the fourth and fifth centuries; the other of heavy and debased Lombard workmanship of the ninth century must be noticed, and also a little ivory vessel209 carved with figures of the Virgin and Evangelists, tenth century Lombard work. Among many precious medi?val and Renaissance objects there is a golden pax, with a finely carved Deposition210 between columns of lapis-lazuli, and a group of angels above, with the arms of the donor211, Pius IV. This is attributed, but erroneously, to Caradosso.
The magnificent tapestries212 in the possession of the Cathedral were shown at the Great Exhibition of 1906, and several of them perished in the fire which occurred on that occasion.
Beyond the sacristy, in the ambulatory, is a copy of the sacred painting of the Annunciation, in the SS. Annunziata in Florence. It is said to have been painted by Bronzino, and given by Francesco I. de’ Medici to 243Cardinal Borromeo. The Madonna del Parto further on is apparently a restoration of an ancient painting, and the object of a very special devotion. A bare inscription beneath it records that Niccolò Piccinino is buried with his son Francesco in this spot. The great Condottiere had prepared a splendid tomb for himself, but the marble was seized at his death for other purposes, and when Francesco Sforza became Duke, he preferred that the memory of his rival should go uncelebrated. The statue of Martin V. close by, a colossal seated figure, was sculptured by Jacopino da Tradate in 1421. In the long inscription in verse, by a Milanese gentleman of humanistic tastes, the sculptor is likened to Praxiteles. Beyond we come to the monument of Cardinal Marino Caraccioli, Governor of Milan from 1536 to 1538—a late and very uninspired work by il Bambaia. Close to it is a little Pietà, by one of the early Cathedral sculptors. The three great windows of the apse were originally filled with stained glass, by Stefano da Pandino and Franceschino de’ Zavatarii, early in the fifteenth century, but only in the upper part of the middle window does any of it survive; the rest is modern. In the sculptured tracery of the middle window appear the favourite emblem213 of Gian Galeazzo Visconte, the Dove in the midst of rays, and figures, sculptured after the design of Isacco da Imbonate, of the Virgin and the Angel of the Annunciation, and of the two bishop181 saints, Ambrogio and Galdino. The latter was Archbishop of Milan from 1166 to 1176, and a notable foe214 of heretics and Ghibellines.
Under the window further on is an ancient Crucifix, with head restored, brought here from the chapel157 of Filippo Maria’s castle when it was demolished215 by the Ambrosian Republic. Tablets under the great windows record members of the Sforza family buried here. It was in the apse that the biers 244of the Dukes of Milan used to be suspended, between the columns, till San Carlo reformed them away. The body of Gaston de Foix was given royal place among them, being hung between the two great pillars on the left hand of the altar. Cardinal Borromeo did not have the displacing of that, however. He was anticipated by the Swiss mercenaries under the brutal216 Cardinal de Sion, who, only a few years after the hero was buried, tore down the bier and scattered217 the remains218, to the scandal of all Christendom. A fresco177 further on in the ambulatory, of the Crucified, with Saints, a poor work with a certain charm of simplicity and prettiness, by Isacco da Imbonate, in 1423, seems to show an intention, quickly abandoned, of clothing the walls with paintings. Beyond we come to a fifteenth century painting of Madonna, and St. John the Baptist, standing in a flowery landscape, showing little merit except decorative charm. High up against the wall is a statue of Pius IV., by the sixteenth century sculptor, Angelo Siciliano.
The Gothic ornamentation over the door of the north sacristy takes us back to early days again. It is by Giacomo da Campione.[6] The canopy encloses a relief of Christ in Glory, surrounded by angels and saints, and in the tympanum below, Christ appears between the Virgin and St. John. These sculptures are more accomplished than those of the south sacristy, though they show the Lombard lack of idealism; the small profile busts of men in the costume of the period on the architrave—perhaps portraits of the artist’s fellow-workmen on the Cathedral—are excellent, well-modelled, and full of vivacity219.
6. See Malaguzzi Valeri, op. cit., vol. i. p. 56.
In the north transept stands the Albero, a colossal seven-branched candlestick of bronze, in the form of a tree. An inscription on the base records that it was 245presented to the Cathedral by one of the Trivulzio family in 1562, but it is usually described as thirteenth century work. The style, however, proclaims it not earlier than the late fifteenth, and it might well be later. The seven branches spring from a bossy220 stem supported on winged dragons; the interstices are filled up with a web of vine tendrils in which figures of delicate workmanship are wrought—sacred and symbolic221 characters, and biblical scenes; the story of Adam and Eve, Noah and the Dove, the Sacrifice of Isaac, David with the head of Goliath, etc. The Procession and Adoration222 of the Magi are cunningly arranged round the stem. Up the sides of the chapel of the Madonna dell’ Albero there are some bas-reliefs representing the Life of the Virgin, by Cristoforo Solari, il Bambaia and others of the early Cinquecentists; these were originally round the door in this transept which Cardinal Borromeo abolished. The stained glass window over the altar of St. Catherine in the corner of the transept to the left is by Stefano da Pandino (1432). The altar has statues of St. Jerome and St. Augustine, early works of Cristoforo Solari, and some little sculptures of earlier date, doubtless from some older shrine36. The tabernacle on the right, with a figure of God the Father, is by one of the Campionesi.
On the third altar in the nave on this side is preserved the wooden crucifix carried by S. Carlo in procession round the city during the Great Plague of 1576.
A little altar further on, with modern sculptures, is decorated with beautiful Quattrocento arabesques223, fragments of a monument sculptured by Amadeo in 1480 for Alessio Tarchetta, a general of the Sforza. Other parts of the monument are preserved in the Castello. Beyond is the tomb of Gio. Angelo Arcimboldi, Archbishop of Milan from 1550 to 1555. Lower 246down we see some twelfth and thirteenth century figures representing the writers of the New Testament224, in Verona marble, probably parts of an ambone or pulpit, and perhaps some of the figures of saints with which Archbishop Uberto Crivelli, afterwards Urban III., is recorded to have decorated the old Sta. Maria Maggiore in 1185.
The Baptistery is on this side of the nave, between two of the pillars. The font is an ancient basin of red porphyry, said to have once been in the Baths of Maximian Hercules; it was found in S. Dionysius, with the remains of that saintly prelate of Milan inside. These were translated to a place in front of the High Altar. The canopy over the font is an ornate late Renaissance work designed by il Pellegrini.
Down here in the nave, where the later ornamental225 details are lost in the great pillared spaces, it is possible to call back some of the shades frightened away by the purifying S. Carlo. Wicked they were indeed, but in a great way which it is not given to modern sinners to emulate226. First of all we see Gian Galeazzo, the founder227 of the temple—he who all but mounted to a throne of Italy on the body of his murdered uncle—passing calm, cultured and impenetrable, between the columns. Then the bleeding body of his evil son Giovanmaria, carried from the steps of the palace where he had fallen and flung down here in haste by the terrified bearers. The cunning and suspicious Filippo next—who but a few weeks before had beheaded his wife—following Pope Martin in the great pageant228 of the consecration229 of the High Altar in 1418, uneasy at finding himself under the eyes of his subjects. Francesco Sforza, the splendid conqueror34, pressing his way up the great nave on his war-horse, amid the thronging multitudes, to give thanks to God that Milan was delivered into his hands. His 247weak young grandson, Gian Galeazzo, hand in hand with his youthful bride, Isabella of Aragon, a white-robed pathetic pair, passing up to the celebration of their marriage, beneath a specially78 constructed portico, simulating a pergola and supported on fifty-two columns. The usurper Lodovico il Moro, with the ducal beretta newly set upon his head at the door of the Cathedral, moving with majestic230 step towards the High Altar, to seek the benediction of Heaven upon his unlawful dignities. We see the latter again a few years later, during that brief return in 1500, bowed with care and apprehension231, giving hasty thanks to God for restoring the city to him, while the French guns, thundering from the Castle, tell him what a mockery that restoration is. A moment later his tragic232 figure has vanished into the shades and the aisles echo to the triumphant233 tread of the French conqueror and his captains, Trivulzio and the rest, and the subservient234 Italian princes and ambassadors, coming to give thanks in their turn. And now the stately figures of foreign kings and emperors succeed one another in the many gorgeous processions which pass up between the columns. Thrust between them is the mournful Triumph of the young French hero, whose dead body, with the sword of Julius II., and the standards of the Spanish King and of all the great captains whom he had overthrown235 in his last victory displayed before it, is carried up in silence and tears. Anon the place fills with the pitiful multitudes during the dreadful days of French and Spanish occupation; now they gather round the frenzied236 frate barbazza, who shrieks237 to them to rise and slaughter238 their persecutors, now marshal themselves in penitential procession, beating their breasts and wailing239 misericordia. And as the figure of the reforming Cardinal Archbishop—the ascetic and despotic saint—rises before us, the great nave clears suddenly of all that clamorous240 life 248of the city which did not fear before to pass in and out on its daily affairs and to bring its worldly traffickings, its quarrels, troubles, excitements, sorrows, into the House of God,—and we lose sight for ever of the medi?val world.
The roof of the Duomo is ascended241 from the south transept. It is a long climb, but well worth the pains. You emerge at the top into sunshine and air, and find yourself on the terrace of a vast garden, all of sparkling candid242 stone, where you may wander, easily losing yourself, along paths and alleys243, up and down flights of steps, always between marble groves244 of flowers and foliage245, with a forest of slender stems springing up around you, and flowering into human forms high up against the blue—all the petrified246 growth of that lake grotto247 of Gandoglia, or Candoglia, as the punning old writers call it. There is no open space in the heart of Milan where you can take the air so pleasantly on fine days in winter and spring as up here. But this garden is suspended in the air, and you look down upon the thick clustered roofs which cover all the ground below in an immense roundure, like the low ruddy vegetation of an island left bare at low tide in the middle of a purple sea. Immediately beneath, at dizzy depths, are the narrow intersecting lines of the streets, full of black, crawling humanity. From up here you see the city as a whole, and are able to realise something of its geographic248 place. If the day is clear there will appear, rising up on north and west beyond the sea of plain, the dim shores of what looks like another world—a vast half-moon of hovering forms, cloud-like, yet with the clear-cut contours of earthly substances, rising out of the shadow of earth to shining whiteness against the sky. The guidebooks give names to these fairy shapes—Mont Blanc to the west, Monta Rosa nearer and more conspicuous, the Matterhorn rising 249close behind this last, and other famous heights. Unless the weather is exceptionally favourable249, however, one cannot discern with clearness more than the nearer spurs of the mighty Alpine250 barrier which defends the pleasant land of Italy from the cold and gloomy North. But it is enough to make one understand the significance of Milan in the historic past, as guardian251 of the chief gateways252 of Italy.
PUTTI, GUGLIA DI AMADEO.
The Cathedral itself is a wonderful vision from the top, with its vistas253 of flying buttresses and crocketed pinnacles, and all its immensity of intricate stone-work. The colour of the marble, and the play of light and shade upon the fretted surfaces give it a peculiar254 enchantment255. Looked at closely, however, it all becomes rather frivolous256 and wearisome. Nothing could be more monotonous than the uninventive likeness in difference of the endless ornamentation. No one detail is the same as another, yet the lines are all alike, for ever and ever repeated. The actual work is mostly modern. The most conspicuous and interesting feature is, of course, the great octagonal cupola, the main part of which 250was built in the early years of the sixteenth century by Amadeo. He was prevented, however, by the continual objections and disputes of the experts whose advice was called in about it, from finishing the work, and the ornate construction of rampant257 arches and pinnacles and central spire which surmounts258 it belongs to the eighteenth century. Of the four spiral turrets259 at the corners, with staircases in them, three were not built till the last century, but the one on the north-east was designed by Amadeo himself, who perhaps set his own hand to some of the excessively flamboyant ornamentation. It is called the Guglia di Amadeo, but the upper part was rebuilt in 1799. The loggetta connecting it with the body of the structure is encrusted with charming reliefs, but though the delightful260 medley261 of putti, and angels dancing and playing instruments of music round the medallions of Madonna on one side, and the Pietà on the other, have much of the gaiety and abandon of Amadeo’s work, their execution is too weak for him. The attractive infants, swinging and playing in the openings of the stone-work on either side of the passage lower down are more like his handiwork, and the New Testament scenes carved in low relief at the base are probably by a late follower of the master.[7] At the top of the staircase in this Guglia, now kept locked, in the little passage in the loggetta, there is a medallion portrait in bas-relief, by an unknown hand, of Amadeo himself, showing the deep-lined bony profile of an old man, with scanty262 locks flowing from under his beretta.
7. Malaguzzi Valeri, G. A. Amadeo, p. 232.
251
GIANT STATUES ON THE DUOMO.
252Other details of interest are to be seen on and about the roof of the apse. When in ascending263 from below you emerge into the open air, take the passage straight before you, instead of mounting higher or turning on to the roof of the south aisle90. Passing through a 253covered way you will soon come out upon a little projection264 of the roof, close to some of the monstrous gargoyles, and the Giganti beneath them. These last are robust265 and dignified survivals of the fourteenth century, and of the serious traditions of the Lake Masters, and are curiously266 at variance267 with the later style of ornamentation on the building. Further on, on the roof of the south sacristy, to which a stairway leads down, stands the Eve of Cristoforo Solari, a graceful and expressive268 figure, lumpy, however, in its contours. On the corresponding roof of the north sacristy, on the other side of the apse, is the companion statue of Adam, leaning in melancholy269 pose upon his spade, a heavy and nerveless presentment of the father of mankind, yet most favourably270 distinguished271 in taste from the later statues on the Cathedral. The pinnacle at the north-east angle of this sacristy roof, surmounted272 by the figure of a Knight273 holding a banner, is one of the oldest pieces of work on the Cathedral. It is fourteenth century pure Gothic, and the careful and artistic workmanship of all the rich detail of ornament on it is very impressive in comparison with its surroundings.
From the roof of the Cathedral one has an unobstructed view of the tall octagonal Campanile of San Gottardo to the south. This beautiful and characteristic North Italian building of the fourteenth century combines the beauties of Lombard and Gothic with incomparably harmonious effect, achieving a wonderful charm of colour and grace by the delicate marble arcades and slender soaring shafts of marble with which the solidity of the ruddy brick is lightened. Unfortunately we see the brick now in the rawness of recent restoration. The tiled steeple is surmounted by a bronze angel in stiff pose with wings outspread. This Campanile was built about 1330 by Magister Franciscus di Pecoraris da Cremona for Azzo Visconte. The 254church beside it which that gouty prince raised in honour—among other saints—of S. Gottardo, the protector of sufferers from gout, and filled with precious ornaments274 and works of art, replaced the old Baptistery, San Giovanni alle Fonti. It was completely modernised in 1770, and the ancient apse—which is perhaps anterior275 to the fourteenth century—is the only survival of the old building. San Gottardo served as the chapel of the great Visconte palace, which stood on the south of the Cathedral where now sprawl276 the melancholy courts and mean buildings of the Palazzo Reale. This palace had been originally the seat of the Milanese Consuls277, and the space around it was the Broletto Vecchio, where the public buildings stood in the early days of the Republic. When Matteo Visconte made himself master of Milan, he and his family, as permanent heads of the Republic, occupied the palace, and transformed it into a fortress278, with towers and moats, for the defence of their tyranny. His grandson Azzo beautified it with ornaments and paintings and fountains. These were all destroyed by Galeazzo II., who rebuilt the palace on a much larger and more magnificent scale, with two great courts surrounded by porticos, wherein took place the great marriage feasts, and other celebrations of the splendid Visconte Princes. There, doubtless, was set the banquet for the young Duke of Clarence and his bride Violante, when Petrarca sat beside the bridegroom, among the chief guests, and the boy Gian Galeazzo brought in the marriage gifts. It was in this palace that Giovanmaria Visconte, passing through the courts on his way to hear Mass in S. Gottardo, was stabbed to death by the waiting conspirators279. Francesco Sforza and Lodovico il Moro repaired and embellished the palace, and it was inhabited by Isabella of Aragon after the death of her husband Gian 255Galeazzo Sforza. Restored by il Pellegrini, it was reduced to its present aspect in 1770.
The Archiepiscopal Palace, which faces the Duomo on the south-east, represents the dwelling-place of the ecclesiastical princes of Milan for at least a score of centuries, and probably many more. Standing close beside the Cathedral church, the Archbishop’s residence was called, up to the twelfth century, the Palazzo Milanese, being in fact during the earlier Middle Ages, when the archbishops ruled the city, the seat of government, until the Palace of the Commune, or of the elected Consuls, which rose in its precincts and under its protection, gradually usurped281 its place, as the voice of the public parliament, or Arengo, held in the Piazza, grew more and more powerful. Under the Visconte archbishops, who once again united the ecclesiastic280 and temporal sovereignty in a single hand, the palace was enlarged and partly incorporated with the palace of the Consuls, now become, as we have seen, the fortress of the Visconti. The Arcivescovato was rebuilt in the fifteenth century by Archbishop Arcimboldi, and remains of that date may be seen in the outer cortile. The great inner court is the work of il Pellegrini in S. Carlo Borromeo’s time, and the existing building belongs partly to that period and partly to the end of the eighteenth century.
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1
redeeming
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| 补偿的，弥补的 | |
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smothered
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| （使）窒息， （使）透不过气( smother的过去式和过去分词 )； 覆盖； 忍住； 抑制 | |
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supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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4
converging
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| adj.收敛[缩]的，会聚的，趋同的v.（线条、运动的物体等）会于一点( converge的现在分词 )；（趋于）相似或相同；人或车辆汇集；聚集 | |
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5
irresistible
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| adj.非常诱人的，无法拒绝的，无法抗拒的 | |
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myriad
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| adj.无数的；n.无数，极大数量 | |
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myriads
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| n.无数，极大数量( myriad的名词复数 ) | |
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thronging
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| v.成群，挤满( throng的现在分词 ) | |
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stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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embodied
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| v.表现( embody的过去式和过去分词 )；象征；包括；包含 | |
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11
fabric
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| n.织物，织品，布；构造，结构，组织 | |
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swelling
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| n.肿胀 | |
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pinnacles
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| 顶峰( pinnacle的名词复数 )； 顶点； 尖顶； 小尖塔 | |
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pinnacle
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| n.尖塔，尖顶，山峰；(喻)顶峰 | |
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serried
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| adj.拥挤的；密集的 | |
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spire
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| n.(教堂)尖顶，尖塔，高点 | |
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17
shafts
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| n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等） | |
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18
piazza
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| n.广场；走廊 | |
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19
inadequacy
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| n.无法胜任，信心不足 | |
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20
insignificance
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| n.不重要；无价值；无意义 | |
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21
incongruity
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| n.不协调，不一致 | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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23
majesty
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| n.雄伟，壮丽，庄严，威严；最高权威，王权 | |
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24
embroideries
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| 刺绣( embroidery的名词复数 )； 刺绣品； 刺绣法 | |
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25
rosy
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| adj.美好的，乐观的，玫瑰色的 | |
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alluvial
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| adj.冲积的；淤积的 | |
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27
stifling
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| a.令人窒息的 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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countless
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| adj.无数的，多得不计其数的 | |
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spires
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| n.（教堂的） 塔尖，尖顶( spire的名词复数 ) | |
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31
fretted
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| 焦躁的，附有弦马的，腐蚀的 | |
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32
consecrate
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| v.使圣化，奉…为神圣；尊崇；奉献 | |
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usurper
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| n. 篡夺者, 僭取者 | |
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conqueror
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| n.征服者，胜利者 | |
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conquerors
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| 征服者，占领者( conqueror的名词复数 ) | |
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shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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transformations
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| n.变化( transformation的名词复数 )；转换；转换；变换 | |
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entrenched
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| adj.确立的，不容易改的(风俗习惯) | |
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organisation
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| n.组织，安排，团体，有机休 | |
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corrupt
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| v.贿赂，收买；adj.腐败的，贪污的 | |
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41
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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enthusiasts
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| n.热心人，热衷者( enthusiast的名词复数 ) | |
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43
courageous
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| adj.勇敢的，有胆量的 | |
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transacted
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| v.办理（业务等）( transact的过去式和过去分词 )；交易，谈判 | |
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45
portico
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| n.柱廊，门廊 | |
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46
benediction
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| n.祝福；恩赐 | |
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47
dominion
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| n.统治，管辖，支配权；领土，版图 | |
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48
forth
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| adv.向前；向外，往外 | |
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49
wrecked
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| adj.失事的，遇难的 | |
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50
vestiges
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| 残余部分( vestige的名词复数 )； 遗迹； 痕迹； 毫不 | |
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51
outgrown
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| 长[发展] 得超过（某物）的范围( outgrow的过去分词 )； 长[发展]得不能再要（某物）； 长得比…快； 生长速度超过 | |
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52
acquiesced
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| v.默认，默许( acquiesce的过去式和过去分词 ) | |
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53
expiate
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| v.抵补，赎罪 | |
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54
reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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55
motive
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| n.动机，目的；adv.发动的，运动的 | |
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56
afflicted
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| 使受痛苦，折磨( afflict的过去式和过去分词 ) | |
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57
malady
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| n.病，疾病(通常做比喻) | |
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58
withering
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| 使人畏缩的，使人害羞的，使人难堪的 | |
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59
doom
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| n.厄运，劫数；v.注定，命定 | |
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60
extinction
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| n.熄灭，消亡，消灭，灭绝，绝种 | |
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61
impend
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| v.迫近，逼近，即将发生 | |
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62
infancy
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| n.婴儿期；幼年期；初期 | |
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63
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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64
nascent
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| adj.初生的，发生中的 | |
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65
inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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66
pinnacled
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| 小尖塔般耸立的，顶处的 | |
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hovering
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| 鸟( hover的现在分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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68
aspiration
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| n.志向，志趣抱负；渴望；(语)送气音；吸出 | |
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69
inception
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| n.开端，开始，取得学位 | |
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70
pessimism
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| n.悲观者，悲观主义者，厌世者 | |
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71
lengthy
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| adj.漫长的，冗长的 | |
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72
intercourse
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| n.性交；交流，交往，交际 | |
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73
celebrated
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| adj.有名的，声誉卓著的 | |
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74
guild
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| n.行会，同业公会，协会 | |
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75
noted
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| adj.著名的，知名的 | |
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76
craftsmen
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| n. 技工 | |
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77
conspicuous
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| adj.明眼的，惹人注目的；炫耀的，摆阔气的 | |
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78
specially
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| adv.特定地；特殊地；明确地 | |
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79
intrigue
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| vt.激起兴趣，迷住；vi.耍阴谋；n.阴谋，密谋 | |
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80
intervention
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| n.介入，干涉，干预 | |
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81
contention
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| n.争论，争辩，论战；论点，主张 | |
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82
condemning
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| v.（通常因道义上的原因而）谴责( condemn的现在分词 )；宣判；宣布…不能使用；迫使…陷于不幸的境地 | |
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83
zeal
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| n.热心，热情，热忱 | |
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84
strenuous
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| adj.奋发的，使劲的；紧张的；热烈的，狂热的 | |
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85
radical
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| n.激进份子，原子团，根号；adj.根本的，激进的，彻底的 | |
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86
alterations
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| n.改动( alteration的名词复数 )；更改；变化；改变 | |
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87
condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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88
conformity
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| n.一致，遵从，顺从 | |
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89
aisles
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| n. (席位间的)通道, 侧廊 | |
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90
aisle
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| n.（教堂、教室、戏院等里的）过道，通道 | |
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91
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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92
awed
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| adj.充满敬畏的，表示敬畏的v.使敬畏，使惊惧( awe的过去式和过去分词 ) | |
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93
awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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94
puny
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| adj.微不足道的，弱小的 | |
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95
vitality
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| n.活力，生命力，效力 | |
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96
blighting
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| 使凋萎( blight的现在分词 )； 使颓丧； 损害； 妨害 | |
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97
controversy
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| n.争论，辩论，争吵 | |
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98
attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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99
renaissance
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| n.复活，复兴，文艺复兴 | |
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100
predecessor
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| n.前辈，前任 | |
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101
reigns
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| n.君主的统治( reign的名词复数 )；君主统治时期；任期；当政期 | |
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102
patronage
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| n.赞助，支援，援助；光顾，捧场 | |
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103
fervent
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| adj.热的，热烈的，热情的 | |
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104
artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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105
eclecticism
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| n.折衷主义 | |
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106
impetus
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| n.推动，促进，刺激；推动力 | |
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107
pointed
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| adj.尖的，直截了当的 | |
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108
ingenuity
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| n.别出心裁；善于发明创造 | |
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109
entrusted
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| v.委托，托付( entrust的过去式和过去分词 ) | |
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110
apparently
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| adv.显然地；表面上，似乎 | |
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111
flamboyant
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| adj.火焰般的，华丽的，炫耀的 | |
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112
sculptor
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| n.雕刻家，雕刻家 | |
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113
sculptors
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| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
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114
monstrous
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| adj.巨大的；恐怖的；可耻的，丢脸的 | |
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115
propriety
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| n.正当行为；正当；适当 | |
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116
revival
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| n.复兴，复苏，（精力、活力等的）重振 | |
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117
platitudes
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| n.平常的话，老生常谈，陈词滥调( platitude的名词复数 )；滥套子 | |
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118
concealed
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| a.隐藏的，隐蔽的 | |
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119
meretricious
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| adj.华而不实的，俗艳的 | |
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120
climax
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| n.顶点；高潮；v.(使)达到顶点 | |
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121
bombast
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| n.高调，夸大之辞 | |
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122
grandiose
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| adj.宏伟的，宏大的，堂皇的，铺张的 | |
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123
battalions
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| n.（陆军的）一营（大约有一千兵士）( battalion的名词复数 )；协同作战的部队；军队；（组织在一起工作的）队伍 | |
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124
edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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125
flexibility
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| n.柔韧性，弹性，（光的）折射性，灵活性 | |
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126
repose
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| v.(使)休息；n.安息 | |
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127
reiteration
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| n. 重覆, 反覆, 重说 | |
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128
gape
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| v.张口，打呵欠，目瞪口呆地凝视 | |
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129
pier
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| n.码头；桥墩，桥柱；[建]窗间壁，支柱 | |
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130
buttresses
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| n.扶壁，扶垛( buttress的名词复数 )v.用扶壁支撑，加固( buttress的第三人称单数 ) | |
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131
foam
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| v./n.泡沫，起泡沫 | |
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132
props
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| 小道具； 支柱( prop的名词复数 )； 支持者； 道具； （橄榄球中的）支柱前锋 | |
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133
upwards
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| adv.向上，在更高处...以上 | |
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134
likeness
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| n.相像，相似（之处） | |
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135
effaced
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| v.擦掉( efface的过去式和过去分词 )；抹去；超越；使黯然失色 | |
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136
exterior
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| adj.外部的，外在的；表面的 | |
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137
swarms
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| 蜂群，一大群( swarm的名词复数 ) | |
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138
dignified
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| a.可敬的，高贵的 | |
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139
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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140
refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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141
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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142
gargoyles
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| n.怪兽状滴水嘴( gargoyle的名词复数 ) | |
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143
nude
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| adj.裸体的；n.裸体者，裸体艺术品 | |
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144
bough
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| n.大树枝，主枝 | |
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145
colossal
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| adj.异常的，庞大的 | |
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146
warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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147
heralds
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| n.使者( herald的名词复数 )；预报者；预兆；传令官v.预示( herald的第三人称单数 )；宣布（好或重要） | |
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148
monotonous
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|
| adj.单调的，一成不变的，使人厌倦的 | |
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149
doorways
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| n.门口，门道( doorway的名词复数 ) | |
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150
frankly
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| adv.坦白地，直率地；坦率地说 | |
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151
discordant
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| adj.不调和的 | |
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152
amends
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| n. 赔偿 | |
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153
mighty
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| adj.强有力的；巨大的 | |
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154
slits
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| n.狭长的口子，裂缝( slit的名词复数 )v.切开，撕开( slit的第三人称单数 )；在…上开狭长口子 | |
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155
harmonious
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| adj.和睦的，调和的，和谐的，协调的 | |
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156
spaciousness
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| n.宽敞 | |
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157
chapel
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| n.小教堂，殡仪馆 | |
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158
chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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159
canopy
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| n.天篷，遮篷 | |
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160
sanctuary
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| n.圣所，圣堂，寺庙；禁猎区，保护区 | |
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161
grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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162
nave
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| n.教堂的中部；本堂 | |
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163
deception
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| n.欺骗，欺诈；骗局，诡计 | |
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164
varied
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| adj.多样的，多变化的 | |
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165
arcades
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| n.商场( arcade的名词复数 )；拱形走道（两旁有商店或娱乐设施）；连拱廊；拱形建筑物 | |
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166
niches
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| 壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位） | |
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167
busts
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| 半身雕塑像( bust的名词复数 )； 妇女的胸部； 胸围； 突击搜捕 | |
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168
ascetic
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| adj.禁欲的；严肃的 | |
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169
cardinal
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| n.(天主教的)红衣主教；adj.首要的，基本的 | |
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170
picturesque
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| adj.美丽如画的，（语言）生动的，绘声绘色的 | |
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171
zealous
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| adj.狂热的，热心的 | |
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172
obedience
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| n.服从，顺从 | |
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173
follower
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| n.跟随者；随员；门徒；信徒 | |
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174
predilections
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| n.偏爱，偏好，嗜好( predilection的名词复数 ) | |
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175
devastated
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| v.彻底破坏( devastate的过去式和过去分词)；摧毁；毁灭；在感情上（精神上、财务上等）压垮adj.毁坏的；极为震惊的 | |
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176
frescoes
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| n.壁画( fresco的名词复数 )；温壁画技法，湿壁画 | |
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177
fresco
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| n.壁画；vt.作壁画于 | |
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178
pictorial
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| adj.绘画的；图片的；n．画报 | |
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179
decorative
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| adj.装饰的，可作装饰的 | |
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180
granite
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| adj.花岗岩，花岗石 | |
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181
bishop
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| n.主教，（国际象棋）象 | |
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182
honourable
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| adj.可敬的；荣誉的，光荣的 | |
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183
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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184
disciple
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| n.信徒，门徒，追随者 | |
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185
virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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186
flayed
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| v.痛打( flay的过去式和过去分词 )；把…打得皮开肉绽；剥（通常指动物）的皮；严厉批评 | |
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187
impudence
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| n.厚颜无耻；冒失；无礼 | |
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188
choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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189
gilded
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| a.镀金的，富有的 | |
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190
embellished
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| v.美化( embellish的过去式和过去分词 )；装饰；修饰；润色 | |
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191
walnut
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| n.胡桃，胡桃木，胡桃色，茶色 | |
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192
effigies
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| n.（人的）雕像，模拟像，肖像( effigy的名词复数 ) | |
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193
martyrs
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| n.martyr的复数形式；烈士( martyr的名词复数 )；殉道者；殉教者；乞怜者（向人诉苦以博取同情） | |
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194
ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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195
chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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196
coffin
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| n.棺材，灵柩 | |
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197
vault
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| n.拱形圆顶，地窖，地下室 | |
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198
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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199
emaciated
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| adj.衰弱的，消瘦的 | |
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200
aperture
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| n.孔，隙，窄的缺口 | |
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201
graceful
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| adj.优美的，优雅的；得体的 | |
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202
vivacious
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| adj.活泼的，快活的 | |
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203
artistically
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| adv.艺术性地 | |
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204
adorned
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| [计]被修饰的 | |
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205
chiselled
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| adj.凿过的，凿光的； （文章等）精心雕琢的v.凿，雕，镌( chisel的过去式 ) | |
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206
enamel
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| n.珐琅，搪瓷，瓷釉；(牙齿的)珐琅质 | |
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207
filigree
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| n.金银丝做的工艺品；v.用金银细丝饰品装饰；用华而不实的饰品装饰；adj.金银细丝工艺的 | |
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208
gilt
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| adj.镀金的；n.金边证券 | |
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209
vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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210
deposition
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| n.免职，罢官；作证；沉淀；沉淀物 | |
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211
donor
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| n.捐献者；赠送人；(组织、器官等的)供体 | |
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212
tapestries
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| n.挂毯( tapestry的名词复数 )；绣帷，织锦v.用挂毯（或绣帷）装饰( tapestry的第三人称单数 ) | |
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213
emblem
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| n.象征，标志；徽章 | |
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214
foe
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| n.敌人，仇敌 | |
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215
demolished
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| v.摧毁( demolish的过去式和过去分词 )；推翻；拆毁（尤指大建筑物）；吃光 | |
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216
brutal
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| adj.残忍的，野蛮的，不讲理的 | |
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217
scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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218
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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219
vivacity
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| n.快活，活泼，精神充沛 | |
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220
bossy
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| adj.爱发号施令的，作威作福的 | |
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221
symbolic
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| adj.象征性的，符号的，象征主义的 | |
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222
adoration
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| n.爱慕，崇拜 | |
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223
arabesques
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| n.阿拉伯式花饰( arabesque的名词复数 )；错综图饰；阿拉伯图案；阿拉贝斯克芭蕾舞姿（独脚站立，手前伸，另一脚一手向后伸） | |
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224
testament
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| n.遗嘱；证明 | |
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225
ornamental
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| adj.装饰的；作装饰用的；n.装饰品；观赏植物 | |
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226
emulate
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| v.努力赶上或超越，与…竞争；效仿 | |
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227
Founder
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| n.创始者，缔造者 | |
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228
pageant
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| n.壮观的游行；露天历史剧 | |
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229
consecration
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| n.供献，奉献，献祭仪式 | |
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230
majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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231
apprehension
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| n.理解，领悟；逮捕，拘捕；忧虑 | |
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232
tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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233
triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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234
subservient
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| adj.卑屈的，阿谀的 | |
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235
overthrown
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| adj. 打翻的，推倒的，倾覆的 动词overthrow的过去分词 | |
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236
frenzied
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| a.激怒的；疯狂的 | |
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237
shrieks
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| n.尖叫声( shriek的名词复数 )v.尖叫( shriek的第三人称单数 ) | |
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238
slaughter
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| n.屠杀，屠宰；vt.屠杀，宰杀 | |
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239
wailing
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| v.哭叫，哀号( wail的现在分词 )；沱 | |
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240
clamorous
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| adj.吵闹的，喧哗的 | |
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241
ascended
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| v.上升，攀登( ascend的过去式和过去分词 ) | |
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242
candid
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| adj.公正的，正直的；坦率的 | |
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243
alleys
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| 胡同，小巷( alley的名词复数 )； 小径 | |
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244
groves
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| 树丛，小树林( grove的名词复数 ) | |
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245
foliage
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| n.叶子，树叶，簇叶 | |
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246
petrified
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| adj.惊呆的；目瞪口呆的v.使吓呆，使惊呆；变僵硬；使石化(petrify的过去式和过去分词) | |
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247
grotto
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| n.洞穴 | |
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248
geographic
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| adj.地理学的，地理的 | |
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249
favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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250
alpine
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| adj.高山的；n.高山植物 | |
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251
guardian
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| n.监护人；守卫者，保护者 | |
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252
gateways
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| n.网关( gateway的名词复数 )；门径；方法；大门口 | |
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253
vistas
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| 长条形景色( vista的名词复数 )； 回顾； 展望； （未来可能发生的）一系列情景 | |
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254
peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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255
enchantment
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| n.迷惑，妖术，魅力 | |
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256
frivolous
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| adj.轻薄的；轻率的 | |
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257
rampant
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| adj.(植物)蔓生的；狂暴的，无约束的 | |
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258
surmounts
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| 战胜( surmount的第三人称单数 )； 克服（困难）； 居于…之上； 在…顶上 | |
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259
turrets
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| （六角）转台( turret的名词复数 )； （战舰和坦克等上的）转动炮塔； （摄影机等上的）镜头转台； （旧时攻城用的）塔车 | |
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260
delightful
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| adj.令人高兴的，使人快乐的 | |
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261
medley
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| n.混合 | |
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262
scanty
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| adj.缺乏的，仅有的，节省的，狭小的，不够的 | |
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263
ascending
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| adj.上升的，向上的 | |
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264
projection
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| n.发射，计划，突出部分 | |
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265
robust
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| adj.强壮的，强健的，粗野的，需要体力的，浓的 | |
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266
curiously
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| adv.有求知欲地；好问地；奇特地 | |
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267
variance
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| n.矛盾，不同 | |
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268
expressive
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| adj.表现的，表达…的，富于表情的 | |
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269
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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270
favourably
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| adv. 善意地，赞成地 =favorably | |
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271
distinguished
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| adj.卓越的，杰出的，著名的 | |
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272
surmounted
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| 战胜( surmount的过去式和过去分词 )； 克服（困难）； 居于…之上； 在…顶上 | |
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273
knight
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| n.骑士，武士；爵士 | |
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274
ornaments
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| n.装饰( ornament的名词复数 )；点缀；装饰品；首饰v.装饰，点缀，美化( ornament的第三人称单数 ) | |
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275
anterior
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| adj.较早的；在前的 | |
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276
sprawl
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| vi.躺卧，扩张，蔓延；vt.使蔓延；n.躺卧，蔓延 | |
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277
consuls
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| 领事( consul的名词复数 )； （古罗马共和国时期）执政官 （古罗马共和国及其军队的最高首长，同时共有两位，每年选举一次） | |
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278
fortress
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| n.堡垒，防御工事 | |
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279
conspirators
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| n.共谋者，阴谋家( conspirator的名词复数 ) | |
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280
ecclesiastic
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| n.教士，基督教会；adj.神职者的，牧师的，教会的 | |
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281
usurped
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| 篡夺，霸占( usurp的过去式和过去分词 )； 盗用； 篡夺，篡权 | |
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