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Updated: June 13, 2025
On one side stands a Baldacchino, or canopy of state, draped with scarlet cloth, and fringed with gold embroidery; the scarlet indicating that the palace is inhabited by a cardinal. Green would be appropriate to a prince.
He fled once more; but, higher up, yet a second time he pushed another door open and found another gallery, one perched above the windows, just where the splendid mosaics begin, and whence the crowd seemed to him lost in the depths of a dizzy abyss, altar and baldacchino alike looking no larger than toys.
The figures were carved by the most skilful wood-carvers of Paris, and the play was written by a pious monk of the Benedictines." The jester seemed not to be listening very attentively. He twirled the stem of the wine-cup in his hand, crooning, "'Fantoccini, fantoccino, Chi s'arrischia baldacchino, Ognuno per se, Diavolo per tutti."
But the effect of the whole is inharmonious, and the great lines are obscured by over-ornamentation. You are reminded of an over-dressed woman. The pulpit, surmounted by a lofty conical canopy richly gilt, is supported on four lofty pillars of coffee-coloured marble highly polished. The baldacchino is a glittering affair, forty or fifty feet high, and big enough for a mission church.
The Baldacchino Madonna of the Pitti, at Florence, is closely akin to Bartolommeo's composition in the same gallery. Glancing, briefly, at these scattered examples, we learn that the enthroned Madonna belongs to every school of Italian art, and exhibits an astonishing variety of forms. Probably it was in the North of Italy that it flourished most.
Here the Grand Dukes gathered ten pictures by Titian eight by Raphael, as well as two, the Madonna del Baldacchino and the Vision of Ezekiel, which he designed, ten by Andrea del Sarto, six by Fra Bartolommeo, two lovely Peruginos, two splendid portraits by Ridolfo Ghirlandajo, four portraits by Tintoretto, several pictures by Rubens, two portraits, one of himself, by Rembrandt, a magnificent Vandyck, and many lesser pictures.
The Patriarch's dramatic warning of the Real Presence found in her a ready second; for keeping strictly to Father Hilarion's distinction between a right Creed and a form or ceremony for pious observance, the former essential to salvation, the latter merely helpful to continence in the Creed, it was with her as if Christ in glorified person stood there under the baldacchino.
On a low platform, where the altar usually stood, facing the entry, the pontifical throne had now been set: a large arm-chair upholstered in red velvet with glittering golden back and arms; whilst the hangings of the baldacchino, also of red velvet, fell behind and spread out on either side like a pair of huge purple wings.
On a low platform, where the altar usually stood, facing the entry, the pontifical throne had now been set: a large arm-chair upholstered in red velvet with glittering golden back and arms; whilst the hangings of the /baldacchino/, also of red velvet, fell behind and spread out on either side like a pair of huge purple wings.
And then the scene became one of extraordinary magnificence: there was Bernini's triumphal, flowery, gilded /baldacchino/, surrounded by the whole pontifical court with the lighted tapers showing like starry constellations, there was the Sovereign Pontiff in the centre, radiant like a planet in his gold-broidered chasuble, there were the benches crowded with cardinals in purple and archbishops and bishops in violet silk, there were the tribunes glittering with official finery, the gold lace of the diplomatists, the variegated uniforms of foreign officers, and then there was the throng flowing and eddying on all sides, rolling billows after billows of heads from the most distant depths of the Basilica.
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