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Updated: June 13, 2025
The four columns which they contain originally supported the baldacchino over the high altar here; three of them are of verde antico.
There was no throne-room, no red hat hanging under a baldacchino, no arm-chair turned to the wall pending a visit from the Pope.
Against the purple background of the hangings of the baldacchino, between the wing-like drapery on either side, enclosing, as it were, a brasier of glory, he assumed real majesty of aspect. He was no longer the feeble old man with the slow, jerky walk and the slender, scraggy neck of a poor ailing bird.
The old man stood aside, pointing to the vessel under the baldacchino, and there were sighs and sobs. Some shouted: "Blessed be the Son of God!" The sensation over, the Patriarch continued: "O my Brother, take thou answer now. The bread is leavened. Is it therefore less grace-giving?" "No, no!" But the response was drowned by an affirmative yell so strong there could be no doubt of the majority.
Messer Zoan Francesco Pallavicino and Messer Francesco Bernardo Visconti acted as the queen's staff-bearers, from the Duomo to the Castello. The baldacchino was carried all the way by doctors robed in the manner described above, and behind the queen rode the duchess and myself, followed by the relatives, courtiers, and invited guests, all on horseback.
A canopied baldacchino rises above the altar and, being of stone treated in a graceful Gothic manner, is an ornament much more in good taste than the hideous mahogany or oaken serpentine atrocities which are often erected. It is impossible to come into close contact with the exterior of this cathedral except by approaching it from the eastern end. West front there is none.
We begin to comprehend the genius and courage which planned and executed a work so novel and so bold. From the galleries inside, the view of the interior below is most striking. It looks as the earth may look from a balloon. The men moving upon the pavement appear like that "small infantry warred on by cranes"; and even the baldacchino hardly swells beyond the dimensions of a candelabrum.
All the positive colour is in the drapery of the saints, one in red and green, and another in red and blue. The two angels are exquisitely drawn, and contrast well in their natural innocence with the sentimental pair in Raphael's Madonna of the Baldacchino on the same wall of the Pitti Palace.
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.
It is also thought that Fra Bartolommeo helped in the composition of Raphael's famous Madonna del Baldacchino, which is truly very much in his style. The year 1508 marks the Frate's first acquaintance with the Venetian school, which was not without its influence upon him.
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