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Updated: June 16, 2025
Alleluja Vespers end of the mass: mass of Pope Marcellus Ceremonies at S. John Laterans. Blessing of the font: baptistery baptism of adults litanies and confirmation mass and ordination Armenian catholics their liturgy; and high mass on Easter-eve reflections Conclusion. "But now Christ is risen from the dead, the first-fruits of them that sleep". 1 Cor.
But more than by such studies, the kinship and nationality of Pier della Francesca is proved by reference to the other branches of Tuscan art: his peculiarities correspond to the treatment of line and projection by those early stonemasons of the Baptistery and the Pistoia churches, to the treatment of enclosed spaces and manipulated light in those fifteenth-century sacristies and chapels, to the treatment of mass and boundary in the finest reliefs of Donatello and Donatello's great decorative follower Desiderio.
Notice also the exquisite pendentive of the roof at the point of intersection of the nave and short false transepts. Now walk up the right aisle. The first chapel is the Baptistery, containing the font and a modern statue of the boy Baptist. Third chapel, St. Antony of Padua. The fourth chapel contains a curious Holy Sepulcher, with quaint life-size terra-cotta figures of the 16th century.
Nothing is allowed to impair the vista as you stand by the western entrance: the floor has no chairs; the great columns rise from it in the gloom as if they, too, were rooted. The walls, too, are bare, save for a few tablets. The history of the building is briefly this. The first cathedral of Florence was the Baptistery, and S. John the Baptist is still the patron saint of the city.
The plan of the atrium of the cathedral is Roman, not Byzantine like those at Grado, Ravenna, and Constantinople, which have a portico and the baptistery at the side, separate from the basilica. In this case the pavement of the atrium was seven or eight inches above that of the narthex.
I have no doubt that this story is apocryphal, not only in its attribution of these religious scruples to the falling tower; but in its accusation of the Ghibellines as having definitely intended the destruction of the Baptistery. It is only modern reformers who feel the absolute need of enforcing their religious opinions in so practical a manner.
Crowe and Cavalcaselle, while discussing the question of his birthplace and his early training, observe, what is no doubt true, that there are no traces of good sculpture in Pisa antecedent to the Baptistery pulpit of 1260, and remark that for such a phenomenon as the sudden appearance of this masterpiece it is needful to seek some antecedents elsewhere.
The lavatory tower is now more commonly called the baptistery, but this name gives a false impression, and only came into use because the building now contains a font, given to the cathedral by Bishop Warner.
And now I mean to organise the thing on my own account. The Baptistery itself, so full of unfulfilment, and with such a wealth, at present, of spare space, will be the ideal setting for my treasures.
There is no doubt possible as to the existence of Christianity here at the end of the third century. There were churches in the time of Constantine, and a baptistery as early as 270, in the days of Aurelian. In Constantinian times it was a centre of Catholic life.
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