tistical endeavor, was built with the design—such was the bidding of the republic of Florence—“of being the largest and most splendid building which it was in human power to erect; and so perfect, that nothing more beautiful or larger could be thought of; it must be made in accordance with a very great heart, (ad un cuore grandissimo,) because it is decided upon by most of the citizens, united in one will.” The master-builder, Arnolfo, knew, it is said, how to accord with this will, and the building was commenced in 1298. But Arnolfo died long before his work was completed; and whether it were that something of the aims of the ancient Tower of Babel inspired the building of the Florentine Cathedral, and made it participant of the fate of the Tower of Babel, or any other cause, certain it is, that it remains unfinished at the present day, and probably will so remain. Every separate portion in the great design is in beautiful harmony with the whole, and is in itself a perfected piece of beauty; as for example, each several window, is an individual entity of beauty and taste. But the whole further side of the church looks like a bankrupt.
On one side of the square, in which the cathedral stands, a white marble seat is built into the wall, on which is inscribed, Sasso di Dante. Here Dante used to sit, contemplating the building of the Cathedral, and perhaps obtaining from its beautiful proportions, inspirations for his Comedia Divina, or perhaps watching for a glimpse of that Beatrice, who was able to inspire him with new life, merely from the fact that he saw her; and, that she was beautiful, noble, and
