Then followed the twenty-one incorporated Arts of Florence in long array, with their banners floating above them in proud declaration that the bearers had their distinct functions, from the bakers of bread to the judges and notaries. And then all the secondary officers of State, beginning with the less and going on to the greater, till the line of secularities was broken by the Canons of the Duomo, carrying a sacred relic—the very head, enclosed in silver, of San Zenobio, immortal bishop of Florence, whose virtues were held to have saved the city perhaps a thousand years before.
Here was the nucleus of the procession.
Behind the relic came the archbishop in gorgeous cope, with canopy held above him; and after him the mysterious hidden Image—hidden first by rich curtains of brocade enclosing an outer painted tabernacle, but within this, by the more ancient tabernacle which had never been opened in the memory of living men, or the fathers of living men.
In that inner shrine was the image of the Pitying Mother, found ages ago in the soil of L’Impruneta, uttering a cry as the spade struck it.
Hitherto the unseen Image had hardly ever been carried to the Duomo without having rich gifts borne before it. There was no reciting the list of precious offerings made by emulous men and communities, especially of veils and curtains and mantles. But the richest of all these, it was said, had been given by a poor abbess and her nuns, who, having no money to buy materials, wove a mantle of gold brocade with their prayers, embroidered it and adorned it with their prayers, and, finally, saw their work presented to the Blessed Virgin in the great Piazza by two beautiful youths who spread out white wings and vanished in the blue.
But today there were no gifts carried before the tabernacle: no donations were to be given today except to the poor.