SCULPTORS AND ARCHITECTS
Among others who exercised themselves in the school of the sculptors Giovanni and Niccola of Pisa, Agostino and Agnolo, sculptors of Siena, of whom we are at present about to write the Life, became very excellent for those times. These, according to what I find, were born from a father and mother of Siena, and their forefathers were architects, seeing that in the year 1190, under the rule of the three Consuls, they brought to perfection the Fontebranda, and afterwards, in the following year, under the same Consulate, the Customs-house of that city and other buildings. And in truth it is clear that very often the seeds of talent germinate in the houses where they have lain for some time, and throw out shoots which afterwards produce greater and better fruits than the first plants had done. Agostino and Agnolo, then, adding great betterment to the manner of Giovanni and Niccola of Pisa, enriched the art with better design and invention, as their works clearly demonstrate. It is said that the aforesaid Giovanni, returning from Naples to Pisa in the year 1284, stayed in Siena in order to make the design and foundation for the façade of the Duomo, wherein are the three principal doors, to the end that it might be all adorned very richly with marbles; and that then Agostino, being no more than fifteen years of age, went to be with him in order to apply himself to sculpture, whereof he had learnt the first principles, being no less inclined to this art than to the matters of architecture. And so, under the teaching of Giovanni, by means of continual study he surpassed all his fellow-disciples in design, grace, and manner, so greatly that it was said by all that he was the right eye of his master. And because, between people who love each other, there is no gift, whether of nature, or of soul, or of fortune, that is mutually desired so much as excellence, which alone makes men great and noble, and what is more, most happy both in this life and in the other, therefore Agostino, seizing this occasion of assistance from Giovanni, drew his brother Agnolo into the same pursuit. Nor was it a great labour for him to do this, seeing that the intercourse of Agnolo with Agostino and with the other sculptors had already, as he saw the honour and profit that they were drawing from such an art, fired his mind with extreme eagerness and desire to apply himself to sculpture; nay, before Agostino had given a thought to this, Agnolo had wrought certain works in secret.
Agostino, then, being engaged in working with Giovanni on the marble panel of the high-altar in the Vescovado of Arezzo, whereof there has been mention above, contrived to bring there the said Agnolo, his brother, who acquitted himself in this work in such a manner that when it was finished he was found to have equalled Agostino in the excellence of his art. Which circumstance, becoming known to Giovanni, was the reason that after this work he made use of both one and the other in many other works of his that he wrought in Pistola, in Pisa, and in other places. And seeing that he applied himself not only to sculpture but to architecture as well, no long time passed before, under the rule of the Nine in Siena, Agostino made the design of their Palace in Malborghetto, which was in the year 1308. In the making of this he acquired so great a name in his country, that, returning to Siena after the death of Giovanni, they were made, both one and the other, architects to the State; wherefore afterwards, in the year 1317, there was made under their direction the front of the Duomo that faces towards the north, and in the year 1321, with the design of the same men, there was begun the construction of the Porta Romana in that manner wherein it stands to-day, and it was finished in the year 1326; which gate was first called Porta S. Martino. They rebuilt, also, the Porta a Tufi, which at first was called Porta di S. Agata all'Arco. In the same year, with the design of the same Agostino and Agnolo, there was begun the Church and Convent of S. Francesco in the presence of Cardinal di Gaeta, Apostolic Legate. No long time after, by the action of some of the Tolomei who were living as exiles at Orvieto, Agostino and Agnolo were summoned to make certain sculptures for the work of S. Maria in that city; wherefore, going there, they carved some prophets in marble which are now, in comparison with the other statues in that façade, the finest and best proportioned in that so greatly renowned work.
Now it came to pass in the year 1326, as it has been said in his Life, that Giotto was called by means of Charles, Duke of Calabria, who was then staying in Florence, to Naples, in order to make some things for King Robert in S. Chiara and other places in that city; wherefore Giotto, passing by way of Orvieto on his way to Naples, in order to see the works that had been made and were still being made there by so many men, wished to see everything minutely. And because the prophets of Agostino and Agnolo of Siena pleased him more than all the other sculptures, it came about therefore that Giotto not only commended them and held them, much to their contentment, among his friends, but also presented them to Piero Saccone da Pietramala as the best of all the sculptors then living, for the making of the tomb of Bishop Guido, Lord and Bishop of Arezzo, which has been mentioned in the Life of Giotto himself. And so then Giotto having seen in Orvieto the works of many sculptors and having judged the best to be those of Agostino and Agnolo of Siena, this was the reason that the said tomb was given to them to make—in that manner, however, wherein he had designed it, and according to the model which he himself had sent to the said Piero Saccone. Agostino and Agnolo finished this tomb in the space of three years, executing it with much diligence, and built it into the Church of the Vescovado of Arezzo, in the Chapel of the Sacrament. Over the sarcophagus, which rests on certain great consoles carved more than passing well, there is stretched the body of that Bishop in marble, and at the sides are some angels that are drawing back certain curtains very gracefully. Besides this, there are carved in half-relief, in compartments, twelve scenes from the life and actions of that Bishop, with an infinite number of little figures. I will not grudge the labour of describing the contents of these scenes, to the end that it may be seen with what great patience they were wrought, and how zealously these sculptors sought the good manner.
In the first is the scene when, assisted by the Ghibelline party of Milan, which sent him money and four hundred masons, he is rebuilding the walls of Arezzo all anew, making them much longer than they were and giving them the form of a galley. In the second is the taking of Lucignano di Valdichiana. In the third, that of Chiusi. In the fourth, that of Fronzoli, then a strong castle above Poppi, and held by the sons of the Count of Battifolle. The fifth is when the Castle of Rondine, after having been many months besieged by the Aretines, is surrendering finally to the Bishop. In the sixth is the taking of the Castle of Bucine in Valdarno. The seventh is when he is taking by storm the fortress of Caprese, which belonged to the Count of Romena, after having maintained the siege for several months. In the eighth the Bishop is having the Castle of Laterino pulled down and the hill that rises above it cut into the shape of a cross, to the end that it may no longer be possible to build a fortress thereon. In the ninth he is seen destroying Monte Sansovino and putting it to fire and flames, chasing from it all the inhabitants. In the eleventh is his coronation, wherein are to be seen many beautiful costumes of soldiers on foot and on horseback, and of other people. In the twelfth, finally, his men are seen carrying him from Montenero, where he fell sick, to Massa, and thence afterwards, now dead, to Arezzo. Round this tomb, also, in many places, are the Ghibelline insignia, and the arms of the Bishop, which are six square stones "or," on a field "azure," in the same ordering as are the six balls in the arms of the Medici; which arms of the house of the Bishop were described by Frate Guittone, chevalier and poet of Arezzo, when he said, writing of the site of the Castle of Pietramala, whence that family had its origin:
Dove si scontra il Giglion con la Chiassa
Ivi furono i miei antecessori,
Che in campo azurro d'or portan sei sassa.
Agnolo and Agostino of Siena, then, executed this work with better art and invention and with more diligence than there had been shown in any work executed in their times. And in truth they deserve nothing but infinite praise, having made therein so many figures and so great a variety of sites, places, towers, horses, men, and other things, that it is indeed a marvel. And although this tomb was in great part destroyed by the Frenchmen of the Duke of Anjou, who sacked the greater part of that city in order to take revenge on the hostile party for certain affronts received, none the less it shows that it was wrought with very good judgment by the said Agostino and Agnolo, who cut on it, in rather large letters, these words:
HOC OPUS FECIT MAGISTER AUGUSTINUS ET MAGISTER ANGELUS DE SENIS.
After this, in the year 1329, they wrought an altar-panel of marble for the Church of S. Francesco at Bologna, in a passing good manner; and therein, besides the carved ornamentation, which is very rich, they made a Christ who is crowning Our Lady, and on each side three similar figures—S. Francis, S. James, S. Dominic, S. Anthony of Padua, S. Petronius, and S. John the Evangelist, with figures one braccio and a half in height. Below each of the said figures is carved a scene in low-relief from the life of the Saint that is above; and in all these scenes is an infinite number of half-length figures, which make a rich and beautiful adornment, according to the custom of those times. It is seen clearly that Agostino and Agnolo endured very great fatigue in this work, and that they put into it all diligence and study in order to make it, as it truly was, a work worthy of praise; and although they are half eaten away, yet there are to be read thereon their names and the date, by means of which, it being known when they began it, it is seen that they laboured eight whole years in completing it. It is true, indeed, that in that same time they wrought many other small works in diverse places and for various people.
Now, while they were working in Bologna, that city, by the mediation of a Legate of the Pope, gave herself absolutely over to the Church; and the Pope, in return, promised that he would go to settle with his Court in Bologna, saying that he wished to erect a castle there, or truly a fortress, for his own security. This being conceded to him by the Bolognese, it was immediately built under the direction and design of Agostino and Agnolo, but it had a very short life, for the reason that the Bolognese, having found that the many promises of the Pope were wholly vain, pulled down and destroyed the said fortress, with much greater promptness than it had been built.
It is said that while these two sculptors were staying in Bologna the Po issued in furious flood from its bed and laid waste the whole country round for many miles, doing incredible damage to the territory of Mantua and Ferrara and slaying more than ten thousand persons; and that they, being called on for this reason as ingenious and able men, found a way to put this terrible river back into its course, confining it with dykes and other most useful barriers; which was greatly to their credit and profit, because, besides acquiring fame thereby, they were recompensed by the Lords of Mantua and by the D'Este family with most honourable rewards.
After this they returned to Siena, and in the year 1338, with their direction and design, there was made the new Church of S. Maria, near the Duomo Vecchio, towards Piazza Manetti; and no long time after, the people of Siena, remaining much satisfied with all the works that these men were making, determined with an occasion so apt to put into effect that which had been discussed many times, but up to then in vain—namely, the making of a public fountain on the principal square, opposite the Palagio della Signoria. Wherefore, this being entrusted to Agostino and Agnolo, they brought the waters of that fountain through pipes of lead and of clay, which was very difficult, and it began to play in the year 1343, on the first day of June, with much pleasure and contentment to the whole city, which remained thereby much indebted to the talent of these its two citizens.
About the same time there was made the Great Council Chamber in the Municipal Palace; and so too, with the direction and design of the same men, there was brought to its completion the tower of the said Palace, in the year 1344, and there were placed thereon two great bells, whereof they had one from Grosseto and the other was made in Siena. Finally, while Agnolo chanced to be in the city of Assisi, where he made a chapel and a tomb in marble in the lower Church of S. Francesco for a brother of Napoleone Orsino, a Cardinal and a friar of S. Francis, who had died in that place—Agostino, who had remained in Siena in the service of the State, died while he was busy making the design for the adornments of the said fountain in the square, and was honourably buried in the Duomo. I have not yet found, and cannot therefore say anything about the matter, either how or when Agnolo died, or even any other works of importance by their hand; and therefore let this be the end of their Life.
Now, seeing that it would be without doubt an error, in following the order of time, not to make mention of some who, although they have not wrought so many works that it is possible to write their whole life, have none the less contributed betterment and beauty to art and to the world, I will say, taking occasion from that which has been said above about the Vescovado of Arezzo and about the Pieve, that Pietro and Paolo goldsmiths of Arezzo, who learnt design from Agnolo and Agostino of Siena, were the first who wrought large works of some excellence with the chasing-tool, since, for an arch-priest of the said Pieve of Arezzo, they executed a head in silver as large as life, wherein was placed the head of S. Donatus, Bishop and Protector of that city; which work was worthy of nothing but praise, both because they made therein some very beautiful figures in enamel and other ornaments, and because it was one of the first works, as it has been said, that were wrought with the chasing-tool.
About the same time, the Guild of Calimara in Florence caused Maestro Cione, an excellent goldsmith, to make the greater part, if not the whole, of the silver altar of S. Giovanni Battista, wherein are many scenes from the life of that Saint embossed on a plate of silver, with passing good figures in half-relief; which work, both by reason of its size and of its being something new, was held marvellous by all who saw it. In the year 1330 after the body of S. Zanobi had been found beneath the vaults of S. Reparata, the same Maestro Cione made a head of silver to contain a piece of the head of that Saint, which is still preserved to-day in the same head of silver and is borne in processions; which head was then held something very beautiful and gave a great name to its craftsman, who died no long time after, rich and in great repute.
Maestro Cione left many disciples, and among others Forzore di Spinello of Arezzo, who wrought every kind of chasing very well but was particularly excellent in making scenes in silver enamelled over fire, to which witness is borne by a mitre with most beautiful adornments in enamel, and a very beautiful pastoral staff of silver, which are in the Vescovado of Arezzo. The same man wrought for Cardinal Galeotto da Pietramala many works in silver that remained after his death with the friars of La Vernia, where he wished to be buried. There, besides the wall that was erected in that place by Count Orlando, Lord of Chiusi, a small town below La Vernia, the Cardinal built the church, together with many rooms in the convent and throughout that whole place, without putting his arms there or leaving any other memorial. A disciple of Maestro Cione, also, was Leonardo di Ser Giovanni, a Florentine, who wrought many works in chasing and soldering, with better design than the others before him had shown, and in particular the altar and panel of silver in S. Jacopo at Pistoia; in which work, besides the scenes, which are numerous, there was much praise given to a figure in the round that he made in the middle, representing S. James, more than one braccio in height, and wrought with so great finish that it appears rather to have been made by casting than by chasing. This figure is set in the midst of the said scenes on the panel of the altar, round which is a frieze of letters in enamel, that run thus:
AD HONOREM DEI ET SANCTI JACOBI APOSTOLI, HOC OPUS FACTUM FUIT TEMPORE DOMINI FRANC. PAGNI DICTÆ OPERÆ OPERARII SUB ANNO 1371 PER ME LEONARDUM SER JO. DE FLOREN. AURIFIC.
Now, returning to Agostino and Agnolo: they had many disciples who, after their death, wrought many works of architecture and of sculpture in Lombardy and other parts of Italy, and among others Maestro Jacopo Lanfrani of Venice, who founded S. Francesco of Imola and wrought the principal door in sculpture, where he carved his name and the date, which was the year 1343. And at Bologna, in the Church of S. Domenico, the same Maestro Jacopo made a tomb in marble for Giovanni Andrea Calduino, Doctor of Laws and Secretary to Pope Clement VI; and another, also in marble and in the said church, very well wrought, for Taddeo Peppoli, Conservator of the people and of Justice in Bologna. And in the same year, which was the year 1347, or a little before, this tomb being finished, Maestro Jacopo went to his native city of Venice and founded the Church of S. Antonio, which was previously of wood, at the request of a Florentine Abbot of the ancient family of the Abati, the Doge being Messer Andrea Dandolo. This church was finished in the year 1349. Jacobello and Pietro Paolo, also, Venetians and disciples of Agostino and Agnolo, made a tomb in marble for Messer Giovanni da Lignano, Doctor of Laws, in the year 1383, in the Church of S. Domenico at Bologna.
All these and many other sculptors went on for a long space of time following one and the same method, in a manner that with it they filled all Italy. It is believed, also, that the Pesarese, who, besides many other works, built the Church of S. Domenico in his native city, and made in sculpture the marble door with the three figures in the round, God the Father, S. John the Baptist, and S. Mark, was a disciple of Agostino and Agnolo; and to this the manner bears witness. This work was finished in the year 1385. But, seeing that it would take too long if I were to make mention minutely of the works that were wrought by many masters of those times in that manner, I wish that this, that I have said of them thus in general, should suffice me for the present, and above all because there is not any benefit of much account for our arts from such works. Of the aforesaid it has seemed to me proper to make mention, because, if they do not deserve to be discussed at length, yet, on the other hand, they were not such as to need to be passed over completely in silence.
STEFANO AND UGOLINO SANESE
LIFE OF STEFANO, PAINTER OF FLORENCE, AND OF UGOLINO SANESE
[UGOLINO DA SIENA]
Stefano, painter of Florence and disciple of Giotto, was so excellent, that he not only surpassed all the others who had laboured in the art before him, but outstripped his own master himself by so much that he was held, and deservedly, the best of all the painters who had lived up to that time, as his works clearly demonstrate. He painted in fresco the Madonna of the Campo Santo in Pisa, which is no little better in design and in colouring than the work of Giotto; and in Florence, in the cloister of S. Spirito, he painted three little arches in fresco. In the first of these, wherein is the Transfiguration of Christ with Moses and Elias, imagining how great must have been the splendour that dazzled them, he fashioned the three Disciples with extraordinary and beautiful attitudes, and enveloped in draperies in a manner that it is seen that he went on trying to do something that had never been done before—namely, to suggest the nude form of the figures below new kinds of folds, which, as I have said, had not been thought of even by Giotto. Under this arch, wherein he made a Christ delivering the woman possessed, he drew a building in perspective, perfectly and in a manner then little known, executing it in good form and with better knowledge; and in it, working with very great judgment in modern fashion, he showed so great art and so great invention and proportion in the columns, in the doors, in the windows, and in the cornices, and so great diversity from the other masters in his method of working, that it appears that there was beginning to be seen a certain glimmer of the good and perfect manner of the moderns. He invented, among other ingenious ideas, a flight of steps very difficult to make, which, both in painting and built out in relief—wrought in either way, in fact—is so rich in design and variety, and so useful and convenient in invention, that the elder Lorenzo de' Medici, the Magnificent, availed himself of it in making the outer staircase of the Palace of Poggio a Cajano, now the principal villa of the most Illustrious Lord Duke. In the other little arch is a story of Christ when he is delivering S. Peter from shipwreck, so well done that one seems to hear the voice of Peter saying: "Domine, salva nos, perimus." This work is judged much more beautiful than the others, because, besides the softness of the draperies, there are seen sweetness in the air of the heads and terror in the perils of the sea, and because the Apostles, shaken by diverse motions and by phantoms of the sea, have been represented in attitudes very appropriate and all most beautiful. And although time has eaten away in part the labours that Stefano put into this work, it may be seen, although but dimly, that the Apostles are defending themselves from the fury of the winds and from the waves of the sea with great energy; which work, being very highly praised among the moderns, must have certainly appeared a miracle in all Tuscany in the time of him who wrought it. After this he painted a S. Thomas Aquinas beside a door in the first cloister of S. Maria Novella, where he also made a Crucifix, which was afterwards executed in a bad manner by other painters in restoring it. In like manner he left a chapel in the church begun and not finished, which has been much eaten away by time, wherein the angels are seen raining down in diverse forms by reason of the pride of Lucifer; where it is to be noticed that the figures, with the arms, trunks, and legs foreshortened much better than any foreshortenings that had been made before, give us to know that Stefano began to understand and to demonstrate in part the difficulties that those men had to reduce to excellence, who afterwards, with greater science, showed them to us, as they have done, in perfection; wherefore the surname of "The Ape of Nature" was given him by the other craftsmen.
Next, being summoned to Milan, Stefano made a beginning for many works for Matteo Visconti, but was not able to finish them, because, having fallen sick by reason of the change of air, he was forced to return to Florence. There, having regained his health, he made in fresco, in the tramezzo[14] of the Church of S. Croce, in the Chapel of the Asini, the story of the martyrdom of S. Mark, when he was dragged to death, with many figures that have something of the good. Being then summoned to Rome by reason of having been a disciple of Giotto, he made some stories of Christ in S. Pietro, in the principal chapel wherein is the altar of the said Saint, between the windows that are in the great choir-niche, with so much diligence that it is seen that he approached closely to the modern manner, surpassing his master Giotto considerably in draughtsmanship and in other respects.
After this, on a pillar on the left-hand side of the principal chapel of the Araceli, he made a S. Louis in fresco, which is much praised, because it has in it a vivacity never displayed up to that time even by Giotto. And in truth Stefano had great facility in draughtsmanship, as can be seen in our said book in a drawing by his hand, wherein is drawn the Transfiguration (which he painted in the cloister of S. Spirito), in such a manner that in my judgment he drew much better than Giotto.
Having gone, next, to Assisi, he began in fresco a scene of the Celestial Glory in the niche of the principal chapel of the lower Church of S. Francesco, where the choir is; and although he did not finish it, it is seen from what he did that he used so great diligence that no greater could be desired. In this work there is seen begun a circle of saints, both male and female, with so beautiful variety in the faces of the young, the men of middle age, and the old, that nothing better could be desired. And there is seen a very sweet manner in these blessed spirits, with such great harmony that it appears almost impossible that it could have been done in those times by Stefano, who indeed did do it; although there is nothing of the figures in this circle finished save the heads, over which is a choir of angels who are hovering playfully about in various attitudes, appropriately carrying theological symbols in their hands, and all turned towards a Christ on the Cross, who is in the middle of this work, over the head of a S. Francis, who is in the midst of an infinity of saints. Besides this, in the border of the whole work, he made some angels, each of whom is holding in his hand one of those Churches that S. John the Evangelist described in the Apocalypse; and these angels are executed with so much grace that I am amazed how in that age there was to be found one who knew so much. Stefano began this work with a view to bringing it to the fullest perfection, and he would have succeeded, but he was forced to leave it imperfect and to return to Florence by some important affairs of his own.
During that time, then, that he stayed for this purpose in Florence, in order to lose no time he painted for the Gianfigliazzi, by the side of the Arno, between their houses and the Ponte alla Carraja, a little shrine on a corner that is there, wherein he depicted a Madonna sewing, to whom a boy dressed and seated is handing a bird, with such diligence that the work, small as it is, deserves to be praised no less than do the works that he wrought on a larger and more masterly scale.
This shrine finished and his affairs dispatched, being called to Pistoia by its Lords in the year 1346, he was made to paint the Chapel of S. Jacopo, on the vaulting of which he made a God the Father with some Apostles, and on the walls the stories of that Saint, and in particular when his mother, wife of Zebedee, asks Jesus Christ to consent to place her two sons, one on His right hand and the other on His left hand, in the Kingdom of the Father. Close to this is the beheading of the said Saint, a very beautiful work.
It is reputed that Maso, called Giottino, of whom there will be mention below, was the son of this Stefano; and although many, by reason of the suggestiveness of the name, hold him the son of Giotto, I, by reason of certain records that I have seen, and of certain memoirs of good authority written by Lorenzo Ghiberti and by Domenico del Ghirlandajo, hold it as true that he was rather the son of Stefano than of Giotto. Be this as it may, returning to Stefano, it can be credited to him that he did more than anyone after Giotto to improve painting, for, besides being more varied in invention, he was also more harmonious, more mellow, and better blended in colouring than all the others; and above all he had no peer in diligence. And as for those foreshortenings that he made, although, as I have said, he showed a faulty manner in them by reason of the difficulty of making them, none the less he who is the pioneer in the difficulties of any exercise deserves a much greater name than those who follow with a somewhat more ordered and regular manner. Truly great, therefore, is the debt that should be acknowledged to Stefano, because he who walks in darkness and gives heart to others, by showing them the way, brings it about that its difficult steps are made easy, so that with lapse of time men leave the false road and attain to the desired goal. At Perugia, too, in the Church of S. Domenico, he began in fresco the Chapel of S. Caterina, which remained unfinished.
Berlin Photo. Co.
There lived about the same time as Stefano a man of passing good repute, Ugolino, painter of Siena, very much his friend, who painted many panels and chapels throughout all Italy, although he held ever in great part to the Greek manner, as one who, grown old therein, had wished by reason of a certain obstinacy in himself to hold rather to the manner of Cimabue than to that of Giotto, which was so greatly revered. By the hand of Ugolino, then, is the panel of the high-altar of S. Croce, on a ground all of gold, and also a panel which stood many years on the high-altar of S. Maria Novella and is to-day in the Chapter-house, where the Spanish nation every year holds most solemn festival on the day of S. James, with other offices and funeral ceremonies of its own. Besides these, he wrought many other works with good skill, without departing, however, from the manner of his master. The same man made, on a brick-pier in the Loggia that Lapo had built on the Piazza d'Orsanmichele, that Madonna which worked so many miracles, not many years later, that the Loggia was for a long time full of images, and is still held in the greatest veneration. Finally, in the Chapel of Messer Ridolfo de' Bardi, which is in S. Croce, where Giotto painted the life of S. Francis, he painted a Crucifix in distemper on the altar-panel, with a Magdalene and a S. John weeping, and two friars, one on either side. Ugolino passed away from this life, being old, in the year 1349, and was buried with honour in Siena, his native city.
But returning to Stefano, of whom they say that he was also a good architect, which is proved by what has been said above, he died, so it is said, in the year when there began the jubilee, 1350, at the age of forty-nine, and was laid to rest in the tomb of his fathers, in S. Spirito, with this epitaph:
STEPHANO FLORENTINO PICTORI, FACIUNDIS IMAGINIBUS AC COLORANDIS
FIGURIS NULLI UNQUAM INFERIORI, AFFINES MOESTISS. POS. VIX.
AN. XXXXIX.
PIETRO LAURATI
Alinari