3. THE NAVE.
The first thing that meets the eye is an inscription:
“CASTISSIMUM VIRGINIS TEMPLUM CASTE MEMENTO INGREDI.”
It is unknown by whom, or when, this inscription was laid down, but it is possible that it was introduced at the same time as the design which follows it.
ALINARI PHOTO.]
[DESIGNED BY GIOVANNI
DI MAESTRO STEFANO (?)
III. HERMES TRISMEGISTUS (No. 33)
Beyond this appears the commanding figure of a man in a high crowned head-dress, apparently an Eastern Sage, holding out with his right hand, to two other men, a book inscribed SUSCIPITE O LICTERAS ET LEGES EGYPTII; while with his left, he points to a quotation on a slab supported by two winged sphinxes. The principal figure represents the semi-mythical Hermes Mercurius Trismegistus, who, as we read below, was “Contemporaneus Moysi.” The two men, one old and turbaned, and the other veiled, may perhaps typify the learned men of the East and West. (Ill. III.)
The introduction of this mysterious personage, whose very existence is extremely doubtful, is most interesting to the student of Renaissance philosophical and theological ideas. Since to his fabled authorship are attributed a vast number of works dealing with ancient wisdom and religious belief, as well as many treatises on ecclesiastical ceremonial, the placing of him on the threshold of this magnificent Temple is not without appropriate suggestion. From the principal work attributed to him “the Poemander”,[23] is drawn the quotation inscribed on the slab beside him here; and the enthusiastic attitudes of the two Seekers after Knowledge before him are very forcibly expressed.
This admirable design was placed here in 1488, under the Rectorship of Alberto Aringhieri, mentioned in the last chapter. He, being a Knight of St. John of Jerusalem and of Rhodes, must have been familiar with the mystical tastes and theories of those who endeavoured to bring the learning, lore, and art of Pagan ideals into line with Christian Dogma and Faith. Hence the choice under his direction of this subject, and, as we shall presently see, of the ten Sibyls also.
It is not definitely known who designed this group; but it is generally supposed, with considerable show of reason, to have been Giovanni di Maestro Stefano:[24] and it appears to have been the last of the series commissioned by Aringhieri, as Rettore, since his occupation of that post ended in 1498.[25] He seems, though, seven years later, to have commissioned Pinturicchio’s “Allegory of Fortune.”
The next design is that of the Badges or Emblems of Siena, surrounded by those of her allies. In the middle is the Wolf of Siena suckling the Twins. In a circle round her are the symbols of the following cities; Florence (a Lion, the “Marzocco”); Lucca (a Lynx); Pisa (a Hare); Viterbo (an Unicorn); Perugia (a Stork); Rome (an Elephant bearing a Tower); Orvieto (a Goose); and Arezzo (a Horse). In the four corners of the surrounding square are, Massa (a smaller Lion); Grosseto (a Goat); Volterra (a Vulture); and Pistoia (a Dragon). (Ill. IV.)
LOMBARDI PHOTO.]
[1373. AUTHOR UNKNOWN
IV. THE BADGES OF SIENA AND THE CONFEDERATE CITIES (No. 34)
(The only panel in mosaic)
This, the only portion of the Pavement that is really executed in mosaic, was, as we have seen already, laid down in 1373; but we are unable to trace the author. Fragments of the original work are still existing in the Museum of the Opera; but the whole design has been replaced by a modern copy, carefully made by Sig. Maccari in 1865.[26]
Beyond this is a large geometrical pattern. A wheel with twenty-four columnar spokes, in the centre of which appears the Imperial Eagle. Of this design little or nothing is known; but the author of La Guida Artistica supposes it to have been of the same date as that last described (1373). It is possible that, before the days of Alberto Aringhieri, the whole of the Nave floor, except “Fortune’s Wheel,” in the first bay, may have been covered with geometrical or heraldic devices only, as can be seen at Lucca, and that all of them, except these last two, were removed to make way for other more interesting subjects.
The next scene is Pinturicchio’s well-known design, called in the old documents “La Storia della Fortuna.” It might just as well though be designated as “the Reward of Virtue,” or the “Pursuit of Wisdom.” (Ill. V.)
Wisdom, a sedate woman, royally robed, veiled, and crowned with a jewelled wreath, is throned upon the upper platform of a small precipitous rock in the midst of the sea. The platform is covered with growing flowers, as is also the winding path which leads to it. On Wisdom’s right hand stands Socrates, holding a book, to whom she offers a branch of palm. On her left is Crates, who is hastily emptying into the sea a basketful of rings, chains, and other jewels. To him she extends a closed volume. Over the head of Wisdom, on a tablet, appears the following inscription:
HUC PROPERATE VIRI, SALEBROSUM SCANDITE MONTEM
PULCHRA LABORIS ERUNT PREMIA PALMA QUIES.
On the path below, which, besides flowers, is strewn with stones and over-run with reptiles and small animals, is a crowd of ten men, seekers after Wisdom, who apparently have just been landed upon the Island by Fortune. The attitudes of these men, some of whom at least appear to be portraits, are very striking. Alone at the head of the procession strides a stately personage—a patron perhaps of art and learning. Next to him an old man, leaning on a crutch-handled staff, plods determinedly along. Following him, a younger man looks back and shakes his fist at Fortune. Behind him stand six figures with varied expressions of interest or desire. In front of them an elderly man with a beard has sunk down exhausted, his book clasped in his left arm, too weary to move on. On the extreme right of the picture stands Fortune, a nude woman with a cornucopia in her right hand. She is the most striking figure in the composition. Her left foot is resting on a globe, perhaps to indicate her instability, while with her right she seems to push off the boat, shattered and broken-masted, in which these travellers have journeyed to the island. Above her head she holds a sail, which the wind has filled out, one end of which, wound round her body, is grasped also by her right hand. Obviously this design is one of those conceits so dear to the Renaissance mind. Fortune has, with favouring breeze, but through stormy waters, brought the seekers after Knowledge to the Mount of Wisdom; and the artist has endeavoured in these ten figures to symbolize the varied character of her votaries. Socrates stands calmly waiting for his reward; Crates earns his by contempt of all things worldly.
ALINARI PHOTO.]
[DESIGNED BY PINTURICCHIO
V. AN ALLEGORY OF FORTUNE (No. 36)
Pinturicchio received on the 13th of March, 1504,[27] twelve lire for this design, which was laid down under his direction, probably by Paolo Mannucci, in 1506.[28]
The last design in the Nave is perhaps the oldest of all; but the actual piece of Pavement that we now see is a complete renovation by Signor Maccari in December, 1864, costing 2,491 lire 98 c. Tizio[29] tells us that it was executed in 1372, and though he does not say who was the author of the design, or who executed the work, we know that Andrea di Minuccio was Operaio at this time,[30] and that under his direction, two years later, the work at “the foot of the Choir” was completed.
We see a wheel with eight columnar spokes. To give an effect of rotatory motion, the border is inlaid in small lozenges of black and white marble, arranged to represent cogs. At the top of the wheel sits a King, enthroned and crowned, with orb and sceptre. Clinging to the two sides and bottom are three figures of men, whose anxiety to retain their hold, as the wheel revolves, is forcibly expressed. The wheel is surrounded by a continuous band of black and white marble, which, looped octagonally at the angles, incloses, in the spaces so formed, half lengths of the following four Sages: Epictetus, Aristotle, Seneca and Euripides. Each Sage holds a scroll, with a quotation from one of his own writings. (Ill. VI.)
LOMBARDI PHOTO.]
[1372. AUTHOR UNKNOWN
VI. THE WHEEL OF FORTUNE (No. 37)
This design may be compared with another Wheel of Fortune, inlaid by Domenico del Coro in the lower panel of a door in the Chapel of the Palazzo Comunale. Padre Micheli calls it the Wheel of Ambition,[31] although the wheel itself is inscribed “Rota della Fortuna.” He thus describes it: “To the lower part is a man clinging, beside whom is written the inscription ‘So senza Regno’ (I am without a Kingdom). Half way up the wheel, to his right, clings another figure of a man, this time with the head of an ass, and the inscription ‘Regnero’ (I will reign). On the top of the wheel is seated an ass, with the word ‘Regno’ (I reign); and lastly, on the other side, going downwards, is an ass with a man’s head, and the motto ‘Regnai’ (I have reigned).” The author of this inlaid panel, who must in his former position of Capo-maestro, have known well the larger and older design, probably wished to improve upon it; but it is somewhat remarkable to find it placed among panels symbolising the Articles of Christian Faith.
* * * * *
Let us now turn to