8. THE SOUTH TRANSEPT.
This transept is complicated in its general plan by the irregularity above referred to. It contains two pictures to correspond to the one (the Story of Judith) on the opposite side of the church, and is further broken up by varied designs, of different sizes, before what was once the Porta del Perdono, and is now the Cappella del Voto.
The first picture, that we come to, is very remarkable, especially since it is the only one which is neither biblical, symbolical, nor heraldic. It professes to be a portrait of the
Emperor Sigismund (No. 13),
who in 1433 was a visitor for some months to the city. (Ill. XXI.)
Confusion has arisen among Sienese writers as to the identity of this portrait, and some have said that it represents the Emperor Charles IV. This probably arose from the fact, which is difficult now to explain, that Tizio,[102] under date 1424, after describing, as we have seen, the above-mentioned designs, goes on to say that “in the time immediately following, to the right, by the iron grating, a Portrait of the Emperor was laid down on the pavement; and not much later the Story of Absalom hanging by his hair to the oak, under the direction of the same Operaio.” With the Story of Absalom I will deal presently, but Tizio must have made a very grave mistake here in dates; since we have two notices[103] proving that Domenico di Bartolo di Ghezzo d’Asciano was the designer of this work in 1434, for which he received 16 lire; whilst another notice,[104] dated December 2nd in the same year, records the payment of 3 lire 10 soldi to a workman named Giacomo d’Antonio for assistance in executing it.
As regards the Operaio at this period some difficulty arises, since Padre Micheli asserts that Bartolommeo Cecchi only held the post up to 1430. From the Borghesi and the Faluschi MS. lists,[105] however, we find that Cecchi (Bartolommeo di Gio. di Cecco) was still in office on October 25th, 1434, but was apparently compelled to resign on account of his having married a certain Corsa, and had children by her.[106] We read further that he was succeeded, 1434–5, by Giacomo della Quercia, who held the post until his death on February 8th, 1438.[107] From the second of the notices above referred to we gather, therefore, that the work was certainly ordered by Bartolomeo Cecchi, even if, as is possible, it was completed under the direction of his successor.
LOMBARDI PHOTO.]
[BY PIETRO DEL MINELLA (?)
XVII. THE STORY OF ABSALOM (No. 12)
The Emperor, crowned and sceptre in hand, sits on a splendid throne, under a marble canopy, hung with garlands. Four counsellors sit beside him, two on each hand; and two tall pages carry his orb and sword. It is worth noting, that this design appears to have early required restoration, because we read in a notice quoted above,[108] under date 1485, of black marble being brought from Chasciano, among other things, “raconciare la storia del onperadore.” At the latest restoration (1869–78) a sum of 616 lire 49 c. was expended on it.
Beside this design, as I have remarked above, is the very striking picture of
Absalom hanging by his hair (No 12).
(Ill. XVII.). No design on the Pavement attracts so much attention as this. The bold, vigorous outlines of the white figures set against the black marble background, the vivid and forcible composition of the picture, and the remarkably decorative foliage of the two trees, almost Japanese in character, from one of which Absalom is hanging, arrest the eye and the attention of even the most casual visitor. We find a notice in the Archivio dell’ Opera,[109] stating that it was commenced after the 11th of July, 1447, during the Rectorship of Giovanni Borghesi, and while Pietro di Tommaso Minella was Capo-maestro.
The design of it is generally attributed to Minella himself, and from the high merit of its conception and composition this is very probable, but there are no records to prove more than that he superintended its execution. Tizio[110] includes it in the list of works to which he gives the date 1424, but this, as I have already pointed out, is an obvious mistake.
Below these two designs we come to another fine large picture, similar to those in the North Transept. It represents
The Story of Jephthah’s Victory, and the Sacrifice of his Daughter (No. 11).
The greater part of the composition is taken up with the Fight and Victory; and the expression of violent action on the part of the combatants is wonderfully forcible. To the left Jephthah, on his charger, a crown on his head, and clothed like a Roman emperor, gives orders to his men. Near him we notice a charming group of two young men conversing, one of whom, a negro, stands out from the picture with startling vividness. (Ill. XXIII.). Above, in the background, Jephthah’s daughter is seen coming out of the city gates, with a joyous crowd of maiden companions, to greet her victorious father; while, still farther into the top left-hand corner, we may see the unhappy father, in a tiny temple, sacrificing his daughter, in fulfilment of his rash vow. Of this work we find two notices in the Archives,[111] the first, dealing with advances made on two occasions to the artist, and the other, recording payment for the complete work. The artist employed upon it was Bastiano di Francesco di Sano, of whom we have already spoken, and he appears in this case to have been both designer and executant. The work seems to have been commenced either late in 1481 or at the beginning of 1482, but not finished until the end of 1484 or early in 1485. Not that the artist was idle, for, as we have seen, he had work to do elsewhere on the Pavement in the interval, besides various sculptures commissioned by the cathedral authorities.[112] He received for it in all a sum of 2,555 lire. Its restoration in 1869–78 cost 2,664 lire 8 c. (Ill. XXIII.)
Below this design, the plan of the floor is very much broken up. The reader must, however, bear in mind that up to the year 1661, when Pope Alexander VII. (Fabio Chigi) began to build the Cappella della Madonna del Voto, to contain the famous wonder-working picture of the Madonna, Protectress of Siena, this portion of the Pavement lay before the Porta del Perdono, to which I have made frequent reference at the commencement of this chapter. This Porta del Perdono must have been a sort of Porta Sacra, opened only in solemn state in the years of Jubilee.[113] Fragments of it still exist, and may be seen built into the outer wall of the bay, next to the above-mentioned Chapel; and the inscription, quoted in the note, is now to be found over the left hand doorway of the Western façade. There are many notices still to be found dealing with this important entrance. Several, to which we have referred already, dealt with the adornment of the wide step or platform, that apparently led to it from the outside. All this has now perished. Inside, however, the floor has fared better, and the beautiful painting by Maestro Gregorio (1423), which hung above an altar[114] once erected over this door, and belonging to the Tolomei family, still exists in the Museum of the Opera del Duomo. It was, no doubt, the fact that long periods of time passed between each successive opening of this door, which gave Antonio di Federigo, or Federighi, the idea of placing before it his beautiful design of the
Seven Ages in the Life of Man. Infancy, Childhood, Adolescence, Youth, Manhood, Age, and Decrepitude (No. 6).
All seven are treated with a naïveté and grace impossible to surpass. (Ill. XVIII.) Not only the figures themselves, but also their accessories; the budding blossoms, the over-blown flowers, and the handsome classical tomb to which “Decrepitas” is tottering, show a taste and feeling beyond description. Federighi, we read, designed and executed this delightful work in 1475,[115] and, at about the same date, the friezes of stags, and perhaps the beautiful lily (Ill. XXIV.), candlestick (Ill. XXII.) and geometrical pattern, in the angle formed by the Seven Ages with the Cupola designs, were also laid down; but we cannot be sure whether they are by the same master or not. All that we do know for certain about them is drawn from two notices,[116] recording payments to a certain Bartolino of Massa da Carrara for marble for work in the Duomo, among which the “frieze of stags” (fregio del cervio), and a frieze at the Porta del Perdono are especially mentioned.
ALINARI PHOTO.]
[DESIGNED BY ANTONIO FEDERIGHI
XVIII. THE SEVEN AGES OF MAN (No. 6)
The work visible here now is wholly a restoration; but Federighi’s Seven Ages may be seen nearly complete in the Museum of the Opera, together with part of the frieze of stags. Fragments of the other friezes and borders are also to be found, laid down outside the north aisle of the Cathedral, in the little courtyard between it and the present Palace of the Archbishop.
Federighi’s work, when removed (1869–1878), was replaced by the fine copy, which we now see, executed by Leopoldo Maccari and Giuseppe Radicchi. The cost of restoration, at this date, of the entire angle amounted to 22,254 lire 26 c.
There is no record of any early work ever having existed between this design and the destroyed Porta, which probably stood nearly on the same spot as the doorway of the present Cappella del Voto. Perhaps the erection of this newer archway created a wider space. However this may have been, designs for the four Theological Virtues, Religion, Faith, Hope, and Charity were made by Carlo Amidei, and executed here by Matteo Pini[117] in 1780. These designs were not admired, and, moreover, did not stand the wear of time as the older work had done. They were, therefore, removed in 1870, and replaced by entirely new designs, made by Professor Alessandro Franchi, and executed, under his direction, by Leopoldo Maccari.
Before commencing the description of the last two sections of the Pavement, I must remind my reader once more, that, after a great part of it had been laid down, an important radical change took place in the interior arrangements of the Duomo.
Up to the commencement of the sixteenth century the great High Altar, glorified by Duccio’s grand Maestà, stood in the centre of the Cathedral, under the Cupola. This part, therefore, of the floor was not decorated. But, on the other hand, that above the steps, where the Choir and Altar now are, was so adorned.
By the advice of Baldassare Peruzzi, Capo-maestro in 1532, the whole arrangement was changed. In accordance with his plans, and under his direction, Choir and Altar were moved further east, and placed in the position that they now occupy.
Of the original floor decorations, then, all that now remain in situ are the designs in the Choir Ambulatory above-mentioned, and Domenico del Coro’s work, to be described shortly. Fragments of the older work, removed to make way for the alterations, still exist; and, until 1878, were used to fill up three of the hexagons under the Cupola. At that date, as we shall presently see, they were finally removed to the Museum of the Opera, and replaced by modern work of an entirely different character.
* * * * *
Let us now proceed eastwards and examine