The Pavement Masters of Siena (1369-1562)

by Robert H. Hobart Cust

THE PAVEMENT MASTERS OF SIENA

CHAPTER I
HISTORY OF THE PAVEMENT

One might have supposed that when Dante wrote the lines here quoted, he was describing the wonderful pavement that still adorns the Duomo of Siena. But this, we know, cannot be, since it was not until more than thirty years after Dante’s death that the plans for a greatly enlarged Duomo were abandoned, and the Sienese set themselves to adorn the building in the shape that we see it now. Moreover, as we shall presently see, no records of ornamental work done upon the floor exist earlier than 1369. We may, however, I think, fairly turn the proposition the other way, and fancy that the pavement designers had Dante’s wonderfully descriptive verses in their minds, when they planned such a work. Their subjects and his differ vastly; and in the two hundred years that passed, ere it was in any sense completed, many variations took place in the original design, if complete design there ever was. Still we may feel, on entering that glorious temple, as if we were really treading the first parapet of Purgatory, as pictured by him.

Although the order in which the stories meet our eyes does not in the least agree with the chronology of their execution, a sense of fitness in position seems to run through them, even from the great West Door itself. Hermes Trismegistus presenting to his disciples the Poemander, meets us on the very threshold of the Nave, supported in either aisle by the majestic figures of the ten Sibyls; and seems to lead the way, through half-pagan symbolical designs, to where, surrounded by the histories of Hebrew heroes and prophets, the mystery of the Atoning Sacrifice of Christ, the Very God, the Centre of all Faith and Prophecy is, before the High Altar itself, symbolized by the Sacrifice of Isaac.

But this suggestion must not be pressed too far, because, as I have already remarked, and as the accompanying plan will show, many variations, for which at first sight the reason is not very obvious, have from time to time crept in. For general purposes, however, the student of the floor may fairly start with some such complete conception.

From the admirably arranged Archives, both Ecclesiastical and Communal, of the City of Siena, we are able to piece together a very nearly complete history of the work, showing, in most cases, why certain exceptions probably were made; and from them, through the medium of the carefully compiled volumes of the late Signor Gaetano Milanesi, I have drawn most of the information which follows.[2]

Vasari’s statement, so often quoted by subsequent writers, that Duccio made designs for this pavement, is quite without documentary authority.[3] Duccio died more than fifteen years before the larger Duomo scheme was finally abandoned; whilst the earliest records dealing with work of a decorative nature[4] is dated 1369, and runs as follows: “a maestro Antonio di Brunaccio vintuna lire a cinque sol per ij braccia e due quarri di tarsie di marmo di lo spazzo di Duomo.” In the following year (1370) we read “a maestro Sano di Marco per dodici porporelle per lo spazzo di duomo, a sol: 10 l’una, si danno L. 6.“; “a Francesco di Ser Antonio per uno braccio e mezzo di compasso per detto spazzo a ragione d’otto lire e mezzo il braccio si danno lire 12. e soldi 15,” and “a maestro Sano di Marco per birichuocoli bianchi e rossi pello spazzo di duomo, L. 4. soldi 8.”[5]

Two years later, according to the historian Sigismondo Tizio, the Pavement of the nave from the cupola downwards was begun, and among other things was laid out (spianata) the design of the Wheel of Fortune, with figures of men clinging to it.

And in the next year (1373) an old chronicler[6] tells us that “In questo anno si fece il pavimento a pietre tassellate,” which no doubt refers to the circle containing the emblems of Siena, surrounded by those of the cities friendly and allied to her. Be it noted here that this is the only portion of the floor that is tessellated; that is to say, decorated with designs, made up of small squares of different coloured stones, in the manner of ordinary mosaic.

Then, in 1374, we find reference[7] to work done, under the direction of Andrea di Minuccio Operaio, at the foot of the Choir; which was at that date, and until the commencement of the sixteenth century, situated under the Cupola.

Again in 1376, 1380, 1398 and 1405, we read of payments to certain master-workmen, named Matteo di Bartolo, Nanni di Corsino, Sano di Matteo, Luca di Ciecho (or Cecco), and Cecco di Giovanni (or Giovannino di Ciecho), for intarsia work on the Pavement, apparently in decorative friezes, some of which, no doubt, exist still, though we cannot now identify them.

The first authoritative document, however, which speaks of figures on the Pavement is an entry in the Duomo Archives, under date March 13th, 1406, which records the payment of 140 lire, “e quali li debiamo dare,” to Marchesse d’Adamo (perhaps a son of the architect, Maestro Adamo), “e compagni maestri di pietra da Como per una rotta (ruota) anno fatto murare nello spazzo contra a la sagrestia.”[8]

From the mention of its neighbourhood to the sacristy, this must point to the circle containing the figure of Fortitude, No 21, from which, alas! restoration, in 1839, has removed all ancient feeling, and sadly reduced to the commonplace.

After this we find no entries until 1423; but from that time commences the real history of the Pavement Masters: and we begin with perhaps the most interesting personage connected with it; namely, Domenico di Niccolo del Coro, who held the post of Capo-maestro[9] of the Opera del Duomo between the years 1413 and 1423. It is not easy now to separate the work attributed to Domenico from that of another artist, Paolo di Martino, who appears to have immediately succeeded Domenico as Capo-maestro. We know, however, that the following portions of the floor were executed at that date:

1. David the Psalmist, surrounded by four Musicians (No. 53).[10]

2. David the Youth with his Sling (No. 55).

3. The Giant Goliath falling backwards (No. 54).

4. Moses (No. 16).

5. Samson chastising the Philistines (No. 14).

6. Judas Maccabeus (No. 15).

7. Joshua (No. 23).

8. The Slaughter of the Five Kings of the Amorites (No. 22).

Of these eight subjects the first three may be with certainty given to Domenico himself; whilst Nos. 5 and 8 may be[11] ascribed to the other artist. Of the single figures that of Judas Maccabeus is so entirely concealed now by the balustrade of the altar of the Blessed Sacrament built over it, that it is impossible to ascertain with any degree of absolute certainty who was its author; but Joshua and Moses are given by Milanesi to Paolo di Martino.

Domenico seems to have been a great and versatile artist, a worker in glass,[12] as well as in marble, and above all famous for his skill in woodcarving and inlay. The restorations of his work here, which have evidently been frequent, have robbed it of very much of the charm, which we feel so strongly in his inlaid panels in the Palazzo Pubblico Chapel, but there is still a naïve originality about the designs, which cannot fail to show his high merit.

The next celebrated artist, who left his mark on this floor was the painter, Domenico di Bartolo di Ghezzo of Asciano, whose charming design of the Emperor Sigismund enthroned, No. 13, is one of the most marked exceptions to the general scheme.

Next we have Pietro del Minella, the celebrated sculptor, and a pupil of the still more famous Giacomo della Quercia. He also left only one design, but that perhaps the most striking in the entire floor: Absalom hanging by his hair, No. 12.

Then appears that great craftsman, Antonio Federighi, whose graceful “Ages of Man,” No. 6, would alone entitle him to take a high rank in the History of Art. The works of Art left by this artist here and elsewhere are many, and of a very varied description; but we must now pass on to perhaps the most interesting and prolific period in the History of the Duomo, during which the floor was by no means left uncared for.

The City of Siena outside was a prey to constant faction and civil disturbance, but her Duomo within, under the fostering care and taste of the noble Alberto Aringhieri, Knight of Rhodes and Malta, Rettore from 1481–1498, was steadily growing in beauty and splendour. I cannot here enumerate all the embellishments added during this period to the fabric, though among them I may name the decoration of the interior of the Cupola: the adornment of the Chapel of S. Giovanni, where may still be seen Pinturicchio’s beautiful portraits of Aringhieri himself in youth and age: and the frieze of Papal busts that runs round the entire building.

Aringhieri collected around him a band of artists, eminent already as painters and sculptors; among whom was Federighi himself. From the designs and with the skill of these, he completed the floor of the North and South Transepts; both the Aisles and the last bay of the Nave. Whether, as is possible, he was influenced in his choice of subjects by external historical events, we cannot now say; but some at least of the designs, while appropriate to the general idea of the whole, appear to have a possible political significance. Thus the “Massacre of the Innocents,” No. 26, designed by Matteo di Giovanni Bartoli, may have been chosen to commemorate the terrifying episodes that occurred during the Sack of Otranto by the Turks; and the Expulsion of Herod, No. 27, the Fall of Pandolfo Petrucci and his faction. Whether this was so or not, the works of this period are among the finest and noblest designs on the entire floor. The later work of Beccafumi may be more realistic, but nothing can surpass the force and feeling of power exhibited in the fourteen designs, which date their origin from this period.

In 1505–6 was added Pinturicchio’s “Allegory of Fortune,” No. 36; and shortly after an important change in the interior arrangement of the building, by exposing a great deal of floor space, necessitated the addition of a large number of fresh designs, which Domenico Beccafumi (il Mecarino) called upon to supply. This change was the removal, under the direction of Baldassare Peruzzi, Capo-maestro in 1532, of the High Altar, which had hitherto stood under the Cupola, to their present position, further east in the Apse.

Beccafumi had previously, in 1525 and 1531, designed his scenes from the Life of Moses, Nos. 51 and 52, and he now, in 1544–46, was commissioned to make designs to surround the Altar-steps. Of the history of the Elijah designs, Nos. 41–46, under the Cupola, attributed to him, I wish to speak at greater length, so I will reserve the details concerning them until the next chapter.

In 1661 the building of the Cappella del Voto by Pope Alexander VII. destroyed the ancient Porta del Perdono; and the scene representing the Consecration of the Cathedral, designed by Guasparre d’Agostino, and executed by Corso di Bastiano in 1451, which formerly lay before that door, was ruthlessly destroyed.

In 1750, certain Virtues, Nos. 7, 8, 9, 10, were designed by Carlo Amidei for the entrance to the above-mentioned chapel. This artist also restored a good many of the older designs, and added, it is generally assumed, four lozenges to the story of Elijah, Nos. 47–50, under the Cupola. These were all considered worthless and removed in 1875 to make way for new designs by Sig. Prof. Alessandro Franchi, the present Director of the Accademia delle Belle Arti. This accomplished gentleman also designed three hexagons to complete the Story of Elijah, Nos. 38, 39 and 40, and to fill spaces, up to that time occupied by fragments of older work, brought from other parts of the Cathedral. These designs were all executed under his direction by Signor Leopoldo Maccari in 1878.[13]

Between the years 1864 and 1878 a complete restoration of the whole floor has taken place. Much time and money have been expended upon the work, and the result is, on the whole, not unsatisfactory; but the effects of previous restorations by less sympathetic hands in certain parts is painfully apparent. Some of the work, beautiful still, but too much injured to remain in situ has been removed to the Museum of the Opera del Duomo, and replaced by copies.

This Pavement, in spite of the opinions of those who consider pictorial design unsuitable floor decoration, is a never-ending source of joy and pleasing suggestion: an unique tour de force, and a stroke of genius on the part of the original designers. Except during the month of August, the entire centre portion from the West door to the High Altar itself is carefully protected by boarding. When this is removed, and the whole vista is spread out before one, it would be hard to imagine any other species of floor, that would have so satisfactorily completed the many-coloured interior harmonies of this wonderful Cathedral.

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CHAPTER II
THE PAVEMENT

Having briefly sketched the history of the entire Pavement, it will be necessary now to describe it in detail. For this purpose I have divided it into ten parts, commencing at the great Western Entrance.

These ten parts are as follows:

1. The wide Platform before the Façade.
2. The Spaces in the three Western Doorways.
3. The Nave.
4. The South Aisle.
5. The North Aisle.
6. The North Transept.
7. The Choir Ambulatory.
8. The South Transept.
9. The Choir and Altar-steps.
10. Under the Cupola.

LOMBARDI PHOTO.]

II. THE ENTIRE PAVEMENT

KEY PLAN TO THE PAVEMENT