NICCOLÒ ARETINO
LIFE OF NICCOLÒ ARETINO [NICCOLÒ D'AREZZO
OR NICCOLÒ DI PIERO LAMBERTI]
SCULPTOR
About the same time, engaged in the same pursuit of sculpture, and almost of the same excellence in the art, lived Niccolò di Piero, a citizen of Arezzo, to whom Nature was as liberal with her gifts of intellect and vivacity of mind as Fortune was niggardly with her benefits. He, then, being a needy fellow, and having received some affront from his nearest of kin in his own country, departed, in order to come to Florence, from Arezzo, where—under the discipline of Maestro Moccio, sculptor of Siena, who, as it has been said in another place, wrought some works in Arezzo—he had applied himself to sculpture with no little fruit, although the said Maestro Moccio was not very excellent. And so, having arrived in Florence, Niccolò at first for many months wrought whatsoever work came to his hand, both because poverty and want were pressing him hard, and also out of rivalry with certain young men, who, competing together honourably with much study and labour, were occupying themselves with sculpture. Finally, after many labours, Niccolò became a creditable sculptor, and was commissioned by the Wardens of Works of S. Maria del Fiore to make two statues for the Campanile; these statues, having been placed therein on the side facing the Canon's house, stand one on either side of those that Donato afterwards made; and since nothing better in full-relief had been seen, they were held passing good.
Next, departing from Florence by reason of the plague of 1383, he went to his own country. There he found that by reason of the said plague the men of the Confraternity of S. Maria della Misericordia, whereof we have spoken above, had acquired great wealth by means of bequests made by diverse persons in the city through the devotion that they felt for that holy place and for its brethren, who attend to the sick and bury the dead in every pestilence, without fear of any peril; and that therefore they wished to make a façade for that place, but in grey-stone, for lack of a supply of marble. This work, which had been begun before in the German style, he undertook to do; and assisted by many stonecutters from Settignano, he brought it to perfect completion, making with his own hand, in the lunette of the façade, a Madonna with the Child in her arms, and certain angels who are holding open her mantle, under which the people of that city appear to be taking shelter, while S. Laurentino and S. Pergentino, kneeling below, are interceding for them. Next, in two niches at the sides, he made two statues, each three braccia high—namely, one of S. Gregory the Pope, and one of S. Donatus the Bishop, Protector of that city, with good grace and passing good manner. It appears that in his youth, before making these works, he had formerly made three large figures of terra-cotta which were placed over the door of the Vescovado, and which are now in great part eaten away by frost, as is also a S. Luke of grey-stone, made by the same man while he was a youth and placed in the façade of the said Vescovado. In the Pieve, likewise, in the Chapel of S. Biagio, he made a very beautiful figure of the said Saint in terra-cotta; and one of that Saint in the Church of S. Antonio, also in terra-cotta and in relief; and another Saint, seated, over the door of the hospital of the said city.