And now to return to Master Jacopo. By means of this work he acquired such renown throughout Italy that he was invited to Florence by the government of the city, and was afterwards received there with the utmost goodwill. But the Florentines, in accordance with a custom of abbreviating names which they practised then as they do now, called him not Jacopo, but Lapo, all his life, for he settled permanently in that city with all his family. And although at divers times he went away to erect a number of buildings in Tuscany his residence was always at Florence. As examples of such buildings I may cite the palace of the Poppi at Casentino which he built for the count there, who had married the beautiful Gualdrada, with the Casentino as her dower; the Vescovado for the Aretines, and the Palazzo Vecchio of the lords of Pietramela. It was at Florence that he laid the piles of the ponte alla Carraia, then called the ponte Nuovo, in 1218, and finished them in two years. A short while afterwards it was completed in wood, as was then the custom. In the year 1221 he prepared plans for the church of S. Salvadore del Vescovado which was begun under his direction, as was the church of S. Michele on the piazza Padella where there are some sculptures in the style of those days. He next designed a system of drainage for the city, raised the piazza S. Giovanni, and in the time of M. Rubaconte da Mandella of Milan, constructed the bridge which still bears his name. It was he who discovered the useful method of paving the streets with stone, when they had previously been paved only with bricks. He designed the existing Podesta palace, which was originally built for the amziani, and finally, after he had designed the tomb of the Emperor Frederick for the abbey of Monreale in Sicily, by the order of Manfred, he died, leaving Arnolfo, his son, heir to his ability, no leas than to his fortune.
Arnolfo, by whose talents architecture was no less improved than painting had been by Cimabue, was born in the year 1232, and was thirty-two years of age at his father's death. He was at that time held in very great esteem, because, not only had he learned all that his father had to teach, but had studied design under Cimabue in order to make use of it in sculpture, so that he was reputed the best architect in Tuscany. Thus not only did the Florentines found, under his direction, the last circuit of the walls of their city in the year 1284, but they also built, after his design, the loggia and pillars of Or San Michele, where grain is sold, constructing it of brick with a simple roof above. It was also in conformity with his advice that when the cliff of the Magnoli fell, on the slope of S, Giorgio above S. Lucia in the via dei Bardi, a public decree was issued the same year that no walls or edifices should ever more be erected in that place seeing that they would always be in danger owing to the undermining of the rock by water. That this is true has been seen in our day in the fall of many buildings and fine houses of the aristocracy. The year after, 1285, he founded the loggia and piazza of the priors, and in the Bödia of Florence he constructed the principal chapel and those on either side of it, restoring both the church and choir, which had originally been built on a much smaller scale by Count Ugo, the founder. For the cardinal Giovanni degli Orsini, papal legate in Tuscany, he built the campanile of that church, which woo some praise among the works of those times, but it did not receive its stone finishing until after the year 1303. His next work was the foundation, in 1294, of the church of S, Croce, where the friars minors are. Arnolfo designed the nave and side aisles of this church on such a large scale that he was unable to vault the space under the roof owing to the great distances, so with much judgment he made arches from pillar to pillar, and on these he placed the roof with stone gutters along the top of the arches to carry off the water, inclined at such an angle that the roof should be safe, as it is, from the danger of damp. This thing was so novel and ingenious that it well deserves the consideration of our day. He next prepared plans for the first cloisters of the old convent of that church, and shortly after he removed from the outside of the church of S. Giovanni all the arches and tombs of marble and stone which were there and put a part of them behind the campanile in the façade of the Canonical Palace, beside the oratory of S. Zanobi, when he proceeded to incrust all the eight sides of the exterior of the church with black Prato marble, removing the rough stone which was originally used with the antique marbles.
In the meantime the Florentines were desirous of erecting buildings in Valdarno above the castle of S. Giovanni and Castelfranco for the convenience of the city and for the supply of victuals to their markets. Arnolfo prepared the plan for this in the year 1295, and gave such general satisfaction, as indeed he had in his other works, that he was awarded the citizenship of Florence.
After these things the Florentines took counsel together, as Giovanni Villani relates in his History, to build a principal church for their city, and to make it so grand and magnificent that nothing larger or finer could be desired by the industry and power of man; and thus Arnolfo prepared the plans for the church of S. Maria del Fiore, a building which it is impossible to praise too highly. He provided that the exterior should be entirely incrusted with polished marble, with all the cornices, pillars, columns, carvings of leaves, figures, and other things which may be seen to-day, and which were brought very near completion, although not quite. But the most marvellous circumstance of all in this undertaking was the care and judgment with which he made the foundations, for in clearing the site, which is a very fine one, other small churches and houses about S. Reparata were involved beside that edifice itself. He made the foundations of this great structure both broad and deep, filling them with good materials, such as gravel and lime, with large stones at the bottom, so that they have been able without difficulty to bear the weight of the huge dome with which Filippo di Ser Brunellesco vaulted the church, as may be seen to-day. The excellence of this initial work was such that the place is still called Lungo i Fondamenti (beside the foundations). The laying of the foundations and the initiation of so great a church was celebrated with much ceremony. The first stone was laid on the day of the Nativity of Our Lady 1298 by the cardinal legate of the Pope, in the presence not only of many bishops and of all the clergy, but also of the podesta, captains, priors, and other magistrates of the city, and indeed of all the people of Florence, the church being called S. Maria del Fiore. Now, as it was estimated that the expenses of this work would be very heavy, as they afterwards proved to be, a tax of four deniers the pound was imposed at the chamber of the commune on everything exported from the city, as well as a tax of two soldi per head yearly. In addition to this, the Pope and the legate offered the most liberal indulgences to those who would contribute alms towards the work. I must not omit to mention, however, that besides the broad foundations of 15 braccia deep, buttresses were, with great foresight, placed at each angle of the eight sides, and it was the presence of these which encouraged Brunellesco to impose a much greater weight there than Arnolfo had originally contemplated.
It is said that when Arnolfo began the two first lateral doors of S. Maria del Fiore, he caused some fig leaves to be carved in a frieze, which were the armorial bearings of his father Lapo, from which it may be inferred that the family of the Lapi, now among the nobility of Florence, derives its origin from him. Others say that Filippo di Ser Brunellesco was also among the descendants of Arnolfo. But I let this pass for what it is worth, and return to Arnolfo, for there are some who say that the Lapi originally came from Figaruolo, a castle situated at the mouth of the Po. I say that for this magnificent achievement he deserved unstinted praise and an immortal renown, since he caused the exterior of the building to be incrusted with marble of various colours, and the interior with hard stone, making even the most insignificant corners of the building of the same stone. But, in order that every one may know the proportions of this marvellous edifice, I will add that from the doorway to the far end of the chapel of St Zanobi the length is 260 braccia, the breadth at the transepts is 166 braccia, that of nave and aisles 66. The nave is 72 braccia high, and the aisles 48. The external circumference of the entire church is 1280 braccia; the cupola, from the ground to the base of the lantern, is 154 braccia; the lantern, without the ball, is 36 braccia high, the ball 4 braccia high, and the cross 8 braccia; the entire cupola, from the ground to the top of the cross, is 202 braccia. But to return to Arnolfo, I say that he was considered so excellent, and so much confidence was felt in him, that nothing of importance was discussed without his advice being first asked. Thus the foundation of the final circuit of the city walls having been finished that same year by the community of Florence, the commencement of which was referred to above, and also the gate towers, and the work being well forward, he began the palace of the Signori, making it similar in design to that which his father Lapo had erected for the counts of Poppi. But he was unable to realise the grand and magnificent conception which he had formed in that perfection which his art and judgment required, because a piazza had been made by the dismantling and throwing down of the houses of the Uberti, rebels against the Florentine people and Ghibellines, and the blind prejudice of certain persons prevailed against all the arguments brought forward by Arnolfo to such an extent that he could not even obtain permission to make the palace square, because the rulers of the city were most unwilling to allow the building to have its foundations in the land of the Uberti, and they would rather suffer the destruction of the south nave of S. Piero Scheraggio than give him free scope in the space designated. They were also desirous that he should include and adapt to the palace the tower of the Fieraboschi, called the Torre della Vacca (Cow Tower), 50 braccia in height, in which the great bell was hung, together with some houses bought by the commune for such a building. For these reasons it is no marvel if the foundations of the palace are awry and out of the square, as, in order to get the tower in the middle and to make it stronger, he was obliged to surround it with the walls of the palace. These were found to be in excellent condition in the year 1561 by Giorgio Vasari, painter and architect, when he restored the palace in the time of Duke Cosimo, Thus, as Arnolfo filled the tower with good materials, it was easy for other masters to erect upon it the lofty campanile which we see to-day, since he himself finished no more than the palace in the space of two years. It was in later years that the building received those improvements to which it owes its present grandeur and majesty.
After all these things, and many others not less useful than beautiful, Arnolfo died at the age of seventy, in the year 1300, about the time when Giovanni Villani began to write the general history of his times. And since he left S. Maria del Fiore not only with its foundations laid, but saw three principal apses under the cupola vaulted in, to his great praise, he deserves the memorial set up to him in the church on the side opposite the campanile, with these lines carved in the marble in round letters:—
"Anno millenis centum bis octo nogenis
Venit legatus Roma bonitate donatus
Qui lapidem fixit fundo, simul et benedixit
Praesule Francisco, gestante pontificatum
Istud ab Arnolpho templum fuit aedificatum
Hoc opus insigne decorans Florentia digne
Reginæ coeli construxit mente fideli
Quam tu, Virgo pia, semper defende, Maria,"
I have written the life of Arnolfo with the greatest possible brevity because, although his works do not nearly approach the perfection of those of the present time, yet he none the less deserves to be remembered with affection, since, in the midst of so great darkness, he pointed out the road to perfection to those who came after him. The portrait of Arnolfo, by the hand of Giotto, may be seen in S. Croce, next to the principal chapel, where the friars are mourning the death of St Francis. He is represented in the foreground as one of the two men who are talking together. A representation of the exterior of the church of S. Maria del Fiore, with the dome, by the hand of Simon of Siena, may be seen in the chapter-house of S. Maria Novella. It was taken from the actual model of wood which Arnolfo made. From this representation it is clear that Arnolfo proposed to begin to vault his space, starting immediately above the first cornice, whilst Filippo di Ser Brunellesco, desiring to lighten the weight and make the appearance of the structure more graceful, added above this the whole of the space which contains the round windows before he began his vaulting. This matter would be even more obvious than it is had not the negligence and carelessness of those who had charge of the works of S. Maria del Fiore in past years allowed Arnolfo's own model, as well as those of Brunellesco and others, to be lost.
Niccola and Giovanni Pisani, Sculptors and Architects.
Having discussed the arts of design and painting in dealing with Cimabue, and that of architecture in the life of Arnolfo Lapo, we now propose to treat of sculpture, and of the very important architectural works of Niccola and Giovanni Pisani. Their achievements in both sculpture and architecture are alike remarkable for the manner in which they have been conceived as well as for the style in which they are executed, since to a great extent they emancipated themselves from the clumsy and ill-proportioned Byzantine style in both arts, showing more originality in the treatment of their subjects and arranging their figures in better postures.