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 Fragments of the original work are still existing in the Museum of the Opera; but the whole design has been replaced by a modern copy, carefully made by Sig.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)