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.