A native of Siena, this famous sculptor and architect was born on the 21st of December, 1391. He was son of a certain Tommaso, surnamed Minella and had two brothers, Antonio and Giovanni (both workers in wood), the latter of whom became a Franciscan monk, and Rector of the Hospital of Sta. Croce. Pietro was a favourite pupil of Giacomo della Quercia, who left him ten florins in his will; and he worked with that great master on the famous Font in the Baptistery. From 1431 to 1433, he was Capo-maestro of the Opera del Duomo at Orvieto, and with his brother Antonio, executed some works there in intarsia on the stalls. In 1437, Quercia gave him some commissions in connection with the Loggia di S. Paolo, and in 1439 he was employed to make the choir for the Chapel of the Hospital of Sta. Maria della Scala. Out of this much litigation arose, which was settled by the giving of a dowry to his daughter.[159] In 1441, he and his brother Antonio were commissioned to make a new Bishops’ Throne for the Cathedral at Orvieto,[160] adorned with figures of SS. John and Costanzo; but apparently, whether for want of funds or for what reason does not appear, the work was never completed.[161] He remained at Orvieto until March, 1444, when he returned to Siena, where he had been commissioned by the Council to execute further work on the Loggia di S. Paolo.[162] In August of that year he was in treaty to go back to Orvieto, and we find a document, showing that he asked in payment for his services 120 ducats and a house, but agreed to accept 110 without the house, arranging to come to Orvieto about the middle of October to complete his bargain.[163] In September, however, he was promised by the Camarlingo (perhaps the Treasurer) of the Opera del Duomo at Siena, the post of Capo-maestro there. This appointment, however, he did not at first obtain, though he was employed on the tomb of Carlo Bartoli, Bishop of Siena, for which he received, as his share, a sum of 38 lire 8 soldi;[164] and in the following year on the Chapel of S. Crescenzio in the Duomo.[165] At last, in 1447, he was appointed Capo-maestro, and during his occupation of the post, he designed the Church of S. Ansano. He died in August, 1458, having married Cristofora, daughter of Maestro Pannucci, surnamed Cinquino, and had by her three sons—Tone (Canon of the Duomo), Niccolo, and Sano, who died in 1498, having married Polissena, daughter of Arnoldo di Fortunato, by whom he had six sons.
17. 1450. Nastagio di Guasparre.
18. 1450. Bartolomeo di Mariano, called “Il Mandriano.”
19. 1451. Guasparre d’Agostino.
Of the first and second of these three men nothing is known but their names, and the notice which records their work, described in the last chapter. As I have suggested, Nastagio di Guasparre and Guasparre d’ Agostino may have been father and son, or master and pupil. I have also referred to the fact that Guasparre d’Agostino painted frescoes of the Crucifixion and Burial of Christ in the apse over the altar of the Baptistery,[166] and was commissioned to paint some scenes from the life of S. Bernardino for the Sacristy of the Duomo. We are told also by Milanesi[167] that he was the master of Francesco di Giorgio and Neroccio di Bartolommeo Landi.
20. 1451. Corso di Bastiano.
Son of Bastiano di Corso, he married Nanna, daughter of a certain Simone di Niccolo, surnamed Calabrese, a maker of drinking vessels. He was, as we have seen, a sculptor like his father, with whom he worked. We read, besides, however, that he made the balcony of the Palazzo Pubblico,[168] whence the sentences on criminals were read, and executed certain marble work at the Oratorio di Sta. Caterina in Fontebranda.[169]
21. 1459. Antonio di Federigo or Federighi (Federigi).
XXII. CANDLESTICK