26. 1473. Francesco di Bartolommeo.
Both these men appear to have been sculptors, and are associated together, as arbitrators, with Urbano da Cortona, in the dispute referred to above, between Giovanni di Stefano and his workmen. Of the former, we also find a record, under date August 11th, 1507, as arbitrator between Lorenzo di Mariano (Il Marrina) and Battista di Simone,[185] and we are told that he was surnamed Baccelli, and died in 1531.[186] Of Francesco we know nothing more, except that he also signed the contract with the Lombard sculptors.
27. 1482. Giuliano di Biagio.
Of this artist, we know nothing, beyond the reference to his work on the Pavement, of which mention has been made above. He appears, however, to have been not merely the mason, but also the contractor, who procured the marble for his own work.[187]
28. 1482. Vito di Marco.
A German, who, with his brother Giovanni, came to settle in Siena, as a mason. He was, as we have seen above, a pupil of Antonio Federighi, and was employed under him, on the works at Orvieto. In 1473, he was also party to the contract between the Sienese and Lombard sculptors. In 1483–84, he was commissioned, in company with a certain Lucillo di Maestro Marco, to execute the tomb of Tommaso del Testa Piccolomini, Bishop of Pienza and Montalcino,[188] which commission, through his absence from Siena, and the death of Lucillo, was transferred in the following year to Neroccio di Bartolommeo Landi. In 1487, he executed the façade of the church of S. Andrew at Orvieto, in which city we find him still working in 1489–91. He died in 1495.
29. 1482. Luigi di Ruggiero, surnamed L’Armellino.
This man also joined in the above-mentioned contract with the Lombard stone workers (1473). In January, 1486–87, we find the Signoria of Siena writing to Ottaviano, Count of Mercatelli, on his behalf, for arrears of salary due to him for work done.[189] He also appears to have been a contractor, as well as a sculptor.[190]
30. 1483. Bastiano di Francesco di Sano.
This man was a sculptor and a painter, but it is uncertain whether he is the same person, as the Florentine sculptor Bastiano di Francesco, who, with Francesco di Giovanni, was employed to build the tomb of Pope Pius III. in S. Peter’s at Rome.[191] We do not know much about him, beyond the work which he did in the Duomo. In 1481, he assisted Guidoccio Cozzarelli, Benvenuto di Giovanni del Guasta, and Pellegrino di Mariano, in decorating the interior of the Cupola with sculpture and painting. We gather, that in 1484, he moved the beautiful tomb of Cardinal Petroni, by Tino di Camaino,[192] from its original place near the present Cappella del Voto, to its present lofty position, by the Cappella di S. Giovanni. To him, in the same and following years, are also due the carved festoons, monstrous cherub heads, and painting and gilding round the east window (Occhio) of the choir. Twice we hear of him in legal difficulties: once, as we have mentioned already, with Urbano da Cortona in 1471; and again in 1477, when a certain doctor of laws, one Prospero Poccio, complained to the Podestà, that Bastiano would not finish a picture for him, that he had contracted to do.[193] He appears to have lived in the Valle Piatta at Siena.[194] (Ill. XXIII.)