The earliest and simplest method consisted in using large pieces of white marble, shaped and put together (“commesso”) to form a sort of silhouette: the perspectives, folds of robes, and other details being defined by lines made, first, with a graving tool, and then accentuated by rows of holes, (smaller or larger, according to the importance of the particular line in the general composition), pierced with a trepanning drill. This is said to be a trapano, and is in fact the real graffito work. These punctures were frequently very deep, and when filled up with a stucco, composed of pitch (pecie navale), resin (ragia), and pounded potter’s clay (bolio macinato), produced a surface hard, and nearly as durable, as the solid marble itself. In order further to heighten the effect, the pieces of white marble, making up the entire scene or figure, were inlaid against a piece of dark marble: generally black for the atmosphere, and red for the ground, upon which the figures were supposed to stand. In the ornamental friezes, framing these scenes and figures, marble of other colours very early began to be used. Then presently, these coloured marbles found their way into the picture itself; especially in the larger scenes, where yellow, for instance, was found useful to accentuate jewellery or ornaments. Take as an example, The Massacre of the Innocents (Matteo di Giovanni), in which it is very largely employed. To this end also, black marble is twice introduced with startling effect: for The Libyan Sibyl (Guidoccio Cozzarelli), and for the negro boy in The Story of Jephthah (Bastiano di Francesco). It is undoubtedly true, that the finest effects are obtained, where there is least variety in colour, and where the artist has depended most entirely on simple line, and contrasts of white marble against black. A fine specimen of this treatment is The Story of Absalom (Pietro del Minella). Here the figures, trees, etc., stand out with almost weird abruptness, as if they had been cut out of white paper. It must be borne in mind, however, (in spite of statements made to the contrary, and the fact that such methods were employed elsewhere later on),[232] that the marbles used on the Pavement were always natural, and not artificially coloured. The Duomo authorities appear to have had quarries, either of their own, or under contract to supply them regularly. We read of nostro marmiera[233] at Gallena, in the Val d’Elsa; of black marble, brought from chasciano de le donne (San Casciano, near Radicofani);[234] and of red from Gerfalco in the Val di Cecina, near Massa Marittima.[235]
Pinturicchio, following out his ardent taste for brilliant and bizarre effect, made plentiful use of these colour varieties; but what probably makes the work of Beccafumi so striking, as compared with that of his predecessors, is, that in his later work he discards these vivid contrasts, confines himself almost entirely to low tones of colour, which shade from one into the other; and produces his effects by a species of chiaroscuro. Instead of outlining each piece, or figure, in a single colour, he frequently uses on the same subject, white and two or three different shades of pale-coloured grey marble. On a face, or a nude figure, this gives the effect of shadows of varying intensity, but, at times, runs perilously near the ludicrous, by making some of the persons parti-coloured. In the Elijah series,—his earliest work,—probably with an idea of improving on his predecessors, he had introduced small pieces of vivid green and red marble, to indicate jewelled borders to the robes of Ahab, and other important personages. This treatment, adopted again by Professor Franchi, when completing that Story, he soon wholly discarded, still retaining, however, the old graffito method for his outlines. But this also he abandoned more and more as he proceeded. Had he not been so fine a draughtsman his experiments in this direction would have been dangerous. Even now, it is doubtful, whether the results are so practically durable, or so artistically satisfactory, on the floor, as the older work. It would seem, as if they, in a sense, the apotheosis of this species of work, should be set up perpendicularly, so that the full effect of their superb draughtsmanship could be fairly perceived and appreciated.
Professor Franchi must have found himself in a great dilemma, when he undertook to complete this work. He could hardly revert to the manner of the pre-Beccafumi schools, and it would have been too dangerous to imitate closely Beccafumi himself. Fortunately, he had special gifts, and had the courage to follow his own instinct. The result has been, works, which, if in vivid contrast to all that had gone before, and essentially modern in feeling, are works of art of unquestionable brilliance. They resemble cartoons in marble, and are drawn with extraordinarily realistic force. All the three larger designs are instinct with life, and irresistibly suggestive of energetic movement. We may especially notice for this Elijah being caught up to Heaven. (Ill. XXVI.)
LOMBARDI PHOTO.]
(FROM A DRAWING)
[BY PROF. ALESSANDRO FRANCHI
XXVI. ELIJAH CAUGHT UP TO HEAVEN (No. 38)
In conclusion, let me say, that whatever may be the opinion of critics of undoubted ability: first, as to the suitability of a Pavement, such as this, at all;[236] and next, as to the varying merits of this or that portion of it, over any other: there can be no doubt, as to its paramount and unique interest, historically, as well as artistically. It is in itself a small epitome of Sienese Art History: a continuous chain, whose links bind together, in spite of long intervals, more than five centuries of Sienese art-workers; and a never-ending joy to the thoughtful and the intelligent.