Chapter VII: Part 7

Maestro Cione left many disciples, and among others Forzore di Spinello of Arezzo, who wrought every kind of chasing very well but was particularly excellent in making scenes in silver enamelled over fire, to which witness is borne by a mitre with most beautiful adornments in enamel, and a very beautiful pastoral staff of silver, which are in the Vescovado of Arezzo. The same man wrought for Cardinal Galeotto da Pietramala many works in silver that remained after his death with the friars of La Vernia, where he wished to be buried. There, besides the wall that was erected in that place by Count Orlando, Lord of Chiusi, a small town below La Vernia, the Cardinal built the church, together with many rooms in the convent and throughout that whole place, without putting his arms there or leaving any other memorial. A disciple of Maestro Cione, also, was Leonardo di Ser Giovanni, a Florentine, who wrought many works in chasing and soldering, with better design than the others before him had shown, and in particular the altar and panel of silver in S. Jacopo at Pistoia; in which work, besides the scenes, which are numerous, there was much praise given to a figure in the round that he made in the middle, representing S. James, more than one braccio in height, and wrought with so great finish that it appears rather to have been made by casting than by chasing. This figure is set in the midst of the said scenes on the panel of the altar, round which is a frieze of letters in enamel, that run thus:

AD HONOREM DEI ET SANCTI JACOBI APOSTOLI, HOC OPUS FACTUM FUIT
TEMPORE DOMINI FRANC. PAGNI DICTAE OPERAE OPERARII SUB ANNO 1371
PER ME LEONARDUM SER JO. DE FLOREN. AURIFIC.

Now, returning to Agostino and Agnolo: they had many disciples who, after their death, wrought many works of architecture and of sculpture in Lombardy and other parts of Italy, and among others Maestro Jacopo Lanfrani of Venice, who founded S. Francesco of Imola and wrought the principal door in sculpture, where he carved his name and the date, which was the year 1343. And at Bologna, in the Church of S. Domenico, the same Maestro Jacopo made a tomb in marble for Giovanni Andrea Calduino, Doctor of Laws and Secretary to Pope Clement VI; and another, also in marble and in the said church, very well wrought, for Taddeo Peppoli, Conservator of the people and of Justice in Bologna. And in the same year, which was the year 1347, or a little before, this tomb being finished, Maestro Jacopo went to his native city of Venice and founded the Church of S. Antonio, which was previously of wood, at the request of a Florentine Abbot of the ancient family of the Abati, the Doge being Messer Andrea Dandolo. This church was finished in the year 1349. Jacobello and Pietro Paolo, also, Venetians and disciples of Agostino and Agnolo, made a tomb in marble for Messer Giovanni da Lignano, Doctor of Laws, in the year 1383, in the Church of S. Domenico at Bologna.

All these and many other sculptors went on for a long space of time following one and the same method, in a manner that with it they filled all Italy. It is believed, also, that the Pesarese, who, besides many other works, built the Church of S. Domenico in his native city, and made in sculpture the marble door with the three figures in the round, God the Father, S. John the Baptist, and S. Mark, was a disciple of Agostino and Agnolo; and to this the manner bears witness. This work was finished in the year 1385. But, seeing that it would take too long if I were to make mention minutely of the works that were wrought by many masters of those times in that manner, I wish that this, that I have said of them thus in general, should suffice me for the present, and above all because there is not any benefit of much account for our arts from such works. Of the aforesaid it has seemed to me proper to make mention, because, if they do not deserve to be discussed at length, yet, on the other hand, they were not such as to need to be passed over completely in silence.

STEFANO AND UGOLINO SANESE

LIFE OF STEFANO, PAINTER OF FLORENCE, AND OF UGOLINO SANESE

[_UGOLINO DA SIENA_]

Stefano, painter of Florence and disciple of Giotto, was so excellent, that he not only surpassed all the others who had laboured in the art before him, but outstripped his own master himself by so much that he was held, and deservedly, the best of all the painters who had lived up to that time, as his works clearly demonstrate. He painted in fresco the Madonna of the Campo Santo in Pisa, which is no little better in design and in colouring than the work of Giotto; and in Florence, in the cloister of S. Spirito, he painted three little arches in fresco. In the first of these, wherein is the Transfiguration of Christ with Moses and Elias, imagining how great must have been the splendour that dazzled them, he fashioned the three Disciples with extraordinary and beautiful attitudes, and enveloped in draperies in a manner that it is seen that he went on trying to do something that had never been done before--namely, to suggest the nude form of the figures below new kinds of folds, which, as I have said, had not been thought of even by Giotto. Under this arch, wherein he made a Christ delivering the woman possessed, he drew a building in perspective, perfectly and in a manner then little known, executing it in good form and with better knowledge; and in it, working with very great judgment in modern fashion, he showed so great art and so great invention and proportion in the columns, in the doors, in the windows, and in the cornices, and so great diversity from the other masters in his method of working, that it appears that there was beginning to be seen a certain glimmer of the good and perfect manner of the moderns. He invented, among other ingenious ideas, a flight of steps very difficult to make, which, both in painting and built out in relief--wrought in either way, in fact--is so rich in design and variety, and so useful and convenient in invention, that the elder Lorenzo de' Medici, the Magnificent, availed himself of it in making the outer staircase of the Palace of Poggio a Cajano, now the principal villa of the most Illustrious Lord Duke. In the other little arch is a story of Christ when he is delivering S. Peter from shipwreck, so well done that one seems to hear the voice of Peter saying: "Domine, salva nos, perimus." This work is judged much more beautiful than the others, because, besides the softness of the draperies, there are seen sweetness in the air of the heads and terror in the perils of the sea, and because the Apostles, shaken by diverse motions and by phantoms of the sea, have been represented in attitudes very appropriate and all most beautiful. And although time has eaten away in part the labours that Stefano put into this work, it may be seen, although but dimly, that the Apostles are defending themselves from the fury of the winds and from the waves of the sea with great energy; which work, being very highly praised among the moderns, must have certainly appeared a miracle in all Tuscany in the time of him who wrought it. After this he painted a S. Thomas Aquinas beside a door in the first cloister of S. Maria Novella, where he also made a Crucifix, which was afterwards executed in a bad manner by other painters in restoring it. In like manner he left a chapel in the church begun and not finished, which has been much eaten away by time, wherein the angels are seen raining down in diverse forms by reason of the pride of Lucifer; where it is to be noticed that the figures, with the arms, trunks, and legs foreshortened much better than any foreshortenings that had been made before, give us to know that Stefano began to understand and to demonstrate in part the difficulties that those men had to reduce to excellence, who afterwards, with greater science, showed them to us, as they have done, in perfection; wherefore the surname of "The Ape of Nature" was given him by the other craftsmen.

Next, being summoned to Milan, Stefano made a beginning for many works for Matteo Visconti, but was not able to finish them, because, having fallen sick by reason of the change of air, he was forced to return to Florence. There, having regained his health, he made in fresco, in the tramezzo[14] of the Church of S. Croce, in the Chapel of the Asini, the story of the martyrdom of S. Mark, when he was dragged to death, with many figures that have something of the good. Being then summoned to Rome by reason of having been a disciple of Giotto, he made some stories of Christ in S. Pietro, in the principal chapel wherein is the altar of the said Saint, between the windows that are in the great choir-niche, with so much diligence that it is seen that he approached closely to the modern manner, surpassing his master Giotto considerably in draughtsmanship and in other respects.

After this, on a pillar on the left-hand side of the principal chapel of the Araceli, he made a S. Louis in fresco, which is much praised, because it has in it a vivacity never displayed up to that time even by Giotto. And in truth Stefano had great facility in draughtsmanship, as can be seen in our said book in a drawing by his hand, wherein is drawn the Transfiguration (which he painted in the cloister of S. Spirito), in such a manner that in my judgment he drew much better than Giotto.

Having gone, next, to Assisi, he began in fresco a scene of the Celestial Glory in the niche of the principal chapel of the lower Church of S. Francesco, where the choir is; and although he did not finish it, it is seen from what he did that he used so great diligence that no greater could be desired. In this work there is seen begun a circle of saints, both male and female, with so beautiful variety in the faces of the young, the men of middle age, and the old, that nothing better could be desired. And there is seen a very sweet manner in these blessed spirits, with such great harmony that it appears almost impossible that it could have been done in those times by Stefano, who indeed did do it; although there is nothing of the figures in this circle finished save the heads, over which is a choir of angels who are hovering playfully about in various attitudes, appropriately carrying theological symbols in their hands, and all turned towards a Christ on the Cross, who is in the middle of this work, over the head of a S. Francis, who is in the midst of an infinity of saints. Besides this, in the border of the whole work, he made some angels, each of whom is holding in his hand one of those Churches that S. John the Evangelist described in the Apocalypse; and these angels are executed with so much grace that I am amazed how in that age there was to be found one who knew so much. Stefano began this work with a view to bringing it to the fullest perfection, and he would have succeeded, but he was forced to leave it imperfect and to return to Florence by some important affairs of his own.

During that time, then, that he stayed for this purpose in Florence, in order to lose no time he painted for the Gianfigliazzi, by the side of the Arno, between their houses and the Ponte alla Carraja, a little shrine on a corner that is there, wherein he depicted a Madonna sewing, to whom a boy dressed and seated is handing a bird, with such diligence that the work, small as it is, deserves to be praised no less than do the works that he wrought on a larger and more masterly scale.

This shrine finished and his affairs dispatched, being called to Pistoia by its Lords in the year 1346, he was made to paint the Chapel of S. Jacopo, on the vaulting of which he made a God the Father with some Apostles, and on the walls the stories of that Saint, and in particular when his mother, wife of Zebedee, asks Jesus Christ to consent to place her two sons, one on His right hand and the other on His left hand, in the Kingdom of the Father. Close to this is the beheading of the said Saint, a very beautiful work.

It is reputed that Maso, called Giottino, of whom there will be mention below, was the son of this Stefano; and although many, by reason of the suggestiveness of the name, hold him the son of Giotto, I, by reason of certain records that I have seen, and of certain memoirs of good authority written by Lorenzo Ghiberti and by Domenico del Ghirlandajo, hold it as true that he was rather the son of Stefano than of Giotto. Be this as it may, returning to Stefano, it can be credited to him that he did more than anyone after Giotto to improve painting, for, besides being more varied in invention, he was also more harmonious, more mellow, and better blended in colouring than all the others; and above all he had no peer in diligence. And as for those foreshortenings that he made, although, as I have said, he showed a faulty manner in them by reason of the difficulty of making them, none the less he who is the pioneer in the difficulties of any exercise deserves a much greater name than those who follow with a somewhat more ordered and regular manner. Truly great, therefore, is the debt that should be acknowledged to Stefano, because he who walks in darkness and gives heart to others, by showing them the way, brings it about that its difficult steps are made easy, so that with lapse of time men leave the false road and attain to the desired goal. At Perugia, too, in the Church of S. Domenico, he began in fresco the Chapel of S. Caterina, which remained unfinished.

SS. PAUL, PETER AND JOHN THE BAPTIST

(_After the painting by_ Ugolino Sanese [da Siena]. _Berlin: K. Friedrich Museum, 1635_)]

There lived about the same time as Stefano a man of passing good repute, Ugolino, painter of Siena, very much his friend, who painted many panels and chapels throughout all Italy, although he held ever in great part to the Greek manner, as one who, grown old therein, had wished by reason of a certain obstinacy in himself to hold rather to the manner of Cimabue than to that of Giotto, which was so greatly revered. By the hand of Ugolino, then, is the panel of the high-altar of S. Croce, on a ground all of gold, and also a panel which stood many years on the high-altar of S. Maria Novella and is to-day in the Chapter-house, where the Spanish nation every year holds most solemn festival on the day of S. James, with other offices and funeral ceremonies of its own. Besides these, he wrought many other works with good skill, without departing, however, from the manner of his master. The same man made, on a brick-pier in the Loggia that Lapo had built on the Piazza d'Orsanmichele, that Madonna which worked so many miracles, not many years later, that the Loggia was for a long time full of images, and is still held in the greatest veneration. Finally, in the Chapel of Messer Ridolfo de' Bardi, which is in S. Croce, where Giotto painted the life of S. Francis, he painted a Crucifix in distemper on the altar-panel, with a Magdalene and a S. John weeping, and two friars, one on either side. Ugolino passed away from this life, being old, in the year 1349, and was buried with honour in Siena, his native city.

But returning to Stefano, of whom they say that he was also a good architect, which is proved by what has been said above, he died, so it is said, in the year when there began the jubilee, 1350, at the age of forty-nine, and was laid to rest in the tomb of his fathers, in S. Spirito, with this epitaph:

STEPHANO FLORENTINO PICTORI, FACIUNDIS IMAGINIBUS AC COLORANDIS
FIGURIS NULLI UNQUAM INFERIORI, AFFINES MOESTISS. POS. VIX. AN.
XXXXIX.

FOOTNOTES:

[Footnote 14: See note on p. 57.]

PIETRO LAURATI

THE MADONNA ENTHRONED

(_After the polyptych_ by Pietro Laurati [Lorenzetti]. _Arezzo: S. Maria della Pieve_)]

LIFE OF PIETRO LAURATI

[_PIETRO LORENZETTI_],

PAINTER OF SIENA

Pietro Laurati, an excellent painter of Siena, proved in his life how great is the contentment of the truly able, who feel that their works are prized both at home and abroad, and who see themselves sought after by all men, for the reason that in the course of his life he was sent for and held dear throughout all Tuscany, having first become known through the scenes that he painted in fresco for the Scala, a hospital in Siena, wherein he imitated in such wise the manner of Giotto, then spread throughout all Tuscany, that it was believed with great reason that he was destined, as afterwards came to pass, to become a better master than Cimabue and Giotto and the others had been; for the figures that represent the Virgin ascending the steps of the Temple, accompanied by Joachim and Anna, and received by the priest, and then in the Marriage, are so beautifully adorned, so well draped, and so simply wrapped in their garments, that they show majesty in the air of the heads, and a most beautiful manner in their bearing. By reason of this work, which was the first introduction into Siena of the good method of painting, giving light to the many beautiful intellects which have flourished in that city in every age, Pietro was invited to Monte Oliveto di Chiusuri, where he painted a panel in distemper that is placed to-day in the portico below the church. In Florence, next, opposite to the left-hand door of the Church of S. Spirito, on the corner where to-day there is a butcher, he painted a shrine which, by reason of the softness of the heads and of the sweetness that is seen in it, deserves the highest praise from every discerning craftsman.

Going from Florence to Pisa, he wrought in the Campo Santo, on the wall that is beside the principal door, all the lives of the Holy Fathers, with expressions so lively and attitudes so beautiful that he equalled Giotto and gained thereby very great praise, having expressed in certain heads, both with drawing and with colour, all that vivacity that the manner of those times was able to show. From Pisa he went to Pistoia, where he made a Madonna with some angels round her, very well grouped, on a panel in distemper, for the Church of S. Francesco; and in the predella that ran below this panel, in certain scenes, he made certain little figures so lively and so vivid that in those times it was something marvellous; wherefore, since they satisfied himself no less than others, he thought fit to place thereon his name, with these words: PETRUS LAURATI DE SENIS.

_(Assisi: Lower Church of S. Francesco. Fresco)_]

Pietro was summoned, next, in the year 1355, by Messer Guglielmo, arch-priest, and by the Wardens of Works of the Pieve of Arezzo, who were then Margarito Boschi and others; and in that church, built long before with better design and manner than any other that had been made in Tuscany up to that time, and all adorned with squared stone and with carvings, as it has been said, by the hand of Margaritone, he painted in fresco the apse and the whole great niche of the chapel of the high-altar, making there twelve scenes from the life of Our Lady with figures large as life, beginning with the expulsion of Joachim from the Temple, up to the Nativity of Jesus Christ. In these scenes, wrought in fresco, may be recognized almost the same inventions (the lineaments, the air of the heads, and the attitudes of the figures) which had been characteristic of and peculiar to Giotto, his master. And although all this work is beautiful, what he painted on the vaulting of this niche is without doubt better than all the rest, for in representing the Madonna ascending into Heaven, besides making the Apostles each four braccia high, wherein he showed greatness of spirit and was the first to try to give grandness to the manner, he gave so beautiful an air to the heads and so great loveliness to the vestments that in those times nothing more could have been desired. Likewise, in the faces of a choir of angels who are flying in the air round the Madonna, dancing with graceful movements, and appearing to sing, he painted a gladness truly angelic and divine, above all because he made the angels sounding diverse instruments, with their eyes all fixed and intent on another choir of angels, who, supported by a cloud in the form of an almond, are bearing the Madonna to Heaven, with beautiful attitudes and all surrounded by rainbows. This work, seeing that it rightly gave pleasure, was the reason that he was commissioned to make in distemper the panel for the high-altar of the aforesaid Pieve; wherein, in five parts, with figures as far as the knees and large as life, he made Our Lady with the Child in her arms, and S. John the Baptist and S. Matthew on the one side, and on the other the Evangelist and S. Donatus, with many little figures in the predella and in the border of the panel above, all truly beautiful and executed in very good manner. This panel, after I had rebuilt the high-altar of the aforesaid Pieve completely anew, at my own expense and with my own hand, was set up over the altar of S. Cristofano at the foot of the church. Nor do I wish to grudge the labour of saying in this place, with this occasion and not wide of the subject, that I, moved by Christian piety and by the affection that I bear towards this venerable and ancient collegiate church, and for the reason that in it, in my earliest childhood, I learnt my first lessons, and that it contains the remains of my fathers: moved, I say, by these reasons, and by it appearing to me that it was wellnigh deserted, I have restored it in a manner that it can be said that it has returned from death to life; for besides changing it from a dark to a well-lighted church by increasing the windows that were there before and by making others, I have also removed the choir, which, being in front, used to occupy a great part of the church, and to the great satisfaction of those reverend canons I have placed it behind the high-altar. This new altar, standing by itself, has on the panel in front a Christ calling Peter and Andrew from their nets, and on the side towards the choir it has, on another panel, S. George slaying the Dragon. On the sides are four pictures, and in each of these are two saints as large as life. Then above, and below in the predella, there is an infinity of other figures, which, for brevity's sake, are not enumerated. The ornamental frame of this altar is thirteen braccia high, and the predella is two braccia high. And because within it is hollow, and one ascends to it by a staircase through an iron wicket very conveniently arranged, there are preserved in it many venerable relics, which can be seen from without through two gratings that are in the front part; and among others there is the head of S. Donatus, Bishop and Protector of that city, and in a coffer of variegated marble, three braccia long, which I have had restored, are the bones of four Saints. And the predella of the altar, which surrounds it all right round in due proportion, has in front of it the tabernacle, or rather ciborium, of the Sacrament, made of carved wood and all gilt, about three braccia high; which tabernacle is in the round and can be seen as well from the side of the choir as from in front. And because I have spared no labour and no expense, considering myself bound to act thus in honour of God, this work, in my judgment, has in all those ornaments of gold, of carvings, of paintings, of marbles, of travertines, of variegated marbles, of porphyries, and of other stones, the best that could be got together by me in that place.

But returning now to Pietro Laurati; that panel finished whereof there has been talk above, he wrought in S. Pietro at Rome many works which were afterwards destroyed in making the new building of S. Pietro. He also wrought some works in Cortona and in Arezzo, besides those that have been mentioned, and some others in the Church of S. Fiora e Lucilla, a monastery of Black Friars, and in particular, in a chapel, a S. Thomas who is putting his hand on the wound in the breast of Christ.

A disciple of Pietro was Bartolommeo Bologhini of Siena, who wrought many panels in Siena and other places in Italy, and in Florence there is one by his hand on the altar of the Chapel of S. Silvestro in S. Croce. The pictures of these men date about the year of our salvation 1350; and in my book, so many times cited, there is seen a drawing by the hand of Pietro, wherein a shoemaker who is sewing, with simple but very natural lineaments, shows very great expression and the characteristic manner of Pietro, the portrait of whom, by the hand of Bartolommeo Bologhini, was in a panel in Siena, when I copied it from the original in the manner that is seen above.

THE DEPOSITION FROM THE CROSS

(_After the fresco of the_ Roman School. _Assisi: Upper Church of S. Francesco_)]

ANDREA PISANO

LIFE OF ANDREA PISANO,

SCULPTOR AND ARCHITECT

The art of painting never flourished at any time without the sculptors also pursuing their exercise with excellence, and to this the works of all ages bear witness for the close observer, because these two arts are truly sisters, born at one and the same time, and fostered and governed by one and the same soul. This is seen in Andrea Pisano, who, practising sculpture in the time of Giotto, made so great improvement in this art, that both in practice and in theory he was esteemed the greatest man that the Tuscans had had up to his times in this profession, and above all in casting in bronze. Wherefore his works were honoured and rewarded in such a manner by all who knew him, and above all by the Florentines, that it was no hardship to him to change country, relatives, property and friends. He received much assistance from the difficulties experienced in sculpture by the masters who had lived before him, whose sculptures were so uncouth and worthless that whosoever saw them in comparison with those of this man judged the last a miracle. And that these early works were rude, witness is borne, as it has been said elsewhere, by some that are over the principal door of S. Paolo in Florence and some in stone that are in the Church of Ognissanti, which are so made that they move those who view them rather to laughter than to any marvel or pleasure. And it is certain that the art of sculpture can recover itself much better, in the event of the essence of statuary being lost (since men have the living and the natural model, which is wholly rounded, as that art requires), than can the art of painting; it being not so easy and simple to recover the beautiful outlines and the good manner, in order to bring the art to the light, for these are the elements that produce majesty, beauty, grace and adornment in the works that the painters make. In one respect fortune was favourable to the labours of Andrea, because there had been brought to Pisa, as it has been said elsewhere, by means of the many victories that the Pisans had at sea, many antiquities and sarcophagi that are still round the Duomo and the Campo Santo, and these brought him such great assistance and gave him such great light as could not be obtained by Giotto, for the reason that the ancient paintings had not been preserved as much as the sculptures. And although statues are often destroyed by fires and by the ruin and fury of war, and buried or transported to diverse places, nevertheless it is easy for the experienced to recognize the difference in the manner of all countries; as, for example, the Egyptian is slender and lengthy in its figures, the Greek is scientific and shows much study in the nudes, while the heads have almost all the same expression, and the most ancient Tuscan is laboured in the hair and somewhat uncouth. That of the Romans (I call Romans, for the most part, those who, after the subjugation of Greece, betook themselves to Rome, whither all that there was of the good and of the beautiful in the world was carried)--that, I say, is so beautiful, by reason of the expressions, the attitudes, and the movements both of the nude and of the draped figures, that it may be said that they wrested the beautiful from all the other provinces and moulded it into one single manner, to the end that it might be, as it is, the best--nay, the most divine of all.

All these beautiful manners and arts being spent in the time of Andrea, that alone was in use which had been brought by the Goths and by the uncivilized Greeks into Tuscany. Wherefore he, having studied the new method of design of Giotto and those few antiquities that were known to him, refined in great part the grossness of so miserable a manner with his judgment, in such wise that he began to work better and to give much greater beauty to statuary than any other had yet done in that art up to his times. Therefore, his genius and his good skill and dexterity becoming known, he was assisted by many in his country, and while still young he was commissioned to make for S. Maria a Ponte some little figures in marble, which brought him so good a name that he was sought out with very great insistence to come to work in Florence for the Office of Works of S. Maria del Fiore, which, after a beginning had been made with the facade containing the three doors, was suffering from a dearth of masters to make the scenes that Giotto had designed for the beginning of the said fabric. Andrea, then, betook himself to Florence, for the service of the said Office of Works. And because the Florentines desired at that time to gain the friendship and love of Pope Boniface VIII, who was then Supreme Pontiff of the Church of God, they wished that, before anything else, Andrea should make a portrait in marble of the said Pontiff, from the life. Wherefore, putting his hand to this work, he did not rest until he had finished the figure of the Pope, with a S. Peter and a S. Paul who are one on either side of him; which three figures were placed in the facade of S. Maria del Fiore, where they still are. Andrea then made certain little figures of prophets for the middle door of the said church, in some shrines or rather niches, from which it is seen that he had brought great betterment to the art, and that he was in advance, both in excellence and design, of all those who had worked up to then on the said fabric. Wherefore it was resolved that all the works of importance should be given to him to do, and not to others; and so, no long time after, he was commissioned to make the four statues of the principal Doctors of the Church, S. Jerome, S. Ambrose, S. Augustine, and S. Gregory. And these being finished and acquiring for him favour and fame with the Wardens of Works--nay, with the whole city--he was commissioned to make two other figures in marble of the same size, which were S. Stephen and S. Laurence, now standing in the said facade of S. Maria del Fiore, at the outermost corners. By the hand of Andrea, likewise, is the Madonna in marble, three braccia and a half high, with the Child in her arms, which stands on the altar of the little Church of the Company of the Misericordia, on the Piazza di S. Giovanni in Florence; which was a work much praised in those times, and above all because he accompanied it with two angels, one on either side, each two braccia and a half high. Round this work there has been made in our own day a frame of wood, very well wrought by Maestro Antonio, called Il Carota; and below, a predella full of most beautiful figures coloured in oil by Ridolfo, son of Domenico Ghirlandajo. In like manner, that half-length Madonna in marble that is over the side door of the same Misericordia, in the facade of the Cialdonai, is by the hand of Andrea, and it was much praised, because he imitated therein the good ancient manner, contrary to his wont, which was ever far distant from it, as some drawings testify that are in our book, wrought by his hand, wherein are drawn all the stories of the Apocalypse.

Now, seeing that Andrea had applied himself in his youth to the study of architecture, there came occasion for him to be employed in this by the Commune of Florence; for Arnolfo being dead and Giotto absent, he was commissioned to make the design of the Castle of Scarperia, which is in the Mugello, at the foot of the mountains. Some say, although I would not indeed vouch for it as true, that Andrea stayed a year in Venice, and there wrought, in sculpture, some little figures in marble that are in the facade of S. Marco, and that at the time of Messer Piero Gradenigo, Doge of that Republic, he made the design of the Arsenal; but seeing that I know nothing about it save that which I find to have been written by some without authority, I leave each one to think in his own way about this matter. Andrea having returned from Venice to Florence, the city, fearful of the coming of the Emperor, caused a part of the walls to be raised with lime post-haste to the height of eight braccia, employing in this Andrea, in that portion that is between San Gallo and the Porta al Prato; and in other places he made bastions, stockades, and other ramparts of earth and of wood, very strong.

SALOME AND THE BEHEADING OF S. JOHN THE BAPTIST

(_Details, after_ Andrea Pisano, _from the Gates of the Baptistery, Florence_)]

Now because, three years before, he had shown himself to his own great credit to be an able man in the casting of bronze, having sent to the Pope in Avignon, by means of Giotto, his very great friend, who was then staying at that Court, a very beautiful cross cast in bronze, he was commissioned to complete in bronze one of the doors of the Church of S. Giovanni, for which Giotto had already made a very beautiful design; this was given to him, I say, to complete, by reason of his having been judged, among so many who had worked up to then, the most able, the most practised and the most judicious master not only of Tuscany but of all Italy. Wherefore, putting his hand to this, with a mind determined not to consent to spare either time, or labour, or diligence in executing a work of so great importance, fortune was so propitious to him in the casting, for those times when the secrets were not known that are known to-day, that within the space of twenty-two years he brought it to that perfection which is seen; and what is more, he also made during that same time not only the shrine of the high-altar of S. Giovanni, with two angels, one on either side of it, that were held something very beautiful, but also, after the design of Giotto, those little figures in marble that act as adornment for the door of the Campanile of S. Maria del Fiore, and round the same Campanile, in certain mandorle, the seven planets, the seven virtues, and the seven works of mercy, little figures in half-relief that were then much praised. He also made during the same time the three figures, each four braccia high, that were set up in the niches of the said Campanile, beneath the windows that face the spot where the Orphans now are--that is, towards the south; which figures were thought at that time more than passing good. But to return to where I left off: I say that in the said bronze door are little scenes in low relief of the life of S. John the Baptist, that is, from his birth up to his death, wrought happily and with much diligence. And although it seems to many that in these scenes there do not appear that beautiful design and that great art which are now put into figures, yet Andrea deserves nothing but the greatest praise, in that he was the first to put his hand to the complete execution of such a work, which afterwards enabled the others who lived after him to make whatever of the beautiful, of the difficult and of the good is to be seen at the present day in the other two doors and in the external ornaments. This work was placed in the middle door of that church, and stood there until the time when Lorenzo Ghiberti made that one which is there at the present day; for then it was removed and placed opposite the Misericordia, where it still stands. I will not forbear to say that Andrea was assisted in making this door by Nino, his son, who was afterwards a much better master than his father had been, and that it was completely finished in the year 1339, that is, not only made smooth and polished all over, but also gilded by fire; and it is believed that it was cast in metal by some Venetian masters, very expert in the founding of metals, and of this there is found record in the books of the Guild of the Merchants of Calimara, Wardens of the Works of S. Giovanni.

While the said door was making, Andrea made not only the other works aforesaid but also many others, and in particular the model of the Church of S. Giovanni at Pistoia, which was founded in the year 1337. In that same year, on January 25, in excavating the foundations of this church, there was found the body of the Blessed Atto, once Bishop of that city, who had been buried in that place one hundred and thirty-seven years. The architecture, then, of this church, which is round, was passing good for those times. In the principal church of the said city of Pistoia there is also a tomb of marble by the hand of Andrea, with the body of the sarcophagus full of little figures, and some larger figures above; in which tomb is laid to rest the body of Messer Cino d' Angibolgi, Doctor of Laws, and a very famous scholar in his time, as Messer Francesco Petrarca testifies in that sonnet:

Piangete, donne, e con voi pianga Amore;

and also in the fourth chapter of the _Triumph of Love_, where he says:

Ecco Cin da Pistoia, Guitton d'Arezzo,
Che di non esser primo par ch'ira aggia.

In that tomb there is seen the portrait of Messer Cino himself in marble, by the hand of Andrea; he is teaching a number of his scholars, who are round him, with an attitude and manner so beautiful that, although to-day it might not be prized, in those days it must have been a marvellous thing.

THE CREATION OF MAN

(_After a relief, by_ Andrea Pisano, _on the Campanile, Florence_)]

Andrea was also made use of in matters of architecture by Gualtieri, Duke of Athens and Tyrant of the Florentines, who made him enlarge the square, and caused him, in order to safeguard himself in his palace, to secure all the lower windows on the first floor (where to-day is the Sala de' Dugento) with iron bars, square and very strong. The said Duke also added, opposite S. Pietro Scheraggio, the walls of rustic work that are beside the palace, in order to enlarge it; and in the thickness of the wall he made a secret staircase, in order to ascend and descend unseen. And at the foot of the said wall of rustic work he made a great door, which serves to-day for the Customs-house, and above that his arms, and all with the design and counsel of Andrea; and although these arms were chiselled out by the Council of Twelve, which took pains to efface every memorial of that Duke, there remained none the less in the square shield the form of the lion rampant with two tails, as anyone can see who examines it with diligence. For the same Duke Andrea built many towers round the walls of the city, and he not only made a magnificent beginning for the Porta a S. Friano and brought it to the completion that is seen, but also made the walls for the vestibules of all the gates of the city, and the lesser gates for the convenience of the people. And because the Duke had it in his mind to make a fortress on the Costa di S. Giorgio, Andrea made the model for it, which afterwards was not used, for the reason that the work was never given a beginning, the Duke having been driven out in the year 1343. Nevertheless, there was effected in great part the desire of that Duke to bring the palace to the form of a strong castle, because, to that which had been made originally, he added the great mass which is seen to-day, enclosing within its circuit the houses of the Filipetri, the tower and the houses of the Amidei and Mancini, and those of the Bellalberti. And because, having made a beginning with so great a fabric and with the thick walls and barbicans, he had not all the material that was essential equally in readiness, he held back the construction of the Ponte Vecchio, which was being worked on with all haste as a work of necessity, and availed himself of the stone hewn and the wood prepared for it, without the least scruple. And although Taddeo Gaddi was not perhaps inferior in the matters of architecture to Andrea Pisano, the Duke would not avail himself of him in these buildings, by reason of his being a Florentine, but only of Andrea. The same Duke Gualtieri wished to pull down S. Cecilia, in order to see from his palace the Strada Romana and the Mercato Nuovo, and likewise to destroy S. Pietro Scheraggio for his own convenience, but he had not leave to do this from the Pope; and meanwhile, as it has been said above, he was driven out by the fury of the people.

Deservedly then did Andrea gain, by the honourable labours of so many years, not only very great rewards but also the citizenship; for he was made a citizen of Florence by the Signoria, and was given offices and magistracies in the city, and his works were esteemed both while he lived and after his death, there being found no one who could surpass him in working, until there came Niccolo Aretino, Jacopo della Quercia of Siena, Donatello, Filippo di Ser Brunellesco, and Lorenzo Ghiberti, who executed the sculptures and other works that they made in such a manner that people recognized in how great error they had lived up to that time; for these men recovered with their works that excellence which had been hidden and little known by men for many and many a year. The works of Andrea date about the year of our salvation 1340.

Andrea left many disciples; among others, Tommaso Pisano, architect and sculptor, who finished the Chapel of the Campo Santo and added the finishing touch to the Campanile of the Duomo--namely, that final part wherein are the bells. Tommaso is believed to have been the son of Andrea, this being found written in the panel of the high-altar of S. Francesco in Pisa, wherein there is, carved in half-relief, a Madonna, with other Saints made by him, and below these his name and that of his father.

MADONNA AND CHILD

(_After_ Nino Pisano. _Orvieto: Museo dell'Opera_)]

Andrea was survived by Nino, his son, who applied himself to sculpture; and his first work was in S. Maria Novella, where he finished a Madonna in marble begun by his father, which is within the side door, beside the Chapel of the Minerbetti. Next, having gone to Pisa, he made in the Spina a half-length figure in marble of Our Lady, who is suckling an infant Jesus Christ wrapped in certain delicate draperies. For this Madonna an ornamental frame of marble was made in the year 1522, by the agency of Messer Jacopo Corbini, and another frame, much greater and more beautiful, was made then for another Madonna of marble, which was of full length and by the hand of the same Nino; in the attitude of which Madonna the mother is seen handing a rose with much grace to her Son, who is taking it in a childlike manner, so beautiful that it may be said that Nino was beginning to rob the stone of its hardness and to reduce it to the softness of flesh, giving it lustre by means of the highest polish. This figure is between a S. John and a S. Peter in marble, the head of the latter being a portrait of Andrea from the life. Besides this, for an altar in S. Caterina, also in Pisa, Nino made two statues of marble--that is, a Madonna, and an Angel who is bringing her the Annunciation, wrought, like his other works, with so great diligence that it can be said that they are the best that were made in those times. Below this Madonna receiving the Annunciation Nino carved these words on the base: ON THE FIRST DAY OF FEBRUARY, 1370; and below the Angel: THESE FIGURES NINO MADE, THE SON OF ANDREA PISANO. He also made other works in that city and in Naples, whereof it is not needful to make mention.

Andrea died at the age of seventy-five, in the year 1345, and was buried by Nino in S. Maria del Fiore, with this epitaph:

INGENTI ANDREAS JACET HIC PISANUS IN URNA,
MARMORE QUI POTUIT SPIRANTES DUCERE VULTUS,
ET SIMULACRA DEUM MEDIIS IMPONERE TEMPLIS
EX AERE, EX AURO CANDENTI, ET PULCRO ELEPHANTO.

BUONAMICO BUFFALMACCO

LIFE OF BUONAMICO BUFFALMACCO,

PAINTER OF FLORENCE

Buonamico di Cristofano, called Buffalmacco, painter of Florence, who was a disciple of Andrea Tafi, and celebrated for his jokes by Messer Giovanni Boccaccio in his _Decameron_, was, as is known, a very dear companion of Bruno and Calandrino, painters equally humorous and gay; and as may be seen in his works, scattered throughout all Tuscany, he was a man of passing good judgment in his art of painting. Franco Sacchetti relates in his three hundred Stories (to begin with the things that this man did while still youthful), that Buffalmacco lived, while he was a lad, with Andrea, and that this master of his used to make it a custom, when the nights were long, to get up before daylight to labour, and to call the lads to night-work. This being displeasing to Buonamico, who was made to rise out of his soundest sleep, he began to think of finding a way whereby Andrea might give up rising so much before daylight to work, and he succeeded; for having found thirty large cockroaches, or rather blackbeetles, in a badly swept cellar, with certain fine and short needles he fixed a little taper on the back of each of the said cockroaches, and, the hour coming when Andrea was wont to rise, he lit the tapers and put the animals one by one into the room of Andrea, through a chink in the door. He, awaking at the very hour when he was wont to call Buffalmacco, and seeing those little lights, all full of fear began to tremble and in great terror to recommend himself under his breath to God, like the old gaffer that he was, and to say his prayers or psalms; and finally, putting his head below the bedclothes, he made no attempt for that night to call Buffalmacco, but stayed as he was, ever trembling with fear, up to daylight. In the morning, then, having risen, he asked Buonamico if he had seen, as he had himself, more than a thousand demons; whereupon Buonamico said he had not, because he had kept his eyes closed, and was marvelling that he had not been called to night-work. "To night-work!" said Tafo, "I have had something else to think of besides painting, and I am resolved at all costs to go and live in another house." The following night, although Buonamico put only three of them into the said room of Tafo, none the less, what with terror of the past night and of those few devils that he saw, he slept not a wink; nay, no sooner was it daylight than he rushed from the house, meaning never to return, and a great business it was to make him change his mind. At last Buonamico brought the parish priest, who consoled him the best that he could. Later, Tafo and Buonamico discoursing over the affair, Buonamico said: "I have ever heard tell that the greatest enemies of God are the demons, and that in consequence they must also be the most capital adversaries of painters; because, besides that we make them ever most hideous, what is worse, we never attend to aught else than to making saints, male and female, on walls and panels, and to making men more devout and more upright thereby, to the despite of the demons; wherefore, these demons having a grudge against us for this, as beings that have greater power by night than by day they come and play us these tricks, and worse tricks will they play if this use of rising for night-work is not given up completely." With these and many other speeches Buffalmacco knew so well how to manage the business, being borne out by what Sir Priest kept saying, that Tafo gave over rising for night-work, and the devils ceased going through the house at night with little lights. But Tafo beginning again, for the love of gain, not many months afterwards, having almost forgotten all fear, to rise once more to work in the night and to call Buffalmacco, the cockroaches too began again to wander about; wherefore he was forced by fear to give up the habit entirely, being above all advised to do this by the priest. Afterwards this affair, spreading throughout the city, brought it about that for a time neither Tafo nor other painters made a practice of rising to work at night. Later, and no long time after this, Buffalmacco, having become a passing good master, took leave of Tafo, as the same Franco relates, and began to work for himself; and he never lacked for something to do.