Chapter II: The Pavement (2)

Of the four other Virtues, _Justice_, _Christian Piety_, _Prudence_, and _Temperance_ (Nos. 20, 19, 18, and 17), there is little definite to be said. Padre Micheli[96] following Milanesi[97] gives 1406 as the possible date of the two first, 1380 as that of the other two; but there is nothing in their present condition to prove either one date or the other. The only thing that may be noticed is that the restoration of _Justice_ and _Prudence_ shows more vigour of conception and boldness of line, with far more satisfactory results than have been shown in the case of _Fortitude_ and _Temperance_. _Fortitude_, we know, was restored in 1839, and _Temperance_ perhaps at the same time. _Christian Piety_ is half covered by the great lectern, and so obliterated by the feet of readers and singers as to be now almost indistinguishable. The frieze of ladders (_scaglioni_) and thorns (_spini_), surrounding these works, is said to have been executed in 1406.[98]

Descending again three steps corresponding to those on the opposite side of the church we come to the design of

_Samson slaying the Philistines with the jawbone of an ass_ (No. 14).

alluded to above. The workmanship and style of this picture certainly resembles that of _Joshua and the Five Kings_ on the north side, but it is a finer and a grander piece of work. The grouping is bolder and more forcible. Samson, a giant figure, is administering chastisement to a Philistine in the manner of a schoolmaster to a naughty boy. He holds aloft, not merely the jawbone of an ass, but the whole skull. Some of his opponents lie slaughtered on the ground, and a crowd of them cowers away in terror, to the right of the composition. (Ill. XX.)

This design, as we have said before, is mentioned by Tizio[99] among those projected in 1424, and was probably executed by Paolo di Martino in 1426. On either side of it are the single figures of _Moses_ (No. 16) and _Judas Maccabeus_ (No. 15). Milanesi in his _Discorso_[100] attributes the figure of _Moses_, like that of _Joshua_ (No. 23), to Paolo di Martino in 1426, while that of _Judas Maccabeus_, now hidden almost entirely by the balustrade of the altar of the Blessed Sacrament, and also recorded by Tizio (in the notice already more than once referred to), Padre Micheli[101] supposes, and there is no evidence to contradict him, to have been the work of Domenico del Coro in 1424.

Before descending the step to the South Transept, I would wish to draw the reader’s attention to the fact, that this step does not run parallel with the steps above it, and that the platform is narrower at this end than at the other. Consequently, the design of _Samson_ and those in the transept, now to be described, are all more or less irregular in shape. Whether this is due to some structural defect in the original building, or to some inequality in the foundation, it is impossible now to say.

8. THE SOUTH TRANSEPT.

This transept is complicated in its general plan by the irregularity above referred to. It contains _two_ pictures to correspond to the _one_ (the _Story of Judith_) on the opposite side of the church, and is further broken up by varied designs, of different sizes, before what was once the Porta del Perdono, and is now the Cappella del Voto.

The first picture, that we come to, is very remarkable, especially since it is the only one which is neither biblical, symbolical, nor heraldic. It professes to be a portrait of the

_Emperor Sigismund_ (No. 13),

who in 1433 was a visitor for some months to the city. (Ill. XXI.)

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.

The design of it is generally attributed to Minella himself, and from the high merit of its conception and composition this is very probable, but there are no records to prove more than that he superintended its execution. Tizio[110] includes it in the list of works to which he gives the date 1424, but this, as I have already pointed out, is an obvious mistake.

Below these two designs we come to another fine large picture, similar to those in the North Transept. It represents

_The Story of Jephthah’s Victory, and the Sacrifice of his Daughter_ (No. 11).

The greater part of the composition is taken up with the Fight and Victory; and the expression of violent action on the part of the combatants is wonderfully forcible. To the left Jephthah, on his charger, a crown on his head, and clothed like a Roman emperor, gives orders to his men. Near him we notice a charming group of two young men conversing, one of whom, a negro, stands out from the picture with startling vividness. (Ill. XXIII.). Above, in the background, Jephthah’s daughter is seen coming out of the city gates, with a joyous crowd of maiden companions, to greet her victorious father; while, still farther into the top left-hand corner, we may see the unhappy father, in a tiny temple, sacrificing his daughter, in fulfilment of his rash vow. Of this work we find two notices in the Archives,[111] the first, dealing with advances made on two occasions to the artist, and the other, recording payment for the complete work. The artist employed upon it was Bastiano di Francesco di Sano, of whom we have already spoken, and he appears in this case to have been both designer and executant. The work seems to have been commenced either late in 1481 or at the beginning of 1482, but not finished until the end of 1484 or early in 1485. Not that the artist was idle, for, as we have seen, he had work to do elsewhere on the Pavement in the interval, besides various sculptures commissioned by the cathedral authorities.[112] He received for it in all a sum of 2,555 lire. Its restoration in 1869–78 cost 2,664 lire 8 c. (Ill. XXIII.)

Below this design, the plan of the floor is very much broken up. The reader must, however, bear in mind that up to the year 1661, when Pope Alexander VII. (Fabio Chigi) began to build the Cappella della Madonna del Voto, to contain the famous wonder-working picture of the Madonna, Protectress of Siena, this portion of the Pavement lay before the _Porta del Perdono_, to which I have made frequent reference at the commencement of this chapter. This Porta del Perdono must have been a sort of _Porta Sacra_, opened only in solemn state in the years of Jubilee.[113] Fragments of it still exist, and may be seen built into the outer wall of the bay, next to the above-mentioned Chapel; and the inscription, quoted in the note, is now to be found over the left hand doorway of the Western façade. There are many notices still to be found dealing with this important entrance. Several, to which we have referred already, dealt with the adornment of the wide step or platform, that apparently led to it from the outside. All this has now perished. Inside, however, the floor has fared better, and the beautiful painting by Maestro Gregorio (1423), which hung above an altar[114] once erected over this door, and belonging to the Tolomei family, still exists in the Museum of the Opera del Duomo. It was, no doubt, the fact that long periods of time passed between each successive opening of this door, which gave Antonio di Federigo, or Federighi, the idea of placing before it his beautiful design of the

_Seven Ages in the Life of Man. Infancy, Childhood, Adolescence, Youth, Manhood, Age, and Decrepitude_ (No. 6).

All seven are treated with a _naïveté_ and grace impossible to surpass. (Ill. XVIII.) Not only the figures themselves, but also their accessories; the budding blossoms, the over-blown flowers, and the handsome classical tomb to which “_Decrepitas_” is tottering, show a taste and feeling beyond description. Federighi, we read, designed and executed this delightful work in 1475,[115] and, at about the same date, the friezes of stags, and perhaps the beautiful lily (Ill. XXIV.), candlestick (Ill. XXII.) and geometrical pattern, in the angle formed by the _Seven Ages_ with the Cupola designs, were also laid down; but we cannot be sure whether they are by the same master or not. All that we do know for certain about them is drawn from two notices,[116] recording payments to a certain Bartolino of Massa da Carrara for marble for work in the Duomo, among which the “frieze of stags” (_fregio del cervio_), and a frieze at the Porta del Perdono are especially mentioned.

ALINARI PHOTO.] [DESIGNED BY ANTONIO FEDERIGHI

XVIII. THE SEVEN AGES OF MAN (No. 6)]

The work visible here now is wholly a restoration; but Federighi’s _Seven Ages_ may be seen nearly complete in the Museum of the Opera, together with part of the frieze of stags. Fragments of the other friezes and borders are also to be found, laid down outside the north aisle of the Cathedral, in the little courtyard between it and the present Palace of the Archbishop.

Federighi’s work, when removed (1869–1878), was replaced by the fine copy, which we now see, executed by Leopoldo Maccari and Giuseppe Radicchi. The cost of restoration, at this date, of the entire angle amounted to 22,254 lire 26 c.

There is no record of any early work ever having existed between this design and the destroyed Porta, which probably stood nearly on the same spot as the doorway of the present Cappella del Voto. Perhaps the erection of this newer archway created a wider space. However this may have been, designs for the four Theological Virtues, _Religion_, _Faith_, _Hope_, and _Charity_ were made by Carlo Amidei, and executed here by Matteo Pini[117] in 1780. These designs were not admired, and, moreover, did not stand the wear of time as the older work had done. They were, therefore, removed in 1870, and replaced by entirely new designs, made by Professor Alessandro Franchi, and executed, under his direction, by Leopoldo Maccari.

Before commencing the description of the last two sections of the Pavement, I must remind my reader once more, that, after a great part of it had been laid down, an important radical change took place in the interior arrangements of the Duomo.

Up to the commencement of the sixteenth century the great High Altar, glorified by Duccio’s grand _Maestà_, stood in the centre of the Cathedral, under the Cupola. This part, therefore, of the floor was not decorated. But, on the other hand, that above the steps, where the Choir and Altar now are, was so adorned.

By the advice of Baldassare Peruzzi, Capo-maestro in 1532, the whole arrangement was changed. In accordance with his plans, and under his direction, Choir and Altar were moved further east, and placed in the position that they now occupy.

Of the original floor decorations, then, all that now remain _in situ_ are the designs in the Choir Ambulatory above-mentioned, and Domenico del Coro’s work, to be described shortly. Fragments of the older work, removed to make way for the alterations, still exist; and, until 1878, were used to fill up three of the hexagons under the Cupola. At that date, as we shall presently see, they were finally removed to the Museum of the Opera, and replaced by modern work of an entirely different character.

* * * * *

Let us now proceed eastwards and examine

9. THE CHOIR AND ALTAR-STEPS.

Before the lowest step of the High Altar, we find one large design, and on either side of it seven small ones; the whole being inclosed by a long processional frieze.

The principal design represents

_Abraham’s Sacrifice_ (No. 56).

The whole story is told in different parts of the picture, culminating in the central group of the Sacrifice itself. The smaller designs represent the following subjects.

* * * * *

On the right of the Altar:

1. _Elisha raising the son of the Shunammite._

2. _A prophet with an open book before him._

3. _Eve on her knees._

4. _A woman, holding in her hand an open book._

5. _Another woman, with a mirror, representing Prudence._

6. _The Sacrifice of Melchisedec._

7. _A seated woman, with a child._

On the left:

1. _The old Tobit, with his son, Tobias, and the Angel Raphael. At their feet a dog._

2. _A woman, representing Charity._

3. _Adam kneeling._

4. _A prophet, gazing up to Heaven._

5. _Another woman, seated, holding a book in her hand._

6. _The Sacrifice of Abel._

7. _Another woman, seated, with a child._

A great procession runs all round these, composed of men and women of all ages, shown in half-length, representing

_The Children of Israel seeking the Promised Land_.

All these designs were the work of Domenico di Jacopo di Pace Beccafumi, called Il Mecharino, and we read in Alfonso Landi’s _Descrizione del Pavimento_ and in the notes of Abate Faluschi[118] that they were executed between the years 1544 and 1546. The writers refer to (as their authority) the Libro Giallo dell’ Assunta of the Cathedral Archives, and state that the artist received 8,004 lire 19 c. for his work. The subjects chosen fitly complete the general scheme of the floor, surrounding, as they do, the Altar, with symbolical imagery from the Old Testament. The repentant Adam and Eve, the three Typical Sacrifices, Prophets, Virtues, the Guardian Angel, and around the whole a host of believers hastening to the Promised Land. Some of the drawing is very beautiful and extremely decorative, notably the frieze. The beautiful figure of Eve, indeed, has been even attributed to Giovanni Antonio Bazzi (_Il Sodoma_), who is known to have received a commission to make at least one design for this floor.[119] This, however, is wholly uncertain, and cannot now be verified. The workmen employed here, and the sums they received respectively, we learn from the above sources and from Milanesi.[120] They were Bernardino di Giacomo, who received for his labour 475 scudi, and Pellegrino di Pietro, 151 sc., 1. 4. These men were probably masons in the regular employ of the Cathedral, for Bernardino, at least, seems to have been employed on all the work done at this time.

Descending three steps we come to Domenico del Coro’s design of David, to which we have had occasion to refer already more than once.

_David as King and Psalmist, and David and Goliath._

In a circular panel, David, as King, sits on a throne with a sort of zither on his knee, while, with his right hand, he points to an open book of Psalms, propped upon a lectern by his side. Around him stand four courtiers holding each a primitive musical instrument:--a small organ, a tambourine, a mandoline, and a viol. The whole picture is surrounded by a graceful cornice of leaves. On either side of the central picture, in a lozenge-shaped space, is a single figure; on the one side is the youth David slinging his stone, and upon the other the giant Goliath falling backwards. It is curious that Goliath has a hole in his forehead, although the stone has not reached him; while, at the same time, the stone is both still in David’s sling and in the air above Goliath. The figures in the central composition are fine, but much altered by restoration. Those of David and Goliath are more original, and have probably suffered less. These designs are undoubtedly the work of Domenico del Coro, executed during the Rectorship of Bartolommeo Cecchi: and the cornice and frieze work around them is that of Agostino da Niccolo, for we read special notice of this fact in a memorandum of payment to the latter, dated June 6th, 1423.[121]

Below another step we come to the largest and most pretentious of Beccafumi’s designs.

_Moses’ Ascent of Mount Sinai, his Receipt of the Tables of the Law, and the Idolatry of the Children of Israel_ (No. 52). (Ill. XXV.)

The story is told in six parts, combined into one large picture. Above, in the centre, Moses kneels on the mountain top (α). The light of Heaven streams over him, and he receives the Tables of the Law into his outstretched hands. Below in the centre he lifts the Tables over his head, to dash them to pieces on the ground (δ). In the upper _left_-hand corner, the Elders of Israel are seen persuading Aaron, who points to Moses on the mountain, to make the Golden Calf (β): in the lower, we see him casting their gold and jewels into the fire to make it (θ). In the lower _right_-hand corner the Israelites are worshipping the Calf (η), while above they are smitten with plague and dying in agony (γ). This work appears to have been originally commissioned by a certain Antonio d’Agostino del Vescovo, then Rector (1524);[122] but, as we read from an inscription let into the beautiful frieze that surrounds it, it was completed under the direction of his successor, Francesco di Carlo Tolomei. Beccafumi received on the 30th of August, 1531, 120 scudi for these designs,[123] according to a valuation made for Tolomei by Baldassare Peruzzi himself;[124] which suggests the idea that these two great artists may have together planned the new arrangements of the Choir, and a scheme of decoration to adorn it, when complete. From Landi and Faluschi we learn that the workmen here employed[125] were the same Bernardino di Giacomo, who now received for his work 969 scudi 13: Giacomo di Pietro Gallo, 133 sc. 6.8; Bartolommeo di Pietro Gallo, 41 sc.; and Giovanni d’Antonio Marinelli, called _il Mugnaino_, 486 sc. To these Milanesi adds two more, not mentioned by either of the above authorities: Niccolo Filippi and Cristofano di Carbone.[126]

Immediately below these scenes a long narrow design, also by Beccafumi, shows

_Moses striking the Rock to bring water for the thirsting Israelites_ (No. 51).

This is by far the most pleasing and successful of Beccafumi’s works. We can see, from its very simplicity, how much its charm depends upon sheer skill of drawing. This work was executed in 1525,[127] but we do not find any record as to the amount paid to him for it, or the workmen employed upon it. Probably they were the same as had carried out his previous designs.[128] These scenes by Beccafumi provoked the most extravagant admiration and applause from the writers of the seventeenth, eighteenth and early nineteenth centuries; and as _tours de force_, and specimens of a new kind of work, they are certainly remarkable. They do not, however, succeed in provoking that feeling of pleasure and charm, that one experiences when studying the older and simpler productions.

And now we come to the last section, and some of the latest work.

10. UNDER THE CUPOLA.

This vast hexagonal space is divided into seven hexagons and six lozenges. They all now contain scenes from the _Story of Elijah_, completing what probably was Beccafumi’s original design. That that artist _did_ prepare designs for four of the hexagons, for two of the lozenges and for a frieze, we have abundant evidence, for we have no less than five notices,[129] between the 11th of March, 1518–19, and the 18th of June, 1524, in the books of the Opera, of payment to him, not only for his labour, but also for the paper used for his cartoons. It is also to be noted that the commission for this work was given him earlier than that of any of the other works above described. Upon these grounds, Professor Luigi Mussini, writing on the Pavement,[130] supposes that they were executed in 1517, and likens them to Pinturicchio’s work of eleven years before. A recent writer in the Miscellanea Storica Senese,[131] however, contests this statement, and quotes a document in the Archives dated 1562,[132] which states that a certain person, called there _Giovan Battista nostro_, designed four scenes from the _Story of Elijah_ for the Duomo floor, which, we gather from the same sources, were executed by the Cathedral masons, Niccolo di Girolamo Gori, Domenico di Pier Giovanni, and the same Bernardino di Jacomo.

This Giovan Battista was Giovanni Battista di Girolamo Sozzini, brother of Alessandro Sozzini, Diarist of the last Siege of Siena. He was a pupil of Beccafumi’s, and of his work, Scipio Bargagli in his _Imprese_ speaks in high praise, specially mentioning some _mandorle_ designed by him, “placed _near_ the grand works of the great Mecarino.”[133] To add to these facts, we know that Sozzini retained in his possession many drawings by Beccafumi, and among them his cartoons for the floor. These designs he sold to the architect Tiburzio Spannocchi, and it is recorded in the Archives of the Duomo,[134] that the Cathedral authorities endeavoured, but apparently unsuccessfully, to recover them. Some of these have now, as we know, found their way into the Public Picture Gallery. These six designs differ in treatment from Beccafumi’s other work, and the drawing and composition of them is not so striking. The large hexagons represent:

1. _The Compact between Elijah and Ahab_ (in the centre). (Ill. XIX.) No. 42.[135]

2. _Ahab’s Sacrifice_ (to the left). No. 44.

3. _Elijah’s Sacrifice_ (above). No. 41.

4. _The Slaughter of the Prophets of Baal_ (to the right). No. 43.

The small ones:

5. _Ahab comes to meet Elijah._ No. 46.

6. _Elijah sends Obadiah to fetch Ahab._ No. 45.

It does not seem to me, however, that the learned writer of the above-referred-to article brings forward any _real_ ground for doubting Beccafumi’s authorship of these designs. The Document quoted, and Scipio Bargagli, both speak of “_mandorle_,” which appears to have been the technical expression for the _lozenges_ filling up the great hexagon, in contradistinction to the words “_tondo_” or “_esagono_,” used to describe the larger sections. The documents dated 6th of September, 1521, and 18th of June, 1524, together expressly mention four _tondi_ and two _mandorle_, which exactly accounts for the designs in question. It seems unnecessary, therefore, to strain the word _mandorle_ to mean something else than its more obvious meaning: and it is surely much more probable, that the document and quotation, both refer to designs for the remaining four _mandorle_, which are generally supposed to have been filled in by Carlo Amidei, and Matteo Pini in 1780.[136] However this may be, the smallness of the sum paid for the designs, 75 soldi, makes the idea, that it was a payment for drawings of any size, even more improbable and absurd.

ALINARI PHOTO.] [DESIGNED BY DOMENICO BECCAFUMI

XIX. ELIJAH’S COMPACT WITH AHAB (No. 42)]

The three remaining hexagons, up to 1878, contained fragments, and most interesting fragments, of older work, which evidently once formed part of the floor, where the High Altar now stands. To the left, looking east, was a delightful design representing the _Blind leading the Blind_. An old man is holding one end of a stick, while a young man, also blind, is grasping it at the other end. The older man is just stepping over a precipice into space. Below them is a delightful _putto_, holding in one hand a mirror, and a label with the word “_Notate_” upon it. This design we know to have been the work of Antonio Federighi in 1459; and for it he received 46 lire.[137] It was apparently ordered by the Rector, Benedetto di Biagio di Roberto, and completed during the Directorate of Cristofano Felice.[138]

The middle design illustrates the _Parable of the Mote and the Beam_; and though it dates from 1374–5,[139] strangely enough is now in the best preservation of the three.

The third design was a scene of a stately-looking bearded man, giving alms to a woman with a child in her arms. This is generally supposed to be that work of Domenico del Coro[140] which is referred to in a document dated 1433, as being placed by him in the choir (then under the cupola) _from the lectern downwards, in that place where they stand to sing_,[141] and for which he received 357 lire.

It is impossible now to tell what was the original shape of these designs, or where they were placed. But to fit them into the hexagons, they were made into more or less complete triangles, the remainder of the space being filled up with fragments of old friezes, brought probably from the same place.

In 1875, the fragments left of them, and of the four later _mandorle_, were removed to the Museum of the Opera, where they now are, and in 1878, all seven were replaced by others, completing the _Story of Elijah and Ahab_.

The subjects chosen are, for the larger ones:

1. _Ahab mortally wounded._ No. 40.

2. _Elijah carried to Heaven in a Chariot of Fire._ No. 38. (Ill. XXVI.)

3. _Elijah predicts the manner of Ahab’s death._ No. 39.

For the smaller ones:

1. _Elijah fed by Ravens._ No. 47.

2. _Elijah raises the widow’s son._ No. 50.

3. _Elijah asks bread of the widow._ No. 49.

4. _Elijah anoints Jehu, King of Israel._ No. 48.

These designs were made by Professor Alessandro Franchi, the present Director of the Accademia delle Belle Arti, and were executed under his direction by Leopoldo Maccari and Antonio Radicchi.[142] The smaller ones follow to some extent the older lines, but in the larger ones, the artist has struck out for himself; and, if the result is in somewhat startling contrast to everything preceding it, there is no doubt that his work is full of skill and merit of a most scholarly and remarkable kind. Under his care, and with the able support of the above-mentioned two artists, aided by a generous legacy of a former Rector, Cav. Pietro Bambagini Galletti, the whole Pavement has undergone the Restoration, to which I have referred so often,[143] and is now in as perfect a condition as constant loving and intelligent care can keep it, without entirely hoarding it from view.