said, and Puccio Capanna, a Florentine, who painted for the Dominican
church of S. Cataldo at Rimini a most perfect fresco representing a
ship apparently about to sink, while the men are throwing their goods
into the water. Puccio has here portrayed himself in the midst of the
sailors. After Giotto's death, the same artist painted a number of
things in the church of S. Francesco at Assisi, and for the chapel of
the Strozzi, beside the door on the river front of the church of
Trinita he did in fresco a coronation of the Virgin with a choir of
angels, in which he followed Giotto's style rather closely, while on
the side walls are some very well executed scenes from the life of St
Lucy. In the Badia of Florence he painted the chapel of S. Giovanni
Evangelista of the family of the Covoni, which is next to the
sacristy. At Pistoia he did frescoes in the principal chapel of S.
Francesco, and the chapel of S. Ludovico, with scenes from the lives
of the patron saints, which are very tolerable productions. In the
middle of the church of S. Domenico in the same city is a crucifix
with a Madonna and St John, executed with much softness, and at the
feet an entire human skeleton, an unusual thing at that time, which
shows that Puccio had made efforts to understand the principles of
his art. This work contains his name, written after this fashion:
_Puccio di Fiorenza me Fece_. In the same church, in the tympanum
above the door of S. Maria Nuova are three half-length figures,--Our
Lady, with the Child on her arm, St Peter on the one side and St
Francis on the other, by the same artist. In the lower church of S.
Francesco at Assisi he further painted in fresco some scenes from the
passion of Jesus Christ, with considerable skill and much vigour, and
in the chapel of S. Maria degli Angeli of that church he executed in
fresco a Christ in glory, with the Virgin, who is interceding with
Him for Christian people, a work of considerable merit, but much
smoked by the lamps and candles which are always burning there in
great quantity. In truth, so far as one can judge, although Puccio
adopted the style and methods of his master Giotto, yet he did not
make sufficient use of them in his works, although, as some assert,
he did not live long, but sickened and died through working too much
in fresco. His hand may also be recognised in the chapel of St Martin
in the same church, in the history of the saint, done in fresco for
the Cardinal Gentile. In the middle of a street called Portica may
also be seen a Christ at the Column, and a picture of Our Lady
between St Catherine and St Clare. His works are scattered about in
many other places, such as Bologna, where there is a picture of the
passion of Christ in the transept of the church, and scenes from the
life of St Francis, besides other things which I omit for the sake of
brevity. But at Assisi, where the majority of his works are, and
where I believe he helped Giotto to paint, I found that they consider
him to be a fellow-citizen, and there are some members of the family
of the Capanni in that city to this day. From this we may gather that
he was born in Florence, since he himself wrote that he was a pupil
of Giotto, but that he took his wife from Assisi, and had children
there, whose descendants still inhabit the town. But this matter is
of very slight importance, and it is enough to know that he was a
skilful master. Another pupil of Giotto, and a very skilful painter
was Ottaviano da Faenza, who painted many things in S. Giorgio at
Ferrara, a convent of the monks of Monte Oliveto. In Faenza, where he
lived and died, he painted in the tympanum above the door of S.
Francesco, Our Lady and St Peter and St Paul, and many other things
in his own country and at Bologna.
Another pupil was Pace di Faenza, who was often with his master, and
helped him in many things. At Bologna there are some scenes in fresco
by his hand on the outside front of S. Giovanni Decollato. This Pace
was a clever artist, especially in painting small figures, as may be
seen to-day in the church of S. Francesco at Forli, in a tree of the
cross and in a panel in tempera containing the life of Christ, and
four small subjects from the life of Our Lady, which are all very
well executed. It is said that he executed in fresco for the chapel
of St Anthony at Assisi, some scenes from the life of that saint for
a duke of Spoleto, who is buried there with a son. These two princes
had been killed while fighting in the suburbs of Assisi, as may be
seen by a long inscription on the sarcophagus of their tomb. The old
book of the company of painters records that one Francesco, called
"of Master Giotto," was another pupil of the master, but I know
nothing more about him.
Yet another pupil of Giotto was Guglielmo da Forli, who, besides many
other works, painted the chapel of the high altar for S. Domenico at
Forli, his native place. Other pupils were Pietro Laureati, Simone
Memmi of Siena, Stefano of Florence, and Pietro Cavallini of Rome.
But as I intend to deal fully with these in their lives, I shall
content myself here with simply saying that they were pupils of
Giotto. That the master drew extremely well for his day may be seen
on a number of parchments containing some water colours, pen and ink
drawings, chiaroscuros with the lights in white, by his hand, in our
book of designs, which are truly marvellous when compared with those
of the masters who preceded him, and afford a good example of his
style.
As has been said, Giotto was a very witty and pleasant person, very
ready in speech, many of his sayings being still fresh in the memory
of his fellow-citizens. Besides the one related by M. Giovanni
Boccaccio, several very good stories are told by Franco Sacchetti in
his "Three Hundred Tales." I give one in the author's own words,
because it contains many expressions and phrases characteristic of
the time. The rubric of this one runs: "Giotto, the great painter, is
requested by a person of low birth to paint his buckler. Making a
jest of the matter, he paints it so as to cover the applicant with
confusion."
TALE LXIII.
Every one must have heard of Giotto, and how as a painter he
surpassed all others. His fame came to the ears of a rude artizan,
who, having to do service in some castle, wanted his buckler painted.
Accordingly he presented himself abruptly at Giotto's workshop, with
a man to carry the buckler behind him. He found Giotto in, and began:
"God save thee, Master, I want to have my arms painted on this
buckler." Giotto took stock of the man and his manners, but he said
nothing except "When do you want it," and the man told him. "Leave it
to me," said Giotto, and the man departed. When Giotto was alone he
reflected: "What is the meaning of this? Has someone sent him here to
play a trick on me? Be that as it may, no one has ever before brought
me a buckler to paint. And the fellow who brought it is a simple
creature, and asks me to paint his arms as if he was of the royal
house of France. Decidedly I shall have to make him some new arms."
Reflecting thus with himself he sat down before the buckler, and
having designed what he thought proper, he called a pupil and told
him to complete the painting of it, which he accordingly did. The
painting represented a light helmet, a gorget, a pair of arm pieces,
a pair of iron gauntlets, a pair of cuirasses, a pair of cuisses and
gambadoes, a sword, a knife, and a lance. When the worthy man
returned, who knew nothing of all this, he came up and said: "Master,
is the buckler finished." "Oh yes," said Giotto, "go you and bring it
here." When it arrived this gentleman by proxy looked hard at it and
said to Giotto: "What rubbish have you painted here?" "Will you think
it rubbish to pay for it?" said Giotto. "I won't pay you four
deniers," said the man. "What did you ask me to paint?" asked Giotto.
"My arms," replied the man. "Well," said Giotto, "are they not here,
are any wanting?" "That is so," said the man. "A plague on you,"
said Giotto, "you must needs be very simple. If anyone asked you who
you were you would be at a loss to tell him, and yet you come here
and say, 'paint me my arms.' If you had been one of the Bardi, well
and good, but what arms do you bear? Where do you come from? Who were
your ancestors? Begin at least by coming into the world before you
talk of arms as if you were the Dusnam of Bavaria. I have represented
all your arms on the buckler, and if you have any more tell me and I
will have them painted." "You have given me rough words," said the
man, "and spoilt my buckler." He then departed to the justice, and
procured a summons against Giotto. The latter appeared, and on his
side issued a summons against the man for two florins, as the price
of the painting. When the magistrates had heard the arguments, which
were much better advanced on Giotto's side, they adjudged that the
man should take away his buckler, and give six lire to Giotto,
because he was in the right. Accordingly the rustic took his buckler,
paid the money, and was allowed to go. Thus this man, who did not
know his place, had it pointed out to him, and may this befall all
such fellows who wish to have arms and found houses, and whose
antecedents have often been picked up at the foundling hospitals!
It is said that while Giotto was still a boy, and with Cimabue, he
once painted a fly on the nose of a figure which Cimabue had made, so
naturally that when his master turned round to go on with his work,
he more than once attempted to drive the fly away with his hand,
believing it to be real, before he became aware of his mistake. I
could tell many more of Giotto's practical jokes, and relate many of
his sharp retorts, but I wish to confine myself to the things which
concern the arts, and I must leave the rest to Franco and the others.
In conclusion, in order that Giotto should not be without a memorial,
in addition to the works which came from his hand, and to the notices
left by the writers of his day, since it was he who found once again
the true method of painting, which had been lost many years before
his time, it was decreed by public order that his bust in marble,
executed by Benedetto da Maiano, an Excellent sculptor, should be
placed in S. Maria del Fiore. This was due to the activity and zeal
displayed by Lorenzo dei Medici, the Magnificent, the elder, who
greatly admired Giotto's talents. The following verses by that divine
man, Messer Angelo Poliziano, were inscribed on the monument, so that
all men who excelled in any profession whatever, might hope to earn
such a memorial, which Giotto, for his part, had most richly deserved
and earned:
Ille ego sum, per quem pictura extincta revixit,
Cui quam recta manus. tam fuit et facilis.
Naturae deerat nostrae, quod defait arti:
Plus licuit nulli pingere, nec melius.
Miraris turrim egregiam sacro aere sonantem?
Haec quoque de modulo crevit ad astra meo.
Denique sum Jottus, quid opus fuit illa referre?
Hoc nomen longi carminis instar erit.
And in order that those who come after may see by Giotto's own
designs the nature of the excellence of this great man, there are
some magnificent specimens in my book, which I have collected with
great care as well as with much trouble and expense.
Agostino and Agnolo, Sculptors and Architects of Siena.
Among the others who worked in the school of the sculptors Giovanni
and Niccola Pisani were Agostino and Agnolo, sculptors of Siena,
whose lives we are now writing, and who achieved great success
according to the standard of the time. I have discovered that their
father and mother were both Sienese, and their antecedents were
architects, for the Fontebranda was completed by them in the year
1190, under the government of the three Consols, and in the following
year they founded the Custom House and other buildings of Siena,
under the same consulship. Indeed it is often seen that where the
seeds of talent have existed for a long time they often germinate and
put forth shoots so that they afterwards produce greater and better
fruit than the first plants had done. Thus Agostino and Agnolo added
many improvements to the style of Giovanni and Niccola Pisani, and
enriched art with better designs and inventions, as their works
clearly show. It is said that when Giovanni Pisano returned to Pisa
from Naples in the year 1284, he stopped at Siena to design and found
the façade of the Duomo, where the three principal doors are, so that
it should be entirely adorned with marble. It was then that Agostino,
who was not more than fifteen years of age at the time, associated
with him in order to study sculpture, of which he had learned the
first principles, being no less attracted by that art than by
architecture. Under Giovanni's instruction and by means of
unremitting study he surpassed all his fellow-pupils in design, grace
and style, so that everyone remarked that he was his master's right
eye. And because it is natural to desire for those whom one loves
beyond all other gifts of nature, mind or fortune, that quality of
worth which alone renders men great and noble in this life and
blessed in the next, Agostino took advantage of Giovanni's presence
to secure the same advantages for his younger brother Agnolo; nor was
if very difficult to do so, for the practice already enjoyed by
Agnolo with Agostino and the other sculptors, and the honour and
benefits which he perceived could be gained from this art, had so
inflamed him with a desire to take up the study of sculpture, that he
had already made a few things in secret before the idea had occurred
to Agostino. The elder brother was engaged with Giovanni in making
the marble reliefs for the high altar of the Vescovado of Arezzo,
which has been mentioned above, and he succeeded in securing the
co-operation of Agnolo in that work, who did so well, that when it
was completed, it was found that he had surpassed Agostino in
excellence. When this became known to Giovanni, he employed both
brothers in many other works undertaken by him subsequently in
Pistoia, Pisa, and other places. And because Agostino practised
architecture as well as sculpture, it was not long before he designed
a palace in Malborghetto for the Nine who then ruled in Siena, that
is to say, in the year 1308. The execution of this work won the
brothers such a reputation in their native place, that, when they
returned to Siena after the death of Giovanni, they were both
appointed architects of the State, so that in the year 1317 the north
front of the Duomo was made under their direction, and in 1321 the
building of the wall of the porta Romana, then known as the porta S.
Martino, was begun from their plans in its present style, being
finished in 1326. They restored the Tufi Gate, originally called the
Gate of S. Agata all Arco, and in the same year the church and
convent of S. Francesco were begun from their design, in the presence
of the cardinal of Gaeta, the papal legate. Not long afterwards
Agostino and Agnolo were invited by means of some of the Tolomei who
were staying in exile at Orvieto, to make some sculptures for the
work of S. Maria in that city. Going thither they made in sculpture
some prophets which are now on the façade, and are the finest and
best proportioned parts of that celebrated work. Now in the year 1326
it chanced that Giotto was summoned to Naples by means of Charles,
Duke of Calabria, who was then staying in Florence, to do some things
in S. Chiara and other places there for King Robert, as has been
related in that master's life. On his way to Naples Giotto stopped at
Orvieto to see the work which had been executed there and which was
still being carried on by so many men, wishing to examine everything
minutely. But the prophets of Agostino and Agnolo of Siena pleased
him more than all the other sculptures, from which circumstance it
arose that Giotto not only commended them, but counted them among
the number of his friends, to their great delight, and further
recommended them to Piero Saccone of Pietramala, as the best
sculptors of the day, and the best fitted to make the tomb of Guido,
the lord and bishop of Arezzo, a matter referred to in the life of
Giotto. Thus the fact that Giotto had seen the work of many sculptors
at Orvieto and had considered that of Agostino and Agnolo of Siena to
be the best, gave rise to their being commissioned to make this tomb
after his designs and in accordance with the model which he had sent
to Piero Saccone. They finished the tomb in the space of four years,
conducting the work with great care, and they set it up in the chapel
of the Sacrament in the church of the Vescovado of Arezzo. Above the
sarcophagus, which rests on brackets carved in a really admirable
manner, is stretched the form of the bishop, in marble, while at the
side are some angels drawing curtains, done with considerable skill.
Twelve square panels contain scenes of the life and acts of the
bishop in an infinite number of small figures carved in half-relief.
I do not think it too much trouble to relate the subjects of these
scenes, so that it may appear with what labour they were executed,
and how these sculptors endeavoured to discover the good style by
study.
The first shows how the bishop, aided by the Ghibelline party of
Milan, who sent him 400 masons and money, entirely rebuilt the wall
of Arezzo, lengthening it more than it had previously been so that it
took the shape of a galley. The second is the taking of Lucignano di
Valdichiana; the third, that of Chiusi; the fourth, that of Fronzoli,
a strong castle of that time above Poppi, held by the sons of the
count of Battifolle. The fifth contains the final surrender to the
bishop of the castle of Rondine, after it had been besieged by the
Aretines for many months. The sixth is the capture of the castle del
Bucine in Valdarno. The seventh contains the storming of the Rocca di
Caprese, which belonged to the Count of Romena, after it had been
besieged for several months. In the eighth the bishop is dismantling
the castle of Laterino, and causing the hill which rises above it to
be cut in form of a cross, so that it should not be possible to make
another fortress there. The ninth represents the destruction and
burning of Monte Sansavino and the driving out of all the
inhabitants. The eleventh contains the bishop's coronation, with a
number of richly dressed soldiers, both horse and foot, and of other
people. The twelfth and last represents the bishop being carried by
his men from Montenero, where he fell sick, to Massa, and thence,
after his death, to Arezzo. In many places about the tomb are the
Ghibelline insignia and the bishop's arms, which are six-squared
stones or on a field _azure_, following the same arrangements as the
six balls in the arms of the Medici. These arms of the bishop's house
were described by friar Guittone, knight and poet of Arezzo, when he
wrote of the site of the castle of Pietramala, whence the family
derived its origin, in the lines:
Dove si scontra il Giglion con la Chiassa
Ivi furon i miei antecessori,
Che in campo azzurro d'or portan sei sassa.
Agnolo and Agostino displayed more art, invention, and diligence in
this work than had ever been employed on anything before their time.
And indeed they deserve the highest praise, having introduced into it
so many figures, such a variety of landscapes, places, towns, horses,
men, and other things, that it is a veritable marvel. And although
the tomb has been almost entirely destroyed by the French of the Duke
of Anjou, who sacked the greater part of the city in revenge for some
injuries received by them from their enemies, yet it is still clear
that it was executed with the most excellent judgment by Agostino and
Agnolo, who carved on it in rather large letters: _Hoc opus fecit
magister Augustinus et magister Angelus de Senis_. In 1329 they did a
marble bas-relief for the church of S. Francesco at Bologna, which is
in a very fair manner, and besides the carved ornamentation, which
is very fine, they introduced figures a braccia and a half high, of
Christ crowning Our Lady, with three similar figures on either side,
St Francis, St James, St Domenic, St Anthony of Padua, St Petronio,
and St John the Evangelist, and under each of these figures is carved
in bas-relief a scene from the life of the saint above. All these
scenes contain a great number of half-length figures, which make a
rich and beautiful ornamentation after the manner of those times.
It is very apparent that Agostino and Agnolo threw an immense amount
of labour into this work, and that they applied all their care and
knowledge to make it worthy of praise, as it truly was, and even now
when it is half destroyed, it is possible to read their names and the
date, by means of which and of a knowledge of the time when they
began it, one may see that they spent eight whole years upon it,
although it is true that at the same time they made many other
small things in different places for various persons.
Now while they were at work at Bologna, that city gave itself freely
to the Church, through the mediation of the papal legate, and the
Pope in return promised that he and his court would go to live at
Bologna, but that for his security he wished to build a castle or
fortress there. This was granted by the Bolognese, and the castle was
quickly built under the direction and from the design of Agostino and
Agnolo; but it had a very short life, for when the Bolognese
discovered that all the promises made by the Pope were vain, they
dismantled and destroyed it much more quickly than it had been made.
It is said that while these two sculptors were staying at Bologna,
the Po impetuously burst its banks, doing incredible damage to the
territories of Mantua and Ferrara, causing the death of more than ten
thousand persons, and wasting the country for miles around. Being
clever and worthy men, the assistance of Agostino and Agnolo was
requested, and they succeeded in finding means of reducing that
terrible river to its bed, and of confining it there with ditches and
other effective remedies. This brought them much praise and benefit,
for besides the fame which they acquired thereby, their services were
acknowledged by the lords of Mantua and by the house of Este with
most liberal rewards.
When they next returned to Siena in the year 1338, the new church of
S. Maria, near the old Duomo, towards the piazza Manetti, was made
under their direction from their design, and not long after, the
Sienese, who were greatly pleased with all the works which they
executed for them, decided to seize this excellent opportunity of
carrying into effect a plan which they had long discussed, but till
then without any result, namely, the erection of a public fountain on
the principal piazza opposite the palace of the Signoria. The charge
of this undertaking was entrusted to Agostino and Agnolo, and
although it was a matter of great difficulty they brought water to
the fountain by pipes made of lead and earth, and the first jet of
water was thrown up on 1st June 1343, to the great delight and
contentment of all the city, which on this account was under a great
obligation to the talent of these two citizens. At the same time the
hall of the greater council was made in the Palazzo del Pubblico, and
the same artists directed and designed the building of the tower of
that palace, which they completed in the year 1344, hanging two great
bells on it, one of which came from Grosseto, while the other was
made at Siena. In the course of time Agnolo arrived at Assisi, where
he made a chapel in the lower church of S. Francesco, and a marble
tomb for a brother of Napoleone Orsini, a cardinal and a Franciscan
friar, who had died in that place. Agostino, who had remained at
Siena in the service of the State, died while he was engaged upon the
designs for the ornamentation of the piazza fountain, mentioned
above, and was buried in the Duomo with honour. I have not been able
to discover how or when Agnolo died, so that I can say nothing about
it, nor do I know of any other works of importance by his hand, and
so this is the end of their lives. It would, however, be an error, as
I am following a Chronological order, not to make mention of some,
who, although they have not done things which would justify a
narration of their whole life, have nevertheless in some measure
added things of utility and beauty to art and to the world. Therefore
in connection with the mention made above of the Vescovado and Pieve
of Arezzo, let me here relate that Pietro and Paolo, goldsmiths of
Arezzo, who learned design from Agnolo and Agostino of Siena, were
the first who executed great works of any excellence with the chisel;
for they made for the head priest of the Pieve of Arezzo a silver
head of life-size, in which was put the head of St Donato, bishop and
protector of that city, a work which was certainly praiseworthy, if
only because they introduced into it some figures in enamel, which
were, as I have said, among the first things executed with the
chisel.