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HANDBOOKS OF THE GREAT
CRAFTSMEN. EDITED BY
G. C. WILLIAMSON, LITT.D.
THE PAVEMENT MASTERS OF SIENA
Handbooks of the Great Craftsmen.
Illustrated Monographs, Biographical and Critical, on the Great
Craftsmen and Workers of Ancient and Modern Times.
Edited by G. C. WILLIAMSON, Litt.D.
Imperial 16mo, with numerous Illustrations, about 5_s._ net each.
_First Volumes of the Series_
THE PAVEMENT MASTERS OF SIENA. Workers in Graffito. By R. H. HOBART
CUST, M.A.
PETER VISCHER. Bronze Founder. By CECIL HEADLAM, B.A.
THE IVORY WORKERS OF THE MIDDLE AGES. By A. M. CUST.
_Others to follow._
LONDON: GEORGE BELL AND SONS
NEW YORK: THE MACMILLAN CO.
THE PAVEMENT MASTERS
OF
SIENA
(1369–1562)
BY
ROBERT H. HOBART CUST, M.A.
MAGDALEN COLLEGE. OXFORD
[Illustration]
LONDON
GEORGE BELL AND SONS
1906
Published 1901.
Cheaper re-issue, 1906.
PREFACE
The first impression that this book may give, is that I have put the
cart before the horse, and that, instead of dwelling on the Pavement
Masters, I have laid too much stress on the Pavement itself, and too
little on the makers of it. A careful perusal, however, will, I hope,
prove that I have been right in my reasoning. I have felt strongly,
that in order to form a fair idea of these Masters, many,--I may say,
most,--of whose names are entirely unknown to the general English
reader, it was necessary to give as clear and vivid a picture as was
possible, of this, their greatest work, through which their names
live. Most people, who have ever heard of Siena, have heard of its
Cathedral Pavement:--an unique and historical piece of work:--but how
many have heard of even such great artists as Pietro del Minella and
Antonio Federighi? On this account, it seems to me that the case needed
treatment such as I have given it. I have, therefore, composed a full
and, as far as I could make it, a clear account of the chain which
connects these men together, and then added short notices of each,
giving all the important facts obtainable about them. For this purpose,
I have examined all the recognized authorities, and tried to introduce
any side-lights that may brighten up a somewhat dull record of facts.
I have avoided venturing on criticism: partly because I felt myself
unequal to the task; and partly because my space was too limited to
allow of such digressions without a sacrifice of more important matter.
Where I have put forward a theoretical suggestion, I have carefully
pointed out that it is only offered as such. I regret that it is
impossible to translate all the documents quoted, chiefly because the
quaint language in which they are written is untranslatable, and would
lose most of its charm if rendered into modern English. On the other
hand, I have, where a passage specially important to my argument occurs
in a document, given its general meaning in the text. I have added a
long list of authorities, and works connected with the Cathedral and
its Pavement which have been consulted, and I have to thank cordially,
for practical and artistic help, and advice throughout, three ladies:
the Hon. Mrs. A. L. Pelham, Mrs. J. P. Richter, and Mrs. Trail.
SIENA, _September, 1901_.
TABLE OF CONTENTS
PAGE
LIST OF ILLUSTRATIONS ix
AUTHORITIES CONSULTED xi
THE SCHEME OF THE PAVEMENT xiv
CHAPTER I.
HISTORY OF THE PAVEMENT 3
CHAPTER II.
THE PAVEMENT 14
CHAPTER III.
THE PAVEMENT MASTERS 103
CHAPTER IV.
OTHER PAVEMENT WORK 143
CHAPTER V.
MATERIALS AND WORKMANSHIP OF THE PAVEMENT 150
INDEX 157
LIST OF ILLUSTRATIONS
TO FACE
PLATE PAGE
I. GENERAL VIEW of the Interior of Siena Cathedral, showing
the Pavement 1
II. THE ENTIRE PAVEMENT 14
Key Plan to the same, page 15.
III. HERMES TRISMEGISTUS, designed by Giovanni di Maestro
Stefano 21
IV. THE BADGES OF SIENA AND THE CONFEDERATE CITIES, 1373.
(Author unknown) 24
V. AN ALLEGORY OF FORTUNE, designed by Pinturicchio 27
VI. THE WHEEL OF FORTUNE, 1372. (Author unknown) 30
VII. THE SAMIAN SIBYL, designed by Matteo di Giovanni Bartoli 45
VIII. THE HELLESPONTINE SIBYL, designed by Neroccio di Landi 48
IX. THE EXPULSION OF HEROD, designed by Benvenuto di Giovanni
del Guasta (the entire panel) 55
X. THE CHIEF PORTION OF THE SAME PANEL, (in large size to
show details) 56
XI. DETAIL OF THE FRIEZE OF LIONS, designed by Bastiano di
Francesco 58
XII. THE MASSACRE OF THE INNOCENTS, designed by Matteo di
Giovanni Bartoli (the entire panel) 61
XIII. THE CHIEF PORTION OF THE SAME PANEL, (in large size to
show details) 62
XIV. THE RELIEF OF BETHULIA, designed by Urbano da Cortona(?),
or Matteo di Giovanni Bartoli(?), executed by Antonio
Federighi 64
XV. DETAIL FROM THE SAME PANEL 66
XVI. ANOTHER DETAIL FROM THE SAME PANEL 68
XVII. THE STORY OF ABSALOM, by Pietro del Minella 79
XVIII. THE SEVEN AGES OF MAN, designed by Antonio Federighi 85
XIX. ELIJAH’S COMPACT WITH AHAB, designed by Domenico
Beccafumi 99
XX. SAMSON AND THE PHILISTINES, designed by Paolo di Martino 111
XXI. THE EMPEROR SIGISMUND, designed by Domenico di Bartoli
d’Asciano 113
XXII. A CANDLESTICK, designed by Antonio Federighi 119
XXIII. DETAIL FROM THE STORY OF JEPHTHAH, designed by Bastiano
di Francesco 129
XXIV. DRAWINGS OF DETAILS. The lily designed by Antonio
Federighi(?); border A designed by Domenico Beccafumi 137
XXV. THE STORY OF MOSES AND THE TABLES OF THE LAW, designed by
Domenico Beccafumi 139
XXVI. ELIJAH CAUGHT UP TO HEAVEN (from the drawing by Prof.
Alessandro Franchi) 154
AUTHORITIES CONSULTED
Milanesi (Gaetano). Documenti per la Storia dell’ Arte Senese.
(Porri, Siena, 1856).
Sulla Storia dell’ Arte Toscana, Scritti Varii. (_Discorso sulla
Storia Artistica Senese._) (Sordo-Muti, Siena, 1873.)
MS. Notes on the Pavement. Bib. Pubb. Siena. Cod. P. III., 28.
Commentario sulle Vite di piu eccellenti Pittori, Scultori ed
Architettori da Giorgio Vasari, vols. i. and v. (G. C. Sansone,
Firenze, 1880–81.)
Borghesi (S.) and Bianchi (L.). Nuovi Documenti per la Storia
dell’ Arte Senese. (Torrini, Siena, 1898.)
MS. Notes on the Pavement, etc., etc., etc. Bib. Pubb. Siena,
Cod. P. II.
Faluschi (Abate Gioacchino). MS. Notes, Bib. Pubb. Siena. Cod.
E. V. 13 and E. V. 16.
Tizio (Sigismondo). Historiarum Senensium, vols. iv., v., vi. MS.
Bib. Pubb. Siena, Cod. B. III., 9, 10, 11.
Ciaccheri (Abate Giuseppe). MS. Notes, Bib. Pubb. Siena.
Della Valle (Padre Guglielmo). Lettere Senesi, vol. iii.
(_Descrizione del Pavimento_, by Alfonso Landi.) (Giovanni
Zempel, Rome, 1787.)
Ugurgieri-Azzolini (Padre Isidoro). Pompe Senese. (Pistoia, 1649.)
Gigli (Girolamo). Diario Senese. (Lucca, 1723.)
De Angelis (Padre). Vita di Beato Pier Pettinaio. (Siena, 1802.)
Repetti (Emanuele). Dizionario Geografico-Fisico-Storico della
Toscana. (Tofani, Firenze, 1833–45.)
Micheli (Prof. Padre Everardo). Siena e il suo Territorio.
(Edifizi Religiosi e Civili). (Sordo-Muti, Siena, 1862.)
Il Pavimento dei Duomo di Siena. (Sordo-Muti, Siena, 1870.)
La Guida Artistica della Citta e Contorni di Siena. (Sordo-Muti,
Siena, 1883.)
Benci (Gusmano). Ricordi Artistici di Siena. (Sordo-Muti, Siena,
1875.)
Album di Storia Patria. Bozzetti Repubblicani Senesi, vol. i.
_Domenico Beccafumi._ (Giulio Mucci, Siena, 1875.)
Mussini (Luigi). Le Tavole della Biccherna e della Gabella della
Repubblica di Siena. (Bargellini, Siena, 1877.)
Il Pavimento dei Duomo di Siena e il Prof. Alessandro Franchi.
(Le Monnier, Firenze, 1880.)
Rubini (Ferdinando). Dei Restauri eseguiti nella Chiesa
Metropolitana in Siena dal Luglio, 1864, al 31 Dicembre, 1878.
(Bargellini, Siena, 1869 and 1879.)
Ridolfi (E.). L’Arte in Lucca, studiata nella sua Cattedrale.
(Lucca, 1882.)
Lusini (V.). Storia della Basilica di S. Francesco in Siena.
(Siena, 1894.)
Miscellanea Storica Senese, Gennaio-Febbraio, 1898. (Torrini,
Siena, 1898.)
Sismondi (Jean Ch. L. Simonde de). Histoire des Républiques
Italiennes du Moyen Age. (Treuttel et Würtz, Paris, 1818.)
Piper (Ferdinand). Mythologie der christlichen Kunst, vol. i.
(Weimar, 1847.)
Richter (Luise M.). Siena. (Seeman, Leipzig and Berlin, 1901.)
Justi (Cari). Michelangelo. (1901.)
Wagner (Hans Joachim). Domenico di Bartolo Ghezzi. V. Teil der von
einer hohen Fakultät angenommen Abhandlung. _Das Dompaviment
von Siena und seine Meister._ (W. Fr. Kästner, Göttingen, 1898.)
Lindsay (Lord). Sketches of the History of Christian Art, vol. ii.
Berenson (Bernhard). Central Italian Painters. (Putnam, London
and New York, 1899.)
Symonds (John Addington). Introduction to the Study of Dante. (A.
and C. Black, London, 1893.)
Norton (Charles E.). Church Building in the Middle Ages.
(Harpers, New York, 1880.)
Encyclopædia Britannica. (1880), _Hermes Trismegistus: Sibyls_.
THE SCHEME OF THE PAVEMENT
-------------------------------------+------------------------------+-----------+-----------------+---------------------------
| | Date the | Numbers |
The various designs on the | Notes. | work was | corresponding | Names of the Artists.
pavement arranged in their | | executed. | to those on the |
chronological order. | | | plan (p. 15). |
-------------------------------------+------------------------------+-----------+-----------------+---------------------------
| Of these eight artists’ | 1369 | | (1). Antonio di Brunaccio.
| work on the Pavement, | 1370 | | (2). Sano di Marco.
| no recognizable trace | ” | | (3). Francesco di Ser
| now remains. | | | Antonio.
| | 1376 | | (4). Matteo di Bartolo.
| | 1380 | | (5). Nanni di Corsino.
| | 1398 | | (6). Sano di Maestro
| | | | Matteo.
| | ” | | (7). Luca di Cecco.
| | 1405 | | (8). Cecco di Giovanni.
| | | |
Fortune’s Wheel revolving with | | | |
figures of men clinging to it. In | | | |
the four corners of the picture are | | | |
half-length portraits of Euripides, | | | |
Seneca, Epictetus, and Aristotle. | | | |
(Milanesi. _Documenti._ Vol. i., | | | |
p. 177.) | | 1372 | 37 |
| | | |
The Arms of the Cities allied and | | | |
friendly to Siena. (_Ditto._) | | 1373 | 34 |
| | | |
A Wheel, in the middle of which | | | |
is the Imperial Eagle | | 1373(?) | 35 | |
| | | |
The Parable of the Mote and the | | | |
Beam | | 1374–5 | 38 |
| | | |
Temperance | The frieze of zig-zags | 1380 | 17 |
Prudence | and spikes which frames | ” | 18 |
Christian Piety | the five figures Nos. 17–21, | 1406 | 19 |
Justice | also dates from 1406. | ” | 20 |
Fortitude. (_Mil. Doc._, vol. i., | | ” | 21 | (9). Marchesse d’Adamo
p. 177) | | | | and the Comacene Masters
| | | | in stone.
| | | |
King David the Psalmist. (_Siena | | | | (10). Domenico di Niccolo
e il suo Territorio_, p. 205.) | | 1423 | 53 | del Coro.
Goliath the Giant. (Ditto.) | | ” | 54 | ”
The Young David with his Sling | The frieze inclosing | | |
(Ditto.) | all these designs, together | ” | 55 | ”
Judas Maccabeus | with No. 24, was inlaid | 1424 | 15 | ”
Joshua and the King of the Amorites. | by (11) Agostino di Niccolo, | | |
Ditto.) | and (12) Bastiano | 1426 | 22 | (13) Paolo di Martino.
Samson. (Ditto.) | di Corso da Firenze, and | ” | 14 | ”
Moses. (Ditto.) | completed in 1423. | ” | 16 | ”
Joshua. (Ditto.) | | ” | 23 | ”
| | | |
A man, giving alms to a woman, | | | |
carrying a child | | 1433 | 39 | Domenico di Niccolo
| | | | del Coro.
| | | |
The Emperor Sigismund enthroned. | | | | Designed by (14) Domenico
(_Mil. Doc._, vol. ii., p. 261.) | | 1434 | 13 | di Bartolo da
| | | | Asciano. Executed by
The Story of Absalom. (_Siena e | | | | (15) Giacomo d’Antonio.
il suo Territorio._) | | 1447 | 12 | Designed by (16) Pietro
| | | | del Minella.
| | | |
Solomon | | ” | 24 |
| | | |
The Parable of the Pharisee and | These three designs | | |
the Publican | are in the doorways of | 1448 | 57 |
A Jar, labelled _Fel_ (Gall) | the principal façade. | ” | 58 |
A similar Jar, labelled _Mel_ | | | |
(Honey) | | ” | 59 |
| | | |
Three designs before doors of | | | | Designed by (17) Nastagio
Baptistery. (The Birth, Baptism, | | | | di Guasparre and
and Reception of an Infant | | | | executed by (18) Bartolomeo
Christian.) | | 1450 | | di Mariano, called
| | | | _Il Mandriano_, and (21)
| | | | Antonio Federighi.
| | | |
Design before the Porta del Perdono | | | | Designed by (19) Guasparre
(Consecration of the | | | | d’Agostino and
Duomo by Pope Alexander III. | | | | executed by (20) Corso
[Bandinelli] in 1174.) | Now destroyed. | 1451 | | di Bastiano.
| | | |
The two Blind men. (_Mil. Doc._, | | | | Executed, after his own
vol. ii., p. 437.) | | 1459 | 40 | design, by Antonio
| | | | Federighi.
| | | |
| | | |
The Relief of Bethulia by Judith. | The frieze of Reels | 1473 | 25 | Designed by (22) Urbano
| around this design was | | | da Cortona(?) or by
| executed by the said Urbano, | | | (23) Matteo di Giovanni
| (24) Giovanni di | | | Bartoli.(?) Executed by
| Maestro Stefano, (25) | | | Antonio Federighi.
| Bartolommeo di Domenico | | |
| Calabrone, and (26) | | |
| Francesco di Bartolomeo. | | |
| | | |
The Seven Ages of Man | Around it is a frieze of | 1475 | 6 | Executed by Antonio
| stags, by the same artist. | | | Federighi.
| | | |
The Massacre of the Innocents. | | 1481 | 26 | Designed by Matteo di
| | | | Giovanni Bartoli.
| | | |
The Delphic Sibyl | | 1482 | 1 | Executed by (27) Giuliano
| | | | di Biagio and (28)
| | | | Vito di Marco.
| | | |
The Cumean Sibyl | | ” | 2 | Executed by (29) Luigi di
| | | | Ruggiero, called
| | | | _L’Armellino_, and Vito di
| | | | Marco.
| | | |
| | | |
The Cuman Sibyl | | ” | 3 | Giovanni di Maestro Stefano.
| | | |
The Erythrean Sibyl | | ” | 4 | Antonio Federighi.
| | | |
The Persian Sibyl | | ” | 5 | Urbano di Pietro da
| | | | Cortona.
| | | |
The Sacrifice of Jephthah | | 1483 | 11 | Designed and executed
| | | | by (30) Bastiano di
| | | | Francesco di Sano.
| | | |
The Albunean Sibyl | Who executed these | ” | 28 | Designed by (31) Benvenuto
| five Sibyls is not known, | | | Giovanni del Guasta.
| but it seems possible | | |
The Samian Sibyl | that, amongst other masters, | 1483 | 29 | Designed by Matteo di
| Giuliano di Biagio may have | | | Giovanni Bartoli.
| worked on them. | | |
The Phrygian Sibyl | | ” | 30 | Luigi di Ruggiero, called
| | | | _L’Armellino_(?) and Vito
| | | | di Marco(?).
| | | |
The Hellespontine Sibyl | | ” | 31 | Designed by (32) Neroccio
| | | | di Bartolommeo Landi.
| | | |
The Libyan Sibyl | | ” | 32 | Designed by (33) Guidoccio
| | | | Cozzarelli.
| | | |
The Expulsion of Herod | The frieze of winged | 1484 | 27 | Designed by Benvenuto
| lions which surrounds | | | di Giovanni del Guasta.
| this picture, was designed | | |
| by Bastiano di Francesco | | |
| di Sano. Upon this picture | | |
| and upon No. 26 | | |
| (above-mentioned), the | | |
| following artists were | | |
| also employed: Vito di | | |
| Marco, (34) Bernardino | | |
| d’Antonio, (35) Cristofano | | |
| di Pietro Paolo del | | |
| Quarantotto, and Bartolomeo | | |
| di Domenico Calabrone. | | |
| | | |
Mercurius Trismegistus | | 1488 | 33 | Designed by Giovanni
| | | | di Maestro Stefano(?)
| | | |
An Allegory of Fortune. (_Mil. | | | |
Doc._, vol. iii., p. 13.) | | 1505–6 | 36 | Designed by (36) Bernardino
| | | | Betti, called _Pinturicchio_,
| | | | and executed by
| | | | (37) Paolo Mannucci.
| | | |
The Story of Elijah and Ahab | | | |
| | | |
Elijah’s Sacrifice | | 1518–24 | 41 | Designed by (38) Domenico
| | | | Beccafumi, called
The Compact between Elijah and | | | | _Mecherino_, and executed
Ahab, each to prove the Truth | | | | at the same time by (39)
of his Deity by Sacrifice | | | 42 | Bernardino di Giacomo, (40)
| | | | Giovann’ Antonio Marinelli,
The Slaughter of the False Prophets | | | | surnamed _il Mugnaino_,
of Baal | | | 43 | (41) Giacomo, and (42)
| | | | Bartolommeo di Pietro Gallo,
Ahab’s Sacrifice | | | 44 | (43) Niccolo Filippi, and
| | | | (44) Cristofano di Carbone.
Elijah bids Obadiah bring Ahab | | | |
to him | | | 45 |
| | | |
Ahab meets Elijah | | | 46 |
| | | |
Moses striking the Rock | | 1525 | 51 |
| | | |
Moses receives the Tables of the | | | |
Law on Mount Sinai. (This picture | | | |
is divided into six parts.) | | 1531 | 52 |
| | | |
(α) Moses receives the Tables of | | | |
the Law. | | | |
| | | |
(β) The Hebrew People wait for | | | |
Moses’ Descent from the Mount. | | | |
| | | |
(γ) The Destruction of the | | | |
idolatrous Hebrews. | | | |
| | | |
(δ) Moses breaks the Tables of | | | |
Stone. | | | |
| | | |
(η) The Hebrews sacrifice to the | | | |
Golden Calf. | | | |
| | | |
(θ) The Hebrews compel Aaron | | | |
to make them idols. | | | |
| | | |
The Story of Abraham’s Sacrifice. | | 1544–46 | 56 | Designed by Domenico
At the side of this large picture, | | | | Beccafumi and executed
which is placed before the High | | | | by Bernardino di Giacomo.
Altar, and on either side of the | | | |
Altar itself, are fourteen other | | | |
small pictures, seven on each side. | | | |
These represent: | | | |
| | | |
On the right: | | | |
1. Elisha raises the son of the | | | |
Shunammite. | | | |
| | | |
2. A Prophet, with an open book | | | |
before him. | | | |
| | | |
3. Eve kneeling. | | | |
| | | |
4. A Woman, with an open book | | | |
in her hand. | | | |
| | | |
5. A Woman holding a hand-mirror, | | | |
who represents “Prudence.” | | | |
| | | |
6. Melchisedec Sacrificing. | | | |
| | | |
7. A seated Woman, with a Child. | | | |
| | | |
On the left: | | | |
8. The old Tobit with his Son, and | | | |
the Angel Raphael. At his feet | | | |
a dog. | | | |
| | | |
9. A Woman, representing “Charity.” | | | |
| | | |
10. Adam kneeling. | | | |
| | | |
11. A Prophet, looking up to | | | |
Heaven. | | | |
| | | |
12. A seated Woman, with a book | | | |
in her hand. | | | |
| | | |
13. Abel Sacrificing. | | | |
| | | |
14. A Woman, in the act of sitting | | | |
down, with a Child... | | | | Designed by Domenico
The large picture and the smaller | | | | Beccafumi and executed
ones are framed by a frieze of | | | | by (45) Pellegrino di
half-length figures, which represent | | | | Pietro.
the Hebrew People journeying | | | |
from Egypt towards the Promised | | | |
Land. | | | |
| | | |
Elijah fed by Ravens | These four designs are | 1780 | 47 | Designed by (49) Carlo
Elijah anoints Jehu King of Israel | usually attributed, as is | ” | 48 | Amidei, and executed by
Elijah asks bread of the Widow | stated in col. 5; but, as I | ” | 49 | (50) Matteo Pini.
Elijah raises the Widow’s son | have argued at length in | ” | 50 |
| chap. ii., it is not | | |
| improbable that they were | | |
| originally designed by (46) | | |
| Gio. Battista Sozzini, and | | |
| executed by (47) Niccolo | | |
| di Girolamo Gori, (48) | | |
| Domenico di Pier Giovanni, | | |
| and Bernardino di | | |
| Jacomo, in 1562. | | |
| | | |
Hope | Originally designed in | | 7 |
Faith | 1780, by Carlo Amidei | | 8 |
Charity | and Matteo Pini, but removed | | 9 | (See below.)
Religion | in 1878. | | 10 |
In 1875–78, the scenes in the four lozenges, Nos. 47–50, by Carlo
Amidei, being considered unsatisfactory, and the ancient scenes 38, 39,
40, being much dilapidated, (51) Professor Alessandro Franchi prepared
four new designs of the same subjects for the lozenges, and three more
subjects from the same story, for the three hexagons.
Namely: (a) Elijah predicts the manner of Ahab’s death. No. 39.[1]
(b) Ahab mortally wounded, No. 40.
(c) Elijah carried to Heaven in a Chariot of Fire, No. 38.
These designs were executed by (52) Prof. Leopoldo Maccari, with the
assistance of the sculptors (53) Antonio and (54) Giuseppe Radicchi.
The same artists also, at the same date, designed and executed,
respectively, the figures of the four Theological Virtues (Nos. 7, 8,
9, and 10), as we now see them.
[Illustration:
LOMBARDI PHOTO.]
I. GENERAL VIEW OF THE INTERIOR OF SIENA CATHEDRAL, SHOWING THE
PAVEMENT]
* * * * *
... “Cast down thine eyes;
’Twere well for thee, to alleviate the way,
To look upon the bed beneath thy feet.
* * * * *
So saw I there, but of a better semblance
In point of artifice, with figures covered
Whate’er as pathway from the mount projects.
* * * * *
Who e’er of pencil master was or stile,
That could portray the shades and traits which there
Would cause each subtile genius to admire?
Dead seemed the dead, the living seemed alive;
Better than I saw not who saw the truth,
All that I trod upon while bowed I went.
_“La Divina Commedia” of Dante Alighieri,
translated by H. W. Longfellow._
* * * * *
... Volgi gli occhi in giue;
Buon ti sarà, per alleggiar la via,
Veder lo letto delle piante tue.
* * * * *
Si vid’ io li, ma di miglior sembianza
Secondo l’ artificio, figurato
Quanto per via di fuor dal monte avanza.
* * * * *
Qual di pennel fu maestro o di stile,
Che ritraesse l’ombre e i tratti, ch’ ivi
Mirar farieno ogn’ ingegno sottile?
Morti li morti, e i vivi parean vivi.
Non vede me’ di me chi vide il vero,
Quant’ io calcai fin che chinato givi.
_“La Divina Commedia” di Dante Alighieri, Il
Purgatorio_, Canto xii. L. 13–15, 22–24, 64–69.
THE PAVEMENT MASTERS OF SIENA
CHAPTER I
HISTORY OF THE PAVEMENT
One might have supposed that when Dante wrote the lines here quoted,
he was describing the wonderful pavement that still adorns the Duomo
of Siena. But this, we know, cannot be, since it was not until more
than thirty years after Dante’s death that the plans for a greatly
enlarged Duomo were abandoned, and the Sienese set themselves to
adorn the building in the shape that we see it now. Moreover, as we
shall presently see, no records of _ornamental_ work done upon the
floor exist earlier than 1369. We may, however, I think, fairly turn
the proposition the other way, and fancy that the pavement designers
had Dante’s wonderfully descriptive verses in their minds, when they
planned such a work. Their subjects and his differ vastly; and in the
two hundred years that passed, ere it was in any sense completed, many
variations took place in the original design, if complete design there
ever was. Still we may feel, on entering that glorious temple, as if we
were really treading the first parapet of Purgatory, as pictured by him.
Although the order in which the stories meet our eyes does not in the
least agree with the chronology of their execution, a sense of fitness
in position seems to run through them, even from the great West Door
itself. Hermes Trismegistus presenting to his disciples the Poemander,
meets us on the very threshold of the Nave, supported in either aisle
by the majestic figures of the ten Sibyls; and seems to lead the way,
through half-pagan symbolical designs, to where, surrounded by the
histories of Hebrew heroes and prophets, the mystery of the Atoning
Sacrifice of Christ, the Very God, the Centre of all Faith and Prophecy
is, before the High Altar itself, symbolized by the Sacrifice of Isaac.
But this suggestion must not be pressed too far, because, as I have
already remarked, and as the accompanying plan will show, many
variations, for which at first sight the reason is not very obvious,
have from time to time crept in. For general purposes, however,
the student of the floor may fairly start with some such complete
conception.
From the admirably arranged Archives, both Ecclesiastical and Communal,
of the City of Siena, we are able to piece together a very nearly
complete history of the work, showing, in most cases, why certain
exceptions probably were made; and from them, through the medium of
the carefully compiled volumes of the late Signor Gaetano Milanesi, I
have drawn most of the information which follows.[2]
Vasari’s statement, so often quoted by subsequent writers, that
Duccio made designs for this pavement, is quite without documentary
authority.[3] Duccio died more than fifteen years before the larger
Duomo scheme was finally abandoned; whilst the earliest records dealing
with work of a _decorative_ nature[4] is dated 1369, and runs as
follows: “_a maestro_ Antonio di Brunaccio _vintuna lire a cinque sol
per ij braccia e due quarri di tarsie di marmo di lo spazzo di Duomo_.”
In the following year (1370) we read “_a maestro_ Sano di Marco _per
dodici porporelle per lo spazzo di duomo, a sol: 10 l’una, si danno
L. 6._“; “_a_ Francesco di Ser Antonio _per uno braccio e mezzo di
compasso per detto spazzo a ragione d’otto lire e mezzo il braccio
si danno lire 12. e soldi 15_,” and “_a maestro_ Sano di Marco _per
birichuocoli bianchi e rossi pello spazzo di duomo, L. 4. soldi 8_.”[5]
Two years later, according to the historian Sigismondo Tizio, the
Pavement of the nave from the cupola downwards was begun, and among
other things was laid out (_spianata_) the design of the Wheel of
Fortune, with figures of men clinging to it.
And in the next year (1373) an old chronicler[6] tells us that “_In
questo anno si fece il pavimento a pietre tassellate_,” which no doubt
refers to the circle containing the emblems of Siena, surrounded by
those of the cities friendly and allied to her. Be it noted here that
this is the only portion of the floor that is _tessellated_; that is
to say, decorated with designs, made up of small squares of different
coloured stones, in the manner of ordinary mosaic.
Then, in 1374, we find reference[7] to work done, under the direction
of Andrea di Minuccio _Operaio_, at the foot of the Choir; which was
at that date, and until the commencement of the sixteenth century,
situated under the Cupola.
Again in 1376, 1380, 1398 and 1405, we read of payments to certain
master-workmen, named Matteo di Bartolo, Nanni di Corsino, Sano di
Matteo, Luca di Ciecho (or Cecco), and Cecco di Giovanni (or Giovannino
di Ciecho), for intarsia work on the Pavement, apparently in decorative
friezes, some of which, no doubt, exist still, though we cannot now
identify them.
The first authoritative document, however, which speaks of _figures_
on the Pavement is an entry in the Duomo Archives, under date March
13th, 1406, which records the payment of 140 lire, “_e quali li debiamo
dare_,” to Marchesse d’Adamo (perhaps a son of the architect, Maestro
Adamo), “_e compagni maestri di pietra da Como per una rotta (ruota)
anno fatto murare nello spazzo contra a la sagrestia_.”[8]
From the mention of its neighbourhood to the _sacristy_, this must
point to the circle containing the figure of Fortitude, No 21, from
which, alas! restoration, in 1839, has removed all ancient feeling,
and sadly reduced to the commonplace.
After this we find no entries until 1423; but from that time commences
the real history of the Pavement Masters: and we begin with perhaps
the most interesting personage connected with it; namely, Domenico di
Niccolo del Coro, who held the post of Capo-maestro[9] of the Opera
del Duomo between the years 1413 and 1423. It is not easy now to
separate the work attributed to Domenico from that of another artist,
Paolo di Martino, who appears to have immediately succeeded Domenico
as Capo-maestro. We know, however, that the following portions of the
floor were executed at that date:
1. David the Psalmist, surrounded by four Musicians (No. 53).[10]
2. David the Youth with his Sling (No. 55).
3. The Giant Goliath falling backwards (No. 54).
4. Moses (No. 16).
5. Samson chastising the Philistines (No. 14).
6. Judas Maccabeus (No. 15).
7. Joshua (No. 23).
8. The Slaughter of the Five Kings of the Amorites (No. 22).
Of these eight subjects the first three may be with certainty given to
Domenico himself; whilst Nos. 5 and 8 may be[11] ascribed to the other
artist. Of the single figures that of Judas Maccabeus is so entirely
concealed now by the balustrade of the altar of the Blessed Sacrament
built over it, that it is impossible to ascertain with any degree of
absolute certainty who was its author; but Joshua and Moses are given
by Milanesi to Paolo di Martino.
Domenico seems to have been a great and versatile artist, a worker in
glass,[12] as well as in marble, and above all famous for his skill in
woodcarving and inlay. The restorations of his work here, which have
evidently been frequent, have robbed it of very much of the charm,
which we feel so strongly in his inlaid panels in the Palazzo Pubblico
Chapel, but there is still a naïve originality about the designs, which
cannot fail to show his high merit.
The next celebrated artist, who left his mark on this floor was the
painter, Domenico di Bartolo di Ghezzo of Asciano, whose charming
design of the Emperor Sigismund enthroned, No. 13, is one of the most
marked exceptions to the general scheme.
Next we have Pietro del Minella, the celebrated sculptor, and a pupil
of the still more famous Giacomo della Quercia. He also left only one
design, but that perhaps the most striking in the entire floor: Absalom
hanging by his hair, No. 12.
Then appears that great craftsman, Antonio Federighi, whose graceful
“Ages of Man,” No. 6, would alone entitle him to take a high rank in
the History of Art. The works of Art left by this artist here and
elsewhere are many, and of a very varied description; but we must now
pass on to perhaps the most interesting and prolific period in the
History of the Duomo, during which the floor was by no means left
uncared for.
The City of Siena outside was a prey to constant faction and civil
disturbance, but her Duomo within, under the fostering care and taste
of the noble Alberto Aringhieri, Knight of Rhodes and Malta, Rettore
from 1481–1498, was steadily growing in beauty and splendour. I cannot
here enumerate all the embellishments added during this period to the
fabric, though among them I may name the decoration of the interior of
the Cupola: the adornment of the Chapel of S. Giovanni, where may still
be seen Pinturicchio’s beautiful portraits of Aringhieri himself in
youth and age: and the frieze of Papal busts that runs round the entire
building.
Aringhieri collected around him a band of artists, eminent already
as painters and sculptors; among whom was Federighi himself. From
the designs and with the skill of these, he completed the floor of
the North and South Transepts; both the Aisles and the last bay of
the Nave. Whether, as is possible, he was influenced in his choice
of subjects by external historical events, we cannot now say; but
some at least of the designs, while appropriate to the general idea
of the whole, appear to have a possible political significance.
Thus the “Massacre of the Innocents,” No. 26, designed by Matteo di
Giovanni Bartoli, may have been chosen to commemorate the terrifying
episodes that occurred during the Sack of Otranto by the Turks; and
the Expulsion of Herod, No. 27, the Fall of Pandolfo Petrucci and his
faction. Whether this was so or not, the works of this period are among
the finest and noblest designs on the entire floor. The later work of
Beccafumi may be more realistic, but nothing can surpass the force and
feeling of power exhibited in the fourteen designs, which date their
origin from this period.
In 1505–6 was added Pinturicchio’s “Allegory of Fortune,” No. 36; and
shortly after an important change in the interior arrangement of the
building, by exposing a great deal of floor space, necessitated the
addition of a large number of fresh designs, which Domenico Beccafumi
(_il Mecarino_) called upon to supply. This change was the removal,
under the direction of Baldassare Peruzzi, Capo-maestro in 1532, of
the High Altar, which had hitherto stood under the Cupola, to their
present position, further east in the Apse.
Beccafumi had previously, in 1525 and 1531, designed his scenes
from the Life of Moses, Nos. 51 and 52, and he now, in 1544–46, was
commissioned to make designs to surround the Altar-steps. Of the
history of the Elijah designs, Nos. 41–46, under the Cupola, attributed
to him, I wish to speak at greater length, so I will reserve the
details concerning them until the next chapter.
In 1661 the building of the Cappella del Voto by Pope Alexander VII.
destroyed the ancient Porta del Perdono; and the scene representing the
Consecration of the Cathedral, designed by Guasparre d’Agostino, and
executed by Corso di Bastiano in 1451, which formerly lay before that
door, was ruthlessly destroyed.
In 1750, certain Virtues, Nos. 7, 8, 9, 10, were designed by Carlo
Amidei for the entrance to the above-mentioned chapel. This artist also
restored a good many of the older designs, and added, it is generally
assumed, four lozenges to the story of Elijah, Nos. 47–50, under the
Cupola. These were all considered worthless and removed in 1875 to
make way for new designs by Sig. Prof. Alessandro Franchi, the present
Director of the Accademia delle Belle Arti. This accomplished gentleman
also designed three hexagons to complete the Story of Elijah, Nos. 38,
39 and 40, and to fill spaces, up to that time occupied by fragments of
older work, brought from other parts of the Cathedral. These designs
were all executed under his direction by Signor Leopoldo Maccari in
1878.[13]
Between the years 1864 and 1878 a complete restoration of the whole
floor has taken place. Much time and money have been expended upon the
work, and the result is, on the whole, not unsatisfactory; but the
effects of previous restorations by less sympathetic hands in certain
parts is painfully apparent. Some of the work, beautiful still, but too
much injured to remain _in situ_ has been removed to the Museum of the
Opera del Duomo, and replaced by copies.
This Pavement, in spite of the opinions of those who consider pictorial
design unsuitable floor decoration, is a never-ending source of joy and
pleasing suggestion: an unique _tour de force_, and a stroke of genius
on the part of the original designers. Except during the month of
August, the entire centre portion from the West door to the High Altar
itself is carefully protected by boarding. When this is removed, and
the whole vista is spread out before one, it would be hard to imagine
any other species of floor, that would have so satisfactorily completed
the many-coloured interior harmonies of this wonderful Cathedral.