THE PAVEMENT
Having briefly sketched the history of the entire Pavement, it will be
necessary now to describe it in detail. For this purpose I have divided
it into ten parts, commencing at the great Western Entrance.
These ten parts are as follows:
1. The wide Platform before the Façade.
2. The Spaces in the three Western Doorways.
3. The Nave.
4. The South Aisle.
5. The North Aisle.
6. The North Transept.
7. The Choir Ambulatory.
8. The South Transept.
9. The Choir and Altar-steps.
10. Under the Cupola.
[Illustration:
LOMBARDI PHOTO.]
II. THE ENTIRE PAVEMENT]
[Illustration: KEY PLAN TO THE PAVEMENT]
1. THE PLATFORM BEFORE THE WESTERN FAÇADE.
Tizio[14] tells us that this platform with its three steps was laid
down in 1448, under the direction of Giovanni Borghesi, then Rettore
of the Opera. Originally there were apparently five designs upon it,
of which, however, only four were still distinguishable when, in the
seventeenth century, Landi wrote his elaborate description of the
floor.[15] These were: In the centre, as at present, the Pharisee and
the Publican kneeling before a round Temple: On either side a vase; the
one inscribed _Mel_ (Honey), the other _Fel_ (Gall), symbolic perhaps
of the imperfection of earthly joys. On the right-hand side on entering
was the Sacrifice of Abel; and on the other side, Landi says, that
there was no pictured design, but merely a fancy pattern of coloured
marbles, probably replacing a scene previously destroyed by time and
hard usage. The constant stream of traffic across this Platform has
necessitated frequent restoration of the Pavement; and the story of
Abel has now entirely vanished. The vase, also, on the right, now bears
the label _Lac_ (Milk), instead of _Fel_, perhaps in allusion to the
Promised Land, and the Golden Jerusalem of Bernard of Clairvaux’s hymn.
This work is executed in the earliest of the four principal methods of
design: namely _a trapano_; that is to say, outlined on a slab of white
marble in little dots made with a trepanning drill.
The figures of the Pharisee and the Publican are executed with great
spirit, but are entirely modern in feeling and conception.[16] Each
figure is formed of a slab or slabs of white marble, cut in outline,
and let into a background, of which the atmosphere is black and the
ground red marble, so that each figure stands out clear and distinct.
Lines of feature, folds of robes and other accessories are outlined,
as described above, with a trepanning drill. Certain pieces of yellow
marble have been added at the sides of the picture, which seem
unnecessary and even discordant. They may have been placed there during
the restorations which took place here but a few years since.
2. THE SPACES IN THE THREE DOORWAYS OF THE WESTERN FAÇADE.
The three much-worn scenes that remain here evidently represent the
“Ceremonies of Ordination” in the three degrees; and such is the
opinion of Faluschi, Landi, and Della Valle. Padre Everardo Micheli,
however, wishes us to believe that these scenes illustrate the
“Reconciliation of the Penitent:” a proposition which seems to me both
far-fetched and improbable.
These works, executed in the same methods and with the same materials
as those just described, retain far more of their original feeling and
sentiment; and it is interesting to compare them with a similar set
in the doorways of San Giovanni (the Baptistery), which represent the
“Birth,” “Baptism,” and “Anointing of an Infant Christian.”
In the first case we have, to the extreme right, the “Ordination of
the Deacon;” next, that “of the Priest;” and, finally, that “of the
Bishop.” In the other, to the extreme left, is the “Birth of the Child”
(a composition curiously similar to that employed by many painters at
this period for the Birth of St. John the Baptist): then “Its Baptism;”
and lastly, “Its Anointing and Reception into the Church of Christ.”
Of these three scenes, commenced in 1450 by a certain Bartolomeo di
Mariano, called _Il Mandriano_, from designs made by one Nastagio di
Guasparre; that in the centre, which we read was executed by Antonio
Federighi (1451),[17] is very much the finest, although there is a
certain similarity in general conception throughout.
On further research, we find that a certain Guasparre, described as
“_dipentore nostro_,” made a design for the space before the door for
the then existing Porta del Perdono.[18] This design represented the
“Consecration of the Duomo” in 1174,[19] and was executed by Corso di
Bastiano of Florence.
Now Guasparre d’Agostino, also designated as “_nostro dipentore_,“[20]
about this same time painted certain scenes from the Life of S.
Bernardino for the Sacristy of the Duomo, and also decorated the apse
of the Baptistery with frescoes of the “Crucifixion and Burial of
Christ.”[21] We may not unreasonably suppose that the above-mentioned
Nastagio was his son or pupil, and that the father and son, or master
and pupil, were associated together in all these similar works around
the doors of the Cathedral and Baptistery. Unfortunately the work known
to have been designed by Guasparre before the Porta del Perdono was,
together with that entrance itself, ruthlessly destroyed in 1661, so
that we have nothing certain remaining of his Pavement work upon which
to start comparison. The force and charm, however, of the compositions,
still existing before the Western Doorway of the Cathedral; show that
they must have been executed from the designs of no mean or inferior
draughtsman.
We find also several references at this date,[22] to work done outside
the Duomo by Bastiano di Corso, a Florentine, fine work by whom, as we
shall see presently, still exists inside also; but it is not easy to
identify the exact portion laid down by him and his son Corso, who,
as we have seen above, was employed on the work before the Porta del
Perdono.
It is interesting to notice how sharp and clear is the trepanning work
in the older of these designs, and how close together the points have
been drilled. It would appear as if, contrary to the method employed in
the more modern work, no graving tool had been used, nor any stucco to
fill up the holes and outlines.
* * * * *
And now we enter the Church.
3. THE NAVE.
The first thing that meets the eye is an inscription:
“CASTISSIMUM VIRGINIS TEMPLUM CASTE MEMENTO INGREDI.”
It is unknown by whom, or when, this inscription was laid down, but it
is possible that it was introduced at the same time as the design which
follows it.
[Illustration:
ALINARI PHOTO.] [DESIGNED BY GIOVANNI
DI MAESTRO STEFANO (?)
III. HERMES TRISMEGISTUS (No. 33)]
Beyond this appears the commanding figure of a man in a high crowned
head-dress, apparently an Eastern Sage, holding out with his right
hand, to two other men, a book inscribed SUSCIPITE O LICTERAS ET LEGES
EGYPTII; while with his left, he points to a quotation on a slab
supported by two winged sphinxes. The principal figure represents the
semi-mythical Hermes Mercurius Trismegistus, who, as we read below,
was “Contemporaneus Moysi.” The two men, one old and turbaned, and the
other veiled, may perhaps typify the learned men of the East and West.
(Ill. III.)
The introduction of this mysterious personage, whose very existence is
extremely doubtful, is most interesting to the student of Renaissance
philosophical and theological ideas. Since to his fabled authorship
are attributed a vast number of works dealing with ancient wisdom
and religious belief, as well as many treatises on ecclesiastical
ceremonial, the placing of him on the threshold of this magnificent
Temple is not without appropriate suggestion. From the principal work
attributed to him “the Poemander”,[23] is drawn the quotation inscribed
on the slab beside him here; and the enthusiastic attitudes of the two
Seekers after Knowledge before him are very forcibly expressed.
This admirable design was placed here in 1488, under the Rectorship of
Alberto Aringhieri, mentioned in the last chapter. He, being a Knight
of St. John of Jerusalem and of Rhodes, must have been familiar with
the mystical tastes and theories of those who endeavoured to bring the
learning, lore, and art of Pagan ideals into line with Christian Dogma
and Faith. Hence the choice under his direction of this subject, and,
as we shall presently see, of the ten Sibyls also.
It is not definitely known who designed this group; but it is generally
supposed, with considerable show of reason, to have been Giovanni di
Maestro Stefano:[24] and it appears to have been the last of the series
commissioned by Aringhieri, as Rettore, since his occupation of that
post ended in 1498.[25] He seems, though, seven years later, to have
commissioned Pinturicchio’s “Allegory of Fortune.”
The next design is that of the Badges or Emblems of Siena, surrounded
by those of her allies. In the middle is the Wolf of Siena suckling the
Twins. In a circle round her are the symbols of the following cities;
Florence (a Lion, the “_Marzocco_”); Lucca (a Lynx); Pisa (a Hare);
Viterbo (an Unicorn); Perugia (a Stork); Rome (an Elephant bearing a
Tower); Orvieto (a Goose); and Arezzo (a Horse). In the four corners of
the surrounding square are, Massa (a smaller Lion); Grosseto (a Goat);
Volterra (a Vulture); and Pistoia (a Dragon). (Ill. IV.)
[Illustration:
LOMBARDI PHOTO.] [1373. AUTHOR UNKNOWN
IV. THE BADGES OF SIENA AND THE CONFEDERATE CITIES (No. 34)
(The only panel in mosaic)]
This, the only portion of the Pavement that is really executed in
mosaic, was, as we have seen already, laid down in 1373; but we are
unable to trace the author. Fragments of the original work are still
existing in the Museum of the Opera; but the whole design has been
replaced by a modern copy, carefully made by Sig. Maccari in 1865.[26]
Beyond this is a large geometrical pattern. A wheel with twenty-four
columnar spokes, in the centre of which appears the Imperial Eagle. Of
this design little or nothing is known; but the author of _La Guida
Artistica_ supposes it to have been of the same date as that last
described (1373). It is possible that, before the days of Alberto
Aringhieri, the whole of the Nave floor, except “Fortune’s Wheel,”
in the first bay, may have been covered with geometrical or heraldic
devices only, as can be seen at Lucca, and that all of them, except
these last two, were removed to make way for other more interesting
subjects.
The next scene is Pinturicchio’s well-known design, called in the old
documents “La Storia della Fortuna.” It might just as well though be
designated as “the Reward of Virtue,” or the “Pursuit of Wisdom.” (Ill.
V.)
Wisdom, a sedate woman, royally robed, veiled, and crowned with
a jewelled wreath, is throned upon the upper platform of a small
precipitous rock in the midst of the sea. The platform is covered
with growing flowers, as is also the winding path which leads to it.
On Wisdom’s right hand stands Socrates, holding a book, to whom she
offers a branch of palm. On her left is Crates, who is hastily emptying
into the sea a basketful of rings, chains, and other jewels. To him she
extends a closed volume. Over the head of Wisdom, on a tablet, appears
the following inscription:
HUC PROPERATE VIRI, SALEBROSUM SCANDITE MONTEM
PULCHRA LABORIS ERUNT PREMIA PALMA QUIES.
On the path below, which, besides flowers, is strewn with stones and
over-run with reptiles and small animals, is a crowd of ten men,
seekers after Wisdom, who apparently have just been landed upon the
Island by Fortune. The attitudes of these men, some of whom at least
appear to be portraits, are very striking. Alone at the head of the
procession strides a stately personage--a patron perhaps of art and
learning. Next to him an old man, leaning on a crutch-handled staff,
plods determinedly along. Following him, a younger man looks back and
shakes his fist at Fortune. Behind him stand six figures with varied
expressions of interest or desire. In front of them an elderly man
with a beard has sunk down exhausted, his book clasped in his left
arm, too weary to move on. On the extreme right of the picture stands
Fortune, a nude woman with a cornucopia in her right hand. She is
the most striking figure in the composition. Her left foot is resting
on a globe, perhaps to indicate her instability, while with her right
she seems to push off the boat, shattered and broken-masted, in which
these travellers have journeyed to the island. Above her head she holds
a sail, which the wind has filled out, one end of which, wound round
her body, is grasped also by her right hand. Obviously this design is
one of those conceits so dear to the Renaissance mind. Fortune has,
with favouring breeze, but through stormy waters, brought the seekers
after Knowledge to the Mount of Wisdom; and the artist has endeavoured
in these ten figures to symbolize the varied character of her votaries.
Socrates stands calmly waiting for his reward; Crates earns his by
contempt of all things worldly.
[Illustration:
ALINARI PHOTO.] [DESIGNED BY PINTURICCHIO
V. AN ALLEGORY OF FORTUNE (No. 36)]
Pinturicchio received on the 13th of March, 1504,[27] twelve lire for
this design, which was laid down under his direction, probably by Paolo
Mannucci, in 1506.[28]
The last design in the Nave is perhaps the oldest of all; but the
actual piece of Pavement that we now see is a complete renovation by
Signor Maccari in December, 1864, costing 2,491 lire 98 c. Tizio[29]
tells us that it was executed in 1372, and though he does not say who
was the author of the design, or who executed the work, we know that
Andrea di Minuccio was Operaio at this time,[30] and that under his
direction, two years later, the work at “_the foot of the Choir_” was
completed.
We see a wheel with eight columnar spokes. To give an effect of
rotatory motion, the border is inlaid in small lozenges of black and
white marble, arranged to represent cogs. At the top of the wheel sits
a King, enthroned and crowned, with orb and sceptre. Clinging to the
two sides and bottom are three figures of men, whose anxiety to retain
their hold, as the wheel revolves, is forcibly expressed. The wheel
is surrounded by a continuous band of black and white marble, which,
looped octagonally at the angles, incloses, in the spaces so formed,
half lengths of the following four Sages: Epictetus, Aristotle, Seneca
and Euripides. Each Sage holds a scroll, with a quotation from one of
his own writings. (Ill. VI.)
[Illustration:
LOMBARDI PHOTO.] [1372. AUTHOR UNKNOWN
VI. THE WHEEL OF FORTUNE (No. 37)]
This design may be compared with another Wheel of Fortune, inlaid by
Domenico del Coro in the lower panel of a door in the Chapel of the
Palazzo Comunale. Padre Micheli calls it the Wheel of Ambition,[31]
although the wheel itself is inscribed “_Rota della Fortuna_.” He thus
describes it: “To the lower part is a man clinging, beside whom is
written the inscription ‘_So senza Regno_’ (I am without a Kingdom).
Half way up the wheel, to his right, clings another figure of a man,
this time with the head of an ass, and the inscription ‘_Regnero_’ (I
will reign). On the top of the wheel is seated an ass, with the word
‘_Regno_’ (I reign); and lastly, on the other side, going downwards, is
an ass with a man’s head, and the motto ‘_Regnai_’ (I have reigned).”
The author of this inlaid panel, who must in his former position of
Capo-maestro, have known well the larger and older design, probably
wished to improve upon it; but it is somewhat remarkable to find it
placed among panels symbolising the Articles of Christian Faith.
* * * * *
Let us now turn to
4. THE SOUTH AISLE.
Both this and the North Aisle are adorned with representations of the
ten Sibyls, five in each. These Sibyls were all placed here under the
Rectorship of Alberto Aringhieri in the years 1482–83.[32]
The introduction of these mythical personages into ecclesiastical art
was not unusual at this period, and they take their place beside the
Prophets, as forerunners of Christ.
They form a curious link between the Pagan and Christian world of
thought. According to Greek ideas, Sibyls were women under the
inspiration of the Deity, but they are not spoken of at all by either
Homer or Herodotus: and the first Greek writer who mentions them is
Heraclitus (_circa_ 500 B.C.). Aristophanes, Plato and other early
writers only mention _one_: Heraclides Ponticus, a pupil of Plato,
speaks of _three_ (the Erythraean, Phrygian, and Hellespontine); but
Pausanias gives _four_ (the Libyan, Erythraean, Cuman, and Hebrew).
Of these the oldest was said to have been the Libyan: though the best
known to modern times are undoubtedly the Delphic, the Cuman (visited
by Æneas), and the Tiburtine, who is said to have foretold Christ to
the Emperor Augustus.
By Christian writers they are spoken of first in the second century
A.D., but do not appear in art until the eleventh. In the handbook of
Mount Athos we read of the “_Wise_ Sibyl”; and side by side with David,
one of these prophetesses appears in the Sequence of Thomas of Celano:
the Dies Irae (_circa_ 1253).[33] They have no place in early mosaics,
but one of the most ancient representations of a Sibyl is that of the
Tiburtine in the church of Sta. Maria Aracoeli in Rome.
The first, and perhaps the most poetic Choir of them, is on the pulpit
of S. Andrea at Pistoia, sculptured by Giovanni Pisano in 1301; but
from that time, until the fifteenth century, we find no other _groups_
of them. Then appeared a great many representations, and their number
increases rapidly to as many as thirteen, the last of whom is the
Queen of Sheba, who is called Nichaula, and is fabled to have foretold
to King Solomon the Advent of a Messiah. The usual numbers, however,
are _three_, _four_, _six_ and _ten_; and in such groups they have
been designed by the greatest artists. Giotto,[34] Perugino,[35]
Pinturicchio,[36] Raphael,[37] and Michael Angelo,[38] are but a few of
these. Not only throughout Italy, but to the Northern Art Schools of
Germany and Flanders, the same cult spread; and we find them introduced
into sculpture, painting and engraving. Sibyls assist, as interested
and sympathizing spectators, in every scene of Holy Writ. They meet
us even in painted windows and illustrated books of devotion.[39] It
is therefore not remarkable to find them here; and, if one recognizes
the attitude of mind, with which they were regarded by the Renaissance
Catholic, they are even most appropriate. The number chosen is in
accordance with that fixed by Varro, and with the exception of the
_Cumaean_, who seems to take the place of the _Cimmerian_ in his list,
the choice of prophetesses is the same.
For the purpose of study, let us begin at the Western door; and
commence with
_The Delphic Sibyl._
Delphi, famous in ancient times for its Oracles, would not unnaturally
suggest itself to these early students of Greek art and literature as
one of the places whence prophecies of the Redemption of the World
should come. Hence Plutarch calls her the _first_ of the Sibyls.
According to Pausanias, the Erythraean Sibyl, although a native of
Marpessus, or Erythrae, in the Troad, lived mostly at Samos, and
visited Clarus, Delos, and Delphi, at all of which places were shrines
dedicated to the Pythian Apollo, whose special gift this form of
prophetic utterance was said to be. Later tradition would seem to have
divided her attributes into at least three, and given them separate
existence. Here she is shown as a stately woman, bearing in her left
hand a decorated horn from which issue flames. Her right hand rests on
a tablet supported by a winged sphinx, which bears the words:
IPSVM TVVM CO
GNOSCE DEVM
QVI DEI FILIVS EST
(Know thy God Himself, Who is the Son of God.)
Beneath her feet a label records her name, and the fact that she is
mentioned by Chrysippus in his Book of Divination. We find[40] that
this figure was executed in 1482 by Giuliano di Biagio and Vito di
Marco, who probably also made the design for the work, as the payment
they received was 579 lire 10 soldi. We may compare this amount with
the sum paid in 1866–69 for the restoration of the same Sibyl. It was
2,341 lire 17 c.
_The Cumaean Sibyl._
It is not clear why this Sibyl is so named, especially as it provokes
confusion with the more celebrated “Sibilla _Cumana_.” Apparently the
Cimmerian Sibyl is intended. Ferdinand Piper tells us that she was
sometimes styled the Italian Sibyl,[41] and mentions other variations
of the name: “Cymea, Chymerea or Chimica.” According to the label,
supported behind her by two charming _putti_, she is said to have
been mentioned by Piso in his Annals. Here she is represented as an
excited-looking woman, with loose hair scattered over her shoulders.
She bears in her hand a tablet, with the following words inscribed upon
it:
ET MORTIS FATVM FINI
ET, TRIVM DIERVM SO
MNO SUSCEPTO TUNC
AMORTVIS REGRESSVS
INLUCEM VENIET PRIM
VM RESURRECTIONIS
INITIVM OSTENDENS.
(He shall accomplish the fate of death, having undergone a sleep of
three days. Then being returned from the dead, he shall come into
the light, showing the first beginning of the resurrection).
This design is said to be the work of Luigi di Ruggiero, called
_l’Armellino_, and Vito di Marco;[42] but, except a notice dated
1482[43] of payments to the first-named worker for marble cut by him
for work on “_li spazi di Duomo e per le Sibille_,” we have no further
record as to the author of this particular design, or its cost. We
find, however, that in the restoration above referred to, it cost 2,581
lire 80 c.
_The Cuman Sibyl._
This Sibyl is famed in poetic story as having been visited by Æneas:
an interview described with much graphic minuteness by Virgil, in Book
VI. of the Æneid. Endless legends have accumulated in connection with
her, and her presence is associated with many spots in and around
Naples. Ferdinand Piper states that the names of Amalthea, Demophile,
and Herophile have been given to her by different writers,[44] and that
Justin Martyr asserts that she was daughter of Berosus, and came from
Babylon to Campania. She is said to have lived for a thousand years;
and to have been the ancient prophetess, who offered the Sibylline
Books to Tarquin. These books, the oldest collection of which was,
according to tradition, made about the time of Solon and Cyrus, by
the Sibyl of Marpessus (the Erythraean Sibyl), at Gergis, on Mount
Ida, found their way thence to Erythrae; from there to Cumae; and so
to Rome. In 83 B.C. they were burned; but fragments of their contents
continued to exist orally until A.D. 12, when they were collected and
revised by the Emperor Augustus, and were surviving in 363. In the year
400 they were again destroyed by Stilicho; and the present so-called
Sibylline books are a spurious invention of Jewish and Christian
writers.
Here she appears as a somewhat severe old woman, with a veil wound
round her head. In her right hand she carries the mistletoe bough
of the Virgilian story; and with her left she clasps to her three
books. Piled on the ground to her right, and burning, are six more,
representing those destroyed by her in the Tarquinian legend; and above
her left shoulder two flying cherubs bear a tablet, with the following
inscription:
VLTIMA CVMAEI VENIT IAM
CARMINIS AETAS MAGNUS
ABINTEGRO SAECLORVM
NASCITVR ORDO IAM RE
DIT ET VIRGO, REDEVNT
SATVRNIA REGNA, IAM
NOVA PROGENIES CAELO
DEMITTITVR ALTO
(Now has come the last period of Cumaean song,
A great order of the ages is born afresh.
The Virgin now returns; the kingdoms of Saturn return.
Now a new progeny is sent down from lofty Heaven.)
Her label bears the words “Sibilla Cumana meminit Virgilius. Eclog. IV.”
This figure is the work of Giovanni di Maestro Stefano di Giovanni and
his scholars, and was executed by him in 1482.[45] He received for it
the sum of 697 lire, 9 soldi and 2 c. It was restored at the same time
as the other Sibyls, in 1866–69, at a cost of 2,743 lire 6 c.
_The Erythraean Sibyl._
This Sibyl, as we have already seen, is one of those named in the
earliest lists by Pausanias. She is said to have been a native of
Marpessus or Erythrae in the Troad, and he, as well as some other
writers, gives her the name of Herophile; one authority however speaks
of a _Trojan_ Sibyl, whom he calls Herophila, and names the Erythraean
one, Symmachia. She lived, as we have said before when writing of the
Delphic Sibyl, chiefly at Samos, but visited Clarus, Delos and Delphi.
This would, no doubt, account for the difficulty in distinguishing the
various place-names attached to these different women. As we have also
seen above, the Sibylline books are said to have been once preserved
at Erythrae, and Lactantius attributes to her the famous acrostic
which announces the Coming of the Anointed One, Son of God Himself, as
Saviour of the World. Here she is depicted as a tall patrician lady,
with a rather forbidding countenance, and a very curious head-dress,
which partially envelops her face. Her right hand clasps a closed
volume, while the left rests on an open book, supported by a carved
lectern. On the pages of this book are written the following words:
DE EXCELSO ET NASCETVR
CAELORVM HA IN DIEBVS NO
BITACVLO PRO VISSIMIS DE VIR
SPEXIT DOMI GINE HEBRAEA
NVS HVMILES IN CVNABVLIS
SVOS TERRAE
(From the High Habitation of Heaven God has looked down on His
humble (servants), and shall be born in these most recent days of a
Hebrew Virgin in the cradle of the earth.)
Beside her on a stool is a tablet, telling us that this is the
Erythraean Sibyl, whom Apollodorus claimed as his fellow citizen.
This Sibyl was designed and executed by Antonio Federighi in 1482;
and we are told that he received 649 lire 17 soldi for it.[46] It
is interesting to note that this and the Samian are the only Sibyls
signed by their designers. Federighi’s evident taste for faithful
representation of the costumes of his period, apparent also in his
other works, would account for the rather bizarre head-dress above
referred to. The cost of restoration of this Sibyl was 2,043 lire 13 c.
_The Persian Sibyl._
Ferdinand Piper, quoting a scholiast on Plato,[47] identifies this
Sibyl with the one elsewhere variously called Chaldaean, Babylonian,
Egyptian and Hebrew. He tells us further, that tradition called her
also the daughter of Berosus, and daughter-in-law of Noah, which raises
confusion with the Cuman.[48] He adds, also, that sometimes the name
of Sabbe is given to her, and sometimes that of Sambetha. Nothing more
is known of this Sibyl; but it is worth noting that the prophecy here
attributed to her is the only one that does not deal with the Birth or
Atonement of Christ.
She is represented as a pleasant-looking woman of middle age, with her
head bound up in a simple veil. In her left hand she carries a book,
and with her right she draws attention to a tablet, resting on a carved
pedestal, with an inscription as follows:
PANIBVS SOLVM QVINQVE
ET PISCIBVS DVOBVS HO
MINVM MILLIA IN FOENO
QVINQVE SATIABIT RELI
QVIAS TOLLENS XII
COPHINOS IMPLEBIT
IN SPEM MVLTORVM.
(With five loaves and two fishes He will satisfy the hunger of five
thousand men on the grass. Taking up the remains, he will fill
twelve baskets, for the hope of many.)
Beneath her feet, a label informs us that it is Nicanor who bears
record of her. Urbano di Pietro da Cortona, Antonio Federighi, Vito
da Marco and Luigi Ruggiero (_l’Armellino_) received commissions to
execute these Sibyls on September 20th, 1481;[49] but Urbano does
not appear to have received his payment of 605 lire 12 soldi for the
execution of this one, until October, 1483.[50] The sum paid to restore
his work was 3,153 lire 84 c.
5. THE NORTH AISLE.
_The Albunean Sibyl._
This prophetess, as we gather from the label placed beneath her feet,
was also styled the _Tiburtine_ Sibyl, because she was “_honoured as
Divine at Tibur_.” From a Christian point of view she is perhaps the
best known of all the Sibyls, and the representations of her in art,
still extant, are many and very varied in conception.[51] The Emperor
Augustus is said to have visited her, and, as a result of her prophecy,
erected the altar inscribed “ARA PRIMOGENITI DEI,” now inclosed in the
Cappella Santa (or di S. Elena) of the Church of Sta. Maria Aracoeli in
Rome.
She is here represented as a tall and youngish woman, with a curious
pointed head-dress. In her right hand she carries an open book; while
above her left shoulder, and attached by a ribbon to the neck of a
small cherub, is a tablet on which are the words:
NASCETVR CHRISTVS
IN BETHLEHEM ANNVN
CIABITVR IN NAZARETH
REGNANTE TAVRO PACI
FICO FUNDATORE QVIE
TIS. O FELIX MATER CV
IVSVBERA ILLVM LACTA
BVNT
(Christ shall be born in Bethlehem. He shall be announced in
Nazareth, the peaceful Taurus (the Bull) being in the ascendant,
the founder of peace. Oh Happy Mother whose breast shall give him
milk.)
This Sibyl was designed by Benvenuto di Giovanni del Guasta in
1483,[52] and is a fine specimen of his work; but it is not known
definitely who executed this, or indeed any of the four remaining
Sibyls. We read, however, that Giuliano di Biagio was in this year paid
41 lire 15 soldi for the carriage of 9,310 lbs. of marble for this
work,[53] so presumably he and his assistants executed some if not all
of them. 2,149 lire 35 c. were paid for the restoration of this Sibyl
in 1866–69.
_The Samian Sibyl._
Of this Sibyl we know nothing, and can only point out, as in the
case of the Delphic and Erythraean Sibyls, that the latter of those
prophetesses, though born in the Troad, made her principal abode at
Samos: and that thus these three may have been one and the same person.
We are told, by the label beneath her representation, that she is
spoken of by Eratosthenes, a writer quoted by Lactantius, and whose
work was one of the first books printed in Italy in 1465.
[Illustration:
ALINARI PHOTO.] [DESIGNED BY MATTEO DI GIOVANNI BARTOLI
VII. THE SAMIAN SIBYL (No. 29)]
This figure is one of the most beautiful of all the ten Sibyls,
and well it may be, seeing that it was designed by that delightful
draughtsman and earnest artist, Matteo di Giovanni Bartoli. A slender
princess, with flowing draperies, she supports with her left hand a
handsomely-bound open volume. A curious and characteristic feature of
Matteo’s work is evident in the charming cherub-head, with outspread
wings, that clasps a girdle round her robe below the hips. Beside her
on a tablet, upborne by two lion-headed figures, is the following
inscription:
TV ENIM STVLTA IVDAEA
DEVM TVVM NON CO
GNOVISTI LVCENTEM
MORTALIVM MENTI-
BVS SED ET SPINIS CO
RONASTI HORRIDVM
QVE FEL MISCVISTI
(For thou, foolish Judaea! hast not known thy God, shining in the
minds of men. But thou hast both crowned Him with thorns, and hast
mixed for Him nauseous gall.)
At the foot of the tablet is the designer’s signature, with the date
1483. (Ill. VII.)
Matteo di Giovanni received for this design 4 lire only,[54] on May
23rd, 1483; but it cost 2,654 lire 52 c. to restore.
_The Phrygian Sibyl._
Of this Sibyl also nothing is known, though she too has been confounded
with the Delphic Sibyl. Most of the longer lists, however, include
both. From the label designating her we learn that she prophesied at
Ancyra. She is here brought before us attired in what we may suppose
the artist intended to represent Phrygian or semi-Oriental dress. She
holds aloft in her left hand a small book open at the words:
SOLVS
DEUS DEVS
SVM ET ALIVS
NON EST
(I am the only God, and there is no other God.)
Her right hand directs attention to a tablet, on a lyre-shaped
support, between which are seen half-length figures and heads of nude
suppliants, apparently rising from the grave.
The inscription on the tablet runs as follows:
TVBA DE CAELO VOCEM LV
CTVOSAM EM ITET TARTARE
VM CHAOS OSTENDET DEHIS
CENS TERRA VENIET AD TRIBV
NAL DEI REGES OMNES DEVS
IPSE IVDICANS PIOS SIMVL
ET IMPIOS TVNC DEMVM IM
PIOS IN IGNEM ET TENEBRAS
MITTET QVI AVTEM PIETA
TEM TENET ITERV VIVENT
(The trumpet shall utter from Heaven a mournful sound. Yawning
earth shall show Tartarean Chaos. All Kings shall come before
the Tribunal of God. God Himself judging the Evil and the Good
together. Then at length He will send the wicked into fire and
darkness. But whosoever will keep righteousness shall live again.)
Luigi di Ruggiero (_l’Armellino_) and Vito di Marco are generally
reputed to have devised and executed this design, but no record exists
on the subject. The cost of restoration was 2,433 lire 91 c.
_The Hellespontine Sibyl._
The inscription beneath the feet of this Sibyl says that she was born
on Trojan soil, and was, according to Heraclides, a contemporary of
Cyrus. Hence, no doubt, she also has been confused with the Erythraean
Sibyl. It is very probable indeed, as we have before hinted, that
time, tradition, and the varying expressions of different writers have
divided the personality of that one Sibyl into several, according to
the various places that she is reported to have visited.[55]
[Illustration:
ALINARI PHOTO.] [DESIGNED BY NEROCCIO DI LANDI
VIII. THE HELLESPONTINE SIBYL (No. 31)]
The figure is a graceful one, but suggests somewhat gigantic
proportions. Her hair flows over her shoulders, though partially
confined by ribbons, and crowned with a jewelled diadem. In her left
hand she holds a half-open book. Her robe is loosely confined by a
small girdle set with gems.
On her left, a tablet is borne by two columns, seated in front of which
are a Wolf and a Lion (the _Marzocco_), with their hands amicably
clasped: an allusion perhaps to the then recent treaty between Siena
and Florence.[56] The inscription on the tablet runs thus:
IN CIBVM FEL IN SITIM ACE
TVM DEDERVNT HANC
IN HOSPITALITATIS MOSTR
ABVNT MENSAM; TEMPLI
VERO SCINDETVR VELVM
ET MEDIO DIE NOX ERIT
TENEBROSA TRIBVS HORIS.
(For food gall, in his thirst they gave him vinegar, they will show
this table of inhospitality. The veil of the Temple shall indeed be
rent, and at mid-day there shall be black night for three hours.)
This fine design was the work of Neroccio di Bartolommeo di Benedetto
Landi in 1483,[57] and is a noble specimen of his style. We do not know
what he received for the work, but it is probable that it was the same
sum as that given to Matteo di Giovanni. Nor, as we have seen, do we
know who executed this and the adjacent designs.[58] (Ill. VIII.)
_The Libyan Sibyl._
According to Pausanias, the Libyan was the oldest of all the Sibyls,
and was the daughter of Zeus and Lamia. More than this nothing is known
of her, but her label tells us that she is spoken of by Euripides. She
is a striking figure, her black marble face, neck, hands and feet,
producing a remarkable effect. She is veiled and crowned with a garland
of flowers. In her left hand she grasps a small open scroll, while in
her right she shows an open book with the words:
DABIT
COLA IN VER
PHOS BERA
ACCIPI INNO
ENS TA CENS
CEBIT DORSV
M
(Receiving buffets he will be silent, to blows he will give his
innocent back.)
On her left is a tablet, borne by intertwined serpents, the words
written upon it being:
IN MANVS INIQVAS
VENIET. DABVNT DEO
ALAPAS MANIBVS IN
CESTIS. MISERABILIS.
ET IGNOMINIOSVS.
MISERABILIBVS SPEM
PRAEBEBIT.
(He shall come into unjust hands. With impure hands they shall give
stripes to God. He miserable and in ignominy will give hope to the
miserable.)
Guidoccio Cozzarelli was the author of this design in 1483,[59] but
here again there exists no record of the sum paid for it. We may
suppose though that these designs were all paid for at about the same
rate.[60] The expense of its restoration was 2,352 lire 16 c.
With the examination of the Libyan Sibyl, we find ourselves again at
the Western end of the Church, and must betake ourselves back to--
6. THE NORTH TRANSEPT.
This Transept is covered with three large designs, all executed during
the Rectorship of Alberto Aringhieri; two of which, at least, may have
some political significance.
The first we come to is--
_The Expulsion of Herod_ (No. 27).
This vast composition, designed by Benvenuto Giovanni del Guasta in
1484–85, and for which he received 78 lire,[61] is full of charming
grouping and delightful suggestion. It not impossibly alludes to
the expulsion, which had then but recently taken place, of Pandolfo
Petrucci and his followers. It must be remembered that, though Siena at
this period was not involved in important external historical events,
her internal history was one long record of party faction and strife,
in which Aringhieri himself played a not unimportant part. (Ill. IX.)
Benvenuto was a consummate draughtsman, and he was ably supported here
by Bastiano di Francesco, who designed the delightful border of winged
lions that frames the picture (Ill. XI.), and made sixty letters of
marble for the same work.[62]
[Illustration:
LOMBARDI PHOTO.] [DESIGNED BY BENVENUTO DI GIOVANNI DEL GUASTA
IX. THE EXPULSION OF HEROD (No. 27)
(The entire panel)]
We find several notices as to sums paid to workmen for executing this
frieze, but only one speaks also of work on the design itself. From
this, however, we learn that it was executed by Bernardino Antonio
and Cristofano di Pietro Paolo del Quarantotto.[63] The other workmen
employed on the frieze were Vito di Marco,[64] and Bartolommeo di
Domenico.[65] With the exception of Vito di Marco, we have no record
of these men, apart from notices of their work done on this Pavement.
Perhaps they were scholars or apprentices of the better-known masters,
and therefore not recorded more particularly. We also read that certain
millers, by name Giusto Giovanni and Michele di Ludovicho, were paid 15
lire 14 c. for the porterage of 7,870 lbs. of black marble used in this
design, and that “del onperadore.”[66] (Ill. X.)
[Illustration:
ALINARI PHOTO.] [DESIGNED BY BENVENUTO DI GIOVANNI DEL GUASTA
X. THE EXPULSION OF HEROD]
The composition is most graceful and full of force. It illustrates an
episode in the struggle between Herod Antipas and his brother-in-law
Aretas, as a result of which the former had to evacuate his kingdom.
The picture has been well restored, a re-engraving of the marble slabs
on the old lines having been, to a large extent, sufficient for the
main work, though the frieze has had to be entirely renewed. A group
of soldiers, among whom is one extremely striking man’s figure in full
armour, has been particularly successful. Over this group, in a high
tree, an eagle maybe seen protecting her nest of young ones from the
attacks of a serpent, possibly alluding to the same political events
referred to above. The charming cherubs, supporting a tablet in the
upper part of the composition, upon which is engraved a long quotation
from Josephus, describing the scene depicted, have been renewed, and
the damaged originals transported to the Museum of the Opera.[67] With
them is also the original tablet, which curiously enough on removal was
found to be a memorial slab of an earlier date, bearing on the reverse
side a fine effigy of a cleric.[68]
The last restoration of this design took place between the years
1869–1878 and, together with the Pavement around it, cost 2,156 lire 63
c.; while that of the friezes, around this and the next design, cost
another 3,490 lire 12 c.
[Illustration:
ALINARI PHOTO.] [DESIGNED BY
BASTIANO DI FRANCESCO
XI. DETAIL OF THE FRIEZE OF LIONS]
Beyond this fine scene we come to another, still more remarkable, if
not quite so pleasing.
_The Massacre of the Innocents_ (No. 26).
This, perhaps, is the most striking of all the scenes on the Pavement,
and as interesting historically as artistically. The artist who
designed it, Matteo di Giovanni Bartoli, has thrown into it all the
force of his fancy and skill. It is extraordinarily full of life, and
vivid with imagination. The same artist executed certainly three, if
not four, more designs of the same subject, two of them being pictures
still existing in Siena itself;[69] and it is extremely interesting
to compare his treatment of it in all these three. Authorities differ
as to the dates of these two paintings, but admittedly there was an
interval of ten years between them. That in S. Agostino, and most
probably also the very similar painting by the same artist at Naples,
come in point of date almost immediately subsequent to this design
for the Pavement, and resemble it very closely. At this period all
Italy was convulsed with horror at the awful Sack and Destruction of
Otranto, which had occurred on the 11th of August, 1480.[70] We read
that 1,200 persons were massacred, and that most of the children were
sold as slaves. The shock to the Christian world was so terrible that
the Pope, Sixtus IV., in an Encyclical addressed to all the cities
of Italy, called their attention to the disaster, pointed out to
them that none of them, however remote, was safe, and implored them,
setting aside their party divisions, to combine in the cause of mutual
protection against the Moslem. Alfonso, Duke of Calabria, son of
Ferdinand, King of Naples, then living as ruler in Siena, was hastily
recalled to take command of an expedition against the common enemy:
and it is, I submit, not straining a theory too far, to suppose, that
Matteo di Giovanni may have been directed to design these scenes on
the Pavement of the Duomo, for the Church of S. Agostino, and for the
Church of Sta. Caterina a Formello at Naples, as an object lesson to
recall to the public mind, through the medium of a Scriptural Tragedy,
the horrors to be endured at the hands of the unspeakable Turk. They
are all executed with a force and a suggestiveness, so vivid as to
be painful in their intensity. The successful results of these three
probably inspired the fourth,[71] which is somewhat less ferocious, and
certainly more graceful and pleasing.
[Illustration:
LOMBARDI PHOTO.] [DESIGNED BY MATTEO DI GIOVANNI BARTOLI
XII. THE MASSACRE OF THE INNOCENTS (No. 26)
(The entire panel)]
Unable to use on the Pavement the brilliant pigments so lavishly
employed in the paintings, the artist has introduced, wherever
possible, marbles of many and varied colours; and when upon these
multi-coloured materials are super-imposed most elaborate designs,
the whole produces the effect of a gorgeous piece of bizarre jewellery.
Herod sits on a splendid Renaissance throne of carved marble, in a
colonnade, adorned with panels[72] of classical scenes. A sportive
frieze of marble Bacchanals is introduced along the top of the
composition, broken by circular windows, from which groups of impish
children look down complacently and even laughingly, on the dreadful
slaughter below. The armour of Herod and his soldiers is of the most
magnificent kind, and we may notice again the artist’s affection for
finishing a clasp with the head of an animal or a human being.[73]
(Ill. XII.)
It is evident from the style of this work that it is by Matteo di
Giovanni Bartoli, and his authorship has never been questioned, though
there is no record of any commission or payment to him. The date of its
execution (1481) is fixed by Tizio,[74] and by two records of payments
for materials used upon it.[75]
[Illustration:
ALINARI PHOTO.] [DESIGNED BY MATTEO DI GIOVANNI BARTOLI
XIII. THE MASSACRE OF THE INNOCENTS]
We have no record as to who executed the very charming frieze of
_putti_ and dragons, which borders the bottom and the left side of this
picture; nor that of greyhounds and fountains, which incloses the other
sides, and it is not easy to suggest any reason why two such different
designs should have been employed for the same picture. They are
evidently designed by different hands, and were probably executed like
the other friezes by the Cathedral workmen mentioned above. (Ill. XIII.)
The whole work has been apparently restored several times; for we find
in the notes of Abate Faluschi,[76] that it was restored in 1790 by
Matteo Pini, after the designs of Carlo Amidei, and at this very day
some of the worn-out stones are being renewed, and the line of drawing
re-trepanned and stuccoed.
The third picture in this transept is:
_The Relief of Bethulia by Judith._ (Judith, cap. xiii., xiv., and xv.)
(No. 25.)
Whether this picture had any political or semi-political reference we
do not know. The small fortress-towns in the Sienese contado were at
this time continually being relieved and changing hands, but we cannot
now identify this scene with any particular event. It is interesting,
though, to note that it was planned during the Rectorship of Savino di
Matteo di Guido Savino, who was, on January 26th, 1480, deposed from
his post for being one of the “Riformatori.”[77]
[Illustration:
LOMBARDI PHOTO.] [DESIGNED BY URBANO DA CORTONA (?) OR MATTEO
DI GIOVANNI BARTOLI (?)
EXECUTED BY ANTONIO FEDERIGHI
XIV. THE RELIEF OF BETHULIA (No. 25)
(The entire panel)]
The notices as to this work are few and vague: but we know from
Tizio[78] that it was laid down in 1473, and further that the frieze
of “reels” (_naspatoio_), surrounding it, was executed by Urbano di
Pietro da Cortona, Giovanni di Stefano di Giovanni, Bartolomeo di
Domenico Calabrone and Francesco di Bartolomeo (perhaps his son).[79]
It is generally supposed that the design itself was the work either of
Urbano da Cortona or of Matteo di Giovanni Bartoli, and the execution
is attributed to Antonio Federighi.[80] (Ill. XIV.) However this may
be, it is a work full of charm, recalling examples of the most poetic
period of Florentine art. As usual in work of this period, several
episodes of the story are told in various parts of the picture. On the
extreme right, now much injured, and partly obliterated by the Pisani’s
pulpit, we can still trace Holofernes’ tent, and the gruesome tragedy
therein enacted. Above the middle of the picture, over the hillside,
upon which bloom myriad flowers amid purling brooks, comes Judith, a
figure of extreme grace, followed by her maid, who bears on her head a
basket, containing the tyrant’s head.[81] (Ill. XV.) To the left is the
towered city of Bethulia, from which issue troops of horsemen, intent
upon victory in the fight, which is depicted in the centre of the
composition. Beside the gate of the city, one may notice a group of a
knight with his squire arranging the harness of his horse. (Ill. XVI.)
We may also remark the introduction here of birds. In the extreme left
corner are two parent birds, sitting in a bush, guarding their young
ones in a nest, whilst above Holofernes’ tent are perched two waiting
ravens.
[Illustration:
ALINARI PHOTO.]
XV. DETAIL FROM THE RELIEF OF BETHULIA]
This work was also restored, or, as Abate Faluschi puts it with much
truth, “modernized” (_modernata_) by Carlo Amidei and Matteo Pini
in 1790, so that we cannot now know how much of the original work
has perished. It is not unlikely that, in any case, it may have been
a composite design from the hand of more than one artist. It is,
however, worth noting that, whereas the design last described depends
largely for its effect on varied colour, this one, the _Expulsion of
Herod_, and the other contemporary picture of the _Story of Jephthah_,
presently to be described, show how much can be done by the use of line
alone.
[Illustration:
ALINARI PHOTO.]
XVI. DETAIL FROM THE RELIEF OF BETHULIA]
Ascending a wide step, we come to a work of much older and more archaic
character, which I propose to include in my seventh division.
7. THE CHOIR AMBULATORY.
_The Story of Joshua’s Victory over the Amorites_ (No. 22), _and the
Slaughter of the Five Kings_.
This work, with the others beside it on the same platform right across
the church, was executed about the year 1424, during the Rectorship of
Bartolommeo Cecchi. I have already, in my introduction, referred to the
difficulty in separating the work done here by Domenico di Niccolo del
Coro, from that of Paolo di Martino. Both men appear from the documents
to have held the post of Capo-maestro of the Duomo. Tizio mentions
distinctly[82] this design as among those executed in 1424, and
Milanesi in his Documenti[83] repeating that date, assures us that it
was among works to be attributed to Domenico himself: thereby pointedly
confuting Vasari’s assertion, that it and those adjoining it were from
designs by Duccio. On the same page, however, of the Documenti,[84] we
find a notice, dated 1426, of payment to a paper dealer, named Domenico
di Francesco, for ten squares of “_fogli reagli_” used by “_Paolo
nostro_,” for a design for the “_storia di Giesue_:” and Milanesi
himself in his _Discorso sulla Storia Artistica Senese_[85] contradicts
his former statement, attributes this design and that of _Samson_ (No.
14) in the opposite aisle of the Choir, also hitherto given by him to
Domenico, to Paolo, and dates them both two years later than in his
previous assertion.
It is an interesting picture, though at present sadly in need of
judicious restoration. The greater part of it is occupied by the battle
scene, but up in the top left-hand corner we see the bodies of the
Five Kings hung up to five stakes, and below them a yawning cavern.
Some of the figures are expressed with considerable force, and the
fifteenth-century armour of the soldiers is most quaint and curious.
The work here, and that of the story of _Samson_ above referred to, do
resemble each other, and have not much in common with the known work
of Domenico del Coro. I think we may, therefore, fairly consider them
as from Paolo’s designs; and supposing that these artists worked in
collaboration on the whole scheme of this platform, that, when Tizio
spoke of these designs, he described a project not completely carried
out until two years later.
On either side of the main picture are single figures _Joshua_ and
_Solomon_ (Nos. 23 and 24). The first of these Milanesi, in his
_Discorso_,[86] gives unhesitatingly to Paolo di Martino, with the
same date as the before-mentioned larger design. But of the figure of
_Solomon_, now more than half concealed under the marble balustrade
of the altar of S. Ansano, a mention exists in a document in the
Archivio dell’ Opera, dated 10th of August, 1447.[87] This was during
the Rectorship of Giovanni di Pietro Ghezzi (Borghesi), who held the
post from 1437 to 1448,[88] and we find a notice dated June, 1444,[89]
which may refer to this very work, although it is not mentioned
specifically. It is a permission to the Rector to fill up this portion
of the Pavement with such a design, as may seem to him suitable and
pleasing.[90]
The whole platform, or step, upon which all these designs are inlaid
had been bordered, along the top and bottom, by a delightful frieze of
_putti_, executed in 1423, by Agostino di Niccolo of Siena,[91] and
Bastiano di Corso of Florence.[92] Of the former artist we know but
little, but of the work of the latter, in company with his son Corso,
on the pavement before the Cathedral doors, we find several notices,
to which I have referred already,[93] A notice, dated 25th March,
1447,[94] speaks of other frieze-work done by father and son, “_sotto
la tribuna di verso l’altare di Santa Chaterina_.” This work appears to
have perished, or been superseded, unless, as is by no means impossible
or improbable, we may attribute to him the frieze round the _Massacre
of the Innocents_ described above, the authors of which are unknown and
unidentified.
Agostino and Bastiano’s frieze is a very graceful one, but it would
seem, judging from the dates of the documents, as if the latter artist
had succeeded the former in the work: for the first document speaks of
payment made to Agostino up to December 30th, 1423, whereas both those
commissioning Bastiano are dated the same month, with no allusion to
previous or contemporary employment of any other artist.
Three more steps bring us to the passage which runs round behind
the altar. Here originally was some of the oldest work, but to all
appearance now it would seem to be almost the most modern. In five
circles we find the five Cardinal Virtues, the first of whom is
_Fortitude_ (No. 21).
On this spot, as I have already said in my first chapter, Marchesse
d’Adamo[95] and his companions, the Comacene sculptors at work
in Siena in 1406, are generally supposed to have executed the
earliest figure-subject on the Pavement, about which we now possess
authoritative information. There is nothing, however, to show their
work. The figure is imposing and dignified in composition, but the
workmanship on it is poor and somewhat paltry.
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.
[Illustration:
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.
[Illustration:
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.
[Illustration:
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.